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Ella & Pitr, « Les Papiers Peintres – Railways, walls and floors », 1

“In Mumbai, we created an ephemeral work with coloured powder, made from dyed sand and salt, called Rangoli. ”

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Ella & Pitr, « Les Papiers Peintres – Railways, walls and floors », 2

"On the roof of this little-used car park, at 35°C, we painted, in a blue reminiscent of the colour of the "azulejos" on the streets of Goa, plastic bags, bottles by the sea and other waste floating on the swimsuit of a giant sleeping lady."

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Ella & Pitr, « Les Papiers Peintres – Railways, walls and floors », 3

“After a day of Rangoli, we are covered in pigment and as the last colour we used was black, we look like miners. Indians like to celebrate colours and throw dyed powders around, ending up covered in pigment.”

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Ella & Pitr, « Les Papiers Peintres – Railways, walls and floors », 4

“The powder drawing we made in Dharavi was not in itself a curiosity for the locals, except that it was much bigger than those made at the Rangoli festival. According to the police at the nearby police station, it was even the largest in India!”

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Ella & Pitr, « Les Papiers Peintres – Railways, walls and floors », 5

"The lady fell asleep on the roof of a car park, between the river dotted with floating casinos and the future motorway which will take her to the airport in a matter of minutes. She will wake up when the cars stop and the sand has returned. In the meantime, she dreams.”

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Ella & Pitr, « Les Papiers Peintres – Railways, walls and floors », 6

“This sleeping lady's bathing cap is inspired by 1970s models, when Goa was a paradise for hippies and environmental carelessness with regard to new materials, such as plastic. Her earring is reminiscent of the red bindi Indian women paint on her foreheads.”

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Ella & Pitr, « Les Papiers Peintres – Railways, walls and floors », 7

“We travelled through the city and its railway tracks on crowded trains, open doors, our hair in the wind, with our friend Alkemy, a local graffiti artist, until we found the perfect spot to create graffiti. We love the uncontrollable and free energy of the graffiti movement. We couldn't not do some lettering in Mumbai!”

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Ella & Pitr, « Les Papiers Peintres – Railways, walls and floors », 8

“This aerial photo was taken a few minutes before the local kids came out to play and started erasing the powder drawing. The laughing character will be tickled for three days before disappearing almost completely, worn away by footballs, bikes, motorbikes and passers-by. Sad to see it disappear, locals have invited us to paint it again on our next visit.”

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Ella & Pitr, « Les Papiers Peintres – Railways, walls and floors », 9

“We like to play with the erasure of our works. We have blown up painted walls in quarries for Blast, filmed the erasure of a sleeping giant by cleaners in Saint-Étienne, observed the slow disappearance of a drawing made on the turf of the Montargis aerodrome, watched the sea take a couple of lovers drawn with seaweed on a beach in Chile…”

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Ella & Pitr, « Les Papiers Peintres – Railways, walls and floors », 10

“They're there, they're laughing, they're rummaging, they're shouting, they're playing. This design is a tribute, in Goa’s slum, to all the children we met between Mumbai and Goa. They were always there when we were painting, curious about what we were going to do and always encouraging us.”

Visual arts
Ella & Pitr, « Les Papiers Peintres – Railways, walls and floors »

3 weeks ago

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Sans titre, d’Emmanuelle Andrianjafy

From Madagascar to Dakar, Emmanuelle Andrianjafy’s camera is the primary tool with which she orients herself in a new environment. Her photo series Nothing’s in Vain presents a narrative, informed by her own experiences, about belonging and connection in the urban environment. Her photographs capture her impressions and her thoughts, telling the story of the city through urban realities, migration and labour movements.

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Poolside Boy, de Fanyana Hlabangane

The work of the South African artist exposes a certain side of Johannesburg, revealed through the soul of its inhabitants. Often at odds with their surroundings, the characters captured by Fanyana Hlabangane's lens highlight the unique way this city crushes everyone's sense of belonging, destroying their hopes and dreams.

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Long Road, d’Andrew Tshabangu

Andrew Tshabangu’s project bears witness to contemporary life on the island of La Réunion through its population, primarily its young people, and also through religion, work, public transport, etc. This series of photographs expands the artist’s practice, already focused on an appreciation for the simple things and life's everyday movements, and always in black and white.

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Love Story, d’Adama Jalloh

Adama Jalloh was born in Britain to parents from Sierra Leon. His project came into being as a vital tool for defining his own identity, split up until that point between the two countries to which he belongs. Love Story highlights the unique nature of the African diasporas in London, photographing these people as they go about their daily lives. The photographer seeks to bring an authenticity to mundane scenes and thus present a narrative about these communities.

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Angela Davis at the Keskidee Centre, d’Armet Francis

For many years, Armet Francis’s work has focused on the history of black people and Africa, not from a documentary point of view but from a more removed, dramatic perspective. By focusing more on the historical moment than on the identity of the people photographed, the artist gives the impression that his photographs are taken from a fairy tale.

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#I (Tshepang Dumelakgosi), de Jodi Bieber

In the post-apartheid era, Jodi Bieber's snapshots give a voice to South Africa's younger generation. These young people come from different social and economic backgrounds and present their country's challenges in their own ways. Each piece in this project gives a voice to an individual, who has chosen a word and a quote.

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Shaabi Beaches, de Roger Anis

For Roger Anis, the beach is the perfect place to learn more about a country. Shaabi Beaches takes us into the heart of Egyptian society through the photographer's lens. His photos bear witness to the popularity of beaches among Egyptians, 9 years after the revolution.

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Tenir (Anyway), de Fototala King Massassy

A true ode to ‘Africanness’ as a global concept, Tenir by Fototala King Massassy takes up the symbols of the struggles fought in the United States and around the world for Black emancipation. Keen to present this through a strong image, he captured fists decked out in lucky rings, each of which gives weight to their bearer's resistance.

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Air Twelve Land, de Khalil Nemmaoui

The Renault 12 is the central element of Khalil Nemmaoui’s project. Staging it in different surroundings, the artist plays with the geometric shapes of the vehicle and the arid, irregular landscapes of Morocco. The project aims to examine the intersection between technology, nature, architecture and mechanics.

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Scènes de vie, d’Amsatou Diallo

Using digital collages, Amsatou Diallo offers a reflection on the complexity of African identities in the face of globalisation. By superimposing everyday scenes from African cultures over photographs of urban environments in North Carolina, USA, the artist creates, within the image, a utopian multicultural space-time dimension.

Photography
Bamako Biennale, 12th edition

6 weeks ago

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Son Ar Mein et l'Asian University for Women

In February 2019, Son Ar Mein travelled to Bangladesh for a creative residency and a series of three concerts in Dhaka and Chittagong, with the choir from the Asian University for Women, South Asia's first all-female university. Through French baroque and Renaissance music and other European masterpieces, they all seek to promote the education and emancipation of young women from Asia and the Middle East.

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La Roue de la mort, de Galapiat Cirque

A symbol of the traditional circus, the wheel of death is renowned for the horror and admiration it elicits from the public. Based on these emotions, Galapiat Cirque wanted to reverse the trend with their "little" wheel of death, and open up many more possibilities. They thus make this vehicle a new game partner, both on the ground and in the water. Part of the residency for the creation of this project has taken place in Finland in 2019 and 2020.

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La résidence de création artistique de Sitala Lillin’Ba / Sitala Kounou

The Sitala associations have been working for 15 years on innovative artistic cooperation between France and Burkina Faso. In January 2019, Sitala Kounou, composed of musicians from France and Burkina Faso, created a creative residence as well as a time for exchanges and training for the professions of sound and light technicians. 

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Arbre, de Mylinh Nguyen

This travelling sound sculpture feeds on the interest it receives and the stories it tells: visitors listen to the stories submitted by those who came before them, and must in turn leave a message in the only structure with a microphone and represented by an ear. The work was presented at The Terminal Kyoto in October 2019 as part of the White Night.

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Emprunt – Urushi, d’Émilie Pédron

The technique developed by Émilie Pédron during her residency at Villa Kujoyama in 2016 involves harvesting natural clay that provides great richness in colours, textures, materials etc. A technique that she learned to complete in Kyoto in November 2019 by training in the traditional technique of repairing with lacquer (urushi) to carry out alterations.

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Toni Braga, Oficina Digital

In March 2019, Jean-Luc Thomas travelled to Brazil to record “Oficina Itinerante”, based on his multimedia show “Oficina”. Designed as a travel diary, the album, which will be released on 28 February 2020, pays tribute to the places and people the artist has met over the past 20 years.

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Lena Paugam

This piece by Xavier Maurel combines text and dance with the soundscape of the Ez3kiel group. Designed to be performed in the forest, Echo ou la parole est un miroir muet is re-created in situ with a new troupe of non-professional dancers in each territory where it is presented, notably in Brazzaville and Kinshasa in December 2019.

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Walk Man in Seoul, du Théâtre de l’Arpenteur

Walk Man in Seoul is the Korean version of a soundtrack concept developed in France by the Théâtre de l’Arpenteur. A creation designed by Hervé Lelardoux assisted by Ji-In Gook, which immerses the spectator in the city of Seoul and the memory of Seoulites. This project was presented in October 2019 during the Seoul Street Art Festival.

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Résidence de Samir Mougas à la Jam Factory

After a residency in Australia in the summer of 2019, Samir Mougas made a set of eight glazed sandstone wall sculptures that combined, in an animist dimension, mouldings of hubcaps and sausages. The residency allowed him to develop several enamel recipes to work on the glossy texture of his objects.

International artists from Brittany

12 weeks ago

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Mur de mûres, Pierre Joseph

Pierre Joseph, born in Caen in 1965, opens the Palais de Tokyo exhibition with a new series of Photographies sans fin (Endless Photography). Mur de mûres complements his previous projects Photographie sans fin: champ de blé (Endless Photography: Wheat Field (1 & 2), 2016) and Fondation Vincent van Gogh (The Vincent van Gogh Foundation (2018).

His work, in which a single element is multiplied, stacked up and repeated to the point of "indigestion," questions singularity in an ever more homogenous world.

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Insta - Tokyo, Alain Séchas

Born in 1955 in Colombes, the artist presents a series of drawings made between July 2018 and July 2019. He makes everyday life the centre of his work and approaches it through various subjects such as weather, news, social events and art. Not without humour, Alain Séchas reacts to everyday events by caricaturing his fellow citizens.

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Parfums de pauvres, de Fabienne Audéoud

"What interests me is what a play does to those who look at it, and the wider context in which it operates and how it performs.” The work of Fabienne Audéoud, who was born in 1968 in Besançon, examines stereotypes linked to the genres and economic circuits of major brand products.

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Land I, II, II by Adrien Vescosi and Carlotta Bailly-Borg

Born in 1984 in Paris, Carlotta Bailly-Borg presents an ensemble of glass paintings, bringing to life portraits of androgynous characters, men and women. Nestled in this space, these figures seek to exist in the eyes of the world.

 

Adrien Vescosi, born in Thonon-les-Bains in 1981, uses dye on fabric. For this new exhibition, the artist designed a bespoke painting, in keeping with the architecture and scale of the place. This monumental painting, suspended in the air as in time, greets the audience in its folds.

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J’ai vu les buffles d’eau, de Laura Lamiel

Through photography, drawing and painting, Laura Lamiel’s works find their essence in the space in which they are installed. On the mezzanine of the big glass roof of the Palais de Tokyo, the artist reveals her “plastic vocabulary”. This installation evokes an individual awareness of the current state of the world.

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Cambrai XVIII (2019) de Marc Camille Chaimowicz et Anepic de Madison Bycroft

Born in 1987 in Adelaide, Australia, Madison Bycroft seeks to inspire "friction and dysfunction" in visitors. She is particularly interested in theatre and its mechanisms, and in the representation of genres through disguise. Her new installation is inspired by deadpan humour and burlesque comedy.

 

Born in Paris in 1974, Marc Camille Chaimowicz is one of those who questions the boundary between art and life. He stands out for his way of working, recognisable by its floral patterns on a pastel background.

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D’un jour à l’autre, de Nathalie du Pasquier

Born in Bordeaux in 1957, Nathalie du Pasquier currently lives and works in Milan. Her work fluctuates between two and three dimensions.

For this exhibition, the artist has installed four "miniature museums" where both her own work and that of the artists she loves are exhibited.

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De gauche à droite : Vert clair (2019), Lactée (2019), Écume (2019), Troisième Soleil (2019) d’Antoine Château

Born in Fontaine-lès-Dijon in 1988, the painter Antoine Château likes to exploit many different surfaces and materials. For "Futur, ancien, fugitif "("Future, Old, Fugitive"), cardboard plates, plastic boxes and ceramic bowls serve as a base for creating a vivid and colourful horizon.

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Demain les chiens de Martin Belou

The works of Martin Belou, born in 1986 in L’Union, are composed of organic elements, objects and people that he exploits in modified environments.

The environment created for the exhibition is inhabited by smoke, an agave forest that seems to grow in a precarious and imaginary place. Constantly in motion, space is altered by light, particles, or even by the passage of visitors.

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Sans titre, de Jean-Luc Blanc

Jean-Luc Blanc, born in 1965 in Nice, closes the exhibition with a selection of works of paintings and drawings inhabited by madness. His works mark visitors to the exhibition so that they take with them the persistence image of these faces in their retina. “But how can you silence images without biting your tongue?” asks the artist.

Visual arts
A "certain" French scene at the Palais de Tokyo

12 weeks ago

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"Un pyjama pour deux", une exposition de Sara Bichão, en collaboration avec Manon Harrois, au CAC Passages, Troyes, du vendredi 04 octobre au vendredi 13 décembre 2019.

Née en 1986, diplômée des Beaux-Arts de l’Université de Lisbonne (2011), Sara Bichão vit et travaille à Lisbonne.

Née en 1988 à Reims, diplômée de l’ENSAAMA Olivier de Serres (2009), Manon Harrois vit et travaille à Troyes.

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"Un pyjama pour deux", une exposition de Sara Bichão, en collaboration avec Manon Harrois, au CAC Passages, Troyes, du vendredi 04 octobre au vendredi 13 décembre 2019.

It all began with Boshko Boskovic, curator and director of Residency Unlimited (New York), inviting the two artists to perform Soundless Harmonies at the Rita Urso Gallery in Milan in 2014. Since then, the two artists have worked together regularly.

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"Un pyjama pour deux", une exposition de Sara Bichão, en collaboration avec Manon Harrois, au CAC Passages, Troyes, du vendredi 04 octobre au vendredi 13 décembre 2019.

Sara Bichão and Manon Harrois worked together in residence, first in the Auvergne Volcanoes Regional Nature Park, then on two Portuguese volcanic islands, first in the Azores and then in Madeira.

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"Un pyjama pour deux", une exposition de Sara Bichão, en collaboration avec Manon Harrois, au CAC Passages, Troyes, du vendredi 04 octobre au vendredi 13 décembre 2019.

“Un pyjama pour deux” is the second part of the project “Quand nous sommes deux, nous sommes trois” (“When We Are Two, We Are Three”), which focuses on language, translation and ownership. The guiding idea for both artists was that when two beings, two individuals or two parties communicate, a third form of language emerges ("2 = 3").

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"Un pyjama pour deux", une exposition de Sara Bichão, en collaboration avec Manon Harrois, au CAC Passages, Troyes, du vendredi 04 octobre au vendredi 13 décembre 2019.

The two artists share the same inspiration for installations where sculptures, drawings, paintings and performances freely hybridise.

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"Un pyjama pour deux", une exposition de Sara Bichão, en collaboration avec Manon Harrois, au CAC Passages, Troyes, du vendredi 04 octobre au vendredi 13 décembre 2019.

Sara Bichão's work is strongly connected to ancestral practices of construction and manual work. Through drawing, painting and sewing, the artist creates works through the medium of her body.

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"Un pyjama pour deux", une exposition de Sara Bichão, en collaboration avec Manon Harrois, au CAC Passages, Troyes, du vendredi 04 octobre au vendredi 13 décembre 2019.

In this exhibition, two bodies divide to give rise to a two-voice conversation in a four-hand exhibition.

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"Un pyjama pour deux", une exposition de Sara Bichão, en collaboration avec Manon Harrois, au CAC Passages, Troyes, du vendredi 04 octobre au vendredi 13 décembre 2019.

The exhibition benefits from the loan of Roman objects from the collection of the Troyes Museum of Fine Arts and Archaeology.

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"Un pyjama pour deux", une exposition de Sara Bichão, en collaboration avec Manon Harrois, au CAC Passages, Troyes, du vendredi 04 octobre au vendredi 13 décembre 2019.

This exhibition is the result of a joint effort and is also a portrait of this collaboration.

Visual arts
“Un pyjama pour deux” (“One Pyjama For Two”) by Sara Bichão and Manon Harrois

16 weeks ago

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Deep See Blue Surrounding You/Vois Ce Bleu Profond Te Fondre, Laure Prouvost

This film, broadcast on a loop in several rooms of the Pavilion, traces the journey undertaken by Laure Prouvost and 12 other characters, from the Paris suburbs to Roubaix, via Marseille and ending in Venice. 

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Deep See Blue Surrounding You/Vois Ce Bleu Profond Te Fondre, Laure Prouvost

"The initial idea was a journey towards an ideal elsewhere enabling us to learn how to understand ourselves better, as men or women, young or old people, French or foreigners." (Laure Prouvost)

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Tapestry by Laure Prouvost at the Venice Biennial

This tapestry made for the exhibition acts as one of the many tentacles linked to the central work. It features characters from the film.

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Glass element of the tapestry, Laure Prouvost à la Biennale de Venise

A multidisciplinary artist, Laure Prouvost works in video, drawing, tapestry, ceramics, photography and glass.

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Side room, "Vois ce bleu profond te fondre", Laure Prouvost at the Venice Biennial

Laure Prouvost has a special relationship with language. A fascination that she feeds with her personal experience, particularly following her move to London. The artist uses differences between mother tongue and adoptive language to design her works.  

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« Metal Men », Laure Prouvost at the Venice Biennial

The exhibition is based on making every viewer feel like a tentacle in this project. Like the film's lead narrative, the artist invites each person, with their story, to participate in the formation of a "whole.”

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Colombe in Murano glass, Laure Prouvost at the Venice Biennial

For this exhibition, Laure Prouvost worked in the Murano glass factories, right next to the Biennale. 

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Resin room, Laure Prouvost at the Venice Biennale

In this room, the artist arranged everyday elements as if they were engulfed in the sea in reference to ecological disasters. Using glass allows her to create a “game on transforming liquidity and light”.

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Resin room, Laure Prouvost at the Venice Biennial

Laure Prouvost's work echoes the term "liquid modernity," formulated by the Polish sociologist Zygmunt Bauman. The concept defines a post-modern world governed by immediacy and communication, which make ancient bonds between humans and bodies disappear. It reveals the fragility of a society based on individualism and permanent change.

Visual arts
Last dive into the French Pavilion of Laure Prouvost

16 weeks ago

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Mak Remissa, Left 3 Days

Mak Remissa is considered the greatest Khmer photographer of his generation: born in 1970, he leads the way with his journalistic work and personal projects. With Left 3 Days, for the first time in 40 years he recalls his past and the Khmer Rouge genocide, recreating scenes of daily violence with cut-out paper figurines. . 

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Philong Sovan, City by Night

Born in 1986 in Cambodia, Philong Sovan reveals the lives of those left behind in society, illuminated at night by his motorbike headlights. From his first experience as a photojournalist, Philong Sovan has retained a deep attachment to exploring and analysing the world in which he lives.

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Charles Xelot, Il y a du gaz sous la toundra

Born in 1985, Charles Xelot was a biologist before turning to photography. His work questions the world of industry and its relationship with people. Now based in Moscow, the photographer shot Il y a du gaz sous la toundra in the Yamal Peninsula in the Russian Arctic, home to one of the largest gas reserves in the world.

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Céline Clanet, KOLA

Born in 1977, Céline Clanet spent five years exploring the Kola Peninsula, the Russian Lapland. During the Soviet era this territory of 100,000 km2 housed military installations and nuclear weapons, and today is still a strategic territory where the Sami have been trying to preserve their identity for thousands of years.

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Sorn Seyhaktit, dit Ti Tit

Ti Tit, a Cambodian blogger and photographer born in 1977, uses self-portraiture, where nothing is taboo, to question the identity of younger generations, society, sex and politics using irreverence, humour and provocation. 

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Wrapped Future, de Sokchanlina Lim

Sokchanlina Lim, a Cambodian photographer born in 1987, draws attention to the social, political, cultural and environmental problems affecting Cambodia, linking them to global issues.

The Wrapped Future series questions the combination of the human landscape and the natural landscape. 

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Sophal Neak, Hang On

Born in 1989 in Cambodia, Sophal Neak is one of the emerging talents of the Cambodian art scene. The photographer questions the relationship between status, identity and society and shows through her portraits without faces, which are hidden by a tool or object, the invisibility of people reduced to their working status by society. 

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SMITH, Löyly

Through photography, cinema, video, choreography, bioart and the use of new technologies, SMITH, born in France in 1985,  questions human identity and in particular the subject of transition, which is the central issue of his artistic practice. 

Photography
Photo Phnom Penh 2019

16 weeks ago

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Sogol Ahmadieh Kashani, What Happened to Cypress? (2019)

Artist and painter Sogol Ahmadieh Kashani focuses his work on human issues in different societies, through the lens of emotions such as loneliness or bewilderment. She specifically explores the impact of urban environments and populated spaces on the way different beings live, using a language that is at once abstract and inclusive.

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Hugo De Almeida Pinho, The Valley of Thousand Smokes (2015)

Hugo de Almeida Pinho combines theoretical research with metaphorical statements, developing an artistic practice that takes into account the nature of images and their ability to alter reality and perception. Working primarily on specific cultural, historical and sociopolitical contexts through a variety of mediums, the artist's work aims to reflect the historical construction of how technology shapes our perception.

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Juana Garcia Pozuelo, Jeton d'amour « J » (2017)

In Paris, Juana García-Pozuelo is developing pictorial works around the Museum of Romantic Life and its collection. The artist and painter has always been interested in the relationship between a building and its inhabitants, as well as in tracing the meanings certain people have attributed to places that would otherwise remain anonymous.

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Feng Li, Ripples (2017)

Feng Li is the creator of the series of photographs White Night, which began in 2005. Through daily scenes from the city of Chengdu, he delicately captures human and urban wildlife in all its forms. His work White Night (2017) was nominated for the Aperture PhotoBook Awards and won the Jimei x Arles Discovery Award. His works were exhibited at the Rencontres d'Arles in 2018.

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Monopoly (2018), de Carl-Oskar Linné (Suède)

Carl-Oskar Linné's projects use places as their starting point. The visual artist and photographer collects texts, slogans, interviews, reports and statistics, which he pairs with visual elements. His works often take the form of sculptural signs. They often feature the themes of urban planning, property speculation and poverty.

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Patch (2015), d’Asya Marakulina (Russie)

Visual artist Asya Marakulina is continuing to develop her project Clouded Education, based on observations of the movement and shape of clouds, through photographs, sketches and texts. Providing visual information which may be perceived differently depending on the spectator's state of mind, she sees clouds as a universal educational material. The artist plans to make a book of the observations she gathers in Paris.

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Joubeen Mireskandari, Flatland (2014)

Joubeen Mireskandari photographs subjects in his studio, while simultaneously capturing their images in the city to reveal portraits with multiple faces. The portrait photography in his studio becomes a Freudian mirror where the attitudes and mental states of his subjects are revealed, while the lens of his camera recounts their social and cultural backgrounds.

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Anna Rotaenko, Killer Pool (2019)

Through an artistic practice which combines video art, cinema and musical composition, Anna Rotaenko is working on a graphic series entitled “Where is the magic”, which dissects post-capitalist relations with art, particularly through the recording of conversations systematically constructed using statistical diagrams. An ironic video, Killer Pool features utopian advertisements from an idyllic island, where the viewer can fully relax.

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Hemant Sreekumar, Godsignal (2017)

Hemant Sreekumar is currently working on emerging collaborative listening strategies which create more permeable boundaries between performers and listeners, artists and audiences. Performances, prints, works based on light, etc.: his work responds to the concepts of decay, generative bias and semantic loss.

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Cosmos (2019), de Cecilia Szalkowicz (Argentine)

Cosmos presents an abstract story built from a series of objects. Functioning like a slide show, the installation - which takes its title from Witold Gombrowicz's 1965 book - explores how we construct our senses.

Artists in residence at the Cité Internationale des Arts, Paris

18 weeks ago

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« Watercolors », de Nicolas Floc’h

Nicolas Floc’h’s new photographic series focuses on Japan’s artificial reefs, submerged structures designed to promote the life and reproduction of marine species and increase resources for fishing.

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Nicolas Floc’h, Colonne d’eau, - 25 mètres, Mer de Seto, Shodoshima, Japon, 2019

Nicolas Floc’h conducts a whole research project on the colour of water, “Watercolors”. As oceanographer Hubert Loisel recalled in an interview with Nicolas Floc’h, the colour of the water makes it possible to determine the composition of the habitats and the type of phytoplankton present, which is vital for marine species and for all the species of the planet, and also plays an essential role in regulating the climate.

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Nicolas Floc’h, Colonne d’eau, - 40 mètres, Pacifique, Shimoda, Japon, 2019

“The colour of water has always been used by birds and marine mammals to detect productive waters in which there is phytoplankton and which therefore contain fish ”(excerpt from an audio piece based on an interview with Hubert Loisel, 2017).

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Nicolas Floc’h, Colonne d’eau, - 8 mètres, Mer de Seto, Aji, Japon, 2019

The exhibition is bathed in the colour of the water, thanks to a unique in situ installation of monochrome images of water columns, predominantly from the Seto Sea.

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Nicolas Floc’h, Coccolithophorhat, installation, 2019. Crédit photo : Nicolas Floc’h

These hats designed by Nicolas Floc’h, called “coccolithophorhat” (global warming protection hat) using double-umbrella coccolites, are both a tribute to the ocean and a symbolic object of protection against climate warming.

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Structures productives, récif artificiel, - 8m, récif à algues, Mitoyo, Japon, 2019

Commonly known as "artificial reefs," these structures were developed in Japan from the seventeenth century onwards to cultivate the sea, an essential natural resource for the Japanese.

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Nicolas Floc’h, Structures productives, récif artificiel, - 10m, Mitoyo, Japon, 2019

In a few years, these elements, often made of concrete, will be colonised by flora and fauna, transforming them into living sculptures/architectures.

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Structures productives, récif artificiel, - 8m, récif nurserie, Shodoshima, Japon, 2019

While Nicolas Floc’h has been working on the seabed for around ten years, the artist has created this new black and white photographic series specifically for the Setouchi Triennial.

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Nicolas Floc'h, Structures productives, récif artificiel, - 8m, Aji, Japon, 2019

The "Productive Structures" series began in 2011. The choice of black and white allows Nicolas Floc’h to highlight the architectural and sculptural dimension of these artificial reefs.

 

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Nicolas Floc’h, Structures productives, récif artificiel, - 9m, récif à algues, Shodoshima, Japon, 2019

In February-March 2019, Nicolas Floc’h presented for the first time in Paris, at the Galerie Maubert, an overview of his research carried out in the last decade on the seabed, through the exhibition “Récifs”.

Multidisciplinary
"Watercolors", by Nicolas Floc'h

18 weeks ago

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La Spire, de Chloé Moglia (2019)

In La Spire, a unique installation and aerial work, five female trapeze artists are suspended from a huge steel spiral, at once light and monumental, which measures more than 6 metres high and 18 metres long. A musician accompanies their ascent.

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Hommage à Trisha Brown, de Josette Baïz (2015)

Hommage à Trisha Brown is an ensemble of three pieces celebrating the great postmodernist choreographer Trisha Brown, who strongly influenced the work of Josette Baïz.

As part of FranceDance UK, the choreographer, founder of the Granada Group, is working with ACE Dance and Music to teach this work to young dancers from diverse communities in Birmingham.

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Plubel, de Clémentine Vanlerberghe et Fabritia D'Intino (2018)

Plubel is an odyssey which interrogates collective choreographic work and women’s bodies – overexposed or, on the contrary, hidden. What do we see in these women's bodies as they perfectly execute group movements or, conversely, reveal moments of discord and error?

Clémentine Vanlerberghe, a French-German dancer-choreographer, is based in Lille; Fabritia D’Intino, an interpreter and choreographer, lives in Italy.

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Unwanted Munyaneza

Born in Rwanda, Dorothée Munyaneza left Kigali as a refugee at the age of 12, living in the UK before moving to France.

In Unwanted, she focuses on the stories of women trapped by genocide. Widespread rape begot children traumatised by their own history and ostracised because of their taboo origins.

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Crowd

This piece for 15 dancers against a backdrop of techno-trance music transposes the club scene to the theatre. This is the first time Gisèle Vienne has shown her work in the UK.

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Another Look at Memory, de Thomas Lebrun (2017)

In Another Look at Memory, the artistic director of the National Choreographic Centre in Tours revisits ten years of choreography with some of his most faithful dancers to create a new memory of the past. Over a powerful choral score by Philip Glass, together they deliver a dance of rare precision.

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Dumy Moyi, de François Chaignaud (2013)

A multilingual recital enriched by Ukrainian, Filipino and Sephardic melodies, Dumy Moyi exists in total opposition to the rituals of Western theatre, with its boundaries, strict temporality and power relations. In close proximity to the audience, François Chaignaud, wearing a sculptural suit, performs dances and songs inspired by the Theyyam rituals of Malabar, India.

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Queen Blood, d’Ousmane Sy (2019)

In Queen Blood, Ousmane Sy channels the energies and gestures of seven young dancers who deploy their virtuosity to interrogate the possibilities of femininity. They do this from within two very different musical worlds – one acoustic, the other electro.

 

The French choreographer created the piece based on each of these women’s personal lived experiences.

 

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Quelque part au milieu de l’infini, d’Amala Dianor (2017)

This piece is built from encounters between African dances, contemporary dance and hip-hop. Working with this radiant trio, the young Senegalese-born choreographer savours the interactions of three men who poetically interrogate their own freedom and push their individual boundaries.

Dance
FranceDance UK

19 weeks ago

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Triangle Trade, by Jérôme Havre, Cauleen Smith et Camille Turner (2017)

Triangle Trade explores the artists’, all three of whom are of African descent, relationship to the territory and their sense of belonging. The 14-minute video was the result of a year-long cross-border conversation between the United States and Canada.

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Open Your Eyes by Kader Attia (2010)

Juxtaposing portraits of soldiers during the First World War and photographs of objects restored in the warehouses of African museums, this dyptic allows Kader Attia to examine the complex relations between East and West. In it, the artist explores the "restoration" of the human body, comparing it to the concept of "repair" in extra-Occidental cultures.

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Luisa Fernanda by Karen Paulina Biswell (2017)

The Ellas series, to which this photograph belongs, features women portrayed in ambivalent poses and with exaggerated casualness. It seeks to provoke a critical view of the very concept of femininity andthe objectification of women’s bodies.

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La Libertad (Liberty) by Laura Huertas Millán (2017)

In La Libertad, Laura Huertas Millán follows a group of Mexican weavers who use a pre-Hispanic technique that has been preserved for centuries. The film explores the links between craft and freedom.

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Fortia by Lola Keyezua (2017)

With the photographic series Fortia ("strength"), Lola  Keyezua depicts a mysterious empress wearing masks, made in collaboration with a group of disabled artisans in Luanda, Angola. The artist seeks to transform our view of physical disability. 

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Road Signs by Kapwani Kiwang (2012)

By hijacking the processes of ethnographic photography, the artist makes its human subjects invisible, Tanzanian traders who are nevertheless present behind the fronts of their businesses.

Human subjects sit behind a white sheet that simultaneously functions as a screen, frame, and backdrop against which to evaluate trading relationships.

Photography
Momenta 2019 – 16th Image Biennale, Montreal

20 weeks ago

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Hôtel des collections, MoCo Montpellier

The city of Montpellier constantly reinvents itself, offering bold and innovative cultural experiences and building an artistic creation industry which extends across the city. With the MoCo, which will launch in June 2019, Montpellier becomes the first city to invent a next-generation art centre.

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Montpellier Contemporain – École des Beaux-Arts

An emerging creative laboratory, the MoCo brings together a School of Fine Arts, an art centre and a museum dedicated to its collections: a three-part project bringing together the whole art world, from education to exhibitions.

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Montpellier Contemporain – La Panacée

Le deuxième chaînon du MoCo, La Panacée, dédie sa programmation et ses espaces de 1 000 m2 aux artistes émergents, avec une grande place laissée à l’interdisciplinarité et l’évènementiel.

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Carré d'Art – Musée d'Art contemporain de Nîmes

Located since 1993 in a superb building designed by Lord Norman Foster, the collection of the Museum of Contemporary Art stretches from the 1960s to the present day, with nearly 600 works grouped around three major themes:  French art, including all its major movements and unique figures; Mediterranean identity; Anglo-Saxon and Germanic trends.

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Le Centre régional d'art contemporain de Sète

A location dedicated to artistic creation, since its creation in 1997 the Sète Regional Contemporary Art Centre (CRAC) has presented over 600 artists from the French and international artistic scenes.

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La Chapelle du Quartier Haut de Sète

The Chapelle du Quartier Haut was originally the convent of the Sisters of the Infant Jesus or thesœurs noires who came to Sète in 1728 educate the poor girls in the local neighbourhood. Deconsecrated, at the beginning of the twentieth century it became the School of Business and Industry, and then the Technical College. Owned by the City of Sète, this imposing 18th century construction was recently reconfigured to host exhibitions.

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The Sérignan Regional Museum of Contemporary Art (MRAC)

Alongside its permanent collection, the Sérignan MRAC presents  3,200 m2 of temporary exhibitions dedicated to both French and foreign artists.

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Musée d’art Gustave Fayet – Frontfroide

This former Cistercian abbey near Narbonne was purchased at auction in 1908 by Gustave Fayet, a painter and curator, and his wife, Madeleine. A visionary collector, Gustave Fayet brought together symbolist works by creators such as Gauguin, Van Gogh, Cézanne, and particularly Odilon Redon, whose Day and Night hang in the Fontfroide library.

Visual arts
Contemporary Art in Occitania

21 weeks ago

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La balle rouge de la compagnie Balle Rouge

The show The Red Ball (“La balle rouge") by Balle Rouge with Anna Vaschilo was presented at the Tsa Skazka International Theatre Festival in Velikiy Novgorod on 14th April 2019.

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Vies de papier de la compagnie La Bande Passante

The play Paper Lives (“Vies de papier") by La Bande Passante was presented on 29th May 2019 at the Raduga International Festival and the Briantsev Youth Theatre in Saint Petersburg.

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OperettAlzheimer de Marzia Gambardella

The play OperettAlzheimer was created, directed and performed by Marzia Gambardella of the Parisian company MalaStrana. The show travelled across Russia from May to June 2019: it was presented as part of the puppet festivals "The Vokhovski Format" in Voronezh, "Perekrestok" in Novosibirsk, and "Siberia, Magic Earth" in Krasnoyarsk, during which Marzia Gambardella also offered the "Animating the Inanimate" workshop on the "Stolby" Nature Reserve.

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Bells & Spells, de Victoria Thierrée-Chaplin

The play Bells & Spells is directed by Victoria Thierée-Chaplin and performed by Aurélia Thierrée and Jaime Martinez. Presented at the Chekhov International Theatre Festival in Moscow in June 2019, the play was created by the eponymous Parisian company Bells & Spells.

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Bells & Spells 2, de Victoria Thierrée-Chaplin

Présentée dans le cadre du Festival international de théâtre Tchekhov à Moscou en juin 2019, la pièce est signée de la compagnie parisienne éponyme Bells & Spells.

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R.A.G.E., de Camille Trouvé

Directed by Camille Trouvé, the show R.A.G.E. by the Parisian company Les Anges au Plafond was presented in Moscow in June 2019 at the Chekhov International Theatre Festival. On this occasion, Camille Trouvé also hosted a hands-on workshop at Moscow's Sergei Obraztsov Puppet Theatre.

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Scala, de Yoann Bourgeois

Designed by director and set designer Yoann Bourgeois and performed by the Parisian company Les Petits Heures, the show Scala was presented at the Moscow Mossoviet Theatre in June 2019 during the Chekhov International Theatre Festival.

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Scala, de Yoann Bourgeois

Conçu par le metteur en scène et scénographe Yoanne Bourgeois et interprété par la compagnie parisienne Les petites heures, le spectacle Scala a été présenté au Théâtre du Mossoviet de Moscou en juin 2019 pendant le Festival international de théâtre Tchekhov.

Theatre
Circus
2019 : a Theater Year in Russia

22 weeks ago

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BAIKONUR CITY Vincent Fournier

Vincent Fournier has an aesthetic, philosophical and playful fascination with the adventure of space.

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ERGOL #12 Vincent Fournier

Vincent Fournier visited the legendary sites of space exploration: Star City in Russia, the Cap Canaveral launch centres in the United States, Baikonur in Kazakhstan, Arianespace in Guiana, the celestial observatories in the Atacama desert in Chile, New Mexico in Nevada, the Martian simulation base in the Utah Red Desert.

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SLS ROCKET SYSTEMS INTEGRATION Vincent Fournier

For "Space project" Vincent Fournier has enthusiastically combined a historical and documentary vision of space exploration with scenes inspired by cinema and his childhood memories.

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LOWER TORSO Vincent Fournier

Vincent Fournier has an aesthetic, philosophical and playful fascination with the adventure of space.

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SOKOL SPACE GLOVE Vincent Fournier

For "Space project" Vincent Fournier has enthusiastically combined a historical and documentary vision of space exploration with scenes inspired by cinema and his childhood memories.

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APOLLO 8 FIRING ROOM Vincent Fournier

Vincent Fournier visited the legendary sites of space exploration: Star City in Russia, the Cap Canaveral launch centres in the United States, Baikonur in Kazakhstan, Arianespace in Guiana, the celestial observatories in the Atacama desert in Chile, New Mexico in Nevada, the Martian simulation base in the Utah Red Desert.

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Telluris I, Noémie Goudal

Noémie Goudal's work explores the relationship between nature and the artificial, from science to the imaginary, from construction to invention. In Telluris, the artist works with ancient theories on the formation of the texture of the earth, in particular the mountains, which echo the theories of the celestial sphere.

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Telluris V, Noémie Goudal

Noémie Goudal is particularly interested in radical mathematical and geometric reductions of landscapes which make them easier to grasp and comprehend.

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Telluris X, Noémie Goudal

With the creation of a collection combining photography and on-site installations, Noémie Goudal explores and interprets mountainous spaces, what they represent and what they inspire, from real geography to subjective projections.

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Ho Chi Minh City de Mathieu Asselin

Mathieu Asselin bears witness to the impact of Monsanto’s chemicals on the lives of thousands of people. His investigation began in Alabama and lasted for 5 years, eventually taking him to Vietnam, where the consequences of the use of Agent Orange, the herbicide used by the American army in combat between 1959 and 1971, is revealed to the public. Several generations of children have suffered from birth defects.

Photography
« Hello world » Ballarat International Foto Biennale, Australie

23 weeks ago

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Marcel Dinahet 1

Today, Fordlândia is at once a landscape and an archive. The village juxtaposes American industrialist Henry Ford’s modern, rationalist, Western, colonial project and an Amazonian territory which creates and supports many different economic, environmental, anthropological and artistic, tourist and scientific projects.

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Marcel Dinahet 1b

Built to enable the intensive cultivation of rubber to equip the vehicles manufactured in Ford’s Detroit plants with tyres, the city of Fordlândia was also a “civilising” project, featuring factories, housing, a hospital and schools, all built in the American style. But it crumbled in a series of failures and mistakes; the water, the land, parasites and worker revolts got the best of the Fordian fantasy.

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Marcel Dinahet 2

An industrial wasteland and a preserved fantasy, Fordlândia is a “suspended space” which contains stories which are unfinished or interrupted, sometimes violently, a space preoccupied with failed stories and stories of the future.

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Marcel Dinahet 2b

The Suspended Spaces Collective arrives in Fordlândia at night opposite the rubber warehouse, the best-preserved building in the city. It is empty; Henry Ford had to abandon his project due to the impossibility of growing rubber trees under intensive agricultural conditions, because they need the space and variety of their natural environment in order to grow properly.

 

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Marcel Dinahet 3

An image from a presentation at La Tôlerie Art Centre in Clermont-Ferrand in November 2018 of the video "Filming the Factory", produced on the catwalk overlooking the floor of the Fordlândia factory.

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Marcel Dinahet 3b

The "beautiful" idea foundered, not without violence, and today the traces of its failure, frozen in time, remain visible.

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Dinahet 4

At the Brittany FRAC, a large-scale video installation which fills a room is on display. It features three quick-moving sequences of beach shots. The sequences on the centre screen were filmed on a beach along the Rio Tapajòs during a stopover on the way to Fordlândia.

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Marcel Dinahet 7

Augustino is Fordlândia’s dowser. Marcel Dinahet is one too, and they were able to communicate through his dowsing rod about sensations and knowledge they share. Not long ago, the water of the Rio Tapajòs was clean enough to drink. This is no longer the case, and the inhabitants of Fordlândia are turning to Augustino for help finding drinking water sources where they can dig wells.

Photography
Marcel Dinahet – « retour de Fordlândia, Belem Object »

24 weeks ago

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Pablo Gershanik 1

Quatre Vingt Balles dans l'Aile, a work by Pablo Gershanik at the Cité internationale des Arts

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Pablo Gershanik 2

Quatre Vingt Balles dans l'Aile, a work by Pablo Gershanik at the Cité internationale des Arts

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Pablo Gershanik 3

Quatre Vingt Balles dans l'Aile, a work by Pablo Gershanik at the Cité internationale des Arts

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Pablo Gershanik 4

Quatre Vingt Balles dans l'Aile, a work by Pablo Gershanik at the Cité internationale des Arts.

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Pablo Gershani 5

Quatre Vingt Balles dans l'Aile, a work by Pablo Gershanik at the Cité internationale des Arts

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Pablo Gershani 6

Quatre Vingt Balles dans l'Aile, a work by Pablo Gershanik at the Cité internationale des Arts

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Pablo Gershani 7

Quatre Vingt Balles dans l'Aile, a work by Pablo Gershanik at the Cité internationale des Arts.

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Pablo Gershani 8

Quatre Vingt Balles dans l'Aile, a work by Pablo Gershanik at the Cité internationale des Arts.

Multidisciplinary
Pablo Gershanik, an Argentinian artist in residence at the Cité Internationale des Arts

25 weeks ago