{"id":15777,"date":"2019-10-08T13:26:09","date_gmt":"2019-10-08T11:26:09","guid":{"rendered":"https:\/\/www.laboite-kilanigroupe.com\/?page_id=15777"},"modified":"2025-10-06T15:49:27","modified_gmt":"2025-10-06T13:49:27","slug":"suivez-la-ligne-i-elma-riza","status":"publish","type":"page","link":"https:\/\/www.laboite-kilanigroupe.com\/en\/suivez-la-ligne-i-elma-riza\/","title":{"rendered":"Suivez la ligne I Elma Riza"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_row_inner column_margin=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”colLeftPub” width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text el_class=”descriptionPub pub-1 textExpoInterne”]\n

Elma Riza<\/span>
\n\u00abSuivez la ligne\u00bb<\/span><\/h1>\n

October 2018 I February 2019
\nLa Bo\u00eete<\/p>\n

Paysage Filaire is a landscape that emerges from troubled waters, taking shape little by little. A filigree matrix, the structure of an imaginary city with minimal architecture. Something takes shape, at first discreet and fragile. Between simplicity and complexity, little by little the shape takes over the space, inhabiting it, re-drawing it. The line creates links from one point to another; abstraction and association coexist, inviting the viewer to share in a quest for renewal, balance and movement.
\nThis exhibition presents all of Elma Riza\u2019s work in the form of a photo exhibition. The installation-performance \u201cPaysage Filaire\u201d will also be on show.
\n\u201cReduction and simplicity, understood as a rule of aesthetics, requires acute concentration and awareness of what each element can represent. For each composition, the aim is to extract the essential. The resulting choices for the final composition have the power to alter our understanding and perception. In one way or another, the works presented here embody the principle of simplicity and reduction, and at the same time evoke associations, leaving behind the formal understanding and materiality of structures. These works play with the possibility of awakening our imagination. They offer the eye both raw, unadorned matter and an opening to the imaginary. (…)
\nElma Riza\u2019s works expect us not only to be flexible in our gaze, but also to be flexible in our bodies and to awaken our senses. Her minimal interventions, such as lines of scotch tape, traces of chalk or almost invisible wires, create new perceptions and experiences of the exhibition space. (…)<\/p>\n

Dr. Uwe Schramm
\nExtract from the catalogue of the exhibition On a clear Day? At Kunsthaus Essen, 2017<\/p>\n

 <\/p>\n

Elma Riza\u2019s work challenges our perception. Moving from performance, to \u0301installation, to drawing and sculpture, she makes the invisible visible and gives a temporality that goes against the grain of our everyday lives, awakening the senses of those who take the time to look. It\u2019s a space that\u2019s both poetic and committed, an atypical form of research, where the desire to create sensitive, abstract images and to make them accessible to everyone merges. Ephemeral for the most part, these works invite visitors into a space-time where the \u0301artist and the viewer find themselves sharing a common experience, in the form of instantaneous, live and documented compositions.
\nE. R. addresses the theme of the line and its variations as an iconography that is both abstract and conveys (universal) meaning. Many projects have been strongly inspired by the book \u201cA Brief History of Line \u201c1 by the \u0301anthropologist Tim Ingold, addressing the notions of trace, cartography and territory.
\nE. R. addresses the theme of the body, on the one hand as a visual element forming part of the composition and in constant dialogue with the forms and spaces created. On the other, as a functional body performing precise actions to give shape to an object, a visual composition in the moment.
\nE. R. tackles the theme of space and its perception by playing on the visible and the invisible, highlighting existing architectural elements to give them another, autonomous form. A revealed space where the visitor is returned to his or her role as observer.
\nIn 2014, Elma Riza began her research into the line with a series of installation-performances \u201cBetween the Lines\u201d in which the geometric line and the body enter into dialogue, imaginary spaces take shape, the body moves through them and modifies them. This \u201cbody-image\u201d fuelled her research until 2016. During these two years, she explored several variations of the same working method, developing tools for her research: the reduction of matter, space \u2013 in what it has of imaginary or real, immobility \u2013 to prolong the moment, movement \u2013 in resonance with her linear compositions. His work is also inspired by phenomenology, with the idea of inviting the viewer to experience something both visual and physical.
\nSince 2016, his work has led him to develop installations, drawings and sculptures, most of which are instantaneous and \u2018in situ\u2019. This time, the line redraws real spaces, transforming them. The body s \u0301 efface to make way for these spaces that have been reinvented or made visible. With the idea of questioning our perception, offering different perspectives of the same space, she tackles themes such as cartography, the mathematical enigma, anamorphosis and the sign.<\/p>\n

1 Les lignes, ai-je insist\u00e9, sont des ph\u00e9nom\u00e8nes en soi. Elles sont r\u00e9ellement l\u00e0, en nous et autour de nous. En effet, il n\u2019est pas possible d\u2019y \u00e9chapper, car toute tentative de fuite ne fait qu\u2019en poser une autre. (\u2026) Pourquoi la th\u00e9orie et la m\u00e9taphore devraient-elles \u00eatre consid\u00e9r\u00e9es comme les seules alternatives aux lignes ? Pourquoi la ligne ne serait-elle pas aussi r\u00e9elle que ce qui passe le long d\u2019elle, si tant est que l\u2019on puisse les distinguer ? Et si l\u2019id\u00e9e que les lignes puissent \u00eatre r\u00e9elles est \u00e9trang\u00e8re \u00e0 nos sensibilit\u00e9s, alors qu\u2019est-ce qui m\u2019a fait basculer dans ce monde \u00e9trange de l\u2019enchev\u00eatrement ? (\u2026) \u00bb.<\/p>\n

Tim Ingold
\nExtrait traduit du texte de l\u2019exposition \u00ab Lines, A brief history \u00bb, Rutledge 2007<\/p>\n

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