Elsa Louise Manceux
– Casa Wabi 2021
Community Project
Fechas del Futuro
The workshop’s challenge is to address the subject of the future without resounding apocalyptic, but having the potential to be a door for both desire and imagination as a playful way of learning. How to propose non-apocalyptic visions to children? How to suggest some realities? or at least how to propose visions that they can complete themselves?
Thinking about the school context and the power of children’s imagination, the dates will be present not only as a work of art but also as propitious elements to develop imagination exercises through drawing, writing and reading stories invented by children, but they can also eventually give rise to math exercises, or even mixed with dates from history, playing by adding and subtracting historical dates with future dates.
In artistic terms, the use of abstraction (as I work and understand it) will lead the way in terms of philosophical reflection, humanistic etc. There are also questions around the theme of time and its abstraction, since it is about its representation.
It will be about speculating, imagining, but it will NOT be about establishing definitive truths.
Francia
Lives and works in México City
Elsa-Louise Manceaux (Paris, 1985) completed her studies at the Gerrit Rietveld Academie in Amsterdam in 2009 and then attended the 2015-2016 SOMA graduate program in Mexico City, where she lives and works since 2012. In 2012 -2013 she received a grant from the Mondriaan Fund (NL) for emerging artists and was recently a fellow of the BBVA-MACG 2018-2020 (MX) program. In 2019 she won the 3rd Landscape Biennial in Nogales (Sonora, MX) acquisition award. She is a Fellow of the Fonca Young Creators Program for the year 2020-21. Her work has been exhibited and published both in Mexico and internationally. In her recent work, Manceaux builds ingenious bridges between support, medium and image. Through pictorial experiences, she displays imaginaries that trace the relationships between different themes, such as information and deformation, time and language, propagation and environment, belief and technology. Manceaux’s painting practice is based on experimentation, intertwining narratives and invented words with mixed media, anachronistic techniques, installation formats and in-situ gestures.
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