ArtSlant - Recently added en-us 40 Gregory Crewdson - Galerie Daniel Templon - September 10th - September 10th <div class="text"> <p align="justify">Gregory Crewdson is exhibiting&nbsp;his&nbsp;most recent body of work,&nbsp;Cathedral of the Pines, for the first time in Europe. Highly anticipated, this exceptional series of 31 photographs will be shown&nbsp;concurrently&nbsp;in Paris and Brussels at Galerie Daniel Templon, with openings on Sept. 8th in Brussels and Sept. 10th in Paris.</p> <p align="justify">These works were shot on location in Becket, Massachusetts, where&nbsp;Crewdson&nbsp;retreated,&nbsp;in search of inspiration. &lsquo;It was deep in the forests of Becket, Massachusetts that I finally felt darkness lift, experienced a reconnection with my artistic process, and moved into a period of renewal and intense creative productivity,&rsquo; he explains.</p> <p align="justify">In images that recall nineteenth-century painting,&nbsp;Crewdson captures motionless figures in both natural environments and domestic interiors, charged with ambiguity. He plays on the tensions between art and life, connection and separation, intimacy and isolation. Crewdson places his subjects in surroundings that seem familiar. However, the figures' cryptic actions and staging create a sense of mystery and underlying drama: a young girl receives a haircut from a teenager on the edge of a forest; a woman&nbsp;stands in a short nightdress, her hands covered in earth in front of a garden shed; two undressed figures are positioned on the rusty flatbed of a pickup truck. The images describe invisible and unknown purposes.</p> <p align="justify">Ever since his nocturnal Twilight series (1998&ndash;2002), Crewdson has worked with a full crew, planning his elaborately staged images in a process similar to that of a movie director. His use of the codes governing the cinema of fantasy films, psychological drama and suspense conjures forebears such as Diane&nbsp;Arbus, Alfred Hitchcock and Edward Hopper.</p> <p align="justify">Gregory Crewdson was born in 1962 in New York, and lives and works in New York and Massachusetts. He is the director of graduate studies in photography at Yale University School of Art. His works feature in the most prestigious American collections, such as at the Metropolitan Museum of Art, The Whitney Museum of American Art, MoMA (New York), LACMA, The Guggenheim Museum, and The Broad Museum. Most recently in Europe, a survey,&nbsp;Gregory Crewdson: In a Lonely Place, opened in 2011 at C/O Berlin then traveled until Jan. 2014, visiting venues such as the&nbsp;Kulturhuset, Stockholm, The Black Diamond, Copenhagen, Stenersen&nbsp;Museum, Oslo, Center for Contemporary Photography, Melbourne, Institute of Modern Art, Brisbane and City Gallery, Wellington.</p> <p align="justify">Aperture has published a fully-illustrated book, Cathedral of the Pines, with an essay by art historian Alexander Nemerov to mark the exhibition.</p> <p align="justify">Cathedral of the Pines will be Crewdson&rsquo;s third exhibition at Galerie Daniel Templon.</p> <hr /> <div class="text"> <p align="justify">Le photographe am&eacute;ricain Gregory Crewdson pr&eacute;sente pour la premi&egrave;re fois en Europe sa derni&egrave;re s&eacute;rie : Cathedral of the Pines.</p> <p align="justify">Tr&egrave;s attendue, cette s&eacute;rie exceptionnelle de 31 photographies sera pr&eacute;sent&eacute;e conjointement &agrave; Paris et &agrave; Bruxelles.</p> <p align="justify">Toutes les oeuvres ont pour d&eacute;cor la petite commune rurale de Becket dans le Massachussetts, o&ugrave; Gregory Crewdson s&rsquo;est isol&eacute; avant de retrouver l&rsquo;inspiration. &lsquo;C&rsquo;est au c&oelig;ur des for&ecirc;ts de Becket, Massachussets, que j&rsquo;ai finalement senti l&rsquo;obscurit&eacute; se lever, que je me suis reconnect&eacute; avec mon processus artistique et que j&rsquo;ai &eacute;volu&eacute; vers une p&eacute;riode de renouveau et d&rsquo;intense cr&eacute;ativit&eacute;&rsquo; explique-t-il.</p> <p align="justify">Dans ces images qui rappellent la tradition picturale du 19&egrave;me si&egrave;cle, Gregory Crewdson capture des personnages fig&eacute;s dans la nature ou dans des sc&egrave;nes d&rsquo;int&eacute;rieur ambig&uuml;es. Il joue sur les tensions entre art et r&eacute;alit&eacute;, s&eacute;paration et relation, intimit&eacute; et isolement. Le photographe installe ses sujets dans des environnements qui semblent familiers. Pourtant leurs gestes et la mise en sc&egrave;ne d&eacute;gagent une impression de myst&egrave;re o&ugrave; le drame affleure &ndash; une jeune femme se fait couper les cheveux &agrave; l&rsquo;or&eacute;e d&rsquo;une for&ecirc;t ; une autre s&rsquo;est arr&ecirc;t&eacute;e, en nuisette et mains souill&eacute;es de terre, devant une cabane de jardin abandonn&eacute;e ; un couple d&eacute;nud&eacute; est install&eacute; sur le plateau rouill&eacute; d&rsquo;un pick-up... Ces images renvoient &agrave; des desseins invisibles et inconnus.</p> <p align="justify">Depuis plus de vingt ans, Gregory Crewdson a fait des rues et des foyers de l&rsquo;Am&eacute;rique des petites villes le d&eacute;cor de narrations inqui&eacute;tantes, de l&rsquo;&eacute;tranget&eacute; qui sourd sous la fa&ccedil;ade du r&ecirc;ve am&eacute;ricain. A l&rsquo;instar d&rsquo;un r&eacute;alisateur, depuis sa s&eacute;rie nocturne Twilight (98-02) l&rsquo;artiste planifie m&eacute;ticuleusement ses mises en sc&egrave;ne et travaille avec une &eacute;quipe compl&egrave;te de tournage. Reprenant les codes du cin&eacute;ma fantastique, du drame psychologique, du suspense, il se place dans le sillage de Diane Arbus, Alfred Hitchcok ou Edward Hopper. N&eacute; en 1962 &agrave; New York, Gregory Crewdson vit et travaille entre New York et le Massachussets. Il est le directeur du Master de photographie &agrave; l&rsquo;universit&eacute; de Yale. Ses &oelig;uvres sont entr&eacute;es dans les plus grandes collections am&eacute;ricaines dont celles du Metropolitan Museum of Art, du Museum of Modern Art, du Whitney Museum of American Art, du Guggenheim Museum (New York), du Los Angeles County Museum of Art et du Broad Museum. Parmi ses expositions r&eacute;centes on peut citer Gregory Crewdson : In a Lonely Place (2011 au C/O Berlin puis itin&eacute;rance au Kulturhuset,Stockholm&nbsp;; The Black Diamond, Copenhague&nbsp;; Stenersen Museum, Oslo&nbsp;; Center for Contemporary Photography, Melbourne&nbsp;; Institute of Modern Art, Brisbane&nbsp;; City Gallery, Wellington). A l&rsquo;occasion de l&rsquo;exposition, la maison d&rsquo;&eacute;dition Aperture a publi&eacute; un livre complet illustr&eacute;, avec un texte de.</p> <p align="justify">Ce sera la troisi&egrave;me exposition de Gregory Crewdson &agrave; la Galerie Daniel Templon.</p> </div> </div> Thu, 28 Jul 2016 18:07:31 +0000 Reena Spaulings - Galerie Chantal Crousel - September 3rd - October 8th Thu, 28 Jul 2016 18:02:27 +0000 Pierre Buraglio - Galerie Catherine Putman - September 10th - October 26th <p style="text-align: justify;">The Galerie Catherine Putman is proud to present &lsquo;&laquo;94&raquo; imprim&eacute;s dessins&rsquo;, an exhibition of the work of Pierre Buraglio.</p> <p style="text-align: justify;">The exhibition, on the theme of the Val-de-Marne, is a display of works on paper: drawings, watercolours, and a large and original collection of printed works. Recent drawings and watercolours&mdash; selected from the artist&rsquo;s sketchbooks&mdash;of roofs, chimneys, and breaks in the clouds, show that Pierre Buraglio is the tireless observer of this Parisian suburb.</p> <p style="text-align: justify;">Born in 1939 at Charenton, he has always lived and worked in the same house&mdash;that of his parents and grandparents, at Maisons-Alfort. This place and its surroundings have always provided a formal and thematic source of inspiration for the artist. The past and the present merge in this part of Pierre Buraglio&rsquo;s oeuvre, which attests to his fascination with construction, architecture, and town planning. The grandson of an Italian builder, his father, an architect, participated in the reconstruction of the Manche d&eacute;partement; his great-uncle&mdash;uncle S&eacute;rafino&mdash;and his brothers Pietro and Angello helped to construct the famous artificial rocks in Vincennes, drawings of which can be seen throughout his sketchbooks. </p> <p style="text-align: justify;">The exhibition also focuses on the experimental nature of Pierre Buraglio&rsquo;s printed work. With the active collaboration of Studio Franck Bordas, he has produced two extremely large prints (which can be produced in varying sizes), especially designed for the gallery&rsquo;s walls, and a wallpaper&mdash;with the standard width of 53 cm&mdash;that is based on the repetition of the design.</p> <p style="text-align: justify;">Since the beginning of the 1990s, the Galerie Catherine Putman has been working very closely with Pierre Buraglio on his printed works: the gallery has produced many lithographs, serigraphs, offset prints, and pigment inkjet prints, on which the artist generally adds highlights with ink or paint, collages, fastenings, or variations in the printing supports. Working together, with the help of the printers, they have forged a unique approach to multiple techniques.</p> <p style="text-align: justify;">Pierre Buraglio&rsquo;s most recent pieces, created in 2015 and displayed in the exhibition, also explore the potential of the digital pigment printing process: urban landscapes &lsquo;94 A &amp; B&rsquo;, with different kinds of paper or heightened with oil, and a suite of four interpretations of the Rock of Vincennes: &lsquo;Uncle S&eacute;rafino&rsquo;s Rock&rsquo; on an innovative microfibre fabric stretched over a frame.</p> <p style="text-align: justify;">Pierre Buraglio was born in Charenton (France) in 1939. He lives and works in Maisons-Alfort, in the Val-de-Marne region.&nbsp; In 1959, he attended the &Eacute;cole Nationale Sup&eacute;rieure des Beaux-Arts (ENSBA) in Paris. In 1961, he made his debut at the Salon de la Jeune Peinture and worked in Roger Chastel&rsquo;s studio at the ENSBA. During the events of May &lsquo;68, Pierre Buraglio was a committed member of in the Atelier Populaire (&lsquo;Popular studio&rsquo;) in the &Eacute;cole des Beaux-Arts in Paris. Between 1969 and 1974, he stopped painting and devoted himself to militant political activities. In 1976, he began to teach at the &Eacute;cole R&eacute;gionale des Beaux-Arts de Valence, and was subsequently appointed as a teacher at the ENSBA (Paris).</p> <p style="text-align: justify;"><em>Pierre Buraglio will be taking part in the exhibition </em><strong><em>&lsquo;36/36, les artistes f&ecirc;tent les cong&eacute;s pay&eacute;s&rsquo;&nbsp; </em></strong><em>(&lsquo;Artists celebrate the introduction of paid holidays&rsquo;), </em><strong><em>which will be held between 9 and 11 September 2016 at the F&ecirc;te de l&rsquo;Humanit&eacute; </em></strong><em>(Parc D&eacute;partemental Georges Valbon in La Courneuve). The 36 works will be sold by the auctioneer Antoine Godeau, from Pierre Berg&eacute; &amp; Associ&eacute;s, and the proceeds will go to a charitable association. <br /></em></p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">La galerie Catherine Putman est heureuse de pr&eacute;senter &laquo;94&raquo; imprim&eacute;s dessins, une exposition de Pierre Buraglio.</p> <p style="text-align: justify;">L&rsquo;exposition, sur le th&egrave;me du Val-de-Marne, montre des oeuvres sur papier: dessins, aquarelles et une production importante et originale d&rsquo;oeuvres imprim&eacute;es. Des dessins et aquarelles r&eacute;cents de toits, chemin&eacute;es, trou&eacute;es de ciel, s&eacute;lectionn&eacute;s dans les carnets de l&rsquo;artiste, montrent quel observateur inlassable de cette banlieue parisienne est Pierre Buraglio.</p> <p style="text-align: justify;">N&eacute; en 1939 &agrave; Charenton, il a toujours v&eacute;cu et travaill&eacute; dans la m&ecirc;me maison, celle de ses parents et grands-parents, &agrave; Maisons-Alfort. Ce lieu et ses environs n&rsquo;ont jamais cess&eacute; d&rsquo;&ecirc;tre une source d&rsquo;inspiration formelle et th&eacute;matique. Pass&eacute; et pr&eacute;sent se confondent dans cette part de l&rsquo;oeuvre de Pierre Buraglio, qui y affirme son go&ucirc;t pour la construction, l&rsquo;architecture et l&rsquo;urbanisme. Petit-fils de ma&ccedil;on italien, son p&egrave;re, architecte, contribue &agrave; la reconstruction de la Manche, son grand-oncle &ndash; tonton S&eacute;rafino et ses fr&egrave;res Pietro et Angello &ndash; participent &agrave; la construction du fameux rocher artificiel de Vincennes, dont les croquis rythment les pages de ses carnets.</p> <p style="text-align: justify;">L&rsquo;exposition met &eacute;galement l&rsquo;accent sur la force d&rsquo;exp&eacute;rimentation de Pierre Buraglio en mati&egrave;re d&rsquo;impression. Avec la collaboration active du Studio Franck Bordas, il a r&eacute;alis&eacute; deux tirages hors-cadre de tr&egrave;s grand format, con&ccedil;us sp&eacute;cialement pour les murs de la galerie, dont l&rsquo;&eacute;dition est &agrave; dimension variable, ainsi qu&rsquo;un papier peint, respectant le standard des l&eacute;s de 53 cm et jouant de la r&eacute;p&eacute;tition du motif.</p> <p style="text-align: justify;">Depuis le d&eacute;but des ann&eacute;es 90, une intense collaboration s&rsquo;est d&eacute;velopp&eacute;e entre la galerie Catherine Putman et Pierre Buraglio autour de l&rsquo;imprim&eacute; : la galerie a &eacute;dit&eacute; de nombreuses lithographies, s&eacute;rigraphies, tirages offset, tirages jet d&rsquo;encre pigmentaire, sur lesquels, le plus souvent, l&rsquo;auteur r&eacute;-intervient par des rehauts &agrave; l&rsquo;encre ou &agrave; la peinture, des collages, agrafages ou variations des supports d&rsquo;impression. </p> <p style="text-align: justify;">Ensemble, avec la complicit&eacute; des imprimeurs, ils ont d&eacute;velopp&eacute; une approche singuli&egrave;re du multiple. Les derni&egrave;res &eacute;ditions de Pierre Buraglio, r&eacute;alis&eacute;es en 2015, pr&eacute;sentes dans l&rsquo;exposition, explorent &eacute;galement les possibilit&eacute;s offertes par les proc&eacute;d&eacute;s d&rsquo;impression num&eacute;rique pigmentaire : les paysages urbains &laquo; 94 A &amp; B &raquo;, avec variations des papiers ou rehauts &agrave; l&rsquo;huile et la suite de quatre interpr&eacute;tations du rocher de Vincennes : &laquo; Le rocher de tonton S&eacute;rafino &raquo; sur un tissu innovant en microfibres tendu sur ch&acirc;ssis.</p> <p style="text-align: justify;">Pierre Buraglio est n&eacute; &agrave; Charenton en 1939. Il vit et travaille &agrave; Maisons-Alfort, Val-de-Marne.</p> <p style="text-align: justify;">En 1959, il entre &agrave; l&rsquo;&Eacute;cole nationale sup&eacute;rieure des Beaux-Arts de Paris. En 1961, il participe pour la premi&egrave;re fois au Salon de la Jeune Peinture et fr&eacute;quente l&rsquo;atelier de Roger Chastel &agrave; l&rsquo;ENSBA. Pendant les &eacute;v&eacute;nements de Mai 68, Pierre Buraglio est permanent &agrave; l&rsquo;atelier populaire de l&rsquo;&Eacute;cole des Beaux-Arts de Paris.</p> <p style="text-align: justify;">De 1969 &agrave; 1974, il cesse de peindre afin de se consacrer &agrave; une activit&eacute; politique militante. </p> <p style="text-align: justify;">&Agrave; partir de 1976, il enseigne &agrave; l&rsquo;&eacute;cole r&eacute;gionale des Beaux-Arts de Valence puis est nomm&eacute; professeur &agrave; l&rsquo;ENSBA.</p> <p style="text-align: justify;">Pierre Buraglio participe &agrave; l&rsquo;exposition <strong>&laquo;36/36, les artistes f&ecirc;tent les cong&eacute;s pay&eacute;s&raquo; du 9 au 11 septembre 2016 &agrave; la F&ecirc;te de l&rsquo;Humanit&eacute; </strong>(Parc d&eacute;partemental Georges Valbon &agrave; La Courneuve). Les 36 oeuvres seront vendues aux ench&egrave;res sous le marteau d&rsquo;Antoine Godeau de la maison Pierre Berg&eacute; &amp; Associ&eacute;s, au profit d&rsquo;une association caritative.</p> Thu, 28 Jul 2016 18:00:13 +0000 Group Show - Galerie Alain Gutharc - July 5th - July 30th <p>**</p> <p><img style="vertical-align: middle; margin: 10px auto; display: block;" src="" alt="" /></p> <p>&nbsp;</p> Thu, 28 Jul 2016 17:42:52 +0000 Group Show - Gagosian - Paris - June 1st - September 17th <p><em>Words have these abstract shapes, they live in a world of no size.</em><br />&mdash;Ed Ruscha</p> <p style="text-align: justify;">Gagosian Gallery is pleased to present "LEXICON," an exhibition of artworks that&nbsp; employ the written word.</p> <p style="text-align: justify;">A lexicon is a stock or inventory of systematized language, whether personal or belonging to a larger cultural context, which can be shared and deployed. Since the beginning of recorded history, language and art have collided and intersected. And from the modern era onwards, artists have employed words and language to diverse effect, using writing as both act and subject&mdash;in print, light, sculpture, and paint on canvas. Works in the exhibition include Marcel Broodthaers's <em>Acad&eacute;mie I</em> (1968); Alighiero Boetti's embroidered magic word squares (<em>Arazzi</em>) (1977&ndash;92); Ed Ruscha's large-scale three-part painting <em>A</em>,&nbsp;<em>B</em>,&nbsp;<em>C</em> (1985&ndash;87); Jenny Holzer's stone agit, <em>Selections from the Living Series (Bench #9)</em> (1989); Douglas Gordon's text work for a television monitor, <em>A Moment's silence (for someone close to you)</em> (1998); Jean-Michel Basquiat's cultural cryptograms; and Cy Twombly's abstruse and airy scratchings. Lawrence Weiner has created a new site-responsive version of <em>AT THE SAME MOMENT</em> (2000) for the rue de Ponthieu gallery, and Piero Golia has designed a printed wallpaper especially for the exhibition.</p> <p style="text-align: justify;">Language and art have never lived too far away from one another: concrete poetry, propaganda, graffiti, and Pop art, among other genres, testify to their dynamic interplay over time. "LEXICON" presents a gathering of examples from artists who have made language and letters into what poet William Carlos Williams would have referred to as "the thing itself": language becoming physical object.</p> <p style="text-align: justify;"><strong>EXTENDED!<br /> Through Saturday, September 17, 2016</strong></p> <hr /> <p style="text-align: justify;"><em>Les mots ont ces formes abstraites, ils vivent dans un monde qui n'a pas de taille.</em><br />&mdash;Ed Ruscha</p> <p style="text-align: justify;">Gagosian Gallery est heureuse de pr&eacute;senter &laquo; LEXICON &raquo; une exposition d'&oelig;uvres qui font usage des mots.</p> <p style="text-align: justify;">Un lexicon est un stock ou un inventaire de langage syst&eacute;matis&eacute;, qu'il soit personnel ou qu'il fasse partie d'un contexte culturel plus large, qui peut &ecirc;tre partag&eacute; et d&eacute;velopp&eacute;. Depuis le d&eacute;but de l'histoire connue, le langage et l'art se sont heurt&eacute;s et crois&eacute;s. &Agrave; partir de l'&egrave;re moderne, les artistes ont employ&eacute; les mots et le langage &agrave; des fins diverses et vari&eacute;es, utilisant l'&eacute;criture &agrave; la fois comme action et comme sujet, que ce soit dans les domaines de l'&eacute;dition, de la lumi&egrave;re, de la sculpture et de la peinture sur toile. Les &oelig;uvres de l'exposition comprennent notamment <em>Acad&eacute;mie I</em> de Marcel Broodthaers (1968); des &oelig;uvres brod&eacute;es et sur papier d'Alighiero Boetti allant de 1977&ndash;92; la peinture monumentale en trois parties d'Ed Ruscha <em>A</em>,&nbsp;<em>B</em>,&nbsp;<em>C</em> (1985&ndash;87); Selections from the <em>Living Series (Bench #9)</em>, d&eacute;claration sur pierre de Jenny Holzer (1989); <em>A Moment's Silence (for someone close to you)</em>, &oelig;uvre textuelle de Douglas Gordon cr&eacute;&eacute;e pour un &eacute;cran de t&eacute;l&eacute;vision (1998); les denses cryptogrammes culturels de Jean-Michel Basquiat; et les traits complexes et a&eacute;riens de Cy Twombly. Lawrence Weiner a cr&eacute;&eacute; une nouvelle version de <em>AT THE SAME MOMENT</em> (2000) pour la galerie rue de Ponthieu, et Piero Golia a dessin&eacute; un papier peint sp&eacute;cialement pour l'exposition.</p> <p style="text-align: justify;">Le langage et l'art n'ont jamais &eacute;t&eacute; tr&egrave;s loin l'un de l'autre: la poise concr&egrave;te, la propagande, le graffiti et le Pop Art, parmi d'autres genres, attestent de leur interaction dynamique au fil du temps. &laquo; LEXICON &raquo; rassemble des exemples d'artistes qui ont fait du langage et des lettres ce que le po&egrave;te William Carlos Williams d&eacute;crit comme &laquo; la chose en soi &raquo;: le langage devenant un objet physique.</p> <p style="text-align: justify;"><strong>EXTENSION!<br /> Au samedi 17 septembre 2016</strong></p> Thu, 28 Jul 2016 17:34:35 +0000 Mark Geffriaud - Frac Île-de-France, le Plateau - September 22nd - December 11th <p style="text-align: justify;">The film installation at the heart of the exhibition conceived by Mark Geffriaud for le plateau explores our relationship to time. The film consists of footage of two different locations, namely, the construction site of the largest telescope in the world in the Atacama Desert, Chile, and the shores of Lake Titicaca, between Peru and Bolivia, where large building stones were abandoned more than a thousand years ago.</p> <p style="text-align: justify;">From the top of Mount Armazones, where the future telescope will stand, astrophysicists hope to travel back in time and witness the birth of the first galaxies. The piedras cansadas (tired stones), abandoned for unknown reasons during their transport to the city of Tiwanaku, have given rise to much speculation by archaeologists. The various theories on the building for which they were intended rely on the past to construct various projections of a future that will forever remain fictitious.</p> <p style="text-align: justify;">In Geffriaud&rsquo;s film, each site becomes the mirror image of the other: the highest technology, in the near future, will project us into the most distant past, while the traces of ancient civilizations and ancestral techniques carry us back into the past, from where we consider other futures.</p> <p style="text-align: justify;">Between these two sites lies the land of the Aymara, the only people on earth that has an inverted concept of time, with the past lying ahead and the future behind it. Shifting from one site to the other therefore implies crossing a region where our relationship to time is upended. This reversal of time is also reflected in the arrangement of the exhibition, which is punctuated by screenings of the film, random interruptions, and the flow of the soundtrack in all the rooms. Similarly, the soundtrack itself retraces the journey between the two sites by following the development of the project in reverse.</p> <p style="text-align: justify;">&nbsp;</p> <h5 style="text-align: justify;">The work of Mark Geffriaud (born 1977) is based on the production of installations, sculptures and films that focus on the construction of time and memory. Since 2007 his work has been shown in numerous museums and galleries in France (Centre Pompidou, Palais de Tokyo, Mus&eacute;e national du Jeu de Paume, Mus&eacute;e d&rsquo;art moderne de Paris, etc.) and abroad (Tate Modern, London; De Appel, Amsterdam; National Gallery, Prague; Mamco, Geneva; etc.). His work can also be found in various national collections (Centre Pompidou, Mus&eacute;e d&rsquo;art moderne de Paris, frac &icirc;le-de-france).</h5> <h5 style="text-align: justify;">The film by Mark Geffriaud will also be shown as part of his personal exhibition in Rotterdam in autumn 2016 (Witte de With, 14 October 2016&ndash;4 January 2017).<br /> This project has received the kind support of the Meurice Prize for Contemporary Art in 2014.</h5> <hr /> <h5 style="text-align: justify;">&nbsp;</h5> <p style="text-align: justify;">L&rsquo;installation filmique autour de laquelle se d&eacute;veloppe l&rsquo;exposition que Mark Geffriaud a con&ccedil;ue pour le plateau explore notre rapport au temps. La mati&egrave;re du film est constitu&eacute;e de rep&eacute;rages r&eacute;alis&eacute;s sur deux sites : le chantier du futur plus grand t&eacute;lescope au monde, dans le d&eacute;sert d&rsquo;Atacama, au Chili et les rives du lac Titicaca, entre Bolivie et P&eacute;rou, o&ugrave; furent abandonn&eacute;es de grandes pierres de construction, il y a plus de mille ans.</p> <p style="text-align: justify;">Depuis le sommet du mont Armazones o&ugrave; sera construit le t&eacute;lescope, les astrophysiciens esp&egrave;rent pouvoir remonter le temps et assister en diff&eacute;r&eacute; &agrave; la naissance des premi&egrave;res galaxies. Les piedras cansadas (pierres fatigu&eacute;es), abandonn&eacute;es pour une raison inconnue en cours d&rsquo;acheminement vers la cit&eacute; de Tiwanaku, ont fait l&rsquo;objet de nombreuses hypoth&egrave;ses de la part des arch&eacute;ologues. Les diff&eacute;rentes th&eacute;ories sur la construction &agrave; laquelle elles &eacute;taient destin&eacute;es &eacute;chafaudent ainsi &agrave; partir du pass&eacute;, diverses projections sur un futur qui restera &agrave; jamais fictif.</p> <p style="text-align: justify;">&Agrave; travers le film, chaque site devient le miroir invers&eacute; de l&rsquo;autre : la plus haute technologie nous projette, dans un futur proche, dans le pass&eacute; le plus lointain tandis que les traces d&rsquo;anciennes civilisations et techniques ancestrales nous ram&egrave;nent dans le pass&eacute; pour y envisager d&rsquo;autres futurs.</p> <p style="text-align: justify;">Entre les deux sites se situe le territoire des Aymaras, seul peuple sur terre &agrave; avoir une conception invers&eacute;e du temps : le pass&eacute; devant eux et le futur derri&egrave;re. Le d&eacute;placement d&rsquo;un site &agrave; l&rsquo;autre implique la travers&eacute;e d&rsquo;une r&eacute;gion o&ugrave; le rapport au temps s&rsquo;inverse. La construction de l&rsquo;exposition refl&egrave;te ce renversement temporel.</p> <p style="text-align: justify;">L&rsquo;exposition est rythm&eacute;e par les projections du film, leur interruption al&eacute;atoire et le flux de la bande-son diffus&eacute;e en continu dans toutes les salles. La bande son retrace le trajet entre les deux sites en suivant &agrave; rebours l&rsquo;&eacute;laboration du projet.</p> <p style="text-align: justify;">&nbsp;</p> <h5 style="text-align: justify;">La pratique artistique de Mark Geffriaud (n&eacute; en 1977) est bas&eacute;e sur la production d&rsquo;installations, de sculptures et de films. La construction du temps et de la m&eacute;moire est son principal champ de recherche. Depuis 2007, son travail a &eacute;t&eacute; montr&eacute; en France (Centre Pompidou, Palais de Tokyo, Mus&eacute;e national du Jeu de Paume, Mus&eacute;e d&rsquo;art moderne de Paris, le plateau etc.) et &agrave; l&rsquo;&eacute;tranger (Tate Modern &agrave; Londres, De Appel &agrave; Amsterdam, National Gallery &agrave; Prague, Mamco &agrave; Gen&egrave;ve etc.). Ses oeuvres ont int&eacute;gr&eacute; plusieurs collections nationales (Centre Pompidou, Mus&eacute;e d&rsquo;Art Moderne de Paris, frac &icirc;le-de-france).</h5> <h5 style="text-align: justify;">Le film r&eacute;alis&eacute; par Mark Geffriaud sera &eacute;galement montr&eacute; &agrave; l&rsquo;occasion d&rsquo;une autre exposition personnelle durant l&rsquo;automne 2016, &agrave; Rotterdam (Witte de With. 14 octobre 2016 &ndash; 4 janvier 2017).<br /> Le projet a re&ccedil;u le soutien du Prix Meurice pour l&rsquo;art contemporain en 2014.</h5> Thu, 28 Jul 2016 17:29:22 +0000 Stéphanie Lecomte - Fondation Taylor - September 1st - September 24th Thu, 28 Jul 2016 17:25:40 +0000 Claire Montoya - Fondation Taylor - September 1st - September 24th Thu, 28 Jul 2016 17:24:40 +0000 Talia Israeli - Fondation Taylor - September 1st - September 24th Thu, 28 Jul 2016 17:23:38 +0000 Group Show - Cité nationale de l'histoire de l'immigration - October 18th - January 8th, 2017 <h1 id="reader-title" style="text-align: justify;"><span style="font-size: small;">La collection agn&egrave;s b. au Mus&eacute;e national de l&rsquo;histoire de l&rsquo;immigration</span></h1> <div class="content"> <div id="moz-reader-content" style="display: block;" dir="ltr"> <div id="readability-page-1" class="page"> <p style="text-align: justify;"><span style="font-size: small;">Du 18 octobre 2016 au 8 janvier 2017, la collection agn&egrave;s b. investit le Mus&eacute;e national de l&rsquo;histoire de l&rsquo;immigration pour un dialogue in&eacute;dit avec les &oelig;uvres contemporaines du mus&eacute;e.&nbsp;C&rsquo;est la premi&egrave;re fois qu&rsquo;agn&egrave;s b. choisit de montrer &agrave; Paris une s&eacute;lection d&rsquo;&oelig;uvres - photographies, installations, peintures - issue de l&rsquo;extraordinaire collection d&rsquo;art contemporain qu&rsquo;elle a constitu&eacute;e au fil des ann&eacute;es.</span></p> <div class="evenement-presentation" style="text-align: justify;"> <p style="text-align: justify;"><span style="font-size: small;">L'exposition propose une centaine d&rsquo;&oelig;uvres autour de onze th&eacute;matiques communes qui rythment le parcours : l&rsquo;enfance, l&rsquo;amour, l&rsquo;&eacute;criture ou encore l&rsquo;identit&eacute;. Les &oelig;uvres de Claude L&eacute;v&ecirc;que, Henri Cartier-Bresson ou John Giorno c&ocirc;toient celles de Mona Hatoum, Kader Attia et Ch&eacute;ri Samba, offrant ainsi un regard sensible sur les histoires de celles et ceux qui sont venus d&rsquo;ailleurs.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Commissaire de l'exposition : &nbsp;</strong>Sam Stourdz&eacute;, directeur des Rencontres de la photographie, Arles.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">La collection d'agn&egrave;s b.</span></h3> <div class="insert-node insert-node1 insert-nid29340" style="text-align: justify;"> <div class=" insert-node-imagefield moyen-1-tiers droite"> <p class="readability-styled" style="display: inline; text-align: justify;"><span style="font-size: small;">Galeriste, agn&egrave;s b. est &eacute;galement collectionneuse. Au fil des ann&eacute;es, elle a constitu&eacute; une importante collection d&rsquo;art contemporain, pr&eacute;sent&eacute;e pour la premi&egrave;re fois en 1992 &agrave; l'espace des arts de Chalon-sur-Sa&ocirc;ne avant de voyager au Mus&eacute;e Picasso d&rsquo;Antibes puis aux Abattoirs de Toulouse en 2004. La richesse de son fonds photographique a &eacute;t&eacute; pr&eacute;sent&eacute;e en 2000 au Centre National de la Photographie &agrave; Paris et en 2002 au Pavillon des Arts de Nogent-sur-Marne. En 2008, c&rsquo;est le prestigieux C/O Berlin qui accueille une exposition de ses photographies. Enfin en 2015, le Lille M&eacute;tropole Mus&eacute;e d&rsquo;art moderne, d&rsquo;art contemporain et d&rsquo;art brut acueille l&rsquo;exposition&nbsp;<em>Un regard sur la collection agn&egrave;s b</em></span></p> </div> </div> <p class="readability-styled" style="display: inline; text-align: justify;"><span style="font-size: small;">.</span></p> <p class="encartLarge" style="text-align: justify;"><span style="font-size: small;"><strong>Les artistes expos&eacute;s :&nbsp;</strong>Roger Ballen,&nbsp;Ernest Bellocq,&nbsp;Alighiero Boetti,&nbsp;C&eacute;leste Boursier-Mougenot,&nbsp;Brassa&iuml;,&nbsp;Henri Cartier-Bresson,&nbsp;Robert Filliou,&nbsp;Regina Jos&eacute; Galindo,&nbsp;John Giorno,&nbsp;Bodys Isek Kingelez,&nbsp;Claude L&eacute;v&ecirc;que,&nbsp;El Lissitzky ,&nbsp;Annette Messager,&nbsp;Pierre Molinier,&nbsp;Malick Sidib&eacute;,&nbsp;Gillian Wearing,&nbsp;Weegee.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">La collection d'art contemporain du mus&eacute;e</span></h3> <div class="insert-node insert-node2 insert-nid26487" style="text-align: justify;"> <div class=" insert-node-imagefield moyen-1-tiers droite"> <p class="readability-styled" style="display: inline; text-align: justify;"><span style="font-size: small;">Le Mus&eacute;e a souhait&eacute; inscrire l&rsquo;art au sein de ses collections pour constituer peu &agrave; peu un ensemble qui fasse sens sur l&rsquo;immigration. L&rsquo;ensemble des documents et objets de l&rsquo;exposition permanente - et ceux r&eacute;guli&egrave;rement collect&eacute;s - interagissent et se mesurent &agrave; des &oelig;uvres singuli&egrave;res. Celles-ci &eacute;veillent l&rsquo;attention et la sensibilit&eacute; des spectateurs sur les questions soulev&eacute;es par l&rsquo;histoire de l&rsquo;immigration : les &ldquo;petites&rdquo; histoires personnelles et familiales tutoient la &ldquo;grande&rdquo; histoire pour interpeller, parfois d&eacute;stabiliser.</span></p> </div> </div> <p style="text-align: justify;"><span style="font-size: small;">Cette collection unique b&eacute;n&eacute;ficie aujourd&rsquo;hui d&rsquo;un vrai rayonnement et fait l&rsquo;objet de nombreux pr&ecirc;ts, en France comme &agrave; l&rsquo;international.</span></p> <p class="encartLarge" style="text-align: justify;"><span style="font-size: small;"><strong>Les artistes expos&eacute;s :&nbsp;</strong>Kader Attia, Mona Hatoum,&nbsp;Ch&eacute;ri Samba,&nbsp;Roman Cieslewicz,&nbsp;Djamel Tatah.</span></p> </div> </div> </div> </div> <p>&nbsp;</p> Thu, 28 Jul 2016 17:19:55 +0000 Puppies Puppies, D’Ette Nogle, Kem Kagami - Balice Hertling - July 7th - August 6th <p style="text-align: justify;">I wrote a text for this exhibition on a plane from Los Angeles to Vienna. It took hours to write, but even before I was finished getting it all down I knew it wouldn&rsquo;t be published. There is a way of reading this configuration of works that is too bleak and too distorted to be attached to them, even with a voice as unofficial and compromised as mine. I wrote about the torture of cows, anonymous sex and the difficulty of adults trusting each other completely. After spending a few days in Paris thinking about the works that Puppies Puppies has chosen to exhibit at Balice Hertling, I&rsquo;ve changed my mind.</p> <p style="text-align: justify;">Instead of writing on the plane to Paris, Puppies watched a documentary about Peggy Guggenheim. The highlight was the description of an exhibition she produced called Children which featured the work of unusually young artists. Puppies found this an exceptionally compelling precedent. We even started volleying additions to a tentative list for a re-staging on the train from the airport, and were surprised to find that we know a number of interesting child artists. If you look around this exhibition, you&rsquo;ll even find a little abstract painting, made by a young fox-artist named Juniper, who could be a candidate for a new Children. Juniper looks quite a lot like our dog, Spider-Man.</p> <p style="text-align: justify;">This exhibition is a picture of the archetypal sort that a child makes. Their narrow world is represented as a set of discrete objects scattered across a plane. To understand the perspective of the child, you should parse the objects as symbols of key elements in the child&rsquo;s life, and then qualitatively evaluate them in order to get a sense of how they feel about those elements. Children tend to make pictures of their families and think about them in very direct terms.<br /> The shower, installed in the gallery is available to anyone who would like to use it, would be a simply drawn house, an icon of protection. Especially as a child, but even still, Puppies retreats to the shower as a protective place. In the multiple explanations I&rsquo;ve heard, this protection is always likened to a comforting rain. D&rsquo;Ette Nogle, who happens to be a beacon of exceptionally warm human kindness, has provided with her work a gleaming sun to hang optimistically over the other symbols. Her banner is the California sun, which combined with a source of ample water yields a better olive oil. (This exhibition celebrates exactly a year that Puppies Puppies and I have lived together in California, which feels like the first real home city either of us have ever had.) Olive oil is, of course, made by olive trees, two of which stand in the middle of the exhibition. These are, inevitably, our two figures, recently married, the pillars of the depicted family. The sun, a shelter, a dog, the artist, and me.</p> <p style="text-align: justify;">Outside the frame, a periphery of other objects contextualize this image. Most prominently, a plastic heart is literally open, revealing its interior. This object belonged to and stands in for the artist&rsquo;s mother, a doctor who operates on hearts and lungs. Puppies Puppies was a child when she was completing her time as a medical student, and while the heart was an anatomical model she used to study it was also an especially coveted toy. It became a kind of private heirloom between them&mdash; mother and child both treasured the object, and it brought them subtly closer to each other. She was never ready to give it away until a few weeks ago. I&rsquo;m not sure what changed recently, but we were completely surprised when she agreed to part with it.</p> <p style="text-align: justify;">Another important example is Ken Kagami&rsquo;s Jeans. Like so much of his work, Jeans has its brief first life as a piece of concrete comedy. We can&rsquo;t help but complete the picture, filling the hole in the pants with the genitals of a flasher. It lives again, as is so often the case with Kagami, to subvert: first the seriousness of the field of art, resurrecting the original mischief of the readymade, and then his own history as a celebrated fashion stylist in Japan. But there is a slower life that follows the first two, at least for me. I understand this work to be an image of vulnerability, the negation of a clothing-shield that in most societies protects a boundary between one&rsquo;s most private aspects and exposure to the public. This isn&rsquo;t only an interpretation for me, but also something felt. The longer I look at the object, the more grave it appears.</p> <p style="text-align: justify;">Somewhere even further outside of the frame, a swarm of fixtures hold ready miles of toilet paper, anticipating nervously a parade of feces and thus standing guard over a group of paintings by Will Benedict. Over the last few days, and even as I write this, I&rsquo;ve remembered that originating art echoes defecating, which echoes giving birth. I think Puppies Puppies is beginning to consider adopting a child.</p> <p style="text-align: justify;">Forrest </p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Puppies Puppies asked me to design a few paintings, which he could frame within walls of toilet paper rolls. So I&nbsp; made a couple paintings of a horizon within a horizon and I redrew a drawing by Dan Bachardy of Christopher&nbsp; Isherwood on his deathbed.</p> <p style="text-align: justify;">- Will Benedict</p> <hr /> <p style="text-align: justify;">J&rsquo;ai &eacute;crit un texte pour&nbsp; cette exposition dans un avion reliant Los Angeles &agrave; Vienne.&nbsp; L &rsquo;&eacute;crire m&rsquo;a pris des heures,&nbsp; mais&nbsp; bien&nbsp; avant&nbsp; que&nbsp; je&nbsp; n&rsquo; ach&egrave;ve&nbsp; ce&nbsp; travail , j&rsquo;ai&nbsp; su&nbsp; qu&rsquo;il&nbsp; ne&nbsp; serait pas&nbsp; publi&eacute;&nbsp; pour&nbsp; cette exposition.&nbsp; Il&nbsp; y&nbsp; a&nbsp; une&nbsp; mani&egrave;re&nbsp; de lire ce choix d&rsquo;&oelig;uvres,&nbsp; trop sombre et tr op d&eacute;form&eacute;e , ma voix si peu orthodoxe&nbsp; et si peu objective&nbsp; soit - elle. J&rsquo;ai &eacute;crit &agrave;&nbsp; propos de la maltraitance des vaches,&nbsp; du sexe&nbsp; anonyme et de la difficult&eacute; qu&rsquo;ont les adultes&nbsp; de se faire&nbsp; mutuellement confiance. Apr&egrave;s quelques jours &agrave; Paris,&nbsp; pensant aux &oelig;uvres que Puppies Puppies a&nbsp; choisi d&rsquo;exposer chez Balic e Hertling, j &rsquo;ai chang&eacute; d&rsquo;avis.&nbsp;</p> <p style="text-align: justify;">Au&nbsp; lieu&nbsp; d&rsquo;&eacute;crire&nbsp; durant&nbsp; le&nbsp; vol&nbsp; pour&nbsp; Paris,&nbsp; Puppies&nbsp; a&nbsp; regard&eacute;&nbsp; un&nbsp; documen taire&nbsp; sur&nbsp; Peggy&nbsp; Guggenheim.&nbsp; Le&nbsp; sujet&nbsp; &eacute;tait&nbsp; la&nbsp; description d&rsquo;une&nbsp; exposition&nbsp; qu&rsquo;elle&nbsp; a&nbsp; produ ite,&nbsp; appel&eacute;e&nbsp; Children ,&nbsp; elle regroupait&nbsp; le s&nbsp; travaux&nbsp; d&rsquo;artistes&nbsp; singuli&egrave;rement jeunes . Puppies a trouv&eacute; cela exceptionnel et sans pr&eacute;c&eacute;dents.&nbsp; Dans le train pour l&rsquo;a&eacute;roport n ous&nbsp; avons m&ecirc;me commenc&eacute;&nbsp; &agrave; &eacute;num&eacute;rer des id&eacute;es pour&nbsp; une&nbsp; nouvelle mise en sc&egrave;n e, &agrave; notre grande surpris e nous&nbsp; connaissions&nbsp; un&nbsp; grand&nbsp; nombre&nbsp; de&nbsp; jeunes&nbsp; artistes&nbsp; int&eacute;ressants.&nbsp; Si&nbsp; vous&nbsp; faites&nbsp; le&nbsp; tour&nbsp; de&nbsp; cette&nbsp; exposition,&nbsp; vous&nbsp; trouverez&nbsp; m&ecirc;me&nbsp; une petite&nbsp; peinture&nbsp; abstraite&nbsp; faite&nbsp; par&nbsp; un&nbsp; vrai&nbsp; renardeau qui&nbsp; s&rsquo;appel le Juniper.&nbsp; I l pourrait&nbsp; &ecirc;tre&nbsp; candidat p o ur une nouvelle&nbsp; exposition&nbsp; Children . Juniper ressemble un peu &agrave; notre chien Spider - Man.&nbsp;</p> <p style="text-align: justify;">Cette&nbsp; exposition&nbsp; est&nbsp; une&nbsp; image&nbsp; arch&eacute;t ypale&nbsp; de&nbsp; ce&nbsp; que&nbsp; font&nbsp; les&nbsp; enfants .&nbsp; Leur&nbsp; monde&nbsp; &eacute;troit&nbsp; figure&nbsp; comme&nbsp; un&nbsp; assemblage de discrets objets dispers&eacute;s le long d&rsquo;un avion. Pour&nbsp; comprendre la&nbsp; vision d&rsquo;un enfant, vous devez&nbsp; analyser les objets comme des symboles cl&eacute;s d e&nbsp; leur&nbsp; vie, et puis les &eacute;valuer qualitativement afin de&nbsp; saisir le sens&nbsp; de ce qu&rsquo;ils ressente nt &agrave; propos de ces &eacute;l&eacute;ments. Les enfants tendent &agrave; cr&eacute;er des images de leur s familles&nbsp; et&nbsp; &agrave;&nbsp; y&nbsp; penser de fa&ccedil;on tr&egrave;s directe.&nbsp;</p> <p style="text-align: justify;">La&nbsp; douche install&eacute;e&nbsp; dans&nbsp; la&nbsp; galerie&nbsp; est&nbsp; ouverte&nbsp; &agrave;&nbsp; tous ceux&nbsp; qui&nbsp; voudraient&nbsp; l&rsquo;utiliser.&nbsp; Elle&nbsp; peut&nbsp; &ecirc;tre&nbsp; interpr&eacute;t&eacute;e&nbsp; comme&nbsp; une&nbsp; simp le&nbsp; maison&nbsp; dessin&eacute;e,&nbsp; ic&ocirc;ne&nbsp; de&nbsp; &laquo; protection &raquo; .&nbsp; Depuis&nbsp; son&nbsp; enfance , et&nbsp; encore&nbsp; aujourd&rsquo;hui , Puppies&nbsp; consid&egrave;re la&nbsp; douche&nbsp; comme&nbsp; un&nbsp; lieu&nbsp; de&nbsp; protection.&nbsp; Selon&nbsp; les&nbsp; explications&nbsp; que&nbsp; j&rsquo;ai&nbsp; pu&nbsp; entendre , cette&nbsp; protection est toujours li&eacute;e &agrave; la pluie r&eacute;confortante.&nbsp; D&rsquo;Ette&nbsp; Nogle, qui&nbsp; s&rsquo;av&egrave;re &ecirc;tre un phare d&rsquo;une exceptionnelle&nbsp; chaleur humaine, pr&eacute;sente son&nbsp; &oelig;uvre , un&nbsp; soleil &eacute;tincelant et optimiste suspendu au dessus des autr es symboles.&nbsp; Cette banni&egrave;re&nbsp; California&nbsp; sun ,&nbsp; combin&eacute;e&nbsp; &agrave;&nbsp; une&nbsp; grande&nbsp; source&nbsp; d&rsquo;eau , r end&nbsp; une&nbsp; meilleure&nbsp; huile d&rsquo;olive .&nbsp; (Cette&nbsp; exposition&nbsp; est&nbsp; c&eacute;l&eacute;br&eacute;e&nbsp; exactement&nbsp; un&nbsp; an&nbsp; apr&egrave;s que&nbsp; Puppies&nbsp; Puppies&nbsp; et&nbsp; moi&nbsp; nous&nbsp; nous&nbsp; sommes&nbsp; install&eacute;s ensemble en Californie,&nbsp; le&nbsp; premier v&eacute;ritable foyer que nous n&rsquo;ayons jamais eu.) L&rsquo;huile d&rsquo;olive est bien s&ucirc;r faite par&nbsp; les&nbsp; oliviers,&nbsp; deux&nbsp; d&rsquo;entre&nbsp; eux se&nbsp; tiennent&nbsp; au&nbsp; centr e&nbsp; de&nbsp; l&rsquo;exposition.&nbsp; Ils&nbsp; sont,&nbsp; in&eacute; vitablement,&nbsp; nos&nbsp; deux&nbsp; figures r&eacute;cemment mari&eacute;es, les piliers de&nbsp; la famille ici d&eacute;peinte. L e soleil, un abri, un chien, l&rsquo;artiste et moi.</p> <p style="text-align: justify;">En dehors du cadre, une p&eacute;riph&eacute;rie d&rsquo;autres obj ets&nbsp; contextualise l&rsquo;image. &Agrave; la place la plu s importante, un c&oelig;ur&nbsp; en&nbsp; plastique est&nbsp; litt&eacute;ralement&nbsp; ouvert,&nbsp; r&eacute;v&eacute;lant&nbsp; son&nbsp; in t&eacute;rieur.&nbsp; Cet&nbsp; objet&nbsp; appartient&nbsp; et&nbsp; est&nbsp; li&eacute;&nbsp; &agrave;&nbsp; la&nbsp; m&egrave;re&nbsp; de&nbsp; l&rsquo;artiste,&nbsp; une m&eacute;decin qui op&egrave;re les c&oelig;urs et les p oumons. Puppies Puppies &eacute;tait enfan t quand elle terminait ses &eacute;tudes&nbsp; de m&eacute;decine, c e c&oelig;ur &eacute;tait un mod&egrave;le anatomique&nbsp; qu&rsquo;elle avait l&rsquo;habitude d&rsquo;&eacute;tudier , mais c&rsquo;&eacute;tait aussi un jouet&nbsp; particuli&egrave;rement convoit&eacute;.&nbsp; Il est devenu une sorte d&rsquo;h&eacute;ritage priv&eacute; qu &rsquo;ils partageaient tous les deux&nbsp; &ndash; la m&egrave;r e et&nbsp; enfant ch&eacute;rissaient cet objet &ndash; ,&nbsp; subtilement il les rapprochait l&rsquo;un de l&rsquo;autre. Il y a encore quelques semaines de&nbsp; cela , elle n&rsquo;&eacute;tait pas pr&ecirc;te de s&rsquo;en d&eacute;tacher. Je ne suis pas s &ucirc;r de ce qui a chang&eacute; r&eacute;cemment, mais nous &eacute;tions&nbsp; tr&egrave;s &eacute;tonn&eacute;s lors q u&rsquo;elle accepta de s&rsquo;en s&eacute;parer. Le pantalon de Ken Kagami est un autre exemple important. Comme beaucoup de ses &oelig;uvres,&nbsp; Jeans a eu un e&nbsp; courte vie ant&eacute;rieure en tant que blague visuelle .&nbsp; Nous ne pouvons nous emp&ecirc;cher de compl&eacute;ter le tableau , en&nbsp; rempliss ant le&nbsp; trou&nbsp; au&nbsp; niveau&nbsp; des&nbsp; parties&nbsp; g&eacute;ni tales d&rsquo;un&nbsp; exhibitionniste .&nbsp; Il&nbsp; revit encore&nbsp; une&nbsp; fois ,&nbsp; comme&nbsp; cela&nbsp; est&nbsp; souvent le cas avec Kagami, pour&nbsp; subvertir : premi&egrave;rement , l&rsquo;aspect intellectuel de l&rsquo;a rt, en ress uscitant le p&eacute;ch&eacute;&nbsp; originel&nbsp; du Ready - made, et enfin , sa propre histoire, lui qui est c&eacute;l&eacute;br&eacute; comme un styliste au Japon.&nbsp; Mais ici&nbsp; le&nbsp; Jeans a&nbsp; une vie plus courte qui suit&nbsp; les deux premi&egrave;res , tout du moins pour moi. Je comprends ce travail comme&nbsp; &eacute;tant&nbsp; l&rsquo;image&nbsp; de&nbsp; la&nbsp; vuln&eacute;rabilit&eacute;,&nbsp; et&nbsp; comme&nbsp; la&nbsp; n&eacute;gation&nbsp; d&rsquo;un&nbsp; &laquo; v&ecirc;tement - bouclier &raquo; , qui&nbsp; dans&nbsp; la&nbsp; plus&nbsp; part&nbsp; des&nbsp; soci&eacute;t&eacute; s prot&egrave;ge la fronti&egrave;re&nbsp; t&eacute;nue&nbsp; entr e le plus priv&eacute; des aspects et son&nbsp; exposition au public.&nbsp; C&rsquo;est&nbsp; une de mes&nbsp; interpr&eacute;tations, mais aussi un ressenti. Plus j&rsquo;observe cet objet plus grave il m&rsquo;appara&icirc;t.&nbsp;</p> <p style="text-align: justify;">Quelque part, encore plus loin &agrave; l&rsquo;ext&eacute;rieur du cadre, un essaim de dispositifs tient pr&ecirc;t des kilom&egrave;tres de papier&nbsp; toi lette, anticipant nerveusement, telle&nbsp; une parade aux excr&eacute;ments ,&nbsp; au dessus d&rsquo;un groupe de peintures de Will&nbsp; Benedict.&nbsp; Depuis&nbsp; quelques&nbsp; jour s,&nbsp; et&nbsp; tandis&nbsp; que&nbsp; j&rsquo;&eacute;cris&nbsp; ces&nbsp; lignes,&nbsp; je&nbsp; me&nbsp; souviens&nbsp; que&nbsp; l&rsquo;art&nbsp; fait&nbsp; &eacute;chos&nbsp; au&nbsp; fait&nbsp; de&nbsp; d&eacute;f&eacute;quer,&nbsp; ce&nbsp;&nbsp; qui&nbsp;&nbsp; fait&nbsp; &eacute;chos&nbsp;&nbsp; &agrave;&nbsp;&nbsp; la&nbsp;&nbsp; naissance.&nbsp;&nbsp; Je&nbsp;&nbsp; pense&nbsp;&nbsp; que&nbsp;&nbsp; Puppies&nbsp;&nbsp; Puppies&nbsp;&nbsp; commence&nbsp;&nbsp; &agrave;&nbsp;&nbsp; consid&eacute; rer&nbsp; favorablement l&rsquo;adoption.&nbsp;</p> <p style="text-align: justify;">- Forrest&nbsp;</p> <p style="text-align: justify;">Puppies Puppies m &rsquo; a demand&eacute; de cr&eacute; er de nouvelles peintures, que nous pourrions encadrer et accrocher sur&nbsp; un mur recouvert de&nbsp; rouleaux de papiers toilettes.&nbsp; J &rsquo; ai donc r&eacute;alis&eacute; quelques peintures d &rsquo; un&nbsp; horizon &agrave; l &rsquo; int&eacute;rieur&nbsp; d &rsquo; un horizon et j &rsquo; ai redessin&eacute; le dessin initial de Don Bachardy, repr&eacute; sentant Christopher Isherwood sur son lit de&nbsp; mort.</p> <p style="text-align: justify;">- Will&nbsp; Benedict&nbsp;</p> Thu, 28 Jul 2016 17:13:54 +0000 Will Benedict, Puppies Puppies - Balice Hertling - July 7th - August 6th Thu, 28 Jul 2016 17:07:03 +0000 - Association Culturelle Franco-Japonaise de Tenri - September 26th - October 1st <p style="text-align: justify;">Regroupement d&rsquo;artistes issus d&rsquo;horizons vari&eacute;s qui plusieurs fois par an se r&eacute;unissent autour d&rsquo;une exposition afin de pr&eacute;senter leurs cr&eacute;ations, avec d&rsquo;un c&ocirc;t&eacute; des &oelig;uvres r&eacute;alis&eacute;es dans le respect des techniques d&rsquo;autrefois et repr&eacute;sentant la beaut&eacute; du Japon &agrave; travers des motifs naturels, et de l&rsquo;autre des &oelig;uvres plus contemporaines issues de la subculture (Manga et Anime) ayant incorpor&eacute; des &eacute;l&eacute;ments traditionnels.</p> Thu, 28 Jul 2016 16:53:49 +0000 Muriel GREGOIRE - Association Culturelle Franco-Japonaise de Tenri - September 12th - September 24th <p style="text-align: justify;">Le papier est un &ecirc;tre.</p> <p style="text-align: justify;">Couleur, lumi&egrave;re, texture, grain, et, plus secr&egrave;tement,rythmes, mouvements, flux d'&eacute;nergie, le dessin monte decette mati&egrave;re vibrante, vivante.</p> <p style="text-align: justify;">D&eacute;sirer, d&eacute;sirer sans rien vouloir, accueillir, se laisser guider,&ecirc;tre en r&eacute;sonance et en dialogue avec ce qui apparait.</p> <p style="text-align: justify;">Sous le crayon, le pinceau, un monde se d&eacute;voile et m'offre sesvariations, &agrave; l'infini.</p> Thu, 28 Jul 2016 16:52:49 +0000 Michiru Sawamura - Association Culturelle Franco-Japonaise de Tenri - September 2nd - September 9th <p style="text-align: justify;">L&rsquo;atelier de mes r&ecirc;ves a fini par arriver &agrave; paris.</p> <p style="text-align: justify;">Il y a 3 ans de cela, j&rsquo;ai r&eacute;uni dans un livre d&rsquo;arts le fruit de 50 ann&eacute;es de travail. A la suite de cela, le cours du temps n&rsquo;a cess&eacute; de m&rsquo;inviter &agrave; continuer mon &oelig;uvre, donnant un nouvel &eacute;lan de dynamisme &agrave; l&rsquo;atelier de mes r&ecirc;ves.</p> <p style="text-align: justify;">A n&rsquo;en pas douter, mes prochaines cr&eacute;ations m&ecirc;leront dans leur repr&eacute;sentation les senteurs et nuances de Paris.</p> <p style="text-align: justify;">Michiru SAWAMURA , Pr&eacute;sident de l&rsquo;Association des Arts du Pacifique, organisme sans but lucratif incorpor&eacute;</p> Thu, 28 Jul 2016 16:51:19 +0000 Iori Wada, Eriko, Mio, Sayu Matsumoto - Association Culturelle Franco-Japonaise de Tenri - July 25th - July 30th <p style="text-align: justify;">Le Bokusaiga est une technique de peinture r&eacute;pandue depuis tr&egrave;s longtemps en Orient, qui allie nuances de couleurs et encre de Chine. Cette encre est le produit d&rsquo;une pr&eacute;paration m&ecirc;lant de la suie et des senteurs orientales. L&rsquo;encre apaise le c&oelig;ur, et nous procure parfois de l&rsquo;&eacute;nergie. Pour nos &oelig;uvres, nous utilisons du Washi, papier traditionnel japonais qui donne un magnifique rendu aux bavures et d&eacute;gradations de l&rsquo;encre.</p> Thu, 28 Jul 2016 16:49:42 +0000