Nicolas Fernandez iPad Studies

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Iphigenia (Ἰφιγένεια), 2012

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Biography

Nicolás Fernández’s protean works either take their material from the daily world or refer to that world, something that lends them a familiar character at ﬁrst sight. At the same time, by manipulating these elements from the ordinary world, by shifting them from their ﬁeld of reference, the artist ﬁssures the known, pointing up new meanings and revealing unfathomable territories. The series of collages the artist began developing in 1997 draws its material from the daily press. Fernández works at the very heart of the image. Making obvious cuts, he disarticulates the composition’s cohesion, forcing connections and parallels amongst its constituent parts. Because it is artiﬁcial, this proximity engenders at times a feeling of emptiness, underscoring the break between the compositional elements; at other times it gives rise to an ambiguity, showing people in surprising contact. The ﬁgure of the child isn’t spared. Mistreated by the artist’s gesture, occasionally it appears incomprehensible, as in certain images from Children’s Song (1998). These suggest a postcatastrophic world peopled with children who have become the creators of a new society.

In 1999 Fernández began to include the new digital media in his output; the web sites You_Left (1999) and Father_Nature (2000) oﬀer viewers a walk of endless possibilities through mazelike sound spaces that are scattered with texts. Father_Nature brings together, amongst a range of images, photos from different internet porn sites and paramilitary hunting clubs. They show nude female bodies posed in natural settings. The artist’s gesture alters the very texture of the images; the appearance of humans and nature is broken up, split apart. It is the mutations of these representations, more than their pornographic nature, that catch the eye, auguring a twilight world.

In 2004 Fernández resolutely embraced painting, which had been latent in his work for years. Often referring to myths, these ﬁgurative pictures typically feature a juxtaposition of heavily worked zones with other areas that remain only sketched out, conferring a diﬀerent existential status on the represented elements. Inspired by a photo in a magazine, Jocaste (2008) questions the relationship between humans; whereas the joined hands weld the three ﬁgures together, the look in their eyes thrusts each down into its own sphere. These beings, seemingly withdrawn into their own world, point to another that lies beyond representation.

Maryline Billod

Nicolas Fernandez, Genève 1968

03 Cité Internationale des Arts, Paris

98-02 Atelier à Berlin

97-98 Akademie Schloss Solitude, Stuttgart

94-95 Universidad Complutense, Madrid

89-93 Ecole Supérieure d’Art Visuel, Genève

84-88 Collège artistique Voltaire, Genève

Expositions personnelles

2003 Galerie Skopia, Genève

1999 Centre d'Art Contemporain, Genève

Torstrasse 102, Berlin

1998 Akademie Schloss Solitude, Stuttgart

K&S Gallery, Berlin

Galerie Skopia, Genève

Southern Alberta Art Gallery, Canada

1997 Ausstellungsraum K.Adamopoulos, Frankfurt a.M

Akademie Schloss Solitude, Stuttgart

Forum d’Art Contemporain, Sierre

1996 In vitro, Genève

1995 Galerie Skopia, Genève

Forde - Espace d'art contemporain, Genève

1994 Palais de l’Athénée, Genève

1993 Centre d’Art Contemporain, Salle projet, Genève

1990 La Régie, Genève

Sélection d'expositions de groupe

2003 Biennale de l’image en Mouvement, CIC, Genève

Bourses Lissignol-Berthoud, Centre d’art contemporain, Genève

2002 Backlight Phototriennale, Tampere, Finlande

Arteplage mobile du Jura, Expo 02, Neuchâtel

Intonations, Podewil, Berlin

15 Stuttgarter Filmwinter, Stuttgart

Energies de résistances, Attitudes, Genève

2001 Re-View, Migros Museum, Zürich

1 Biennale Tirana, Albania

Get Angry, Palais Rumine, Lausanne

Berlin_London, ICA, London

2000 Circles 1, ZKM, Karlsruhe

Solitude, Musée d'Art Moderne, St.Etienne

Solitude, Staatsgalerie, Stuttgart

Viper - International New Media Festival, Basel

1999 6 Istanbul Biennial

Young, Fotomuseum Winterthur

Sprengel Museum Hannover

Biennale de l’image en mouvement, Centre pour l'image contemporaine, Genève

Solitude, Ernst Museum, Budapest

1998 On a clear day, Staatsgalerie Stuttgart

Freie Sicht aufs Mittelemeer, Kunsthaus Zürich

Freie Sicht aufs Mittelemeer, Schirn Kunsthalle, Frankfurt a.M

Internationale Ferienkurse für neue Musik, Hessisches Landesmuseum, Darmstadt

Crociani, Fernández, Lämmli, Ausstellungsraum K.Adamopoulos, Frankfurt a.M

1997 Interventions urbaines, Fri-Art, Fribourg

Next to the city, Akademie Schloss Solitude, Stuttgart

Über leben in der Peripherie, Wacker Fabrik, Darmstadt

Muestra de Arte Joven '97, Madrid

1996 Never say never, Kunsthalle Bern

Bianchini, Fernández, Hentsch, Centre de Gravure Contemporaine, Genève

Intercultures, Galerie Nationale du Sénégal, Dakar

Cabines de bain, Attitudes, Fribourg

1995 Aperto, Mamco, Genève

1993 La grandeur inconnue, Domaine de Kerguehennec, France

7 Westschweizer Künstler/Innen, Kleines Helmhaus, Zürich

1992 Sens dessus-dessous, Kunsthalle St.Gallen

1991 Entretiens-Chants, M2, Vevey

Sélection de performances

2003 Love and Devotion, avec R.Sauvin, Y.Levasseur. Y.Knobel, Halles de l’île, Genève

2001 In the red snake, avec M.Cheraït, Künstlerhaus Bremen

Between two kisses, avec M.Cheraït, Lothringer13/Halle, München

2000 White music for pigs, rats and snakes, avec M.Cheraït, Staatsgalerie Stuttgart

L'île aux enfants, avec A.Bianchini, S.Stucki, M.Cheraït, ZKM, Karlsruhe

Let the words of I and I be acceptable, avec M.Cheraiït, Centre Culturel Suisse, Paris

1998 New shoes, avec C.Szlavnics, M.Sabat, The Music Gallery, Toronto

1997 Comment on dit, Eté 97, Centre de Gravure Contemporaine, Genève

Company Musik, K.Adamopoulos, Frankfurt/M

1995 Un embalaje de cartón, aplastado, avec M.A.Rodriguez, Madrid

Un emballage de carton, aplati, avec Y.Levasseur, Genève

1992 Shango, Festival Solo, Cave 12, Genève

Ende, avec A.Bianchini, F.Baudevin, Kunsthalle St.Gallen

Publications monographiques (depuis 1998)

2000 Father_Nature, dhtml cd-rom, Revolver - Archiv für Aktuelle Kunst, Frankfurt

1999 You_left, Centre d’art contemporain Genève, Revolver - Archiv für Aktuelle Kunst, Frankfurt

1998 Children's song, Editions Solitude, Stuttgart

Sélection de film vidéo

2003 Gloria

2001 Between two kisses, Avec M.Cheraït (Prix Re:view, Migros Museum Zürich )

2000 Unemployed Biscuit, avec M.Cheraït (Prix Video-ex, Zürich)

1999 Sein Zeit (Prix de la Biennale de l'Image en Mouvement, Genève)

1990 Por los homeless

Prix (depuis 1997)

04-06 Ateliers de la Ville de Genève (Usine)

2003 Fondation Patino, Atelier Cité des Arts Paris

2002 Prix de la Fondation Irène Reymond, Lausanne

Prix Lissignol, Genève

2000 Kunst im Internet, Kunstfond Basel

DG Bank Preis für künstlerische Fotografie, Hannover

1999 Eidgenössische Preise für freie Kunst, Zürich

1998 Bourse d’aide à la création, Genève

1997 Arte Joven, Bourse de l’état espagnol, Madrid