Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris, with the works of: Chloé Dugit-Gros, Wrong Body, 2018-2019; Graciela Iturbide, Rosa, Juchitán, México (série Juchitán de las mujeres), 1979; Arnaud Cousin, Untitled, 2017-2021. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Alina Szapocznikow, Fotorzeźby [Photosculptures], 1971. Twenty original gelatin-silver prints and a collage with text on paper (2007). Images: Roman Cieslewicz. Courtesy The Estate of Alina Szapocznikow / Piotr Stanislawski / Galerie Loevenbruck, Paris / Hauser & Wirth. Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris. Photo: Jagna Ciuchta. © Adagp, Paris, 2021.
Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris with the reflection of: Alina Szapocznikow, Fotorzeźby [Photosculptures], 1971. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Jagna Ciuchta and Allal El Karmoudi, Image, imatge, la sorcière Soumia, 2021. Framed drawing of Allal El Karmoudi (2018), waxed cord, chains, photocopy. Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Alina Szapocznikow, Fotorzeźby [Photosculptures], 1971. Twenty original gelatin-silver prints and a collage with text on paper (2007). Images: Roman Cieslewicz. Courtesy The Estate of Alina Szapocznikow / Piotr Stanislawski / Galerie Loevenbruck, Paris / Hauser & Wirth. Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly, 2021, Bétonsalon – Centre for Art and Research, Paris. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Jagna Ciuchta and Janka Patocka, The Fold of the Cosmic Belly, introduction, 2021 (detail). Black plexiglas, lacquered panels, medium-density fiberboard, paper cutouts, photocopies, mirrored paper, adhesive tape. Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris, with the work of: Jagna Ciuchta and Janka Patocka, The Fold of the Cosmic Belly, introduction, 2021 (detail). Black plexiglas, lacquered panels, medium-density fiberboard, paper cutouts, photocopies, mirrored paper, adhesive tape. And the details of the work of: Alina Szapocznikow, Fotorzeźby [Photosculptures], 1971. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Miriam Cahn, Affentochter, 2003. Print on paper, oil on canvas, gelatin silver print, charcoal on paper, oil on wood
Collection Antoine de Galbert, Paris. Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly, 2021, Bétonsalon – Centre for Art and Research, Paris. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris, with the works of: Marta Huba, Stoned Belly, the Eggs, 2021; Nan Goldin, Self-Portrait (All by Myself), 1995 (detail); Miriam Cahn, Affentochter, 2003; Martha Salimbeni, Moon Landing, 2021. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris, with the works of: Samir Ramdani, Styx, 2016-2021. Photo: Jagna Ciuchta. © Adagp, Paris, 2021.
Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris, with the works of: On the floor: Arnaud Cousin, Untitled, 2017-2021. Eighteen glazed ceramics; Arnaud Cousin, Untitled, 2017-2021. Two collages and felt pen on paper. On the wall: Allal El Karmoudi, Untitled, 2018; Deux oiseaux se regardent, 2018; Untitled, 2018; Le chat a vu Moca et lui dit de faire attention au serpent, 2018 ; Untitled, 2018; Le hérisson s’est approché pour manger le serpent, la main est venue les séparer, 2018, Seven drawings: Ballpoint pen on paper; Fadma El Karmoudi, Tortue de la mer, 2018 ; L’arbre qui donne la vie, 2018 ; Untitled, 2018 ; Three drawings : Oil pastel and pen on paper. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris, with the works of: Nancy Holt, Sun Tunnels, 1978; Dorothea Tanning, Étude pour cousins, 1971; Marta Huba, Stoned Belly, the Feet, 2021; Work in situ : Romain Grateau, Grand tourisme à injection, 2021. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris, with the works of: Chloé Dugit-Gros, Wrong Body, 2018-2019; Graciela Iturbide, Rosa, Juchitán, México (série Juchitán de las mujeres), 1979; Arnaud Cousin, Untitled, 2017-2021. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Alina Szapocznikow, Fotorzeźby [Photosculptures], 1971. Twenty original gelatin-silver prints and a collage with text on paper (2007). Images: Roman Cieslewicz. Courtesy The Estate of Alina Szapocznikow / Piotr Stanislawski / Galerie Loevenbruck, Paris / Hauser & Wirth. Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris. Photo: Jagna Ciuchta. © Adagp, Paris, 2021.
Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris with the reflection of: Alina Szapocznikow, Fotorzeźby [Photosculptures], 1971. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Jagna Ciuchta and Allal El Karmoudi, Image, imatge, la sorcière Soumia, 2021. Framed drawing of Allal El Karmoudi (2018), waxed cord, chains, photocopy. Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Alina Szapocznikow, Fotorzeźby [Photosculptures], 1971. Twenty original gelatin-silver prints and a collage with text on paper (2007). Images: Roman Cieslewicz. Courtesy The Estate of Alina Szapocznikow / Piotr Stanislawski / Galerie Loevenbruck, Paris / Hauser & Wirth. Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly, 2021, Bétonsalon – Centre for Art and Research, Paris. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Jagna Ciuchta and Janka Patocka, The Fold of the Cosmic Belly, introduction, 2021 (detail). Black plexiglas, lacquered panels, medium-density fiberboard, paper cutouts, photocopies, mirrored paper, adhesive tape. Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris, with the work of: Jagna Ciuchta and Janka Patocka, The Fold of the Cosmic Belly, introduction, 2021 (detail). Black plexiglas, lacquered panels, medium-density fiberboard, paper cutouts, photocopies, mirrored paper, adhesive tape. And the details of the work of: Alina Szapocznikow, Fotorzeźby [Photosculptures], 1971. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Miriam Cahn, Affentochter, 2003. Print on paper, oil on canvas, gelatin silver print, charcoal on paper, oil on wood
Collection Antoine de Galbert, Paris. Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly, 2021, Bétonsalon – Centre for Art and Research, Paris. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris, with the works of: Marta Huba, Stoned Belly, the Eggs, 2021; Nan Goldin, Self-Portrait (All by Myself), 1995 (detail); Miriam Cahn, Affentochter, 2003; Martha Salimbeni, Moon Landing, 2021. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris, with the works of: Samir Ramdani, Styx, 2016-2021. Photo: Jagna Ciuchta. © Adagp, Paris, 2021.
Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris, with the works of: On the floor: Arnaud Cousin, Untitled, 2017-2021. Eighteen glazed ceramics; Arnaud Cousin, Untitled, 2017-2021. Two collages and felt pen on paper. On the wall: Allal El Karmoudi, Untitled, 2018; Deux oiseaux se regardent, 2018; Untitled, 2018; Le chat a vu Moca et lui dit de faire attention au serpent, 2018 ; Untitled, 2018; Le hérisson s’est approché pour manger le serpent, la main est venue les séparer, 2018, Seven drawings: Ballpoint pen on paper; Fadma El Karmoudi, Tortue de la mer, 2018 ; L’arbre qui donne la vie, 2018 ; Untitled, 2018 ; Three drawings : Oil pastel and pen on paper. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
Exhibition view of Jagna Ciuchta, “The Fold of the Cosmic Belly”, 2021, Bétonsalon – Centre for Art and Research, Paris, with the works of: Nancy Holt, Sun Tunnels, 1978; Dorothea Tanning, Étude pour cousins, 1971; Marta Huba, Stoned Belly, the Feet, 2021; Work in situ : Romain Grateau, Grand tourisme à injection, 2021. Photo: Jagna Ciuchta. © Adagp, Paris, 2021 / Jagna Ciuchta
The Fold of the Cosmic Belly
Jagna Ciuchta with Aïcha and Sheila Atala, Miriam Cahn, Patty Chang, Arnaud Cousin, Chloé Dugit-Gros, Allal El Karmoudi, Fadma El Karmoudi, Karima El Karmoudi, Nan Goldin, Nancy Holt, Marta Huba, Suzanne Husky, Graciela Iturbide, Janka Patocka, Samir Ramdani, Martha Salimbeni, Alina Szapocznikow, Dorothea Tanning, Eden Tinto Collins, T. Venkanna.
“As is often the case, for my titles I chose a register similar to that of B movies, somewhat excessive, inexpensive and accessible to everyone. What I like in B series films, is that no one takes themselves too seriously in them, they are more about unabashed enjoyment than ambition, but they also deal with political subjects. And then the ideas this title evokes are not new (or not all of them) in my exhibitions. They resonate within all the other invited works. The belly is an energy centre and an intersection of desires, sexuality, breath, digestion, all kinds of pleasures, maternity, emotions and billions of bacteria. It is a cave with its own ecosystem and art history, a living container, a cosmos in its own right, a site of transformation. I like the idea that the exhibition is a belly. There are folds, places where identities overlap, improbable contiguities, secrets, passages that open onto other dimensions. The cosmic reinforces our link to the Earth and to everything beyond us. But it also thrusts this title (and the exhibition) into a fantastical fiction, which I hope, makes us smile.”¹
Since 2011, through invitations to other artists to participate in her own practice, Jagna Ciuchta’s work has developed and increased in complexity. Her scalable practice, presented as group exhibitions, is a vector for affective and aesthetic relationships that are indissociable from the economic and institutional aspects of her practice, as well as its relationship to its milieu. Driven by a desire for real, symbolic and aesthetic autonomy vis-à-vis the institutional framework, Jagna Ciuchta defines her own monstration and documentation tools. Her works stage the confusion between real and fantasised registers, internal and external spaces, the self and others in a radical form of hospitality. Using the motif of incorporating works that she immerses in her scenographies or photographs, Jagna Ciuchta dons the invisible role of the curator—she speaks of “naive curating”—playing with the fringes of the institutions where her work is displayed. Her hospitality, marked by a certain eroticism, in the sense of a desire for contact, envelopment, or even absorption, leads to a sort of self-effacement, a continual shift and unstable forms. Jagna Ciuchta’s mechanisms are constantly evolving; she continually reorganises the display transforming her scenography, imbued with its own rhythm, from the opening right until the end of the exhibition. From another perspective revealed by the strong visual presence of the scenography, the invited artists are also contained within her, assimilated, or even digested by her composition. The artist’s omnipotence thus emerges, her arbitrary and emotional choices, her ability to create other value systems, to do things differently to a curator, while remaining fully aware of the risk of reciprocal cannibalisation inherent to the act of welcoming or desiring the other. Jagna Ciuchta’s oeuvre is located in the tension between these two extremes.
¹Interview by Cécile Archambeaud for the first phase of the exhibition at the Centre of art image/imatge, Orthez.
This exhibition is coproduced with the Center of art image/imatge, Orthez, where a first chapter was on display from 11 June to 28 August 2021. It is supported by Antoine de Galbert Collection thanks to their loan of Miriam Cahn, Patty Chang, Graciela Iturbide, Dorothea Tanning and T. Venkanna’s works, by Frac Provence-Alpes-Côte d’Azur thanks to their loan of Nan Goldin’s work, by Loevenbruck and Piotr Stanislawski Gallery thanks to their loan of Alina Szapocznikow’s work, by Electronic Arts Intermix and 49 Nord 6 Est – Frac Lorraine for Nancy Holt’s work by oeufs-de-yoni.com shop for Marta Huba’s work.
Workshop for school groups, as part of the Heritage Day for Children (Journée des Enfants du Patrimoine)
Artmaking workshops for ages 9-15, 4 writing and theatrical improvisation workshops, à la carte.
Intergenerational workshop, from 6 years to infinity
A proposal by Clara Schulmann
with Clémence Allezard, Phoenix Atala, Sheila Atala, Catherine Doste, Maïder Fortuné, Stéphanie Garzanti, Victoire Le Bars, Clotilde Le Bas, Anne Le Troter, No Anger, Gaëlle Obiegly, Cécile Paris, Prichia, Rosanna Puyol, Eden Tinto Collins, Lise Wajeman.
Paper cutting workshops
Intergenerational workshop, from 6 years to infinity
Intergenerational workshop, from 6 years to infinity
Screen print on paper, 102 x 72 cm, 15 copies
Photo : DR.
Black Plexiglas, lacquered panels, honeycombed MDF, cut-out paper, photocopies, mirror paper, adhesive strips, frames, fabrics, various sizes.
Co-production: Centre d’art image/imatge, Orthez
Photo: © DR, © Adagp, Paris, 2021
Clothes, root, suction cup, chains, heavyweight strap, subcutaneous injection syringe (gonadotropin antagonist), plastic box, needles, yoni eggs (amethyst, dark amethyst, white jade, golden obsidian), nylon stockings.
Photo: © DR.
Clothes, shoe trees, glass ashtray, self-injection kit, chains, earrings, yoni eggs (golden obsidian, obsidian, quartz crystal, rhodonite), false nails, sage.
Photo: © DR.
