Jan Kopp

Born in 1970 in Frankfurt
Lives and works in Lyon

Biography
Bibliography
Contacts
Instagram
Jan Kopp


Biography
Bibliography
Texts
Portfolio

Projects with Suspended spaces

Contacts
Instagram

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Selected works

2022
Ronce
Constellation ordinaire #11 (Après, la mer s’est evaporée
Cartons d'emballage épluchés (2013-2022)
Sojacargos (2019-22)

2021
Abstimmen

2020
Les yeux de la Sueille

2019
Après avoir retourné le champ
Utopia House
Geologies
Eplucher de multiples horizons
Corrida, Afrique, Piano à Queue
Restes bouclés

2018
Capital Fordlandia IV
Capital Fordlandia II

2017
Capital Fordlandia I
Constellation ordinaire #10
Constellation ordinaire #9, nid d'abeilles
Constellation ordinare #8, moules de plâtre
Produit Lave Vaisselle U Eco

2016
3 février 13h52 - 2016 Silo Temporaire
Constellation ordinaire #7 (Peinture d'histoire manquante)
Das Gebäude
Constellation ordinaire #6 (Paradis pas cher, Blumenwiese)
Constellation ordinaire #5 (Garonne)
Lunch Bag Painting 1-13 Un Souffle, une vapeur

2015
Constellation ordinaire #4 (le balancier)
Soulever le monde
Gespenster
Ville sur Mikado

2014
À 2000 mètres d'ici
Dessin pour soulever le Monde
Voile
Une première tentative de soulever le monde
L’Oeil du cerf volant

2013 
Courir Niemeyer
Grand Ensemble
Dessin pour grand ensemble

2012
Constellation ordinaire #2 (Panettone etc.)
Constellation ordinaire #1 (Le Monde)
Dessins automatiques
Plan

2011
Les balançoires
La courbe de la ritournelle

2010
Le Jeu sans fin
The House

2009
Le Tourniquet

2008
Mohammédia (le projet disparu)
La Parabole
Ungebautes

2007
Die Welt ist alles, was...

2006
Im Treibhaus
And This is only the beginning
L’ivresse du tigre
Les méchants sont tous morts en Europe

2005
La Tour

2004
Monstres (rep.),
Quelques Mouvement cycliques

2003
Changer Une Minute
Nowhere-Lands

2002
Dé-marche

2001
Toitoitoiropa,
Sannectamock
Exits (in res publica)

1998
News from an Unbuilt City
Musique de cheminées

1997
Le Jardin des choses nommées
Perfectly Strange

1996
Regarder les gens passer

1995
Männersachen
Mohn Pavot

1994
Das Mohnfeld am Potsdamer Platz

1993
La butte aux coquelicots 





Capital Fordlandia I, 2017

Production : FNAGP and Suspended Spaces
Video HD, color, silent, 3 min 15
Fordlandia, Brazil

The video Capital Fordlandia I was made during a residency in Brazil with the collective Suspended spaces, of which Jan Kopp is a founding member. Bringing together international artists and researchers, Suspended spaces works on geographical territories whose future has been prevented for political, economic or historical reasons. Formed after the experience of Famagusta, a Cypriot ghost town, Suspended spaces then moved to Lebanon and more particularly to Tripoli, on the unfinished site of the Oscar Niemeyer International Fair. The collective then went to Brazil where the MAC, a contemporary art museum built by Niemeyer in Niterói, and the MACquinho, a cultural and social center, interface with the precarious populations of the Morro do Palácio community, work with the neighboring favela, in a violent and divided Brazilian society. Each of these stages has given rise to residencies, works, meetings, colloquia, publications, etc.

"Jan Kopp once again relies on a territory that is very historically marked, which also makes this work contextual. Fordlandia is the name given to a new city, a workers' town, built by the American industrialist Henry Ford in 1928 on a huge concession on the banks of the Rio Tapajós, in the state of Pará in Brazil. The ambition was to establish its own rubber production, essential for the manufacture of tires. An entire territory, with a hospital (designed by Albert Kahn, who made all the Ford factories in Detroit), and a school, thus emerged from a desire for control. The failure was obvious, however, and today all that remains of this ambition, which resulted in the destruction of part of the biosphere, is a ghost town of 3,000 inhabitants.Capital Fordlandia 1 was filmed in the Ford factory, which is still abandoned today. Once again, the choice of the frame is based on a place that is extremely connoted historically and culturally, and in suspension as space and in time. The camera overlooks the wooden floor of the factory, so that the viewer is immediately looking at a kind of material and abstract painting, a concrete painting that faces him. Then a man - the artist in this case - begins to arrange very precisely on the right side of the image objects or fragments of steel objects, probably coming, for the most part, from mechanical systems. This metallic carpet progressively extends on the left of the image, the man multiplying his efforts and gestures to cover the surface of operation which is also a surface of vision. Then this sheet made of steel forms of various configurations - a sort of repertoire of industrial forms - moves to the left before disappearing from view, leaving the initial painting in front of us. This play with ready-made forms is filmed in fast motion, so that the action and the sound give this piece a burlesque, Chaplinian feel - the Chaplin of Modern Times. In Capital Fordlandia 1, one returns to the starting point after having made a long detour through the world, in the world, after having collected a good number of objects of the world, those which are in any case available on the place of the action. On the surface, it is a zero-sum game, a way of doing and undoing to do nothing. But in reality, it was a question of drawing up a state of the place starting from the material memory of the place, of making history from nothing - a poor history with objects and forms of little -, it was a question of making an inventory by making appear and disappear vestiges, remains all the more striking that they are there only for one moment, only in the instant of the game." [...]
- Thierry Davila, Capitals (extract), 2017



View of the exhibition Capitals, Galerie Laurence Bernard, Geneva
Photo: © Yann Haeberlin