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UNDERSTATEMENT
HYPERBOLE
PETRA LOTTJE + SOAVINA RAMAROSON
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UNDERSTATEMENT
HYPERBOLE
PETRA LOTTJE + SOAVINA RAMAROSON
EXHIBITION: 13.02.10- 13.03.10
VERNISSAGE: 13.02.10 AT 19H
CURATOR: BONAVENTURE S. B. NDIKUNG
SAVVY CONTEMPORARY
RICHARDSTR. 43-44
12043 BERLIN
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CONCEPT
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CONCEPT
It is just a search…
Sometimes a search for singularity in plurality
Sometimes a search for identity in a community
Sometimes a search for the root-end or the leaf-end of a cliché or stereotype
Sometimes a search for the thin line between an understatement and a hyperbole
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CONCEPT
The concept of artistic creation spans
considering the formation and not the
Ramaroson, of completely different
a wide scope which can be banally
form, which due to its intangibility
backgrounds and media with which
simplified as ranging from an under-
seems to us an understatement.
they contain their artistic positions,
statement to a hyperbole. Such an
Likewise, one could bullet out enough
are pre-destined to expose together.
understatement could be interpreted
arguments to define the works of the
While the differences in the causa
in the intensive and poignant minimal
most abstract painters or most
materialis, causa formalis and causa
and conceptual art by Flavin, Judd or
aggressive performance artists as just
effiziens are seemingly evident, from
LeWitt and such a hyperbole could be
an understatement of what it could
Aristotle’s point of view, Petra Lottje
a lapidary association to extreme per-
be. Whichever way this might turn out
and Soavina Ramaroson have the
formances of the Wiener Aktionismus
to be, this phenomenon is worth
same causa finalis, namely art as a
around Brus or Nitsch.
reflecting and researching on.
state of expression, aesthetics and
encounter. By getting into the crux of
What on the other hand is probably
In this line of thought, the art space
more difficult to portray is a combina-
SAVVY Contemporary, which seeks at
broach the issue of, but also demysti-
tion of an understatement and a
instigating a dialogue between the
fy the extremes (geographically,
hyperbole, which by any definition are
populist terminologies “western art”
historically or conceptually). If Marcel
two sides of the same coin; just like
and “non-western art” invites two
Duchamp’s quote “Art is a game bet-
any other extremes. One might also
milestones of a new generation to
ween all people of all periods” holds
argue that the statement made by the
deliberate on this understatement-
true, then SAVVY contemporary will
minimalists was by no way an under-
hyperbole complex. Crossing the ima-
be the playground for this game,
statement but a gross exaggeration of
ginary geographical lines in art, these
while Lottje and Ramaroson are the
an entity or an idea, especially when
two artists, Petra Lottje and Soavina
players.
their works, this exhibition intends to
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In their works, both artists’ theoreti-
general and movies in particular.
and platitudes in his photography, he
cal horizon is around the realm of
Thus, her work is a pursuit to maybe
transforms understatements that
human interactions and their social
filter the surplus to the essential. It is
almost disappear in daily routine to a
context as coined by Nicolas
a bid at personifying the mainstream.
massive exaggeration that calls for
Bourriaud in Relational Aesthetics.
It is a searching for an identity in the
utmost attention. The scenes in his
On the one hand, Lottje extracts epi-
mass and a means of canalization
works narrate stories of a strange
sodes, representing the exaggerated
using the arts.
world but the emotions emanating
emotions and clichés affiliated to
On the other hand, Ramaroson does a
from the figures are omnipresent and
Hollywood movies of a period of over
sozio-anthropological research of
appeal to an almost global identifica-
50 years, to create her own universe.
mainstream clichés with the camera
tion. It is an effort to create a hand-
By extracting, metamorphosing and
as his weapon. Be it clichés about
book of contemporary symbolism in
making a video collage, Lottje com-
women, poverty or the illusion of
photography.
presses these characteristic factors
manhood, the poignancy of
SAVVY Contemporary will host Petra
meant to attract and strike a chord
Ramaroson’s work can be summarized
with a mega-public to an understate-
in a title of one of his pieces “la force
Lottje and Soavina Ramaroson from
ment without losing the emotions and
ne peut resister à l’esprit”. In a cryp-
the 13th Feb. – 13th March for the
clichés meant to be transmitted. By
tic depiction, he seeks at decanalizing
Understatement hyperbole exhibition
playing to the gallery but consciously
a distinct identity to a mass of
which will be curated by Bonaventure
distancing herself from acting, Lottje
impressions from popular culture.
Soh Bejeng Ndikung.
seeks at re-individualizing, in her own
Spiked with humor and irony,
way, the junk of information and pic-
Ramaroson chooses to amplify… by
tures provided by the mass media in
over-expressing the found emotions
www.savvy-contemporary.com
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UNDERSTATEMENT HYPERBOLE
SOAVINA RAMAROSON
1977, MADAGASKAR
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In this same line of cognitive psychology,
kground the sketches encompass a figure
artist Soavina Ramaroson (*1977,
in a three-dimensional space, with all com-
Madagascar) embarked on a photographi-
ponents precisely labelled. These sketches,
cal research of phrases, ideas, images,
which were originally meant to be drafts
symbols and connotations on women that
for a working-process, currently serve as
have been overused so that they dwindled
negatives or stereoplates and to the least
Disecting a notion:
into clichés or rendered stereotypes.
as title blocks of the photographic works.
Soavina Ramaroson’s „Women cliché“
Coming to think of it, stereotypes about
Ramaroson tries, with much zeal and zest,
certain groups of people, races, genders,
to ignite a dialogue on the basis of politi-
The genesis of the onomatopoeic word
sexual orientation, religions or social sta-
cal, social or religious women clichés pre-
“cliché“ lies in the peculiar sound that ari-
tus are as old as mankind… and clichés
vailing in our societies today. The “red
ses during a stereotyping process of prin-
about women date as far back as the bibli-
thread” in all the artworks in this series is
ting technology… and indeed at the roots
cal allegory of Eve betraying Adam and
a white rope that at the same time sym-
of their technological usage, the printer-
Mankind by ceding to the serpent in the
bolises the causes and consequences of
words “cliché” and “stereotype” are syn-
Garden of Eden.
onyms. Tracing back to the Greek meaning
these clichés. Also, the white rope symbolises the strong attachment related to cli-
of stereotype, composing of stereos “firm”
In his photographic series “Women cliché,“
chés, how difficult it is to get rid of clichés
+ tupos “impression,” one can easily com-
Ramaroson meticulously put together a
or maybe just reveals that clichés are a
prehend the modern psychological mea-
process, that involved an almost perfect
never-ending line of thoughts i.e. a “firm
ning of these expressions as coined by
sketching of his intensions prior to reali-
impression.”
Walter Lippmann in his 1922 seminal text
sing them with his female models.
Public Opinion1,2.
Reminiscent of his architectural bak-
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UNDERSTATEMENT HYPERBOLE
SOAVINA RAMAROSON
This series goes beyond mental labelling,
symbols at the forefront: the dryer, the
becomes her own slave master, falling vic-
subconscious or conscious stereotyping… it
dildo or the wedding ring… like mutations
tim to fashion, bling-bling or vanity and
dwells more or less around the frontiers of
of abstracts from Puvis de Chavannes’
before the blink of an eye she is head-
conscience and steps into a poetical con-
1879 Young girls at the seaside and
over-heals a part of the cliché Blink blind.
structivism in the form of photography.
Mcneill Whistler’s 1864 Symphony in White
The artist thematizes the most evident
The works are surrounded by irony and
No. 2. In this well composed piece, the
topics in our contemporary society, be it
are a microcosm of prevalent women cli-
white rope creates the balance between
the craze of having the ideal model struc-
chés, reflecting empathy, obsession,
the heated ups and downs in marital eroti-
ture, which might come along with bulimia
aggression, weakness or desperation. The
cism and violence. This allusion is conti-
or other eating disorders as a by-product,
satirical poetry of Ramaroson’s works is
nued in Marry me, which portrays the
or be it the crave for perfection as depic-
striking; In I’m free, the female models of
“beautiful, exotic bird in a cage.” And alt-
ted in Plastic surgery. By wrapping the
various skin and eye colours are veiled in
hough the gestures of torsion, bondage or
model in a plastic foil Ramaroson makes a
black, so that only their full, sometimes
flipping the bird are even almost too clear,
statement alluding to the pun, but also
over-painted succulent lips and alluring
eroticism is still in the air.
shows the distortions of the body as a
eyes are revealed. The rigidness and stirn-
Ramaroson’s research on women cliché
consequence of plastic surgery. The
ness of their looks and the ropes around
provokes with the conception of women as
strength of this work lies in the easily
their necks disclose everything but free-
working or sex slaves and although a man
overlooked details, as despite all the eff-
dom! Nevertheless the luscious looks deep
is never visible in Slavery it is imminent
orts to attain perfection, behind the cur-
behind their eyes betray an almost sado-
who knots the ropes, who pulls the strings
tains of privacy, the evidence of imperfec-
masochistic tendency associated with
or who forces to submission! A physical
tion is evident e. g. in the asymmetry of
some religious groups.
enslaving might lead to a mental or ideolo-
the labia.
Pull my hair intentionally positions all the
gical slavery, whereby the slave herself
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UNDERSTATEMENT HYPERBOLE
SOAVINA RAMAROSON
The series culminates to its crescendo with
Ramaroson, exposed in the Nouvelles
the works Plus de regles and I love you
Rencontres Africaines de la Photographie
bastard. The ambiguity of the former is on
(2007, Bamako), at Photoquai (2007,
the one hand a plea for freedom and
Musée du Quai Branly, Paris) or the Spot
emancipation towards rules and regula-
on Bamako (2008-09, IFA Gallery Berlin
tions governing human beings, and on the
and Stuttgart), go hand-in-hand with the
other hand a scream of despair, agony and
intensity of the Women Cliché series expo-
resignation attached to the monthly men-
sed in the international group exhibition
struation period, clichéd to be a period of
Consciences and Frontiers curated by
ill-moods and caprice. The latter is a sar-
Bonaventure Soh Bejeng Ndikung and
castic but extremely strong comment on
Simone Kraft (2009, Alte Post Berlin). The
violence towards women. It is an image of
social context of his works as well as the
pain. I love you bastard is the effigy of the
closeness to the aesthetics and politics of
woman who misinterprets the ruthless
everyday life form the quintessence of his
aggression of her husband or the rest of
works. Women Cliché is work in progress.
the society for love. It is the image of
It will be exciting to see the stereotypes
rape, torture or misuse but with the irony
that will catch Ramaroson’s interest in the
of attachment.
coming years.
This young African artist, born and raised
in Madagascar, trained as an architect in
France, represents a new age of contemporary photography. Previous series by
Bonaventure Soh Bejeng Ndikung, 2010
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SOAVINA RAMAROSON
in such a project?
co-operation partner?
If no, what deters you from doing
According to me, art is specially a discus-
such a co-operation?
sion. To work with another person, artist
or non artist is a very good way to make
I generally don’t work with other artist but
the work more interesting and richer.
I think it’s just because I’m young in my
Will you describe your work as having
a social aesthetic and relation?
art work.
So far, you have had the chance to
occupy yourself with your partner’s/
You have developed a ping-pong pro-
My work, till now on photography is surely
opponent’s artistic work… what do
cess of communication for this exhibi-
having a social relation. My aim is to show
you think would have attracted you in
tion. How is the communication going
my feeling with what I see around me and
co-operating with him/her, had it not
so far and can you please explain your
to share it. Some find it aesthetic, some
been for this exhibition?
role in this communication process?
not. I’m happy if people just have feelings
about it, like or dislike…
In this case, it’s the drawings about the
If I get the project, I think I’ll be “the
women and fishes.
model”.
tion with someone you hardly know,
Do you generally cooperate with other
If you were asked to summarize your
someone using a different artistic
artists in your work as an artist?
work as an artist in a few words, what
medium than you do and to a topic
If yes, what normally instigates you to
will that be?
based on marking contrasts. What
do a co-operation and what is gene-
exactly stimulates you to participate
rally your common ground with the
You have been invited to do an exhibi-
Hard to answer… Let’s say “trying to be an
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artist”.
Individualism and the notion of lifting-off yourself or your characters
from the mass play a huge role in
your works. What exactly is it about
singularity that occupies you?
I don’t think I’m singular… People may
think it, but I think I’m quite normal,
unfortunately.
On the other hand it is a thin line between singularity and plurality in your
works, as your works touch on global
and mainstream phenomena?
...
Another issue that is evident in your
work is the interest on the thematic
“cliché”… what is it about an idea or
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SOAVINA RAMAROSON
an element which has been overused
Not really, I was born like I am.
to the point of losing its original meaning, that interests you?
Your point of departure is architecture
… how did you come to photography?
Is your identity as an artist affiliated
in any way to your nationality?
“Clichés” for me are the reflection on our
By accident! During an architecture project, I discovered that people liked my pic-
society… it can open eyes on reality. For
Till now, curators choose you first because
me, we will need to use it again and
you are from Africa or “non western”
again. Now, the work of the artist is to
artist.
find his own way to use them.
tures.
Is there an exact point when one
becomes an artist? When and how
From your subjective point of view, is
exactly did you find out that you were
Do you seesaw between an “under-
there a discrepancy between art from
an artist or when and how did you
statement” and an “exaggeration” in
these geographical regions?
decide to become an artist?
I studied architecture. When you make a
I don’t think I’m an artist yet…
your work? Or do you basically consider both extremes as overlapping?
building, you use the material around you,
They are deeply linked, as people have
you try to build a house not too different
What is the point of origin for your
their own interpretations in front of art.
from the others around it… yes I think
work as an artist… or bluntly, what is
there is a discrepancy between art from
the reason why you get up every mor-
Is this an issue that plays a role or
these geographical regions first because of
ning and wish to do art?
has played a role in any way in your
the environment but also because of the
work as an artist?
thinking.
The fun…
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How will you characterize the development process of your art pieces?
I do it like an architect; I do layouts and
then realize it.
Is there an artist (well-known or
unknown) with whom you will like to
work with or expose with?
I let the future answer, no discrimination
for me…
Now I am bored of asking questions…
Is there a question you would have
liked me to ask? If yes, please ask
yourself that question and give an
answer to the question.
I agree, let’s stop.
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UNDERSTATEMENT HYPERBOLE
PETRA LOTTJE
1973, DEUTSCHLAND
Language plays an important role as point
of departure in most of Petra Lottje’s videos. In „Episoden“ (2009), „Loope“ (2009),
„Time is the killer“ (2008) and „O.T.“, she
combines sound sequences from different
movies, accords them a somatic expresMind the gap:
sion and relocates them into new contexts.
Petra Lottje’s video works
Through this reduced, but in no way neutral mimic expression of her figures, Lottje
The components of reality appear in Petra
succeeds in constructing a gap between
Lottje’s works like variables in the human
the emphatic language from the movies
coordinate system. The artist dissects the
and their alleged authors. Armed with a
corpus of daily routine, reminiscent of a
subtle irony, Lottje approaches these parti-
chemist, who dissociates elements from
ally ambiguous utterances and grotesque
their bonds in order to study their charac-
situations in their entanglement and quest
teristics. At this juncture, video art serves
for understanding. By absorbing the whole
the purpose of a subjective experimental
spectrum of mostly contradictory voices
kit to research on questions of the compo-
which cinema yields, like love or identity,
sition of communication, the origination of
the protagonists become emblems of
meaning, the effect of pictures and the
general human sentiments but also media-
antagonism of individuality and common-
conditioned (self-) perception. Today, each
places.
person is a protagonist of his/her own
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movie, however to what extent is this
departure for understanding… as it favours
movie actually innate? And how much are
the unfolding of the place and moment in
we ourselves media-collective stereotypes?
the cosmos of the beholder for his/her
own unique perception.
We do not find answers in Petra Lottje’s
works… as they treat those issues that lie
in between. They reveal the ‘perhaps’
inexpressible rest of inter-personal communication. In order to address these
issues, the artist uses the method of isolation and displacement of the single components – language, picture and carnal
expression, so as to unhinge the ultimate
from them. She stretches this process
until the point where the re-composition of
the components becomes the gap, the
incongruence between two elements. The
space of impossibility of expression or of
failure in communication or understanding
develops here. However, this space does
not describe a ‘black hole’! It rather has
the potential of becoming the new point of
Susanne Husse, 2010
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PETRA LOTTJE
combine our approaches or positions. Let’s
such a co-operation?
see if I will start thinking differently in the
course of the preparation process.
I enjoy the exclusive freedom of decision
making in my work as an artist. How,
So far, you have had the chance to
when and with what I work! I gladly incor-
occupy yourself with your partner’s/
porate opinion and/or advice, but I am
Will you describe your work as having
opponent’s artistic work… what do
hardly willing to compromise at the final
a social aesthetic and relation?
you think would have attracted you in
implementation.
co-operating with him/her, had it not
As a part of it, yes!
been for this exhibition?
You have been invited to do an exhibi-
Currently, a kind of challenge and ‘forth
tion. How is the communication going
tion with someone you hardly know,
feeling or fumbling’ is taking place per
so far and can you please explain your
someone using a different artistic
email.
role in this communication process?
based on marking contrasts. What
Do you generally cooperate with other
I had an idea with which I confronted
exactly stimulates you to participate
artists in your work as an artist?
Soavina. The first reaction from him was
in such a project?
If yes, what normally instigates you to
already different than I expected. I smiled
You have developed a ping-pong process of communication for this exhibi-
medium than you do and to a topic
do a co-operation and what is gene-
at my own astonishment – because that’s
A particular excitement arouses in me
rally your common ground with the
exactly the point which this experiment
when I think of a collective exhibition. I
co-operation partner?
amounts to. My approach doesn’t function
wouldn’t have come up with the idea to
If no, what deters you from doing
in this case and I am inevitably dumping
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UNDERSTATEMENT HYPERBOLE
PETRA LOTTJE
my conception of the “final outcome”.
productions. The fascination about the fact
“cliché”… what is it about an idea or
Everything is open!
that these films reach/touch so many peo-
an element which has been overused
ple, as a perceptible medium, as a trigger
to the point of losing its original mea-
If you were asked to summarize your
of emotions, as a possibility of communi-
ning, that interests you?
work as an artist in a few words, what
cation… is intriguing. But at the same time
will that be?
there is the sentence: 100 people sit in a
What is thrilling is, however, the fact that
cinema and watch 100 different movies.
clichés always have an effect – be it unde-
As an artist I see myself as a subjective
Where is the individuality? What does an
liberated concordance or controversial
filter, which first of all sieves and secondly
individual take along with him from the
discussions. They have a societal function,
compresses everything that reaches me,
film and is it about the movie that occu-
they ease stereotyped thinking and pole-
touches me and doesn’t let me go. I the-
pies her/him more than just the question
mic slogans and could easily become wea-
refore give a commentary to a situation in
of how to get home after the movie?
pons of power! When I decided to use cliché-like situations in one of my works and
which I find myself and to a situation that
On the other hand it is a thin line bet-
to use myself as a ‘projection screen’, I
ween singularity and plurality in your
found out that this piece of work touched
Individualism and the notion of lif-
works, as your works touch on global
and drew sympathy in a wide range of
ting-off yourself or your characters
and mainstream phenomena?
people as well as it gave them a feeling of
encompasses me.
from the mass play a huge role in
your works. What exactly is it about
togetherness. Also, I noticed that the
...
I try to explain it on the basis of huge film
superficiality of the chosen film sequences
nevertheless granted the viewer much
singularity that occupies you?
Another issue that is evident in your
space – a different and new space away
work is the interest on the thematic
from my subjective composition.
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UNDERSTATEMENT HYPERBOLE
PETRA LOTTJE
Do you seesaw between an “under-
From your subjective point of view, is
Is there an exact point when one
statement” and an “exaggeration” in
there a discrepancy between art from
becomes an artist? When and how
your work? Or do you basically consi-
these geographical regions?
exactly did you find out that you were
an artist or when and how did you
der both extremes as overlapping?
There might be differences in the realiza-
decide to become an artist?
Both… they overlap! On the one hand, I
tion process but I am convinced that the
make big things small and on the other
concern and the incentive of artists – no
It was a gradual process to gain the fee-
hand, by reflecting and transforming
matter where they come from – is quin-
ling that I am good in what I do and my
things, I make them bigger again.
tessentially similar.
passion for what I do is huge and persi-
Is this an issue that plays a role or
Your point of departure is sculpture…
has played a role in any way in your
how did you come to video?
stent.
What is the point of origin for your
work as an artist… or bluntly, what is
work as an artist?
My interest in written word and what it
the reason why you get up every mor-
I am first of all an artist with a specific
can provoke was my point of departure.
ning and wish to do art?
socialization with which I am confronted
Thereafter came the Found Footage-
and deal with.
Sound… pictures were, in my opinion,
I am fulfilled to live life like this. I will like
always lacking. That thing of which lang-
to use the notion of passion again: for art,
Is your identity as an artist affiliated
uage has no equivalent word for it. The
the possibility, the path to a piece of work,
in any way to your nationality?
consequence of this all is the combina-
the richness that dwells within!
tion… that is what video means to me.
Obviously.
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PETRA LOTTJE
How will you characterize the development process of your art pieces?
I believe I have already given an answer
to this question.
Is there an artist (well-known or
unknown) with whom you will like to
work with or expose with?
Yes.
Now I am bored of asking questions…
Is there a question you would have
liked me to ask? If yes, please ask
yourself that question and give an
answer to the question.
Dear Bonaventure. What prompts you to
put up this art space?
…(I won’t answer the question for you)…
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UNDERSTATEMENT HYPERBOLE
PUBLISHER
CONTACT
Petra Lottje + Soavina Ramaroson
SAVVY Contemporary –
SAVVY Contemporary, Richard Str.
Curated by Dr. Bonaventure Soh
the laboratory of form ideas
43/44, Berlin-Neukölln
Bejeng Ndikung
www.savvy-contemporary.com
Art Director - Bonaventure Soh
Bejeng Ndikung (BSBN)
ACKNOWLEDGMENTS
Events Director - Stefan Fuhrmann
Stefan Fuhrmann, Claudia Lamas C.
(Management + PR), Cilgia Gadola,
PICTURES
Hannah Chaker, Robert Würz, Andreas
Petra Lottje and Soavina Ramaroson
Landeck, Peter Auhagen
TEXTS
DESIGN
Susanne Husse – Text on Petra Lottje
Friedrich Fröhlich
BSBN – Text on Soavina Ramaroson,
interviews and exhibition concept
© 2010 the authors
© 2010 of reproduced images:
TRANSLATIONS
the artists
BSBN
Printed in Germany
Katalog.qxd
10.02.2010
17:35
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