S Y L V I E A R L A U D

The Human Factor

I reduce in "The Human Factor" the estheticalinterventions and concentrate myself on historical investigations and relationships between worlds of political, financial, social and communication systems.

Remixing past and present facts, i assemble symbolic images and try thereby to reach a high emotional content, that i hope could be also a kind of warning-message for the next generations.

In this way, my art belongs to pionniering and modern political artwork. I´d like to donate it to us humans, as a political Objet Trouvé.

Sylvie Arlaud, January 2016

Political Objets Trouvés of the early twenty-one century

Since 2011, Sylvie Arlaud has been increasingly mixing various media, involving collage, assemblage, installation, and photo-performance. In her series Sensual Abstraction (2011) and Feminine (2012), she undertook a very sensitive and humorous introspection of her feminine identity, introducing an autobiographic approach and some strong feminist aspects to her work. This included work on photo reproductions from material actions by Otto Muehl in the 60s, a sexual education book from France in the 70s, and a current retrospective photographic volume by Jeanloup Sieff.

In contrast to these two previous series, in The Human Factor she reduces every aesthetic intervention and focuses on historical investigations. Orchestrating some fragments of controversial realities put in an artistic context, she creates political objet trouvés (found objects).

The title of Sylvie Arlaud´s new eries refers to Graham Greene´s 1978 novel. The story of the book takes place in the context of the Cold War. Being a vehicle for human doubts — between professional duty and human responsibility, conscience and setting aside — it describes a world characterized by a culture of secrecy and manipulation, where people are permanently confronted with disloyalty and the precariousness of peace. It is obvious that the choice of this literary work is not merely a coincidence. The book is not only very applicable to our present time, it also makes some generally applicable statements about human beha- viour and power structures. Above all, it doesn’t damn the individuals, but instead the deprivation of liberty in human societies. In this way it corresponds perfectly with recurring themes in Sylvie Arlaud´s work, strongly characterized by the mindset of the Age of Enlightenment.

In The Human Factor, Sylvie Arlaud takes an investigative approach, her artistic process approximating a journalistic strategy. For her collage-assemblages, the artist selects original images and texts from original documents, which she applies in original or reproduction on paper or transparent foils. All of her materials are literary finds possessing an intrinsically significant symbolic meaning. After their montage, they reach a much more emotionally charged content with a stronger force of expression. Giving us indications about some politically charged backgrounds, they emerge to their objective, historical veracities with a provocative value whose relevance is not limited temporally.

Furthermore, as an inherent part of her artistic process and product, she meticulously researches and mentions every source of the utilized and exhibited documents, which then acts as a form of knowledge transfer that her historical résumés may require. On an interactive level, she exhibits all the associated literature, allowing observers to inform themselves about her chosen themes.

Notions of transparency and freedom of expression also get symbolized. She uses transparent materials such as foils, and mounts her works on transparent acrylic glass or glass plates. She installs everything into vitrines or wooden frames without backgrounds. In this way the works seem to hang free and the background pages can also give important hints regarding contexts.

After conceiving her collages, she allows inspiration to introduce a sculptural level to her installations. Recycling literary remnants, she installs them together with carefully selected familiar objects (usually old-fashioned and highly symbolic), which maintain a relationship to the overall content.

Complementary to her more sober and intellectual collage-assemblages, her sculptural installations elicit strong feelings, such as facing an "Autodafé", entering an area after bomb attacks or an earth- quake, or simply entering the flat of a chaotic and intellectual peace activist...

Sylvie Arlaud´s work may not be characterized in a way that reduces it to political art with elements of visual art, literature, and sculpture. It is a manifest in itself. It is about freedom of expression and liberty, ephemerality and manipulability of information, the fragility of knowledge and the fragility of life. And it bases on her thirst for truth that guides her quest for truth.

*The series "The Human Factor" is an homage to the artist Mark Lombardi, (1951-2000) and areference to his highly explosive sociograms.

Sylvie Arlaud, February/March 2016 & Ambacher Contemporary Munich-Paris

Jeux interdits I, 2011-15

Book page, collage and cut on acrylic glass-plate in wooden-frame, 30 x 21 cm. Sources: "Chateau abandonné", 1952, in Man Ray, Celiv Paris1990/Janus-Fabbri Editori 1973 &

Filmstill "Jeux interdits" by René Clément in Realités et Problémes de la vie sexuelle, Hachette Paris 1975/Fabbri-Bompiani, Milano 1976

Jeux interdits II, 2011-15

Book page, collage and cut, watercolor and tape on acrylic glass-plate in wooden frame, 25 x 18 cm. Source: Filmstill "Salò", by Pier paolo Pasolini, 1975, in Realités et Problèmes de la vie sexuelle,

Hachette Paris 1975/Fabbri-Bompiani Milano 1976

Erste Hilfe, 2015

Book pages (shredded and cut), transparent synthetic and paper foils in acrylic glass-vitrine, A3. Sources: Photocollage by Sylvie Arlaud & Erste Hilfe, Lehrbuch des Deutschen Roten Kreuzes, 1941 & Mein Kampf

accompagné de commentaires, par E.L. Michel, Paris 1938

Kochen mit einer Mark, 2015

Book pages and transparent synthetic-foil in acry-lic glass-vitrine, A3. Sources: Photocollage by Sylvie Arlaud & Kochen mit Einer Mark, Dachauer Verlag 1916/1929

& Mein Kampf accompagné de commentaires, par E.L. Michel, Paris 1938

Le cahier de l´élève, 2015

Exercise bookpage and transparent synthetic-foil on acrylic glass-plate in wooden-frame, A4. Sources: Ministère de l´instruction publique, France 1887 (great grandmother-archive), and

Mark Lombardi/Global Networks by Robert Hobbs and independent curators international, New York 2003

Wallstreet and he, 2015

Magazine page (shredded) and transparent synthetic-foil on acrylic glass-plate in wooden-frame, A4. Sources: Wallstreet und der Aufstieg Hitlers, Antony C. Sutton and Andreas Brache/Perseus editions,

Basel 2008 & Fimstill "The Great Dictator" by Charlie Chaplin 1940, Chaplin Archives and Taschen edition Spring-Summer 2015

Les temps modernes, hommage for Robert Doisneau, Jacques Tati and Mark Lombardi, 2015

Book page (shredded), transparent synthetic-foils in and on acrylic glass-vitrine, A3. Sources: Robert Doisneau, Jean-Claude Gautrand, Taschen publishers, 2014, &

Playtime by Jacques Tati 1967 & Mark Lombardi/Global Networks, Robert Hobbs and independent curators international, New York 2003

Bank, 2015

Newspaper page (cut), on acrylic glass-plate in wooden frame, A4. Source: Ein Fall von Selbstbedieung (photo Behrakis), Süddeutsche Zeitung Nr. 289/15.12.2011

Mein Kampf I and II (Dyptich), 2015

Book and magazine-pages (shredded), on acrylic glass-plates in wooden-frame, each A4. Sources: Filmstill The Great Dictator by Charlie Chaplin 1940, Charlie Chaplin Archives and Taschen edition, Spring-Summer 2015 & Mein Kampf accompagné de commentaires par E.L. Michel, Paris 1938

Die Politik der Päpste, 2015

Newspaper-page, transparent synthetic-foils and bookcover-copy in acrylic glass-vitrine, A3. Sources: Die Politik der Päpste by Karlheinz Deschner, Alibri editions, Aschaffenburg 2013 &

French newspaper, 1973 (unidentified, mother archive), handwritten footnote by the mother of the artist „Je suis dans la foule“ & Wallstreet und der Aufstieg Hitlers by Antony C. Sutton and Andreas

Bracher/Perseus editions, Basel 2008 & Der finanzierte Aufstieg des Adolf H. by Wolfgang Zdral, financial editions Ueberreuter, Berlin 2002 & Mark Lombardi/Global Networks by Robert Hobbs and

independent curators international, New York 2003

60s-70s..., 2015

Magazine-page and transparent synthetic-foils, A3. Sources: Le spectacle du monde Nr 155, Paris February 1975 & Der finanzierte Aufstieg des Adolf H.,

by Wolfgang Zdral, financial editions Ueberreuter, Berlin 2002 & Robert Doisneau by Jean-Claude Gautrand (Photo:Boulevard Saint-Michel in Paris, May 1968), Taschen ed. 2014

Installation view „The Human Factor“, Viennacontemporary 2015

Sources:

Two children chairs, Union of Soviet Socialist Republics (USSR), design of the 50ies;

Erste Hilfe (shredded-book), Lehrbuch des Deutschen Roten Kreuzes, 1941

Mein Kampf accompagné de commentaires (shredded-book), par E.L. Michel, Paris 1938

Kochen mit einer Mark (shredded-book), Dachau editions 1916/1929.

Books on the floor:

Der finanzierte Aufstieg des Adolf H. by Wolfgang Zdral, financial editions Ueberreuter, Berlin 2002

Wallstreet und der Aufstieg Hitlers by Antony C. Sutton and Andreas Bracher/Perseus editions, Basel 2008

Installation view „The Human Factor“, Viennacontemporary 2015

Sources:

Two children chairs, Union of Soviet Socialist Republics (USSR), design of the 50ies

Erste Hilfe (shredded-book), Lehrbuch des Deutschen Roten Kreuzes, 1941

Mein Kampf accompagné de commentaires (shredded-book), par E.L. Michel, Paris 1938

Kochen mit einer Mark (shredded-book), Dachau editions 1916/1929

BACKPAGES

Mein Kampf I, 2015

Magazine backpage, torn. Sources: Sketches for The Great Dictator by Charlie Chaplin 1940,

Charlie Chaplin Archives and Taschen editions, Spring-Summer 2015

Wallstreet and he, 2015

Magazine backpage, tear and transparent synthetic-foil.

Sources: Wallstreet und der Aufstieg Hitlers by Antony C. Sutton and Andreas Brache/Perseus editions,

Basel 2008 and Filmstill and sketch from/for The Great Dictator by Charlie Chaplin 1940, Charlie

Chaplin Archives and Taschen editions Spring-Summer 2015

Le cahier de l´élève, 2015

Book backpage (detail). Sources: Exercise-book, Ministère de l´instruction publique, France 1887

(great grandmother-archive).

60ies-70ies..., 2015

Magazine backpage (detail) and transparent synthetic foil. Sources:

Le spectacle du monde Nr 155, Paris, February 1975 Der finanzierte Aufstieg des Adolf H.,

by Wolfgang Zdral, financial editions, Ueberreuter, Berlin 2002

Die Politik der Päpste, 2015

Newspaper backpage (detail). Sources: french newspaper, death notices, 1973

Biography

Art education 2000-2005 Akademie der Bildenden Künsten Munich, by Prof. Hans Baschang and by Prof. Sean Scully (drawing/figure-drawing/anatomy/painting/pour plaster) 2003 Assistent by Prof. Anke Doberauer, Akademie der Bildenden Künste, Munich 1981-1990 Art education by actionist Otto Muehl (performance/painting/drawing/figure-drawing/sculpture) 2009-2016 Represented by Ambacher Contemporary, Munich

Solo shows, performances and photo-performances 2016 The Human Factor, Sylvie Arlaud & Otto Muehl, collages and installations, Ambacher Contemporary, Munich 2015 Machine-Human, photo-performance, Le Gouvernail de la Corse, Bonifacio/France 2014 The Wall, photo-performance, Lanzarote, Spain 2013 Krall die Macht, photo-performance, Palace and Museum Belvedere, Vienna/Austria

Signes extérieurs de richesse, photo-performances, New-York, London, Paris, Munich 2012 Das Leben stinkt, acting-performance with Rolls-Royce, Munich Art Night, Ambacher Contemporary, Munich 2011 Poetry Power, photo-performance, Gabriele D´Annunzio estate, Gardone di Riviera/Italy 2011 La Petite Brigande, photo-performance, Gargano, Lago di Garda/Italy 2011 Sinnliche Abstraktion, collages, Ambacher Contemporary, Munich 2009 Umwege - détours, paintings, Ambacher Contemporary, Munich 2008 Das Mamifest, situationist photo installation, gallery Huber, Munich 2006 B.B.B, situationist slogan performance with interview on Radio Lora, Munich2003 Drawings, gallery Krupan, Munich 1990 Kakao Sturm and Befleckt, 2 material-actions (action-traces), Geverlsberg/Germany

Group shows 2011 Ander Art Festival, Munich 2011 Das Leben stinkt, acting performance by performance festival K-Häuschen, Munich 2010 Zwischen den Welten, Ambacher Contemporary, Munich 2010 Bel Etage, Ambacher Contemporary, Munich 2010 Zipor, Ziporim, Ziporra-ansonsten Danke & Liebe Grüße", Ambacher Contemporary, Munich 2008 Art in Mind, Brick Lane Gallery, London 2008 Galata, with L´arc-der Bogen, Friedrich Ebert Stiftung, Munich 2007 Munich-Barcelona and their contemporary artists in exhibit, with L´arc-der Bogen, in

cooperation with Artinvestor and Agilis Asset Managers, Campo Sentilo, Munich 2006 First Date, with L´Arc-der Bogen, Aktionsforum Praterinsel, Munich 2005 Six Femmes dans l Art, Gallery Caroline Poirier, United Nations Educational, Scientific and cultural Org. Paris2004 Junge Kunst 04, gallery Heidi Madlener, Miesbach/Germany 2004 S. Arlaud, I. Melchior, P. Poirier, gallery Caroline Poirier, Unesco- house, Paris2000-03 Open-air exhibition Seh am See, Karlsfeld/Germany:

Aktion sauberes K., situationist performance & sign installation Spruch Allée, situationist slogan installation Wolpertinger, schwimmende Skulptur “Le pré aux mille pas”, material action (action-trace)

1990 Schüler von Otto Muehl, Schüttksaten, Friedrichshof/Austria

Art Fair participations 2015 X-Contemporary, Miami -- Yia Art Fair, Paris -- viennacontemporary, Wien -- Art Paris Art Fair, Paris2014 SLICK Artfair, Paris -- Art Bodensee, Dornbirn/Austria 2013 Art Bodensee, Dornbirn/Austria 2010 STROKE02, with the artist group 1001 ways to social critic, Urban Art Fair, Munich 2010 20. Kunstmesse im Frauenmuseum, Bonn 2007-09 Produzenten-Kunstmesse, Island of Art Festival, Munich 2003-07 ADAC-Kunstsalon, gallery Caroline Poirier & L´Arc-der Bogen, Chatillon-Paris

Auction participations 2014 New Aachener art association, NAK, Aachen/Germany -- Round table 13-Burda Verlagshaus, Munich/Germany 2013 Amnesty International, Munich/Germany -- Tajan, Paris/France 2009 Stella Finance, Munich/Germany 2006 Museum Villa Stuck, Munich/Germany

Works by Companies & Institutions UNESCO, Paris/France Hanover Leasing, Munich/Germany Agilis Asset Managers, Munich/Germany HGA Collection, Munich/Germany

Art projects Since 2010 Assistant, manager and curator, Ambacher Contemporary, Munich/Germany 2007-2009 Fondation and organization of the artist Art Fairs, Island of Art Festival, Munich/Germany. Sponsored: Culture Department and City of Munich, Bavarian State Ministry of Education, Cultural Affairs, Research and Art, Culture Foundation Stadtsparkasse Munich, European Patent Office, Golart Culture Foundation, Fair International Munich, Aktionsforum Praterinsel, Banking House Metzler, Munich -- Medien-support: Artinvestor (medien cooperation), Kunstforum International, Süddeutsche Zeitung, Bayerischer Rundfunk-B2 Kultur, Abendzeitung, French Culture Institute, Radar München, In-München. Initiative Münchner Galerien zeitg. Kunst 2006-2010 Foundation and organization from artist groups and projects, Larc-der-Bogen and 1001 ways to social critic withpublications a.o. in Artinvestor, kunstforum International and Süddeutsche Zeitung.

AMBACHER CONTEMPORARY Munich-Paris