Raw Saps by Nathalie Rodach - Installation in the main courtyard

Nathalie Rodach tells stories in what she calls "a plastic philosophy." This theme is abundantly found in her on-site interventions, in the landscape, and in the drawings she installs in space or in glass.

For this event in three tenses (the future, the past, the present), and in three places (Château Palmer, the musée des Arts décoratifs et du Design de Bordeaux, and Arrêt sur l’Image Galerie), the artist proposes to show the invisible, the blood that beats.

To question the living, she was inspired by the notion of raw sap. It designates the great updraft that circulates in the conducting vessels of the plants. Translating the genealogy of the places on which it intervenes, she calls on the wine, sacred or profane, the blood, the fluids that irrigate and nourish, the rivers that bathe this territory... the water, in short, which crosses the living and symbolizes the divine.

Thus, the visual artist shows the raw Saps in their geographical and temporal context: living and becoming at Château Palmer, stopped in the present at Arrêt sur l’Image Galerie, and then vanish at the musée des Arts décoratifs et du Design de Bordeaux.

In the courtyard of the musée des Arts décoratifs et du Design de Bordeaux, some bricks are replaced by glass fossils, which reveal fragments of the past. Through the symbolism of three colors - the red of life, the white of nourishment, the black of darkness - these fossils give a glimpse of what no longer exists. It is up to the visitor to exhume the past and redraw the living.

The projection of the future is presented at Arrêt sur l’Image Galerie (May 17th - July 13th): what was born of these influxes – as much vital fluids as creative flows. Videos and a large installation consisting of 180 drawings, carry traces and draw a map of what is.

At Château Palmer (ephemeral installation), Nathalie Rodach deployed one kilometer of red pigment in the vineyards. The performance was filmed with a drone, giving rise to a video that captures the trace of an elusive future.

Biography

Born in Paris in 1964, Nathalie Rodach has written, painted and sculpted since childhood. Self-taught, she was first tempted by the Estienne school. She then devoted herself to a DESS degree in communication and audiovisual law and administration at the Sorbonne. In the mid-1990s, she enrolled at the Duperré College of Applied Arts in Paris. After ten years in the United States, she moved to Switzerland, where she decided to devote herself fully to her artistic practice. In 2003, Paris, the first exhibition she participated in was a success, allowing her to continue to "write her stories" in exhibition projects.

She has made solo exhibitions in Switzerland, such as "Lifelines" at Espace 43R in 2009. She’s also exhibited in Canada, with "Femininity (s)" at the Joyce Yahouda Gallery in Montreal, in 2015, and in the United States with "Call in" at The Chimney in New York, in 2016.

Regularly, she is invited to participate in artists residencies. From 2009 to 2010, she went to Samuth Sakhon in Thailand, and in 2015 in the Vertigo Eco-Art Village in Israel. Her latest residency was to Matza Kerkennah in Tunisia in 2017.

In 2014, she collaborated with artist Anne Mourier at The Invisible Dog Art Center, and in 2016, with artist Andrew Erdos at Corning, both in New York. Since 2016 she has collaborated with the Vertigo Dance Company, for whom she decorates and writes texts.

In the last two years, Nathalie Rodach has exhibited in the Bardo Museum, Tunisia, the Venice  Biennale, the Chimney Gallery in New York and in Geneva 

The madd-bordeaux wants to thank

Château Haut-Bailly,
Mécène d’Honneur

Les Amis du musée des Arts décoratifs et du Design
Château Nairac
Le Chapon Fin
Les Crus Bourgeois du Médoc
Les Galeries Lafayette
La société de négoce DIVA