Jan Kopp

Index

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

all images adagp
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Selected works

2022
L’espace dans l’espace dans l’espace
Pont
Forêt
La guérite de Pouillon
Les chercheuses de l’air
Ronce
Drumscapes
Constellation ordinaire #11 (Après, la mer s’est evaporée
Cartons d'emballage épluchés (2013-2022)


2021
Abstimmen

2020
Les yeux de la Sueille
Rien d’extraordinaire

2019
Après avoir retourné le champ
Utopia House
Geologies (2019 / 2022)
Eplucher de multiples horizons
Corrida, Afrique, Piano à Queue
Restes bouclés
Sojacargos (2019)

2018
Capital Fordlandia IV
Capital Fordlandia II

2017
Capital Fordlandia I Constellation ordinaire #10, anneaux
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

Nordpol um 2086

2015
Constellation ordinaire #4 (le balancier)
Soulever le monde
Gespenster
Ville sur Mikado
Où est la Sculpture
Landschaft II

2014
À 2000 mètres d'ici
Dessin pour soulever le Monde
Voile
Une première tentative de soulever le monde
L’Oeil du cerf volant
Parabole do Palacio
Constellation ordinaire #3 (Tresors)


2013 
Courir Niemeyer
Grand Ensemble
Dessins de construction pour grand ensemble

2012
Constellation ordinaire #2 (Panettone etc.)
Constellation ordinaire #1 (Le Monde)
Dessins automatiques
Plan
Gebäude mit Baugerüst
Gebäude mit Bauplane
Nachtzeichnung (umgekehrt)
Cible avec problème de concentration

2011
Les balançoires
La courbe de la ritournelle

2010
Le Jeu sans fin
The House
Kammerspiel
Place Eaux Claire Mistral

2009
Le Tourniquet
Les Trois promesses

2008
Mohammédia (le projet disparu)
La Parabole
Ungebautes
Chaud/Froid/Gris

2007
Die Welt ist alles, was...
En attendant la prochaine révolution
Meltings I, Meltings II, Meltings III

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

2005
La Tour
Dessins pour No Paraderan

2004
Monstres (rep.),
Quelques Mouvement cycliques
Gespenster Zeichnungen

2003
Changer Une Minute
Nowhere-Lands

2002
Dé-marche
Cage-up

2001
Toitoitoiropa
Sannectamock
Exits (in res publica)
Unaussprechlich
Louis
Rennes - La Madeleine

2000
Amoco
Westlich

Taming the Alien
Final Races
Scripthouse
Exits (Rennes)

1999
Repeat (after me)
Jungle

1998
News from an Unbuilt City
Musique de cheminées
Ce qui se passe

1997
Le Jardin des choses nommées
Perfectly Strange

1996
Regarder les gens passer

1995
Männersachen
Mohn Pavot
Une année de weekends enigmatiques

1994
Das Mohnfeld am Potsdamer Platz
La Musique des cheminées
Schon wieder matt

1993
La butte aux coquelicots 
Dessins urbains


Workshops / collective works
Le voyage, 2020
La Ronde de Belval, 2016
Parenthèse transparentes, 2014




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