ISLAND - MYTHS AND REALITY

“Sadauto” 2023

Millettia pinnata tree leaves

Chloroprint of linocut prints by Lithuanian artist Sight Valiuviené 1931-2021 (grandmother of the author)

“Sadauto” II 1970

“Sadauto” III 1970

“With the help of light, I layer a story that is dear to me, thus prolonging the sound of the Sutartiné says the author. …. “Sadauto” - Sadauto is one of the sound words that are typical of Sutartinés and have lost their literal meaning. (Sutartinés (from the word sutarti - to be in concordance) are archaic Lithuanian polyphonic songs in which two intertwining Melomelodies and different words are sung simultaneously by as many singers as possible. The songs have simple melodies, with two to five pitches, and comprise two distinct parts: a meaningful main text and a refrain that may include nonce words. The poetic texts encompass many themes, including work, calendar rituals, weddings, family, wars, history and moments of daily life. Sutartinés are included on the UNESCO Intangible Cultural Heritage list …

Siguté Valiuviené (1931-2021) was born interwar in Siauliai, Lithuania. From 1950 to 1956 she studied at the Vilnius Art Institute (now Vilnius Academy of Arts), Faculty of Graphic Arts. She belonged to a generation of artists who carried in their hearts the image of an independent Lithuania, illuminated by the calm light of childhood. As these times people were not able to speak about depict it directly (due to political circumstances), she wove it all into her works using folklore, fairy tales, and mythological imagery. She has worked in the Graphic art fields of estampe and book illustration. For estampe she chose lithography, etching or linocut. The line in her graphic works is symbolised, it creates the melody and mood of the drawing. “The line has to sound” she said herself.

Photos Christine Gísla

The Cuckoo’ 2023

Sound installation

Voice of the cuckoo generated by AI (Artificial Intelligence) human voice enhancement tools.

This tool is being used to make voice recordings sound better. This time it was used to collaborate with technology in creative process.

This process converts birds song in to the sound trying to interpret it as a human speech. Birds song was interpreted as a human speech by AI and the uncanny human voice pronouncing non existent language words is the outcome.

Cuckoo lays eggs in other birds nests - here we have human and technology coexistence in not belonging context for Cuckoo.

“BLURRY VISION” 2023

Temporary site-specific installation

foil, tension belts, spray, wood Technique, 5,0 x2,0 x 0,25 m

BLURRY VISION is a temporary site-specific installation in the park of the museum Mahébourg. The translucent foil is stretched between two trees. Through the black frame, the viewer is confronted with an image of nature. If someone is standing on the other side, they are perceived as a coloured shadow. The picture changes continuously, depending on who is present, whether there is movement or the incidence of light changes the colour scale. Apart from the material experiment, the work offers a romantic view of the surroundings, a reproduction of an oversized mobile phone or a passage barrier, is left to perception.

Photos Christine Gísla

1) Pointe Jerome Panorama, 2023 huile sur toile, 30 x 111cm

2) Pointe Jerome Panorama - Gabriel, 2023 huile sur toile, 30 x 80 cm

3) La Chaux - Rouge Bleu Jaune Vert, 2023, huile sur toile, 5 elements, 30 x 40cm chacun

4) La Chaux - Habitants, 2023 huile sur papier, 15 éléments, 42 x 29,7 cm chacun

Pre avek Pointe Jerome Youth Training Center, i annan en lotel 5 zetwal lo en kote, e lo lot kote en vilaz „Cité la Chaux“ avek bann pov peser. Vye bidonville ti ganny konstri dan bann lannen 1960 avec bann lakaz idantik fer avek tol, en donasyon sorti leta zini, selon en zabitan. La ter pa ti pou bann zabitan me selman ti ganny donnen avek zot par gouvenman moris. Pa reste boukou lakaz an tol e lakas pe ganny konstrir partou san pran an konsiderasyon plan devlopman. Zarden in ganny ranplase par bann gran lakaz ki tous pre ek kamarad e reflekte rev ek prosperite bann propriyeter.

Près du Pointe Jerome Youth Training Center se trouvent, d'un côté, un luxueux hôtel-resort 5 étoiles et de l'autre, le quartier de pêcheurs très pauvre „Cité la Chaux“. L'ancien bidonville a été construit dans les années 1960 avec des pavillons identiques en tôle ondulée, une donation des Etats-Unis selon un habitant. Le terrain n'appartenait pas à l'origine aux habitants, mais leur a été attribué plus tard par le gouvernement de l'île Maurice. Aujourd'hui, il ne reste plus grand-chose des pavillons d'origine en tôle ondulée, partout se construisent des maisons en auto-construction, sans tenir compte d'éventuels plans d'urbanisme. Les jardins cèdent la place à de grandes maisons qui se touchent presque, reflétant les rêves de prospérité de leurs propriétaires.

In the vicinity of the Pointe Jerome Youth Training Center, there is a luxurious 5-star hotel resort on one side and on the other a very poor fishing neighborhood, „Cité la Chaux“. The former slum was built in the sixties with identical pavilions made of corrugated iron, according to a resident they were a donation from the United States. The land did not originally belong to the residents, but was later granted to them by the government of Mauritius. There are not many of the original iron huts left, and houses are being built everywhere without regard to any development plans. The gardens make way for large houses that almost touch each other, reflecting dreams of the prosperity of their owners.

Ces habitants de la Cité La Chaux ont posé spontanément pour les tableaux: Adultes: Jose Prodigue, Savitri, Sesen Maree, Fakhi, Berty Edgar, Nibshan Chamroo, la famille Lacaze et un groupe réparant un moteur de bateau Enfants: Jake, Wayne, Essai, Jonas, Alexis, Railey et Eliza, Jemima Chamroo, Adiel Chamroo, Alexandre et Echbane Kistoo, Heavry Bourquin, sa cousine et un garçon inconnu

3) La Chaux - Rouge Bleu Jaune Vert, 2023, huile sur toile, 5 elements, 30 x 40 cm chacun

- Bato pti fiy avek koray rouz - Jose Prodigue dan garaz son garson - Latant fanmir Gilbert ki reste Vienne avek son fanm sidamerikenn - Jake e Wayne ranplas lenz ki pa anpandan la akoz lapli - Indy in mor ! Plus: - Jemima ki oule vin santez pa aret bouze (2023, huile sur toile, 40 x 30 cm)

4) La Chaux - Habitants, 2023, huile sur papier, 15 éléments, 42 x 29,7 cm chacun

- Wayne (6 an), Jemima (11), Adiel (9), Alexandre (13), Essai (8), Jake (9) - Railey ek son ser Eliza, 4 an - Gran Alexandre - Adiel et son frère / Adiel ek son frer - Wayne, Essai e Jonas - Savitri ek en lot garson - Heavry ek enn pti baba - Alexis e Echbane - En group ki pe aranz en masin bato - Fanmir Lacaze- Jemima i anmenn Adiel lo ledo - Shakti, Berty e Jemima - Sesen - Alexandre e Essai

“Golden Crown” 2023

Bluewood and stones, corals, perfumes, time

When the tree has filled the void, the sacrifice will be completed; trees grow very fast here! ….

Photos Christine Gisla and Ásta Vilhelmína Guðmundsdóttir

Mückenstichsammlung / Collection de piqûre de moustiques 23.12 - 13.01. 2023

Encre sur papier, environ 300 dessins dispatchés quelques part au second floor.

Initialement, j´avais prévu une grande installation insolite dans le parc. À la première visite : 50 piqûres de moustiques mois de 2 minutes. J´ai passé ensuite mon temps à trouver un endroit de travail sans moustique, sans trop succès. J´ai fini par les compter. Je n´en ai attrapé aucune !

First, I had planned a large incongruous installation in the park. On my first visit: 50 mosquito bites in less than 2 minutes. I then spent my time trying to find a place to work without mosquitos, without much success. Eventually I counted them. I didn’t even get to smack one !

Photos Christine Gísla

“The little Karanja boats go across the ocean” 2023

Material: soil on paper, mixed media.

“I was attracted by the scene of many Karanja fruits falling at the base of the tree. Each one has a slightly different shape, different size, and different colour. It’s like us in Mauritius. The Karanja fruit floats on the water, so it moves and multiplies by riding the currents of rivers and oceans. I imagined little Karanja boat trips as we travel.”

“Not my fault” 2023

Material: broken glass, sand.

“I dropped a glass in the kitchen and broke it. Nobody saw it.”

“Aloe - Furcraea Foetida”

Material : Aloe - Furcraea Foetida, silk thread, nylon thread.

Art is often seen as opposite to nature – but I have found the opposite to be true. Nature is generally regarded as frozen or static, but again, the opposite is true. Nature is in fact constantly changing, in a constant flux, continuous evolution.

Take plants or animals as example, or even mountains and valleys.

The artist has to work with nature and participate in this constant change.

To work with nature with my hands brings me closer to myself and to others. It is my way of connecting with my surroundings and the environment. Letting the material lead me to where it wants to go, experience it and learn from it. To watch and to feel and to discover.

To turn a plant into fibre.

The fibres hidden in the Aloe are deeply woven into Mauritian culture. The plant Furcraea foetida, from the family of Asparagaceae, originated from Brazil, was apparently first introduced to Mauritius in the late 18th century. About 1875 a commercial production of the fibres began. A fabric made from the Aloe plant was called “goni” witch means thread or fibre, coming from a South Indian language. It was used quite extensively in Mauritius until 1960 to make bags to pack and ship agricultural commodities such as sugar, rice, wheat, salt etc. The high breathability helped the commodities to stay fresh. In Mauritius goni was directly linked to the sugar trade. Goni also served as mattresses for the indentured labourers and the African slaves, as a shield for the sugarcane cutters form the sharp leaves, as blankets for the underprivileged and as apron for the bhandari, chef in biryani, to name a few things. After use the bags were collected by merchants goni, collectors of gunny sacks, from shop to shop and from house to house to be reused.

Photos Christine Gísla Piotr Zamojski Manou Soobhany

“Floating World” 2023

Photograph, Inject print on watercolour paper.

Exploring the beauty of the giant water lilies in the Sir Seewoosagur Ramgoolam Botanical Garden, Pamplemousses.

HOW LONG IS NOW, 2023

This work questions perception of time by using photography as a technique of capturing the moment. Similar to the human perception of now (some can describe it as instant, some even as a several seconds or more) photographical process needs different time for capturing the moment and it can take from minutes to tiniest parts of the second to create a image of stopped time. But this time we go a little further, by using analog panoramic camera and forcing it to take a photo of more than 360 degrees. In this way the image of the stopped time contains repeated image of the same place in one photograph, but in the different time.

VR glasses are chosen to present the scan of analog photograph. this Type of presentation mixes analog and digital wolds.

“Free Slaves”: A three - piece installation 2023

An Oxymoron of Freedom, Charcoal and Newspaper on Plywood, Palm tree extract, Resin and Stain, Mahogany Pods Gold Acrylic and Sequin

Tribute to the indentured Laborers who followed a promise of false dreams and hopes for a better land and life. “The Great Experiment?” Roots, Photography on Burlap. The Visual representation of the importance of tracing and finding our roots. From soil to soul we travel union roads and paths to one truth. Our roots. Slave Ships/Angel Life Boats. Dedicated to the souls who didn't make it in the crossing for Africa to Mauritius. Didn't survive the journey. The stems of the Palm tree extract, represent the souls travel as the Angel Life Boats carry them on.

“Constellation” Installation 2023

Material: Blue color linen rope, clay pots.

“Constellation II” Installation 2023

Photos Christine Gísla

“I’ve always been wanting to come to Mauritius”

Projection of Waldron Island to scale with map of Mauritius, 1:25000

Projection of map and video of Waldron Island where I am from in the Salish Sea onto map of the île de Maurice. They are to scale at 1:25000, washed in braided light reflecting from a pool of seawater and sand, blown by a fan. My island home is on Point Disney. I was surprised to find my home in Mauritius was in Pointe d´Esny. Other ingredients include: Government and historical maps, ocean water, pointe d´Esny coral sand, western red cedar, horsetail shamegrass, madrone, wild cherry, ancient machete. Poetry zine from Waldron Island by Nell Scruton. Through light and water blown by the wind, reflections and projections from one “island paradise” to another, how do we heal the island and the island people?

“Takata Pakata Mahebourg” 2023 Installation

Avec la complicité de Lise et Gaëtan Gaspard, Saha Plechaviće, Dorine Julien et Lucy Lagesse. Avec aide de Roshan and Son Tyres Co. Ltd.

Mo mars li zour,

Mo mars la nwit

Kouler rempli dan mo la tet

Mo trouv montayn danse

Mo trouv poisson saute

Rivyer koule, bato dormi

Mo taan kok kriye, azann sante Mo trouve fasad bouze

Takata Pakata.

Roz, ver, zonn,

mov, ble, rouz.

Tou sa la azite, tou sa la balanse Kouma enn fet pou lizie

Sak lakaz, sak lari ena so kalite Trouv so lenerzi, kriy so dezespwar Kriy so lamour

Roz, ver, zonn,

mov, ble, rouz

Takata Pakata

Tou lezour Takata Pakata

Rezonn dan mo li ker,

Kouma enn sante pou byin dormi, Pou kalme sagrin.

Pou donn kouraz

Takata Pakata, Takata Pakata

Photos Christine Gísla

SENSO

Butoh performance

French Institute Beau Bassin-RoseHill

Im Tae Woong voice

Maruska Ronchi dance

Horse Hair pieces Ásta Vilhelmína Guðmundsdóttir

Photos Stefano Puzzuoli

Performance in Hotel Preskil Resort

Im Tae Woong music voice

with Tarun Mantadin

“The Crossroad Keeper” 2023

Mixed Media on Canvas

Inspired from a Mauritian folktale, the work summarizes the local beliefs embedded in the occult and the collective experiences of such practices. Different cultures share similarities in local folklore.

Photos Christine Gísla

“Mahé Isle 1 / Mahé Isle 2” 2023

Mixte Media, 190x80cm / 180x90cm

Permutation with letters (1×2×3×4)

Photos Christine Gísla

[CONTRACT IN GREEN & YELLOW I.] 2023

Acrylic on cardboard

[CONTRACT IN GREEN & YELLOW II.] 2023

Acrylic on cardboard

Gehisste Flaggen. Ein altes Gemälde zeigt eine Schlacht vor Mauritius vergangener Jahrhunderte. Xénia Imrová & Jörg Paul Janka überführen die Farben der Fahnen aus dieser Schlacht zu einem eigenen malerischen Statement, einem neuem Bild für das Museum.

Raised flags. An old painting shows a battle off Mauritius in the past centuries. Xénia Imrová & Jörg Paul Janka transfer the colors of the flags from this battle into their own painterly statement, into a new picture for the museum.

Photos Christine Gísla

“Liquid Landscapes” 2023

Mixte Media

Prior to traveling to the island of Mauritius, I made comparisons between nautical charts of the island and the United Kingdom. Such charts give details of the channels that enable vessels to enter coastal waters safely. Using the charts, in correlation with the Mauritian meteorological sun, moon, and tidal charts, I investigated whether there was any correspondence between historical developments such as the industrial revolution of the water levels in the southern hemisphere. This was impossible to chart, only therefore informed by the UNDDR website and papers by Mauritian meteorologists. Once in Mauritius, the islander’s notable preoccupation was the lack of water, no rain for more than a month. This led me to a Mauritian school textbook which enabled me to locate the largest natural water resources on the island, charting a line from Mahebourg towards them. This work culminated in a collective production, while the moon was at its fullest and the tide at its lowest, the lines on the maps were directly transcribed onto the landscape in order to lay solar lights along them. The final outcome was a video and series of photographs. This was made possible by the support creatively and technically, both in production and performance by :

Christine Gisladóttir - Icelandic, Jason Kenhing - Mauritian, Teesha Kooraram - Mauritian, Shinichi Mizoguchi – Japanese, Raymond Levantard – Mauritian, Stefano Puzzuoli – Italian, Meshika Rangloll – Mauritian, Maruska Ronchi – Italian, Piotr Zamojski – Polish, Daumantas Plechavičius – Lithuanian, Aiste Valiúté – Lithuanian

Current works consider geographical political boundaries, demarcation of land, decommissioned monuments, and the impact on resident, historical communities. The working title: island to island, liquid landscapes, reflects a continuation of methodology carried out in Gardur, in 2012, where nautical language and mechanisms were used to align markers on the land, lining up the liquid elements in the local landscapes, waterfalls, glaciers, geysers. Now the work expands to encompass these issues in a global context, considering the impact of rising sea levels, the liquid mass, not just on our own island but that of islands around the world.

In current works Kate-Rose, along with the site-specific solar light images, is in conversation with artist Lisa Marie Kaftori, has been considering what it is to live on an island, by gathering and recording oral histories, in an attempt to make the work collaborative and less extractive. They are very pleased to now expand the project to include Mauritian artist Magali KMVH, using a series of provocative questions to create points of departure for meaningful exchange and connection. What constitutes an island? What does it mean to live on an island, in particular your island? Can an island be a state of mind? Lisa Marie Kaftori participated in Escale in Mauritius, in 1998. Kate-Rose contacted Lisa to begin a conversation and an ongoing artistic collaboration exploring the impact of site-specific artwork created during international artist residencies. KateRose, Lisa and Magali are interested in creating connection and understanding as well as raising awareness around global ecological and humanitarian issues through their artwork.

Photograph on water

Photo

“Untitled”

Video work

KMVH performer

Suzi Cunningham Performer

Songs of the shadow: Turtle, 2023

Material: Metall Grid, modelling clay, 2 Spots Size: 3x 092 x 120cm

Myths about turtles have traveled through time and form part of our cultures. On wavy wire mesh I have formulated on 2 parts the outline of a turtle as in ancient mosaics. In the 3rd and rear part, the shape of the turtle dissolves and waits to be retold. With this turtle I would like to ask the question about the stories of the people of Mauritius about turtles and to what extent the old tales are part of their lives? For the 3rd and resolved part of the grid, I would like to know what kind of story the turtle tells today? Please write or draw your thoughts into the book. Thank you!

Chants de l'ombre : Tortue ; Matériel : Grille métallique, pâte à modeler, 2 Spots ; Dimensions : 3x 092 x 120cm

Les mythes sur les tortues ont traversé́ le temps et font partie de nos cultures. Sur un grillage ondulé, j'ai formulé sur 2 parties le contour d'une tortue comme dans les mosaïques anciennes. Dans la 3ème et dernière partie, la forme de la tortue se dissout et attend d'être racontée à nouveau. Avec cette tortue, je voudrais poser la question sur les histoires des habitants de l'île Maurice sur les tortues et dans quelle mesure les vieux contes font partie de leur vie ? Pour la 3ème et dernière partie de la grille, j'aimerais savoir quel genre d'histoire la tortue raconte aujourd'hui ? Veuillez les écrire ou les dessiner vos pensées dans le livre. Merci !

Photos Christine Gísla

Let me in, 2023

Material ; Photo.

When the islander feelings are understood by the continental people because of the covid isolation rules.

The serpent ate the apple, 2023

Material ; Textile.

The serpent decides to eat the apple, hence there is no sin for humans on earth. The black serpent is also the symbol of the oil industries pipelines. The is an oid lacota in the states prophecy of a black snake, a creature that would rise from the deep, bringing with it great sorrow and great destruction.

The black box, 2023

Material ; Paper, Wood.

Me and We. Inspiration ou traduction d’un texte de Platon du livre “La République”, chapitre “mythe de la caverne”. Si on devait vivre dans une caverne, la lumière du jour nous aveuglerait, et si on vivre hors de la caverne, on serait aveuglé par le manque de lumière á l’intérieur de la caverne.

ME a grain of sand. WE are the beach. ME the beach. WE are the island. ME the island. WE are the earth. ME the earth. WE are the galaxy. ME the galaxy. WE ...... WE are humans and a small part of nature.

Photos Christine Gísla Ritesh Hauzaree

Tiroir à memoir (Drawer of memories)

Photography, ancient drawer, seaweed, stone, coral)

A wall of abandon house speaks of previous lifes. Time that passes trace lines and farrows, drawing new geographies. Speaks about transience of life inside the endless circle of Nature. Everything is impermanent, everything is imperfect and beautiful at the same time.

Hidden Scar 2023

Wood, Resin

A wound inflicted on the body, a wound inflicted on the soul, a wound on the Mother Earth. When human will understand where they come from and respect it?

Opening performance in the Museum garden

with Stefano Puzzuoli

Photos Christine Gísla

“Untitled”

Performance in the garden of Pt Jerome

Maruska Ronchi dance

Suzi Cunningham dance

Photos Shinichi Mizoguchi

Venus of Wak, 2023

Iron and Wood

From the Middle East folklore to Mauritius, the Venus of Wak is the epitome of cultural assimilation and the intercultural values of Mauritius. A myth that still echoes in the present.

Photos Christine Gísla Ritesh Hauzaree

Mahebourg ?, 2023

Acrylic on canvas (80cm by 60cm) incorporating masking tape as an installation.

Our history is the old Mahebourg, place of birth of our Island, suspended in time. A place all know but never realise such a place was the land of settlement. Mahebourg, known for its fish, freshness of life and unity. That unity was spread all over the island. Our body and visual language evolve but create boundaries around our sense of unity we had. We are all entangling in that dustbin.

Photos Christine Gísla

Routes du sucre 2023

Material, concrete and resin 190x60 cm, 2023

[ A big thank to my “mecenati” : Andrea Panzica, Jacinta Mura, Marco sassone, La mamma, La zia Caty , La sorella, Valentina Versino,Riccardo forneris, Alessandro, Sebastiana, Umberto, Francesca, Federico, Cristiana (Risso), Marco Bonino, Giovanni Spagnolo, Alice Piccin, Usama Elbaradai, Remi Mattei, Francesco Fangati, Francesca Mura, Vittorio Toesca, Cati Negretto, Alessandro Falcone, Anusha, Maja, Kamini ]

Projet Pouchkin, 2023

Installation

Pouchkin / Ce projet est une réflexion sur les conditions humaines et leurs éventuels changements. La partie du musée historique de Mahébourg consacrée à l’esclavage est poignante, nous rappelant l’existence d’esclavage partout dans le monde, dans le passé et encore au présent; des peuples entiers nés libres et se faisant brusquement réduire à l’état d’un objet, que on peut acheter, vendre, utiliser ou anéantir de tant de façons différentes... et de rares exemples de chemins inverses - né esclave ou captivé, goutant pleinement cette expérience de condition d’esclave avant de se libérer grâce aux circonstances mais aussi par force d’intelligence et de persévérance, puis se reconstruire, où plus encore, s’élever à un position honorable. Un de ces exemple est particulièrement cher à mon cœur : Abraham Pietrovich Hannibal était le prince abyssinien, captivé par les turcs et acheté́ par l’ambassadeur Russe à Constantinople, amené́ ensuite à̀ St.Petersburg et donné en cadeau au Tzar Pierre le Grand, qui deviendra son parrain. Il sera d’abord le secrétaire particulier du Tzar, puis envoyé́ ensuite pour faire ses études en France et intègrera l’armée Française, y faisant son service militaire. Il obtiendra un grade militaire assez élevé́ tout en obtenant sont diplôme d’ingénieur militaire. Il sera rappelé́ par le Tzar en Russie, et construira des fortifications et participera à la restructuration de l’armée. On l’appellera le Vauban russe... Suite à la mort du Tsar Pierre, il prendra ses fonctions auprès de la Tsarine Elisabeth et recevra maintes distinctions et récompenses. Son petit-fils, Alexandre Pouchkine, transformera le lange russe en composent les plus grandes poésies et proses du XIX siècle qui influencera la littérature mondiale.

This project is the reflections on human conditions and their possible changes. The section of the Mahebourg’s historical museum devoted to slavery is poignant, remembering us of the existence of slavery all over the world, in the past and still in the present; people born free and reduced to the state of an object, which can be bought, sold, used or destroyed in so many different ways... and some rare examples of the opposite destiny: born as slave or captured, fully experiencing the slave condition before freeing himself through circumstances but also through Intelligence and perseverance, and then rebuilding himself, or even more, rising to an honorable position. One of these examples is particularly dear to my heart: Abraham Pietrovich Hannibal was the Abyssinian prince, captivated by the Turks and bought by the Russian ambassador in Constantinople, brought to St.Petersburg and given as a gift to Tzar Peter the Great, who became his godfather. He will be the Tzar’s personal secretary, and later be sent to Paris to make his military education. He joined the French army to finance his studies, participated in the war with Spain. He obtained a high military rank and a degree in military engineering. He was called back to Russia by tzar and built numerous military fortifications and participated in the restructuring of the army. He will be called the »Russian Vauban »... After the death of Peter the Great he continued his career during the reign of Elisabeth, the Piotre’s daughter and was distinguished by many important posts and awards. His grandson, Alexander Pushkin, most important Russian actor of XIX ty century, will transform the Russian language by composing the greatest poems and prose, influencing the world literature.

Photos Christine Gísla

FAR CRY / PAS ICI

SUN FUN / SANS FIN

partly removed patina, sound

The work can be seen as an invitation to reflect on spatial, temporal and social distances and also on differences and similarities between languages.

Photos Christine Gísla

Push me with one finger, 2023

Metal frame & Acrylic Perspex, 60cm x 100cm x 175cm

I depict the fragility of our home

Enn niaz dan mo vizion I, 2023

Installation of 6 Mixed-media print on cellulose

Enn niaz dan mo vizion II , 2023

Installation, Pastel on 6 slates

The motto of the Residency has inspired me to take the role as an observer of my native, beloved country known as paradise with its rich cultural background. I chose to use the two elements which are fundamental to our Mauritian identity in my work, the Kréol and the Séga to express my thoughts on the myths and reality of post-colonialism.

“Temple of colour” 2023. Photography on canvas

The artistic duo Römer + Römer photographed and collaged the patterns and shapes of the Tamil temple San Baba Center whilst bathed in sunlight, it is located next to the museum park of Mahébourg. The colour interplay consists of neon-like colours, for example, magenta, cyan, green and yellow. Stacked like saccharine layers, orange, violet, cerulean repeating elements depict flowers, leaves, animal and humanoid gods, and architectural elements. Black contours provide clear subdivisions and together with the colour gradients, creating the impression of being able to continue indefinitely being propelled into a 3D graphic. The viewer becomes acutely aware of the manual application of the paint, the transfer of templates onto the stone surface, making visible small errors within the existing system. Transferring the painted forms into photography and collage playfully creating an ambiguity of media. Römer + Römer utilising this mechanism of visual disorientation, in the context of the Mahébourg museum, address one of the numerous religious beliefs that exist in Mauritius.

Cleaned Cabin

Water, found objects, acrylic on board, variable sizes

The cabin, built in 2008 to give space to artisans, becomes a frame onto the forest, a suggestion to make something new, and an invocation for the rights of nature, and for strength and autonomy of the people.

Untitled (Wakashio)

Video, 4:02

In the song, Canal Belo, sung by vocalist Sarah Honoré, a man loses his wife to a flooding canal, as the police stop him from saving her. The mangrove forest that once covered Mauritius succumbs each year to development. A beyond human glimpse of that world, pitting hope against loss. Let us decide to support life.

https://tinyurl.com/ mangliye

"Before docking the dream ", 2023

Installation

red colour thread, stones

Photos Christine Gísla

Sweet people, 2023

Mixte Media,Pallet waste, honey, photography

50 Honiggläser, 50 Portraits, gut sortiert in einer dafür hergestellten Konstruktion. Eine fotografische Installation. Die Sonne als energie- und lichtspendende Quelle. Im Raum die Betrachtung der festgehaltenen Zeit in den Portraits von Shinichi Mizoguchi.

50 honey jars. 50 portraits. Well sorted in a purpose made construction. A photographic installation. The sun as a source of energy and light. In the space the contemplation of the captured time in the portraits of Shinichi Mizoguchi.

5 Sculpted local wood pieces, 2023

Stone is the skeleton of the island, wood is its flesh, water is its blood. The work I present here is a symbolic synthesis of these elements, using forms that recall natural structures and archetypes.

Opening performance in the Museum garden

With Maruska Ronchi

Photos Christine Gísla

“Untitled” Video work

Suzi Cunningham performer

KMVH performer

1. Pictures 1-5

'Untitled' (Dance at the Abandoned House) by Suzi Cunningham. Costume and photography- Asta Gudmundsdottir. Film-

Maruska Ronchi

2. Pictures 6-9

'Bat Mango' by Suzi Cunningham. Photography- KMVH

3. Pictures 10-13

'Untitled' by Suzi Cunningham and Maruska Ronchi. Stills and Film- Stefano Puzzuoli

4. Pictures 14- 16

'Untitled' Suzi Cunningham and KMVH

5. Pictures 17-19

'We Mangrove' by Suzi Cunningham and Maruska Ronchi. Stills and Film- Stefano Puzzuoli

Crossing the ocean of uncertainty

Performance during the residency in Pt Jerome

Suzi Cunningham performer

Maruska Ronchi performer

Christine Gisladottir photographer

Hidden Figures, 2023

Aluminium foil, iron and volcanic stone

The unreal depth of the situation, the beginning of a staged massacre and human trafficking for the enrichment of the superior. The figures leaves space for its own story to unravel.

Photos Christine Gísla

Performance Hotel Preskil Resort

Tarun Mantadin music

with Im Tae Woong music

Gajaks 2023

Mixed media on Canvas

The conservation of certain species has become a myth in today´s reality. A satyrical and uncanny approach on our responsibility as human which reflects "gajaks”. (A Gajak is the term used for snacks in creole language). In Mauritius, Gajaks are often accompanied with alcoholic drinks.

PRIVATE MIRACLES 2023

16 Photgraphs, cardboard and wood in a showcase

Fotografische Sequenzen einer fiktiven Videoüberwachung in Standbildern festgehalten. Eine organisierte Beobachtung in Farbe. Ihr Ursprung ist unbekannt. Im Zentrum der Betrachtung liegt das zivilisatorische Randgeschehen.

Photographic sequences of a fictitious video surveillance captured in still images. An organized observation in color of unknown origin. The core of the observation is what is happening on the fringes of civilization.