DANIEL ARSHAM at Perrotin Gallery / Paris

DANIEL ARSHAM at Perrotin Gallery / Paris

UNTIL 21 MAR 2020

For this exhibition, Daniel Arsham presents a new suite of large-scale sculptures based on iconic busts, friezes and sculptures in the round from classical antiquity.

Rose Quartz Eroded Hamadryade, 2019 Pink selenite, quartz, hydrostone. 117 x 82 x 80 cm | 46 1/16 x 32 5/16 x 31 1/2 inch 187.00 kg. Photo: Claire Dorn © Courtesy the artist & Perrotin

Ranging from Michelangelo’s Moses to the Vénus de Milo, each item was cast in hydrostone to produce a perfect to scale replica of the original sculpture, a process that shares formal qualities with historic wax casting. Arsham utilizes natural pigments thatare similar to those used by classicalsculptors, such as volcanic ash, blue calcite, selenite, quartz, and rose quartz. From that, individual erosions are chiseled into the surface of thehydrostone, a nod to the sculptingtechniques of the Renaissance sculptors. Finally, Arsham applies his signature tactic of crystallization. Arsham is best known for visually transforming ready-made objects of the last half century into subtly eroding artifacts. Historically, he has focused on items that act as containers of memory: an original Apple computer, a Mickey Mouse phone, or Leica cameras. Arsham’s exploration into fictionalarchaeology dates back to nearly adecade ago when he took a research trip to Easter Island in the South Pacific. There, he observed an archeological expedition of a Moai statue. Around thebase of the sculpture, archeologistsuncovered tools left behind by a previ- ous archeological expedition from almost a century prior. Inspired by the dissolution of time between these distinct landscapes, Arsham began to explore the idea of archeology asa fictionalized account of the past, aswell as a tool with which to collapse the past and the present. This concept has become a common thread throughout this practice. Making use of classical and ancient objects, this new body of work experiments with the timelessness of certain symbols, furthering Arsham’s previous investigations into objecthood.

For Paris, 3020, Arsham borrows display strategies from the modern museum, including elevated plinths, dimmed lights, and a series of nested exhibition spaces. By appropriating the visual language of the encyclopedic museum, Arsham makes deliberate reference to how museums have showcased and shaped object history, specifically as a vehicle that canonizes objects within a greater narrative of progress. In the first room of the exhibition, visitors encounter two large-scale iconic works of classical antiquity that depict women, specifically the goddess Aphrodite and Lucilla, the daughter of Roman Emperor Marcus Aurelius, which are respectively titled Vénus d’Arles and Tête de Lucille. Moving into the next room, Arsham continues his ongoing reference to the great works of Western Art, with an eroded version of Michelangelo’s Moses on one end of the wall and the Vénus de Milo on the other. Both are flanked by a series of busts and life-size sculptures, including the bust of Caracalla wearing a breastplate and the Athéna Casquée, with both pairings highlighting how the ancient world conflated royalty and deity. Flanking the sculptural works are a series of graphite process drawings by Arsham depicting eroded icons of classical antiquity.

Blue Calcite Eroded Moses, (details) 2019. Blue calcite, hydrostone. 60 x 119 x 125 cm | 102 3/8 x 46 7/8 x 49 3/16 in. Photo: Claire Dorn © Courtesy the artist & Perrotin

These drawings both reference Arsham’s background in fine art as well as the art historical tradition of sketching, providing a fictionalized creation myth for works that seemingly were never meant to exist. Displayed together, these new works are transformed to compress time, at once referencing the past, informing the present, and reaching towards a crystallized future.

Ève Chabanon : The Surplus

Ève Chabanon : The Surplus


29 January 2020 – 25 April 2020

Eating Each Other, Ève Chabanon, The Engine Room, Te Whare Hēra – Wellington International Artist Residency, Wellington, Wellington, New Zealand (2019). Image: Harry Culy.

Curated by Mélanie Bouteloup

In January 2020, Bétonsalon – Center for Art and Research pre­sents The Surplus, Ève Chabanon’s first solo exhi­bi­tion in France. It is orga­nized around the eco­nomic notion of « sur­plus », a term that refers to the dif­fer­ence between the amount a person would be willing to accept for a good, com­pared to what they can receive by selling it at the market price. The exhi­bi­tion comes at a time when Ève Chabanon’s artistic prac­tice is being rede­fined, as she has so far been involved in long-term pro­jects involving marginal­ized ter­ri­to­ries and com­mu­ni­ties to create spaces for dia­logue and cre­ation. It con­sti­tutes both an inven­tory, a con­clu­sion and a step aisde from the arbores­cent pro­ject The Surplus of the non-pro­ducer, started by Ève Chabanon in 2016, which chal­lenges the notion of « sur­plus » to attribute it to those whom the artist calls «non-pro­ducers»: artists, crafts­people or pro­fes­sionals in exile and set­tled in the Paris region who, for eco­nomic, legal and admin­is­tra­tive rea­sons, struggle to accom­plish their prac­tices.

Starting from the con­tra­dic­tions inherent in col­lab­o­ra­tive logics, the artist imag­ines an instal­la­tion based on a series of func­tional and sculp­tural ceramic objects that blend dif­ferent shapes, texts and images. Made avail­able for sale during the exhi­bi­tion, these objects ques­tion notions of value, economy and arti­sanal pro­duc­tion in rela­tion to which all visual artists nec­es­sarily define them­selves. This spec­u­la­tion around objects and words, at the same time fic­tional, emo­tional and poetic, allows the artist to define her own sur­plus.

Ève Chabanon (1989, France) lives and works in Brussels. She grad­u­ated from the Haute École des Arts du Rhin (HEAR) in Strasbourg in 2013, before com­pleting a Master’s Degree in Curating at the Sorbonne Université, Paris in 2014 and taking part in the Open School East in London and Margate in 2016. She has under­taken res­i­den­cies at the White House in Dagenham in 2017, at the FRAC Grand Large in Dunkirk in 2018 and at Te Whare Hēra, Wellington, New Zealand in 2019, fol­lowing which her first solo exhi­bi­tion, Eating Each Other, was held. She was awarded the Sciences Po prize for con­tem­po­rary art in 2018 for her pro­ject The Anti-Social Social Club: Episode One, The Chamber of the Dispossessed. Her work has been exhib­ited in La Manutention, a per­for­mance pro­gram at the Palais de Tokyo in 2018, and in group shows such as The Stratagems of the Intellect at Parc Saint Léger in 2016, The center cannot holdat Lafayette Anticipations in 2018 and take (a)back the economy at the CAC Chanot, Clamart in 2019.



Marian Goodman Gallery, Paris

7 November 2019 – 11 January 2020

Interested in the socio-political function of art, Dan Graham has been creating a series of works, architectural models and sculptures for public use since the late ‘70s. The physical and visual experience of the audience is an inherent part of the works. “Neo-Baroque Walkway,” Dan Graham’s latest pavilion, will be on view on the Marian Goodman gallery groundfloor.

Dan Graham, Glass Office Building/Window Highway Restaurant, 1978/1969

“Experiencing “Neo-Baroque Walkway, ” the spectators walk through a narrow passage between two convoluted sine wave-like opposing two-way mirror coated glass walls. The two sides of convoluted forms slightly vary. The experience for the viewer involves a somewhat psychedelic, optical distortion of the spectator’s body which might be superimposed on images of other spectators’ bodies.”

Dan Graham, 2019

Dan Graham, Neo-Baroque Walkway, 2019

Whereas Dan Graham, in the same Marian Goodman Gallery space, presented four years ago, “Passage Intime,” which may have suggested the perils of romantic love, “Neo-Baroque Walkway” is more of a “fun-house” for children. Every pavilion designed by Graham, although consisting invariably of two-way mirror glass and stainless steel, owns his unique structure and his unique concept deriving from multiple, yet precise references. For the “Neo- Baroque Walkway,” the artist refers to the baroque movement as the main source of inspiration, as well as John Chamberlain, an artist whose work has largely influenced him (in particular for his earlier pieces, “Design for Showing Videos” and “Homes for America”). Surprisingly, the connection between Chamberlain’s art and baroque sculpture dates back from 1964, when Donald Judd wrote in a review: “Chamberlain’s sculpture is simultaneously turbulent, passionate, cool and hard. The structure is the passionate part. The obvious comparison is to the structure of Baroque art (….)” 1 A few decades later, in a 2011 article about John Chamberlain, Graham continued further somehow Judd’s comparison, this time associating Chamberlain’s work to Larry Bell’s: “Chamberlain began using Larry Bell’s coating machine to realize a series of convoluted near-transparent and semi-reflective forms, which resembled topologically distorted Klein bottles.”

Rebecca Horn, Etienne-Martin, Bernd Lohaus

Rebecca Horn, Etienne-Martin, Bernd Lohaus

Galerie Bernard Bouche, Paris

Nov 2019 to 20 Dec 2019

The Gallery presents an exhibition on sculpture, with a selection of works by Rebecca Horn, Etienne-Martin and Bernd Lohaus. Certainly, three artists with different style and vocabulary but whose hanging and showing for this exhibition reveals unexpected poetic proximities.

Rebecca Horn & Etienne-Martin

With powerful and dense materials such as azobed wood, Bernd Lohaus (1940-2010) comes to a combination of sober, massive, sculptural forms. Sometimes we see inscriptions written mainly with chalk which refers to the primary meaning of language vocabulary. The material thus acquires a contradictory meaning; this one, full of heaviness, is endowed by the enigmatic and personal inscription (in German) of a kind of abstract fragility. The most recent works of Bernd Lohaus however deprive themselves more and more of the presence of the language, the intuitive layout of the wood becomes on its own, a language.

Bernd Lohaus Sans titre 1991. Bois. 40 x 34 x 247 cm

Etienne-Martin (1913-1995) is one of the major French artists of the second half of the twentieth century. Young, he was marked by Gurjieff’s teaching and esoteric philosophies. He was also close to the writer Henri-Pierre Roché and attended the architects of the group Oppède led by Bernard Zerfuss. Then, Harald Szeemann – a passionate advocate, will make him one of the key artists of the section “Individual Mythologies” at Documenta V in Kassel in 1972. Etienne-Martin remains an artist to be discovered and rediscovered, who continues to resist the hasty attempts to lock him into an established aesthetic stream, who never ceases to amaze and enchant us with the inventiveness and vastness of his universe . While being of his time, but fundamentally free and independent, this unwanted dreamer of matter and form, practiced an art which was, in the end, Other and more than just sculpture.

Rebecca Horn, Belle du vent, 2003. Pierre volcanique, cristal de roche, moteur, socle : 43 x 27 x 16 cm.

Rebellious temperament, Rebecca Horn (1940) turns very early to art and philosophy. By molding her first figures in polyester, she contracted in 1967, a serious lung disease that became a founding experience. Locked up for more than a year in a sanatorium, she imagines sculptures related to the body. Through them, Rebecca Horn transforms into a fascinating creature, both male and female, human and animal, suprasensible. Then the bodies disappear in favor of animated or motorized sculptures, and for this exhibition we will present three important pieces including Stone Cloud of 1995 and Belle du vent of 2003.

Etienne Martin, Nuage, 1982. Bois peint. 27 x 21,5 x 74,5 cm

Miltos Manetas, 1998 / Hussenot Gallery

Miltos Manetas, 1998 / Hussenot Gallery

Miltos Manetas ‘1998’

6 JUN – 20 JUL 2019

Hussenot Gallery, Paris

It started in Milan -for me- in 1994. Then in New York in 1998.
In 94 I got married- sooner or later we all did- to laptops and in 98 with the internet.
Married? If that’s the case, a divorce would be possible. Indeed recently, most of us left the 94 laptop- wife for a smart-phone lover. But internet is here to stay. More than our spouse, the internet is our kid, the child we have with… hardware. We try hard to forget this unappealing fact. The Gospel of the “network” speaks to us about wireless, data clouds, connected magic.

In 1998 – the year that GOOGLE was founded- our Odyssey of fingers begun. We used to touch computers through their mouse, then through their little pussy (touchpad), now we are shamelessly touching the screens of our tablets. Our eyes are hooked but our mind escapes through our fingers. All that would NOT be possible if some kind of “skin-of-reality” was not involved. That’s exactly where oil on canvas meets the eye: on the depiction of that skin… Interesting isn’t it? Because to be sure that something exists, a Painter needs to represent it. In some way, the World was already wireless when in 1998, I decided to start painting its cables! 1998 was the year the “theatre of reality” was hiring new actors and I tried to introduce them all: videogame gear, external hard drives, joysticks and digital cameras. All that was already around but it was in 1998 that everybody acknowledge living among them. But something else- very important – start happening in 1998.”Real” space start multiplying… We began register dotcom/dotnet/dotorg… Words never felt so fascinating! Even our own name became a better name (on May 25th, 1998 I registered Manetas.com). Art.com and Love.com were also registered that year while War and Sex were already a dotcom from 1995. It was from 1998 we all started becoming Citizens of the Internet and if today there’s an Internet Pavilion to represent our art at the Venice Biennial, it is because of the spirit of 1998.

Miltos Manetas

All images > 1998, Miltos Manetas, installation view, Galerie Hussenot, Paris

Leelee Kimmel / Nuwar / Almine Rech, Paris

Leelee Kimmel / Nuwar / Almine Rech, Paris

Leelee Kimmel, Nuwar

Almine Rech, Paris

‘Stirring up a mass of dull grey plankton, again there came the shock of sheer color — like a blow to the body, or a crashing chord to the ear. I know of no other sensation which quite equals the effect on the eye — or the brain behind the eye — as that of a great, glowing, living, rich-scarlet-red shrimp, cold as ice, just raised through a half mile of water. No flower I have ever seen in any setting could vie with it for a moment. It is worth recalling that for countless ages this shrimp and its ancestors had been merely the blackest of beings in a jet-black world, and only for the past few minutes had its blazing color existed. This may partly explain its exciting quality, like the unused rods and cones inour own retina, when we stand on our heads and look out at the world.’ [1]

“I am nature”, Jackson Pollock famously said, and from at least the beginnings of Abstraction artists have sought deep nature, a primal language of shapes and colors presumed to lurk deep in the mind, unpolished and unmediated by conscious rationalization.  Michael Fried, equally famously, believed that the greatest Modern art was work with the condition “of existing in, indeed of secreting or constituting, a continuous and perpetual present”. But when you look at the unconscious mind – that is, literally look, with your eyes – what do you see?  After sitting for a while in a dark room, or when you’re about to doze off at night, what you see is phosphenes: those patterns, dots, grains, and swirls of (initially) weak color on a dark background caused by the more or less random firing of neurons in the retina itself.  These usually start off more abstract but, as the brain’s automatic visual system begins to interpret them, they take on more figurative features, until the stage where they’re called hypnagogic hallucinations – not any of the types of stronger hallucinations that arise in the brain, but something so unmediated that even less conscious animals than ourselves – insects?  planaria? – might often see something very similar.  These images don’t at all live in that ideal garden of Modernism, the Unconscious:  instead, they flash in an out of their half-existence in the Hadean-eon wilderness of our dimmest pre-unconscious.

Leelee Kimmel’s paintings are investigations of inner and outer space, collisions between ur-ancient, chthonic nature and the hyper-sophisticated realm of Modernist and postmodernist art histories, between the preverbal and the phantasmagoria of the library, terse and voluble, suddenly laughing then stonily silent. Kimmel’s abstract biomorphs skitter through pitch black abyssal depths, like those of Beebe’s Arcturus Adventure, at once terrifying and comic. The shapes harken back to nature, while Kimmel’s palette is neon and acid, resoundingly anti-naturalistic. There’s a sense of potential catastrophe crowding the margins, as forms coil and ricochet through darkness: is that a turtle or a hand grenade revolving on the periphery, is that polyp a gun? Transformation is the guiding formal but also psychological and dare I say spiritual governing force in Kimmel’s dark glittering universe, fearsome and newborn, cunning monsters, mutants, aliens, explorers, invaders, these phantoms of Nuwar.

David Rimanelli

[1] William Beebe, The ‘Arcturus’ Adventure, 1926

All images > Courtesy of the Artist and Almine Rech – Photo: Maris Hutchinson

Henry Wessel / A Dark Thread at MEP, Paris

Henry Wessel / A Dark Thread at MEP, Paris

Henry Wessel: A Dark Thread 
5 Jun 2019 to 25 Aug 2019

“A Dark Thread” is the first major exhibition in France devoted to Henry Wessel, a key member of the generation associated with the landmark exhibition “New Topographics: Photographs of a Man-Altered Landscape” (1975).

A celebrated photographer for five decades, Henry Wessel was never tired of returning to his archive of contact sheets, revisiting his work, and giving new perspectives to photographs taken decades apart. For Wessel, an avid fan of film noir and detective fiction, the real or imagined visual associations that he saw in his work suggested endless starting points for potential narratives, intensifying elements of the uncanny often already present in his scenes of everyday life. In recent years Henry Wessel made this practice his own creating a unique, mysterious vision of the places he lived in and visited, a ‘dark thread’ connecting his photographs to one another that is the focus of the MEP exhibition. It is also an opportunity to reevaluate an artist who, having been included in the major 1975 show “New Topographics: Photographs of a Man-Altered Landscape”, alongside photographers such as Robert Adams, Lewis Baltz, Bernd and Hilla Becher and Stephen Shore, has subsequently enjoyed less prominence in France.

Henry Wessel
Incidents No.2
De la série Incidents, 2012
© Henry Wessel ; courtesy Pace/ MacGill Gallery, New York

In 1969, after travelling extensively across the United States, Henry Wessel discovered, and was enchanted by, the light of California, so he moved to San Francisco, eager to photograph everything, all the time. A prolific photographer, he worked principally in black and white, making his own prints with a characteristic soft silver tone. In addition to exhibiting and publishing critically acclaimed works including California and the West, Real Estate Photographs and Night Walks he also produced hundreds of contact sheets that he filed away in his studio. Years later, he returned to this same material, looking for any images that caught his eye and assembled them under the titles Incidents and A Dark Thread, creating correspondences between certain images and arranging them in sequences like the story boards for films. In this way he left his viewers to make connections between pictures that may have been taken years apart, and to imagine the stories they might tell.

Henry Wessel
Incidents No.5
De la série Incidents, 2012
© Henry Wessel ; courtesy Pace/ MacGill Gallery, New York

The MEP exhibition presents three major series by Wessel. The first, Incidents, comprises 27 photographs in a precise order, like a sequence of pictures or a storyboard, using his process of free association. The second, entitled Sunset Park, is a selection of 50 images taken at night that usher the viewer into the mysterious atmosphere of Henry Wessel’s world of the Californian night. And finally, in the months before his death Henry Wessel began to put together 50 photographs for the third series in the show: A Dark Thread, which is being presented for the first time.

Henry Wessel
Incident No.6
De la série Incidents, 2012
© Henry Wessel ; courtesy Pace/ MacGill Gallery, New York

Henry Wessel died on 20 September 2018, leaving his last story unfinished. “It can happen anytime, anywhere. I mean, you don’t have to be in front of stuff that’s going to make a good photograph. It’s possible anywhere,” Henry Wessel said of his work although he himself seemed, nevertheless always to be in the right place at the right time. In addition to his working process that consisted of seeing stories everywhere; for A Dark Thread Wessel also “challenged” writers to imagine short stories based on one of his strangely suggestive images of everyday life. The three stories are presented for the first time as part of the exhibition and published in a new book produced as a collaboration between Michael Mack and the Artworkers Retirement Society.

Henry Wessel
Incident No.21
De la série Incidents, 2012
© Henry Wessel ; courtesy Pace/ MacGill Gallery, New York

Henry Wessel
Nevada, 1975
© Henry Wessel ; courtesy Pace/ MacGill Gallery, New York

Henry Wessel
San Francisco, 1974
© Henry Wessel ; courtesy Pace/ MacGill Gallery, New York

Henry Wessel
Pasadena, California, 1974
© Henry Wessel ; courtesy Pace/ MacGill Gallery, New York

Henry Wessel
Santa Monica, California, 1989
© Henry Wessel ; courtesy Pace/ MacGill Gallery, New York

Night Walk No.21, 1998
De la série Sunset Park
© Henry Wessel ; courtesy Pace/ MacGill Gallery, New York

Night Walk No. 5, 1998
De la série Sunset Park
© Henry Wessel ; courtesy Pace/ MacGill Gallery, New York

Henry Wessel
California, 1977
© Henry Wessel ; courtesy Pace/ MacGill Gallery, New York

Henry Wessel
Waikiki No.12, 1983
© Henry Wessel ; courtesy Pace/ MacGill Gallery, New York

Henry Wessel
Incidents No.27
De la série Incidents, 2012
© Henry Wessel ; courtesy Pace/ MacGill Gallery, New York



as experienced by our correspondent Alexandra Gilliams

DAU © Phenomen IP 2019 – Photographer Olympia Orlova

I approached my reflection in the the mirrored doors of the Theatre de la Ville in Paris at my allotted time, six o’ clock, armed with a DAU “Visa” bearing my photograph and an uncertainty of what I was about to get myself into. LED screens outside flashed clips of sad, hysteric, sometimes smug individuals who had participated in a grand experiment conceived by Russian director, Ilya Khrzhanovsky.

DAU © Phenomen IP 2019 – Photographer Olympia Orlova

This experiment involved a town in Kharkov, Ukraine that was built to resemble, down to its piping system, Soviet Russia. Individuals – scientists, artists, philosophers, barmaids, families, lovers, cheaters  were chosen and agreed to live there for a few years. They were given ill fitted clothes, from thick stockings and garters to itchy, woolen undergarments, made to resemble the bleak styles from 1938-1968 in the Soviet Union. They were instructed to speak in dated Russian, and anyone heard muttering a contemporary word was to be fined by guards patrolling the grounds in rubles that they had “earned” on-set. The harsh sound of a cello echoed endlessly in the streets on loudspeakers, in order to make the participants feel on-edge. The general tone and “narrative” of this experience surrounded the Noble Prize-winning Soviet physicist Lev Landau, and this parallel universe was deemed the “Institute”. For three years, Khrzhanovsky and his crew recorded 700 hours of thousands of participants on 35mm film and through hidden microphones.

DAU © Phenomen IP 2019 – Photographer Volker Glaeser

The sound of a woman screaming blared from a concealed speaker before I pulled open the heavy doors. I walked into a room resembling an airport, complete with a screen displaying the “departure times” of each film. I was instructed to lock my cell phone in a small locker, and making it through the metal detector I strolled into what appeared to be a Soviet convenience store. Rows of bulky industrial shelves supported cans of meat labeled with Russian words, and littered about next to them were aluminum spoons with a hammer and sickle cut out of their centers. There were mouse traps, newspapers, army jackets, even individual condoms wrapped in brown paper labeled with red characters. It took a moment to realize that this was not just an installation, but these items were, in fact, for sale – I was in the gift shop.

DAU © Phenomen IP 2019 – Photographer Jörg Gruber

DAU as a physical entity is a movie theater and religious space, an interactive installation and labyrinth, a bar with half-liters of Russian beer and vodka for one euro and a restaurant serving canned fish and borscht in aluminum bowls. Lifelike wax figures dressed as if they were participants peer out at every turn; there are rooms filled with them which become so visually illusive that it becomes difficult to discern who in the room is alive.

DAU © Phenomen IP 2019 – Photographer Olympia Orlova

I followed bold red and black words painted on the wall: REVOLUTION – FUTURE – COMMUNISM, different descriptors defining each room, film, and element of DAU. They lead me up the stairs of a theater stripped bare from renovations to a hall of meticulously decorated Soviet “apartments”. A participant dressed in an oversized pinstripe suit was seated at a table in a “living room”, his eyes closed and a guitar in his hand, belting out Russian songs with haunting intonations that echoed throughout the corridor. Suddenly a woman in a headscarf rushed past with sopping wet laundry and began hanging it on clotheslines that snaked through the hallway. Peering into a giant window of another “apartment”, I began to spy on a shaman clutching a string of beads, revealing secrets to an inquisitive visitor. The atmosphere set in and I felt a suspension of time before entering the screening rooms. Once inside, I was handed an earpiece to listen to a translation of the film in a fashion that was apparently similar to how foreign films were screened in Soviet Russia. The voice went in-time with the Russian dialogue, but it was cold and expressionless. A sense of anxiety arose as the dub became increasingly distracting. In screening rooms labeled INTIMACY or MOTHERHOOD, we get a taste of the relationship between a young Landau and his dutiful wife, Kora. Despite Landau’s accomplishments as a physicist, Khrzhanovsky was also fascinated by his penchant for sleeping with a lot of women, and many moments in the films explore his habit.

DAU © Phenomen IP 2019 – Photographer Jörg Gruber

In ANXIETY I am a voyeur, introduced to new characters going about their daily lives in the Institute: a French scientist, two waitresses with a strange relationship, and a group of soldiers. Despite a language barrier, the elder scientist and waitress make sloppy love on a creaky twin bed. Drunken soldiers clink glasses as an older Landau slams dead fish on the table. In a laboratory, a soldier is placed in a metal cage where he is blasted with electric waves to “make him stronger”, and some scientists discuss experimenting on the brains of babies to remove their sense of empathy. Weaving in and out of the thirteen films and having been immersed in this realm, I felt a sense of camaraderie with the people on-screen; I began getting to know them, their desires, needs, and wants, and I had an urge to know more.

DAU © Phenomen IP 2019 – Photographer Olympia Orlova

In the largest theater, FUTURE, rows of visitors sat on ascending blocks of concrete in front of a gigantic screen playing another film: the scientists we had been introduced to have gotten older and are indulging in a psychedelic, ayahuasca. A heavy voice reverberated loudly in the hollow theater, expressing how through every decision we make, the decision we do not choose is made in a parallel universe. Ruminating on this, I took a moment to remember where I was, feeling disoriented as time slowly lingered; I was near the end of my visit. Unless I returned to DAU, I would never get a complete sense of each character, as multiple films run at once and there is hundreds of hours of footage. Nevertheless, I began recognizing reoccurring characters and making connections in an overarching storyline. Suddenly I understood that by connecting the dots and my questioning of the human condition that I, too, was part of the experiment.

DAU will move to London in the Spring, and there will eventually be a cinematic release of a single feature film, documentaries and a television series.

Alexandra Gilliams

ART PARIS ART FAIR 2019 at Grand Palais / Paris 4th – 7th April 2019

ART PARIS ART FAIR 2019 at Grand Palais / Paris 4th – 7th April 2019

As usual this year the 21st edition of the Art Paris Art Fair will be held at the Grand Palais in Paris from the 4th til the 7th of April 2019 and there is a lot to look for. The peculiarity of the fair is always been to pay specific attention to the emerging art scene while celebrating international art scene from the post-war years to the present day. Since last year’s edition the number of galleries participating and exhibiting in the fair has increased, they are now 150 and among them we can mention Art Concept, Ceysson & Bénétière, Jérome Poggi, Praz Delavallade e SAGE Paris. Twenty are the countries which will be represented during the event, from Asia to Africa, from the Middle East to the Americas. 

It’s interesting to see that for this edition the curators chose a double focus: on one side we have a detailed analysis of women artists, on the other the art scene of Latin America. In order to conceive a journey that could highlight the efforts of women artists in France from 1945 to today, the organizers of the fair placed the task in the capable hands of AWARE: Archives of Women Artists, Research and Exhibitions, an association that was founded in 2014 by seven women and that wants to give voice to the work of women artists of the twentieth century. 

One of the co-founders, Camille Morineau, art historian specialized in women artists, selected 25 projects among the proposals of the participant galleries following four themes: Abstraction, the Feminist Avant-Garde, Image and Theatricality. There are many notable proposals, those of Valerie Belin, Laure Prouvost, Shirley Jaffey (Nathalie Obadia), Esther Ferrer (Lara Vincy), Oda Jaune (Templon), ed Orlan (Ceysson & Bénétière), just to mention some of them. Something that connects the two main focuses of this edition of the fair is for sure the exhibition about a number of Latin American women artists from the collection of Catherine Petitgas, art patron and member of the Tate Latin American Acquisitions Committee and of the Centre Pompidou International Council.

The section focusing on Latin America is named Southern Stars and is curated by the independent exhibition curator Valentina Locatelli. The exploration takes a selection of sixty Latin American artists represented by about twenty galleries. Some of them will be exhibiting the works of of the proponents of geometric abstraction from the 60s and 70s, including Carlos Cruz-Diez, Ivan Contreras Brunet, Dario Perez Flores and Marino di Teana. 

The Cuban scene instead is the subject of a group exhibition at the Xin Dong Cheng Gallery, which brings together six artists from different generations: Manuel Mendive, Raúl Martínez, Adonis Flores, René Francisco Rodriguez, Michel Mirabal and Yunier Hernández Figueroa. In addition to the Southern Star section there will be two panel discussions, which will be held on the 5th of April at the Maison de l’Amerique Latine, titled “Latin American women artists in France” and “Presence and visibility of Latin American women artists in the world of contemporary art”. In this 21st edition of the fair there will also be a record breaking 39 monographic exhibitions a trend that we already noticed during Paris Photo 2018. Something that emphasizes the vocation of the fair as an occasion to discover young talents will be the section “Promises”, located in the central part of the Grand Palais, which hosts 14 galleries created less than six years ago and that may present one to three emerging artists.

Dolores Pulella


All images > Art Paris © Marc Domage 

ART PARIS/ART FAIR 2019: A sparkling 21st edition focusing on women artists and Latin America

ART PARIS/ART FAIR 2019: A sparkling 21st edition focusing on women artists and Latin America

4th – 7th avril 2019
Grand Palais (Paris,France)

The springtime event in Paris that is not to be missed

Favouring a thematic approach and open to all mediums, the 21st edition of the fair will bring together 150 modern and contemporary art galleries under the majestic glass roof of the Grand Palais from 4th -7th April 2019.

An identity all of its own

Art Paris has an identity all of its own: an international art fair, it focuses on new discoveries, as well as placing special emphasis on the European scene from the post-war years to the present day, whilst exploring the new horizons of international creation, whether in Asia, Africa, the Middle East or Latin America.

On the up and up

With 150 galleries (44% of whom are first-time participants) compared to 143 in 2018, from 20 different countries (with for the first time Cameroun, Bulgaria, Mexico and Peru), the 2019 selection also bears witness to the fair’s move upmarket with the arrival of galleries such as Art : Concept, Ceysson & Bénétière, Jérôme Poggi, Praz Delavallade and SAGE Paris.

Pride of place goes to women artists on the French scene

Placed in the capable hands of AWARE: Archives of Women Artists, Research and Exhibitions, the 2019 edition presents a critical and subjective overview of the work of women artists in France from the post-war period to the present day with 25 projects selected from amongst the exhibits of participating galleries. This selection is divided into four themes: Abstraction, the Feminist Avant-Garde, Image and Theatricality. AWARE has also been invited to write a critical essay that situates each artist’s work in its historical context. AWARE was founded in 2014 by art historian Camille Morineau, who specialises in women artists. She is also the director of exhibitions and collections at the Monnaie de Paris. AWARE: Archives of Women Artists, Research and Exhibitions aims to produce, index and distribute information about 20th century women artists.

List of women artists chosen by AWARE:

Martine Aballéa (Dilecta), Malala Andrialavidrazana* (Caroline Smulders), Valérie Belin (Nathalie Obadia), Anna Eva Bergman (Jérome Poggi), Karina Bisch* (Thomas Bernard–Cortex Athletico), Bernadette Bour (Françoise Livinec), Marcelle Cahn (Lahumière), Béatrice Casadesus* (Dutko), Geneviève Claisse (Grimont, A&R Fleury, Wagner), Marinette Cueco* (Univer/Colette Cola), Esther Ferrer (Lara Vincy), Monique Frydman (Bogéna), Shirley Jaffe (Nathalie Obadia), Oda Jaune (Templon), Marie Orensanz (School Gallery/Olivier Castaing) , ORLAN (Ceysson & Bénétière), Vera Pagava (Chauvy), Marta Pan (Chauvy), Laure Prouvost (Nathalie Obadia), Sophie Ristelhueber (Jérôme Poggi), Judit Reigl* (Kalmann Maklary), Aurélie Nemours (Lahumière), Vera Molnar* (Oniris), Teresa Tyszkiewic (Anne de Villepoix), Ulla Von Brandenburg* (Art : Concept).

*solo show

In parallel to the AWARE selection, numerous galleries have chosen to present women artists: Isabelle Plat has a solo show at Galerie Eric Mouchet, Teresa Tyszkiewic and Annette Barcelo are at Anne de Villepoix, Pierrette Bloch at Galerie Véronique Smagghe and Belgian artist Anne de Gelas is showing her work at SAGE Paris.

Southern Stars: An Exploration of Latin American Art

In 2019, Art Paris is setting out to explore Latin American art from the 1960s to the present day. Around twenty European, Asian and Latin American galleries are presenting an ensemble of 60 Argentinean, Brazilian, Chilean, Columbian, Cuban, Mexican, Peruvian and Venezuelan artists. In parallel, other projects such as a video programme, installation artworks, the presentation of a private collection and conferences at the Maison de l’Amérique latine will highlight the creative effervescence that reigns on the continent. Southern Stars: An Exploration of Latin American Art is curated by the independent exhibition curator Valentina Locatelli, who is based in Switzerland.

A historical and contemporary journey of discovery through Latin America’s art scenes

Galleries spread throughout the fair’s different sectors invite visitors on a journey of discovery through Latin America’s different scenes, considering them from both a historical and contemporary point of view. Galería Freijo is focusing on two historical figures from the Mexican scene, abstract sculptor and co-founder of Stridentism German Cueto and Felipe Ehrenberg, a leading light in the field of Mexican conceptual art in the 1970s. Numerous galleries are showcasing the work of the proponents of geometric abstraction from the 60s and 70s, including Carlos Cruz-Diez (Venezuela), Ivan Contreras Brunet (Chilli), Dario Perez Flores (Venezuela) and Marino di Teana (Argentina). Women artists are also in the spotlight with solo shows featuring Léonor Fini, a surrealist painter born in Buenos Aires (Weinstein/Galerie Minsky); Mexican artist Carmen Mariscal, whose work addresses questions of gender and female stereotypes (Ana Mas Project); and Sandra Vásquez de la Horra, a Chilean artist who is the subject of a mini-retrospective at the Wooson Gallery featuring her drawings that touch on questions of sex and religion. The Cuban scene is the subject of a group exhibition at the Xin Dong Cheng Gallery, which brings together six artists from different generations: Manuel Mendive, Raúl Martínez, Adonis Flores, René Francisco Rodriguez, Michel Mirabal and Yunier Hernández Figueroa. Two galleries Nosco and Galerie Younique are showcasing the young Peruvian scene with emblematic figures such as Jose Carlos Martinat and Luis Martinat, two brothers who are famous for their installations that question the past and the present of post-colonial societies. La Balsa Arte (Bogota/Medellin) is presenting a dialogue between the works of three figures from the Columbian scene with drawings (Juan Osorno), paintings (Julian Burgos) and installation art (Luis Fernando Pelaez), whereas Galería Solo – Eva Albarran & Christian Bourdais has given over part of its space to Carlos Amorales, a major figure on the Mexican scene who works in different media such as video, installation art, photography and paper. Finally, Galería Ethra (Mexico) is showing three artists, Maria José de la Macorra, Alejandro Pintado and Maximo Gonzalez who are presenting their vision of the Mexican megalopolis.

Site-specific installations

In front of the entrance to the Grand Palais, visitors are welcomed by a monumental installation by Mexican artist Betsabeé Romero (Galería Saro Léon), which evokes a requiem in memory of that symbol of 20th century consumer society, the car. In the nave, the CCK (Centro Cultural Néstor Kirchner) from Buenos Aires, in collaboration with the Institut français d’Argentine, presents El verdadero jardín nunca es verde, an installation created by the Argentinean artist Nicola Costantino and inspired by The Garden of Earthly Delights by Hieronymus Bosch. Three artists, Marcelo Brodsky from Argentina (Galerie Artco), Colombian artist Stinkfish (Galerie Ernst Hilger) and Ricardo Rendón from Mexico (Galerie Wenger) will produce monumental compositions for the south and north walls of the nave.

Private Collection

As part of the focus on Latin America, Art Paris 2019 is hosting a selection of works by Latin American women artists from the collection of Catherine Petitgas.
Catherine Petitgas is a London-based collector, patron of the arts and art historian specialising in modern and contemporary Latin American art. She heads up the Franco-British Fluxus Art Projects initiative and is also a member of the Tate Latin American acquisitions committee and the Centre Pompidou International Council. She was executive editor of Contemporary Art Brazil, Contemporary Art Mexico and Contemporary Art Colombia published by Thames and Hudson.

The Project Room: Contemporary video art from Mexico, Colombia, Peru and Argentina (2000- 2018)
The Project Room provides a forum for 16 Mexican, Columbian, Peruvian and Argentinean artists from different generations to present their videos around four themes:
  • La ville et ses flâneurs (The city and people strolling by): videos by Sarah Minter, Julián Sorter, Angie Bonino and Ana Maria Montenegro Jaramillo,
  • Corps en crise (The body in a state of crisis): videos by Miguel Calderon, Gabriela Golder, Carolina Bazo and Adriana García Galán,
  • La mémoire et l’oubli (Memory and oblivion): videos by Teresa Serrano, Ana Gallardo, Diego Lama and Juan Manuel Echavarria,
  • La nature résiliente (Nature’s resilience): videos by Julio César Morales, Matilde Marín, Ishmael Randall-Weeks and CarolinaCaycedo.
    With the support of Vidélio.

    Conferences at the Maison de l’Amérique latine, Friday April 5th 2019 from 4 – 6.45 pm

    Two panel discussions will address the place of Latin American women artists on both the French and international art scenes.
    4 pm – 5.15 pm: Latin American women artists in France, a panel discussion chaired by Valentina Locatelli, guest curator for the Art Paris 2019 focus on Latin America, with Mexican artist Carmen Mariscal, Columbian curator, Maria Ines Rodríguez (to be confirmed) and Ecuadorian artist Estefania Peñafiel Loaiza (to be confirmed). Conversation in French.
    5.30 pm – 6.45 pm: presence and visibility of Latin American women artists in the world of contemporary art, a panel discussion chaired by independent exhibition curator and former director of the Daros Latin America Collection (Zurich) Hans Michael Herzog with curator, art historian and former senior curator at the Museum of Contemporary Art de Los Angeles, Alma Ruiz, modern and contemporary Latin American art specialist, art historian, collector and patron of the arts Catherine Petitgas and Mexican artist Betsabée Romero. Conversation in English.
    With the support of the Maison de l’Amérique latine.

    Latin America in Paris during Art Paris

    Art Paris’ VIP guide puts the spotlight on the Latin American presence in Paris.
    The BnF — François Mitterrand is showcasing figurative works by Argentinean artist Antonio Segui and Villa Vassilief together with the Institut Culturel du Mexique are paying tribute to the key Mexican experimental filmmaker Teo Hernández. The Maison de l’Amérique latine is presenting Fiesta gráfica, Michel Bouvet et ses amis d’Amérique latine, an exhibition that brings together 15 graphic artists and 3 collectives of major Latin American graphic artists in a dialogue with works by internationally renowned poster artist Michel Bouvet. Finally, Galerie Patricia Dorfmann plays host to the Julio Artist-Run Space with Diffractions, an exhibition presenting the work of five artists with Latin American origins (Juan Stoppani, Carle Bertone, Martin Kaulen, Valeria Maculán and Valentina Canseco).

    Solo Show: a record-breaking 39 monographic exhibitions

    Ever since 2015, Art Paris has been endeavouring to encourage the presentation of monographic exhibitions throughout the fair. The 2019 edition presents a record number of thirty-nine solo shows, compared to thirty-six in 2018, a number that is indicative of the fair’s selection process that incites galleries to present specific, concise projects.
    With the support of Barneby’s.

    “Promises”: supporting young galleries and emerging creativity

    “Promises”, located in the central part of the Grand Palais, plays host to 14 galleries created less than six years ago. The participating galleries may present no more than three emerging artists. The fair finances 45 % of each gallery’s participation costs.

    2019 selection: Pierre-Yves Caër Gallery (Paris), Francesca Antonini Arte Contemporanea (Rome), H Gallery (Paris), Galerie Hengevoss-Dürkop (Hambourg), Intervalle (Paris), Galleria Anna Marra (Rome), Matèria (Rome), Galerie Mottet (Chambéry), Raibaudi Wang Gallery (Paris), Galerie Eko Sato (Paris), Shiras Galeria (Valence), Galerie Younique (Lima).

    With the support of the The Wall Street Journal.

  • List of exhibitors

    313 Art Project (Seoul) • Galerie 8+4 – Paris (Paris) • A2Z Art Gallery (Paris/Hong Kong) • A&R Fleury (Paris) • AD Galerie (Montpellier) • L’Agence à Paris (Paris) • Galería Miquel Alzueta (Barcelona) • Ana Mas Projects (Barcelona) • Galerie Andres Thalmann (Zurich) • Art Agency (Sofia) • Artco Gallery (Aix-la-Chapelle) • Art : Concept (Paris) • Artem-Reich (Basel) • FDP Art et Patrimoine (Sète) • Artisyou (Paris) • Artkelch (Freiburg im Breisgau) • Galerie Arts d’Australie ¡ Stéphane Jacob (Paris) • Galerie Cédric Bacqueville (Lille) • La Balsa Arte (Bogotá/Medellín) • Galerie Ange Basso (Paris) • Galerie Belem/Albert Benamou, Barbara Lagié, Véronique Maxé (Paris) • Galerie Claude Bernard (Paris) • Galerie Thomas Bernard – Cortex Athletico (Paris) • Galerie Berthéas (Vichy/Saint- Étienne/Paris) • Galerie Berthet-Aittouarès (Paris) • Galerie Binome (Paris) • Bogéna Galerie (Saint-Paul-de-Vence) • Bosco Hong (Hong Kong) • Galerie Jean Brolly (Paris) • Galerie C (Neuchâtel) • Pierre-Yves Caër Gallery (Paris) • Galerie Capazza (Nançay) • CCK Itinérant/Institut Français d’Argentine (Buenos Aires) • Ceysson & Bénétière (New York/Luxembourg/Paris/Saint-Étienne) • Galerie Chauvy (Paris) • Galerie Chevalier (Paris) • Christopher Cutts Gallery (Toronto) • Clémentine de la Féronnière (Paris) • Creative Growth (Oakland) • Galerie Michel Descours (Lyon) • Galerie Anne de Villepoix (Paris) • Dilecta (Paris) • Galería Marc Domènech (Barcelona) • Galerie Dominique Fiat (Paris) • Galerie Patricia Dorfmann (Paris) • Galerie Dutko (Paris) • Galerie Eric Mouchet (Paris) • Espace Meyer Zafra (Paris) • Galeria Ethra (Mexico City) • Galerie Valérie Eymeric (Lyon) • Galerie Les Filles du Calvaire (Paris) • Flatland (Amsterdam) • Francesca Antonini Arte Contemporanea (Rome) • Freijo Gallery (Madrid) • Galerie Pascal Gabert (Paris) • Galerie Claire Gastaud (Clermont-Ferrand/Paris) • Galerie Louis Gendre (Paris/Chamalières) • Gimpel & Müller (Paris) • Galerie Michel Giraud (Paris/Luxembourg) • Galerie Philippe Gravier (Paris/Saint-Cyr-en-Arthies) • Galerie Bertrand Grimont (Paris) • H Gallery (Paris) • H.A.N. Gallery (Seoul) • Galerie Hengevoss-Dürkop (Hamburg) • Galerie Ernst Hilger (Vienna) • Huberty & Breyne Gallery (Brussels/Paris) • Galerie Hurtebize (Cannes) • Intervalle (Paris) • Galerie Lacan (Strasbourg) • Galerie La Forest Divonne (Paris/ Brussels) • Galerie Lahumière (Paris) • Galerie La Ligne (Zurich) • Galerie Arnaud Lefebvre (Paris) • Galerie Françoise Livinec (Paris/ Huelgoat) • LN Edition (Paris) • Galerie Loevenbruck (Paris) • Galerie Loft (Paris) • Loo & Lou Gallery (Paris) • Galerie Daniel Maghen (Paris) • Kálmán Makláry Fine Arts (Budapest) • Galerie MAM (Douala) • Marcel Strouk – Galerie Rive Gauche (Paris) • Mark Hachem Paris Marais (Paris) • Galleria Anna Marra (Rome) • Matèria (Rome) • Maurice Verbaet Gallery (Antwerp/Knokke-Heist) • Galerie Melanie Rio Fluency (Nantes) • Weinstein Gallery/Galerie Minsky (San Francisco/Paris) • Galerie Frédéric Moisan (Paris) • Mo J Gallery (Seoul/Busan) • Galerie Lélia Mordoch (Paris/Miami) • Galerie Mottet (Chambéry) • Galerie Najuma (Fabrice Miliani) (Marseille) • Galerie Nec Nilsson et Chiglien (Paris) • Gallery Nosco (Marseille) • Galerie Nathalie Obadia (Paris/Brussels) • Galerie Oniris – Florent Paumelle (Rennes) • Galerie Paris-Beijing (Paris/Beijing/Brussels) • Galerie Françoise Paviot (Paris) • Galerie Perahia (Paris) • Galerie des Petits Carreaux (Saint-Briac-sur-Mer) • Pigment Gallery (Barcelona) • Podgorny Robinson Gallery (Saint-Paul-de-Vence) • Galerie Jérôme Poggi (Paris) • Praz-Delavallade (Paris/Los Angeles) • Galerie Rabouan Moussion (Paris) • Raibaudi Wang Gallery (Paris) • Rebecca Hossack Art Gallery (London) • Galerie Richard (Paris/New York) • J.-P. Ritsch-Fisch Galerie (Strasbourg) • Galleria Rubin (Milan) • Sage Paris (Paris) • Galería Saro León (Las Palmas de Gran Canaria) • Galerie Eko Sato (Paris) • Schönfeld Gallery (Brussels/ Antwerp) • School Gallery/Olivier Castaing (Paris) • Galerie Sébastien Adrien (Paris) • Galerie Samantha Sellem (Paris) • Shiras Galería (Valencia) • Galerie Slotine (Paris) • Galerie Véronique Smagghe (Paris) • Caroline Smulders (Paris) • So Art Gallery (Casablanca) • Galería Solo/Eva Albarran & Christian Bourdais (Madrid) • Michel Soskine Inc. (Madrid/New York) • Galerie Taménaga (Paris/Tokyo/ Osaka) • Templon (Paris/Brussels) • Galerie Patrice Trigano (Paris) • Galerie Univer/Colette Colla (Paris) • Un-spaced (Paris) • Galerie Vallois (Paris) • Bernard Vidal – Nathalie Bertoux – art contemporain (Paris) • Galerie Lara Vincy (Paris) • Galerie Wagner (Le Touquet Paris-Plage) • Galerie Olivier Waltman (Paris/Miami/London) • Galerie Liusa Wang (Paris) • Galerie Esther Woerdehoff (Paris) • Wooson Gallery (Daegu) • Wunderkammern (Rome/Milan) • Galerie XII (Paris/Los Angeles/Shanghai) • Xin Dong Cheng Gallery (Beijing) • Galerie Younique (Lima)

Opening hours:

Thursday 4th April, 11.30 am – 8 pm

Friday 5th April, 11.30 am – 9 pm

Saturday 6th April, 11.30 am – 8 pm

Sunday 7th April, 11.30 am – 7 pm

Admission fee:

27 euro / 14 euro for students and groups


20 euro

Images > Art Paris © Marc Domage





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