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02 Equipo Jeleton

Jeleton’s work consists of transversal openings. They make use of hybrid methodologies where the intersection of productive forms and exhibition formats facilitates the exploration of literary references, B movies, pop music, the punk aesthetic, the DIY ethic, as well as historical and imaginative architectures.

These concerns, combined with seemingly obsessive behavior, sometimes trigger delirious experiences, unlikely encounters, teenage or deliberately amateurish attitudes that are often ambiguously ironic. In sum, their work revolves around the relations between tradition and identities in the making to explore sometimes cryptic symbolic, allegorical and iconological repertoires through their digressions. The basis of their projects is the studio format often associated with artists’ residencies or independent spaces.

Though primarily geared towards production, these delimited spaces also serve as mechanisms for the presentation of projects, debate and the communication of material. The sort of presentation they offer, though, does not entail the finished work of art and its display in museum spaces, but rather an open and collaborative dynamic that favors connection.

Hence, platforms of this sort give rise to improvised, relational activities: an office serves as a space in which to produce and exhibit drawing; a video and photography screening room; a set for performances; a center for the edition and distribution of publications; a laboratory for experimental self-teaching, and a social club to discuss and exchange pop music.

In this sequence of aesthetic experiments, Jeleton vindicates artistic experience as learning. Their multi-disciplinary, eclectic and collaborative exploration of the imagination gives rise to experimentation that produces new knowledge. In the Répétitions project whose origin lies in the art residency program at Le CENTQUATRE, Paris, the duo set off a multifaceted and accumulative device. As an integral part of the project, one learned how to play the drums during the nine months of the residency, and the other the guitar. Their experience was presented in a video, a register of the repertoire of French pop music they played in order to teach themselves these instruments.

While they were learning music, they worked on a publication entitled Rock my Religion annoté. This project consisted of a workshop on conceptual art and pop music during which participants were invited to offer visual, textual or musical comments on the piece Rock my Religion by North American artist Dan Graham; these comments were included in the publication as ‘footnotes’. Thus, an array of individual and collective comments were connected to excerpts from the video and lecture-text Rock my Religion, narrative extensions of the original project’s research into sociology and the relationship between conceptual art and pop music.

The choice to look to the work of another artist and to collaborate with artists from other disciplines reflects the artists’ interest in transversal strategies,connections between disciplines and knowledge in heterogeneous areas of experience, collective constructions and works in progress: extended and deliberately unfinished practices. Similarly, the notes and experiences accumulated during have been re-deployed in Répétitions anotado, a multiple device that gathers some of the videos and drawings, as well as the project publication presented in Paris, and brings them to new encounters and possible collaborations. These musical and graphic experiences also appear in ‘footnote’ format, becoming part of a montage that purposefully presents all the phases of the project and respects the collaborative mutations that characterize Jeleton’s transversal strategies.

Willy Kautz

opening 20-01-2012 from 7-9 | live performance at 7 pm | after party at Wowsville 11 pm

isbn 9783981476828 | 240 pages | edition of 300 | release 20-01-2012

ayuda de acción y promoción cultural 2011 | Ministerio de Cultura | Gobierno de España