Region Sud Prize

Since its beginnings, Art-o-rama has been committed to participating in the professionalization of young artists and allows them to encounter different actors of the art world – curators, gallery owners, critics, collectors…

Each year with the Région Sud Prize, Art-o-rama offers visibility to the young creation from Art Schools of the Région Sud, Provence-Alpes-Côte d’Azur. The Show-room section highlights the work of 4 artists selected by a curator. The curator accompanies them in their exhibition project, produces a critical text and introduces the artists to the gallery owners and publishers participating in the fair, who will then be invited to vote for the winner of the Région Sud Prize of the year. This year the guest artist is Flore Saunois. The following year, this artist will benefit from an exhibition space in the main section of Art-o-rama following a two-months residency within the Moly-Sabata / Albert Gleizes Foundation. The artist will be the recipient of a 2000€ production grant and a catalog will be published.
In 2022 the Show-room artists are benefitting from the new residency program created by a regional network of art centers and venues from the Région in 2021. The 3 non-winning artists will each partake in one of the following residencies: Centre d’Arts Plastiques Fernand Léger de Port-de-Bouc, Centre d’Art Contemporain de Châteauvert et Voyons-Voir, art contemporain & territoire.

The FCAC (Fonds Communal d’Art Contemporain de la Ville de Marseille) is also committed to acquire each year at least one work by an artist from the Show-room.

The Région Sud Prize often stands as a first experience for artists in a commercial environment of international scope and allows the galleries participating in Art-o-rama to discover artists who were formed in our region.
In 2022, the 4 selected artists accompanied by Aude Christel Mgba are  Hayoung, Samir Laghouati-Rashwan, Robin Plus and Janna Zhiri.


Flore Saunois – 2022 guest artist

Through installations, sound pieces, performances and editions, Flore Saunois explores the materiality of language and its link to reality. Her work seeks to draw and set up the conditions for the appearance – and the underlying disappearance – of things.

Trying to suspend the condition of transience of an object, an event or a phenomenon, to place oneself between the permanent and the “on the verge of disappearing”, between the virtual (what, literally, “is in the process of becoming”) and “what happens”, trying to trace the outline of possibilities, as well as to question their condition of existence.

Through tautologies and the highlighting of interstices where the limits between representation and reality are blurred, we’re discovering pieces whose conciseness and plastic sobriety are constantly thwarted by a playful irony. As part of a re-reading of the principles of conceptual art, Flore mischievously explores the gap between the everyday and the extraordinary, the pathetic as a source of latent poetry.

 

Flore Saunois (1987, Pertuis, lives and works in Marseille) graduated from the Univerität der Künste Berlin (BFA – 2012), the Conservatorio di Teatro di Roma (BA Acting – 2014), the University of Paris 8 (Maitrise en recherches théâtrales – 2016), and the Beaux-Arts de Marseille (DNSEP Art – 2018).

Her work has been broadcast on France Culture (Creation On Air) (FR), (2017) ; presented at APA (A performance Affair – Art fair), Brussels (BE), at the MAC (Musée d’Art Contemporain de Marseille) (FR), at the Institut Français de Hambourg (DE), at the Collection Lambert, Avignon (FR), (2019) ; at MAMC+ (Musée d’Art Moderne et Contemporain St-Etienne Métropole – Biennale ArtPress) (FR), as part of Manifesta 13 (Friche la Belle de Mai and Galerie des Grands Bains Douche) (FR), during Actoral (Festival internationnal des arts et des écritures contemporaines) (FR), (2020) ; at La BF15, Lyon (FR), at 3bisf, Aix-en-Pce (FR), during Art-O-Rama (Winner of the Prix Région Sud), Marseille (FR), (2021); at Château de Servières, Marseille (FR), (2022). She is currently in residency at les Ateliers de la Ville de Marseille.


Aude Christel Mgba – 2022 curator

Aude Christel Mgba is an independent curator and art historian based between Cameroon and the Netherlands. She was a participant of the De Appel 2018/19 curatorial Program.

Aude engages with decoloniality through research projects and the creation of platforms that aim to transcribe, translate, and embody ancestral knowledge. Her curatorial experiences include collaborations that question forms of making and showing art that tends to be centered between art institutions and art workers. She is more interested in collaboration that expands beyond those spaces to embrace different communities.

In 2017, Aude worked as an assistant curator for the SUD2017, an international triennial of art in the public space, organized by doual’art, a center for contemporary art, for the city of Douala. Since 2019, she has been working as the co-curator of sonsbeek20->24, an international exhibition in the city of Arnhem under the Artistic direction of Bonaventure Soh Bejeng Ndikung. In 2010-2021, Aude conducted My learning is affected by the conditions of my life, a research symposium commissioned by ARTEZ Studium Generale, that was looking into art education from an historical perspective that took as cases study West Africa before and after colonization.

Aude is curator of 2021 curated project of ART X LAGOS.

 


Hayoung

A transdisciplinary story-teller, Hayoung collects different fragments of narratives that they hybridize and mythologize to transgress cultural, political and linguistic boundaries. By playing with the “bugs” and misunderstandings that accumulate in pixelated worlds, they address issues of displacement and deterritorialization to tell the story of fragmented identities, their relationships, their struggles, and their virtual and physical updates.

Hayoung and their creations bite us in the tongue and, spectators, we end up crying pixelated tears. They invite us to overdose, to saturation, to the ejection of our bodies towards the dream and the virtual. By trying to apprehend the complexity of the world, Hayoung invite us to go “beyond”. It is a universe that knows neither borders nor certainties that unfolds before our salivating eyes.
Text by Louise Nurry

 

Their works has been presented at the Villa Arson (Nice), the SISSI club (Marseille), the Het Nieuw Institute (Amsterdam), the cipM (Marseille) and at 100% Villette (Paris).


Samir Laghouati-Rashwan

Samir Laghouati-Rashwan, born in 1992 in Arles and currently based in Marseille, is a French artist who graduated from the École supérieure d’art & de design Marseille-Méditerranée.

In his practice, Samir Laghouati-Rashwan seizes upon small objects masquerading as mundane, quotidian, contemporary and above all apolitical. A tonic bottle or a tracksuit rolled up at the ankle. Shopping trolleys and caravan car windows. The work that he develops around these objects however undermines their claim to be anodyne; they become bearers of colonial histories and geopolitical complexes.
The tonic bottle contains quinine, made up of cinchona, a plant from Peru, brought to Europe by Spanish Jesuits in the 17th century, it ends up in British India, and subsequently becomes a permanent fixture in bars, destined for drinking, not for thinking its history. The rolled-up tracksuit is an allusion to the slave’s ball and chain, now adopted and denatured from such contexts, sartorial experiments borrowed from the world of rap. Revealing the violent histories lodged in such commodities or customs however is not moralising, rather, his work softly peels away their “naturalised” state and discloses something with both wry humour and dead seriousness.
But to tell such stories you have to encounter those who want to listen. His collages, films, installations, found objects and images often tend towards sparseness, a mere invitation for the spectator too to pursue the associated histories of that which is depicted or represented. The installation Dead Park (2021) features an accumulation of found objects, hostile forms masquerading as a children’s playground, the apparently dispassionate configuration giving way to a reflection on the early introduction of forms of control, the birthing of pathologies. Non-Lieu (2017-ongoing) is a minimalist memorial, listing the names of those who have died at the hands of the police in France, a new page added each year.

– Jess Saxby


Robin Plus

I see photography as a tool of power. My images describe a sensitive world where fragility is a vector of strength and pop culture embraces the landscape. Photography is like a weapon, one that helps me fight the diktats of normalized representation of bodies and sexuality to let me dream of a society in full queer renaissance. I sow the confusion, as well on the space – by never indicating where the photos are taken – as on the temporality – early morning, zenith or twilight? – and the notion of gender. I use ambiguity as an aesthetic principle in order to recreate a sensitive world taking the pulse of a cracked reality. I transform landscapes into dreamlike settings and models into conquering and political figures. I construct my images as paintings that tell the story of a world standardized by globalization and consumerism.

 

Robin Plus (born in 1990 in les Lilas, lives and works in Marseille) graduated from Ecole Nationale Supérieure de la Photographie in Arles. His works have been presented at Galerie Sultana (Paris), La Villette (Paris), Les Rencontres de la Photographie (Arles).


Janna Zhiri

I’m a storyteller, I tell shameless love stories. Fan of love stories in general, I like the complicated ones, between dog and cat. Ghosts of figures taken from a non-romantic love literature as in Dorothy Allison’s Skin or totally romantic, overwhelming with happiness-bliss-love-at-first-sight. My characters and myself are troubled by the intensity of the consenting banter where the most blurred dreams take the voice of multiple identities. Long live seduction. The narrative world becomes subject to digression for a call to revolution through the heart.
In parallel, I have a work of pastel drawings which takes shape of rolls of logorrhea or my vomit of dreams and fantasies.

 

Janna Zhiri graduated from la Villa Arson in Nice. Her work has been presented at Galerie Placement-Produit (Paris), DOC (Paris), Fondation Francès (Paris), MAC (Musée d’Art Contemporain, Lyon), Galerie Eva Vautier (Nice), Galerie Georges-Philippe & Nathalie Vallois (Paris).


Previous Guest Artists

  • 2021 mountaincutters
  • 2019 Jonathan Vidal
  • 2018 Delphine Wibaux
  • 2017 Sabrina Belouaar
  • 2016 Rafaela Lopez
  • 2015 Vincent Ceraudo
  • 2014 Sergio Verastegui
  • 2013 Yann Gerstberger
  • 2012 Caroline Duchatelet
  • 2011 Sandro Della Noce
  • 2010 Pascal Martinez
  • 2009 Émilie Perotto
  • 2008 Julien Bouillon
  • 2007 Arnaud Maguet et Olivier Millagou

Exhibition View, Flore Saunois, Art-o-rama 2021

Courtesy © Flore Saunois

Aude Christel Mgba

© 2018, Omenkart

Hayoung

Pains retrouvés (2021)
Installation view of, « Construire sa prétendue », Villa Arson, 2021
Photo © Nelo Gevers

Samir Laghouati-Rashwan

© Fræme 2020

Robin Plus

© the artist

Janna Zhiri

© Chloe Pasciani, Ozgur Kilic, Noemie Sene et Andrea Hortua