Céline Condorelli was artist in residence at the National Gallery from September 2022 to September 2023, at the end of which she had an exhibition titled Pentimenti (The Corrections). All the works in this exhibition were developed during that time and intimately relate to the experience of the residency, but were not part of the exhibition at the time.
Céline Condorelli foi artista residente na The National Gallery (Londres) de setembro de 2022 a setembro de 2023, onde apresentou a exposição individual Pentimenti (As Correções). As obras desta exposição
foram desenvolvidas durante este período e estão intimamente relacionadas com a experiência da
residência, mas não fizeram parte da exposição que apresentou na altura.
Céline Condorelli, Pentimenti (NG2595), 2023, Giclée print on Hahnemühle paper. 83 x 64 x 3 cm (framed). Ed. 2/2
Enquire
Céline Condorelli, Pentimenti (NG2670), 2023, Giclée print on Hahnemühle paper. 54,5 x 39 x 3 cm (framed). Ed. 2/2
Enquire
Céline Condorelli, Pentimenti (NG280), 2023. Giclée print on Hahnemühle paper. Photo Rag, 68 x 45.8 x 3cm (framed). Ed. 2/2
Enquire
Condorelli spent much of her time during the residency at National Gallery within the rooms of the collection outside opening hours. Through this process she identified the multiple forms of looking that take place in the museum […]. As John Berger reminds us in reference to the fact that a photograph is the result of a series of decisions taken by a photographer, ‘every image embodies a way of seeing’.
– Priyesh Mistry, in Céline Condorelli, National Gallery 2023, p.24.
«Condorelli passou grande parte do seu tempo durante a residência na National Gallery dentro das salas da coleção fora do horário de funcionamento. Através deste processo, identificou as múltiplas formas de olhar que têm lugar no museu […]. Como nos lembra John Berger, referindo-se ao facto de uma fotografia ser o resultado de uma série de decisões tomadas por um fotógrafo, “cada imagem incorpora uma forma de ver“.»
– Priyesh Mistry, em Céline Condorelli, National Gallery 2023, p.24
Céline Condorelli, Pentimenti (NG751), 2023. Giclée print on Hahnemühle paper. 54,5 x 39 x 3 cm (framed). Ed. 2/2
Enquire
Céline Condorelli and Ben Rivers, Adoration (still image), 2024. Video Installation. 16 mm transferred to HD, on loop. Ed. 3 + AP
Enquire
Céline Condorelli and Ben Rivers, Adoration (still image), 2024. Video Installation. 16 mm transferred to HD, on loop. Ed. 3 + AP
Enquire
We only see what we look at. To look is an act of choice. As a result of this act, what we see is brought within our reach – though not necessarily within arm’s reach. To touch something is to situate oneself in relation to it. (Close your eyes, move round the room and notice how the faculty of touch is like a static, limited form of sight.) We never look at just one thing; we are always looking at the relation between things and ourselves. Our vision is continually active, continually moving, continually holding things in a circle around itself, constituting what is present to us as we are. Soon after we can see, we are aware that we can also be seen. The eye of the other combines with our own eye to make it fully credible that we are part of the visible world. If we accept that we can see that […] over there, we propose that from that […] we can be seen. The reciprocal nature of vision is more fundamental than that of spoken dialogue.
-John Berger, Ways of Seeing, Penguin Books 1972, p.8
Céline Condorelli, Pentimenti (NG0687), 2023. Giclée print on Hahnemühle paper. 62,1 x 39 x 3 cm (framed). Ed.1/2
Enquire
Só vemos aquilo para que olhamos. Olhar é um acto de escolha. Desse acto resulta que o que vemos é posto ao nosso alcance, embora não necessariamente ao alcance da mão. Toca-se uma coisa a fim de nos posicionarmos numa relação a ela. (Fechem os olhos e desloquem-se à volta da divisão, reparando em como a faculdade do toque é uma espécie de forma limitada e estática de visão). Nunca nos limitamos a olhar para uma coisa: estamos sempre a olhar para a relação entre as coisas e nós mesmos. A nossa visão é continuamente activa, move-se incessantemente, conserva continuamente as coisas num círculo que se forma à sua volta, assim compondo o que se dá como presente diante daquilo que somos. Pouco depois de termos começado a ver, tomamos consciência de que também podemos ser vistos. O olho do outro combina-se com o nosso próprio olho de modo a sermos parte do mundo visível se torne inteiramente credível. Se aceitarmos que podemos ver […] ali, também inferimos que podemos ser vistos […]. A natureza recíproca da visão é mais fundamental do que a da palavra no diálogo.
– John Berger, Modos de Ver, Antíguna 2018, p.18.
Céline Condorelli, Museum Hours (728) Museum Hours (5573), 2024. Ink on paper. 2 x (25 x 33.7 x 3 cm). Unique
Enquire
Céline Condorelli, Museum Hours (2217) Museum Hours (1121), 2024. Ink on paper. 2x (25 x 33.7 x 3 cm). Unique
Enquire
Céline Condorelli, Museum Hours (2498). Ink on paper. 25 x 33.7 x 3 cm. Unique
Enquire
“It was through this wealth of images that I started understanding that the museum itself is a machine for seeing. We know this from John Berger’s TV series Ways of Seeing (1972), which was partly filmed here [at the National Gallery]; already in the mid-1970s he was uncovering how conditioned we are by institutions telling us how to look as well as what to look at. This work relates to this desire to make visible a history of the audience and of the gaze, (rather than a history of art). But then the museum is forever reinventing and continuing this machinic viewing, endlessly producing new perceptual modes of seeing, at molecular and chemical level, at data level, at three-dimensional level, and hiding others –as it is ever so removed from the human labour that created the pictures in the first place.”
– Céline Condorelli, interviewed by Priyesh Mistry, 2023.
«Foi através desta riqueza de imagens que comecei a compreender que o próprio museu é uma máquina de ver. Sabemos isto através da série televisiva de John Berger, Ways of Seeing(1972), que foi parcialmente filmada aqui [na National Gallery]; já em meados da década de 1970, Berger revelava o quanto somos condicionados por instituições que nos dizem como olhar e para onde olhar. Este trabalho relaciona-se com este desejo de tornar visível a história dos públicos e do olhar (e não tanto uma história da arte). No entanto, o museu está constantemente a reinventar e a dar continuidade a este modo de ver maquinal, produzindo incessantemente novos modos precetivos, a nível molecular e químico, a nível da informação de dados, a um nível tridimensional, e escondendo outros – à medida que se afasta do labor humano que permitiu a criação das imagens em primeiro lugar.»
– Céline Condorelli, entrevistada por Priyesh Mistry, 2023
Céline Condorelli, Museum Hours (751), 2024. Ink on paper. 25 x 33.7 x 3 cm. Unique
Enquire
Céline Condorelli, Museum Hours (6380) Museum Hours (145). Ink on paper. 2 x (25 x 33.7 x 3 cm). Unique
Enquire
Céline Condorelli, Museum Hours (775) Museum Hours (2507), 2024. Ink on paper. 2x (25 x 33.7 x 3 cm). Unique
Enquire
Céline Condorelli, Museum Hours (1141) Museum Hours (3582), 2024. Ink on paper. 2x (25 x 33.7 x 3 cm). Unique
Enquire
Céline Condorelli, Museum Hours (6532) Museum Hours (1048), 2024. Ink on paper. 2x (25 x 33.7 x 3 cm). Unique
Enquire
Céline Condorelli, Museum Hours (2725) Museum Hours (2581), 2024. Ink on paper. 2x (25 x 33.7 x 3 cm). Unique
Enquire
Céline Condorelli, Museum Hours (2217) Museum Hours (1121), 2024. Ink on paper. 2x (25 x 33.7 x 3 cm). Unique
Enquire
Céline Condorelli, Museum Hours (2616) Museum Hours (3259), 2024. Ink on paper. 2x (25 x 33.7 x 3 cm). Unique
Enquire
Céline Condorelli, Museum Hours (691) Museum Hours (3011), 2024. Ink on paper. 2x (25 x 33.7 x 3 cm). Unique
Enquire
Céline Condorelli, Museum Hours (2529) Museum Hours (742), 2024. Ink on paper. 2x (25 x 33.7 x 3 cm). Unique
Enquire
While walking through the galleries, Condorelli became aware of another kind of gaze looking back at her. Noticing the sitters of the collection’s numerous portraits, she felt their fixed outward gaze as no longer static, and, along with it, the imaginative potential of their witness to the audiences that have visited the Gallery over generations.
-Priyesh Mistry, as before
Ao percorrer as galerias, Condorelli apercebeu-se de um outro tipo de olhar que a observava de volta. Ao reparar nos modelos dos vários retratos da Coleção, sentiu que estes olhares que fixavam o exterior não eram já estáticos e, através deles, intuiu o potencial imaginativo do seu testemunho junto do público que visitou a Galeria ao longo de gerações.
-Priyesh Mistry, ibid.
Céline Condorelli, Museum Hours (1423), 2024. Ink on paper. 25 x 33.7 x 3 cm). Unique
Enquire
Céline Condorelli, Museum Hours (697). Ink on paper. 25 x 33.7 x 3 cm. Unique
Enquire
Céline Condorelli, Museum Hours (1011), 2024. Ink on paper. 25 x 33.7 x 3 cm. Unique
Enquire
Céline Condorelli, Museum Hours (650). Ink on paper. 25 x 33.7 x 3 cm. Unique
Enquire
“There’s a third public that I think becomes obvious when you start spending a lot of time in the galleries: it’s not just the painters, but all these bodies that inhabit the canvases and stare back at you from the rooms. It’s a point of contact between people from the past somehow talking to us, so that when you are walking through the Gallery, you do feel addressed, and you definitely feel looked at.”
-Céline Condorelli, as before.
«Há um terceiro público que se revela quando começamos a passar muito tempo nas galerias: não são apenas os pintores, mas todos estes corpos que habitam as telas e nos perscrutam pelas salas. É um ponto de contacto com pessoas do passado que, de alguma forma, falam connosco, de tal modo que quando passeamos pela Galeria nos sentimos interpelados e, sem dúvida, observados.»
-Céline Condorelli, ibid.
This playful inquiry led to the production of a short 16mm film, in collaboration with filmmaker Ben Rivers, focusing on the downward gazes of sitters and animals within paintings, interspliced with clips of spinning tops moving across the gallery floors. The spinning top as a toy has taken numerous forms, spanning histories and cultures across the globe, and is an item that has fascinated Condorelli as a sculptural model engineered for play. By introducing them into the gallery space, she proposes a form of contained energy that briefly animates the space and seemingly draws the attention of the painted gazes.
-Priyesh Mistry, as before
Céline Condorelli and Ben Rivers, Adoration (still image), 2024. Video Installation. 16 mm transferred to HD, on loop. Ed. 3 + AP
Enquire
Céline Condorelli and Ben Rivers, Adoration (still image), 2024. Video Installation. 16 mm transferred to HD, on loop. Ed. 3 + AP
Enquire
Esta constatação lúdica serviu de mote para a curta-metragem de 16 mm produzida em colaboração com o cineasta Ben Rivers, e centrada nos olhares descendentes das figuras e dos animais nas pinturas e intercalada com clips de piões que se deslocam pelo chão da galeria. O pião enquanto brinquedo assumiu muitas formas e atravessou histórias e culturas de todo o mundo, e, enquanto modelo escultórico concebido para brincar, é um objeto que tem fascinado Condorelli. Ao introduzir os piões no espaço da galeria, a artista joga com uma forma de energia contida que anima brevemente o espaço e parece chamar a atenção dos olhares pintados.
-Priyesh Mistry, ibid.
Céline Condorelli, Untitled, 2023. Framed Giclée print with passe-partout. 42,5×30,5x3cm. Ed. 3 + AP
Featuring Pontormo’s (1494-1556/7, Joseph with Jacob in Egypt, probably 1518. Oil on wood. 96,5 x 109,5 cm. The National Gallery, London. Bought, 1882. Trolley designed by the National Gallery Art Handling Department, with colour chart.
Enquire
BIO
Céline Condorelli (Céline Condorelli was born in Boulogne-Billancourt/Paris, France, and is a FrenchItalian artist, living and working in London (UK).
Céline Condorelli was the National Gallery’s 2023 Artist in Residence, London.Condorelli has produced an extensive body of work that develops different possibilities for living and working together, exploring notions such as public space, the commons, institutions, property relations.
Condorelli’s practice is committed to a continuous exploration of the less explicit elements that compose
the structures through which individuals encounter the world — be they cultural, economic, material,
social or political – the apparatuses of visibility that are often taken for granted, and which the artist
describes as “support structures”.
Céline Condorelli lives and works between London and Lisbon. A selection of exhibitions and projects include: Pentimenti (The Corrections), National Gallery, London, UK; Céline Condorelli: After Work, Talbot Rice Gallery, South London Gallery, UK (2022); Our Silver City 2094, Nottingham Contemporary, Nottingham, UK (2022); Dos años de vacaciones, TEA, Tenerife, Spain (2021); Deux ans de vacances, FRAC Lorraine – Metz, France (2020); Ground Control, Bildmuseet, Umeå, Sweden (2020); Every Step in the Right Direction, Singapore Biennial (2019); Art Encounters Biennial, Timisoara, Romania (2019); Céline Condorelli, Kunsthaus Pasquart, Biel, Switzerland (2019); Host / Vært, Kunsthal Aarhus, Denmark (2019); Zanzibar (commissioned sculpture), King’s Cross Projects, London, UK (2019); Geometries, Locus Athens, Greece (2018); Anren Biennale, Chengdu, China (2018); Epilogue, P!, New York, USA (2017); Wall to Wall, Museum of Contemporary Art Leipzig, Germany (2017); Proposals for a Qualitative Society (Spinning), Stroom Den Haag, The Hague, Netherlands (2017); Corps à Corps, IMA Brisbane, Australia (2017); Conversation Piece (commissioned sculptures), MASP, São Paulo, Brazil; Gwangju Biennale, South Korea (2016); Liverpool Biennial, UK (2016); Biennial of Sidney, Australia (2016); Display Show, Stroom den Haag, Eastside Projects, Temple Bar Gallery, The Hague, Birmingham, Dublin (2015–2016); bau bau, HangarBicocca, Milan, Italy (2014).
Céline Condorelli nasceu em Boulogne-Billancourt/Paris, França, e é uma artista franco-italiana que vive e trabalha em Londres (Reino Unido).
Céline Condorelli foi Artista Residente da National Gallery, em Londres, em 2023.
Condorelli vem desenvolvendo um corpo de trabalho extenso sobre as diferentes possibilidades de viver e trabalhar em conjunto, explorando noções como o espaço público, os bens comuns, as instituições e as relações de propriedade. A prática de Condorelli foca a exploração contínua dos elementos menos explícitos que compõem as estruturas através das quais os indivíduos encontram o mundo – sejam elas culturais, económicas, materiais, sociais ou políticas – os aparatos de visibilidade que são muitas vezes tomados como garantidos, e que a artista descreve como “estruturas de apoio”.
Céline Condorelli vive e trabalha entre Londres e Lisboa. Uma seleção de exposições e projectos inclui: Pentimenti (As Correcções), National Gallery, Londres, Reino Unido; Céline Condorelli: After Work, Talbot Rice Gallery, South London Gallery, Reino Unido (2022); Our Silver City 2094, Nottingham Contemporary, Nottingham, Reino Unido (2022); Dos años de vacaciones, TEA, Tenerife, Espanha (2021); Deux ans de vacances, FRAC Lorraine – Metz, França (2020); Ground Control, Bildmuseet, Umeå, Suécia (2020); Every Step in the Right Direction, Bienal de Singapura (2019); Art Encounters Biennial, Timisoara, Roménia (2019); Céline Condorelli, Kunsthaus Pasquart, Biel, Suíça (2019); Host / Vært, Kunsthal Aarhus, Dinamarca (2019); Zanzibar (escultura encomendada), King’s Cross Projects, Londres, Reino Unido (2019); Geometries, Locus Athens, Grécia (2018); Anren Biennale, Chengdu, China (2018); Epilogue, P! , Nova Iorque, EUA (2017); Wall to Wall, Museum of Contemporary Art Leipzig, Alemanha (2017); Proposals for a Qualitative Society (Spinning), Stroom Den Haag, Haia, Holanda (2017); Corps à Corps, IMA Brisbane, Austrália (2017); Conversation Piece (esculturas comissionadas), MASP, São Paulo, Brasil; Bienal de Gwangju, Coreia do Sul (2016); Bienal de Liverpool, Reino Unido (2016); Bienal de Sidney, Austrália (2016); Display Show, Stroom den Haag, Eastside Projects, Temple Bar Gallery, Haia, Birmingham, Dublin (2015-2016); bau bau, HangarBicocca, Milão, Itália (2014).
