Belonging to a generation where concepts of freedom, democracy or truth are being re-evaluated, more than ever, I believe that we also need to re-evaluate the representational art making which makes us artists into idealistic emblems of our generation. Instead, it is time to step back a notch and analyse what did and what did not generate actual meaning in our culture in order to become an active part of the culture making itself. In my case, it is the western European culture and the globalised middle class culture which becomes the research ground to start with.
First, thinking about the culture making, I think of people who constitute society and who generate meaning not by the individual but by the dynamics between them. It is thus, crucial to understand how we learn not only to survive biologically and socially but above all to act for the well being of the community as an entity or organism. Second, just like the genes, culture is, on one hand, transmitted through direct contact with other individuals. Yet, some fragments also ripple through to far cousins, some of whom we have never even met. On the other hand, both are transmitted thanks to errors, through chance, and thus can’t be designed or grasped entirely. Nonetheless, nothing evolves without communication and therefore language is the core culture carrier. Here, I am not only talking about the spoken language but also the visual and the behavioural language. For example, the commonly known fairy tales have long been orally transmitted moral values or the church which used images as carriers. All those elements of culture are represented in one way or another in material form (books, furniture, architecture, human behaviour). Even so, it is not the material existence which suffices for it to have meaning but it is only the consciousness which projects meaning onto the surrounding once the function is retrieved from the material.
Therefore, my work is a research on the life in a community (empathy), on what we share (identity) and how we maintain this community (ethics, rules). Consequently, throughout my work, I intend to integrate the very essence of art as a tool for awareness creation in the everyday life.
In order to achieve this, I either involve the audience in the creation or destruction of material pieces; use their curiosity or their general behaviour as a medium. Furthermore, I occasionally involve them into story telling as character or as story teller. As a result I mean to show the impact of the singular person or to show the power of collective thinking and to give back the feeling of individuality.
Thus I often draw on what I see as the highest form of learning: play. Play is free, disinterested and in an alternate time zone and thus can be perfectly used as a tool to question freedom of the human, quality in art, function of objects, materiality of the mind, fiction, truth, memory and our world view. It is either through play or the absence of play, choice, or the absence of choice, freedom or the absence of freedom that I am researching on the role of the participator and the role of the non-participator in my art. Often this research is closely interlinked with educational theories and neuroscience as they serve as a scientific backbone to my otherwise rather intuitional working method.
2020 Triennale jeunes Créations, Casino/Rotondes, Luxembourg
2020 Letters from the south, online exhibtion
2019 Antropical 2019
2018-2019 'Zuch' Cube Rotondes Luxembourg
2018 Antropical, Luxembourg
2018 Fashionclash, Maastricht, Netherlands
2017-2018 Marres Currents #5 I see I see my little lie. Maastricht. Netherlands
2017 Extrapool. ‘Destillaat #19'. Nijmegen, Netherlands.
2017-2018 Team Franc - Corrosia, Almeren, Netherlands
2017 BA Graduation show BACK TO MAYBE. Maastricht, Netherlands.
2017 Kunstpodium T: IMAGE DIFFÉREE, TAC Eindhoven, Netherlands.
2016 ANTROPICAL artist residency. Steinfort, Luxembourg.
2016 Outside [Ecume/ Scum] residency at Les Brasseurs. Liège, Belgium.
2015 Temporary exhibition durin the exhibition “Sound noir Jacob
Krikegaard & Konrad Smolenski” at NAK. Aix-la-Chapelle, Germany.
2015 Provinciehuis Limburg “Geen dag zonder lijn” (drawing expo), Maastricht, Netherlands
2015 B32 OFF Sound, Maastricht, Netherlands.2015
AWARDS AND GRANTS_______________________________________________________________
2017 Scriptieprijs Faculteit van de Kunsten Hogeschool Zuyd 2017
d’Incau. Aurélie. (2016). Ecume/Scum, exhibition catalogue, Les Brasseurs, Liège, Belgium.
Gamelon. Hubert. (9/8/2016) Steinfort : bol d’air frais en lisière de forêt, article, Le Quotidien,
d’Incau, Aurélie, (2016), Antropical, exhibition brochure, Kolla Festival, Steinfort, Luxembourg.
Kuzmic, Vidosava, (12/08/2016), Antropical, RTL, television report , 00:02:47.
Baak, Eugène, (04/03/2017), Dat kan m'n neefje ook, RTV Maastricht, 00:07:40-00:10:137
Graduation publication ‘BACK TO MAYBE’ MAFAD Maastricht Academy of Fine Arts
and Design, 22.06.2017 : https://backtomaybe.com/artists/aurelie-d-incau
Van Engelshoven, Guus, (N°4 /2017 /AUG/SEPT), Eindexamens 2017, article, Metropolis M, p.31
Petrov, Nina, & D’Incau, Aurélie, Antropical 2017, Publication magazine, Kolla Festival,Steinfort,
Berthol, Thomas, (17.08.2017) Sous les Tropiques, article, Luxemburger Wort, Luxembourg
Melis, Sarah, (21/08/2017) Kolla Festival : à l’année prochaine ! , article, Le Quotidien,
Luxembourgish: mother tongue