Solo show
March 28 - April 19, 2018
Rinomina, Paris

Combining sculpture, drawing, performance and at times musical pieces, Martin Chramos- ta uncovers ruptures and largely unknown cultural idiosyncracies. Searching for the gap while experimenting with conceptua thought, he uses heroic, artistic and vernacular tales in order to create unexpected syntheses of high and low culture. In the process, he produces objects from archaic to legendary character, which tend to form a Gesamtkunstwerk tinted with romantic imaginary as devious as skilfully cultivated.

Kunstland Chronicles” is an environment between the document and the narrative. It refers to a land art project which took place near Vienna in 2017. Chramosta and some students worked on an in situ sculpture, replaying conditions and actions of utopian artistic communities that flourished in the West in the first half of the 20th century. Kunstland is an artificial landscape and an exercise for the body and the mind. From the excavation of the mound to the meditative roundness, this gestural sculpture is meant to shape the collective consciousness. It can be realized in any place and be transferred into multiple dimensions.

This ideal resonates in the thoughts of the Erlebnispädagogik, or “experience based education”, an alternative and holistic learning method glorifying collective experience in a natural environment as a guarantee for personal development whose premises are to be found in the works of Aristotle, Jean-Jacques Rousseau and Henry David Thoreau. Thinking of Black Mountain College, the North Carolina-based art school founded in 1933 with its outdoor workshops, its earthworks, its multidisciplinary program.

From utopia to the realm of domesticity, from landscape to homeland, from the bucolic expanse of land itself to the fields sketching the outlines of a symbolic order : the sculptures and wall drawings are spread into space to offer an idea of the Kunstland never too far from the ornamental, the decorative and the furniture. An abstract representation of Switzerland composed of fuzzy motifs and figures with a cubist twist is getting away with evoking souvenirs of the kind that are used to decorate interiors of mountain chalets - while other works celebrate anecdotal archaic scenes and symbols.

Using the mechanisms of kitsch so beautifully described by Celeste Olalquiaga, these elements are the fetishes of a past experience accessible only by remembrance. These sensual reminiscences are addressed to the unconscious memory, they create «a bubble of time, a “aller-retour” to the mythical land, to the collective and to individual dreams. For a second, or perhaps a few minutes, there is an illusion of plenitude; it is an universe devoid of past or future1».

1 Céleste Olalquiaga, Royaume de l’artifice: l’émergence du kitsch au XIXe siècle, 2013, Editions Fages, Paris, p. 26


Anaïs Lepage is an independent curator and writer based in Paris.

Her research focuses on excesses and secrets in art history in connection with a history of the affects and spiritualities as well as postcolonial and gender studies. Inspired by radical pedagogies and feminist theories, she questions the forms of speech through collaborations, workshops, and a shift in critical, intimate, and performative narrative.

Trained in Art History at the École du Louvre, in Museum Studies at the Université du Québec à Montréal (UQAM), and in Curatorial Studies at the Paris I Pantheon-Sorbonne University, Lepage multiplies experiences in France and abroad.
She started at the Maison Rouge - Foundation Antoine de Galbert in Paris, at the Museum of Contemporary Art in Montreal and, alongside Guillaume Désanges, at the Verrière - Hermès Foundation in Brussels. Then, she worked as assistant curator at the Museum of Contemporary Art in Chengdu, the Museum of Modern Art in Paris, and the Louis Vuitton Foundation.

From 2015 to 2020 she co-founded HEIWATA, a curatorial platform based between Paris, Mexico City, and Toronto. She has developed projects with artists such as Madison Bycroft, Julien Creuzet, Gaëlle Choisne, Ad Minoliti, and Rachel Rose, among others. Recently, she collaborated with AICA International, the CNEAI art center, and the Palais de Tokyo. Since 2019, she teaches exhibition curating at the Sorbonne University