The main question driving Amir Nave’s artistic research is fundamentally motivated by many approaches to elaborate one distinct thing – Is it possible to deliver something valuable from the present to eternity?

Questions about time, space, boundaries, seclusion, power relationships between people and within a person, trying to break down everything that is unequivocal, are building the framework for the main subject studied by the artist, the pain of consciousness.

In his process, Amir Nave first destroys everything that represents a value, place, morality or limit for him, until all ‘life’ is gone and only chaos remains. In his works, destruction tells more than construction and the struggle within his painting is connected to the relationship between emptiness and remove ‘the’ fullness. Emptiness being outside the realm of language can provoke creativity because it is our way of describing something that we cannot fully conceive of. The emptiness on his works also participates in focusing attention on the body and particularly on the head, the central point of his painting.

From here, the artist attempts to rebuild the world once again. There are faded landscapes, in which figures are walking, whose body is a bag of needs – allegories of the decline of the decadent human society in our time.

His figures aim to represent the desire to experience the world, for better or worse. The body is an hourglass and the attempt to confront these springs from the desire not to accept it as absolute but to define it as derived from consciousness.

Komunuma (community or common in Esperanto) brings together, on the same site, several independent public or private entities, connected by contemporary art. The diversity of activities will generate collaborations and discussions, by providing a broad opening onto the world of French and international contemporary plastic creation. We would like the multiplicity of the proposals, on this enormous site, to encourage our public to spend time in it.
To inaugurate this new space, In Situ has decided to show most of the gallery’s artists in order to share with them the discovery of this venue that they will invest in the near future.
In the basement, Gary Hill presents the sound installation ?Up Against Down,? 2008.
The artist’s fragmented body is pressed up against an infinite surface, in extreme tension, whose feeling is heightened by a sound environment comprised of low-frequency waves linked to the pressure of the body. The physicality of the sense takes on a performative dimension here to which the artist is very attached.

Constance Nouvel created for the entrance of the ground floor space a wall work in a corner that questions the new venue’s architecture. Photography, as a starting point, is compared here with its environment, between real space and suggested space.
Drawing is asked here to move out of the flatness of the image in a mise en abyme of the space and its representation.
The architectural particularity of the glazed stairwell captivated the artist Vivien Roubaud, who deployed three fireworks explosions in it using a cascading hanging.
The artist reveals the object’s possibilities, seeking to extract its hidden qualities and their development in the space, and in a moment that is usually impossible for us to grasp.
The first and second levels of the gallery propose group hangings, creating bridges between the works the explore the intersections between art and science, the economy and society, history and memory, great art and popular culture, the idea of territory through environmental disturbances and their consequences?

You will discover Patrick Corillon’s flyer in the Komunuma tote bag.
Between reality and fiction, the Belgian artists ponders what the cultural history of Romainville could be. He will create the performance « A sentimental history of the ventriloquist » on Sunday October 20 starting at 4 p.m. as an avant-première.