26/03/22

Ange Leccia @ Galleria Six, Milan & Venice - Cars, Marble and Cinder Block

Ange Leccia 
Cars, Marble and Cinder Block 
Galleria Six, Milan & Venice 
March 26 - June 25, 2022 

Galleria Six presents ANGE LECCIA's solo exhibition, Cars, Marble and Cinder Block. This is his second show at the gallery after Ange Leccia: Girls, Ghosts and war (2018-2019).

The exhibition focuses on both sculptural and installation works. The pieces are concerned with the constant relationship between light and image: an image that disorients our gaze, our thinking and leads us to question the subtle relationship between man, technology and identity.

In this exhibition the photographic works, Arrangement, are related both formally and conceptually to the sculptures on display. 

In fact the construction of an enigmatic space placed between the proximity of two or more objects, seems to constitute 'the original gesture' upon which the artist leads us to reflect.

For the occasion a work by Ange Leccia is exhibited in the new space in Venice at Calle de la Vida San Marco 2530.

For the Musée de l'Orangerie, Paris, Ange Leccia has created a video installation, (D') Aprés Monet, which proposes to feel and read the polysemy of Monets Water Lillies from the story of the genesis of this masterpiece. 

Ange Leccia, born in 1952 in Minerviu, Corsica, lives and works in Paris and Corsica. After studying visual arts, he became dually involved as a visual artist and filmmaker, and initiated his research as a resident at the French Academy in Rome. His work has been shown at the Musée d'Art Moderne de la Ville de Paris, the Centre Georges Pompidou (Paris), the Guggenheim Museum in New York, Documenta in Kassel, Skulptur Projekte in Münster, the Venice Biennale, the Seibu Museum, Hiroshima Art Document, among others. Ange Leccia has taught at Geidai Tokyo University of the Arts. He was a resident at Villa Kujoyama in Kyoto. In 2013, he had a solo exhibition at the MAC/VAL, as well as the Palais de Tokyo in 2014, and the HAB in Nantes during the summer of 2016. In 2017, he had a retrospective exhibition at the National Gallery in Reykjavik. In 2018, he participated in Printemps de Septembre in Toulouse. In 2019, he had a solo exhibition at the Abbaye de Jumièges and the Akureyri Art Museum in Iceland. In 2022, he will exhibit his work at the Artizon Museum in Tokyo, the Musée de l'Orangerie in Paris, the Musée des Impressionnismes in Giverny, and the Louvre Abu Dhabi. Ange Leccia has directed numerous films and fashion shows for big names in the fashion world such as Vuitton and Hermès. He recently co-directed the feature film Christophe Définitivement with the artist Dominique Gonzalez-Foerster. It will be released in 2022.

GALLERIA SIX
Piazza Piola 5 - 20131 Milan
Calle de la Vida San Marco, 2530 - Venice

André Metthey (1871-1920) @ MUDO, Beauvais - Musée de l'Oise - La quête du feu et de la couleur

André Metthey (1871-1920) 
La quête du feu et de la couleur
MUDO - Musée de l'Oise, Beauvais
26 mars – 18 septembre 2022

André Metthey - Affiche de l'exposition
André Metthey
Affiche de l'exposition

André Metthey

André Metthey (1871-1920)
Bouteille : Héraclès et la biche de Cérynie, Vers 1911-1920
Terre vernissée
Collection particulière
Photographie © Alain Beulé

André Metthey
André Metthey (1871-1920)
Étude préparatoire d’assiette
Pastel, fusain et crayon sur papier fin
Paris, musée des Arts décoratifs, inv. 2015.166.21
© MAD, Paris - Photographie : Jean Tholance

Un siècle après la dernière rétrospective consacrée à André Metthey (ou Méthey) au Musée Galliera, le MUDO - Musée de l’Oise met à l’honneur l’ensemble de l’oeuvre de ce céramiste qui se distingue par sa diversité, sa complexité, mais aussi son ampleur. Le nom d’André Metthey est aujourd’hui rattaché à la « céramique fauve » et aux noms d’André Derain, Maurice Denis, Jean Puy ou Georges Rouault avec qui il collabore autour de 1907. Cette exposition monographique met en avant un ensemble représentatif de l’oeuvre d'André Metthey. Elle présente ses premiers grès, typiques des années 1900 et sa première collaboration avec des sculpteurs tels qu’Albert Marque, Alexandre Charpentier ou Denys Puech.

Denys Puech & André Metthey
Denys Puech (1852-1954), André Metthey (1871-1920)
Couple : Le Baiser, Vers 1903-1906
Grès
Collection particulière
Photographie  © Alain Beulé

Henri Matisse & André Metthey
Henri Matisse (1869-1954), André Metthey (1871-1920)
Assiette à tête de jeune femme, Vers 1907
Faïence stannifère
Grenoble, musée de Grenoble, inv. MG 2913-2
© Succession H. Matisse. 
Photo © Ville de Grenoble/ Musée de Grenoble – J.L Lacroix.

Georgette Agutte
Georgette Agutte
(1867-1922)
Cactus rouges (dans trois cache-pots de Metthey), Vers 1920
Huile sur fibrociment
Grenoble, musée de Grenoble, MG 2351
Photo © Ville de Grenoble / Musée de Grenoble - J.L. Lacroix

Sa production la plus célèbre fait l’objet d’une recontextualisation inédite en montrant la diversité des pièces décorées par des peintres aussi variés qu’Henri Matisse, Louis Valtat, Aristide Maillol, Kees Van Dongen, Maximilien Luce ou encore Mary Cassatt. L’exposition fait également découvrir des aspects méconnus de son oeuvre comme son travail pour le grand décor ou ses dessins préparatoires qui mettent en lumière ses ambitions de coloriste. Les couleurs et les riches motifs jaillissent de ses terres cuites vernissées qui annoncent les prémices de l’Art déco. C’est grâce à cette production que Metthey connait un vif succès auprès de ses contemporains. Ses pièces se retrouvent ainsi dans les collections de Marcel Sembat, Jeanne Louise Guerin, André Gide ou encore celle du peintre Paul Signac. L’exposition permet d’entrer dans l’intimité de ce céramiste précurseur grâce à des photographies et archives inédites qui retracent son parcours singulier et sa brève carrière brisée par la tuberculose alors qu’il est au sommet de sa gloire. Il décède à Asnières, dans son atelier, le 31 mars 1920.

André Metthey
André Metthey (1871 -1920)
Chouette, Grès
Collection particulière 
Photographie © Alain Beulé 

André Metthey
André Metthey (1871 -1920)
Bouteille à décor d'oiseaux
Grès
Collection particulière 
Photographie © Alain Beulé 

André Metthey
André Metthey (1871 -1920)
Coupe à décor d'une frise de cinq
personnages féminins et d'oiseaux
Terre venissée
Collection particulière 
Photographie © Alain Beulé 

Cette exposition s’inscrit en lien étroit dans ce qui constitue l’identité du MUDO - Musée de l’Oise, reconnu notamment pour ses collections Art nouveau, Art déco et céramiques. Une sélection de près de 200 oeuvres issues de prestigieuses collections privées et publiques (Petit-Palais à Paris, Musée des Arts décoratifs de Paris, Musée d’Art moderne de Paris, Musée de Grenoble, Musée d’Art moderne de Troyes, Musée départemental Maurice Denis, Musée des Beaux-Arts d’Agen, Musée d’Orsay, Musée de l’Hôtel-Dieu) constitue ce parcours organisé selon une présentation chrono-thématique qui souligne l’évolution et la richesse de l’oeuvre d’André Metthey.

Parcours de l'exposition :
- André Metthey : De la sculpture à la tentation du grès
- André Metthey et les avant-gardes
- André Metthey et les Fauves
- André Metthey : dessinateur et décorateur
- André Metthey : De la couleur avant toute chose

Commissariat :
Adélaïde LACOTTE, doctorante en histoire de l’art à l’Université Paris 1 Panthéon-Sorbonne.
Sylvain PINTA, attaché de conservation du patrimoine, chargé des collections céramiques au MUDO – Musée de l’Oise.

André Metthey - Catalogue

André Metthey  
La quête du feu et de la couleur
Co-édité par Lienart Éditions et le MUDO-Musée de l’Oise, Beauvais
23 x 28 cm, 216 pages, 220 illustrations, broché avec grands rabats
Date de publication : Avril 2022
34 € – ISBN : 978-2-35906-377-6

Catalogue de l'exposition sous la direction d’Adélaïde Lacotte, doctorante en histoire de l’art sur l’oeuvre d’André Metthey à l’Université Paris 1 Panthéon-Sorbonne et Sylvain Pinta, attaché principal de conservation du patrimoine, chargé des collections céramiques et chargé des collections XIXe et XXe siècles au MUDO-Musée de l’Oise à Beauvais. Avec les contributions de Dominique Forest, conservatrice en chef du département moderne et contemporain au musée des Arts décoratifs de Paris, Antoinette Le Normand-Romain, directrice générale honoraire de l’Institut national d’histoire de l’art, conservateur général honoraire du patrimoine, Léa Jaurégui, doctorante en histoire de l’art sur Les Usages de la sculpture et l’industrialisation à l’Université Libre de Bruxelles et Clémence Gaboriau, doctorante en histoire de l’art sur Maurice Denis, illustrateur à l’Université Paris-Sorbonne Paris IV.

MUDO - MUSÉE DE L’OISE
1 Rue du musée, 60000 Beauvais
www.mudo.oise.fr

20/03/22

Robert Barry @ Alfonso Artiaco, Naples - Early Works

Robert Barry: Early Works
Alfonso Artiaco, Naples
March 12 - April 30, 2022

Among the protagonists of American Conceptual Art, ROBERT BARRY (b. 1936), since the ‘60s has been involved in the critique of the work of art, renouncing to all expressive, narrative and representative functions, utilizing language as the main medium of his work.

The concept that the idea of a work is as important as the actual piece of art accompanies his experimentation over the years, creating connections between the absence and presence of the shape and a continuous dialogue between the viewer and empty spaces.

Since 1967 this approach has constantly pushed his research towards the limits of immateriality and invisibility.

Although Robert Barry’s research begun with painting, the media used have not always been orthodox or tangible: among those the use of magnetism and thoughts, ultrasonic sounds and inert gases.

However, 'words' have always been part of his aesthetic, they have been seen as evocation of a mental state, as continuous stream of thoughts and as contemplation and as a way to declare to the viewer a temporal and psychic intangibility.

The terms used by the artist are usually drawing from different sources. They have no semantic value, they do not hide any hidden meaning. Each of them is chosen accordingly to the situations or places where the artist is exhibiting.

Their meaning is also influenced by the viewer decision whether or not to read the language in the wider context of the entire work of the artist. The preference for the comprehension of these words within sentences quickly becomes clear when one encounters the fragmented but potentially contextual syntax in which they exist.
"In my work, language for itself is not art. I use language as a sign to indicate that there is art, the direction in which it exists, to prepare for it."
The artist uses words by painting them on walls or canvases, applying them, printing them or writing them on paper, projecting them on slides or sculpting them on various media.

This is Robert Barry’s fifth solo exhibition at the Alfonso Artiaco gallery, and includes a series of works on paper realized between the ‘60s and ‘70s and four large wall pieces, recalling some of the highlights of his early experimentation.

ROBERT BARRY (1936, New York), lives and works in New Jersey. His work has been exhibited in international events and exhibitions like: Paris Biennale; Documenta Kassel;  Venice Biennale; MOMA Museum, New York; Centre Pompidou Paris; Whitney Museum of American Art, New York. Robert Barry’s extensive exhibition history includes solo shows at Tate Gallery, London; Kunsthalle Nürnberg; Kustmuseum Luzern; Stedelijk Museum, Amsterdam and the upcoming exhibition in June at Lausanne Kunsthalle in Switzerland curated by Mathieu Copeland. His work is included in the permanent collections of the world's major museums and foundations as: Museum of Modern Art, New York; Hirshhorn Museum and Sculpture Garden, Washington, DC; Solomon R. Guggenheim Museum, New York; Musée d'Orsay, Paris; Whitney Museum of American Art, New York; Musée National d'Art Moderne, Centre George Pompidou, Paris; Museum of Contemporary Art, Los Angeles and the National Gallery of Art, Washington, DC.

ALFONSO ARTIACO
Piazzetta Nilo n.7 - 80134 Napoli
______________



Sophie Calle @ Musée d'Orsay, Paris - Sophie Calle et son invité Jean-Paul Demoule : Les fantômes d’Orsay

Sophie Calle et son invité Jean-Paul Demoule
Les fantômes d’Orsay
Musée d'Orsay, Paris
15 mars - 19 juin 2022

En 1978, la gare d’Orsay et son hôtel avaient été désertés. Les travaux de construction du futur musée n’avaient pas encore commencé. C’est à ce moment que Sophie Calle a poussé une porte qui a cédé et s’est choisi comme abri une chambre à l’abandon, la 501. Elle y a passé des journées entières, pendant plusieurs mois, avant son départ pour Venise qui devait marquer le début de son œuvre à venir. Pendant ce séjour, elle ressentit la désolation d’un lieu, comme un espace archéologique où tout avait été délaissé. Elle prit des photos, y invita ses amis, rassembla des documents, des objets, les fiches des clients qui étaient autant de vies ouvertes, les notes adressées à un employé de l’hôtel, nommé Oddo, dont elle imagina l’identité. On peut dire qu’à certains égards, Sophie Calle a développé sa méthode dans l’hôtel d’Orsay.

Elle a gardé jusqu’à présent les éléments saisis lors de sa prospection, issus d’un lieu en voie de disparition. Tous ces « trophées » - suivant son terme - l’ont accompagnée pendant plus de quarante années, comme autant de fantômes d’un monde qui n’existait plus.

Lors du confinement, l’idée naquit d’une évocation de l’hôtel et du musée qui lui avait succédé. C’est ainsi qu’est né le projet Les fantômes d’Orsay, comme un retour de l’artiste sur ses traces, comme une quête dans le passé afin de trouver la clef d’une énigme irrésolue qui trouvait dans la figure d’Oddo son symbole.

Sophie Calle a donc repris son cheminement, en venant confronter l’hôtel et le musée, tous deux assemblés dans cette exposition-retour. Dans l’hôtel, on découvrira les traces personnelles de l’expérience vécue par Sophie Calle et par toutes celles et tous ceux qui y séjournèrent, y travaillèrent, et dont elle a ramassé les signes infimes et émouvants ; on verra, assemblées comme des pièces conceptuelles, les fiches de clients dont elle s’était fait la détentrice. Les objets, commentés par le grand anthropologue Jean-Paul Demoule, deviennent des objets de fouilles et des ready-made, traces d’un passé si proche dans le temps et néanmoins si lointain.

Sophie Calle revient à Orsay en plein confinement, alors que les œuvres somnolent et qu’elle est alors de nouveau seule dans cet espace qu’elle avait habité. Elle cherche à mettre en lumière les tableaux dans la pénombre. Dans ses photos, on les percevra comme jamais.

Les fantômes d’Orsay est une œuvre totale de Sophie Calle, tissant un aller-retour permanent entre ses débuts et l’ensemble de sa création : on y retrouve la multiplicité des formes qu’elle adopte, de la photographie à la poésie, du ready-made à la composition, à la collaboration, et son unique capacité à tisser des récits, à faire tenir ensemble en permanence le cheminement personnel et la multiplicité d’un lieu, d’une histoire, et de chacune et chacun d’entre nous. Les visiteurs du musée retourneront à l’hôtel désormais disparu, de même que Sophie Calle se plongea dans le musée après avoir vécu l’hôtel. Elle révélera l’ensemble fantomatique du musée d’Orsay, où les fantômes sont ceux de toutes les personnes et de toutes les œuvres qui l’ont traversé. Elle nous permettra de ressentir la profondeur d’un lieu, et la texture même du musée, à la fois immédiatement présent, apparemment temporel, et qui pourtant changea tant au travers de la vie de Sophie Calle – au travers de quarante années de vie collective.

Exposition conçue par l’artiste, en collaboration avec Jean-Paul Demoule, archéologue, sur proposition de Donatien Grau, conseiller pour les programmes contemporains au musée d’Orsay. 

Musée d'Orsay
Niveau 2, salle 69

13/03/22

CRUSH An exhibition about desire and queer social exclusion @ FELD+HAUS Projects, Berlin - Presented by the Finnish Institute in Germany

CRUSH
An exhibition about desire and queer social exclusion
FELD+HAUS Projects, Berlin
11 March – 2 April 2022


Art works by Witalij Frese, Marianna Ignataki, Atis Jākobsons, Artor Jesus Inkerö, Laura Könönen, Alana Lake, Barbara Lüdde, Janne Räisänen, Anne Tompuri and Aki Turunen

Crush is an exhibition about desire and queer social exclusion while the multiple meanings of the word are explored. Crush is not only about feeling lustful and passionate, but also about feeling crushed, rejected and outcast – a narrative so often lived by LGBTQI+- identifying groups.

Interestingly, the pain of rejection is experienced in a very similar way to how we encounter physical pain, and research shows that pain receptors are activated in the brain when we face moments of rejection. These feelings of pain can also be reactivated whenever we recall emotionally-challenging experiences. It’s even argued by evolutionary psychologists that this function is partly related to our ancestry and tribal behaviours; they suggest that this pain serves as a survival warning – a person outcast from their tribe had a lesser chance of survival alone.

As we know, rejection also affects our self-esteem, and can lead to a range of overwhelming feelings like hurt, anger and disappointment as it destabilises our need to belong. It comes then as no surprise, that formerly derogatory terms like fag, dyke or queer have been reclaimed and are used to identify groups of individuals, creating a sense of belonging and community in a stance against intolerance and prejudice.

Queer, broadly speaking, has become a term that defines a different way of life or living from the norm. It celebrates diversity and moves to stand against conservative structures embedded within our society.

In this sense, Crush navigates some queer perspectives born from a place of fear and anxiety, and in the face of rejection and in adversity, continues to look towards a future of connectivity. It is an exhibition about desire – a desire to connect and to be accepted.

Crush reflects multiple journeys and speaks through more than one voice as the works in the exhibition examine freedom, identity, sex, sexuality, power and control as well as the complex array of emotions triggered by these structural narratives.

Crush is curated by British artist Alana Lake who currently lives and works in Berlin. Lake studied at the Royal Academy of Arts, London, and Crush is an extension of her ongoing research project Pleasure Drive which explores the relationship between art and psychoanalysis.

The exhibition is organised by the Finnish Institute in Germany, in collaboration with FELD+HAUS Projects and Frontviews.

FELD+HAUS Projects is a new platform for playful experimentation, a creative think tank without boundaries, a laboratory of art installations, ephemeral presentations, performances, film screenings, workshops and symposiums. Located on a small island in Moabit Berlin they invite artists, curators and visionaries to gain inspiration from this unique environment.

ARTISTS

Witalij Frese was born in Russia in 1992 and currently lives and works in Berlin. He graduated from the University of the Arts in 2019, having studied in the class of Valérie Favre. In 2015 he was awarded the Schulz-Stübner Foundation's Acknowledgement Prize for Painting, and in 2016 the Anna Oppermann Prize for Fine Arts. Frese works primarily with painting and ceramics and uses personal and biographical themes to explore the uncertainties of the inner self.

Marianna Ignataki was born in 1977 in Thessaloniki, Greece. She studied Architecture at the Technische Universität in Vienna, Austria and Visual Arts at the School of Fine Arts, Saint-Etienne, France. Between 2010–2017 she was based in Beijing, China and now lives and works in Berlin. Ignataki works in drawing, painting and sculpture, creating her own subliminal world and mythology – a place full of familiar entities seen somewhere in a dream or nightmare. Using irony and black humour, she explores themes of identity, gender and eroticism gesturing towards hidden instincts and subconscious desires, celebrating fantasy and perversion.

Atis Jākobsons currently lives and works between Riga and Berlin. Since graduating with a master's degree in Painting from the Art Academy of Latvia in 2010, his creative practice has been based on painting traditions. He has also experimented with other media such as charcoal drawings, sculpture, ceramics, installation and sound. His current practice is deeply related to the study of spiritual heritage and archetypes in contemporary Western cultures.

Artor Jesus Inkerö was born in 1989 in Helsinki. They were resident at the Rijksakademie in Amsterdam between 2019–2021, using moving image and photography to explore Western notions of masculinity that shape and define culture. Inkerö examines how language, gesture, and a tone of voice can deny or allow access to specific groups. In their practice, they subvert sporting activities such as bodybuilding and engage with behavioural therapies and vocal coaching to develop works through a performative process that helps to define the individual's role within society, questioning its politically-charged structures.

Laura Könönen is a Finnish artist born in 1980. She is a member of the Association of Finnish Sculptors and the Association of Art Stonework. She undertook her Masters in Fine Art between 2005–2012 at Finnish Academy of Fine Arts in Helsinki. In her practice she uses raw and natural materials, namely stone, to carve out objects that speak about destructive forces within our very existence. She asserts that the materiality of stone sets the illusion of stability in being, and in time and space. An extreme silence, hinting at nothingness… A harmonious disruption: a void to be gazed upon as we move towards death.

Alana Lake is an artist and curator currently living and working in Berlin. Born in 1981 in Tamworth, UK, she studied at the Arts University College at Bournemouth, graduating with a BA (Hons) in Photography in 2004. Later she studied Fine Art at the Royal Academy of Arts London from 2006–2009, completing her Teacher Training in between. She has also studied Psychoanalysis at the Centre for Freudian Analysis and Research in London, a subject that continues to inform her research and fine art practises in painting, sculpture and photography. Lake received funding from the Deutscher Künstlerbund in 2021 and was further awarded the Project Space & Initiatives Award by the Berlin Cultural Senate in 2018, the Dunoyer de Segonzac Award in 2009, the Michael Moser Award in 2008 and the Hines Photographic Scholarship between 2007–2008.

Barbara Lüdde was born in 1985 in Weimar. She completed her master's degree in illustration in 2018 at HAW, Hamburg, later completing the yearlong Goldrausch Künstlerinnenprojekt in Berlin in 2021. In 2020 she was Guest Lecturer at the Bauhaus University, Weimar and currently holds a Guest Lecturer position (Drawing) at HAW, Hamburg. Barbara Lüdde's work is strongly influenced by subcultures and marginalised groups represented by detailed monochromatic drawings that search for moments of individuality. Lone figures fill the frame and display a diverse range of cultural signs hinting at identity, gender and belonging. Lüdde's gaze hunts for the self that is perhaps lost amidst a capitalist world, vulnerably torn between conflicting ideological values.

Janne Räisänen was born in 1971 in Pudasjärvi, Finland. He studied at the Academy of Fine Arts, Helsinki between 1992–1998, completing a Masters of the Arts degree. In 1998 he was awarded the Finnish Art Society's Ducat Prize and was named Artist of the Year in 1999. In the same year he was nominated for the Carnegie Art Award, and in 2004 for the Rolex Mentor and Protégé Arts Initiative. In 2008 he was awarded the William Thuring Foundation's main prize. Janne Räisänen is a painter that works between canvas and paper, often gesturing directly onto unprimed cloth. The raw energy captured by his technique animates his subjects, which exist somewhere between the real and the imaginary. They could be thought of as unconscious, primal screams revealing dreams and stories sympathetic to human nature.

Anne Tompuri was born in 1958 in Lappeenranta, Finland. She studied between 1982–1987 at The Academy of Fine Arts in Helsinki. In 1988 she was given the Ducat Award from the Finnish Art Association, and the Confession Award from the Arts Council of Kyme in the same year. Anne Tompuri is known for her distinctive black and white canvases in gouache and pigment, described as 'her window', juxtaposing oppositional elements: black and white, light and dark, the material and the spiritual realms. Anne Tompuri seeks to communicate feeling and depth in her work, often referring to life forces and ideals of hope accentuated through her dark and light canvas abstractions.

Aki Turunen was born in 1983 and currently lives and works in Helsinki. He graduated with a MFA from the Academy of Fine Arts, Helsinki in 2011. Aki Turunen also studied painting at the Royal Academy of Fine Arts in Copenhagen. His paintings are a combination of intuitive, subconscious imagery combined with a knowledge of art history. His interest in tradition, ritual and past ideologies are strongly reflected in his choice of material and subject. He shapes traditional tools, generating his own softly-spoken language, ushering heartfelt connections around our shared human experiences.

FELD+HAUS Projects 
Seestraße 131, 13353 Berlin

The Finnish Institute in Germany

Takashi Suzuki @ Gallery Shilla, Seoul - Color And

Takashi Suzuki: Color And
Gallery Shilla, Seoul
March 12 - April 16, 2022

The artist Takashi Suzuki, who majored in sculpture at Tokyo University of the Arts and the same graduate school, ironically works on a two-dimensional plane instead of a three-dimensional space. However, if you take an in-depth look at Takashi Suzuki's work, you can notice that the nature of the sculpture is also revealed even in the two-dimensional flat work.

He mainly uses intense red and blue primary colors to fill the entire canvas or compose a screen composed of simple lines. In this way of working, an attitude that values color the most can be seen, but in addition, the characteristics of sculpture can be found in the way the screen is formed. In other words, it has the purest colors and pure screen characteristics, which are characteristics of color-field painting, but also has consistency, which is a characteristic of sculpture. These elements are revealed in Takashi Suzuki's work, and the work created by crossing two lines creates an optical illusion that spatiality exists.

In particular, the works that use lines on the screen seem to have been influenced by his experience of working with objects using cylinders in the early days of his artistic activities. From the beginning of his artist career to the 1990s, Takashi Suzuki has been working with geometric shapes of hexagonal poles and forged iron round bars. The material and place of this sculptural work have been converted to pigment and canvas, but the artist has been constantly contemplating the relationship between sculpture and painting
.
The works that the artist has been working on since 2007, with a clear contrast between red and blue monochrome, give another sense of space to the exhibition hall and lead to experience of the expanded space. In addition, Takashi Suzuki's works suggest the possibility of sculpture on a flat canvas and express the characteristics of both genres. Through this exhibition, you can meet the works of Takashi Suzuki, who is contemplating his own artistic philosophy on a different horizon, away from the traditional sculptural method.

GALLERY SHILLA
200-29,Daebong-ro, Jung-gu, Seoul

06/03/22

Ange Leccia @ Musée de l'Orangerie, Paris - (D’) Après Monet - Arrangement vidéo et sonore - Bande sonore originale de Julien Perez

Ange Leccia : (D’) Après Monet 
Musée de l'Orangerie, Paris 
2 mars - 5 septembre 2022 

Arrangement vidéo et sonore, 2020 
Bande sonore originale de Julien Perez 

En réponse à l’invitation du musée de l’Orangerie, Ange Leccia propose de sentir et de lire la polysémie des Nymphéas de Claude Monet dans un arrangement vidéo, (D’) Après Monet, conçu à partir de l’histoire de la genèse de cette oeuvre magistrale, de sa relation avec le jardin de Giverny, avec la lumière et les saisons, soulignant aussi son lien tant avec les abstractions américaine et européenne qu’avec la culture japonaise. Le titre de la pièce, créée en 2020, exprime avec une extrême concision son ambition, « (D’) Après » pointant à la fois l’hommage d’un des principaux acteurs de la scène artistique française au maître du siècle précédent, le regard attentif sur le chef d’oeuvre des Nymphéas et le principe fondateur qu’il représente pour nombre d’artistes. Ange Leccia propose au spectateur une expérience sensible et spirituelle, une plongée dans l’univers coloré et mouvant de Claude Monet, une traversée temporelle. 

Ange Leccia mène simultanément une réflexion sur l’objet et un travail sur l’image en mouvement. Il est reconnu comme l’un des pionniers de l’art vidéo en France. Grâce au montage, au centre de ses recherches, il juxtapose le langage pictural au vocabulaire cinématographique dans une relation étroite à l’histoire de l’art. Du travail de Monet à Giverny face au bassin des Nymphéas, qu’il avait façonné comme un motif pour la peinture, il note : « Sa pratique impressionniste fut l’occasion d’affirmer à la fois la dissolution du motif et la matérialité de la peinture. Mon ambition est donc de retrouver ces caractéristiques à travers des images en mouvement. Il s’agit de filmer les jardins de Giverny, en faisant appel au format DV des années 1990 afin d’obtenir une texture de l’image qui rappelle la liquidité picturale des oeuvres de Monet. » 

Après avoir étudié les arts plastiques à l’université au milieu des années soixante-dix, été pensionnaire de l’Académie de France à Rome - Villa Médicis de 1981 à 1983, Ange Leccia a enseigné dans plusieurs écoles d’art. À partir de 2001 et pendant près de vingt ans il a dirigé le Pavillon, résidence d’artiste et laboratoire de création du Palais de Tokyo, poursuivant une ambition pédagogique qui fait partie intégrante de son approche artistique.

Commissariat : Sophie Eloy, responsable de la documentation, de la bibliothèque, des archives et de la recherche au musée de l’Orangerie.

Musée de l'Orangerie
Jardin des Tuileries, côté Seine, 75001 Paris

Mohamed Al Mazrouei @ Aisha Alabbar Gallery, Dubai - NO

Mohamed Al Mazrouei | NO
Aisha Alabbar Gallery, Dubai
2 March – 29 May 2022

Aisha Alabbar Gallery presents NO, a solo exhibition by prominent Emirati artist and poet MOHAMED AL MAZROUEI. Comprised new and existing works that date back to the 1980s, NO becomes a gesture to follow a thread in his practice and shows his interest in language’s dynamism.

The concept behind Mohamed Al Mazrouei’s first exhibition at Aisha Alabbar gallery comes from a textile remnant found along the street in Cairo. The artist noticed how this fragment with the English word “NO” reflected his current intention and orientation, feeling alienated, not geographically, but as a personal feeling of estrangement or expression of nostalgia.

Having spent the first part of his life in Egypt before moving to the UAE nearly four decades ago, Al Mazrouei’s work is perhaps best described as autobiographical. The works in the exhibition play on memory by taking moments from childhood and indirectly to speak to how our understanding of language is shaped during this time. When concepts are cemented, the image fades. Influenced by the exploration of identity and inspired by African masks, his work draws on sources from around the world. One cannot look at his female figures without recalling the portraits created by Schiele or Basquiat, nor Mahmoud Said’s seductive canvases, which feature exaggerated colours and forms, ‘adopted’ by the Egyptian surrealist movement in the early 1940s.

Known for bold expressions, especially in his paintings of figures, portraits and visual experiments, Mohamed Al Mazrouei uses colour independently, free from restrictions or rules. He is often labelled a ‘neo-expressionist’, although his practice cannot be classified into a one-dimensional category. Strong lines and dark eyes delineate his figures. The faces and bodies are intentionally distorted to emphasise desire, petulance, and rage, at times in a provocative and horrifying manner. In Untitled 64 (1998), Al Mazrouei applies vibrant colours juxtaposed with black lines on a colour block background. He balances primitive instincts with mastered awareness to create his unique visual language. Or in Untitled 4 (2013) and Untitled 10 (2012), the faces lack distinct features, and are suggestive of the fading memory of his youth.

Portraiture also comprises a large part of his practice. Whether in paintings or in works on paper, he continually reinterprets a subject using the technique of mixed abstraction figuration. Although created 13 years apart, Untitled 120 (2007) and Untitled 123 (1994) show variations in the use of eccentric gestures and facial expressions, through which Mohamed Al Mazrouei conveys urgency by relentlessly interrogating the body and suggests self-reflection in blending corporeality and sensuality that poses existential questions.

Mohamed Al Mazrouei’s “NO” finds recurrence essential: elements are determinedly repeated within the same piece, a subject is repeated in several pieces, or a theme is repeated through psychological manifestation. The artist develops a unique visual language through repetition, where elements are experienced as pure forms, balanced between primitive instincts and learned awareness.

MOHAMED AL MAZROUEI (Tanta, 1962) is an Emirati artist, poet, and writer. He studied ancient languages at the Faculty of Languages and Translation at Al Azhar University in Cairo. He moved to Abu Dhabi in the early Eighty’s to eventually become instrumental to the Cultural Foundation and establish himself as a prominent artist, writer, photographer as well as manager of the Emirates Writer’s Union. He has written and published nine books of short stories and poems. His art practice – mainly painting in a signature Neo-Expressionist style – allows viewers to enter the world of his vast imagination. His artworks are rich with figurative iconography and include many humanoid forms. Mohamed Al Mazrouei’s paintings depict a feeling of fervour and urgency that invites the viewer to follow every brushstroke. The human face and figure are often his preferred subjects to paint. However, with a rich, non-linear training, Mazrouei’s approach to the abstract incorporates black and white in absolute purity. Like letters or musical notes, lines and colours fuse to create a composition that strives for a sense of equilibrium. His delineation of a particular object challenges traditional shapes, begging the eye to decipher elements of his compositions. In the past four decades spanning his career, Mohamed Al Mazrouei held several solo exhibitions in the UAE and abroad, including Raw Cooked (2017), AB43 Contemporary, Zurich, Switzerland; Prototype (2016), Mojo Gallery, Dubai, UAE; Maidens of Fair (2012), Abu Dhabi Theatre, Abu Dhabi, UAE; and The Smell (1990), Cultural Foundation, Abu Dhabi, UAE. Additionally, he participated in several important exhibitions, including Portrait of a Nation I and II (2022 and 2017), Manarat Al Saadiyat, Abu Dhabi, UAE; Artists and the Cultural Foundation: The Early Years (2018), Cultural Foundation, Abu Dhabi, UAE; (Alibadah): Hashel Al Lakmi and Mohamed Al Mazrouei (2018), NYUAD Art Gallery – Project Space, Abu Dhabi, UAE; Noah’s Ark: the 34th Emirates Fine Art Society’s Annual Exhibition(2016), Sharjah Art Museum, Sharjah, UAE; There Are Too Many Walls but Not Enough Bridges (2015), Kunstzeughaus, Rapperswil/Zurich, Switzerland; Sky Over the East (2014), Emirates Palace, Abu Dhabi, UAE; 3 rd Emirati Expressions: Realised (2013), Manarat Al Saadiyat, Abu Dhabi, UAE; MinD/Body: Body Art and Performance in the Gulf (2013), Ductac’s Gallery of Light, Dubai, UAE; the 3rd Al Kharafi Biennial (2010), Kuwait City, Kuwait; and the 1st Sharjah Biennial (1993), Sharjah, UAE. Mohamed is the recipient of many prestigious awards, including the Jury Prize (2012) at the 30th Emirates Fine Arts Society Exhibition, Sharjah, UAE and the 1st Award in Photography from Cultural Foundation, Abu Dhabi, UAE. Furthermore, his works can be found in prominent public and private collections in the UAE, such as ADMAF, Cultural Foundation, and UAE Ministry of Foreign Affairs in Abu Dhabi; Barjeel Art Foundation in Sharjah; and the Qatari Ministry of Culture in Doha; in addition to several private collections around the world.

AISHA ALABBAR GALLERY
S1 Mag Warehouse 101, Al Quoz 2, Dubai
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