A project by Ceel Mogami de Haas and Vianney Fivel, Fieldwork: Marfa, 2013

The research performed in Marfa was part of a project called Myriorama that we, Ceel and Vianney, initiated in march 2013.

Primarily, a myriorama is known as a illustrated cards' game, that one arranges and rearranges to create different pictures. These cards are painted to be juxtaposed in any order.  The number of arrangements therefore tends to infinity.

Une affaire de montage, our Myriorama, reassembles heterogeneous ready-made elements and fabricated artefacts, thus proposing an intertwined understanding of the common and the personal as complementary agents. Myriorama leads to no final conclusion, rather, it eventually presents a constant movement of composition and decomposition of the collected material.

We further developed this format in Marfa employing some technical tools (editing, 3d modeling), recording Yucca plants and natural textures of Donald Judd's legacy. The acquired material was finally presented as a sketched montage of films and sculptures scaled to the Fieldwork gallery (GoodBye, I Love You).

The exhibition "HD" realized in Geneva in late January explored the possibilities of Myriorama through a scenography joining several sources and temporalities.

> Teaser, Marfa, Goodbye I Love You https://vimeo.com/89286798


Vianney Fivel

Born in 1984, lives and works in Geneva.
Before studying art, I was trained as a builder in a civil engineering company, later I obtained a bachelor degree in landscape architecture at HEPIA-Genève. I then entered HEAD-Genève and got a master degree in fine arts in 2012.
My artwork deals with the montage of disparate materials that come from various origins. This montage can be embodied in a book, a performance, or an installation.
I opened in June 2013 the art space « Portmanteau » along with some artists friends. This place is dedicated to the creation of exhibitions through discussions, production, non-hierarchical organization and happiness.

Ceel Mogami de Haas

Born In Selebi Phikwe, Botswana (1982), lives and work in Geneva. I grew up on an isolated farm in central France where my parents, my brothers and I steadily developed a fondness for land and mind culture. Surrounded for 20 years by 200 goats that we milked two times a day, we have trained our imagination intensively. Now, through performances, ensembles, poetry, music and other reticular counter systems, I pursue my experiments with art works that tend to form clouds of hieroglyphic narratives. In other words I work hard to build and share models of edited abstractions.