ArtSlant - Recently added en-us 40 - Hélène Bailly Gallery - du Faubourg-Saint-Honoré - December 11th - January 9th, 2016 Sun, 22 Nov 2015 15:40:39 +0000 Elina Brotherus - gb agency - November 12th - January 16th, 2016 Sun, 22 Nov 2015 15:27:40 +0000 Pia Rönicke - gb agency - November 12th - January 16th, 2016 Sun, 22 Nov 2015 15:27:38 +0000 Juergen Teller - Galerie Suzanne Tarasiève - November 12th - November 28th Sun, 22 Nov 2015 15:24:03 +0000 Hudinilson Jr. - Galerie Sultana - November 19th - January 23rd, 2016 <p style="text-align: justify;">This solo exhibition is the first presentation in France by Multimedia artist Hudinilson Urbano Jr who was one of the pioneers of Xerox art in Brazil. In 1975 he enrolled in the Fine Arts course at the Funda&ccedil;&atilde;o Armando &Aacute;lvares Penteado (FAAP-SP) where he studied until 1977. He then began experimenting with multiple artistic expressions such as drawing, painting, mail-art, graffiti, Xerox art, performance and urban interventions. The male human body is a recurrent theme in his oeuvre. In 1979 he founded the group 3n&oacute;s3 with artists Rafael Fran&ccedil;a (1957 &ndash; 1991) and M&aacute;rio Ramiro (1957). Together, they carried out urban interventions in S&atilde;o Paulo&rsquo;s urban landscape until 1982.</p> <p style="text-align: justify;">From 1982 onwards, he initiated the series &ldquo;Exerc&iacute;cio de Me Ver (Exercise for Seeing Myself)&rdquo;, which consists in the xerographic reproduction of parts of his own body. The result has been exhibited at Galeria Chaves (Porto Alegre), and at the Museu de Arte Contempor&acirc;nea da Universidade de S&atilde;o Paulo (MAC/USP) in 1983. He started to produce graffiti and stencil works from the mid 1980s onwards. At this time, he developed a close working relationship to artist Alex Vallauri (1949 &ndash; 1987). In 1984 he participated in the 1st Bienal de Havana and later curated and participated in the exhibition entitled &ldquo;Arte Xerox Brasil&rdquo; at the Pinacoteca do Estado de S&atilde;o Paulo. He exhibited at the 18th Bienal Internacional de S&atilde;o Paulo in 1985, and in 2001 participated in the 3rd Bienal de Artes Visuais do Mercosul (Porto Alegre).</p> <p style="text-align: justify;">In 2002 he took part in the group show &ldquo;Rendam-se Terr&aacute;queos&rdquo; with other graffiti artists, presenting the installation &ldquo;Narciso Revisita Seus Espelhos 2&rdquo;, mounted in a bathroom at Casa das Rosas in S&atilde;o Paulo. In 2012, Centro Cultural S&atilde;o Paulo (CCSP) presented the exhibition &ldquo;Obra e Documento &ndash; Arte/A&ccedil;&atilde;o e 3n&oacute;s3&rdquo; with work by the trio M&aacute;rio, Ramiro, Rafael Fran&ccedil;a and Hudnilson Jr as 3n&oacute;s3, and artists Genilson Soares e Francisco I&ntilde;arra, working as Arte/A&ccedil;&atilde;o.</p> <p style="text-align: justify;">Also in 2012, Hudinilson Jr. participates in the exhibition &ldquo;Colagens&rdquo; (with artist Nino Cais), and in the collective exhibition &ldquo;Po&eacute;tica Relacional&rdquo;, both at Galeria Jaqueline Martins (S&atilde;o Paulo).</p> Sat, 21 Nov 2015 15:46:57 +0000 Eric Liot - Galerie Olivier Waltman - December 17th - January 24th, 2016 Sat, 21 Nov 2015 15:34:36 +0000 Cédric Arnold - Galerie Olivier Waltman - November 7th - November 22nd Sat, 21 Nov 2015 15:32:54 +0000 Group Show - Galerie Natalie Seroussi - November 1st - December 31st Sat, 21 Nov 2015 15:21:57 +0000 Ernesto Sartori - Galerie Marcelle Alix - November 12th - January 30th, 2016 <p style="text-align: justify;">Ernesto Sartori is a particularly eloquent artist. What he says, writes, draws, paints or makes includes various myths and beliefs that everyday life nourishes in its simplest and sometimes most functional forms (table, ball of yarn, plastic wrapper, spoon, mirror, etc.) Although the gateway to this work finds its origins in the outer limits of a parallel world with odd angles, it now can be connected to an earthly, yet equally as whimsical, situation as it seems to encompass - within the most defined boundaries of domestic life - an imaginary phenomenology that could be approached by this persistent question: what are my chances of migrating into a body of another kind?</p> <p style="text-align: justify;">&nbsp;</p> <p style="padding-left: 30px; text-align: justify;">Looking closely at a recent wooden sculpture by Sartori, I think to myself that the proposition is not as obvious as it might appear at first sight. Is this mini piece of furniture - composed of approximate assemblages in plastered and colored wood - made so that we feel bigger than the world of objects and less overstepped by it? Or, on the contrary, does it represent the possibility to regret one&rsquo;s human size and to imagine oneself moving within the interior of things? I believe that Sartori&rsquo;s paintings have always been invitations to understand the rules that determine the fixed world of images so as to re-introduce movement back into it. As for the sculptures or installations, they contradict even more manifestly the fixity of painting, its well-known flatness. <br /><br />What would it be like to become an image, a body of painting? While imagining the situation of a bodily existence shaken by a new life within a painting, I immediately immersed myself in the story that Pierre Cassou-Nogu&egrave;s describes when he tries to explain this new sensitivity that the hero of <em>Une histoire de machines, de vampires et de fous</em> (<em>A Story of Machines, Vampires and the Mad</em>) experiences after having been bitten by a vampiress. The complex and enthralling pages at the beginning evoke the questioning of this human being that has become a Flemish portrait, or, in other words, a face of paint, an immobile body without organs nor sense of touch, prisoner of the canvas surface. One of the most touching moments, more particularly the one that I wish to evoke to come back to the work of Sartori, relies on the interior emptiness that characterizes existence in painting as compared to sensitive, living and full bodies of human existence. Because sensitive bodies contain a multitude of parts, all intertwined with each other, they can, of course, be opened, &ldquo;like you open an orange or a melon&rdquo;, as Cassou-Nogu&egrave;s describes.<br /><br />For Sartori, painting - whether it be applied on a flat surface or on varying qualities of wooden volumes - allows objects to be considered as sensitive bodies, as living beings. Color is the soul&rsquo;s mood. It is a mechanism of absorption in itself. Wherever it is applied, it feeds and informs those who are guided by it. Much like in Cassou-Nogu&egrave;s&rsquo; novel, the visitors who carry words and feelings are the ones who facilitate voyages and teleportations through colored material. Although classical painting seems to ignore randomness, Sartori reintegrates it back into his practice and makes the structure of this very human world out of it, with its changing characteristics and obvious instability. Using either his hand or a spatula, the artist sometimes applies the dyes and the gouaches directly onto the objects and volumes. He plays with what can be reproduced (architectures, landscapes and colored sensations) and with that which cannot (utensils, tools, scrap materials) so as to keep us as close to these arrangements as possible, troubled by the strange impression that the objects have their own voices, like when we would encounter them as children. <br /><br />This work shows us simple forms, but can we really consider them as simple? Like in a straightforward situation, isn&rsquo;t there the possibility for a reversal in a simple form?<br />How many times, on the verge of obtaining their goal, have the heroes of adventure novels or films seen their whole theory, and the scenery, crumble before their eyes because they somehow overlooked an important detail? This detail comes to mislead certainties, much like when we question common usages of language that have been crystallized into sayings or proverbs and that circulate without ever really being questioned. Are proverbial expressions fixed for everyone? Sartori is willing to take part in this question as well. The Italian proverb, &ldquo;Sul tagliere l&rsquo;aglio taglia, non tagliare la tovaglia, la tovaglia non &egrave; aglio, se la tagli fai uno sbaglio&rdquo; (&ldquo;Cut the garlic on the cutting board, do not cut the tablecloth, the tablecloth is not garlic, if you cut it, you&rsquo;ve made a mistake&rdquo;) known first and foremost as an exercise in comical diction, encompasses multiple meanings that stimulate those who are the most playful. Sartori highlights not only the importance of the wood of the cutting board but that of the garlic which has become a tool in and of itself. This time the garlic cuts and this reversal creates a new movement that language is unable to stop, or at least not for now. <br /><br />CB</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Ernesto Sartori was born in 1982 in Vicenza (Italy). He lives in Brussels. He was invited for a solo exhibition at Espace Madeleine Lambert in V&eacute;nissieux, in 2014 (cur. Fran&ccedil;oise Lonardoni). He produced a large installation for Passerelle art center in Brest the same year (exhibition <em>Vernacular Alchemists</em>, cur. Etienne Bernard and Antoine Marchand), while his work was presented at FIAC (Jardins des Tuileries) and at the occasion of <em>S&egrave;vres Outdoors</em> (Cit&eacute; de la c&eacute;ramique de S&egrave;vres). In 2015, he took part in the outdoor program of the Parc Saint-L&eacute;ger art center. He is currently producing a new installation for the art center in Colomiers and is participating to the exhibition <em>ARBAESAESBANM</em> at the Acad&eacute;mie des Beaux-Arts in Brussels.<br /><br />Special thanks: Thibault Espiau, Camila Renz, Baptiste Pinteaux, Alex Balgiu &amp; Katie Dallinger, Frank Balland (Parc Saint-L&eacute;ger), M&eacute;lanie Vincent, Marie Cool Fabio Balducci.</p> <hr /> <p style="text-align: justify;">Ernesto Sartori est un artiste particuli&egrave;rement &eacute;loquent. Ce qu&rsquo;il dit, &eacute;crit, dessine, peint ou fabrique englobe des mythes et croyances divers que le quotidien irrigue dans ses formes les plus simples et parfois les plus fonctionnelles (table, pelote, emballage plastique, cuill&egrave;re, miroir, etc.). Si la porte d&rsquo;entr&eacute;e de ce travail trouve son origine aux confins d&rsquo;un monde parall&egrave;le aux angles un peu louches, tout aujourd&rsquo;hui le rapproche d&rsquo;une situation terrienne aussi fantasque, puisqu&rsquo;elle renfermerait dans les contours les plus d&eacute;finis de la vie domestique une ph&eacute;nom&eacute;nologie imaginaire qu&rsquo;une persistante question pourrait approcher: quelles sont mes chances de migrer dans un corps d&rsquo;une autre nature?</p> <p style="text-align: justify;">&nbsp;</p> <p style="padding-left: 30px; text-align: justify;">Regardant de pr&egrave;s une sculpture en bois r&eacute;cente de Sartori, je me dis que la proposition n&rsquo;est pas aussi &eacute;vidente qu&rsquo;il n&rsquo;y para&icirc;t &agrave; premi&egrave;re vue. Ce mini mobilier, compos&eacute; d&rsquo;assemblages approximatifs en bois pl&acirc;tr&eacute; et color&eacute;, est-il fait pour que nous nous sentions plus grands et moins d&eacute;pass&eacute;s par le monde des objets? Ou bien est-ce au contraire la possibilit&eacute; de regretter sa taille humaine pour pr&eacute;f&eacute;rer s&rsquo;imaginer circuler &agrave; l&rsquo;int&eacute;rieur des choses? Il me semble que les peintures de Sartori ont toujours &eacute;t&eacute; des invitations &agrave; comprendre les r&egrave;gles qui r&eacute;gissent le monde fixe des images pour y r&eacute;introduire le mouvement. Les sculptures ou installations, quant &agrave; elles, contredisent de fa&ccedil;on plus manifeste encore la fixit&eacute; de la peinture, sa bien connue platitude. <br /><br />Qu&rsquo;est-ce que ce serait de devenir une image, un corps de peinture? En imaginant la situation d&rsquo;une existence corporelle boulevers&eacute;e par une nouvelle vie &agrave; l&rsquo;int&eacute;rieur d&rsquo;un tableau, je me suis imm&eacute;diatement projet&eacute;e dans l&rsquo;histoire que d&eacute;crit Pierre Cassou-Nogu&egrave;s, lorsqu&rsquo;il tente d&rsquo;expliquer cette sensibilit&eacute; in&eacute;dite dont le h&eacute;ros d&rsquo;<em>Une histoire de machines, de vampires et de fous</em> est porteur, apr&egrave;s avoir &eacute;t&eacute; mordu par une femme vampire. Les complexes et passionnantes pages du d&eacute;but &eacute;voquent le questionnement de cet &ecirc;tre humain devenu un portrait flamand. Soit un visage de peinture, un corps immobile, sans organe ni sensation, prisonnier de la surface de toile. Un des moments les plus touchants, celui en particulier que je veux &eacute;voquer pour revenir au travail de Sartori, fonctionne sur le vide int&eacute;rieur qui caract&eacute;riserait l&rsquo;existence en peinture, compar&eacute;e aux corps sensibles, vivants et pleins de l&rsquo;existence humaine. Parce que les corps sensibles renferment des multitudes de parties, imbriqu&eacute;es les unes dans les autres, ils se laissent bien &eacute;videmment ouvrir nous dit Cassou-Nogu&egrave;s, &laquo;&nbsp;comme on ouvre une orange ou un melon&nbsp;&raquo;.<br /><br />Pour Sartori, la peinture, qu&rsquo;elle soit appliqu&eacute;e sur une surface plane ou sur des volumes de bois aux qualit&eacute;s tr&egrave;s variables, permet de consid&eacute;rer les objets comme des corps sensibles, des &ecirc;tres vivants. La couleur est &eacute;tat d&rsquo;&acirc;me. Elle est un m&eacute;canisme d&rsquo;absorption en soi. Partout o&ugrave; elle s&rsquo;&eacute;tale, elle nourrit et renseigne celui qui est guid&eacute; par elle. Comme dans le roman de Cassou-Nogu&egrave;s, ce sont les visiteurs charg&eacute;s de mots et de sentiments qui facilitent voyages et t&eacute;l&eacute;portations &agrave; travers la mati&egrave;re color&eacute;e. Si la peinture classique semble ignorer l&rsquo;al&eacute;atoire, Sartori le r&eacute;int&egrave;gre dans sa pratique et en fait la structure de ce monde tr&egrave;s humain, aux traits changeants et &agrave; l&rsquo;instabilit&eacute; &eacute;vidente. L&rsquo;artiste applique les colorants et la gouache parfois directement sur les objets et volumes, avec la main ou avec une spatule. Il joue avec ce qui se reproduit (architectures, paysages et sensations color&eacute;es) et ce qui ne se reproduit pas &agrave; priori (ustensiles, outils, chutes de mat&eacute;riaux), pour nous garder au plus proche de ces arrangements, troubl&eacute;s par cette impression &eacute;trange que l&rsquo;objet a une voix propre comme lorsqu&rsquo;on les c&ocirc;toyait, enfant. <br /><br />Ce travail nous montre des formes simples, mais peut-on v&eacute;ritablement les consid&eacute;rer comme simples? N&rsquo;y a-t-il pas dans une forme simple&mdash;comme dans une situation franche&mdash;un retournement possible? Combien de fois atteignant son but le h&eacute;ros de roman ou de film d&rsquo;aventure ne voit-il pas toute sa th&egrave;se, comme le d&eacute;cor, s&rsquo;&eacute;crouler parce que quelque chose lui a &eacute;chapp&eacute;&nbsp;? Ce quelque chose reviendrait &agrave; tromper les certitudes, comme on remet en question certaines formules du langage courant quand celles-ci se cristallisent en adages ou dictons qui circulent sans &ecirc;tre sp&eacute;cialement interrog&eacute;s. L&rsquo;expression proverbiale est-elle fig&eacute;e pour tout le monde? Sartori est pr&ecirc;t &agrave; intervenir &agrave; cet endroit aussi. Le proverbe italien &laquo;&nbsp;Sul tagliere l'aglio taglia, non tagliare la tovaglia, la tovaglia non &egrave; aglio, se la tagli fai uno sbaglio&nbsp;&raquo; (&laquo;&nbsp;sur la planche &agrave; d&eacute;couper taille l&rsquo;ail, ne taille pas la nappe, la nappe, n&rsquo;est pas l&rsquo;ail, si tu la tailles, tu te trompes&nbsp;&raquo;) connu comme un exercice de diction comique, mais pas uniquement, renferme des sens multiples qui stimulent les plus joueurs. Sartori y rel&egrave;ve autant l&rsquo;importance du bois de la planche &agrave; d&eacute;couper, que celle de l&rsquo;ail devenu lui-m&ecirc;me outil. L&rsquo;ail taille &agrave; son tour et ce renversement cr&eacute;e un mouvement in&eacute;dit que le langage n&rsquo;est pas en mesure d&rsquo;arr&ecirc;ter, enfin, pas dans l&rsquo;imm&eacute;diat.<br /><br />CB</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Ernesto Sartori est n&eacute; en 1982&nbsp;&agrave; Vicenza (Italie). Il vit &agrave; Bruxelles. Son travail a r&eacute;cemment fait l&rsquo;objet d&rsquo;une exposition personnelle &agrave; l&rsquo;Espace Madeleine Lambert &agrave; V&eacute;nissieux (cur. Fran&ccedil;oise Lonardoni). Il a &eacute;t&eacute; invit&eacute; la m&ecirc;me ann&eacute;e &agrave; produire une installation monumentale pour le centre d&rsquo;art Passerelle &agrave; Brest (exposition <em>Vernacular Alchemists</em>, cur. Etienne Bernard et Antoine Marchand), tandis qu&rsquo;on a pu apercevoir son travail dans le cadre de la FIAC (Jardins des Tuileries) et de <em>S&egrave;vres Outdoors</em> (Cit&eacute; de la c&eacute;ramique de S&egrave;vres). Il est intervenu en 2015 dans le cadre de la programmation hors-les-murs du Parc Saint-L&eacute;ger. Il produit en ce moment une nouvelle installation pour le centre d&rsquo;art de Colomiers et participe &agrave; l&rsquo;exposition <em>ARBAESAESBANM</em> &agrave; l&rsquo;acad&eacute;mie des Beaux-Arts de Bruxelles.<br /><br />Remerciements: Thibault Espiau, Camila Renz, Baptiste Pinteaux, Alex Balgiu &amp; Katie Dallinger, Frank Balland (Parc Saint-L&eacute;ger), M&eacute;lanie Vincent, Marie Cool Fabio Balducci.</p> Sat, 21 Nov 2015 15:16:59 +0000 Fouad Bouchoucha - Galerie Eric Dupont - November 21st - December 22nd Sat, 21 Nov 2015 15:14:47 +0000 Narmine Sadeg - Galerie Eric Dupont - November 21st - December 22nd Sat, 21 Nov 2015 15:14:38 +0000 Nicola Lo Calzo, Rut Blees Luxemburg - Galerie Dominique Fiat - November 12th - December 10th Sat, 21 Nov 2015 15:11:41 +0000 Mustapha Azeroual, Caroline Tabet, Zineb Andress ARRAKI - Galerie Binôme - November 10th - January 16th, 2016 <p style="text-align: justify;">Dans le cadre de La Premi&egrave;re Biennale des Photographes du Monde Arabe, la Galerie Bin&ocirc;me, en collaboration avec Art Factum Gallery (Beyrouth) et CulturesInterface (Casablanca), pr&eacute;sente <strong>Discours de la lumi&egrave;re avec Mustapha Azeroual, Caroline Tabet et Zineb Andress Arraki.</strong></p> <p style="text-align: justify;"><strong>Exposition collective<br />10.11.2015 &gt; 16.01. 2016<br />Interruption du 20.12.2015 &gt; 04.01.2016</strong></p> <p style="text-align: justify;">Dans l&rsquo;histoire de l&rsquo;art occidental, on cite souvent Leonard de Vinci comme un des premiers utilisateurs de la camera obscura, plus rarement son inventeur, Alhazen, imminent savant du monde m&eacute;di&eacute;val arabo-musulman. <em>2015, Ann&eacute;e internationale de la lumi&egrave;re et des techniques utilisant la lumi&egrave;re</em> comm&eacute;more notamment le mill&eacute;naire des grandes d&eacute;couvertes des scientifiques arabes du X&egrave;me si&egrave;cle, dont celles d&rsquo;Alhazen en 1015. Ses ouvrages, <em>Trait&eacute; de l&rsquo;optique</em>, puis <em>Le Discours de la lumi&egrave;re</em>, sont fondateurs dans le domaine de l&rsquo;optique.</p> <p style="text-align: justify;">Au del&agrave; de l&rsquo;hommage, <em>l&rsquo;exposition Discours de la lumi&egrave;re </em>proj&egrave;te un retour aux sources, au sens propre comme au figur&eacute;, de la d&eacute;construction analytique &agrave; l&rsquo;expression du sensible. La lumi&egrave;re du monde arabe, par sa symbolique et son intensit&eacute;, inspire les artistes du vieux continent depuis toujours. Sa dimension spirituelle et universelle constitue une voie d&rsquo;ouverture et une &eacute;nergie salvatrice. Quelles raisonnances peut-on trouver de ce rayonnement naturel et culturel dans le travail de photographes contemporains ?</p> <p style="text-align: justify;">Dans Discours de la lumi&egrave;re, les travaux r&eacute;cents de Mustapha Azeroual, Caroline Tabet et Zineb Andress Arraki, dialoguent sur ces th&egrave;mes de la r&eacute;flexion lumineuse, de l&rsquo;apparition et de la r&eacute;v&eacute;lation.</p> Sat, 21 Nov 2015 15:09:59 +0000 Cécile Bouvarel - Galerie Art' et Miss - November 17th - November 29th Sat, 21 Nov 2015 15:03:06 +0000 Masashi Kikuchi - Association Culturelle Franco-Japonaise de Tenri - December 8th - December 19th <p style="text-align: justify;">Mes jeunes ann&eacute;es ont toujours &eacute;t&eacute; en rapport &eacute;troit avec la nature qui m&rsquo;entourait.<br /> J'&eacute;prouve un sentiment d'infinie gratitude pour les multiples sensations et messages que m'a offerts la nature dans la succession de ses quatre saisons, et j'ai souhait&eacute; autant qu'il m'&eacute;tait possible, &agrave; travers mes &oelig;uvres, lui donner en retour mon affection.</p> Sat, 21 Nov 2015 14:55:21 +0000 Susumu Itô - Association Culturelle Franco-Japonaise de Tenri - December 1st - December 5th <p style="text-align: justify;">Je m&rsquo;efforce d&rsquo;exprimer tel quel le r&eacute;cit de l&rsquo;existence des hommes. <br /> De par mon handicap physique m&rsquo;ayant permis d&rsquo;exp&eacute;rimenter &agrave; la fois l&rsquo;obscurit&eacute; et la lumi&egrave;re, je me rends compte d&eacute;sormais que les deux valent le coup d&rsquo;&ecirc;tre v&eacute;cues. <br /> Il n&rsquo;y a point d&rsquo;existence dont le d&eacute;roulement ne soit pas fait de hauts et de bas. <br /> Que mes &oelig;uvres puissent &ecirc;tre des miroirs permettant &agrave; chacun de se confronter &agrave; lui-m&ecirc;me, et qu&rsquo;elles puissent enclencher dans l&rsquo;esprit de ceux qui les admirent un changement vers plus de bonheur encore.</p> Sat, 21 Nov 2015 14:53:14 +0000