Trampoline Association was created in 2019 by 7 founding members*; it continues to grow and today counts 14 active members.

HARa ! ! ! ! !!hAaaRAAAAA ! ! ! ! ! hHAaA ! ! !

Trampoline is pleased to support the solo exhibition of Mohamed Bourouissa, “HARa ! ! ! ! !!hAaaRAAAAA ! ! ! !!hHAaA ! ! !” at Goldsmiths CCA in 2021 following the visit to France of its director Sarah McCrory, through Trampoline’s professional invitation program in 2018.

 

Artist Mohamed Bourouissa (b. 1978, Blida, Algeria) is known for confronting complex socio-economic issues and for seeking out tensions between different social contexts. In-depth research, including long periods of engagement with specific locales and groups, inform works that question collective histories, uses of public space, and representational identities. This solo survey show features new and existing works by Bourouissa across photography, sound, installation and moving image made since 2003, in what will be his first solo show with a UK public institution.

 

His celebrated work Horse Day (2014-15) is included in the exhibition, and saw the artist live for eight months among a low-income community in North Philadelphia to create an event and film with the horse riders of its urban stables – making, as he terms it, a contemporary American cowboy movie. The charged legacies of colonialism, and contemporary realities of racial and socioeconomic inequality, are present throughout Bourouissa’s work ; including the recent Brutal Family Roots (2020), which fuses hip-hop with installation to track patterns of exchange between Britain, Australia, France and Algeria, through the spread of the Acacia tree species.

 

Throughout his work, Bourouissa builds poetics by examining contemporary society ; often documenting disenfranchised groups and individuals who have been “left behind at the crossroads of integration and exclusion”, but who use the tools at their disposal to navigate their situation. For example, a new work HARA ! ! ! ! !!hAAARAAAAA ! ! ! !!hHARAAA ! ! ! (2020) abstracts the invented word ‘hara’ used by young lookouts to alert drug dealers of approaching police in Marseilles. The distorted word becomes a sound installation in the vein of concrete poetry.

 

The presentation of Bourouissa’s work in the context of the gallery brings into relief different circulations of images and their economies. These circuits, their violence and corruptibility, are exploited and disrupted in works such as ALL IN (2012) and Shoplifters (2014). In these, as with all his works, Bourouissa moves between different modes of photographic and filmic techniques with irreverence and instinct. From grainy smartphone images in works like Temps Mort (2008-9) – in which the artist exchanged images, videos and messages with an incarcerated friend – to street photography in Nous Sommes Halles (2003-5), and canonical art historical framings of Parisian street life via Delacroix in the series Périphéries (2006-8) ; each mode and medium is exploited for its ability to conceptually articulate incisive statements on contemporary image culture and a racialised social fabric of inequality.

 

BIOGRAPHY

Mohamed Bourouissa (b. 1978, Blida, Algeria) currently lives and works in Paris, France. He has exhibited at institutions and biennials including : Musée d’Art Moderne de la Ville de Paris, Paris, FR ; Centre Pompidou, Paris, FR ; Barnes Foundation, Philadelphia, US ; Stedelijk Museum, Amsterdam, NE ; basis, Frankfurt, DE ; Le Bal, Paris, FR ; Haus der Kunst, Munich, DE ; FRAC Franche-Comté, Besançon, FR ; Sharjah, Havana, Lyon, Venice, Algiers, Liverpool and Berlin Biennales ; Milan Triennial, Milan, IT.

A Natural History of Ruins

Trampoline will support the participation of artists Louidgi Beltrame (France) and Minia Biabiany (Guadeloupe) in the group exhibition A Natural History of Ruins taking place at Pivô, São Paulo in 2021.

 

A Natural History of Ruins is a group exhibition that explores different forms of resistance to the ways in which the hegemonic modern colonial imagery has captured our imagination. Drawing from diverse artistic practices, this exhibition seeks to offer opportunities to think about healing in what author Anna Tsing calls a ‘precarious survival’. It also attempts to address the implications of representation outside of language in order to explore other-than-human forms of intelligence.

 

At the core of the exhibition, there is a critique of the modern divide between nature and culture and its ontological implications. Through a series of historical processes, some humans separated themselves from nature and therefore fabricated it as a category. Colonial regimes spread this notion through education and exploitation, normalizing nature as a ‘resource’ at humans’ disposal. It is largely through the knowledge and ecological practices of Indigenous peoples that these functioning colonial categories can be productively challenged.

 

A Natural History of Ruins wants to think about the representation of “nature” as much as it needs to rethink the nature of representation. Donna Haraway appropriately has sought to answer “what gets to count as nature, for whom and when, and how much it costs to produce nature at a particular moment in history for a particular group of people.” She thus recognizes the historically situated processes and semiotic operations needed to, not only normalize nature as a colonial, imperial category but also to produce and reproduce the category of the “universal man1” as a dominant one.

 

The transformation of ‘natural history’ museums into ‘natural science’ ones seem to suggest a rhetorical shift ‘history’ as a narrative exercise to ‘science’ as disinterested, objective observation that achieves the full separation of subjects (humans) from objects (non-humans, other-than-humans, but also humans subjected to scientific research). In the process, history is politically neutralised. By opening up dominant definitions of technology to include some that are not inherently attached to the Western notion of progress, art can lead towards a world of multiplicities where the centrality of the reality created by colonisation can be finally unveiled as a brutal, yet efficacious construction bound towards an ill-fated image of progress. In this way, the ruins produced in the present can be partially considered as the projection of a modernist unconscious.

 

The artists included in the exhibition tackle the brutality of modern binary categories and practices in order to show in different ways how things are entangled and in the words of artist max wíllà morais ‘to dance with the violence of the world’.

 

Catalina Lozano

Temple of Love – Agony

Trampoline is pleased to support the solo exhibition of Gaëlle Choisne, “Temple of Love – Agony” at Hamidrasha Gallery – Hayarkon 19, Tel Aviv.

 

Temple of Love – Agony is the new chapter in Gaëlle Choisne’s ongoing exploration of the concept of love. Following Roland Barthes’ book “A Lover’s Discourse : Fragments,” she focuses in the current exhibition on the idea of agony, on “the fear of a breakdown which has already been experienced,” to quote from Barthes. Choisne’s installation explores the idea of love as a social and political matter, an attitude and form of resistance and a catalyst for courage and transgression. Love in this ongoing project becomes a social and spiritual issue, a channeling source of profoundly political actions. Choisne created a space for dialogue and conversation that invites people to collaborate and take part in the exhibition.

 

The exhibition was created in collaboration with My Luvs : Roxanne Maillet, Marie-Carmel Brouard, Crystell Mess, Agnes Noel, Euvonie Reynald and Megg Rayara Gomes de Oliveira. Previous chapters took place at Bétonsalon in Paris, The Mistake Room in Los Angeles, and Zachęta Project Room in Warsaw.

 

The exhibition is supported by Trampoline Association and The French Institute in Tel Aviv.

Overlapping Magisteria : The 2020 Macfarlane Commissions

Trampoline is pleased to announce its support to Mimosa Echard’s new project for the second Macfarlane Commissions at ACCA, Melbourne in 2020.

 

The Macfarlane Commissions is a biennial series of exhibitions at the Australian Centre for Contemporary Art featuring new commissions by emerging and mid-career Australian and international artists. The second iteration of this biennial series, Overlapping Magisteria, considers the role of biology, ecology, archaeology and site, as well as ideas of material transformation and alchemy, through artists who engage organic materials, laws of nature, deep time, ideas of growth and shapeshifting, as well as formlessness, entropy and abjection. It is intended that ACCA’s galleries will be transformed through intense sensory and material effect, with works encompassing living and artificial organisms and processes, and installations and assemblages of narrative and material significance.

Time Is Thirsty

Trampoline supported the participation of artists Pierre Joseph and Claude Closky in the group exhibition Time is Thirsty at Kunsthalle Wien.

 

Time Is Thirsty is a journey through time and space in the form of an exhibition : A complex ensemble of contemporary artworks and artefacts from the early 90s – more precisely from 1992, the founding year of the Kunsthalle Wien. The exhibition presents an immersive time-space in which the boundaries between the decades become unstable : Whether we are dealing with a relic from the 90s, a present-day phenomenon, what we encounter remains uncertain.