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SCANDALE Project

We were at the CREDAC the first time we met one of the two founders of SCANDALE Project.

Formed by two young curators, SCANDALE Project can be defined as a bridge between online and physical contemporary art.

Meet Lucie Scandale and Fiona Vilmer, the duo behind the project and in an interview between Paris and Berlin.

Shimabuku
CREDAC

Tell us a bit more about the background of two young curators…

Lucie – Striving for independence in the production of creative projects and more precisely the creation of exhibitions, I followed a tailored and atypical path. Through studies of Graphic & Space Design, Visual Communication as well as two Bachelor in Artistic & Cultural Event Management and Art Market, I acquired a wide range of interdependent and valuable skills for this context.
I’m currently working from Berlin, a city which is, in my opinion, geographically and culturally an interesting meeting point for contemporary art.

Fiona – I moved to Paris to follow a Master degree in Art History and English. Then I moved towards a more criticism approach trough a Master in Art and Culture theory at the Sorbonne, an education focused on esthetic and cultural studies. I’ve found an interest in the study and the thinking of contemporary thoughts, which allowed us to break away from a kind of art mythology and finally, to address art through theoretical research. In this way, you keep a certain distance and an aspect, in my point of view, more topical.

Shimabuku

How has this duo been formed? Can you tell us a bit more about the project?

SCANDALE Project has been created to be connected to contemporary art. Because of geographical issues, the project first started online. We wanted a platform with freedom and a certain accessibility. The primary purpose has always been to promote emerging artists on and offline and, in the meantime, to give our own vision of contemporary art which evolves over our choices and thinking. More and more we try to explore this vision by presenting a curatorial guideline that becomes real through the exhibition.

The project is constantly evolving like our vision, ongoing and in motion. Both off and online we try to present and represent the artists we follow through different medias (web platform, social media, paper and digital publications, exhibitions and art residencies).

 

 

Shimabuku
Shimabuku

Our choices evolve but in a natural way for the SCANDALE Project. A curatorial vision still under construction start to be formed with the will to keep a physical link. In hindsight, the nature vs technology paradigm stands out. The artists we propose are seldom distinguished on by the medium.

In this search of the means we are interested in the visual translation that can switch between image, object and immaterial depending on the artistic gesture. We refuse to categorize artistic concepts and mediums. SCANDALE Project will evolve but we want to keep freedom and openmind in the proposals.

We both have a different path, esthetic and approach but we still remain complementary. SCANDALE Project is a matrix that allows us to work together on projects with our own visions.

The project is constantly evolving like our vision, ongoing and in motion.

Shimabuku

You came from an exhibition project in Acores, How has the experience been for you?

 

Fiona – We have been selected by Re_act Contemporary to curate a two weeks art residency in Acores where we were involved. The project was to set up a kind of laboratory for artists but also curators. We selected 4 artists (Bahar Yürükoğlu, Ewa Doroszenko, Plasticity et Joao Paulo Serafim) that we supported during the residency, until the final exhibition.

 

Lucie – Since it was our first time as curators, we can say that it was a real challenge. Before leaving, we worked on the questions and discussed with the artist, but once there, everybody discovered the Island, the exhibition space, the possibilities, the advantages but also the disadvantages at the same time. The most interesting for us was providing support to the artist, the immersion and the following of each artistic process. We were fascinated by seeing that, from a shared experience, their visions took different shapes, esthetics and angles.

Beyond the technical part of the organization, we enjoyed the sharing we had about the process of each artist but also the curatorial act in this context far away from the rules of the contemporary art in megalopolis. This kind of residency program enables to set up new proposals and offers a chance and different challenges to young artists and curators.

Jonathan Bréchignac
Jonathan Bréchignac

Tell us more about your curatorial selection for La peau de l’ours…

For this first curatorial selection for La peau de l’ours we will present a solo show of Jonathan Bréchignac. We follow closely his process, his visual research and we talk regularly. The exhibition will tend to look like an ecosystem where each work interacts and wonders about biomimicry, geologic time, Anthropocene, human being and non-human, organic and inorganic. Each work results from an observation of the material, natural or synthetic. The visual research of Jonathan Bréchignac presents hybrid forms and even unidentified.