ABOUT

In the beginning, there was photography, capturing the moment, video, staging. From 2014 onwards, a research on the notion of space is being developed. A space that evokes and questions our different perceptions and conceptions of it, playing on changes in perspective and using an abstract, geometric and poetic language for these purposes.

This research aspires to make the invisible visible by redrawing the spaces of galleries or public spaces, by evoking abstract and imaginary landscapes.

Some of these installations are developed “in situ”, using architectural elements of the place, which are then transformed or made visible by simple materials such as thread, chalk, tape or recently organic materials. The question of perception plays a central role in this work, what is visible, what is not, questioning our cultural perception, our intuitive perception. The time given back to observation invites the spectator to remain curious and in movement.

“The works of art and artistic positions exhibited here all take the principle of simplicity, self-reduction and self-limitation into account in one way or another. They challenge seeing, lead thoughts via memory bridges and associative paths to an expanded understanding of the purely formal, the material structure. The works play with the possibilities of our imagination. They offer the eye as well as the mind productive frictional surfaces, which lead to ever new perceptions of the works in space.” (Dr. Uwe Schramm, Kunsthaus Essen, 2017)

From 2014 to 2016, a mainly performative work develops, where the body enters into dialogue with the spaces created or with compositions of objects. This performance practice is nourished by instant composition (Instant Composition), which Elma Riza will therefore initially experience as a performer, then move into her visual work, creating, for example, installations that take shape on the evening of the opening, a fragment of which will remain for the duration of the exhibition. To deepen this practice, she is setting up a platform for exchange and experimentation, “Atelier LAB”, where she invites other visual artists to share this experience of instantaneous composition.

In this approach it is also a question of writing, a visual writing, which, as in the film, develops and finds its meaning in its interaction with the image before and after. The structure that emerges guides the reading, but leaves space for the unexpected. A space, where the creative process is intrinsic to experimentation.  So it is not a question of creating a finished product, to be marketed, it is a question of research that is shared, lived and finds its strength in its ephemeral nature.

The visual language that she builds has a common thread: the line, always omnipresent in her research. From this “red thread” will emerge various works including “Between the Lines” between 2014 and 2016. This element is still omnipresent today. This fascination for the line, is inspired by a work by the antropologist Tim Ingold “A Brief History of Line, which will accompany many of her projects.

“Lines, I insisted, are phenomena in themselves. They are really there, in us and aoround us. Indeed there is no esca- ping them, for in any attempt to flee we only lay another one. (…) Why should theory and methaphor be thought to be the only alternatives for the lines? Why cannot the line be just as real as whatever passes along it, if indeed the two can be distinguished at all? And if the idea that lines can be real is alien our sensibilities, then what was it that tipped me into this strange world of entanglement? (…)”. (“Lines_ A brief history” by Tim Ingold, Rutledge 2007)

Texte original:

Au départ, il y a eu la photographie, la capture de l’instant, la vidéo, la mise en scène. A partir de 2014 se développe une recherche sur la notion d‘espace. Un espace qui évoque et questionne nos différentes perceptions et conceptions de celui-ci, jouant sur les changements de perspectives et utilisant à ces fins un langage abstrait, géométrique et poétique.

Cette recherche aspire à rendre l’invisible visible en redessinant les espaces des galeries ou espaces publics, en évoquant des paysages abstraits et imaginaires.

Une partie de ces installations sont développées “in situ“, utilisant des éléments architecturaux du lieu, qui sont ensuite transformés ou rendus visibles par des matériaux simples comme le fil, la craie, le scotch ou encore récemment des matériaux organiques. La question de la perception joue un rôle central dans ce travail, ce qui est visible, ce qui ne l’est pas, questionnant notre perception culturelle, notre perception intuitive. Le temps re-donné à l’observation, invite le spectateur à rester curieux et en mouvement.

“The works of art and artistic positions exhibited here all take the principle of simplicity, self-reduction and self-limitation into account in one way or another. They challenge seeing, lead thoughts via memory bridges and associative paths to an expanded understanding of the purely formal, the material structure. The works play with the possibilities of our imagination. They offer the eye as well as the mind productive frictional surfaces, which lead to ever new perceptions of the works in space.” (Dr. Uwe Schramm, Kunsthaus Essen, 2017)

De 2014 à 2016, se développe un travail principalement performatif, où le corps entre en dialogue avec les espaces créés ou avec des compositions d’objets. Cette pratique de la performance est nourrie par la composition instantanée (Instant Composition), qu’ Elma Riza expérimentera donc dans un premier temps en tant que performeuse, puis qu’elle déplacera dans son travail visuel, réalisant, par exemple, des installations qui prennent forme, le soir du vernissage, dont un fragment restera pour la durée de l‘exposition. Pour approfondir cette pratique, elle met en place une plateforme d‘échange et d’expérimentation, „Atelier LAB“, où elle invite d‘autres artistes plasticiens à partager cette expérience de la composition instantanée.

Dans cette démarche il est aussi question d‘écriture, une écriture visuelle, qui comme dans le film, se développe et trouve son sens dans son interaction avec l’image d‘avant et l‘image d’après. La structure qui en émerge oriente la lecture, mais laisse l‘espace libre à l‘imprévu. Un espace, où le processus de création est intrinsèque à l’expérimentation.  Aussi il n’est pas question de créer un produit fini, à commercialiser, il est question d‘une recherche qui se partage, se vit et trouve sa force dans son caractère éphémère.

Le langage visuel qu‘elle construit a pour fil rouge: la ligne, toujours omniprésente dans sa recherche. De ce “fil rouge” émergeront différents travaux dont „Between the Lines“ entre 2014 et 2016. Aujourd‘hui encore, cet élément est toujours omniprésent. Cette fascination pour la ligne, est inspirée par un ouvrage de l’antropologue Tim Ingold „Une brève histoire de ligne, qui accompagnera nombreux de ses projets.

„Lines, I insisted, are phenomena in themselves. They are really there, in us and aoround us. Indeed there is no esca- ping them, for in any attempt to flee we only lay another one. (…) Why should theory and methaphor be thought to be the only alternatives for the lines? Why cannot the line be just as real as whatever passes along it, if indeed the two can be distinguished at all? And if the idea that lines can be real is alien our sensibilities, then what was it that tipped me into this strange world of entanglement?(…)“. („Lines_ A brief history“ by Tim Ingold, Rutledge 2007)