Juliette Pénélope Pépin
1 Nov 2020–31 Jan 2021
working conditions is a moving image created by French artist Juliette Pénélope Pépin, who after having studied Design at The Design Academy, Eindhoven, Netherlands, pursued a Master in Computational Science and then Fine Arts at Goldsmiths, University of London. Pépin’s practice crosses multiple mediums and she is currently studying mud masonry. In working conditions, she uses found footage from the internet, forming a montage of spatial and temporal forces at play in a complex system of ecologies; human and non-human. In some of these moving images, we observe the Notre-Dame burning, dogs being baptized, rock lime transformed to putty, an insects’ first steps, a city engulfed in wildfire smoke, and the glimmer of a necklace in the sunlight. Situated in the immediacy of a pandemic and the epoch of the Anthropocene, working conditions amplifies scales and speeds, reminding us of the roles we play in these ecological infrastructures.
A collaborative written work accompanies the film, montaging conversations and emails between the artist and curator into fragments of & \\ ^ By doing so, and through its graphic sensibilities, this written work complements, through language, the confluence of forces that contribute to these ecologies.
Read the associated publication Working Conditions
Blindside Satellite programs are presented online and onsite at the gallery as on public screens at Bunjil Place, Narre Warren; Harmony Square, Dandenong; Liverpool, Sydney and Beenleigh, Queensland.
Juliette Pénélope Pépin is an artist, freelance writer and mud mason in training. She is also the editorial assistant of artist and scholar Sharon Kivland for Mabibliotheque and the co-creator of the micro-publishing house Bernard Georges.
Her creative practice is articulated around critical thinking and material research. Having been trained in design, computing science, fine art and currently eco-construction, her work oscillates between digital moving image, sculptural installations and participatory interventions in both public and private spaces. Focusing on topics such as protest, ecology as well as poetry and philosophy, Juliette’s artistic work is rather that of an ongoing materialised critical research than a fix form.
She recently exhibited an AI piece Loss=“binary_crossentropy” at Enclave Gallery London (Uk) in collaboration with artist Romain Biros; showed works at Oxford (Uk) during Oxford Art-Science Conference 2019; and at Z33 (Belgium), Luma Arles (France) and the Pera Museum (Istanbul) as part of the group show A school of schools curated by Jan Boelen. Lately she gave a workshop on the phenomenology of medical imagery at the Slade school of Fine Art (Uk) to medical students, and a lecture at Enclave Gallery London (Uk) on gynaecological technological images.
James Carey is an artist, Lecturer in Interior Design, School of Architecture and Urban Design, RMIT and also an artistic director at BLINDSIDE, Naarm.His creative research practice is process-based, having inherent curiosities to notions of duration, labour, maintenance and value in contemporary cultures and societies. It is a practice of mark making, marking time, making time, and time making; foregrounding duration and marking an occurrence. Through this, his creative works materialise immateriality, allowing the residue of particular processes to be assembled as collections of materialised and spatialised time.James presented work at the Oslo Architecture Triennale, Norway and at the Castlemaine State Festival in 2019. He curated becoming [in]determinate as part of SATELLITE, and co-curated DEBUT with Bridie Lunney; both shown at BLINDSIDE in 2019. Upcoming projects include every artist, ever Stockroom, Kyneton 202? and some alchemies [heavy breathing] with Bridie Lunney, RMIT Project Space / Spare Room 202?