Image courtesy of Agathe Ennevled Occorram
Interview: Natalia Jaime-Cortez
Natalia Jaime-Cortez shares with Luca Curci her point of view on Venice Experimental Cinema and Performance Art Festival.
French-based artist Natalia Jaime-Cortez lives and work in Paris. She is graduated from the National Fine Arts Academy of Paris in 2007 from Richard Deacon studio. Her work draws on multiple and variable material, which resonate deeply with places, in a multiplicity of means-dance, performance art, drawing, sculpture, video and photography.
Natalia Jaime-Cortez, Fenêtre- Window Performance, 2013
Luca Curci – Your performance has just been realized during Venice Experimental Cinema and Performance Art Festival: can you talk about your personal experience in Venice with International ArtExpo?
Natalia Jaime-Cortez – It was a great experience. I already came to Venice and I really like this city. Among the many reasons that make Venice such a special city for me, the omnipresence of water is the most important. I was really pleased to discover that Palazzo Ca’ Zanardi was a typical Venetian palace and had a beautiful door on the canal. It was a perfect place to realise my performance; a large and flexible space allows the public to walk around freely.
Image courtesy of Alexandre Perrot
L. C. – Can you talk about the performance you presented in Venice? How is it linked with the festival’s theme?
N. J-C. – The performance “Here” is about what performances deal with: place and time. I try to create a situation that is really connected with the place I am in. For example, the use of a little radio that gives me the sound of the “here and now”. In a way, it locates both the performer and the spectator in the same space and time. It’s also a performance about language: the meaning of words and signs. I show to the spectators many sheets of paper with different words that can be freely associated each other and create unpredictable combinations that immediately makes images. These papers behave as tools for a game, a game of chance organised by my improvisation as a performer. It was the first time the performance was presented outside of France, so I had to translate all the words in English and Italian. This added another layer of reflexion in this thematic of language and signs. I could easily imagine this performance in many different countries, because I see it as a ritual or a prayer to the world, which is also a visual and plastic experience.
Natalia Jaime-Cortez, View MurMur, Wall Drawing pigment on wall, 10mx2014
L. C. – What are you currently working on?
N. J-C. – Currently my work consists in the practice of drawing and setting up performances in situ. I entitled my first solo show “PLI” (Fold) and the concept of “folding” is still occupying my researches. Folding is to be an open question to what lies between things, a space of unravelling between disappearance and appearance of the visible. Fold a piece of paper is to mask part of its picture. The folded paper changes from surface to volume, thus becoming a sculpture. I’m working on an important series of large-scale foldings/drawing that inspired a serie of performance as “Window”. Both practices are directly related and cannot be dissociated.
L. C. – What is art for you?
N. J-C. – Art is a space of liberty and dialogue. Art should open and expand territories of mind and thought. Art can rise questions, offer a singular view of world.
Image courtesy of Manuela Böhme
L. C. – What do you think about International ArtExpo organization?
N. J-C. – It’s a great organization. Artists need spaces and events to present their work and art needs places to meet spectators. There are never enough art proposal!
L. C. – Do you think International ArtExpo organization can represent an opportunity for artists?
N. J-C. – Yes of course. It’s a way to discover other artists and an opportunity to present one’s work in good conditions.