Céline Condorelli / Works

Céline Condorelli, Pattern Study for Playgrounds (Lina Bo Bardi, first proposal for a Museu de Arte de São Paulo, 1965), 2017. Hand drawing on inkjet print on 100% cotton paper. 119 x 84 cm. Unique
Céline Condorelli, Pattern Study for Playgrounds (Lina Bo Bardi, first proposal for a Museu de Arte de São Paulo, 1965), 2017. Hand drawing on inkjet print on 100% cotton paper. 119 x 84 cm. Unique
Céline Condorelli, Limits To Play, 2020 (detail). Vinyl. 827 x 513 cm
Céline Condorelli, Limits To Play, 2020 (detail). Vinyl. 827 x 513 cm
Céline Condorelli, Limits To Play, 2020. Vinyl. 827 x 513 cm
Céline Condorelli, Limits To Play, 2020. Vinyl. 827 x 513 cm
Céline Condorelli, Study for Tools for Imagination (The playgrounds and play objects of Aldo van Eyck, Amsterdam, 1947- 1968), 2017. One colour silk screen and inkjet print on 100% cotton paper. 119 x 84 cm. Edition of 3 + 1 AP
Céline Condorelli, Study for Tools for Imagination (The playgrounds and play objects of Aldo van Eyck, Amsterdam, 1947- 1968), 2017. One colour silk screen and inkjet print on 100% cotton paper. 119 x 84 cm. Edition of 3 + 1 AP
Céline Condorelli, More permanent than snow, 2019. Polyurethane, sand. (17 x) variable dimensions. Ed.1/2
Céline Condorelli, More permanent than snow, 2019. Polyurethane, sand. (17 x) variable dimensions. Ed.1/2
Céline Condorelli, More permanent than snow, 2019 (detail). Polyurethane, sand. (17 x) variable dimensions. Ed.1/2
Céline Condorelli, More permanent than snow, 2019 (detail). Polyurethane, sand. (17 x) variable dimensions. Ed.1/2
Céline Condorelli, Study for Spinning, 2017. Inkjet print on 100% cotton paper. 119 x 84 cm
Céline Condorelli, Study for Spinning, 2017. Inkjet print on 100% cotton paper. 119 x 84 cm
Céline Condorelli, Zanzibar, 2019. 6 colour offset print. 34,5 x 24,2 cm
Céline Condorelli, Zanzibar, 2019. 6 colour offset print. 34,5 x 24,2 cm
Céline Condorelli, Studies for Tools for Imagination, 2020. Pen and coloured pencil on 25gsm, detail paper, vinyl stickers
Céline Condorelli, Studies for Tools for Imagination, 2020. Pen and coloured pencil on 25gsm, detail paper, vinyl stickers
Exhibition view: André Guedes + Céline Condorelli. 20-26 August 2020.
Exhibition view: André Guedes + Céline Condorelli. 20-26 August 2020.
Céline Condorelli. Exhibition view, Dos años de vacaciones, TEA Tenerife Espacio de las Artes, Tenerife, Spain, 2021
Céline Condorelli. Exhibition view, Dos años de vacaciones, TEA Tenerife Espacio de las Artes, Tenerife, Spain, 2021
Céline Condorelli, Cotton Rubber, 2017. Two-colour silk screen prints on red fabriano paper. 8 x (60 x 90 cm)
Céline Condorelli, Cotton Rubber, 2017. Two-colour silk screen prints on red fabriano paper. 8 x (60 x 90 cm)
Céline Condorelli. Installation view, Singapore Art Museum, Singapore, 2019. Photograph by Singapore Art Museum
Céline Condorelli. Installation view, Singapore Art Museum, Singapore, 2019. Photograph by Singapore Art Museum
Céline Condorelli. Installation view, Singapore Art Museum, Singapore, 2019. Photograph by Singapore Art Museum
Céline Condorelli. Installation view, Singapore Art Museum, Singapore, 2019. Photograph by Singapore Art Museum
Céline Condorelli. Host/Vœrt, 2019
Installation view, Kunsthal Aarhus, Aarhus. Photograph by Mikkel Kaldal
Céline Condorelli. Host/Vœrt, 2019
Installation view, Kunsthal Aarhus, Aarhus. Photograph by Mikkel Kaldal
Céline Condorelli. Host/Vœrt, 2019
Installation view, Kunsthal Aarhus, Aarhus. Photograph by Mikkel Kaldal
Céline Condorelli. Host/Vœrt, 2019
Installation view, Kunsthal Aarhus, Aarhus. Photograph by Mikkel Kaldal
Céline Condorelli. Host/Vœrt, 2019
Installation view, Kunsthal Aarhus, Aarhus. Photograph by Mikkel Kaldal
Céline Condorelli. Host/Vœrt, 2019
Installation view, Kunsthal Aarhus, Aarhus. Photograph by Mikkel Kaldal
Céline Condorelli. Installation view, 12th Kaunas Biennal, Lithuania, 2019. Photograph by Adrian Catu
Céline Condorelli. Installation view, 12th Kaunas Biennal, Lithuania, 2019. Photograph by Adrian Catu
Céline Condorelli. Installation view, 12th Kaunas Biennal, Lithuania, 2019. Photograph by Adrian Catu
Céline Condorelli. Installation view, 12th Kaunas Biennal, Lithuania, 2019. Photograph by Adrian Catu
Céline Condorelli. Installation view, 12th Kaunas Biennal, Lithuania, 2019. Photograph by Adrian Catu
Céline Condorelli. Installation view, 12th Kaunas Biennal, Lithuania, 2019. Photograph by Adrian Catu
Céline Condorelli. Installation view, 12th Kaunas Biennal, Lithuania, 2019. Photograph by Adrian Catu
Céline Condorelli. Installation view, 12th Kaunas Biennal, Lithuania, 2019. Photograph by Adrian Catu
Céline Condorelli, Concrete Distractions, Installation view, Kunsthalle Lissabon, 2016
Céline Condorelli, Concrete Distractions, Installation view, Kunsthalle Lissabon, 2016
Céline Condorelli, Models for a Qualitative Society, 2016
Painted blackwood acacia, steel
Céline Condorelli, Models for a Qualitative Society, 2016
Painted blackwood acacia, steel
Céline Condorelli, Afterimage 4, 2016. 13 colour silkscreen print on Fabriano Rosaspina 280 gram paper . 70.7 × 50 cm
Céline Condorelli, Afterimage 4, 2016. 13 colour silkscreen print on Fabriano Rosaspina 280 gram paper . 70.7 × 50 cm
Céline Condorelli. Exhibition view: Zanzibar, Galeria Vera Cortês, 2018
 
Céline Condorelli. Exhibition view: Zanzibar, Galeria Vera Cortês, 2018
 
Céline Condorelli, Plant Study: Howea Forsteriana, 2018. Wax print on drafting film, stained with watercolour and acrylic ink. 59,4 x 42 cm
Céline Condorelli, Plant Study: Howea Forsteriana, 2018. Wax print on drafting film, stained with watercolour and acrylic ink. 59,4 x 42 cm
Céline Condorelli, Plant Study: Monstera Deliciosa, 2018. Wax print on drafting film, stained with watercolour and acrylic ink. 59,4 x 42 cm
Céline Condorelli, Plant Study: Monstera Deliciosa, 2018. Wax print on drafting film, stained with watercolour and acrylic ink. 59,4 x 42 cm
Céline Condorelli, Conversation Piece, 2016. Installation view at MASP, São Paulo Museum of Art
Céline Condorelli, Conversation Piece, 2016. Installation view at MASP, São Paulo Museum of Art
Céline Condorelli, Proposal for a Qualitative Society (Spinning) 5, 2017. Coloured pencil on sketch paper. 21 x 29.7 cm
Céline Condorelli, Proposal for a Qualitative Society (Spinning) 5, 2017. Coloured pencil on sketch paper. 21 x 29.7 cm
Céline Condorelli, Proposal for a Qualitative Society (Spinning) 4, 2017. Coloured pencil on sketch paper. 21 x 29.7 cm
Céline Condorelli, Proposal for a Qualitative Society (Spinning) 4, 2017. Coloured pencil on sketch paper. 21 x 29.7 cm
Céline Condorelli, Proposal for a Qualitative Society (Spinning) 3, 2017. Coloured pencil on sketch paper. 21 x 29.7 cm
Céline Condorelli, Proposal for a Qualitative Society (Spinning) 3, 2017. Coloured pencil on sketch paper. 21 x 29.7 cm
Céline Condorelli, Something Stronger than Skepticism, 2011. Five framed overprint risographs, vegetable dye on newsprint. 5 x (42 x 29,7 cm)
Céline Condorelli, Something Stronger than Skepticism, 2011. Five framed overprint risographs, vegetable dye on newsprint. 5 x (42 x 29,7 cm)
Céline Condorelli, Something Stronger than Skepticism, 2011. Five framed overprint risographs, vegetable dye on newsprint. 5 x (42 x 29,7 cm)
Céline Condorelli, Something Stronger than Skepticism, 2011. Five framed overprint risographs, vegetable dye on newsprint. 5 x (42 x 29,7 cm)

Zoom 1 / 33 Céline Condorelli, Pattern Study for Playgrounds (Lina Bo Bardi, first proposal for a Museu de Arte de São Paulo, 1965), 2017. Hand drawing on inkjet print on 100% cotton paper. 119 x 84 cm. Unique

Exhibitions

Bio

“My practice is concerned with how our encounter with the material world takes place by relying on it, and that all human action takes place amidst countless structures of support mostly taken for granted, and therefore appearing invisible. The works address this at a scale between furniture and infrastructure, with a number of approaches combined from various disciplines which merge exhibitions with publishing, sculpture, design, education and public space  (what I call “making things public”).

I am committed to making work in a pro-active way, rather than simply offering a critique, even though I may depart from one; in this way I hope to contribute to the world with an affirmative, empathetic move within the framework of cultural and intellectual work. I often work with other people, and find that collective work and collaboration are both effective and pleasurable.

My work largely consists in altering what I call ‘existing conditions’, which I understand in the widest sense, from the architecture of a gallery or the display and specific use of objects to the wider conditions under which I live and work: as an artist, an intellectual, and a woman. Removing these conditions (and their relationships) from their supposed state of neutrality or allocated place, and turning them into the core of an ongoing inquiry is what all my works attempt to do in different ways and contexts.

I make work that makes it possible to experience not this or that thing on display, nor this or that object being shown, but the action of showing itself, in its material, temporal nature. Precisely because the act of showing implies boundaries and classifications, inclusions and exclusions, taboos and hierarchies. In other words, to counter the implicit awareness of an organised visibility that comes to be institutionalised, to be inscribed on social space, even though it may set off, for instance, from a simple exhibition support.

This operating principle is taken through three different, parallel strands:

– by addressing forms of display, through for Average Spatial Compositions, and Conversation Piece.

– with the invention of structures and infrastructures, such as the Support Structure project, with Gavin Wade, and the Portals, or Á Droite et à Gauche (Sans Lunettes).

– by exploring forms of commoning and being in common, with for example The Company She Keeps, café bau bau, the Intentionals, and The Parliament.

 

Finally, there is in my practice an important relationship between exhibition-making and publishing, as each body of work is pursued in its material, sculptural, and spatial aspects, but also as a set of issues that often need to be explored or distributed in other ways, which is what making books allows. For instance the reader Support Structures  both contains a body of work, and outlines a position to work from.

The book The Company She Keeps  addresses friendship as a condition in the formation of culture, and was developed alongside a body of work dedicated to a number of friends without whom my practice would not exist. And the monograph bau bau unfolded as an experimental exhibition format through the development of colour separation techniques.”

 

Céline Condorelli

 

 

Céline Condorelli lives and works between London and Lisbon.

A selection of exhibitions and projects include: Every Step in the Right Direction, Singapore Biennale, Singapore; Art Encounters Biennial, Timisoara, Romania; Céline Condorelli, Kunsthaus Pasquart, Biel, Switzerland; Host / Vært, Kunsthal Aarhus, Denmark (2019); Zanzibar (commissioned sculpture), King’s Cross Projects, London, UK; Geometries, Locus, Athens, Greece (2018); Anren Biennale, Chengdu, China; Céline Condorelli: Epilogue, P!, New York, USA; Wall to Wall, Museum of Contemporary Art Leipzig, Germany; Proposals for a Qualitative Society (Spinning), Stroom Den Haag, The Hague, Netherlands; Corps à Corps, IMA Brisbane, Australia (2017); Conversation Piece (commissioned sculptures), MASP, São Paulo, The Eight Climate (What Does Art Do?), Gwangju Biennale, South Korea (2016); Liverpool Biennial, UK (2016); 20th Biennale of Sidney, Australia (2016); Display Show, Stroom den Haag (part 3), Eastside Projects (part 2), Temple Bar Gallery (part 1) (The Hague, Birmingham, Dublin, 2015–2016); bau bau, HangarBicocca (Milan, 2015).

O extenso corpo de trabalho de Céline Condorelli surge a partir do desenvolvimento de possibilidades de formas de viver e trabalhar juntos e do questionamento das relações de propriedade e da vida quotidiana, que remete às noções de espaço público, instituição, política, o comum, acção e  articulação. A prática de Condorelli foca-se na contínua exploração daqueles elementos pouco explícitos nas estruturas e mecanismos de categorização, através dos quais o indivíduo se relaciona com o mundo – sejam eles culturais, econômicos, materiais, sociais ou políticos – os dispositivos de visibilidade, muitas vezes tomados como garantidos, que ela denomina support structures. As suas obras “concentram-se na ação de mostrar-se, na sua natureza material e temporal, precisamente porque o ato de mostrar implica fronteiras e classi cações, tabus e hierarquias. Em outras palavras, há sempre a consciência implícita de uma visibilidade organizada que acaba por ser institucionalizada, para inscrever-se no espaço social, mesmo que esta possa partir de um simples suporte de exposição”. (Marco Scotini em Céline Condorelli, bau bau.Ed. Mousse Publishing).Uma seleção de exposições e projetos inclui a construção de dois baloiços funcionais para Playgrounds no MASP, com base na idéia do museu como um lugar de diversão (São Paulo, 2016); IMA Brisbane, Austrália (2018- em curso); King’s Cross Projects, Londres, UK (2018); Onassis Cultural Centre, Atenas (2018); Anren Biennale 2017, Chengdu, China (2017); P! , Nova Iorque, EUA (2017); Museum of Contemporary Art Leipzig, Alemanha (2017); IMA Brisbane, Australia (2017); Stroom Den Haag, Haia, Países Baixos (2017); Bienal de Gwangju, Coréia do Sul (2016); Liverpool Bienal, Reino Unido (2016); 20a Sidney Biennale (2016); Display Show, Stroom den Haag, Eastside Projects, Temple Bar Gallery (Haia, Birmingham, Dublin, 2015-2016); Bau bau, HangarBicocca (Milão, 2015). Céline Condorelli vive e trabalha entre Londres e Lisboa.

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