ArtSlant - Recently added http://www.artslant.com/par/Events/show en-us 40 Group Show - Galerie Patricia Dorfmann - September 6th - September 20th Mon, 28 Jul 2014 14:35:38 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Anna Gaskell, Douglas Gordon - Galerie Yvon Lambert - September 6th - October 25th <p><img src="http://dbprng00ikc2j.cloudfront.net/userimages/34000/1ggx/20140728142804-PRe.JPG_2.JPG" alt="" /></p> <p><img src="http://dbprng00ikc2j.cloudfront.net/userimages/34000/1ggx/20140728142946-PRf_2.JPG" alt="" /></p> Mon, 28 Jul 2014 14:30:20 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list - Galerie Claudine Papillon - August 2nd - August 26th Sun, 27 Jul 2014 12:33:39 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Bill Hayden, Sam Pulitzer, Antek Walczak - Air de Paris - September 19th - October 31st <p style="text-align: justify;">War Pickles II is a fun exhibition full of pickles and war that anyone will surely understand and enjoy freely, without years of advanced education or careful definition of taste. As art, it smacks the palette and hits you in the gut, culminating in a fine relieving burp.<br /><br />Let us begin by testing the waters of the psychic imbalance between the market and the economy, terms implanted in the mind oppositionally, yet functioning according to the most sublte laws of sneaky dialectics. The market is an actual place, a site of dirty work, where we roll up our sleeves and do human business, like our daily rhythmic trips to the commode, but in public with social graces. We are constantly on guard about how to appear or admit our attendance at the market because it is the unforgiving materialistic demon of the everyday. It&rsquo;s not only up in your face but contorting it lastingly - wrinkles, creases, frowns, the rigid smiles greeting customers in pharmacies and bakeries. Money is the pure symbol covering up all that toil. Ah but the economy is ethereal, encompassing system-wide whims too intricate for mortals to fathom. It&rsquo;s enough to say that the economy either smiles or frowns upon the earth with its scales of cosmic balance. As a faith it spreads its word and promises&ndash;enabled by a hunchbacked servant named market&ndash;with an ideology strong enough to conquer and govern, extending in every domain. Among others, there are aesthetic economies, sexual ones, economies of physical motion, and even those for madness. Thus we might say that economy is the most perverse folly of metaphysics, an exterminating angel born from the ashes of a resentful dead god.&nbsp;<br /><br />Any materialism without the subjective element is clearly bonkers. Materials vs materialism. War Pickles cannot go overboard about foregrounding the material of art as expression or concept because pickles are all about the ingredients. The concept is less about lines to blur than trenches to leap over while charging the enemy. What does a jar of pickles have to say today? What did it say before? Can it say more when it sits in an art gallery than it can by singing in a Broadway musical? War pickles doesn&rsquo;t understand the question here.&nbsp;<br /><br />To conflate materials and ingredients is bonkers. Not satisfied to passively observe and represent or reflect the givens of the everyday (technology, biorobotic fleshiness, the organic and modified), War Pickles II acutally wants to touch the merchandise, lend it feeling and affects (if possible), to make things/objects cry, blush, laugh, and worry about the future.&nbsp;</p> Sun, 27 Jul 2014 12:15:22 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Gilbert & George - Galerie Thaddaeus Ropac - Pantin - September 7th - November 15th <p class="traduction" style="text-align: justify;">La Galerie Thaddaeus Ropac a le plaisir d&rsquo;annoncer la prochaine exposition de Gilbert &amp; George,<em>SCAPEGOAT. BOUC &Eacute;MISSAIRE. S&Uuml;NDENBOCK. PICTURES FOR PARIS</em>, dans son espace de Paris-Pantin.</p> <p class="traduction" style="text-align: justify;">Depuis des dizaines d&rsquo;ann&eacute;es, Gilbert &amp; George observent l&rsquo;&eacute;volution de leur quartier dans l&rsquo;East London et de notre monde moderne, illustrant les perp&eacute;tuels changements de la vie urbaine. Dans leur nouvelle s&eacute;rie de tableaux, les personnages deviennent autant de &ldquo;sculptures vivantes&rdquo;, &agrave; l&rsquo;instar des artistes eux-m&ecirc;mes, alliant l&rsquo;art et les th&eacute;matiques soci&eacute;tales, non sans &eacute;voquer au passage un univers d&rsquo;&eacute;motions intenses.</p> <p class="traduction" style="text-align: justify;">Ces nouvelles &oelig;uvres, cr&eacute;&eacute;es en 2013, explorent l&rsquo;environnement sociologique de Gilbert &amp; George en r&eacute;v&eacute;lant les tensions engendr&eacute;es par la coexistence de multiples strates de populations. On y rencontre des jeunes de toutes origines ethniques et sociales, des musulmanes voil&eacute;es et bien s&ucirc;r Gilbert &amp; George tant&ocirc;t masqu&eacute;s, tant&ocirc;t cach&eacute;s derri&egrave;re une pluie de cartouches de gaz comprim&eacute;, rev&ecirc;tant des apparences diverses et parfois &agrave; moiti&eacute; effac&eacute;s. Comme toujours, ils abordent de front leurs sujets &ndash; la mort, l&rsquo;espoir, la vie, la peur, le sexe, l&rsquo;argent, la race et la religion &ndash; pour nous offrir leur vision attachante du monde urbain moderne.</p> <p class="traduction" style="text-align: justify;">L&rsquo;exposition, sp&eacute;cialement con&ccedil;ue pour l&rsquo;espace de la Galerie Thaddaeus Ropac &agrave; Pantin, y cr&eacute;e un environnement extraordinaire avant d&rsquo;&ecirc;tre pr&eacute;sent&eacute;e dans plusieurs mus&eacute;es. Le romancier et essayiste Michael Bracewell a r&eacute;dig&eacute; le texte du catalogue publi&eacute; &agrave; cette occasion.</p> <p class="traduction" style="text-align: justify;">Gilbert, n&eacute; dans les Dolomites italiennes en 1943, et George, n&eacute; dans le Devon anglais en 1942, chacun &eacute;tudiant en art, se rencontrent en 1967 &agrave; la St Martin&rsquo;s School of Art de Londres (actuel Central Saint Martins College of Art and Design). Ils pr&eacute;sentent leur premi&egrave;re &oelig;uvre commune &agrave; l&rsquo;exposition de fin d&rsquo;ann&eacute;e, le &ldquo;Snow Show&rdquo;, sans se pr&eacute;occuper des crit&egrave;res formalistes enseign&eacute;s &agrave; l&rsquo;&eacute;cole. En 1969, ils r&eacute;alisent leurs premi&egrave;res &ldquo;sculptures chantantes et vivantes&rdquo;, se faisant &agrave; la fois sujets et objets de leurs &oelig;uvres dans une parfaite fusion de leur art et de leur vie quotidienne. Gilbert &amp; George commencent alors &agrave; se produire en &ldquo;statues vivantes&rdquo; dans les mus&eacute;es et les galeries. Une repr&eacute;sentation datant de 1970 est rest&eacute;e c&eacute;l&egrave;bre, les artistes ont ainsi chant&eacute; et dans&eacute; pendant des heures sur la chanson de Flanagan &amp; Allen&nbsp;<em>Underneath the Arches.&nbsp;</em>Leurs premiers assemblages de photographies en damiers datent de 1971. Ce sera d&eacute;sormais leur marque de fabrique. En 1980, leur iconographie devient plus complexe et contient une infinit&eacute; de sens qui va du symbolique, de l&rsquo;all&eacute;gorique, de l&rsquo;&eacute;rotisme le plus d&eacute;brid&eacute;, au religieux, au politique, &agrave; l&rsquo;intime.</p> <p class="traduction" style="text-align: justify;">Gilbert &amp; George ne font qu&rsquo;un seul et m&ecirc;me artiste depuis plus de quarante ans et ont r&eacute;alis&eacute; plus de deux mille &oelig;uvres.</p> <p class="traduction" style="text-align: justify;">En 1980, le Stedelijk Van Abbemuseum d&rsquo;Eindhoven a r&eacute;uni un vaste panorama de leurs tableaux, couvrant la p&eacute;riode 1971-1980. En 1985, une exposition retrospective a eu lieu au Guggenheim Museum, NY. Entre 1990 et 1993, Gilbert &amp; George ont eu une exposition, en Chine et &agrave; Moscou, qui a marqu&eacute; un tournant dans leur travail.&nbsp; En 1997, le Mus&eacute;e d&rsquo;art moderne de la Ville de Paris leur a consacr&eacute; une grande r&eacute;trospective. En 2005, Gilbert &amp; George ont repr&eacute;sent&eacute; le Royaume-Uni &agrave; la Biennale de Venise. La Tate Modern de Londres a organis&eacute; en 2007 une r&eacute;trospective, qui a voyag&eacute; &agrave; Munich, &agrave; Turin puis aux &Eacute;tats-Unis. Ils ont re&ccedil;u de nombreux prix et ont &eacute;galement &eacute;t&eacute; nomm&eacute;s Professeurs Honoraires de Philosophie par la London Metropolitan University. Le Nouveau mus&eacute;e national de Monaco pr&eacute;sente, jusqu&rsquo;au 2 novembre 2014, une grande exposition&nbsp;<em>Gilbert &amp; George</em>&nbsp;sur les trois &eacute;tages de la Villa Paloma. &nbsp;&nbsp;</p> <p style="text-align: justify;">______________________________________</p> <p style="text-align: justify;">Galerie Thaddaeus Ropac is delighted to announce the upcoming Gilbert &amp; George exhibition,<em>SCAPEGOAT. BOUC &Eacute;MISSAIRE. S&Uuml;NDENBOCK. PICTURES FOR PARIS</em>, in the Paris-Pantin venue.</p> <p style="text-align: justify;">Over the decades, Gilbert &amp; George have observed the evolution of&nbsp;their&nbsp;East London neighbourhood and our modern world, dealing with the perpetual flux of urban life.&nbsp;In these pictures, the figures are acting in a way, which recalls how Gilbert &amp; George saw themselves as &lsquo;Living sculptures&rsquo;, binding societal problematics and art together with a deadly serious way of describing a world of intense emotion, past, present and future.</p> <p style="text-align: justify;">These new<em>&nbsp;</em>pictures, all from 2013, reveal a modern western world through Gilbert &amp; George&rsquo;s sociological environment by exploring the tensions generated by the coexistence and the interaction of its inhabitants. The pictures are populated by young people from different races and backgrounds, veil-clad Muslim women, and Gilbert &amp; George themselves, masked in some or covered in small bomb-like canisters of nitrous oxide in other pictures, adopting different guises, sometimes appearing as shattered forms. They describe, as they have always done throughout their artistic practice,&nbsp;our modern urban world, by tackling subjects &ndash; death, hope, life, fear, sex, money, race and religion &ndash; in an engaging and direct way.</p> <p class="traduction" style="text-align: justify;">Specifically conceived for the halls of Galerie Thaddaeus Ropac Paris-Pantin, the exhibition will create&nbsp;a tremendous environment before travelling to several museums. A book accompanies the exhibition, inlcuding a comprehensive essay by the novelist and cultural critic Michael Bracewell.&nbsp;</p> <p style="text-align: justify;">Gilbert, born in the Italian Dolomites in 1943, and George, born in Devon, England in 1942, both art students, meet in 1967 at St Martin&rsquo;s School of Art in London (now Central Saint Martins College of Art and Design). At the end-of-year-show, the&nbsp;<em>Snow Show</em>, Gilbert and George created their first art as a joint effort, far removed from the formalist criteria of the art taught. In 1969, they created their first &ldquo;Singing and Living sculptures&rdquo;, making themselves both subjects and objects of their works in a perfect fusion of their art and their everyday life. Gilbert &amp; George then start to appear as &ldquo;Living sculptures&rdquo; in museums and galleries. In 1970, during a renowned presentation, they sang and moved along Flanagan &amp; Allen&rsquo;s song&nbsp;<em>Underneath the Arches&nbsp;</em>for hours. The pictures dating from 1971 are the first grid-arrangements, which would henceforth become their formal signature. In 1980, their iconography becomes more complex containing endless levels of meanings from symbolic and allegorical to the most unbridled eroticism, to the religious, political and personal.</p> <p class="traduction" style="text-align: justify;">Gilbert &amp; George have created together as an artist for over 40 years and have created more than 2000 artworks.</p> <p class="traduction" style="text-align: justify;">In 1980, the Stedelijk Van Abbemuseum in Eindhoven put together their first retrospective exhibition showing their pictures of 1971-80. In 1985, the Guggenheim Museum, New York staged a retrospective exhibition. In 1990 and 1993, Gilbert &amp; George had the ground-breaking exhibition in Russia and China. In 1997, the Mus&eacute;e d&rsquo;art moderne, Paris hosted a major retrospective exhibition of their art. In 2005, Gilbert &amp; George represented Great Britain at the Venice Biennial. The Tate Modern in London organised an extensive survey of Gilbert &amp; George&rsquo;s art in 2007, which travelled to Munich, Turin and then to the United States. They have received many awards including Honorary Professor of Philosophy by London Metropolitan University.</p> <p class="traduction" style="text-align: justify;">Currently, there is an important exhibition at the Nouveau Mus&eacute;e National de Monaco running until 2 November 2014.</p> Sun, 27 Jul 2014 10:05:15 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Oliver Beer - Galerie Thaddaeus Ropac - Pantin - September 7th - November 15th <p style="text-align: justify;">La Galerie Thaddaeus Ropac se r&eacute;jouit de pr&eacute;senter &laquo;&nbsp;Diabolus in Musica&nbsp;&raquo; la premi&egrave;re exposition d&rsquo;Oliver Beer &agrave; la galerie et deuxi&egrave;me collaboration apr&egrave;s la performance &laquo;&nbsp;Composition for Hearing an Architectural Space&nbsp;&raquo; qui a eu lieu en octobre 2013.</p> <p style="text-align: justify;">L&rsquo;exposition d&rsquo;Oliver Beer explorera la facult&eacute; de l&rsquo;homme &agrave; charger d&rsquo;une force &eacute;motionnelle, po&eacute;tique ou simplement narrative des objets et des ph&eacute;nom&egrave;nes par la puissance de l&rsquo;imagination.&nbsp; Cette tendance humaine sera en partie incarn&eacute;e dans une installation architecturale acoustique reposant sur un c&eacute;l&egrave;bre accord mythique portant en musique le nom de &laquo;&nbsp;Triton&nbsp;&raquo;. Cet intervalle de trois tons, correspondant &agrave; une quinte diminu&eacute;e, a appartenu &agrave; l&rsquo;&eacute;criture musicale du haut Moyen &Acirc;ge avant d&rsquo;en &ecirc;tre exclu par les autorit&eacute;s religieuses. Le son produit par une quinte diminu&eacute;e ou une quarte augment&eacute;e est per&ccedil;u par l&rsquo;oreille comme un son d&eacute;sagr&eacute;able provoquant un sentiment d&rsquo;inaccomplissement et de malaise lui ayant valu le surnom de &laquo;&nbsp;Diabolus in Musica&nbsp;&raquo;. L&rsquo;inconscient collectif populaire a eu progressivement tendance &agrave; consid&eacute;rer que ce ph&eacute;nom&egrave;ne sonore pouvait convoquer le diable.</p> <p style="text-align: justify;">Cet intervalle a &eacute;t&eacute; depuis largement exploit&eacute; par des courants musicaux en rupture avec l&rsquo;&eacute;quilibre classique sonore. Le jazz et le&nbsp;<em>heavy metal&nbsp;</em>notamment ont construit nombre de lignes &laquo;&nbsp;m&eacute;lodiques&nbsp;&raquo; sur cette association de notes d&eacute;s&eacute;quilibr&eacute;es faisant ainsi reposer l&rsquo;exp&eacute;rience musicale de l&rsquo;auditeur sur ce sentiment de d&eacute;calage et d&rsquo;inaccompli, affrontant non pas l&rsquo;universel mais le singulier par l&rsquo;exp&eacute;rience du son. C&rsquo;est exactement cette exp&eacute;rience &agrave; laquelle nous convie l&rsquo;installation d&rsquo;Oliver Beer &agrave; travers un dispositif englobant le spectateur.</p> <p style="text-align: justify;">L&rsquo;exposition pr&eacute;sentera aussi&nbsp;<em>Reanimation I (Snow White)</em>&nbsp;qui a &eacute;t&eacute; r&eacute;cemment pr&eacute;sent&eacute; en avant-premi&egrave;re au printemps 2014 dans le cadre de la programmation du&nbsp;<em>Prospectif Cinema</em>&nbsp;du Centre Pompidou. Ce film, ainsi que plusieurs sculptures et installations, traduisent dans un vocabulaire plastique troublant les recherches de l&rsquo;artiste sur les outils traditionnels d&rsquo;identification de ce que l&rsquo;on cherche souvent &agrave; d&eacute;finir comme &eacute;tant le r&eacute;el. En jouant sur la question de la pr&eacute;sence et de l&rsquo;absence et en interrogeant les propri&eacute;t&eacute;s physiques d&rsquo;objets quotidiens, Oliver Beer met en doute l&rsquo;objectivit&eacute; de la perception. Ces objets &ndash; une pipe, une arme, des rails &ndash; &agrave; la fois myst&eacute;rieux et ordinaires, semblent poss&eacute;der une dimension biographique expliqu&eacute;e en partie par la propension de l&rsquo;esprit humain &agrave; investir des objets inanim&eacute;s et &agrave; enrichir par l&rsquo;imagination leur &laquo;&nbsp;&ecirc;tre-au-monde&nbsp;&raquo; selon l&rsquo;expression de Heidegger. Leur rapport particulier avec le mur ou le sol qu&rsquo;ils int&egrave;grent progressivement vient enrichir ce potentiel narratif, ce que vient mettre en abyme le pouvoir magique de deux notes capables d&rsquo;&eacute;voquer le Malin&hellip;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Cette exposition de la rentr&eacute;e s&rsquo;inscrit dans une ann&eacute;e particuli&egrave;rement riche pour le jeune artiste britannique (UK, 1985) qui consacre son &oelig;uvre aux formes de la perception, notamment &agrave; travers les ph&eacute;nom&egrave;nes relevant de l&rsquo;acoustique. Oliver Beer a notamment, au cours de l&rsquo;ann&eacute;e 2014, collabor&eacute; avec Le Palais de Tokyo dans le cadre de son cycle Hors-les-Murs au MoMA PS1, avec la villa Arson &agrave; Nice mais aussi avec l&rsquo;exposition&nbsp;<em>Rabbit Hole</em>&nbsp;au Mus&eacute;e d&rsquo;art contemporain de Lyon qui se tiendra jusqu&rsquo;au 17 ao&ucirc;t 2014.</p> <p style="text-align: justify;">___________________________________</p> <p style="text-align: justify;">The Galerie Thaddaeus Ropac is delighted to present&nbsp;<em>Diabolus in Musica</em>, the first exhibition of works by Oliver Beer at our gallery and our second collaboration with him after the performance&nbsp;<em>Composition for Hearing an Architectural Space</em>, in October 2013.</p> <p style="text-align: justify;">Oliver Beer&rsquo;s exhibition will be exploring people&rsquo;s ability to imbue objects and phenomena with an emotional, poetic or simply narrative charge, through the power of the imagination. This human tendency will be given partial form in an architectural acoustic installation based on a famous mythical chord, which in musical theory is called the tritone. It is an interval of three whole tones and corresponds to a diminished fifth. It was used in musical writing in the late mediaeval period but then banned by religious leaders. The sound produced by a diminished fifth or an augmented fourth is perceived by the ear as an unpleasant sound that provokes a sense of incompleteness and unease that earned it the sobriquet &lsquo;Diabolus in Musica&rsquo;. The popular collective unconscious gradually developed a tendency to think that the sound might conjure up the devil.</p> <p style="text-align: justify;">The interval has since been widely used in musical genres that have broken with classical tone relationships. In both jazz and Heavy Metal, for example, a number of melody lines are constructed around this association of unbalanced notes. The resulting musical experience for the listener is based on that sense of something incomplete and out of kilter, which challenges not the universal but something unusual in the sound experience. It is precisely this experience that Oliver Beer&rsquo;s installation offers us, with a structure that totally envelops the spectator.</p> <p style="text-align: justify;">The exhibition is also presenting&nbsp;<em>Reanimation I (Snow White)</em>, which was recently (spring 2014) previewed as part of the&nbsp;<em>Prospectif Cinema</em>&nbsp;programme at the Centre Pompidou. It is a film which, along with several sculptures and installations, translates into disturbing artistic language Beer&rsquo;s investigation of the tools traditionally used for identifying what people often seek to define as real. By playing around with the notions of presence and absence and interrogating the physical properties of everyday objects, Oliver Beer throws doubt on the objectivity of perception. The objects &ndash; a pipe, a firearm, railway lines &ndash;, which are ordinary and yet mysterious, seem to be possessed of a biographical dimension, partly explicable through the propensity of the human mind to invest inanimate objects and to enrich what Heidegger termed their &lsquo;being-in-the-world&rsquo; through the imagination. The particular way in which they are related to the wall or the floor, which they gradually merge into, brings added richness to the potential narrative, all of which contributes to an eventual infinite regress of the magic power of those two notes capable of summoning up the Prince of Darkness.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">This exhibition, which marks the beginning of the new season, comes in a year that has been particularly full for this young British artist (b. UK, 1985), whose work is devoted to forms of perception, particularly in relation to acoustic phenomena. During 2014, Oliver Beer worked with the Palais de Tokyo in their Hors-les-Murs cycle at the MoMA PS1, with the Villa Arson in Nice, and also with the Mus&eacute;e d&rsquo;art contemporain in Lyon for the exhibition&nbsp;<em>Rabbit Hole</em>, which continues until 17 August 2014.</p> <p style="text-align: justify;">&nbsp;</p> Sun, 27 Jul 2014 09:57:43 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Site Fu - Galerie Paris-Beijing - September 11th - October 18th <h2 style="text-align: justify;"><span style="font-size: small;">La Galerie Paris-Beijing est particuli&egrave;rement heureuse d'exposer les derniers travaux du peintre Fu Site pour la premi&egrave;re fois dans son espace parisien.</span><br /><br /><span style="font-size: small;">R&eacute;alis&eacute;e entre 2013 et 2014, la s&eacute;rie Politiciens est sa plus r&eacute;cente. Elle &eacute;voque la complexit&eacute;, voire la cruaut&eacute;, des d&eacute;bats et des combats politiques contemporains, en mettant en sc&egrave;ne des figures &eacute;vanescentes d&rsquo;hommes qui se battent, qui discutent, ou qui se trouvent tout simplement dans des situations &eacute;tranges. Derri&egrave;re les rideaux d&rsquo;une salle d&rsquo;attente, entre les voiles d&rsquo;un baldaquin ou dans le reflet de l&rsquo;eau d&rsquo;une piscine, des sc&egrave;nes troublantes affleurent, comme si des v&eacute;rit&eacute;s insidieuses se cachaient sous un calme apparent...&nbsp;</span><br /><br /><span style="font-size: small;">Les toiles de Fu Site semblent superposer les niveaux et les temps de la narration, en introduisant une dimension psychique dans l&rsquo;espace. Des visions hallucinatoires surgissent dans l&rsquo;immobilit&eacute; du d&eacute;cor, telles des traces, des bribes de m&eacute;moire ou des pr&eacute;sences fantasmagoriques. L&rsquo;utilisation d&rsquo;une technique mixte parfaitement ma&icirc;tris&eacute;e - encre de Chine, crayon et huile -, permet &agrave; Site Fu de jouer avec les plans pour un introduire une temporalit&eacute; troubl&eacute;e.&nbsp;</span><br /><br /><span style="font-size: small;">Les r&eacute;f&eacute;rences de ce jeune peintre chinois vont de Goya &agrave; Francis Bacon, en passant par la peinture romantique. On retrouve dans ses tableaux une fascination pour les t&eacute;n&egrave;bres, les all&eacute;gories, l&rsquo;onirisme et l'inconscient. Le d&eacute;s&eacute;quilibre dans la composition du cadre, le chromatisme tr&egrave;s sombre, aux nuances d&rsquo;ocre et de gris, les figures tortur&eacute;es, pli&eacute;es dans la texture de la toile, nous renvoient &agrave; l&rsquo;une et &agrave; l&rsquo;autre de ces r&eacute;f&eacute;rences picturales.</span><br /><br /><span style="font-size: small;">Fu Site aime aussi le cin&eacute;ma : il admire David Lynch et se dit tr&egrave;s influenc&eacute; par le septi&egrave;me art. Il compose ses tableaux avec un go&ucirc;t prononc&eacute; pour la mise en sc&egrave;ne, recourant &agrave; des cadrages propres &agrave; la technique cin&eacute;matographique, tels des arr&ecirc;ts sur image. Les instants se fixent alors sur les toiles en suscitant l&rsquo;attente, comme dans un film &agrave; suspense dont elles pourraient &ecirc;tre les fragments.</span><br /><br /><span style="font-size: small;"><em>Fu Site est n&eacute; dans le Liaoning (Chine) en 1984. Il est dipl&ocirc;m&eacute; de l&rsquo;Universit&eacute; Tsinghua/Beijing (2006) et de l&rsquo;&eacute;cole des Beaux-Arts de Versailles (2011). Ce peintre jeune et talentueux a remport&eacute; de nombreux prix et r&eacute;compenses, dont le premier prix Canson 2013. Son travail a fait l'objet d'expositions personnelles et collectives en Chine et en France, o&ugrave; il vit et travaille aujourd&rsquo;hui.</em></span></h2> <p style="text-align: justify;">__________________________________________</p> <h2 style="text-align: justify;"><span style="font-size: small;">Galerie Paris-Beijing is particularly pleased to exhibit the latest works by the painter Site Fu for the first time in its Parisian space.</span><br /><br /><span style="font-size: small;">Realized between 2013 and 2014, the series Politicians is his most recent. It evokes the complexity &ndash; and even the cruelty &ndash; of contemporary debates and political battles, creating scenes in which evanescent male figures argue, discuss or simply find themselves in strange situations. Behind the curtains of a waiting room, between the veils of a canopy or in the reflection of a pool, troubling scenes emerge, as if insidious truths were hiding under an apparent calm.</span><br /><br /><span style="font-size: small;">Site Fu&rsquo;s canvases seem to superimpose the layers and time of the narrative, introducing a psychological dimension to the space. Hallucinatory visions rear up in the immobile d&eacute;cor like traces or snippets of memories or fantastical presences. A perfectly mastered use of mixed media &ndash; China ink, pencil and oils &ndash; allows Site Fu to play with the spatial layers to introduce a blurred temporality.</span><br /><br /><span style="font-size: small;">This young Chinese painter&rsquo;s references range from Goya to Francis Bacon to romantic painting. In his works, we find a fascination for shadows, allegories, fantasy and the unconscious. The disequilibrium in the composition and framing, the very dark color palette with nuances of ochre and grey and the tortured figures bent into the texture of the canvas evoke these artistic references.</span><br /><br /><span style="font-size: small;">Site Fu also loves cinema: he admires David Lynch and says he&rsquo;s very influenced by the &ldquo;seventh art&rdquo;. He composes his paintings with a pronounced taste for mises en sc&egrave;ne, making use of framing techniques borrowed from cinema such as freeze frames. The moments are therefore fixed on the canvas, creating a feeling of expectation as if they were suspense-filled fragments from a film.</span><br /><br /><span style="font-size: small;"><em>Site Fu was born in Liaoning (China) in 1984. He earned his diploma from the University of Tsinghua/Beijing (2006) and the Versailles School of Fine Arts (2011). This young and talented painter has won numerous prizes and awards, including the Canson Prize in 2013. His work has been shown in solo and group exhibitions in China and France, where he lives and works today.</em></span></h2> Sun, 27 Jul 2014 09:47:56 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Axel Pahlavi - Galerie Eva Hober - September 6th - October 11th <p><img src="http://dbprng00ikc2j.cloudfront.net/userimages/34000/1ggx/20140727083729-PRf.JPG" alt="" /></p> <p><img src="http://dbprng00ikc2j.cloudfront.net/userimages/34000/1ggx/20140727083835-PRe.JPG" alt="" /></p> Sun, 27 Jul 2014 08:40:22 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list - Galerie Binôme - September 10th - September 20th <p style="text-align: justify;">La Galerie Bin&ocirc;me, d&eacute;di&eacute;e &agrave; la photographie contemporaine, accueille Profil(s) au c&oelig;ur du Marais. Le vernissage sera l&rsquo;occasion de rassembler les candidats du concours ainsi que les membres du jury. Le Prix du Public y sera &eacute;galement annonc&eacute; et les &oelig;uvres ouvertes &agrave; la vente.</p> <p style="text-align: justify;">Profil(s) est un concours photographique sur le th&egrave;me de la photo de profil, parrain&eacute; par Sarah Moon et Olivier A&iuml;m. Ouvert &agrave; toutes et &agrave; tous, il offre la chance aux 5 meilleurs projets de b&eacute;n&eacute;ficier d&rsquo;une exposition &agrave; Arles, lors des Rencontres Internationales de la Photographie.</p> <p style="text-align: justify;">Profil(s) est une interface visant &agrave; favoriser la rencontre de diff&eacute;rents points de vue, de plusieurs g&eacute;n&eacute;rations autour de la photographie. Le projet souhaite aussi souligner le parall&egrave;le entre tradition et modernit&eacute;, entre art et communication.</p> <p style="text-align: justify;">Si la photo de profil fait directement &eacute;cho aux r&eacute;seaux sociaux, elle rel&egrave;ve par ailleurs d&rsquo;une longue tradition du portrait photographique, de Nadar &agrave; Nan Goldin. De ce fait, Profil(s) interroge le photographe sur l&rsquo;&eacute;volution de la photographie contemporaine face aux nouveaux m&eacute;dias. <br />L&rsquo;essor du &laquo;selfie&raquo; am&egrave;ne &agrave; se questionner sur la place de la repr&eacute;sentation de soi dans <br />notre soci&eacute;t&eacute; &agrave; l&rsquo;heure des r&eacute;seaux sociaux.</p> <p style="text-align: justify;">Profil(s) est organis&eacute; par les &eacute;tudiants membres de l&rsquo;association Celsa Hors les murs</p> <p>&nbsp;</p> Sun, 27 Jul 2014 08:19:02 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Clément Rodzielski - Galerie Chantal Crousel - September 6th - October 16th Sun, 27 Jul 2014 08:04:58 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Group Show - Galerie Almine Rech - September 6th - October 11th <p style="text-align: justify;">Que se passe-t-il lorsque l&rsquo;oeuvre d&rsquo;art bascule du c&ocirc;t&eacute; de l&rsquo;usage, lorsque la sculpture lorgne du c&ocirc;t&eacute; du mobilier, que l&rsquo;image investit non pas le tableau mais la tenture ou le tapis ?</p> <p style="text-align: justify;">Cette exposition met en perspective la fa&ccedil;on dont bon nombre d&rsquo;artistes d&eacute;jouent les cat&eacute;gories, et questionnent la limite poreuse suppos&eacute;e s&eacute;parer l&rsquo;art, des arts d&eacute;coratifs en r&eacute;introduisant la notion de domesticit&eacute; dans leur r&eacute;flexion.</p> <p style="text-align: justify;">Ces travaux, souvent consid&eacute;r&eacute;es comme se situant &agrave; la marge de la pratique artistique, r&eacute;v&egrave;lent cependant d&rsquo;autres enjeux&hellip; Le plus &eacute;vident de ces enjeux consistant &agrave; attribuer &agrave; l&rsquo;objet une fonction qui va au-del&agrave; de la beaut&eacute; et du contenu.</p> <p style="text-align: justify;">Ce souci de dialogue entre forme et fonction traverse l&rsquo;histoire, raviv&eacute; &agrave; la fin du XIX&deg; si&egrave;cle par le mouvement des Arts and Crafts de William Morris et John Ruskin, puis quelques ann&eacute;es plus tard par l&rsquo;Art Nouveau qui exprime cet id&eacute;al de &laquo; Beau dans l&rsquo;utile &raquo;. Ce m&ecirc;me objectif est mis en exergue durant les ann&eacute;es 1920-30 par les mouvements d&rsquo;avant garde que sont le Bauhaus ou De Stijl, avant d&rsquo;&ecirc;tre de nouveau occult&eacute;. Durant tout le XX&deg; si&egrave;cle, cette question du lien ou de la rupture entre l&rsquo;art et les arts d&eacute;coratifs fait d&eacute;bat, tout comme font d&eacute;bat par ailleurs les &eacute;ventuelles vertus &laquo; d&eacute;coratives &raquo; de l&rsquo;oeuvre d&rsquo;art. De leur c&ocirc;t&eacute;, les designers soulignent cette possible perm&eacute;abilit&eacute; entre mobilier et sculpture, en signant des cr&eacute;ations dont la fonctionnalit&eacute; s&rsquo;efface derri&egrave;re la forme, et/ou en produisant de plus en plus souvent des s&eacute;ries limit&eacute;es, voire parfois des pi&egrave;ces uniques.</p> <p style="text-align: justify;">Aujourd&rsquo;hui, ce cloisonnement suppos&eacute; entre ce qui rel&egrave;verait de l&rsquo;art et ce qui a longtemps &eacute;t&eacute; regard&eacute; comme un art mineur tend &agrave; dispara&icirc;tre. Cette relecture est provoqu&eacute;e par des artistes qui renouent avec le dialogue entre forme et fonction, en introduisant dans leur pratique des mat&eacute;riaux habituellement destin&eacute;s &agrave; la cr&eacute;ation d&rsquo;objets domestiques ou &agrave; l&rsquo;artisanat. Ainsi c&eacute;ramique, laine, textile, verre, mat&eacute;riaux recycl&eacute;s, sont ils &agrave; pr&eacute;sent partie int&eacute;grante du langage plastique contemporain.</p> <p style="text-align: justify;">Ces mat&eacute;riaux induisent des techniques et des gestes longtemps r&eacute;serv&eacute;s &agrave; l&rsquo;artisanat d&rsquo;art, ou aux ouvrages minutieux des femmes (du mythe de P&eacute;n&eacute;lope attendant le retour d&rsquo;Ulysse, aux travaux d&rsquo;aiguille des religieuses &agrave; l&rsquo;abri des murs des couvents, ou aux tricots et autres broderies, consid&eacute;r&eacute;s comme des passe-temps f&eacute;minins). Ce retour &agrave; la &laquo; fabrication &raquo; manuelle, cette implication dans un travail d&rsquo;atelier r&eacute;clamant temps et attention semble motiver le choix de certains artistes. Cette attitude, loin d&rsquo;&ecirc;tre r&eacute;gressive, peut &ecirc;tre vue comme une r&eacute;ponse aux productions d&rsquo;oeuvres spectaculaires dont la perfection et la sophistication technique efface toute trace d&rsquo;intervention manuelle, d&eacute;courage toute forme d&rsquo;&eacute;motion. Ces productions d&rsquo;apparences plus modestes tol&egrave;rent les &eacute;ventuelles imperfections, irr&eacute;gularit&eacute;s, asp&eacute;rit&eacute;s qui non seulement en font la singularit&eacute;, mais expriment aussi une forme de po&eacute;sie et une proximit&eacute; avec celui ou celle qui les regarde ou les utilise. Par ailleurs, ces pi&egrave;ces &laquo; fonctionnelles &raquo; interrogent parfois une relation au corps. Le spectateur devenu un utilisateur est invit&eacute; &agrave; toucher, bouger, s&rsquo;asseoir, se d&eacute;placer, exp&eacute;rimenter l&rsquo;objet, tout en l&rsquo;appr&eacute;ciant pour ce qu&rsquo;il est : une oeuvre d&rsquo;art ( pi&egrave;ce unique ou r&eacute;alis&eacute;e en s&eacute;rie limit&eacute;e ).</p> <p style="text-align: justify;">Parfois, le dispositif produit par l&rsquo;artiste cr&eacute;e un flottement n&eacute; du brouillage des codes, notamment lorsqu&rsquo;il confronte un objet utilitaire pr&eacute;existant &agrave; son propre travail. Ce m&ecirc;me trouble op&egrave;re lorsque le geste du peintre investit d&rsquo;autres supports comme le tapis ou la tapisserie. Ces pratiques &eacute;voquent autant les formes hybrides que peut emprunter la peinture que le regard que nous portons sur des oeuvres qui &eacute;chappent aux cat&eacute;gories.</p> <p style="text-align: justify;">Dans sa diversit&eacute;, l&rsquo;exposition pose un regard contemporain sur la cr&eacute;ation au sens le plus large du terme. Elle joue aussi librement avec l&rsquo;id&eacute;e d&rsquo;une installation domestique qui a plus &agrave; voir avec l&rsquo;appartement de l&rsquo;amateur qu&rsquo;avec le white cube qu&rsquo;est la galerie.</p> <p style="text-align: justify;">Fran&ccedil;oise-Claire Prodhon</p> <p style="text-align: justify;">____________________________________</p> <p style="text-align: justify;">What happens when a work of art also presents a functional purpose, when a sculpture serves as a piece of furniture, when a picture is painted, not on canvas, but on a curtain or carpet?</p> <p style="text-align: justify;">This exhibition puts into perspective the way in which many artists eschew categories and question the porous boundary that is meant to separate fine art from the decorative arts by reintroducing the notion of domesticity in their reflection.</p> <p style="text-align: justify;">These works &ndash; often considered as belonging in the margins of artistic practice &ndash; reveal other stakes, however. The most obvious of these consists in attributing to the object a function that goes beyond beauty or content.</p> <p style="text-align: justify;">This interest in the dialogue between form and function is present throughout history. It was revived in the late nineteenth century by the Arts and Crafts movement of William</p> <p style="text-align: justify;">Morris and John Ruskin, and some years later by Art Nouveau, which gave shape to this ideal of &lsquo;beautiful and useful&rsquo; creations. This same objective was put forward in the 1920s and 1930s by avant-garde movements like Bauhaus and De Stijl, before once more losing in importance. Throughout the twentieth century, the question of the closeness or distance between fine art and the decorative arts has been hotly debated, just as, for that matter, the potential &lsquo;decorative&rsquo; virtues of the work of art. For their part, designers stress this possible permeability between furniture and sculpture by creating pieces whose functionality vanishes behind form, and/or by increasingly producing limited series, and sometimes even unique pieces.</p> <p style="text-align: justify;">Today the presumed barrier between what allegedly falls under art and what has long been considered a minor art is gradually fading away. This change in perspective has been brought about by artists that have rekindled the dialogue between form and function by introducing in their practice materials that are generally used in the creation of domestic objects or craftwork. Thus, ceramic, wool, textile, glass and recycled materials, among others, are now an integral part of the contemporary language of the visual arts.</p> <p style="text-align: justify;">These materials induce techniques and gestures that have long been reserved for artistic craftwork or for the painstaking creations of women (from the myth of Penelope waiting for the return of Ulysses to the needlework of nuns behind convent walls or to knitting and embroidery, considered as feminine pastimes). This return to manual &lsquo;fabrication&rsquo;, this involvement in the practice of a craft requiring time and attention seems to steer the choice of some artists. Far from being regressive, this attitude can be seen as a response to the production of spectacular works whose technical perfection and sophistication erase any trace of manual intervention and discourage any form of emotion. More modest in appearance, these productions tolerate potential imperfections, irregularities, flaws that not only define their singularity, but also express a certain poetry and a proximity to those who contemplate them or make use of them. Moreover, these &lsquo;functional&rsquo; pieces sometimes raise questions in relation to the body. The viewer-turned-user is invited to touch, move, sit on and experiment the object, while appreciating it for what it is, i.e., a work of art (whether it is a unique piece or is produced in a limited series).</p> <p style="text-align: justify;">At times the object created by the artist will generate a certain confusion born of the blurring of codes, notably when the artist confronts a pre-existing functional artefact with his own work. The same uncertainty occurs when paint is applied to a support other than a canvas, such as a carpet or a tapestry. These practices are as much evocative of the hybrid forms that painting can take as of the way in which we look at works that escape easy categorization.</p> <p style="text-align: justify;">In its diversity, the exhibition offers a contemporary outlook on creation in the broadest sense of the term. It also plays freely with the idea of a domestic installation that has more to do with the apartment of an amateur than the white cube that is the gallery.</p> <p style="text-align: justify;">Fran&ccedil;oise-Claire Prodhon</p> Sun, 27 Jul 2014 08:01:27 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Charlotte Charbonnel - Backslash Gallery - September 11th - September 20th Thu, 24 Jul 2014 10:29:53 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list SP38 - le cabinet d'amateur - July 24th 5:00 PM - 7:00 PM Thu, 24 Jul 2014 10:28:14 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list