The Human Factor - Ambacher Contemporary

S Y LV I E A R L A U D
The Human Factor
I reduce in "The Human Factor" the esthetical
interventions and concentrate myself on historical
investigations and relationships between worlds
of political, financial, social and communication
systems.
Remixing past and present facts, i assemble
symbolic images and try thereby to reach a
high emotional content, that i hope could be
also a kind of warning-message for the next
generations.
In this way, my art belongs to pionniering
and modern political artwork. I´d like to
donate it to us humans, as a political
Objet Trouvé.
Sylvie Arlaud, January 2016
Political Objets Trouvés
of the early twenty-one century
Since 2011, Sylvie Arlaud has been increasingly mixing various media, involving collage, assemblage,
installation, and photo-performance. In her series Sensual Abstraction (2011) and Feminine (2012),
she undertook a very sensitive and humorous introspection of her feminine identity, introducing an
autobiographic approach and some strong feminist aspects to her work. This included work on photo
reproductions from material actions by Otto Muehl in the 60s, a sexual education book from France
in the 70s, and a current retrospective photographic volume by Jeanloup Sieff.
In contrast to these two previous series, in The Human Factor she reduces every aesthetic intervention
and focuses on historical investigations. Orchestrating some fragments of controversial realities put in
an artistic context, she creates political objet trouvés (found objects).
The title of Sylvie Arlaud´s new eries refers to Graham Greene´s 1978 novel. The story of the book takes
place in the context of the Cold War. Being a vehicle for human doubts — between professional duty and
human responsibility, conscience and setting aside — it describes a world characterized by a culture of
secrecy and manipulation, where people are permanently confronted with disloyalty and the precariousness
of peace. It is obvious that the choice of this literary work is not merely a coincidence. The book is not only
very applicable to our present time, it also makes some generally applicable statements about human behaviour and power structures. Above all, it doesn’t damn the individuals, but instead the deprivation of liberty
in human societies. In this way it corresponds perfectly with recurring themes in Sylvie Arlaud´s work,
strongly characterized by the mindset of the Age of Enlightenment.
In The Human Factor, Sylvie Arlaud takes an investigative approach, her artistic process approximating
a journalistic strategy. For her collage-assemblages, the artist selects original images and texts from original
documents, which she applies in original or reproduction on paper or transparent foils. All of her materials
are literary finds possessing an intrinsically significant symbolic meaning. After their montage, they reach
a much more emotionally charged content with a stronger force of expression. Giving us indications about
some politically charged backgrounds, they emerge to their objective, historical veracities with a provocative
value whose relevance is not limited temporally.
Furthermore, as an inherent part of her artistic process and product, she meticulously researches and
mentions every source of the utilized and exhibited documents, which then acts as a form of knowledge
transfer that her historical résumés may require. On an interactive level, she exhibits all the associated
literature, allowing observers to inform themselves about her chosen themes.
Notions of transparency and freedom of expression also get symbolized. She uses transparent materials
such as foils, and mounts her works on transparent acrylic glass or glass plates. She installs everything
into vitrines or wooden frames without backgrounds. In this way the works seem to hang free and the
background pages can also give important hints regarding contexts.
After conceiving her collages, she allows inspiration to introduce a sculptural level to her installations.
Recycling literary remnants, she installs them together with carefully selected familiar objects (usually
old-fashioned and highly symbolic), which maintain a relationship to the overall content.
Complementary to her more sober and intellectual collage-assemblages, her sculptural installations
elicit strong feelings, such as facing an "Autodafé", entering an area after bomb attacks or an earthquake, or simply entering the flat of a chaotic and intellectual peace activist...
Sylvie Arlaud´s work may not be characterized in a way that reduces it to political art with elements
of visual art, literature, and sculpture. It is a manifest in itself. It is about freedom of expression and
liberty, ephemerality and manipulability of information, the fragility of knowledge and the fragility
of life. And it bases on her thirst for truth that guides her quest for truth.
*The series "The Human Factor" is an homage to the artist Mark Lombardi, (1951-2000) and a
reference to his highly explosive sociograms.
Sylvie Arlaud, February/March 2016
Ambacher Contemporary Munich-Paris
&
Jeux interdits I, 2011-15
Book page, collage and cut on acrylic glass-plate in wooden-frame, 30 x 21 cm.
Sources: "Chateau abandonné", 1952, in Man Ray, Celiv Paris1990/Janus-Fabbri Editori 1973 &
Filmstill "Jeux interdits" by René Clément in Realités et Problémes de la vie sexuelle, Hachette Paris
1975/Fabbri-Bompiani, Milano 1976
Jeux interdits II, 2011-15
Book page, collage and cut, watercolor and tape on acrylic glass-plate in wooden frame, 25 x 18 cm.
Source: Filmstill "Salò", by Pier paolo Pasolini, 1975, in Realités et Problèmes de la vie sexuelle,
Hachette Paris 1975/Fabbri-Bompiani Milano 1976
Erste Hilfe, 2015
Book pages (shredded and cut), transparent synthetic and paper foils in acrylic glass-vitrine, A3. Sources:
Photocollage by Sylvie Arlaud & Erste Hilfe, Lehrbuch des Deutschen Roten Kreuzes, 1941 & Mein Kampf
accompagné de commentaires, par E.L. Michel, Paris 1938
Kochen mit einer Mark, 2015
Book pages and transparent synthetic-foil in acry-lic glass-vitrine, A3.
Sources: Photocollage by Sylvie Arlaud & Kochen mit Einer Mark, Dachauer Verlag 1916/1929
& Mein Kampf accompagné de commentaires, par E.L. Michel, Paris 1938
Le cahier de l´élève, 2015
Exercise bookpage and transparent synthetic-foil on acrylic glass-plate in wooden-frame, A4.
Sources: Ministère de l´instruction publique, France 1887 (great grandmother-archive), and
Mark Lombardi/Global Networks by Robert Hobbs and independent curators international, New York 2003
Wallstreet and he, 2015
Magazine page (shredded) and transparent synthetic-foil on acrylic glass-plate in wooden-frame, A4.
Sources: Wallstreet und der Aufstieg Hitlers, Antony C. Sutton and Andreas Brache/Perseus editions,
Basel 2008 & Fimstill "The Great Dictator" by Charlie Chaplin 1940, Chaplin Archives and
Taschen edition Spring-Summer 2015
Les temps modernes, hommage for Robert Doisneau,
Jacques Tati and Mark Lombardi, 2015
Book page (shredded), transparent synthetic-foils in and on acrylic glass-vitrine, A3.
Sources: Robert Doisneau, Jean-Claude Gautrand, Taschen publishers, 2014, &
Playtime by Jacques Tati 1967 & Mark Lombardi/Global Networks, Robert Hobbs
and independent curators international, New York 2003
Bank, 2015
Newspaper page (cut), on acrylic glass-plate in wooden frame, A4. Source: Ein Fall von
Selbstbedieung (photo Behrakis), Süddeutsche Zeitung Nr. 289/15.12.2011
Mein Kampf I and II (Dyptich), 2015
Book and magazine-pages (shredded), on acrylic glass-plates in wooden-frame, each A4.
Sources: Filmstill The Great Dictator by Charlie Chaplin 1940, Charlie Chaplin Archives and Taschen
edition, Spring-Summer 2015 & Mein Kampf accompagné de commentaires par E.L. Michel, Paris 1938
Die Politik der Päpste, 2015
Newspaper-page, transparent synthetic-foils and bookcover-copy in acrylic glass-vitrine, A3.
Sources: Die Politik der Päpste by Karlheinz Deschner, Alibri editions, Aschaffenburg 2013 &
French newspaper, 1973 (unidentified, mother archive), handwritten footnote by the mother of the
artist „Je suis dans la foule“ & Wallstreet und der Aufstieg Hitlers by Antony C. Sutton and Andreas
Bracher/Perseus editions, Basel 2008 & Der finanzierte Aufstieg des Adolf H. by Wolfgang Zdral,
financial editions Ueberreuter, Berlin 2002 & Mark Lombardi/Global Networks by Robert Hobbs and
independent curators international, New York 2003
60s-70s..., 2015
Magazine-page and transparent synthetic-foils, A3.
Sources: Le spectacle du monde Nr 155, Paris February 1975 & Der finanzierte Aufstieg des Adolf H.,
by Wolfgang Zdral, financial editions Ueberreuter, Berlin 2002 & Robert Doisneau by Jean-Claude
Gautrand (Photo:Boulevard Saint-Michel in Paris, May 1968), Taschen ed. 2014
Installation view „The Human Factor“, Viennacontemporary 2015
Sources:
Two children chairs, Union of Soviet Socialist Republics (USSR), design of the 50ies;
Erste Hilfe (shredded-book), Lehrbuch des Deutschen Roten Kreuzes, 1941
Mein Kampf accompagné de commentaires (shredded-book), par E.L. Michel, Paris 1938
Kochen mit einer Mark (shredded-book), Dachau editions 1916/1929.
Books on the floor:
Der finanzierte Aufstieg des Adolf H. by Wolfgang Zdral, financial editions Ueberreuter, Berlin 2002
Wallstreet und der Aufstieg Hitlers by Antony C. Sutton and Andreas Bracher/Perseus editions, Basel 2008
Installation view „The Human Factor“, Viennacontemporary 2015
Sources:
Two children chairs, Union of Soviet Socialist Republics (USSR), design of the 50ies
Erste Hilfe (shredded-book), Lehrbuch des Deutschen Roten Kreuzes, 1941
Mein Kampf accompagné de commentaires (shredded-book), par E.L. Michel, Paris 1938
Kochen mit einer Mark (shredded-book), Dachau editions 1916/1929
BACKPAGES
Mein Kampf I, 2015
Magazine backpage, torn.
Sources: Sketches for The Great Dictator by Charlie Chaplin 1940,
Charlie Chaplin Archives and Taschen editions, Spring-Summer 2015
Wallstreet and he, 2015
Magazine backpage, tear and transparent synthetic-foil.
Sources: Wallstreet und der Aufstieg Hitlers by Antony C. Sutton and Andreas Brache/Perseus editions,
Basel 2008 and Filmstill and sketch from/for The Great Dictator by Charlie Chaplin 1940, Charlie
Chaplin Archives and Taschen editions Spring-Summer 2015
Le cahier de l´élève, 2015
Book backpage (detail).
Sources: Exercise-book, Ministère de l´instruction publique, France 1887
(great grandmother-archive).
60ies-70ies..., 2015
Magazine backpage (detail) and transparent synthetic foil.
Sources:
Le spectacle du monde Nr 155, Paris, February 1975
Der finanzierte Aufstieg des Adolf H.,
by Wolfgang Zdral, financial editions, Ueberreuter, Berlin 2002
Die Politik der Päpste, 2015
Newspaper backpage (detail).
Sources: french newspaper, death notices, 1973
Biography
Art education
2000-2005 Akademie der Bildenden Künsten Munich, by Prof. Hans Baschang and by Prof. Sean Scully
(drawing/figure-drawing/anatomy/painting/pour plaster)
2003 Assistent by Prof. Anke Doberauer, Akademie der Bildenden Künste, Munich
1981-1990 Art education by actionist Otto Muehl (performance/painting/drawing/figure-drawing/sculpture)
2009-2016 Represented by Ambacher Contemporary, Munich
Solo shows, performances and photo-performances
2016
2015
2014
2013
2012
2011
2011
2011
2009
2008
2006
2003
1990
The Human Factor, Sylvie Arlaud & Otto Muehl, collages and installations, Ambacher Contemporary, Munich
Machine-Human, photo-performance, Le Gouvernail de la Corse, Bonifacio/France
The Wall, photo-performance, Lanzarote, Spain
Krall die Macht, photo-performance, Palace and Museum Belvedere, Vienna/Austria
Signes extérieurs de richesse, photo-performances, New-York, London, Paris, Munich
Das Leben stinkt, acting-performance with Rolls-Royce, Munich Art Night, Ambacher Contemporary, Munich
Poetry Power, photo-performance, Gabriele D´Annunzio estate, Gardone di Riviera/Italy
La Petite Brigande, photo-performance, Gargano, Lago di Garda/Italy
Sinnliche Abstraktion, collages, Ambacher Contemporary, Munich
Umwege - détours, paintings, Ambacher Contemporary, Munich
Das Mamifest, situationist photo installation, gallery Huber, Munich
B.B.B, situationist slogan performance with interview on Radio Lora, Munich
Drawings, gallery Krupan, Munich
Kakao Sturm and Befleckt, 2 material-actions (action-traces), Geverlsberg/Germany
Group shows
2011
2011
Ander Art Festival, Munich
Das Leben stinkt, acting performance by performance festival K-Häuschen, Munich
2010
2010
2010
2008
Zwischen den Welten, Ambacher Contemporary, Munich
Bel Etage, Ambacher Contemporary, Munich
Zipor, Ziporim, Ziporra-ansonsten Danke & Liebe Grüße", Ambacher Contemporary, Munich
Art in Mind, Brick Lane Gallery, London
2008
2007
Galata, with L´arc-der Bogen, Friedrich Ebert Stiftung, Munich
Munich-Barcelona and their contemporary artists in exhibit, with L´arc-der Bogen, in
2006
2005
First Date, with L´Arc-der Bogen, Aktionsforum Praterinsel, Munich
Six Femmes dans ĺ Art, Gallery Caroline Poirier, United Nations Educational, Scientific and cultural Org. Paris
2004
2004
Junge Kunst 04, gallery Heidi Madlener, Miesbach/Germany
S. Arlaud, I. Melchior, P. Poirier, gallery Caroline Poirier, Unesco- house, Paris
cooperation with Artinvestor and Agilis Asset Managers, Campo Sentilo, Munich
2000-03 Open-air exhibition Seh am See, Karlsfeld/Germany:
1990
Aktion sauberes K., situationist performance & sign installation
Spruch Allée, situationist slogan installation
Wolpertinger, schwimmende Skulptur
“Le pré aux mille pas”, material action (action-trace)
Schüler von Otto Muehl, Schüttksaten, Friedrichshof/Austria
Art Fair participations
2015
X-Contemporary, Miami -- Yia Art Fair, Paris -- viennacontemporary, Wien -- Art Paris Art Fair, Paris
2014
SLICK Artfair, Paris -- Art Bodensee, Dornbirn/Austria
2013
Art Bodensee, Dornbirn/Austria
2010
STROKE02, with the artist group 1001 ways to social critic, Urban Art Fair, Munich
2010
20. Kunstmesse im Frauenmuseum, Bonn
2007-09 Produzenten-Kunstmesse, Island of Art Festival, Munich
2003-07 ADAC-Kunstsalon, gallery Caroline Poirier & L´Arc-der Bogen, Chatillon-Paris
Auction participations
2014
2013
2009
2006
New Aachener art association, NAK, Aachen/Germany -- Round table 13-Burda Verlagshaus, Munich/Germany
Amnesty International, Munich/Germany -- Tajan, Paris/France
Stella Finance, Munich/Germany
Museum Villa Stuck, Munich/Germany
Works by Companies & Institutions
UNESCO, Paris/France
Hanover Leasing, Munich/Germany
Agilis Asset Managers, Munich/Germany
HGA Collection, Munich/Germany
Art projects
Since 2010 Assistant, manager and curator, Ambacher Contemporary, Munich/Germany
2007-2009 Fondation and organization of the artist Art Fairs, Island of Art Festival, Munich/Germany. Sponsored: Culture Department
and City of Munich, Bavarian State Ministry of Education, Cultural Affairs, Research and Art, Culture Foundation Stadtsparkasse
Munich, European Patent Office, Golart Culture Foundation, Fair International Munich, Aktionsforum Praterinsel, Banking House
Metzler, Munich -- Medien-support: Artinvestor (medien cooperation), Kunstforum International, Süddeutsche Zeitung, Bayerischer
Rundfunk-B2 Kultur, Abendzeitung, French Culture Institute, Radar München, In-München. Initiative Münchner Galerien zeitg. Kunst
2006-2010 Foundation and organization from artist groups and projects, Ĺarc-der-Bogen and 1001 ways to social critic with
publications a.o. in Artinvestor, kunstforum International and Süddeutsche Zeitung.
AMBACHER CONTEMPORARY
Munich-Paris