Mauren Brodbeck : to be or appearing to be ?
On a tenuous and invisible frontier Mauren resides: at the edges of being and appearing to be!
Total Artist, multisensory, multimedia explorer, she crosses lines and transgresses categories to bring us an impressive body of work, through strange autofictitious or procedural stories in which she "produces" herself. Both playing by and playing around codes, she breaks down categories with a simultaneously distressing and glamorous aesthetic that dissolves the rigidity of social representation of the individual. In the spirit of a Jeff Wall or a Richard Prince, her photographic practice is a tool for analysis and reappropriation, confrontation of the fantasised, hijacked, infinitely reproduced image with its real referent.
Ego or essence? Intimate or public? Mauren Brodbeck loves getting us lost in the meandering of her multiple memoirs by fusing temporalities in a collage of memories and anachronisms. No frontier can hold in the face of her savage energy. She allows the creative volcano, activated by the indomitable singularity of her work. And she invites us to do the same.
BLOWING codes APART
Passionate about semiology and influenced by Carl Jung´s notion of Persona, by the work of Roland Barthes, Ballard, Gilbert Rye´s Ghost in the Machine , the interrogates individual liberty and denounces its dilution in mental structures and in the gaze of others. This is why she never stops reinventing the real and sublimating its vacuousness. Her polysemiotic work is a rejoiceful life impulse that blows apart the visual, sound, cinematographic, and photographic codes of social and cultural adaptation. She essentially mines her sources of inspiration from other creators who transgress categories between objects, installations, performance, animated images and music - from Dada to Christian Marclay, via John Cage, Nam Jun Paik, Martin Creed, Laurie Anderson and David Bowie!
Le genre féminin, au-delà du genre féministE
One of Mauren Brodbeck's characteristics is the powerful feminine identity that inhabits all of her practice. Feminist, but in her own way, her engagement goes once again beyond all that might tame her wild creative thinking. At once little girl, young woman, mother, female artiste, she explores all her possibilities, deploying all the variations of her identity through different archetypes, like one of Cindy Sherman's multimedia works: the warrior, the mother, the magician, the enchantress. Multiplicity of lives, multiple identities that fight to find their correct form in her and which interact with all those who seek to free their vision. This is why in 2017 she launched the Project RawAndRadical, an online community for women artists to exchange and interact through their own experiences and through the incredible diversity of roles they must take on. Fed by textes, video, images, sounds and live sessions, RawAndRadical is an experimental and inspirational space, an unpredictable, fluctuating community "outside the system", that permits each participant to enter into dialogue, to surpass herself and move forward with her dreams as an artist and a woman.
LA, ville authentique
She evokes her Los Angeles where she regularly works. Authentic city in that it is paradoxically dreamed up and capable of all excesses, from a crushing banality to the most spectacular kitsch. In the footseps of Ed Ruscha, John Baldessari and the artists of the West Coast, she confronts Pop Culture and fake images with the authenticity of its inhabitants: through these portraits of fragile adolescents in the vein of Wolfang Tillmans, which oscillate between exhibitionism, shame and vulnerability as paradigms of our shifting identity. And through the buildings that become people, pin-ups, robots, walking futures. And again, through the reinvented urban landscapes: equivocal and contradictory reconciliation of our wild nature with its domestication.
The quirky, coloured, almost teenage aesthetic in her photographic work, the abundant, total universe of Mauren Brodbeck in her installations, her performative sessions, videos, borrow from contemporary cultural practices such as electronica, glam rock, neo-soul, to subvert them. Through the notions of sampling and repetitive loops, multi-track and interactive games the artist conveys a contemporary artform and lends a materiality to our utopias of heightened reality. Through her glamorous and playful yet disturbing (worrying Freudian strangeness), she practices, from the inside, a critical exploration that invites us, rather than to lose ourselves, to reappropriate the rules and to short-circuit the present in order to explore the potential of our singularity.
L’artiste nourrit depuis plusieurs 2016 un projet évolutif, régulièrement réactivé, environnement total lui permettant d’expérimenter sa large gamme de formes artistiques. Mood Motel est une installation immersive, mettant en scène la charge symbolique et émotionnelle d’une chambre anonyme située dans un non-lieu où tout peut advenir. A travers un dispositif sophistiqué d’objets, de lumières, de sons, d’événements, de séquences cinématographiques, l’artiste renouvelle ici sa propre expérience du dédoublement. Au-delà de la vacuité inhérente à la perte de repères, à la dépersonnalisation sociale, le fantasme d’une renaissance façonne une nouvelle identité. Nous invitant à en expérimenter le potentiel, elle enrichit ce dispositif au fur et à mesure de ses présentations, transfigurant l’espace d’exposition en espace personnel d’expérimentation.
In her current work, the artist has taken a further step towards the dispersion and subversion of frontiers. Inspired by the Dada-ists, she organises and films "happenings", sings, plays music, invites the public to participate in the improvised freeflowing storytelling created through the chaos of the encounter. At once within and beyond the exhibition space (social networks, althernative spaces) Mauren Brodbeck thus explores the Zeitgeist, the alchemy of contrasts, of the "in-between", dualities of diverse personalities. Entering the present in "presence", recognising and letting one's emotions flow, freeing oneself from convention, traversing urban mythologies with the ephemeral, the spectacle: this is the whole intention of these "modules" comprising at once performance, video, music and installation. Embodied in the "letting go" of improvisation, these Urban Tales call upon the plasticity of bodies, on their interactions, and explore the "sensitive" surfaces that allow us to be in relationship with the world. These are "purifying" rituals, concrete experimentsthat invite us to excorcise the gaze of others, their judgement, the power plays linked to our physical appearance.
Mauren sings and dances, rests, recites, summons the audience to an interaction built upon the reality of the moment. All she needs is a computer, a light, a microphone and some accessories to transfigure the space with her sophisticated art of staging, allowing her to take a real risk and produce a true "relational aesthetic". This experiment connects equally to an online community, a virtual alias of ther search for sharing around ritual and the stakes of art and of the social body.
To be, or appearing to be?