Natacha Paganelli

, ,


1998   École nationale supérieure des Arts décoratifs de Strasbourg

Selected Solo Exhibition
2009   Kolo/Dance (video installation), Ceaac international space Gallery, Strasburg, France
2005   Petites histoires marocaines (photographs and drawings), Espace Apollonia, Strasburg.
         Serbia, Sélection de curiosités (photographs and items), La Chaufferie, Strasburg, France
2003   Petites histoires marocaines (photographs), Goethe Institut, Dar Mrini, Rabat, Morroco. 
         Villa des arts and Institut français, Casablanca, Morroco

Selected Group Exhibition
2011   Nuit blanche, Metz, France ( Instants video, Palestine, Videoholica, Bulgaria
2010   The stability of Objects, Seoul Art Space Geumcheon, Seoul, Korea
         Kolo/Dance (video installation) Instants video, Marseille, France
         Kolo/Dance (short film), Sequence court, Toulouse, France
         Kolo/Dance (video installation), in ‘N’oublions pas que le vertige se prend sur les
         hauteurs’, Regionale 2011, Kunsthalle Mulhouse, France
         Kolo/Dance (video installation), in ‘Dancing Machine’, ‘Lille 3000’, Gare St Sauveur,
         France. ‘Via’festival, Maubeuge, France. ‘Exit’ festival, Mac Creteil, Creteil, France
         Kolo/Dance (short film), in ‘Videoformes’ and ‘Clermont-Ferrand Short film Festival’,
         Clermont-Ferrand, France. Videomedeja, Novi Sad, Serbja
         The Matrix (photographs), Incheon International Art Fair, Seoul, Korea
         Open studios, Seoul Art Space GEUMCHEON, Seoul, Korea
         The Fall (video installation) in ‘Meet’, Seoul Art Space MULLAE, Seoul, Korea
         ‘Archives Open studios’, Chang-dong ?National Art studio, Seoul, Korea 
         Song-do (installation), Dukwon Gallery, Seoul, Korea
         Kolo/Dance (short film), Greenlovebrown Gallery, Seoul, Korea

Residency2010   Seoul Art Space GEUMCHEON, Seoul, Korea
         Seoul Art Space MULLAE, Seoul, Korea
         Changdong National Art Studio (fellowship by CEAAC Strasbourg), Seoul, Korea
2006   BULGARIA (4 months)(Fellowship by Strasbourg Municipality).
2004-2005   SERBIA (6 months)(Fellowships by CEAAC Strasbourg,
                 French Ministry

After studies Superior schoold of fine arts of Strasbourg, she graduated in mixed medias Section. She obtained several grants from the French Ambassy in Morocco, French cultural center(Morocco and Seribia) Ona foundation(Morocco), Goethe Institute(Morocco, Beirut), CEAAC and DRAC(France) for projects in Lebanon, Syria, Bulgaria, East Europe, (Serbia, Bosnia and Kosovo) Morocco. In 2008 she made a catalogue about her works realized in her residency in Serbia named "Selections of curiosities". In 2009 She received a grant for a video festivals (International Festival of Clermond-Ferrand, Videoformes(France), Novimedeja(Serbia) abd which is actually in tour in new medias festivals (LILLE 3000 Gare St Sauveur International EXITE FESTIVAL(la MAC, the Maison des Arts et de la Culture de Cretel, Paris), Via festival(Belgium), Lille 3000(France), She has participated to program for residencies in former yougoslavia after stipend journeys in Kosovo, Bosnia and Serbia, and published a photograhpy book. Political, Social, Economy, cliches are used as background of her work to be manipulated in some virtual stagings.
1992-1998 Ecole superieure des arts decoratif, mixed media section
1998 : MFA multimedia(with honor)
1999 : Post Diploma graduated in mixed medias
2002 : CFPI graduated

Residen Career
2010. Residency, Korea (3 months) - Changdong National Art Studio - Seoul
2008. Residency, Kosovo
2007. Residency, Bosnia Herzegovina
2006. Residency, Bulgaria (3 months) Fellowship from Strasbourg Municipality)
2004-2005. Residency, Serbia (4 months); (Fellowships from CEEAC Strasbourg, French Ministry of Culture, Strasbourg Council, Novi Sad Cultural Centre)
2002-2003. Residency, Morocco (11 months): Fez, Rabat, Sale, Oujda, Casablanca (Fellowships from the French, Ministry of Culture, Strasbourg Council, CEAAC, French Embassy, French Institute Morocco, ONA Foundation, ACECA Coordination)
1998-1999. Residency, Damascus (1 month), Druze neighbourhood, realisation of the series Les treize metiers du Souk Hamedyie (Photographs)
1997-1998. 6 months terrestrial travel from France to Japan (photographs), graduation project ESAD, Strasbourg
1996-1997. Residency, Goethe Institute, Beirut and Tripoli, Lebanon
1994-2007. Several trips abroad: Europe, the Middle East, India, and North and West Africa

Love Karaoke designs is a space by selecting symbolic Korean popular culture. natacha points that Korean shows the different side (aggressive movement and emotions) in ‘Karaoke’, ‘Bang(room)’ culture like ‘Kiss-bang’, ‘nore-bang’, ‘Jjimjil-bang’ and etc. is protected from public attentions and gives sense of freedom. on the other hand, she points that there is an escape from outside world and ‘formal ritual’ like selecting songs, alcohol, singing a song in front of others. natacha’s new work Love Karaoke consists of familiar video, music, european styled roof of ‘love hotel’ which are commonly heard and seenin karaoke.

“This installation is some kind of synthesis of typical Korean popular culture, i wanted to mix these symbols like karaoke. However in this installation, i will choose just one of the famous Korean song Sa no na myeon, love hotel, roof in european style like a reference to videos you can watch in karaokes.”

This installation was presented at the stability of objects exhibition (art space Geumcheon), 2010.




Bombed television

Immerse oneself in diverse environments, analyse these elements, understand the images, establish new rules of play. Interact and influence interaction. Encounter.

“Throughout my photographic work which began in 1997, I’ve sought to integrate the notion of the ‘viewer.’" What a progressive notion, the viewer. Where will the image take them? A painting, like a photo or a film, does not exist if it is unseen. The spectator is therefore an integral part of the realisation of any body of work. For this reason, my work has always sought to incorporate an audience (an environment and its surrounding atmosphere), their expectations and knowledge, their collective memory. Here, the notion of relativity and cliché occur within the choice of characters, situations and the action taking place. My pieces feature referable characters, the types who are known, and they put forth immediate identification, or at least an appropriation of the featured scene. Such portrayal is together real and fabricated: it has been photographed or filmed, however a second closer look brings its true reality into question, revealing that the event taking place is, in fact, impossible. The image has been reworked, and fabricated in every aspect Reality is not denied, it is the reading of the spectator which renders it an impossible image, and which opens up another dimension, another depth.

These mutations, these frontiers between fiction and reality, the transitions and shifts, the interchangability, the movements are therefore recurring themes that characterise my work, such as the palimpsests that I create, via different Medias.