Judith Hopf

Les sculptures et les films de Judith Hopf sont alimentés par des réflexions sur les relations que les êtres humains entretiennent avec la production et la technologie. Pour Énergies, sa première exposition monographique en France qui eut lieu conjointement à Paris à Bétonsalon et au Plateau, Frac Ile-de-France, l’artiste s’est concentrée sur cet élément invisible dont la quête accompagne notre quotidien et nos activités, produit par la conversion de ressources naturelles en puissance. Ce catalogue réunit des reproductions de dessins inédits, un entretien avec l’artiste et un texte critique de Tom Holert qui fait retour sur vingt années de travail.

Judith Hopf's sculptures and films are fuelled by reflections on the relationship human beings have with production and technology. For Énergies, her first solo exhibition in France, held jointly in Paris, at Bétonsalon and Plateau, Frac Ile-de-France, the artist focused on this invisible element whose quest accompanies our daily lives and activities, produced by converting natural resources into power. This catalog features reproductions of previously unpublished drawings, an interview with the artist and a critical text by Tom Holert, looking back over twenty years of work.

Textes / Texts
- François Aubart, Xavier Franceschi et Émilie Renard, "À propos d’énergie, d’amour et de chansons : conversation avec Judith Hopf"
- Tom Holert, "Changements de rythme : La méthodologie énergétique de Judith Hopf"

- François Aubart, Xavier Franceschi et Émilie Renard, "On Energy, Love, and Songs: Conversation with Judith Hopf"
- Tom Holert, "Changing Pace: Judith Hopf’s Energetic Methodology"

Traduction / Translation
Jean-François Caro
Louise Ledour

Typesetting : Olivier Lebrun

The meaning of the word ‘error’, in its origin, is neutral. In Latin ‘errare’ means both ‘to wander freely’ and ‘to wander from the right path’. After the seventeenth century, however, the word ‘error’ lost its ambiguity within English usage and became clearly understood as wrongdoing, as defect, as a way of missing a desired effect. The ninth issue of Pfeil Magazine focuses on the potential of erroneous processes to redefine the meaning of malfunction and takes a look at movements that are aimless or non-productive. Through this reflection, ‘error’ is introduced once again as the possibility of wandering freely. 

Contributions by: Mitchell Anderson, Christiane Blattmann, Adam Christensen, Tyler Coburn, Hans-Christian Dany, Michael Dean, Gina Fischli, Flaka Haliti, Laëtitia Badaut Haussmann, Lina Hermsdorf, Judith Hopf, Karl Larsson, Clare Molloy, Susan Morgan and Thomas Lawson, Mense Reents, Stacy Skolnik, Paul Spengemann, Ramaya Tegegne 

Editors: Anja Dietmann, Nadine Droste