Meris Angioletti

Artist

Lives and works in Paris.

Born in Bergamo (IT) in 1977. After earning a diploma in photography from Cfp Bauer in Milan, in 2004 she completed her studies at the Accademia di Belle Arti di Brera, also in Milan. She is currently a researcher at the APESA doctoral school, Université Paris I.
Rooting her career in the history of art and cinema, particularly the first forms of abstraction, as well as in cognitive science, psychology and esoterism, Meris Angioletti’s works explore the mechanics of perception, memory and the psyche.
Her recent exhibitions include: La vérité n’est pas la vérité, MABA, Nogent-sur-Marne, 2019; Couteau sans lame et dépourvu de manche / Le jour des esprits est notre nuit, CRAC Alsace, Altkirch, 2018; Forme-pensiero, Otto Zoo, Milan (solo), 2018; Lunaria Annua, Luis Adelantado Gallery, Valencia (solo), 2017; L’anneau et le livre, YGREC, Paris (solo), 2016; Le grand jeu, FRAC Champagne-Ardenne (solo), 2015; Nietzsche, Cyclists and Mushrooms, Kunst Raum Riehen, Basel (CH), 2014; Un nouveau festival, Centre Pompidou, Paris, 2013; Langages: Entre le dire et le faire, Fondation Calouste Gulbenkian, Paris; L’apparition des images, Fondation d’entreprise Ricard, Paris, 2012; A iminência das poéticas – 30th São Paulo Biennial; Future Generation Art Prize, PinchukArtCentre, Kiev; Soundworks, ICA, London, 2011; La Galérie, Noisy-Le Sec (solo); ILLUMInations – 54th Venice Biennale, 2010; 21×21, Fondazione Sandretto Re Rebaudengo, Turin; Rudolf Steiner und die Kunst der Gegenwart, Kunstmuseum Wolfsburg, Wolfsburg; Person in Less, Palazzo Re Rebaudengo, Guarene d’Alba, 2009; I describe the way and meanwhile I am proceeding along it, Fondazione Galleria Civica di Trento (solo); Ginnastica Oculare, GAMeC – Galleria d’Arte Moderna e Contemporanea, Bergamo (solo), 2008; T2, 50 Lune di Saturno, Turin; VideoReport Italia 2006-2007, GC.AC Monfalcone; Heavier Than Air, ITCA; Re-Reading the Future, International Triennale of Contemporary Art, Prague; Pavillon #7, Palais de Tokyo, Paris. She completed a residency for the 2007/2008 edition of “Le Pavillon, laboratoire de création du Palais de Tokyo”, and was a finalist for the “Furla Art Award VII: The Spirit in Any Conditions Does Not Burn” in 2009. In 2010, she continued her research in New York, in the context of the “Premio New York” in collaboration with the ISCP (International Studio and Curatorial Program) and the Italian Academy at Columbia University, and she completed a residency at the Fondation d’entreprise Galeries Lafayette for “Lafayette Anticipation” in 2014.

Meris and the Fondation

Exhibitions

Bonaventure (Trafficking worlds) 22nd Prize

from 7 September to 30 October 2021
One of the big challenges of our time is to make knowledge transformative, so that it awakens the imagination, makes the world more interesting, detoxifies the sadness of “we know” and “it’s nothing but”.[1]   [1] Isabelle Stengers, Résister au désastre, Editions Wildproject, 2019, p.33
Curator
Lilou Vidal

Events

 
Monday 21 December 2020 at 10 pm
 

Onirocritique #3 a carte blanche by Meris Angioletti

INSTRUCTIONS:
1) Equip yourself with a notebook and pen.
2) On the evening of the first day, after the radio show introducing the workshop, concentrate on the very first images that form while you are falling asleep (hypnagogic hallucinations). These images are effervescent; try to capture one or several details and memorise them with the help of the notebook. It is based on these embryonic images that the lucid dream will be constructed from day to day.
3) Every subsequent evening, while you are falling asleep, recall the dream’s starting images, so they take shape in the dreams.
4) In the morning, or any time you wake up during the night, note your waking time and the images you remember.
5) While awake, observe if the dream images manifest themselves in the form of a memory, and try to find time during the day to evoke the images from the dreams: this process establishes links between your unconscious nocturnal activity and your conscious activity, and makes it possible to fix the images in your brain, so they can reappear at night.
6) Try to maintain a certain regularity in your sleeping and waking times during the experiment.
7) Always keep the notebook close to hand to note everything that happens in your unconscious linked with the dream you are in the process of constructing.
8) The experiment can be interrupted at any time. Though not obligatory, at least 21 days of practice are recommended, so the habit of lucid dreaming can start to settle in.

Conférence 
Friday 16 October 2020 at 5 pm
 

Podcast A unique history of radio, voices from other worlds

The first event of the Prix Pernod Ricard Foundation 2020–21, is a two-voice narrative between the artist Meris Angioletti and the philosopher and radio producer Philippe Baudouin. Both, Meris and Phillipe, are interested in the strange and forgotten history of radio. Together they sketched its genealogy, that draws on animism, technology, occult science and philosophy. In their telling, the body acts as a receiver — an antenna for connection — and radio becomes a potential space for therapeutic transmission, as expressed by Gaston Bachelard. A “ghost machine” with a telepathic mission or a connection to the human psyche with the power of a dream, as Gilles Deleuze put it: are radio and its electromagnetic waves also the guardians and vehicles of “voices from other worlds”?