ArtSlant - Recently added en-us 40 Megumi Sakaki - Galerie Métanöia - November 7th - November 13th Wed, 29 Oct 2014 19:28:26 +0000 Yoshinobu Sato - Galerie Métanöia - October 24th - October 30th Wed, 29 Oct 2014 19:29:11 +0000 Martin BRUNEAU - Galerie Isabelle Gounod - November 8th - January 17th, 2015 Mon, 27 Oct 2014 17:53:46 +0000 Naufus Ramirez-Figueroa - Galerie Sultana - October 23rd - December 20th <p style="text-align: justify;" align="justify">First solo exhibition by Naufus Ramirez-Figueroa at Sultana.</p> <p style="text-align: justify;" align="justify">Naufus Ram&iacute;rez-Figueroa (Guatemala City, 1978) holds a BFA from Emily Carr University and an MFA from the School of the Art Institute of Chicago. The Guatemalan civil war (1960-96) is a recurring subject in his work, which although often softened by an absurd and humorous approach, fails to conceal the force of history that precedes it. Ram&iacute;rez-Figueroa has participated in various solo and group exhibitions including the 53rd Internationale Kurzfilmtage Oberhausen (Oberhausen, Germany), Home Works IV (Ashkal Alwan, Beirut, Lebanon), Illy Present Future 2013 (Castello di Rivoli, Italy), A History of Interventions (Tate Modern, UK), Beber y Leer El Arcoiris (Casa Am&eacute;rica, Madrid) and recently he created a new installation of sculptures for the 10th Gwangju Biennale. He is a recipient of a Guggenheim fellowship, a Franklin Furnace award, a Jan Van Eyck fellowship, and an Akademie Schloss Solitude fellowship (selected by Dan Graham). Ramirez-Figueroa lives and works in Guatemala City, Guatemala.</p> <p style="text-align: justify;" align="justify">Biography <a href="" target="_blank">here</a></p> <p style="text-align: justify;" align="justify">The works in the current exhibition N"o se como decir no se" emerge from an investigation of the events surrounding the censorship of the Guatemalan play Co"razon del Espantapajaros" (1975), where art students from the Universidad Popular dressed in clown makeup and acted as policemen, soldiers, and government officials. The work so offended its audience that the director Rub&eacute;n Morales received anonymous death threats, the playwright Hugo Carrillo exiled, and the entire theatre season was cancelled for that year. The playwright later reflected on this extreme reaction and concluded that the play&rsquo;s intention was to provoke change but that severe consequences occurred because the theatre&rsquo;s audience members were themselves members of the bourgeoisie. He noted that despite whatever revolutionary aspirations were behind the vision of the director and the art students who mounted the work, the play&rsquo;s impact remained within a certain social group that naturally had the power to shut down voices of dissent.</p> <p style="text-align: justify;" align="justify">Naufus Ram&iacute;rez-Figueroa continues Carrillo&rsquo;s observations of the divergent interests of the artists and the bourgeoisie by engaging with the dichotomies of expressing the provocative in a contemporary art environment supported by the status quo. Goya-esque tendencies can be found in works such as "The Perils of Entertaining" which employ the aesthetics of the commedia dell&rsquo;arte actor&rsquo;s mask as it lays upon a pedestal not unlike a butcher&rsquo;s chopping block. Without the laughs appears to be a sculpture that is trying to hide within itself, but fails to do so. In the work "Hidden in plain" view a figure attempts to conceal himself in a hollow tree stump, but is betrayed by a thin long appendage that protrudes from the other end of the sculpture. The appendage functions as a probing reference to the lies of Pinocchio or the prosthetics of a clown.</p> <p style="text-align: justify;" align="justify">Together, the works attempt to provoke the memory of the censorship of Hugo Carrillo&rsquo;s play, yet fall short in this intention due to the distancing mechanism of time and the differing social context that sets the sculptures apart from the students&rsquo; legendary enactment. This dilemma of reference was recently contextualized for the Gwangju Biennale by curator Jessica Morgan through the concept of Tigersprung (Tiger&rsquo;s leap), which &laquo;describes a spring into the past that breaks up the continuum of history by reactivating a historical event or idea for use in the present&raquo;. Walter Benjamin framed the concept of Tigersprung by locating it within the fashion industries&rsquo; penchant for sourcing the past while simultaneously misappropriating historical aesthetics for contemporary consumption. Similarly, Naufus Ram&iacute;rez-Figueroa attempts to quote a historical event, provoked by Carrillo&rsquo;s iconic example as a victim of censorship in relation to his country&rsquo;s history. He is, however, thwarted in his desire to replicate whatever revolutionary force might be presumed to have ignited the 1975 production of Corazon del Espantapajaros, via the contemporary conditions of his creative process and production.</p> <p style="text-align: justify;">Irene Loughlin</p> Wed, 29 Oct 2014 19:09:15 +0000 Matthew Buckingham, Lisa Oppenheim, Hank Willis Thomas - Galerie Michel Rein - October 23rd - November 22nd Mon, 27 Oct 2014 17:33:56 +0000 - Galerie de Multiples - October 23rd - December 10th Mon, 27 Oct 2014 17:33:27 +0000 Ei Arakawa, Annabelle Arlie, Gabriele De Santis, Mike Goldby, Anthea Hamilton, Daniel Keller, Jack Lavender, Federico Pepe, Billy Renekamp - Galerie Chez Valentin - October 24th - November 22nd Mon, 27 Oct 2014 17:22:41 +0000 Nicolas Moulin - Galerie Chez Valentin - October 18th - November 22nd Mon, 27 Oct 2014 17:21:52 +0000 Florence Paradeis - In Situ / Fabienne Leclerc - November 6th - December 6th Mon, 27 Oct 2014 17:09:47 +0000 Niki de Saint Phalle - Galerie Mitterrand - October 24th - December 20th <div class="intro"> <p style="text-align: justify;">The Galerie Mitterrand is pleased to announce a new exhibition of work by Niki de Saint Phalle this autumn. It coincides with the large retrospective devoted to the artist at the Grand Palais from 17 September 2014 to 2 February 2015.</p> </div> <p style="text-align: justify;">Niki de Saint Phalle is a Franco-American artist who began her career as a painter in 1950. Her work quickly moved towards assemblages, reliefs and sculpture. In 1961, she became a member of the Nouveaux R&eacute;alistes [New Realists] group alongside other key figures or signatories such as Pierre Restany, Yves Klein, Arman, Jean Tinguely, Daniel Spoerri, Mimmo Rotella, etc. The group advocated the direct appropriation of reality. Restany spoke of a "poetic recycling of urban, industrial and advertising reality" (60/90. Trente ans de Nouveau R&eacute;alisme. La Diff&eacute;rence, 1990, p. 76). Niki de Saint Phalle's work has evolved over the years and may now be divided into three distinct periods.&nbsp; Tirs [Shooting pictures] from the early 1960s consisted of performances during which the artist and spectators shot with a rifle at assemblages of found objects and paint-filled polythene bags covered in plaster. From 1965 onward, appeared the round, feminine and sexy sculptures the artist called Nanas*. Then her art moved to exterior spaces with her large, bright and colourful sculptures. Some of these monumental pieces were created in collaboration with Jean Tinguely. Examples of the artist's exterior art include Le Cyclop [The Cyclops] in Milly-la-For&ecirc;t in 1969, La Fontaine Stravinsky [The Stravinsky Fountain] next to the Centre Pompidou in Paris in 1983 and the masterpiece to which she devoted the last twenty years of her life: Il Giardino dei Tarocchi [The Tarot Garden] in southern Tuscany (Italy), inaugurated in 1998.<br /><br />On the occasion of this exhibition, the Galerie Mitterand will provide visitors with an insight into the evolution of the artist's famous Nanas from the 1960s through to the 1990s. Inspired by the rounded body shape of her then pregnant friend Clarice Rivers, Niki de Saint Phalle first began to make sculptures of voluptuously-shaped women in black, white and yellow from 1965 onward. These were adorned with very colourful decorative motifs (mainly flowers and hearts). Initially made of fabric and wire mounted onto metal skeletons or frames, the Nanas would eventually become more and more sophisticated. Their forms may be said to evoke Venus figurines from the Paleolithic period with their small faceless heads and impressively-proportioned bodies. Sometimes reduced to mere trunks as with Nana boule (orange) from 1966 to 1967, they gradually became more slender, with legs, thanks to the use of polyester resin which allowed for more creative possibilities. For example Dawn, appeared in the 1960s: strong images of femininity and of a triumphant maternity. In 1974, the Nanas became a feature of public space for the first time with the commissioning of three giant Nanas by the city of Hanover. Furthermore, La Grande temp&eacute;rance and L'Ange protecteur [Guardian Angel] have been watching over the inhabitants of the city of Luxembourg and travellers at Zurich's main station respectively since the mid-90s.<br /><br />Niki de Saint Phalle was born in Neuilly-sur-Seine (France) in 1930 and died in 2002 in San Diego, California. Raised in New York, where her family settled in the early 30s, she taught herself painting in the early 50s and returned to settle in Europe. Her first exhibition of paintings was held in St. Gallen (Switzerland) in 1956. From the 1960s onward, the artist embarked on a long and productive collaboration with sculptor Jean Tinguely, whom she would eventually marry.&nbsp; In 1965, her Nanas were exhibited in New York and Paris for the first time. A first retrospective was dedicated to Niki de Saint Phalle's work at the Centre Pompidou, Paris in 1980. This was followed by numerous exhibitions throughout the world: Bonn, Germany in 1992; the Mus&eacute;e d'Art Moderne de la Ville de Paris in 1993; the Mingei International Museum San Diego in 1998; at the MAMAC Nice in 2002; the Daimaru Museum Umeda, Japan in 2006, and the Moderna Museet, Stockholm, Sweden in 2013, etc. Niki?s works are included in some very prestigious museum collections: the Centre Pompidou, Paris; Mus&eacute;e d'Art moderne de la Ville de Paris; Moderna Museet, Stockholm; Tate Gallery London; Hirshhorn Museum and Sculpture Garden in Washington D.C.; the Metropolitan Museum of Art, New York; Whitney Museum of American Art, New York; Israel Museum, Jerusalem; National Museum of Art, Osaka; National Museum of Modern and Contemporary Art, Gwacheon, South Korea; Stedelijk Museum, Amsterdam, etc. Between 2000 and 2002, the Sprengel Museum Hanover (Germany) and the MAMAC Nice (France) received significant donations from the artist. The greatest number of works by Niki de Saint Phalle can be found in these two institutions. <br /><br />* "Nana" in French is a colloquial word meaning "girl" or "woman?.</p> <hr /> <div class="intro" style="text-align: justify;"> <p>La Galerie Mitterrand est heureuse d'annoncer une nouvelle exposition de l'artiste Niki de Saint Phalle cet automne, propos&eacute;e en r&eacute;sonnance de la r&eacute;trospective organis&eacute;e au Grand Palais &agrave; partir du 17 septembre 2014 et jusqu'au 2 f&eacute;vrier 2015</p> </div> <p style="text-align: justify;">Niki de Saint Phalle est une artiste d'origine franco-am&eacute;ricaine qui commence sa carri&egrave;re comme peintre en 1950. Son travail s'oriente tr&egrave;s rapidement vers les assemblages, les reliefs et la sculpture. En 1961, elle devient membre du groupe des Nouveaux R&eacute;alistes aux c&ocirc;t&eacute;s d'autres signataires pr&ocirc;nant l'appropriation directe du r&eacute;el tels que Pierre Restany, Yves Klein, Arman, Jean Tinguely, Daniel Spoerri, Mimmo Rotella, etc. Restany parle d'un &laquo; recyclage po&eacute;tique du r&eacute;el urbain, industriel, publicitaire &raquo; (in 60/90. Trente ans de Nouveau R&eacute;alisme, &eacute;dition La Diff&eacute;rence, 1990, p. 76). L'oeuvre de Niki de Saint Phalle &eacute;volue au fil des ans et se peut se d&eacute;couper en trois p&eacute;riodes distinctes. Les Tirs du d&eacute;but des ann&eacute;es 60, performances durant lesquelles l'artiste et les spectateurs sont invit&eacute;s &agrave; tirer &agrave; la carabine sur des assemblages d'objets trouv&eacute;s et de poches de peinture color&eacute;e recouverts de pl&acirc;tre. Puis, d&egrave;s 1965, des sculptures f&eacute;minines, rondes et sexy qu'elle appelle les Nanas. Enfin, son art se d&eacute;place vers l'ext&eacute;rieur avec des grandes sculptures aux couleurs chatoyantes et brillantes, souvent monumentales et en collaboration avec Jean Tinguely : Le Cyclop &agrave; Milly-la-For&ecirc;t en 1969, La Fontaine Stravinsky &agrave; c&ocirc;t&eacute; du Centre Pompidou &agrave; Paris en&nbsp;1983 ou encore son chef d'oeuvre auquel elle consacre les vingt derni&egrave;res ann&eacute;es de sa vie&nbsp;: Il Giardino dei Tarocchi (Le Jardin des Tarots) au sud de la Toscane (Italie) inaugur&eacute; en 1998.<br /><br />A l'occasion de cette exposition, la Galerie Mitterrand pr&eacute;sentera un parcours &agrave; travers les c&eacute;l&egrave;bres Nanas, des ann&eacute;es 60 aux ann&eacute;es 90. Inspir&eacute;e par le corps arrondi de son amie Clarice Rivers alors enceinte, Niki de Saint Phalle r&eacute;alise, &agrave; partir de 1965, des sculptures de femmes blanches, noires, jaunes, aux formes g&eacute;n&eacute;reuses, orn&eacute;es de motifs d&eacute;coratifs tr&egrave;s color&eacute;s (principalement des fleurs et des coeurs). Au d&eacute;part faites de tissus et de fils mont&eacute;s sur des carcasses m&eacute;talliques, les Nanas deviendront de plus en plus sophistiqu&eacute;es. Leurs formes &eacute;voquent les V&eacute;nus du Pal&eacute;olithique avec de petites t&ecirc;tes sans visage et des corps imposants. Parfois r&eacute;duites &agrave; de simples troncs comme dans la Nana boule (orange) de 1966-67, elles sont petit &agrave; petit plus graciles, retrouvent leurs jambes, gr&acirc;ce &agrave; l'utilisation de la r&eacute;sine de polyester qui permet plus de possibilit&eacute;s. A titre d'exemple, Dawn, r&eacute;alis&eacute;e en 1993, est une femme toujours g&eacute;n&eacute;reuse mais avec un corps en mouvement, virevoltant sur un pied et d&eacute;fiant les lois de l'&eacute;quilibre. Les Nanas de Niki de Saint Phalle, monumentales ou miniatures, plut&ocirc;t rugueuses ou plut&ocirc;t lisses, sont aujourd'hui la signature de l'artiste, reconnaissable dans le monde entier. Elles sont le reflet d'une nouvelle vision de la femme apparue dans les ann&eacute;es 60, des images fortes d'une f&eacute;minit&eacute; et d'une maternit&eacute;&nbsp; triomphantes. En 1974, les Nanas investissent pour la premi&egrave;re fois l'espace public avec la commande de trois Nanas g&eacute;antes par la ville de Hanovre. Ailleurs, La Grande temp&eacute;rance et L'Ange protecteur veillent respectivement sur les habitants de la ville de Luxembourg et sur les voyageurs de la gare de Zurich depuis les milieu des ann&eacute;es 90. <br /><br />Niki de Saint Phalle est n&eacute;e &agrave; Neuilly-sur-Seine (France) en 1930 et d&eacute;c&eacute;d&eacute;e en 2002 &agrave; San Diego en Californie (Etats-Unis). Apr&egrave;s avoir &eacute;t&eacute; &eacute;lev&eacute;e &agrave; New York o&ugrave; sa famille s'&eacute;tablit au d&eacute;but des ann&eacute;es trente, elle commence &agrave; peindre en autodidacte au d&eacute;but des ann&eacute;es 50 et retourne s'installer en Europe. Elle pr&eacute;sente une premi&egrave;re exposition de peintures &agrave; St Gallen (Suisse) en 1956. A partir des ann&eacute;es 60 d&eacute;bute une longue et productive collaboration avec le sculpteur Jean Tinguely qui deviendra son mari. En 1965, ce sont ses Nanas qui sont pour la premi&egrave;re fois expos&eacute;es &agrave; New York et Paris. Niki de Saint Phalle b&eacute;n&eacute;ficie d'une premi&egrave;re r&eacute;trospective au Centre Pompidou &agrave; Paris d&egrave;s 1980. Suivront de nombreuses autres dans le monde entier&nbsp;: &agrave; Bonne en Allemagne en 1992, au Mus&eacute;e d'Art Moderne de la Ville de Paris en 1993, au Mingei International Museum San Diego en 1998, au MAMAC Nice en 2002, au Daimaru Museum Umeda, Japon en 2006, au Moderna Museet, Stockholm, Su&egrave;de en 2013 etc. Les oeuvres de Niki de Saint Phalle sont pr&eacute;sentes dans les plus prestigieuses collections mus&eacute;ales : Centre Pompidou, Paris, Mus&eacute;e d'Art moderne de la Ville de Paris, Moderna Museet, Stockholm, Tate Gallery Londres, Hirshhorn Museum and Sculpture Garden &agrave; Washington D.C., Metropolitan Museum of Art, New York, Whitney Museum of American Art, New York, Israel Museum, J&eacute;rusalem, National Museum of Art, Osaka, Mus&eacute;e National d'Art Moderne de S&eacute;oul, Stedelijk Museum, Amsterdam, etc. Entre 2000 et 2002, le Sprengel Museum d'Hannovre (Allemagne) et le MAMAC Nice (France) ont re&ccedil;u d'importantes donations de l'artiste. C'est dans ces institutions que l'on trouve le plus grand nombre d'oeuvres de Niki de Saint Phalle.</p> Mon, 27 Oct 2014 17:07:07 +0000 Matthew Brandt - Praz-Delavallade - Paris - November 15th - December 20th Mon, 27 Oct 2014 16:57:13 +0000 Denis Rouvre - Hélène Bailly Gallery - November 6th - November 29th Mon, 27 Oct 2014 16:51:27 +0000 Dani Umpi - Galerie Xippas - October 11th - November 8th <p style="text-align: justify;">The work of multifaceted Uruguayan artist Dani Umpi eschews any attempts at concrete definitions. In part this is due to the fact that Umpi is several artists in one: he works professionally as a visual artist, writer, performer and musician. Well-known as an artist-personality in Uruguay, Argentina and Brazil, he chose to keep each artistic form in its respective field of production and circulation. As a musician he has a music producer, performs in concert halls and released four albums and several video clips; as a writer he has published four novels including <em>Miss Tacuaremb&oacute;</em> (Interzona Editorial, 2004), adapted to the screen by fellow artist Mart&iacute;n Sastre in 2010; and as a visual artist he&rsquo;s particularly interested in the intrinsic dialogue between object and image in the context of mass media.</p> <p align="JUSTIFY">Clearly, direct dialogues between one creative form and another emerge, since they&rsquo;re all conceived and produced by the same person. In fact, this exhibition, his first solo show in Paris, includes sculptural works that were born on stage as live architectures for the vital body. He calls them parangol&eacute;s paying homage to the wearable-garments created by one of the key exponents of Brazilian neo-concretism, H&eacute;lio Oiticica. </p> <p align="JUSTIFY">Stirred by pop irony, the aesthetic of kitsch and a philosophical identification with camp, Dani Umpi immerses himself in the material and sensible scraps of the everyday, and then withdraws to contemplate them as if he were looking through a kaleidoscope. He plunges into the endless spectrum of tonalities and textures that characterise the hypercapitalist mass-media driven landscape of the twenty-first century; he embraces its multi-realist logic in which the many versions of the same thing become mutually arbitrary, generating superimposed layers of information and matter. &nbsp; </p> <p align="JUSTIFY">The mass-media whirlwind of everyday experience is the artist&rsquo;s double-raw-material: Dani Umpi simultaneously appropriates both vehicle and support of the media, its contents and communication strategies. Statements published in social networks find new artistic configurations in handmade collages created using cut-outs of words and colours found in magazines and other printed media. Where virtual or printed information sources share an ephemeral existence and instant circulation, Umpi&rsquo;s compositions are characterised by a meticulous process of selection, arrangement and construction.&nbsp;</p> <p align="JUSTIFY">&nbsp;</p> <p align="JUSTIFY">His artisanal and methodical impulse reflects a desire to dismember and then intertwine all that informational matter that &ldquo;signifies&rdquo; us in our daily collective experience. Exempt from sarcasm, imbued with irony, humour and self-mockery, he maintains a tension between the ambiguous and uncertain: by means of an oscillating to and fro movement, he betrays the contradictions inherent in every dialogical exchange, especially when these dialogues make their appearance in the public sphere. From confrontations among pop stars and demagogic declarations between one politician and another (Miley Cyrus and Sin&eacute;ad O&rsquo;Connor; Fran&ccedil;ois Hollande and his former wife Val&eacute;rie Trierweiler), in this&nbsp;occasion he also includes epistolary encounters between intellectuals and scientists from previous times (Galileo and the Pope at the Holey Office during the Roman Inquisition; Fidel Castro and Ahmed S&eacute;kou Tour&eacute;, first president of Guinea; Magritte and Foucault, among others), always working with the agglutination and synthesis of information in collage.</p> <p align="JUSTIFY">&nbsp;</p> <p align="JUSTIFY">Who speaks, who is being addressed, from what context? Who is right? In the work titled <em>Faces</em>, a plurality of faces stuck upside down like a falling cascade silence one another by covering each other&rsquo;s mouths. They are portraits of personalities interviewed by the media and magazine columnists, opinion-makers.&nbsp;</p> <p align="JUSTIFY">&nbsp;</p> <p align="JUSTIFY">Paradox seems to always have the last word in Dani Umpi&rsquo;s art, and in these works, paradoxically, the spectator-reader must make a concerted and active effort to read the reconstructed texts; one has to dis-cover each word, figure or message contained within the fields of colour and advertising, individually cut out like the fringes of an intricate tapestry. In this process of linguistic reconstruction appear other sources of information that get incorporated into the retrieval of discarded scrap, thereby generating distinct layers of signification within the same &ldquo;picture&rdquo;.</p> <p align="JUSTIFY">Veronica Cordeiro</p> <p align="JUSTIFY">&nbsp;</p> <p align="JUSTIFY">Born in Tacuarembo, Uruguay, in 1974. Lives and works in Montevideo, Uruguay. In 2014, his work has been shown in Argentina at MALBA and in Brasil, at Ita&uacute; Cultural (Sao Paolo) and at la Casa de la Cultura Mario Quintana (Porto Alegre).</p> <hr /> <p align="JUSTIFY">L&rsquo;&oelig;uvre de Dani Umpi, artiste &eacute;clectique Uruguayen, &eacute;chappe &agrave; toute d&eacute;finition. Cela est d&ucirc;, pour partie, au fait qu&rsquo;Umpi incarne plusieurs artistes en un : il travaille comme plasticien, musicien, performer et &eacute;crivain. Bien connu en Uruguay, en Argentine et au Br&eacute;sil, il a d&rsquo;ailleurs la singularit&eacute; de pr&eacute;server chaque mode de cr&eacute;ation dans son propre domaine de production et de diffusion. Ainsi, en tant que musicien, Umpi a son propre producteur, donne des concerts et a sorti quatre disques et divers vid&eacute;oclips&nbsp;; en tant qu&rsquo;&eacute;crivain, il a publi&eacute; quatre romans dont <em>Miss Tacuaremb&oacute;</em> (Interzona Editorial, 2004), &oelig;uvre adapt&eacute;e au cin&eacute;ma par Mart&iacute;n Sastre en 2010&nbsp;; et en tant qu&rsquo;artiste plasticien Umpi pense l&rsquo;objet et l&rsquo;image en &eacute;troit rapport avec la confluence des mass media. Pour ceux qui le connaissent, il est in&eacute;vitable de ne pas faire le lien entre les disciplines ; cependant, pour lui, &ecirc;tre trois artistes en un n&rsquo;est pas source de conflit.</p> <p align="JUSTIFY">Evidemment, des dialogues surgissent entre ses cr&eacute;ations, car m&ecirc;me si elles sont compos&eacute;es dans des langages divers, elles sont fa&ccedil;onn&eacute;es par la m&ecirc;me personne. En effet, dans cette premi&egrave;re exposition individuelle de l&rsquo;artiste &agrave; Paris, il pr&eacute;sente des &oelig;uvres sculpturales issues du monde du spectacle, con&ccedil;ues en tant qu&rsquo;architectures vivantes servant &agrave; la vitalit&eacute; corporelle et nomm&eacute;es &laquo;&nbsp;Parangol&eacute;s&nbsp;&raquo; en hommage aux v&ecirc;tements-objets de H&eacute;lio Oiticica, l&rsquo;un des principaux repr&eacute;sentants du N&eacute;oconcr&eacute;tisme br&eacute;silien.&nbsp;</p> <p align="JUSTIFY">&nbsp;</p> <p align="JUSTIFY">Inspir&eacute; par l&rsquo;ironie du pop, l&rsquo;esth&eacute;tique kitsch et par une identification philosophique avec le mouvement camp, Dani Umpi explore les d&eacute;combres mat&eacute;riels et sensibles de la quotidiennet&eacute; urbaine pour ensuite se d&eacute;tourner d&rsquo;eux et les contempler comme &agrave; travers le viseur d&rsquo;un cal&eacute;idoscope. Envahi par l&rsquo;in&eacute;puisable spectre de tonalit&eacute;s et de textures qui inondent le paysage hypercapitaliste et m&eacute;diatique du XXIe si&egrave;cle, Umpi recouvre sa logique plurir&eacute;aliste, dans laquelle diverses versions d&rsquo;un m&ecirc;me &eacute;v&egrave;nement ou objet se relativisent r&eacute;ciproquement, en superposant des couches successives de mati&egrave;re et d&rsquo;information.&nbsp;</p> <p align="JUSTIFY">&nbsp;</p> <p align="JUSTIFY">Ce tourbillon m&eacute;diatique, issu du v&eacute;cu quotidien, est la mati&egrave;re premi&egrave;re de Dani Umpi&nbsp;: l&rsquo;artiste s&rsquo;empare simultan&eacute;ment du vecteur et du support m&eacute;diatique, de ses contenus et de ses strat&eacute;gies de communication. Ainsi, des discours lus sur les r&eacute;seaux sociaux trouvent de nouvelles configurations plastiques dans des collages confectionn&eacute;s de fa&ccedil;on artisanale en d&eacute;coupant des lettres et des champs de couleur issus de magazines et d&rsquo;autres supports de la presse &eacute;crite. Si la source virtuelle ou &eacute;crite se caract&eacute;rise par son existence &eacute;ph&eacute;m&egrave;re et par sa diffusion instantan&eacute;e, les compositions plastiques de Dani Umpi sont cr&eacute;&eacute;es &agrave; partir d&rsquo;un processus soign&eacute; de s&eacute;lection, d&rsquo;agencement et de construction.</p> <p align="JUSTIFY">&nbsp;</p> <p align="JUSTIFY">Son &eacute;lan artisanal et m&eacute;thodique refl&egrave;te un d&eacute;sir de d&eacute;membrer et de reconstruire la mati&egrave;re qui donne du sens &agrave; notre exp&eacute;rience quotidienne et collective du v&eacute;cu. &Agrave; l&rsquo;abri du sarcasme, mais empli d&rsquo;ironie, d&rsquo;humour et d&rsquo;auto-d&eacute;rision, Umpi entretient une tension entre l&rsquo;ambig&uuml;it&eacute; et l&rsquo;incertain&nbsp;: &agrave; travers un mouvement continu d&rsquo;aller-retour, il met en &eacute;vidence la contradiction inh&eacute;rente &agrave; tout &eacute;change, principalement lorsque les dialogues surgissent dans la sph&egrave;re publique. &Agrave; partir de la confrontation entre les stars&nbsp;de la pop et les d&eacute;clarations d&eacute;magogiques des hommes politiques (Miley Cyrus et Sin&eacute;ad O&rsquo;Connor&nbsp;; Fran&ccedil;ois Hollande et son ex-femme Val&eacute;rie Trierweiler), Umpi ajoute aussi, cette fois-ci, des entrevues &eacute;pistolaires d&rsquo;intellectuels et de scientifiques des temps pass&eacute;s (Galileo et le Pape au Tribunal de l&rsquo;Inquisition de Rome&nbsp;; Fidel Castro et Sekou Tour&eacute;, premier Pr&eacute;sident de Guin&eacute;e&nbsp;; Magritte et Foucault, etc.), toujours avec l&rsquo;intention de souligner l'agglom&eacute;ration et la synth&egrave;se de l&rsquo;information &agrave; l&rsquo;aide du collage.</p> <p align="JUSTIFY">&nbsp;</p> <p align="JUSTIFY">Qui parle&nbsp;? A qui s&rsquo;adresse&nbsp;t-il? Et dans quel contexte&nbsp;? Qui a raison&nbsp;? Dans l&rsquo;&oelig;uvre <em>Caras</em>, une multitude de visages retourn&eacute;s, en chute, couvrent mutuellement leurs bouches. Ce sont des portraits de personnalit&eacute;s interview&eacute;s, de journalistes de magazines et de leaders d&rsquo;opinion.</p> <p align="JUSTIFY">&nbsp;</p> <p align="JUSTIFY">Le paradoxe est au c&oelig;ur de l&rsquo;&oelig;uvre de Dani Umpi. Dans ses &oelig;uvres, le spectateur-lecteur doit paradoxalement faire un effort de concentration soutenu afin de lire les textes reconstruits&nbsp;; il faut &laquo;&nbsp;d&eacute;-voiler&nbsp;&raquo; chaque mot, chaque figure ou chaque message d&eacute;coup&eacute; et cach&eacute; dans les champs chromatiques, dans les informations ou les publicit&eacute;s, comme s&rsquo;il s&rsquo;agissait des franges d&rsquo;un tapis. Dans ce processus de reconstruction linguistique, surgissent d&rsquo;autres sources d&rsquo;information qui s&rsquo;ajoutent au sauvetage du rebut, favorisant ainsi la formation de diverses couches de signification intrins&egrave;ques au &laquo;&nbsp;tableau&nbsp;&raquo;.&nbsp;</p> <p align="JUSTIFY">Veronica Cordeiro &nbsp;</p> <p align="JUSTIFY">&nbsp;</p> <p align="JUSTIFY">Dani Umpi est n&eacute; &agrave; Tacuaremb&oacute;, Uruguay, en 1974. Il vit et travaille &agrave; Montevideo, Uruguay. En 2014, son &oelig;uvre a &eacute;t&eacute; pr&eacute;sent&eacute;e en Argentine au MALBA et au Br&eacute;sil &agrave; Ita&uacute; Cultural (Sao Paolo) et &agrave; la Casa de la Cultura Mario Quintana (Porto Alegre).</p> Mon, 27 Oct 2014 16:49:32 +0000 Miriam Cahn - Galerie Jocelyn Wolff - November 15th - December 20th Mon, 27 Oct 2014 16:38:45 +0000 Marc Lathuillière - Galerie Binôme - November 6th - December 20th <p style="text-align: justify;">Depuis 2012, le photographe Marc Lathuilli&egrave;re et&nbsp;Michel Houellebecq entretiennent un dialogue prospectif sur la France, sa mus&eacute;ification sous l'effet du tourisme et sa repr&eacute;sentation en image. Cet &eacute;change donne lieu &agrave; une double exposition, <em>Le produit France</em>, l'un des temps forts de la th&eacute;matique<em> Anonymes et amateurs c&eacute;l&egrave;bres</em> du Mois de la Photo 2014, pilot&eacute;e par la d&eacute;l&eacute;gu&eacute;e artistique Val&eacute;rie Fougeirol.<br /><br />A la Galerie Bin&ocirc;me, Marc Lathuilli&egrave;re expose la s&eacute;rie <em>Mus&eacute;e national</em>,&nbsp;accompagn&eacute;e du texte que, se faisant pour la premi&egrave;re fois critique d'un artiste, Michel Houellebecq a &eacute;crit sur ce travail de dix ans &agrave; travers l'Hexagone.&nbsp;<br /><br />Vaste projet photographique entam&eacute; en 2004, <em>Mus&eacute;e national</em> porte un regard d&eacute;stabilisant sur les liens des Fran&ccedil;ais &agrave; leurs lieux de m&eacute;moires et la construction de leur imagninaire collectif. Un questionnement men&eacute; en forme d'inventaire au travers de portraits contextuels de personnages arch&eacute;typiques portant un masque, toujours le m&ecirc;me. En dix ans, dans une trentaine de d&eacute;partements, plus de cinq cents personnes, de l'artisan anonyme aux &eacute;lites et c&eacute;l&eacute;brit&eacute;s nationales, ont ainsi accept&eacute; de se faire photographier en portrait masqu&eacute;.</p> <p style="text-align: justify;">Le dispositif met en exergue, et en doute, tout le hors visage de la repr&eacute;sentation : costume, mobilier, architecture, territoire, geste professionnel ou rituel du quotidien. Manifestant le caract&egrave;re fig&eacute; des r&eacute;f&eacute;rents auxquels s'identifient aujourd'hui les Fran&ccedil;ais, le projet est aussi une r&eacute;flexion critique sur la mani&egrave;re dont la photographie, par l'illusion documentaire, formate une m&eacute;moire des racines et du fragment.</p> <p style="text-align: justify;">Au <a title="Mairie du 20e - Galerie Bin&ocirc;me" href="" target="_blank">Pavillon Carr&eacute; de Baudouin</a>, la Mairie du 20e arrondissement pr&eacute;sente par ailleurs les&nbsp;photographies de Michel Houellebecq, par lesquelles l'auteur de <em>La carte et le territoire,&nbsp;</em>depuis le d&eacute;but de son parcours, construit son rapport &agrave; la France. Le commissariat de cette exposition -&nbsp;<em>Before Landing -&nbsp;</em>a &eacute;t&eacute; confi&eacute; &agrave; Marc Lathuilli&egrave;re.</p> Mon, 27 Oct 2014 16:35:28 +0000 Richard Jackson - Galerie Georges-Philippe & Nathalie Vallois - November 4th - December 20th Mon, 27 Oct 2014 16:31:42 +0000