ArtSlant - Openings & events en-us 40 Lobna al Ameen - Europia Galerie - May 3rd 6:30 PM - 8:30 PM Fri, 29 Apr 2016 15:32:45 +0000 Clémence van Lunen - Galerie Polaris - May 3rd 6:00 PM - 8:00 PM Fri, 29 Apr 2016 16:05:04 +0000 Aurélie Pétrel, Francis Alÿs, George Brecht, Claude Closky, Christian Marclay, Various other artists - cneai - May 10th 6:00 PM - 10:00 PM <p>&nbsp;</p> <p><strong>&nbsp;</strong></p> <p><span style="font-size: x-large;"><strong>SEUILS DE VISIBILIT&Eacute;</strong></span></p> <p><strong><span style="font-size: medium;">11 May to 21 May 2016</span><br /><br /></strong></p> <p><span style="font-size: small;"><strong>Works from the Cneai's collection together with a new project by artist Aur&eacute;lie P&eacute;trel</strong></span></p> <p><span style="font-size: small;"><strong>Curated by the students of the MBA in Arts and Cultural Management at IESA&nbsp;</strong><strong>INTERNATIONAL and Paris School of Business at the Cneai with the participation of&nbsp;</strong><strong>Audrey Illouz, Aur&eacute;lie P&eacute;trel and Sylvie Boulanger</strong></span></p> <p><br /><br /></p> <p>The exhibition explores <strong>the notion of performative action</strong> through the <strong>Cneai's collection of ephemera and multiples</strong> indistinctly. It focuses on scores, scripts, instructions and actions inviting the viewers to interpret, or simply touch the objects they are facing. It takes as a starting point works from the Fluxus movement such as Water Yam, a game created by George Brecht in which instructions &ndash;<em> fluxscores</em> &ndash; are printed on small cards. Another seminal work is Richard Kostelanetz's book <em>Scenarios: Scripts to Perform</em> (1980) in which the contributions by a diverse range of poets, artists and musicians like Marina Abramovic &amp; Ulay, John Cage, Nam June Paik and Jonas Mekas play with performative action through the many entries. The selection of works explores the performative actions that may remain hidden to the viewer when the object is exhibited in a showcase.</p> <p>Due to the very nature of artists' books and prints, many elements are concealed, latent and cannot be revealed to the viewer at first glance. How can the viewer apprehend such objects? What can one grasp when seeing them only partially or without touching them?</p> <p>To investigate further these issues, we have commissioned a <strong>new work by artist Aur&eacute;lie P&eacute;trel</strong>. The artist has been exploring the notion of visibility through her work dealing with photography in its relation to space and display. Aur&eacute;lie P&eacute;trel creates a specific project that plays upon handling the artworks from the collection, pushing further their manipulation together with their levels of visibility. Through photography, the new fragments we grasp may lead to other interpretations.</p> <p>Throughout the exhibition, <strong>tours will be available in English</strong> which include the opportunity for visitors to experience these objects being handled by mediators.&nbsp;</p> <p>&nbsp;</p> <p><strong>About Cneai:</strong> Dedicated to media works since 1997,the Cneai has been transforming in line with artistic desires and necessities : creating a collection of editions (600 editions), building the FMRA collection (11 000 artists' publications), commissioning the Floating House from the Bouroullec brothers and renovating Cneai's current home, the Maison Levanneur, with architects Bona and Lemercier in 2012. With the opening of the renovated space the Cneai began a new artistic and cultural project,and a new way to envision the idea of a space for art and its public. Transformed by the Bona-Lemercier architecture agency, the spaces have been completely rethought to give a new dimension allowing an easy and clutter-free access to the displays.</p> <p><strong>About Aur&eacute;lie P&eacute;trel:</strong> Born in 1980, she lives and works in Paris and Geneva. Through various encounters and collaborations her works constantly question images, their status, (re)presentation and activation, as well as their production processes. This artist does not consider herself a photographer: she deconstructs; reconnects; questions within the bounds of the media. She paves the way by exploring the margins, making the photographic material resonate in a dialogue with thousands of voices. Like a dialectic stemming from the same and the other, without ever repeating she develops, reveals what is in the negative space, not showing. Yet Aur&eacute;lie P&eacute;trel is a photographer: the issues in her shots are always significant. They act as a trigger, the driving force of an expression like a musical score. The first movement makes the rest possible. By blurring the boundaries between work, representation and the world experienced, she transforms our perspectives.</p> <p><strong>About the MBA in Arts and Cultural Management program:</strong> The MBA in Arts and Cultural Management program delivered by IESA INTERNATIONAL and Paris School of Business trains early career arts professionals with a specific interest in the art market and management. The course applies essential elements of business to the arts and cultural sector.</p> <p>This exhibition marks the final group project for the class of 2016.</p> Tue, 03 May 2016 14:04:47 +0000 Francesca Woodman - Fondation Henri Cartier-Bresson - May 10th 6:00 PM - 9:00 PM <div class="description"> <div class="description"> <p style="text-align: justify;">The Fondation Henri Cartier-Bresson is pleased to be presenting the dazzling work of American photographer Francesca Woodman (1958&ndash;1981). Rooted in constant exploration of herself and the medium, Woodman&rsquo;s insightful, deeply intimate approach turned her photography into a second skin. In her images she made almost exclusive use of her own body: It&rsquo;s a matter of convenience, she explained, I&rsquo;m always available. Despite her premature passing at the age of twenty-two, Woodman left an impressive body of work. And while the pictures betray a host of influences ranging from Symbolism to Surrealism, her own talent was as prodigious as it was precocious.</p> </div> <div class="description" style="text-align: justify;"> <p>Francesca Woodman explores her own image although her inspiration drives her to navigate into the photographic technic and the act of writing. Her staging in desolated rooms, the ghostly body presence in the middle of spaces in decay, of houses on the threshold of demolition outreached the pure self-portrait genre. Preps and setups disclose assumed surrealist influences, glasses, mirrors, peeling paint, ripped wallpaper. The body is to be fiddled with, fragmented until mingling with its environment and raises issues about metamorphosis and genre. These insolent and disconcerting images of a rare intensity arouse the ephemeral, the elusiveness of time.</p> <p>The artist photographs are part of international museum collections such as the Tate Modern in London and the Metropolitan Museum of Art in New York. The first travelling exhibition of her works has been organized in 1986 and her main European exhibitions in the 90&rsquo;s. La Fondation Cartier and Les Rencontres Internationales de la Photographie d&rsquo;Arles have been the first and last institutions to present a retrospective of her work in France, in 1998.</p> <p>&nbsp;</p> <p>The exhibition including a hundred prints, video and documents has been organized in collaboration with the Estate of Francesca Woodman in New York and Anna Tellgren, the curator. After the Moderna Museet in Stockholm and FOAM in Amsterdam, the European tour of the exhibition will end up at the Moderna Museet in Malm&ouml;.</p> <hr /> <p>&nbsp;</p> </div> <p style="text-align: justify;">La Fondation Henri Cartier-Bresson pr&eacute;sente l&rsquo;oeuvre fulgurante de la photographe am&eacute;ricaine Francesca Woodman (1958-1981). Par son travail profond&eacute;ment intime et sensible, fond&eacute; sur l&rsquo;exploration perp&eacute;tuelle du soi et du m&eacute;dium, elle fait de la photographie sa seconde peau. Francesca Woodman a quasi exclusivement utilis&eacute; son corps dans ses images, ainsi je suis toujours &agrave; port&eacute;e de main, explique-t-elle, quand l&rsquo;urgence de la repr&eacute;sentation se manifeste. Malgr&eacute; sa disparition pr&eacute;matur&eacute;e &agrave; l&rsquo;&acirc;ge de vingt-deux ans, Francesca Woodman laisse une impressionnante production visuelle. Ses photographies d&eacute;voilent de multiples influences allant notamment du symbolisme au surr&eacute;alisme mais sa pr&eacute;cocit&eacute; est prodigieuse.</p> </div> <div class="description"> <p style="text-align: justify;">Francesca Woodman explore sa propre image mais son imp&eacute;tueuse imagination la m&egrave;ne &eacute;galement vers des r&eacute;flexions sur la technique photographique et l&rsquo;&eacute;crit. Ses mises en sc&egrave;ne &agrave; l&rsquo;int&eacute;rieur de pi&egrave;ces d&eacute;pouill&eacute;es, l&rsquo;apparition fantomatique du corps au milieu d&rsquo;espaces en d&eacute;cr&eacute;pitude, de maisons sur le point d&rsquo;&ecirc;tre d&eacute;molies d&eacute;passent le strict genre de l&rsquo;autoportrait. Les accessoires et mises en sc&egrave;ne tendent vers des influences surr&eacute;alistes assum&eacute;es, verres, miroirs, peinture &eacute;caill&eacute;e, papier peint d&eacute;chir&eacute;. Le corps quant &agrave; lui est tritur&eacute; et fragment&eacute; jusqu&rsquo;&agrave; se fondre dans son environnement et soulever des questions sur la m&eacute;tamorphose ou le genre. Ces images insolentes, d&eacute;routantes et d&rsquo;une d&rsquo;une rare intensit&eacute; &eacute;voquent l&rsquo;&eacute;ph&eacute;m&egrave;re, la fugacit&eacute; du temps.<br /> Les oeuvres de l&rsquo;artiste font partie de collections de mus&eacute;es internationaux comme la Tate Modern &agrave; Londres ou le Metropolitan Museum of Art &agrave; New York. La premi&egrave;re exposition itin&eacute;rante du travail de Francesca Woodman date de 1986 et ses principales expositions europ&eacute;ennes, des ann&eacute;es 1990. La Fondation Cartier et les Rencontres Internationales de la Photographie d&rsquo;Arles ont &eacute;t&eacute; les premiers ont &eacute;t&eacute; les premiers &agrave; lui consacrer une r&eacute;trospective en France, en 1998.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">L&rsquo;exposition est constitu&eacute;e d&rsquo;une centaine de tirages, vid&eacute;os et documents. Elle est con&ccedil;ue en collaboration avec l&rsquo;Estate Francesca Woodman &agrave; New York et Anna Tellgren, commissaire. Apr&egrave;s le Moderna Museet de Stockholm et FOAM &agrave; Amsterdam, la tourn&eacute;e europ&eacute;enne s&rsquo;ach&egrave;vera au Moderna Museet de Malm&ouml;.</p> </div> Fri, 29 Apr 2016 15:37:49 +0000 Katrien de Blauwer - Galerie Les Filles du Calvaire - May 10th 6:00 PM - 9:00 PM <p><strong>Single Cuts</strong></p> <p><strong>Katrien de Blauwer</strong></p> <p><em>Galerie Les filles du Calvaire is happy to present Flemish artist Katrien de Blauwer for the first time in France</em>.</p> <p>Katrien de Blauwer has become a master in the art of &ldquo;cutting&rdquo;, a term that defines her practice better than &ldquo;collage&rdquo;, since the latter fails to express her mastery of composition and the formal impact of her creations. In fact, her artworks are not collages in the usual sense. They are not about associating fragments in order to recreate images like the surrealists did for instance. Her artistic gesture originates from an intuitive perception and a poetical process, but her approach is conceptual and essential in nature. Katrien de Blauwer is a meticulous observer and a careful analyst of the various elements that make up a photograph whether in relation to the subject matter &ndash; how it captures a piece of reality through framing- but also to the image space - the various levels and colors it is made of. However she is not directly a photographer. She prefers to pick and extract bits and pieces from others&rsquo; photographic language in order to revive their formal value.</p> <p>Strictly speaking though, Katrien de Blauwer does not &ldquo;cut out&rdquo; since she does not follow the shapes of bodies or faces. She delimits visual strips and creates a composition ruled by abstract principles. She does not accumulate, she subtracts. Her eyes single out a few visual elements and put a formal focus on them through the addition of mute colored strips that suggest an off-camera space and produce a new visual narration. Most elements these new images are composed of, and specifically the figurative parts, come from black and white reviews from the 1920&rsquo;s to the 1960&rsquo;s. She then combines them with monochromatic pieces of paper she collects from old books, which aged paper makes up for faded color effects, similar to ones of black and white areas in newspaper clippings. Her range of colors creates a dialogue between different shades of grey and pantone hues, which adds to the graphic intensity of the whole.</p> <p>Katrien de Blauwer&rsquo;s radical Cuts draw on a minimal art culture. Even though her universe is different, her method is reminiscent of some conceptual artists from the 1960&rsquo;s-70&rsquo;s, such as the documentary approach of Dan Graham which consists in combining different types of photographical documents and presenting them like records gathered in catalogs, thus elaborating fictional urban typologies.</p> <p>One can also think of Gordon Matta Clark&rsquo;s urban practice, the architectural cuts of his projects on paper and the photographic records of his monumental interventions acting as &ldquo;abstract&rdquo; propositions. Katrien de Blauwer&rsquo;s work is also influenced by contemporary fashion that she studied for some time.</p> <p>On another level, &ldquo;Cut&rdquo; also refers to Katrien de Blauwer&rsquo;s interest in cinema.We discovered her exceptional creations thanks to the book she published in collaboration with Giulana Prucca : a unique work - more of an artist book than a catalog- that revolves around Antonioni&rsquo;s films. The universe of this maestro of black and white beautifully echoes Katrien de Blauwer&rsquo;s poetics. Finally, some of her compositions can recall L&rsquo;ann&eacute;e derni&egrave;re &agrave; Marienbad by Resnais, while more troubling ones seem to allude to Hitchcock movies.</p> <p>This cinematographic reference is central within her series entitled Dark scenes, Scenes, Single Cuts, Rendez-vous etc. The titles even pay an implicit tribute to the revolutionary editing techniques invented by Jean-Luc Godard, and especially to the &ldquo;jump cuts&rdquo; as he defined them. In some of Katrien de Blauwer&rsquo;s Cuts, as in Singles - made of only two pieces of paper-, the notion of shot and movement-image seem to prevail over the &ldquo;frame&rdquo;. The cinematographic quality of her series is translated by the motion of some of her characters and accentuated by the artist editing which consists in the shifted repetition of images as if she had extracted one or two seconds shots from the film. Her plastic rendering takes the appearance of a movie fragment ripped from its narrative spine and exhibited as an out of time sequence.</p> <p>One cannot write about Katrien de Blauwer&rsquo;s work without highlighting its sensuality. Her work is profoundly feminine and the body parts she uses seem to come from black &amp; white movies heroines, Italian neorealism and the French new wave of the 1950&rsquo;s and 1960&rsquo;s. The long or short hair fashion of her characters is reminiscent of Jeanne Moreau and Fran&ccedil;oise Dorl&eacute;ac, while eyebrows raising above black strips recall Anna Karina and Silvana Mangano. On other pictures, one could recognize Monica Vitti&rsquo;s voluptuous mouth or Jane Seberg&rsquo;s delicate head, while the many pairs of legs across her work seem to invoke a fleeting yet eternal womanliness. For a French audience, some of her heroines could be taken out of Marguerite Duras&rsquo; novels, or come from Hollywood &ndash;for an American audience-, but in Katrien de Blauwer&rsquo;s world, they remain unique and mysterious.</p> <p>This singular artist shares intimate fragments of her perception of Womanliness like visual jewels she has been scattering away for many years in what is already a vast body of work. Sometimes she gives away magnificent pieces for those who will be able to seem them. It is up to the viewer to find the poetical path that will lead him to the heart of her images, and leave him astound and raptured in front of such small scale artworks, purposely made of humble materials, and yet charged with such formal intensity that it simply entirely takes you up.</p> <p><strong>Christine Ollier</strong></p> <p><em>Paris, F&eacute;vrier 2016</em></p> Wed, 13 Apr 2016 15:39:56 +0000 Radenko Milak - Galerie Les Filles du Calvaire - May 10th 6:00 PM - 9:00 PM <p><strong>Promise of an image</strong></p> <p><strong>Image of movement, image of time</strong></p> <p>Seeing in Radenko Milak&rsquo;s practice a mere virtuoso use of painting, watercolor, ink wash or drawing would be by all means simplistic. Radenko Milak is a complete artist who questions the imaginary potential of images, and conceives his paintings as installations that confront the real and fictitious power of images, their interpretations and readings, their status within our visually saturated society, as well as the standards of representation of reality. Radenko Milak opens our eyes through revealing the aesthetic potentiality held in each image, as well as their haunting ghosts. His work is a visual echo to the continuous stream of images seen as deceiving reflections of the world&rsquo;s visual archive. Every day, millions of new images are produced and immediately visible on Internet. The body of images men produce has never been as extensive and diverse. It is impossible to grasp all at once, and we are all walking through a chaotic mental landscape without being able to make any connection whatsoever between images. Radenko Milak transforms and twists this &ldquo;image dust&rdquo; -to use Guy Debord&rsquo;s expression- to make it into a strongly coherent body of work, both in terms of meaning and aesthetical unity.</p> <p><strong>Representation of conflict</strong></p> <p>One of the artist&rsquo;s most striking pieces is a twenty-four copies painting inspired by an iconic image of the Ex-Yugoslavia war- a famous photograph taken by photojournalist Ron Haviv at the beginning of the war in Bosnia, showing a frighteningly apathetic Serbian paramilitary man beating up what cannot be distinguished as dead or alive Bosnian civilians lying on the ground. Through this work implicitly referring the twenty-four images per second timeframe of cinema, the artist impulses motion back into an image that we were no longer able to see. He draws our attention on the power held by the image through the process of twisting, reinterpreting, and repeating it until we are blue in the face, thus creating a depth of field and meaning that our tired up and constantly solicited eyes had ceased to perceive. For Radenko Milak, painting can reactivate depth of field through the aesthetic gap it creates with the image, its mental representation, its memory and perception. This first artwork sparked strong controversies in Ex-Yugoslavia, thus proving the subversive nature of painting when used to question the world through the distortion of our ways to represent it.</p> <p><strong>Image of time</strong></p> <p>More recently Radenko Milak carried out an ambitious project entitled &ldquo;365- Image of Time&rdquo; which consisted in painting one black and white watercolor a day (some will call it ink wash painting) representing an event that took place the very same day, in relation to modern and contemporary history, and over the course of one year. The event could be related to politics, to wars, to philosophy and arts, or to scientific and technological progress. This project elaborated a striking visual representation of the brief, yet intense and extremely violent history of the 20th century. For the artist, these images unfold as one big saga despite the diversity of their sources. Here, the painter is no longer a mere witness of his time; he sheds light on the underground aesthetical connections between different historical representations. The choice of black and white watercolor -a technique that does not allow for any retouching- is no coincidence. It shows the artist&rsquo;s desire to not just reproduce images but to tone them down or put emphasis on them in order to bring new interpretations to light. &ldquo;365-Image of Time&rdquo; is a 21st century Mnemosyne Atlas drawing on the world image bank. Such Atlas exists through the sole will of the artist who collects and assembles images in order to give shape to both a personal and collective visual world landscape.</p> <p><strong>Image of motion</strong></p> <p>At the age non only of their mechanical reproducibility, but of their immediate and constant access, images are looking at us even though we do not notice. In addition to capturing the image of Time, Radenko Milak also sought to grasp the image of Movement; drawing on the world repertoire of cinema and images he interconnects through his brilliant watercolor technique, as well as through animation. Radenko Milak created a mental image of cinema through a series of artworks inspired by iconic directors like Hitchcock, Godard, Bergman, Antonioni, Welles, Kalatozov, Laughton, and Tarkovski. While we all know the over-used definition of cinema as a mirror of society, Radenko sees it as one big image factory from which he builds up his own aesthetics. Acting as a cinematographic picture editor, he startles us by exhibiting the paradoxical human truth of cinema, telling our proximity and remoteness, our presence and absence, as well as the deep loneliness of observing and being observed. Each piece of his series entitled &ldquo;Endless Movie&rdquo; confronts our contemporary human condition of feeling strangers to others and ourselves, as images both divide and unify us. Radenko&rsquo;s looping animations talk about movies&rsquo; promise of eternity- one we already know to be a profound illusion, yet creating a feeling of melancholia that could fuel our action and reconcile us with our own creation. For the artist, the images that haunt us are mere artificial creatures that we can learn to love if we use and transform them to feed our actions.</p> <p><strong>Painting at the digital area</strong></p> <p>We are only beginning to understand Aby Warburg&rsquo;s contribution to a renewed approach of art history that would take distance from theoretical classifications (in relation to territories, time periods and identities) to focus on connection making. I always wondered what would be Aby Warburg&rsquo;s take on the digital era, what he would think of the vastness of this new visual continent that is internet. From the moment I laid eyes on Radenko Milak&rsquo;s work, I often thought that Aby Warburg would have taken a great interest in his creative collection of images, and that he would have encouraged him to develop his storytelling on the history of images.</p> <p><strong>Christopher Yggdre</strong></p> <p><em>Paris, march 2016.</em></p> Wed, 13 Apr 2016 15:47:17 +0000 Johannes Kahrs - Frac Île-de-France, le Plateau - May 11th 6:00 PM - 9:00 PM <p style="text-align: justify;">The frac &icirc;le-de-france is proud to present the first major solo exhibition in Paris by Johannes Kahrs, shown at le plateau. Kahrs, who was born in 1965 in Bremen, Germany, lives and works in Berlin. Although his work spans a wide range of techniques, including drawing, video and sound installations, he is probably best know for his paintings. These distinctly realist works, which are generally based on photographs (sourced from mainstream media or his personal archive), carefully avoid narration; by isolating their subjects and eliminating all contextual details, Kahrs thwarts any attempt to identify their source. Freed from their original context, the images take on a universal quality whose evocative potential resonates deeply with spectators.</p> <p style="text-align: justify;">Rather than taking inspiration from photography to produce a mimetic representation of reality, Kahrs explores the gaps and imperfections of the photographic medium &ndash; blurring, hesitant framing, pixellation, etc. He often uses images from film or television, and the unstable outlines of the figures in his paintings are to some extent reminiscent of the vibrating or fluttering effect that occurs on a TV screen when a film is paused.</p> <p style="text-align: justify;">Painting plays the role of a mediator between the reality from which the photographs were borrowed and the ambivalent universe in which Kahrs immerses the spectators of his paintings. This strangeness derives not from the original context of the images but from the way the artist treats them. Kahrs explains that he is in search of images rather than real situations: &lsquo;What I&rsquo;m looking for is the image, not the situation it depicts.&rsquo; His attention focuses on moments of physical expressivity, captured as suspended gestures that appear to be floating in the abstract space of the painting. Human figures are never clearly visible, and only rarely in their entirety. The artist&rsquo;s reframing constricts the bodies, which become at once monumentalised and elusive, their immediate, unsettling nearness making them seem simultaneously strange and familiar. While Kahrs often depicts scenes that refer to traumatising or painful events, he restricts his attention to the moment before or after the occurrence as such. By doing so, he eliminates any explicit meaning and concentrates instead on what takes part, albeit indirectly, in creating an image that speaks of desire, fear and sex, but also of politics or more trivial matters, titillating the spectators&rsquo; imagination and questioning their relationship to images.</p> <p style="text-align: justify;">Although the human figure holds a central place in his work, Kahrs also produces images of still lifes and landscapes, often with a tendency towards abstraction. Irrespective of their subject matter, however, all of his paintings negotiate an indistinct liminal space between reality and fiction that alludes to the duality between attraction and repulsion &ndash; a duality evocative of Francis Bacon or Francisco Goya.</p> <p style="text-align: justify;">Kahrs is recognised as one of the most important painters of his generation for creating a truly unique pictorial universe. His work is represented internationally by Zeno X Gallery in Antwerp and Luhring Augustine in New York, and can be found in renowned public collections worldwide, including<br /> the Centre Pompidou in Paris, MOCA in Los Angeles, MoMA in New York and SMAK in Ghent. The frac &icirc;le-de-france has recently acquired one of his works, which had been shown in the exhibition Un mural, des tableaux at le plateau.</p> <p style="text-align: justify;">Kahrs&rsquo; solo exhibition at le plateau is a landmark as it will present the work of a major artist who produces few works and exhibits rarely. His most recent solo shows were held at GAMeC in Bologna, Parasol unit foundation for contemporary art in London, the Kunstverein M&uuml;nchen in Munich and SMAK in Ghent. Kahrs also presented a new series of paintings at last year&rsquo;s Biennale de Lyon. </p> <hr /> <p>&nbsp;</p> <p style="text-align: justify;">Le frac &icirc;le-de-france pr&eacute;sente au plateau, la premi&egrave;re exposition personnelle d&rsquo;envergure consacr&eacute;e &agrave; Johannes Kahrs &agrave; Paris. N&eacute; &agrave; Br&ecirc;me (Allemagne) en 1965, Johannes Kahrs vit et travaille &agrave; Berlin. Son travail se d&eacute;ploie sur diff&eacute;rents supports, tels que le dessin, la vid&eacute;o ou les installations sonores, mais Johannes Kahrs est avant tout connu pour son &oelig;uvre picturale. G&eacute;n&eacute;ralement r&eacute;alis&eacute;es &agrave; partir de photographies (issues des m&eacute;dias ou de ses archives personnelles), ses peintures, pourtant d&eacute;lib&eacute;r&eacute;ment r&eacute;alistes, &eacute;vitent soigneusement toute narrativit&eacute; : en isolant son sujet et en &eacute;liminant tous les d&eacute;tails qui participent du contexte de l&rsquo;image d&rsquo;origine, Johannes Kahrs rend vaine toute tentative d&rsquo;en conna&icirc;tre la source premi&egrave;re. Ainsi lib&eacute;r&eacute;e de ses origines, l&rsquo;image rev&ecirc;t alors un caract&egrave;re universel, ce qui lui conf&egrave;re une v&eacute;ritable puissance &eacute;vocatrice susceptible de r&eacute;sonner en chacun.&nbsp; Loin de s&rsquo;inspirer de la photographie pour produire un rendu mim&eacute;tique de la r&eacute;alit&eacute;, Johannes Kahrs puise dans les failles et les imperfections du m&eacute;dium photographique : effet de flou, cadrages hasardeux, pixels apparents, etc. Il n&rsquo;h&eacute;site pas &agrave; employer des images extraites du monde du cin&eacute;ma ou de la t&eacute;l&eacute;vision : les contours incertains des figures ne sont pas sans &eacute;voquer les images floues que l&rsquo;on aper&ccedil;oit parfois sur les &eacute;crans de t&eacute;l&eacute;visions vibrants, gr&eacute;sillant, lorsque l&rsquo;on suspend le d&eacute;roul&eacute; d&rsquo;un film.</p> <p style="text-align: justify;">La peinture joue le r&ocirc;le d&rsquo;un m&eacute;diateur entre la r&eacute;alit&eacute; dont sont issues les photographies et l&rsquo;univers incertain dans lequel Johannes Kars nous plonge ; cette &eacute;tranget&eacute; ne provient pas du contexte dont sont extraites les images, mais bien du traitement que Kahrs leur inflige. Celui-ci affirme &ecirc;tre en qu&ecirc;te d&rsquo;images, et non de situations r&eacute;elles. &laquo; Ce que je choisis, c&rsquo;est l&rsquo;image, pas la situation qu&rsquo;elle d&eacute;crit &raquo;, affirme Johannes Kahrs. Le peintre porte son attention sur des moments d&rsquo;expressivit&eacute; corporelle, donnant &agrave; voir des gestes suspendus, comme flottants dans l&rsquo;espace abstrait de la toile. La figure humaine ne se donne jamais &agrave; voir dans la clart&eacute;, rarement dans son enti&egrave;ret&eacute;. Le recadrage malm&egrave;ne et tronque les corps, monumentalis&eacute;s et insaisissables et cette proximit&eacute; imm&eacute;diate et d&eacute;rangeante nous les rend &agrave; la fois &eacute;trangers et familiers. Johannes Kahrs a souvent recours &agrave; des sc&egrave;nes qui &eacute;voquent des &eacute;v&eacute;nements traumatisants ou douloureux. Mais il se focalise uniquement sur l&rsquo;avant ou l&rsquo;apr&egrave;s de ces instants. Il &eacute;limine ainsi l&rsquo;explicite et se concentre sur ce qui, indirectement, contribue &agrave; cr&eacute;er une image qui traite du d&eacute;sir, de l&rsquo;effroi, du sexe, mais aussi du politique ou du trivial, sollicitant l&rsquo;imaginaire de tout un chacun et questionnant notre rapport aux images.</p> <p style="text-align: justify;">Toutefois, si la figure humaine occupe une place centrale dans son travail, il produit aussi des images de nature morte, de paysages, qui tendent parfois vers l&rsquo;abstraction. N&eacute;anmoins, quel qu&rsquo;en soit le sujet, ses toiles naviguent sur une fronti&egrave;re ind&eacute;cise, entre fiction et r&eacute;alit&eacute; et nous renvoient &agrave; une dualit&eacute; attraction / r&eacute;pulsion similaire &agrave; celle &eacute;prouv&eacute;e face &agrave; aux peintures de Francis Bacon ou Francisco de Goya.</p> <p style="text-align: justify;">Par cet univers singulier qu&rsquo;il parvient &agrave; cr&eacute;er, Johannes Kahrs est aujourd&rsquo;hui reconnu comme l&rsquo;un des plus grands peintres de sa g&eacute;n&eacute;ration, repr&eacute;sent&eacute; au niveau international par deux galeries, l&rsquo;une &agrave; Anvers (Zeno X Gallery), l&rsquo;autre &agrave; New-York (Luhring Augustine). On retrouve son &oelig;uvre dans les collections des plus grands mus&eacute;es internationaux (Centre Pompidou &agrave; Paris, MOCA &agrave; Los Angeles, MoMA &agrave; New-York, SMAK &agrave; Gand, &hellip; ). Le frac &icirc;le-de-france a r&eacute;cemment acquis une de ses &oelig;uvres, suite &agrave; l&rsquo;exposition &laquo; Un mural, des tableaux &raquo;, &agrave; laquelle avait particip&eacute; l&rsquo;artiste.</p> <p style="text-align: justify;">L&rsquo;exposition pr&eacute;sent&eacute;e au plateau marquera sans conteste un moment important, dans la mesure o&ugrave; elle pr&eacute;sentera le travail d&rsquo;un artiste majeur qui produit peu et dont les apparitions se font rares. Parmi les expositions personnelles dont il a fait l&rsquo;objet, on peut citer celles de Bergame (GAMeC), de Londres (Parasol unit foundation for contemporary art), de Munich (Kunstverein M&uuml;nchen) ou de Gand (SMAK)&hellip; Il a &eacute;galement pr&eacute;sent&eacute; une s&eacute;rie de peintures &agrave; la derni&egrave;re Biennale de Lyon.</p> Sat, 23 Apr 2016 15:38:48 +0000 Dado - Galerie Jeanne Bucher Jaeger - Espace Saint-Germain - May 12th 6:00 PM - 8:00 PM <p style="text-align: justify;">This exhibition presents a selection of paintings, collages, drawings and prints by Dado from the 1970s, a period during which he was represented by the gallery. It coincides with the publication of a collection of interviews of the artists on May 16, 2016, entitled&nbsp;<em>Peindre Debout</em>, and published by L&rsquo;Atelier contemporain (Fran&ccedil;ois-Marie Deyrolles). Fully illustrated, the book brings together for the first time 23 interviews of the Montenegrin artist through a 40-years lifespan. The publication, prefaced by Anne Tronche, was established and annotated by the artist&rsquo;s daughter Amarante Szidon. A signature session is organised at La Maison Rouge, La HAlle Saint Pierre and at the gallery on June 4, with Daniel Cordier and Jean-Fran&ccedil;ois Jaeger.</p> Mon, 25 Apr 2016 15:58:24 +0000 Group Show - Martine Aboucaya - May 12th 6:00 PM - 8:00 PM Fri, 29 Apr 2016 16:20:31 +0000 Eric Roux-Fontaine - Galerie Felli - May 19th 7:00 PM - 9:00 PM <p style="text-align: justify;">How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.</p> <p style="text-align: justify;">Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.</p> <p style="text-align: justify;">Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony. &nbsp;A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.</p> <p style="text-align: justify;">When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in <em>this</em> world.</p> <p style="text-align: justify;">The dazzlingly dense paths open to him here require a leap of faith.</p> <p style="text-align: justify;">Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed.</p> <p style="text-align: justify;">Pierre Vavasseur</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Mais de quoi survivent les mondes disparus? Sur quoi s&rsquo;appuient-ils pour rena&icirc;tre? Sur les souvenirs et les r&ecirc;ves qui s&rsquo;y sont attard&eacute;s avant d&rsquo;essaimer de nouveau.<br /> Eric Roux-Fontaine en sait quelque chose. Il a habit&eacute; une autre terre. Rien ne dit que nous n&rsquo;en &eacute;tions pas et que nous n&rsquo;&eacute;tions pas capables, comme lui, d&rsquo;y tendre l&rsquo;oreille et d&rsquo;en nourrir nos yeux; mais il s&rsquo;y est accord&eacute; mieux que tous. Mieux que tout autre, il a saisi le jeu de murmures et de sonorit&eacute;s chaudes propres &agrave; exalter leurs couleurs, &agrave; raviver leurs brouillons et, de la sorte, &agrave; laisser les jungles tendres reprendre le pouvoir sur des royaumes us&eacute;s.<br /> Roux-Fontaine travaille par strates, par sensations, par collision joyeuse entre le relief et la transparence. Il ne maquille rien. Ses cosm&eacute;tiques sont des pigments et de la poudre de marbre, de quoi aller chercher loin derri&egrave;re la mati&egrave;re et d&rsquo;en r&eacute;g&eacute;n&eacute;rer les reflets. Tel lac, tel ciel d&eacute;bord&eacute; d&rsquo;impatience; telle cabane ardente dans un soleil ardent de glace. Le peintre aime les transparences opaques. Il ne peut s&rsquo;en d&eacute;faire. Dans cette respiration v&eacute;g&eacute;tale intense, des icebergs pointent en paquebots fant&ocirc;mes, pr&eacute;servant dans leur coque un m&eacute;canisme secret d&rsquo;ovulation. La Lune aussi couve des secrets et il n&rsquo;y a sans elle pas de r&ecirc;ve. En &eacute;cho &agrave; son incandescence froide, des bassins de piscines s&rsquo;abandonnent aux caprices des cath&eacute;drales de futaies. Des &eacute;corces de ponts ou de temples forains servent de bracelets aux feuillages. Dans cet Eden de neuve synth&egrave;se, une faune reprend ses droits en excellent m&eacute;nage. C&rsquo;est le vol d&eacute;coch&eacute; des oiseaux. Un pachyderme &agrave; notre rencontre. La nature vive d&rsquo;un li&egrave;vre. Tout cela berc&eacute; dans la douceur.<br /> Qu&rsquo;une silhouette humaine en surgisse, enfin, elle est d&rsquo;un incertain passage. Sans garantie d&rsquo;int&eacute;gration. En transit dans cette virginit&eacute;. Des enfants s&rsquo;y balancent de nouveau, tr&egrave;s haut, sans remuer l&rsquo;air mais ce n&rsquo;est plus l&rsquo;homme qui domine d&eacute;sormais, avec ses curieuses aventures, son app&eacute;tence au d&eacute;sordre, sa production de g&acirc;chis. Les chemins qui lui sont propos&eacute;s sont des &eacute;blouissements touffus auxquels il faudra faire confiance.<br /> Aujourd&rsquo;hui, les artistes doivent &ecirc;tre des animaux. Progresser au museau, avoir l&rsquo;&acirc;me flairante. Eric Roux-Fontaine est un de ces nouveaux fauves.</p> <p style="text-align: justify;">Pierre Vavasseur</p> <p style="text-align: justify;">Les oeuvres pour l&rsquo;exposition personnelle &laquo;&nbsp;A country in the eyes&nbsp;&raquo; seront en ligne dans le courant du mois de mai 2016, elles sont disponibles sur demande.</p> Sat, 23 Apr 2016 17:28:47 +0000 Michel Huelin - GALERIE ZURCHER - May 21st 6:00 PM - 8:00 PM <p>&laquo;&nbsp;Mes travaux s&rsquo;inscrivent dans une relation &eacute;quivoque avec la nature&nbsp;&raquo; souligne l&rsquo;artiste suisse Michel Huelin qui proc&egrave;de par une approche transdisciplinaire. Peintre, ses paysages des ann&eacute;es 90 &eacute;taient d&eacute;j&agrave; tributaires de pratiques aussi diverses que la vid&eacute;o et le ski de haute montagne&nbsp;! Des paysages tellement d&eacute;tourn&eacute;s dans leur repr&eacute;sentation que celle-ci appara&icirc;t comme la manifestation d&rsquo;un trouble, &agrave; commencer par celui de la vision.</p> <p>Depuis le d&eacute;but des ann&eacute;es 2000, Michel Huelin brouille les rep&egrave;res, offrant un m&eacute;lange d&rsquo;&eacute;l&eacute;ments de l&rsquo;espace intime (issu de ses &eacute;tudes sur le design mobilier) et de l&rsquo;espace interne (issu de son travail sur l&rsquo;imagerie m&eacute;dicale), initiant une esth&eacute;tique organique qu&rsquo;il d&eacute;veloppe autant de mani&egrave;re physique par la peinture (huile et r&eacute;sines alkydes) que de mani&egrave;re num&eacute;rique par des images g&eacute;n&eacute;r&eacute;es par ordinateur. Le processus lanc&eacute; par l&rsquo;artiste cr&eacute;e des variations ph&eacute;notypiques offrant l&rsquo;illusion du principe fondamental de l&rsquo;&eacute;volution.</p> <p>Michel Huelin obtient ainsi l&rsquo;image d&rsquo;esp&egrave;ces nouvelles dont le caract&egrave;re fictionnel ne suffit pas &agrave; &eacute;carter le trouble qui saisit le spectateur en constatant que cet environnement artificiel prend une place aussi &ldquo;naturelle&rdquo;. D&rsquo;autant que dans la nature, ces &laquo;&nbsp;invasive species&nbsp;&raquo; &ndash; ainsi que l&rsquo;artiste les a lui-m&ecirc;me d&eacute;sign&eacute;s &ndash; poss&egrave;dent des caract&egrave;res tr&egrave;s proches de ceux que l&rsquo;artiste met en &oelig;uvre virtuellement, en particulier la capacit&eacute; d&rsquo;une reproduction asexu&eacute;e, rapide et &agrave; ce point capable d&rsquo;adaptation en toutes circonstances.</p> <p>Michel Huelin d&eacute;livre ainsi des images conformes aux repr&eacute;sentations possibles d&rsquo;un &eacute;cosyst&egrave;me du futur g&eacute;n&eacute;tiquement modifi&eacute;. Avec cette &eacute;volution technique, les pr&eacute;occupations &eacute;thiques prennent une place pr&eacute;pond&eacute;rante. Michel Huelin imagine un univers de mutations suscitant &agrave; la fois la fascination et le malaise,&nbsp;manifestations d&rsquo;une techno-nature en expansion selon un principe de prolif&eacute;ration, comme la nature elle-m&ecirc;me sans contr&ocirc;le ni limite hormis celle de la perception du d&eacute;tail, cette notion m&ecirc;me devenant elle-m&ecirc;me imperceptible et floue. La complexit&eacute; du processus pictural lui-m&ecirc;me renforce encore cet &eacute;tat d&rsquo;hybridation.</p> <div> <p>Entre les <em>Landscape Recovery</em> et les <em>Recovery Landscape </em>la diff&eacute;rence est, en premier lieu, technique: les premiers recourent au lambda print quand les seconds sont des images imprim&eacute;es sur des transparents puis peintes, puis scann&eacute;es et enfin imprim&eacute;es en jet d&rsquo;encre sur un papier l&eacute;g&egrave;rement textur&eacute;. Les peintures proprement dites ne donnent pas moins l&rsquo;illusion de l&rsquo;irr&eacute;alit&eacute;. Comme l&rsquo;indique Michel Huelin&nbsp;: &laquo;&nbsp;cette prolif&eacute;ration est quantifiable, le fouillis et le d&eacute;sordre sont fictifs et ne cherchent pas &agrave; passer pour r&eacute;els&nbsp;&raquo;.</p> <p><br /> <em>Bernard Z&uuml;rcher</em></p> </div> Tue, 03 May 2016 17:02:49 +0000 - Frac Île-de-France, le Plateau - June 9th 7:30 PM - 8:30 PM <p style="text-align: justify;">Special guests unveil their vision of the exhibition.<br /> With : Pierre-Nicolas Bounakoff, Camille Vivier and Philippe Arti&egrave;res</p> Sat, 23 Apr 2016 15:41:27 +0000