Un ensemble d’états qui nous attache les un.es aux autres et qui rythme les cycles d’une longue métamorphose commune aux êtres visibles et Pensées comme des scènes refuges où les corps existent librement, exultent et s’expriment, les oeuvres réveillent des émotionsĮt des sentiments profondément inscrits dans nos chairs terrestres : l’attention, l’inquiétude, l’écoute, l’amour, la perte, la sensibilité, l’absence, la jouissance, la vulnérabilité ou encore le réconfort. Les animaux (humain.es compris.es) interagissent avec ferveur et tendresse avec les arbres, la neige, les rivières, les sols. Le chant des oiseaux, la voix d’une humaine, la puissance d’une chorale, le râle du vent. Hiérarchie), les éléments (eau, terre, air et feu), les voix, les sons et les musiques qui prolongent les corps. Au coeur de ces situations aussi fascinantes que troublantes, Julie Chaffort filme les relations qui existent entre les terrestres (l’ensemble des êtres vivants, sans Visibilisation de corps contraints à une trop grande discrétion. Les ingrédients sont le vivant, le chant, la musique, la L’oeuvre s’inscrit dans la démarche assurément poétique de Julie Chaffort qui imagine et fabrique des situations relevant de l’instant magique. | mov | color | 52:0 | France | 2021 See moreĮxperimental doc. Julie Chaffort : Fauves - Experimental doc. Additionally, my work has been presented in Canada?, Venezuela, Spain, Argentina, Chile, Costa Rica, Germany, Ecuador, Argentina, Peru?, the United States, Mexico, Korea, Brazil, Nicaragua, Guatemala, Estonia, Italy, France, and Colombia.
In 2013, I participated as an invited performer at the Hemispheric Institute’s annual meeting in Sao Paulo, and in 2012 I was invited to Canada for La Rencontre Internationale D’art Performance De Québec (RIAP), taking place throughout four cities in Canada. In 2013 I was selected for a Franklin Furnace Fund Award for the performance Your Car Is Clean, Your Conscience is Dirty, which I performed in New York City 2015. In 2015, I was awarded the 3rd Visual Arts Biennial Bogotá Prize Acquisition Award as well as a FONCA scholarship to create a political multimedia cabaret laboratory in Mexico. She uses her body as a tool to disseminate information, as an element of attraction to make visible alternative political strategies, a resistance against mass media and a struggle against imperialism. She embodies erotic fantasies built by the mass media, using reggaeton and pornography. La Fulminante is a character inspired by sexually provocative stereotypes of Latin American women. La Fulminante dismantles the language used in the discourse of emancipation by bringing together in her body eroticism and social criticism. Five years ago I created La Fulminante, a character who invites her audience into the world of auto-representation and meta-pornography, using internet information strategies to condemn globalized society. My work is both performative and technological, both art and activism, and a mix of cabaret, public intervention, and video transmission. Using my body in combination with multi-media technologies, my artistic practice illuminates the relationships between the representation of state violence in mainstream media, institutionalized machismo, heterosexual pornography, and violence against women. Simon(e)’s performance works have premiered at Studio ? of Maxim Gorki Theater, Ballhaus Naunynstrasse, Hebbel am Ufer, as well as the 11th Berlin Biennale. Simon(e)’s films have premiered at Documenta14, Cannes Directors Fortnight, MoMA, Rotterdam and has been awarded the prize for Best Director at the International Cartagena Film Festival Colombia and won the first prize (MuVi Award) at kurzfilmtage Oberhausen, among others. Simon(e) studied Media Art at the KHM Cologne and Film at the EICTV Cuba. Their artistic projects are located between film and performance, dealing with queer cultures and decoloniality. Simon(e) Jaikiriuma Paetau is a German-Colombian artist. A history of dissident bodies who resist dying in a necropolitical system. An absent body, which returns into representation. Kinematic bodies and animal-human hybrids. The film denounces the naturalized violence against this mythical female creature and reappropiates her as a symbol of trans-feminine resilience.
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Agressions against this free and rare spirit are justified by obsessive love and desire.
A mermaid-monster, who is desired and punished: the man-eating, seductive Mojana. "Mojana" is an associative re-imagining of a Colombian myth and traditional song.
Video | mov | color | 18:9 | Germany, Colombia | 2021 Simon(e) Jaikiriuma Paetau, Nadia Granados
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