ArtSlant - Recently added en-us 40 Nobuyoshi Araki - Kamel Mennour - June 22nd - July 23rd <p style="text-align: justify;">The flutterings of Araki Nobuyoshi&rsquo;s eyelids are the systoles and diastoles of an omni-photographic gaze. Over six decades, these intermittences of light have revealed hundreds of thousands of images, all on film, never digital. Known worldwide for his photographs of tied-up women in the tradition of kinbaku, a combination of martial art and sex, the Japanese photographer is offering for his fifth solo exhibition at the galerie kamel mennour a series of recent photographs where certain ties are undone, allowing a glimpse of love unto death.</p> <p style="text-align: justify;">Her name is Kaori. She is a dancer. Since their meeting in 2001, she has appeared in thousands of photographs. In image after image, like a Japanese Scheherazade, this Tōkyō muse seems to be reconciling to life a man wounded by the death of his beloved wife Yōko. Yōko was the heroine of Araki&rsquo;s &lsquo;Sentimental Journey&rsquo; in 1971, where Araki, his camera become an eye, caressed her from every angle. She was also the heroine of the 1989-1990 &lsquo;Winter Journey&rsquo;, a voyage without return, for Yōko died from cancer. Araki&rsquo;s melancholic destiny is moored between the ecstatic face of the &lsquo;Sentimental Journey&rsquo; and Yōko&rsquo;s still warm ashes in the &lsquo;Winter Journey&rsquo;. Thanatos has colonised Eros. Melancholy comes from an inconsolable loss. In perpetual mourning, it takes on the colour of women&rsquo;s eyes. Eyes that vibrate more than ever when the body is immobilised&hellip;</p> <p style="text-align: justify;">Prostitutes, school girls, lovers and aged beauties, teenagers and adults, their shimmering pupils speak of the same quest: that of the missing photograph. Araki punctuates the void with thousands of photographs, covering the walls with them and piling them up on the floors of his exhibiting galleries, but this missing shot will never appear. It would be the photograph of the place where Yōko has flown off to, leaving her body behind, here, to the flowers of the graveyard. Flowers&mdash;cut, faded, or artificial&mdash;that life has abandoned. At times, with Araki, their petals suggest sexual metaphors, once toying with the censor, now offering themselves to poetry. But death has colonised life and the riddle will be solved by no photograph. Where do caresses, love, tears go; where does being go? Where is Yōko now? Does she still exist otherwise than in photographic memory?</p> <p style="text-align: justify;">The bonds of kinbaku use the body to perceive the soul. &lsquo;Photography is a back and forth between life and death,&rsquo; says Araki Nobuyoshi. These words echo from the skies that he photographs every day, whether covered in melancholic clouds, in cobalt blue, or in the gold of sunset. And Kaori the muse is not far off. Sometimes tied up, here she finds herself free of restraints. Calm, beside an unsettling, lacerated doll; a giant beside the radioactive combat of two Godzilla; laughing as she steps out of the bath, a large red fish splashing its arc of water over her breasts; lascivious, stretched on the couch of her orgasm, between her open kimono an iguana toy resting on her mons veneris; serene, her hand resting on a commode where a <em>Tyrannosaurus rex </em>meets with a lover of cake. The artificial flowers form the theatre of tiny games where the plastic lives of roped-up Barbies, bloody and disarticulated dolls, prehistoric animals as large as playthings are acted out in humanoid scenes. The collected photographs ripple with bursts of laughter and tears and bear witness to what is at times a derisory contemporary life. This collection of images by Araki Nobuyoshi appears to traverse melancholy to bring together two invitations to live. The one finds its echo in art&mdash;<em>Memento mori</em>&mdash;the other in philosophy&mdash;Carpe diem. In other words: &lsquo;remember that you are going to die&rsquo;, so &lsquo;seize the day.&rsquo;</p> <p style="text-align: justify;">Annabelle Gugnon</p> Fri, 24 Jun 2016 19:30:55 +0000 Lee Ufan - Kamel Mennour (Avenue Matignon) - June 22nd - July 23rd <p style="text-align: justify;">&lsquo;The point is existence. The line is life.&rsquo;1</p> <p style="text-align: justify;">After his expansive and surprising sculptural dialogue with the Ch&acirc;teau de Versailles and the gardens of Andr&eacute; Le N&ocirc;tre in 2014, in Paris Lee Ufan is exhibiting his most recent paintings along with twelve watercolours from 1983. The galerie kamel mennour is honoured to bring these watercolours to the public in its new space on the Rue Matignon, and to hang in the space on the Rue du Pont de Lodi a series of paintings whose astonishing colours and vibratos signal a new direction for the artist.</p> <p style="text-align: justify;">Lee Ufan is legion. Known and recognised throughout the world for his paintings and sculptures, he is also a writer, philosopher, and art critic. He is Korean and Japanese, a double cultural heritage that has been further enriched through his special relationships with France, Germany, Denmark, and numerous other countries. Such a kaleidoscopic life is weighted down by an essential silence, where drawing and watercolour take on a primordial role. &lsquo;My thoughts and acts are an endless flittering. Drawing is the first contact between the paper and myself and the development of our relationship. It&rsquo;s true what one says about drawing&rsquo;s freedom from projects and structures, about its arbitrariness, it is really what best suits the activity of the painter,&rsquo; he writes in his book The Art of Resonance.2</p> <p style="text-align: justify;">Whether drawn, painted, or sculpted, every one of Lee Ufan&rsquo;s works is a beginning, an existential point, an event from which the exploration of an infinite, unknown, though vital world unfolds. This adventure takes place in a dialogue with the work. It is a question of setting in motion the creative process that will open art up to its own life. It will allow the viewer to enter into a dance scored to feeling. The outcome is vital: to become freer, vaster, more in tune with the infinite, and hence to the universe. &lsquo;It is not the universe that is infinite, it&rsquo;s the infinite that is the universe&rsquo;, says Lee Ufan3. Nuance appears on the scale of the limitless, where each of us can invent new dimensions for ourselves.</p> <p style="text-align: justify;">This is true of Lee Ufan himself first of all. He underlines this by pointing to a difference between painting and sculpture. The latter for him has a relationship to the environment in which it appears. This is why his sculptures always take the prefix-title Relatum, to which is then added a variable suffix-title. By contrast, pictorial creation is a solitary practice: &lsquo;I must, in my painting, challenge myself alone. The event that takes place between the canvas and myself is almost a secret rite, completely closed to the surrounding world.&rsquo;4 In this meditative, timeless state, Lee Ufan is attempting to connect with the unknown, to perceive &lsquo;the undetermined world that precedes language&rsquo;.5 This connexion will preside over the whole of the making of a painting or a drawing: it is the key with which Ufan will try to reach a prereflective dimension. Before painting, he adjusts his breathing and the rhythm of his body so that his energy, animated by a vital drive, finds its way to the infinite. The key turns. It opens the place in which to paint. The painting becomes like a living being that causes space to resonate.</p> <p style="text-align: justify;">This is where the viewer is invited to venture: towards the unknown.</p> <p style="text-align: justify;">For thought and reality do not conform with one another. Reality is infinite, painting is infinite&hellip;</p> <p style="text-align: justify;">Lee Ufan was the initiator and the theoretician of Mono-ha (&lsquo;School of Things&rsquo;). Between 1967 and 1970, this movement in Japan brought together artists who showed art to be a process between two things or between a thing and space. The Mono-ha artists, who have sometimes been linkened to the minimalists and the artists of arte povera, wanted to pace out, to make a survey of relationships with the outside by setting up spatial relationships. This relationship between the interior, the exterior, and space is still present in the work of Lee Ufan.</p> <p style="text-align: justify;">In Naoshima, on a small Japanese island in the Seto Inland Sea, the artist has created, with the help of his architect friend Tadao Ando, a place of contemplation. Dedicated to silence and meditation, it vibrates with the meeting between life and death. Would this be another way of designating the interior and the exterior? In any case, for Lee Ufan, a successful work manages to hold within itself life and death, to go beyond the fundamental dilemma of the human condition. This is what makes drawing and painting the privileged tools of metaphysics.</p> <p style="text-align: justify;">Annabelle Gugnon</p> <p style="text-align: justify;">-</p> <p style="text-align: justify;">1. Lee Ufan, L&rsquo;Art de la r&eacute;sonance, Beaux-Arts de Paris &eacute;ditions, Paris, 2013.</p> <p style="text-align: justify;">2. Ibid., op. cit.</p> <p style="text-align: justify;">3. Ibid., op. cit.</p> <p style="text-align: justify;">4. Ibid., op. cit.</p> <p style="text-align: justify;">5. Lee Ufan, Un art de la rencontre, &eacute;ditions Actes Sud, Paris, 2002.</p> <p style="text-align: justify;">Lee Ufan was born on June 24th, 1936, in Kyongnam, South Korea. He studied calligraphy, poetry and painting at the College of Kyongnam and the University of Seoul. Lee has been the subject of major shows at the Royal Museums of Fine Arts of Belgium, Brussels (2009); the Yokohama Museum of Art (2005); the MAMC &mdash; Mus&eacute;e d&rsquo;Art Moderne de Saint-&Eacute;tienne M&eacute;tropole (2005); the Samsung Museum of Modern Art, Seoul (2003); Kunstmuseum Bonn (2001); the Galerie Nationale du Jeu de Paume, Paris (1997); and the MMCA &mdash; National Museum of Contemporary Art, Seoul (1994).</p> <p style="text-align: justify;">He was awarded the Praemium Imperiale for painting in 2001 and the UNESCO Prize in 2000. In 2010 the Lee Ufan Museum, designed by Tadao Ando, opened at Benesse Art Site, Naoshima, Japan. In 2011, Lee&rsquo;s work was featured in at the Venice Biennale and the Solomon R. Guggenheim, New York organized a retrospective of his works. In 2014 Alfred Pacquement curated Lee&rsquo;s exhibition in the gardens of Versailles and in 2015 the city of Busan honoured the artist with the opening of Space Lee Ufan part of the Busan Museum of Art.</p> <p style="text-align: justify;">Simultaneously of his double exhibition in Paris, Lee Ufan is investing the Ch&acirc;teau La Coste (Le Puy-Sainte-R&eacute;parade), from May 29th to September 24th.</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&laquo; Le point, c&rsquo;est exister. Le trait, c&rsquo;est vivre &raquo;1</p> <p style="text-align: justify;">Apr&egrave;s son &eacute;tonnant et vaste dialogue sculptural avec le ch&acirc;teau de Versailles et les jardins d&rsquo;Andr&eacute; Le N&ocirc;tre, en 2014, Lee Ufan expose, &agrave; Paris, ses peintures les plus r&eacute;centes ainsi que douze aquarelles de 1983. La galerie kamel mennour est honor&eacute;e de les pr&eacute;senter dans son nouvel espace de la rue Matignon et d&rsquo;accrocher aux cimaises du site de la rue du Pont de Lodi des tableaux aux couleurs et vibratos in&eacute;dits, signes d&rsquo;une p&eacute;riode nouvelle dans l&rsquo;oeuvre du peintre.</p> <p style="text-align: justify;">Lee Ufan est multiple. Peintre et sculpteur mondialement connu et reconnu, il est aussi &eacute;crivain, philosophe et critique d&rsquo;art. Il est cor&eacute;en et japonais, une double richesse culturelle &eacute;toff&eacute;e par des relations privil&eacute;gi&eacute;es avec la France, l&rsquo;Allemagne, le Danemark et bien d&rsquo;autres r&eacute;gions du monde. Cette vie kal&eacute;idoscopique est lest&eacute;e</p> <p style="text-align: justify;">par un silence essentiel o&ugrave; le dessin et l&rsquo;aquarelle prennent une part primordiale. &laquo; Mes pens&eacute;es et mes actes ne cessent de voltiger &agrave; tout moment. Le dessin, c&rsquo;est le premier contact entre le papier et moi et le d&eacute;veloppement de nos relations. On dit bien que le dessin est libre de projet, et de structure, et arbitraire, il est vraiment ce qui convient le mieux &agrave; l&rsquo;activit&eacute; du peintre &raquo;, &eacute;crit-il dans son livre L&rsquo;Art de la r&eacute;sonance .2</p> <p style="text-align: justify;">Qu&rsquo;elle soit dessin&eacute;e, peinte ou sculpt&eacute;e, chaque oeuvre de Lee Ufan est un d&eacute;part. Un point existentiel comme un &eacute;v&eacute;nement &agrave; partir duquel se d&eacute;ploie l&rsquo;exploration d&rsquo;un monde infini &mdash; inconnu et pourtant vital. Cette aventure se fait en dialogue avec l&rsquo;oeuvre. Il s&rsquo;agit d&rsquo;atteindre le processus cr&eacute;atif qui ouvre l&rsquo;art &agrave; sa vie propre. Il permettra au regardeur d&rsquo;entrer dans une danse o&ugrave; se joue la partition du sentir. L&rsquo;issue en est vitale : devenir plus libre, plus vaste, plus accord&eacute; &agrave; l&rsquo;infini. Donc &agrave; l&rsquo;univers. &laquo; Ce n&rsquo;est pas l&rsquo;univers qui est infini, c&rsquo;est l&rsquo;infini qui est l&rsquo;univers &raquo;, &eacute;nonce Lee Ufan. La nuance est de la taille de l&rsquo;illimit&eacute; o&ugrave; chacun peut inventer de nouvelles dimensions de soi.3</p> <p style="text-align: justify;">Cela est d&rsquo;abord vrai pour Lee Ufan lui-m&ecirc;me. Il le souligne en marquant une diff&eacute;rence entre peinture et sculpture. Cette derni&egrave;re est, pour lui, en relation avec l&rsquo;environnement o&ugrave; elle appara&icirc;t.</p> <p style="text-align: justify;">C&rsquo;est pourquoi les sculptures prennent toujours le titre-pr&eacute;fixe de Relatum auquel s&rsquo;adjoint un titre-suffixe variable. En revanche, la cr&eacute;ation picturale, elle, est une pratique solitaire : &laquo; Je dois, pour ma peinture, me d&eacute;fier tout seul. L&rsquo;&eacute;v&eacute;nement qui se passe entre la toile et moi est proche d&rsquo;un rite secret, compl&egrave;tement ferm&eacute; &agrave; l&rsquo;ext&eacute;rieur.4 &raquo; Dans ce hors temps m&eacute;ditatif, Lee Ufan cherche &agrave; &ecirc;tre reli&eacute; &agrave; l&rsquo;inconnu, &agrave; percevoir &laquo; le monde ind&eacute;termin&eacute; qui pr&eacute;c&egrave;de le langage &raquo;5. Ce lien pr&eacute;sidera &agrave; l&rsquo;&eacute;laboration enti&egrave;re d&rsquo;une peinture ou d&rsquo;un dessin. C&rsquo;est la cl&eacute;. Lee Ufan cherche &agrave; rejoindre cette dimension.</p> <p style="text-align: justify;">Avant de peindre, il ajuste la respiration et le rythme du corps pour que l&rsquo;&eacute;nergie, s&rsquo;animant d&rsquo;une pulsion vitale, trouve son passage vers l&rsquo;infini. Un d&eacute;clic se produit. Il ouvre le lieu o&ugrave; peindre. Le tableau est alors comme un &ecirc;tre vivant qui inaugure une r&eacute;sonance de l&rsquo;espace.</p> <p style="text-align: justify;">C&rsquo;est l&agrave; que le regardeur est invit&eacute; &agrave; s&rsquo;aventurer : vers l&rsquo;inconnu. Car la pens&eacute;e et la r&eacute;alit&eacute; ne sont pas en conformit&eacute; l&rsquo;une avec l&rsquo;autre. La r&eacute;alit&eacute; est finie, la peinture infinie&hellip;</p> <p style="text-align: justify;">Lee Ufan a &eacute;t&eacute; l&rsquo;initiateur et le th&eacute;oricien du Mono-ha (l&rsquo;&Eacute;cole de la chose). Ce courant a regroup&eacute; de 1967 &agrave; 1970, au Japon, des artistes montrant l&rsquo;art comme processus entre deux choses ou entre une chose et l&rsquo;espace. Les artistes du Mono‑ha, que l&rsquo;on a parfois rapproch&eacute; des minimalistes et des plasticiens de l&rsquo;arte povera, &eacute;taient d&eacute;sireux d&rsquo;arpenter les rapports avec l&rsquo;ext&eacute;rieur, en &eacute;tablissant des relations spatiales. Cette relation entre int&eacute;rieur, ext&eacute;rieur et espace marquent aujourd&rsquo;hui encore l&rsquo;oeuvre de Lee Ufan.</p> <p style="text-align: justify;">&Agrave; Naoshima, sur la petite &icirc;le japonaise de la mer int&eacute;rieure de Seto, le plasticien a cr&eacute;&eacute;, avec la complicit&eacute; de son ami architecte Tadao Ando, un lieu de recueillement. D&eacute;di&eacute; au silence et &agrave; la m&eacute;ditation, il vibre de la rencontre entre vie et mort. Serait-ce une autre mani&egrave;re de d&eacute;signer l&rsquo;int&eacute;rieur et l&rsquo;ext&eacute;rieur ? En tout cas, pour Lee Ufan, une oeuvre r&eacute;ussie parvient &agrave; tenir en elle la vie et la mort, parvient &agrave; d&eacute;passer le dilemme fondamental de la condition humaine. Le dessin et la peinture sont de ce fait les outils privil&eacute;gi&eacute;s de la m&eacute;taphysique.</p> <p style="text-align: justify;">Annabelle Gugnon</p> <p style="text-align: justify;">-</p> <p style="text-align: justify;">1. Lee Ufan, L&rsquo;Art de la r&eacute;sonance, Beaux-Arts de Paris &eacute;ditions, Paris, 2013.</p> <p style="text-align: justify;">2. Ibid., op. cit.</p> <p style="text-align: justify;">3. Ibid., op. cit.</p> <p style="text-align: justify;">4. Ibid., op. cit.</p> <p style="text-align: justify;">5. Lee Ufan, Un art de la rencontre, &eacute;ditions Actes Sud, Paris, 2002.</p> <p style="text-align: justify;">Lee Ufan est n&eacute; le 24 juin 1936 &agrave; Kyongnam, en Cor&eacute;e du Sud. Il a &eacute;tudi&eacute; la calligraphie,</p> <p style="text-align: justify;">la po&eacute;sie ainsi que la peinture &agrave; l&rsquo;Universit&eacute; de Kyongnam et &agrave; l&rsquo;Universit&eacute; de S&eacute;oul.</p> <p style="text-align: justify;">L'artiste a fait l&rsquo;objet d&rsquo;expositions majeures aux Mus&eacute;es royaux des Beaux-Arts de Belgique, &agrave; Bruxelles (2009) ; au Yokohama Museum of Art (2005) ; au MAMC &mdash;Mus&eacute;e d&rsquo;art moderne et contemporain de Saint-&Eacute;tienne M&eacute;tropole (2005) ; au Leeum, Samsung Museum of Art, &agrave; S&eacute;oul (2003) ; au Kunstmuseum Bonn (2001) ; &agrave; la Galerie nationale du Jeu de Paume, &agrave; Paris (1997) ; et au MMCA &mdash; National Museum of Modern and Contemporary Art de S&eacute;oul (1994). Il a re&ccedil;u le Praemium Imperiale de peinture en 2001 ainsi que le prix UNESCO en 2000. En 2010, le Lee Ufan Museum con&ccedil;u par Tadao Ando a ouvert ses portes au Benesse Art Site, &agrave; Naoshima, au Japon.</p> <p style="text-align: justify;">En 2011, l&rsquo;oeuvre de Lee est pr&eacute;sent&eacute;e &agrave; la Biennale de Venise tandis que le Solomon R. Guggenheim Museum de New York organise une r&eacute;trospective de son travail. En 2014, Alfred Pacquement est le commissaire de l&rsquo;exposition de Lee au sein des jardins de Versailles, et en 2015, la ville de Busan met l&rsquo;artiste &agrave; l&rsquo;honneur avec l&rsquo;ouverture du Space Lee Ufan au sein du Busan Museum of Art.</p> <p style="text-align: justify;">En parall&egrave;le de sa double-exposition parisienne, Lee Ufan investit le ch&acirc;teau La Coste (Le Puy-Sainte-R&eacute;parade), du 29 mai au 24 septembre 2016.</p> Fri, 24 Jun 2016 19:25:25 +0000 Mihut Boscu Kafchin, Emil Michael Klein, Andrea Romano, Jessica Warboys, Camilla Wills - Gaudel de Stampa - June 24th - July 23rd Fri, 24 Jun 2016 19:07:19 +0000 Jesse Darling, Celia Hempton, Paul Maheke, Sojourner Truth Parsons, Dardan Zhegrova - Galerie Sultana - June 23rd - September 9th <p style="text-align: justify;">JESSE DARLING</p> <p style="text-align: justify;">Born in 1981, in Oxford, United Kingdom. Lives and works in London.<br /> Jesse Darling&rsquo;s practice is concerned with the human condition and how it is mediated through the structures, narratives and technologies that govern lived experience. Considering the social and physical body as a site where architectural, [bio] political and social structures manifest and become transformed, Jesse Darling works in sculpture, installation, text and &lsquo;dasein by design&rsquo; (the space where performance and unmediated experience meet). Recent exhibitions include: &ldquo;The Shadow of the Dome of Pleasure&rdquo;, Artspace, New Zealand; &ldquo;Absolute Bearing&rdquo;, LD50 Gallery, London; &ldquo;Spirit Level&rdquo; (with Takeshi Shiomitsu), AND/OR Gallery, London; &ldquo;Devotions&rdquo;, MOT Projects, London; They/Them, DREI, Cologne (all 2015); and &ldquo;Art After the Internet&rdquo;, MoMA, Warsaw (2014). Later this year, they will present a solo exhibition at Company Gallery, New York, and will also be published in the upcoming anthology Best British Poetry 2015. Jesse Darling works as editor-at-large for The New Inquiry, publishes texts and essays when absolutely necessary, and is represented by Arcadia_Missa.</p> <p style="text-align: justify;">CELIA HEMPTON</p> <p style="text-align: justify;">Born in 1981 in Stroud, United Kingdom. Lives and works in London.<br /> For all the flesh depicted in Celia Hempton&rsquo;s portraits, sensuality is only one part of the story. Although Hempton&rsquo;s nudes are typically titled with proper names, they are impersonal, their faces cropped out. They communicate something unknowable and ungraspable in even the frankest exposure of the body; try to clasp Kajsa (2015), and she would slip between your palms like an icicle. The subjects aren&rsquo;t strangers; they are Hempton&rsquo;s friends, acquaintances and, for the picture that initiated the series, her boyfriend. Initially, she wanted to paint his erection, but this required him to watch pornography while he posed &ndash; &lsquo;which put me in an interesting position&rsquo;, she tells me &ndash; so she eventually asked him to flip onto his front. Though the foregrounding of male buttocks carries cultural baggage, the sexual inflection of this particular presentation of the body is, in some sense, incidental. What Hempton seeks, rather, is the chance to paint from an &lsquo;interesting position&rsquo; &ndash; in this case, the fascination, rage, hilarity or whatever it is that ensues from watching your partner turned-on by someone else. &lsquo;What I am looking for when painting&rsquo;, Hempton says, &lsquo;is a situation more important than the painting itself.&rsquo; For her series &lsquo;Chat Random&rsquo; (2014&ndash;ongoing), which was first shown at Southard Reid in London in 2014, the artist utilizes, which connects global users via webcam &ndash; usually for the purposes of masturbation. Hempton asks random men if she can paint them, and then, brush in one hand and typing with the other, she depicts as much of the on-screen feed as the subject&rsquo;s patience &ndash; or arousal &ndash; allows. To see and be seen: this aspect of Chatrandom is compulsive, trance-like and occasionally aggressive. But then &lsquo;without awkwardness&rsquo;, Hempton says, the process &lsquo;just becomes about making a painting again&rsquo;. It&rsquo;s as if self-consciousness &ndash; something that even the most eager users of Chatrandom, not coincidentally, lack &ndash; is, for the artist, a luxury antithetical to creativity. Recent solo exhibitions include &ldquo;The Female Gaze, Part Two: Women Look At Men&rdquo;, Cheim &amp; read, New York, USA (2016); &ldquo;Prediction&rdquo; cur. By Milovan Farronato, Mendes Wood DM, S&atilde;o Paulo; &ldquo;Lupa&rdquo;, Galerie Sultana Paris, France (2015); &ldquo;Chat Random&rdquo;, Southard Reid, London, UK; &ldquo;Paintings on Wall and Canvas&rdquo;, Galleria Lorcan O&rsquo;Neill, Rome; a performance and presentation of work made in Stromboli as part of Fiorucci Art Trust's festival Forget Amnesia (2014); &ldquo;Cur&rdquo;, Southard Reid, London, UK and Vug, Neuer Aachener Kunstverein, Aachen, Germany (2013). Selected forthcoming and recent group exhibitions include &ldquo;The Painting Show&rdquo;, British Council Touring Exhibition; &ldquo;Electronic Superhighway 2016 &ndash; 1966&rdquo;, Whitechapel Gallery, London; &ldquo;I&rsquo;m here but you&rsquo;ve gone&rdquo;, Fiorucci Art Trust, London; &ldquo;Tomorrow: London&rdquo;, South London Gallery, London; &ldquo;Burning Down The House&rdquo;, Gwangju Biennale and Abstract Cabinet, David Roberts Art Foundation, London, (2013).</p> <p style="text-align: justify;">PAUL MAHEKE</p> <p style="text-align: justify;">Born in 1985, Brive-la-Gaillarde, France. Lives and works in London.<br /> Maheke has recently completed a programme of study at Open School East, after receiving an MA in Art Practice at l&rsquo;&Eacute;cole Nationale Sup&eacute;rieure d&rsquo;Arts de Paris-Cergy (FR) in 2011. His practice is grounded in emancipatory and decolonial thought with an emphasis on cultural identities and new subjectivities. His current research focuses &ndash; through video, installation, sculpture and furtive interventions &ndash; on the body as both an archive and a territory, as a utopia to be reimagined through different strategies of resistance. With particular attention to dance, he proposes to defuse the power relations that shape Western imaginations and to rearticulate the representations that emerge from them. Over the past year Maheke has pursued his research initiating a series of public conversations, at Open School East, entitled &ldquo;Beyond Beyonc&eacute;: Use It Like a Bumper!&rdquo;, which considered Hip-Hop cultures through the lens of Queer and Black Feminist theory. Recent solo shows: &ldquo;Green Ray Turns Out To Be Mauve&rdquo;, Green Ray, London (March 2016) and a performance at Guest Projects, London (April 2016). Other selected group exhibitions and residencies include &ldquo;Ruptures&rdquo;, ABI, cur. Katy Orkisz, London (2015); artist-in-residence at Darling Foundry, Montreal, Canada (2015); &ldquo;ODRADEK&rdquo;, Les Instants Chavir&eacute;s, cur. Mikaela Assolent + Flora Katz, Montreuil, France (2015); &ldquo;Re-former le monde visible&rdquo;, Le 116, cur. Marl&egrave;ne Rigler, Montreuil, France (2014); 59th Salon de Montrouge, Montrouge, France (2014); artist-in-residence at CIAP - &Icirc;le de Vassivi&egrave;re, France (2014); &ldquo;Videoakt&rdquo;, French Institute, Barcelona, Spain (2013); &ldquo;VIVA!&rdquo;, at Centre CLARK, Montreal, Canada (2012); &ldquo;Pratiques Furtives : fragments d&rsquo;une enqu&ecirc;te&rdquo;, cur. Patrice Loubier, Skol art center, Montreal, Canada (2012). Upcoming: &ldquo;Take the Weight&rdquo;, SixtyEight Art Institute, cur. Tom Clark + Iben Elmstrom, Copenhagen, Denmark (2017, group show).</p> <p style="text-align: justify;">SOJOURNER TRUTH PARSONS</p> <p style="text-align: justify;">Born in 1984 in Vancouver, Canada. Lives and works in Toronto.<br /> Sejourner Truth Parsons received her BFA from The Nova Scotia College of Art and Design. Parsons, a Toronto-based artist (who shares her first two names with a fantastic 19th century African-American freedom fighter) has an indulgent, slacker-ish rebelliousness to the way she works. Her paintings look like they were made by that smart girl who gets it&mdash;one who knows that painting has had its mid-century heyday, has died, and has been born again with a market friendly vigor&mdash;but is making the choice to not care. Parsons&rsquo; lack of seriousness would be annoying if it felt like she were angling towards something&mdash;say, if she, like Helen Johnson, paired her casualness with just enough control to look post-Internet cool. And some work, like the &ldquo;Untitled video&rdquo;, leaning in the corner, or the slightly flatter paintings with long fingers holding cigarettes, do read as too self-consciously composed. But the best work seems driven by a desire for juicy, funny, infectious impudence. Paintings like the first fruit to fall, an awkwardly off-kilter composition of falling red fruit against pink protruding bricks, grab you for the heck of it. In 2014, she was awarded the Canada Council for the Arts Residency grant to attend Santa Fe Art Institute. She has exhibited at Phil Gallery, Los Angeles; Night Gallery, San Francisco; and Mulherin, Asya Geisberg, New York, USA; Jessica Bradley Gallery, Cooper Cole, Toronto; and Oakville Galleries, Oakville, Canada. Parsons currently lives and works in Los Angeles, California.</p> <p style="text-align: justify;">DARDAN ZHEGROVA</p> <p style="text-align: justify;">Born in 1991 in Prishtina, Kosovo. Lives and works in Prishtina.<br /> Dardan Zhegrova&rsquo;s works play with the flux between language and its translation into visual representation. In his works emotion is used as an artistic medium that potentially could act as a means to questions our assumptions about intimacy and expression. Mostly known for his videos the artist can be regarded as a poet in a time where physical proximity is being replaced by an ubiquitous availability through modern means of communication. Recent exhibitions and performances include: &ldquo;Where we meet sometimes at night, bright bright, long talk in white&rdquo;, LambdaLambdaLambda, Prishtina; &ldquo;Your Enthusiasm to tell a story&rdquo;, Gallery 12Hub, Belgrade.</p> Fri, 24 Jun 2016 19:00:21 +0000 Christine Drummond - Galerie Olivia Ganancia - June 24th - July 16th Fri, 24 Jun 2016 18:53:37 +0000 Katarina Axelsson, Goxwa, Bertrand Flachot, Guillaume Toumanian, Ruben Fuentes, Agnès Baillon, Robert Ferri, Marc Perez, Eric Roux-Fontaine - Galerie Felli - June 30th - July 27th Fri, 24 Jun 2016 18:46:42 +0000 Grégory Derenne - Galerie Bertrand Grimont - June 23rd - July 30th Fri, 24 Jun 2016 18:41:06 +0000 Nicola Martini, Andrea Kvas, Lupo Borgonovo, Giorgio Andreotta Calò, Alfredo Aceto, Nico Vascellari - Bugada & Cargnel - June 24th - July 30th <p style="text-align: justify;">The exhibition<em> Il principio &egrave; solo e solo un centro spostato verso il centro</em> displays the works of six young Italian contemporary artists: <strong>ALFREDO ACETO</strong>, <strong>GIORGIO ANDREOTTA CAL&Ograve;</strong>, Lupo BORGONOVO, <strong>ANDREA KVAS</strong>, <strong>NICOLA MARTINI</strong> and <strong>NICO VASCELLARI</strong>. It takes its title from a work realised in 1970 by Vincenzo AGNETTI, one of the main Italian representative of conceptual art. He greatly influenced the young generation of Italian contemporary artists, whom practices and productions deeply echo AGNETTI's statement engraved in his work: "the beginning is only and only a centre displaced to the center". The beginning of a work comes from the displacement from a concept&ndash;centre of reflection&ndash;to the form&ndash;centre of projection, of production and of attention. The displacement is the creative process. Through duplications, reflects, gesture's repetitions and modulations, the exhibition underlines this poetic filiation through the investigation of these six young artists' creative process.</p> <p style="text-align: justify;">In his sound installation <em>Modesty or Surprise</em>, <strong><strong>ALFREDO ACETO</strong></strong> (b. in Turin in 1991, lives and works in Paris) reproduces the roar of the famous movie monster Godzilla by appropriating elements used by the production studios to create the sound effects for it: slamming car doors, hands covered in tarmac slapping the chords of a violin, the sound of footsteps, etc. The soundtrack created thus "serves as a backdrop for the non-linear development of the story generated by my work. In a way, it is the soundtrack of my life. It is the result of an attempt to reconstruct an essential sound that has always closely underpinned all my work, replacing the city of Burbank with the city of Pripyat&ndash;the subject and focal point of my practice".</p> <p style="text-align: justify;"><strong><strong>GIORGIO ANDREOTTA CAL&Ograve;</strong></strong> (b. in Venice in 1979, lives and works in Amsterdam and Venice) presents a series of polaroids (<em>P&egrave;re Lachaise</em>) that are cut up and split in two to allow for the appearance of details from the emulsion layers of the image. Part-visual notes, part-sensory reminiscences, these ephemeral images, which document a place for strolling cherished by the artist, capture moments and impressions, and constitute a range of melancholic single space-time reflections, frozen and mirror-like. The bronze sculpture of a bird (<em>Untitled (Bird / Skull))</em> is imbued with the same melancholy. <strong>GIORGIO ANDREOTTA CAL&Ograve;</strong> reproduces the effect of the erosion of wood by seawater in the extension of its plumage, situating the piece between ruin and still life.</p> <p style="text-align: justify;"><strong>Lupo BORGONOVO</strong> (b. in Milan in 1985, lives and works in Milan) blends and drawing in a collection built around the inspection and modulation of matter within an aquatic universe, in which the play of reflection, symmetry and mirror effects are conducive to journeys of the mind. Based on distinct stories and references, the pieces together form the logbook of an invisible and imaginary sailor, linking the aesthetic of ruins to the contemporaneity of form and matter. The series entitled <em>Barka</em> is composed by iron-made catamarans that the artist associated with objects he found on Pellestrina's beach, situated in Venice's Laguna. Lupo BORGONOVO thus created boats which seem to have been taken out from the water like would have been recent wrecks. They also are pedestals for the objects in synthetic materials the artist placed on them. These object have been transformed by the natural elements (salt, water, wind), and are somewhat crystallized between past and future. <em>Torta</em> is a bronze casting based on a wood model formerly used in the production of hats. With this five 3D puzzle pieces, Lupo BORGONOVO creates a post‑apocalyptic object that could be the wreck of an abandoned starship. The artist underlines the polymorphic aspect of his work entitling it <em>Torta </em>('cake' in Italian) or comparing it to a mooring bollard. <em>Agua</em> is a series of big format drawings made with felt-tip pen on Chinese paper. Once the drawings are made, Lupo BORGONOVO folds them and plunges them into water. When he takes them out and unfolds them, the drawings are duplicated on the other part of the paper. Lupo BORGONOVO usually says that he only realises one part of the drawing, the water making the other part. Each drawing allows the artist to analyse a specific subject that prolongs a past reflection or that will help him to produce new works. Shown between his sculptures, dividing and connecting them in the same way, these drawings are like a screen on which the artist's mental images are projected.</p> <p style="text-align: justify;">The pictorial installations of <strong><strong>ANDREA KVAS</strong></strong> (b. in Trieste in 1986) highlight the interaction between paint and surface. By creating his paintings on adjustable cotton canvases, Andrea&nbsp;KVAS invests them with a singular freedom. By turns folded, unfolded and spread out, his compositions&mdash;influenced by both sculpture and performance&mdash;allow a colourful star system to emerge. The painting thus becomes not an object of contemplation, but an instrument of choice for opening a dialogue with other objects and environments, and with the public.</p> <p style="text-align: justify;"><strong><strong>NICOLA MARTINI</strong></strong> (b. in Florence in 1984, lives and works in Milan) presents <em>Senza Titolo</em>, a series of "notes unfurling in space". These hybrid sculptures are made up of a solid part, using leftover scraps from industrial cast iron mouldings, and a soft part in silicone rubber that highlights their connection and singularity. <strong>NICOLA MARTINI</strong> aims to isolate and emphasize through this dualism the structure and information present in the original industrial moulding, on the one hand by filling the pores of the recuperated material with a lacquer and graphite solution or with acrylic resin, and on the other by filling the interstices left by the mould with silicone rubber saturated with mineral powder. Combining microscopic and macroscopic scales, <strong>NICOLA MARTINI</strong> renders visible that which was not.</p> <p style="text-align: justify;">The series <em>Dripping on the Feet of the Mountain</em> by <strong><strong>NICO VASCELLARI</strong></strong> (b. in Vittorio Veneto in 1976, lives and works in London and Rome) shares its title with a performance during which the artist made a night-time mountain descent by candlelight, using candles fixed onto a tree branch held at arm&rsquo;s length and left to extinguish completely before climbing back up the mountain in total darkness. The pieces displayed in the exhibition&mdash;aluminium castings of the branch holding the candles&mdash;bear testimony to the past performance while prolonging its experience. Through the use of various raw materials and elements (wood and fire) made into objects (torches) and pieces, <strong>NICO VASCELLARI</strong> highlights their polymorphism and plurivocality, both in space and in time.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>NICOLA MARTINI</strong>'s works were realised with the support of NUOVE // Safond.</p> <hr /> <p style="text-align: justify;">L'exposition<em> Il principio &egrave; solo e solo un centro spostato verso il centro</em> pr&eacute;sente les travaux de six artistes de la jeune sc&egrave;ne italienne&nbsp;: <strong>ALFREDO ACETO</strong>, <strong>GIORGIO ANDREOTTA CAL&Ograve;</strong>, Lupo BORGONOVO, <strong>ANDREA KVAS</strong>, <strong>NICOLA MARTINI</strong> et <strong>NICO VASCELLARI</strong>. Elle emprunte son titre &agrave; une &oelig;uvre de 1970 de Vincenzo&nbsp;AGNETTI, un des principaux repr&eacute;sentants italiens de l'art conceptuel et influence majeure de nombreux artistes italiens contemporains, dont les pratiques et les productions font profond&eacute;ment &eacute;cho &agrave; l'&eacute;nonc&eacute; grav&eacute; dans la pi&egrave;ce de Vincenzo AGNETTI&nbsp;:&nbsp;&laquo;&nbsp;le commencement est seulement et seulement un centre d&eacute;plac&eacute; vers le centre&nbsp;&raquo;. Le commencement de l'&oelig;uvre r&eacute;side dans le d&eacute;placement d'un concept &ndash; centre de r&eacute;flexion &ndash; vers la forme &ndash; centre de projection, de production et d'attention, c'est-&agrave;-dire dans le processus cr&eacute;atif. Entre d&eacute;doublements, reflets, r&eacute;p&eacute;titions et modulations du geste, l'exposition souligne une filiation po&eacute;tique &agrave; travers l'&eacute;tude du travail de ces six jeunes artistes.</p> <p style="text-align: justify;">Dans son installation sonore <em>Modesty or Surprise</em>, <strong><strong>ALFREDO ACETO</strong></strong> (n&eacute; &agrave; Turin en 1991, vit et travaille &agrave; Paris) reproduit le cri de Godzilla, monstre fameux du cin&eacute;ma, en se r&eacute;appropriant les &eacute;l&eacute;ments sonores utilis&eacute;s par les studios de production pour en r&eacute;aliser le bruitage&nbsp;: porti&egrave;res de voiture qui claquent, mains imbib&eacute;es de bitume frappant sur les cordes d'un violon, bruits de pas, etc... La piste sonore ainsi cr&eacute;&eacute;e &laquo;&nbsp;fait office de d&eacute;cor pour la progression non lin&eacute;aire du r&eacute;cit que mon travail g&eacute;n&egrave;re. Il s'agit, en quelque sorte, de la bande-son de ma vie. Elle est le r&eacute;sultat d'une tentative de reconstitution d'un son essentiel qui, depuis toujours, sous-tend intimement l'ensemble de mon travail, substituant la ville de Pripyat, sujet et lieu central de ma production, &agrave; celle de Burbank&nbsp;&raquo;.</p> <p style="text-align: justify;"><strong><strong>GIORGIO ANDREOTTA CAL&Ograve;</strong></strong> (n&eacute; &agrave; Venise en 1979, vit et travaille &agrave; Amsterdam et Venise) pr&eacute;sente une s&eacute;rie de polaro&iuml;ds (<em>P&egrave;re Lachaise</em>), d&eacute;coup&eacute;s et d&eacute;doubl&eacute;s, laissant appara&icirc;tre les d&eacute;tails des couches d'&eacute;mulsion de l'image. Entre notes visuelles et r&eacute;miniscences sensorielles, ces images &eacute;ph&eacute;m&egrave;res, qui documentent un lieu de promenade cher &agrave; l'artiste, capturent moments et impressions et constituent autant de reflets m&eacute;lancoliques d'espace-temps singuliers, fig&eacute;s et dispos&eacute;s en miroir. La sculpture en bronze d'un oiseau (<em>Untitled (Bird / Skull))</em> est empreinte de la m&ecirc;me m&eacute;lancolie. Dans le prolongement du plumage, <strong>GIORGIO ANDREOTTA CAL&Ograve;</strong> reproduit l'effet de l'&eacute;rosion de l'eau de mer sur le bois, situant l'&oelig;uvre entre la ruine et la nature morte.</p> <p style="text-align: justify;">M&ecirc;lant sculptures et dessins, <strong>Lupo BORGONOVO</strong> (n&eacute; &agrave; Milan en 1985, vit et travaille &agrave; Milan) propose un ensemble fond&eacute; sur l'inspection et la modulation de la mati&egrave;re au sein d'un univers aquatique, dans lequel les jeux de reflet, de sym&eacute;trie et de miroir sont propices au voyage mental. Toutes construites &agrave; partir d'histoires et de r&eacute;f&eacute;rences distinctes, les &oelig;uvres pr&eacute;sent&eacute;es &eacute;tablissent le carnet de bord d'un marin invisible et imaginaire, associant esth&eacute;tique des ruines et contemporan&eacute;it&eacute; des formes et des mat&eacute;riaux. La s&eacute;rie des <em>Barka</em> est compos&eacute;e de catamarans en fer que l'artiste a associ&eacute;s &agrave; des objets trouv&eacute;s sur la plage de Pellestrina, petite &icirc;le de la lagune v&eacute;nitienne. Ces embarcations semblent avoir &eacute;t&eacute; sorties de l'eau comme l'auraient &eacute;t&eacute; de r&eacute;centes &eacute;paves. Elles forment le socle d'objets en mati&egrave;re synth&eacute;tique dont l'aspect a chang&eacute; au contact d'&eacute;l&eacute;ments naturels (sel, eau, vent), cristallis&eacute;s entre le pass&eacute; et le futur. <em>Torta</em> est un moulage en bronze fait &agrave; partir d'un mod&egrave;le en bois utilis&eacute; &agrave; l'origine pour la fabrication de chapeaux. &Agrave; partir de ce puzzle 3D de cinq pi&egrave;ces, l'artiste produit un objet post-apocalyptique qui pourrait &ecirc;tre le vestige d'un vaisseau spatial abandonn&eacute;. Il souligne &eacute;galement la polymorphie de cette &oelig;uvre en l'intitulant <em>Torta</em> ("g&acirc;teau" en italien) ou en la comparant &agrave; une bitte d'amarrage. <em>Agua III </em>et<em> IV</em> sont des dessins grand format realis&eacute;s au feutre sur du papier de Chine. Une fois les dessins finis, Lupo BORGONOVO les plie en deux et les plonge dans l'eau. Lorsqu'il les ressort de l'eau et les d&eacute;plie, les dessins se sont d&eacute;doubl&eacute;s sur l'autre partie de la feuille. Lupo BORGONOVO aime dire qu'il a r&eacute;alis&eacute; la moiti&eacute; du dessin et l'eau, l'autre moiti&eacute;. Montr&eacute;s entre les sculptures, les divisant et les connectant tout &agrave; la fois, ces grands dessins sont comme des &eacute;crans sur lesquels sont projet&eacute;es les images mentales de l'artiste.</p> <p style="text-align: justify;">Les installations picturales d'<strong><strong>ANDREA KVAS</strong></strong> (n&eacute; &agrave; Trieste en 1986) soulignent les interactions entre peinture et support. En r&eacute;alisant ses peintures sur des toiles de coton sans ch&acirc;ssis et modulables, Andrea&nbsp;KVAS leur conf&egrave;re une libert&eacute; singuli&egrave;re. Tour &agrave; tour pli&eacute;es, d&eacute;pli&eacute;es, d&eacute;ploy&eacute;es, ses compositions - influenc&eacute;es &agrave; la fois par la sculpture et par la performance &ndash; font &eacute;merger un syst&egrave;me stellaire et color&eacute;. La peinture n'appara&icirc;t alors plus comme un objet de contemplation, mais devient l'instrument de pr&eacute;dilection de la mise en place d'un dialogue avec d'autres objets, d'autres environnements et avec le public.</p> <p style="text-align: justify;"><strong><strong>NICOLA MARTINI</strong></strong> (n&eacute; &agrave; Florence en 1984, vit et travaille &agrave; Milan) pr&eacute;sente <em>Senza Titolo</em>, une s&eacute;rie de &laquo;&nbsp;notes d&eacute;ploy&eacute;es dans l'espace&nbsp;&raquo;. Ces sculptures hybrides sont compos&eacute;es d'une partie solide, cr&eacute;&eacute;e avec des rebuts de moulages industriels en fonte, et d'une partie souple, en caoutchouc silicone, qui souligne leur connexion et leur singularit&eacute;. &Agrave; travers cette dualit&eacute;, <strong>NICOLA MARTINI</strong> s'attache &agrave; isoler et &agrave; souligner les structures et les donn&eacute;es contenues dans le moulage industriel d'origine, d'un c&ocirc;t&eacute; en remplissant les pores de la mati&egrave;re r&eacute;cup&eacute;r&eacute;e avec une solution de laque et de graphite ou bien avec des r&eacute;sines acryliques, de l'autre en remplissant les interstices laiss&eacute;s par le moule avec du caoutchouc silicone satur&eacute; de poudres min&eacute;rales. M&ecirc;lant &eacute;chelles microscopique et macroscopiques, <strong>NICOLA MARTINI</strong> rend ainsi visible ce qui ne l'&eacute;tait pas.</p> <p style="text-align: justify;">La s&eacute;rie <em>Dripping on the Feet of the Mountain</em> de <strong><strong>NICO VASCELLARI</strong></strong> (n&eacute; &agrave; Vittorio Veneto en 1976, vit et travaille &agrave; Londres et Rome) doit son titre &agrave; celui d'une performance au cours de laquelle l'artiste effectue la descente nocturne d'une montagne &agrave; la lueur de bougies dispos&eacute;es sur une branche d'arbre tenue &agrave; bout de bras, jusqu'&agrave; l'extinction compl&egrave;te de ces derni&egrave;res, pour ensuite remonter la pente dans l'obscurit&eacute;. Les &oelig;uvres pr&eacute;sent&eacute;es dans l'exposition, moulages en alliage d'aluminium de cette branche dans lesquels sont log&eacute;es des bougies, t&eacute;moignent de la performance pass&eacute;e tout en en prolongeant l'exp&eacute;rience. &Agrave; travers l'utilisation vari&eacute;e de mati&egrave;res premi&egrave;res (bois et feu) devenues objets (torches) et &oelig;uvres, <strong>NICO VASCELLARI</strong> souligne leur polymorphie et leur plurivocit&eacute;, &agrave; la fois dans l'espace et dans le temps.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Les oeuvres de <strong>NICOLA MARTINI</strong> ont &eacute;t&eacute; r&eacute;alis&eacute;es avec le soutien de NUOVE // Safond.</p> Fri, 24 Jun 2016 18:37:57 +0000 Group Show - Galerie Les Filles du Calvaire - July 2nd - July 30th <p>Galerie Les Filles du Calvaire is happy to announce a new exhibition around the invitation of Anna Alix Koffi, chief editor of <em>OFF the wall</em> book-magazine. &nbsp;</p> <p>&nbsp;</p> <p>This project comes from a desire to materialize the collaboration between Galerie Les Filles du Calvaire and the photography book-magazine <em>OFF the wall </em>over a summer exhibition. It will also be the opportunity to hold a group show on the occasion of the 20<sup>th</sup> anniversary of the gallery and the last issues of the magazine. The ten editions of the review reveal a shared understanding and converging vision of images and authors.</p> <p>&nbsp;</p> <p>Even if books lifetime exceeds the one of exhibitions, the eagerness to let images talk in present tense does remain.&nbsp; The show will not simply be about putting up the editorial choices of the magazine up on a wall, but rather to present a coherent and open selection of interconnected artworks, subject matters and forms. The two covers of each issue feature two photographs, one by an emerging photographer and the other by a renowned artist. This way, the gallery walls will become like pages, 3D covers showcasing and opening up a dialogue between two generations of photographers. Every photographer on view during the show will have been featured at least once in the magazine. Whether from an editorial or curatorial standpoint, our first and common passion is to draw parallel between diverse artistic approaches.</p> <p>&nbsp;</p> <p>The main subjects emphasized in each issue -necessary to guide readers through the review- will be condensed on the gallery walls to reaffirm the commitment and artistic line the gallery defined twenty years ago. The scenography, thought like a &ldquo;Best OF(F) the wall&rdquo;, will echo the editorial choices of the magazine through gathering the work of about thirteen artists represent by the gallery in addition to one artistic discovery.</p> <p>&nbsp;</p> <p>The ground floor will illustrate the last two issues, 9 and 10, of the magazine. Visitors will be greeted by No&eacute;mie Goudal&rsquo;s architecture photographs and Paola de Pietri&rsquo;s views of Istanbul. These open spaces will dialogue with the aerial compositions of Corinne Mercadier, themselves vibrating in contact with Katrien de Blauwer and Claudia Huidobro&rsquo;s delicate collages. At the center, the trembling nudity of Antoine d&rsquo;Agata&rsquo;s dancer will connect the two spaces.</p> <p>&nbsp;</p> <p>The first floor will celebrate the commitment of the gallery toward emerging artists through an original scenography made possible by the support of PICTO laboratories.</p> <p>Samuel Gratacap&rsquo;s and Laura Henno&rsquo;s portraits and bodies suspended in time will reveal a sublimated yet harsh reality, that of migrants at the Tunisian border and on the Reunion Islands. The atmosphere will get tenser as visitors move along to Benjamin Mouly&rsquo;s and Doroth&eacute;e Smith&rsquo;s works representing the encounter between forms and different states of being. Finally, Erwan Morere&rsquo;s and Yusuf Sevincil&rsquo;s visual density will cast a singular and contemporary light on the practice of black and white photography, with Erwan&rsquo;s work getting closer to drawing and Yusuf&rsquo;s to sooty scribbled calligraphy. The two artists share a profoundly yet contrasted humanist vision.</p> <p>&nbsp;</p> <p>Clara Chichin will be Anna Alix Kofi&rsquo;s guest of honor, an artistic discovery we will let visitors appreciate through her video.</p> <p>&nbsp;</p> <p align="right">Sebastien Borderie&nbsp;</p> Wed, 22 Jun 2016 12:14:25 +0000 Le MoDuLe De ZeeR - Lebenson Gallery - June 17th - June 30th <p style="text-align: justify;">Anonyme et myst&eacute;rieusement haut-perch&eacute;, le MoDuLe De ZeeR intrigue. Ne serait-ce que par ce nom, celui d&rsquo;une oeuvre qui prend le pas sur son auteur. Les plus curieux auront suivi la partie de morpions g&eacute;ante dans les arrondissements de la capitale ; les plus avertis auront d&eacute;couvert ses impressionnante installations, des Bains Douches &agrave; la Galerie du Jour - Agn&egrave;s.B Apr&egrave;s une d&eacute;cennie sur les murs de Paris, Le MoDuLe De ZeeR s&rsquo;&eacute;panouit sur d&rsquo;autres supports gr&acirc;ce &agrave; une premi&egrave;re r&eacute;sidence artistique et s&rsquo;ouvre ainsi &agrave; de nouveaux horizons graphiques.</p> <p style="text-align: justify;">Des lignes noires pour des embranchements complexes, Le MoDuLe De ZeeR cr&eacute;e simplement des volumes d&rsquo;une autre galaxie. D&eacute;ploy&eacute; &agrave; diff&eacute;rentes &eacute;chelles, il &eacute;voque tant&ocirc;t un vaisseau spatial perdu dans l&rsquo;espace, tant&ocirc;t un r&eacute;seau grouillant de vie robotique. &Agrave; moins que l&rsquo;on n&rsquo;y voie un d&eacute;veloppement cellulaire, des glyphes mayas, ou encore la version 2.0 de L&rsquo;Hourloupe de Jean Dubuffet (cycle de peinture effectu&eacute; par l&rsquo;artiste entre 1962 et 1974 - ndlr). </p> <p style="text-align: justify;">Point commun &agrave; toutes ces interpr&eacute;tations, le myst&egrave;re d&rsquo;un syst&egrave;me graphique si bien rod&eacute; qu&rsquo;il en semblerait autonome. &laquo; Le module, j&rsquo;ai l&rsquo;impression parfois que c&rsquo;est lui qui m&rsquo;a choisi &raquo;. Il y a pourtant bien un artiste derri&egrave;re ces formes. Longtemps rest&eacute; anonyme, il cr&eacute;e le bug dans le paysage artistique urbain. Comment peint-il si haut ? Comment l&rsquo;appeler ? Une erreur d&rsquo;attribution sur internet l&rsquo;am&egrave;ne finalement &agrave; baptiser son oeuvre en 2011 LMDLDZR, acronyme pour &laquo; Le MoDuLe De ZeeR &raquo;. </p> <p style="text-align: justify;">Tout en assumant une part de schizophr&eacute;nieface &agrave; cette difficult&eacute; de d&eacute;nomination, il d&eacute;clare : <br /> &laquo; Moi, je suis Mehdi, soyons clair l&agrave;-dessus. ZeeR, ce serait mon double fantomatique [&hellip;] C&rsquo;est aussi cette volont&eacute; de s&rsquo;&ecirc;tre arr&ecirc;t&eacute; sur cette forme et de continuer &agrave; travailler dessus. &raquo; </p> <p style="text-align: justify;">Cette volont&eacute;, il d&eacute;cide de l&rsquo;incarner avec le personnage de ZeeR, en portant un masque aux lignes du module. V&eacute;ritable jouet graphique, ce motif se d&eacute;cline ensuite en diff&eacute;rents projets.<br /> Un des plus importants, Start Game Over, est une partie de morpions o&ugrave; les modules forment une croix ou un rond dans chaque arrondissement parisien. Sans vainqueur, son impossible r&eacute;solution &eacute;voque le disfonctionnement, autre concept cl&eacute; d&rsquo;une oeuvre qui foisonne comme une erreur informatique. </p> <p style="text-align: justify;">En parall&egrave;le de son parcours en rue, l&rsquo;artiste d&eacute;veloppe son module sur papier, dans des oeuvres d&eacute;licates jouant sur la notion d&rsquo;&eacute;chelle. Il concentre ou dilate son motif dans l&rsquo;espace pour couvrir l&rsquo;infinie palette du gris. </p> <p style="text-align: justify;">Cette ma&icirc;trise, il la d&eacute;ploie d&eacute;sormais sur toile pour atteindre un autre niveau dans la suggestion spatiale, notamment dans des diptyques qui, bien que toujours abstraits, voient aux horizons de la traditionnelle peinture de paysage. Apr&egrave;s plusieurs expositions &agrave; Paris, puis &agrave; New York &agrave; la Catherine Ahnell Gallery, il installe en d&eacute;but d&rsquo;ann&eacute;e son tout premier atelier dans l&rsquo;immens&eacute;ment vide Maison du Peuple de Clichy, en r&eacute;gion parisienne. Cette architecture d&rsquo;avant-garde des ann&eacute;es 1930 mettait en oeuvre une complexe m&eacute;canique avec toit, mur-rideau et plancher amovibles ; un v&eacute;ritable embl&egrave;me d&rsquo;un futur r&ecirc;v&eacute; et perdu, cher &agrave; l&rsquo;artiste. &laquo; On nous a vol&eacute; notre futur ! Gamin, je r&ecirc;vais de voitures volantes, en 2000 on nous a ressorti les trottinettes ! &raquo;. &Agrave; la fois d&eacute;saffect&eacute; et class&eacute; aux Monuments Historiques, ce lieu &laquo; mort-vivant &raquo; comme le d&eacute;signe Mehdi, entre en r&eacute;sonnance avec de nombreuses dualit&eacute;s du Module de ZeeR, l&rsquo;immobilit&eacute; et le mouvement, l&rsquo;unit&eacute; et ses multiples, le noir et le blanc. </p> <p style="text-align: justify;">Cette pertinente r&eacute;sidence artistique offre &eacute;galement l&rsquo;&eacute;crin id&eacute;al pour d&eacute;ployer le module et conduit au printemps 2014 &agrave; une exposition in situ nomm&eacute;e Equation.</p> Sat, 18 Jun 2016 08:44:04 +0000