Born in 1968 in London, Andrew Lewis lives and works in Argenton-sur-Creuse. He develops the idea of interaction between characters both human or sculpted and their immediate environment, which tends to create a group dynamic. His works show all the innovation and ingenuity that we’ve had to use to develop within the bosom of society which in turn has begun to function like an organism abolishing its own privileges, thus breaking the codes that it had eagerly created not so long before. Andrew Lewis intends to make an original synthesis between the painterly transposition of calm and hieratic characters and time in its most fleeing, mobile and evolving aspects. His figures evoke Robert Musil’s ones. They are men and woman without evident “qualities” who, once freed of the sediments of their own milieu and epoch, become extremely sensitive to all experiments and act as a sort of trans-historic multiple conscience.
His work is present in the following institutions: Arts Council Collection, London; Stedelijk Museum, Amsterdam; FRAC Alsace, Sélestat; FRAC Limousin, Limoges. Exhibitions: Vers une boîte éclairée / Crystal Palace Transmissions, Art:Concept, Paris (2016); Les filtres harmoniques, Art:Concept (2012); Archi-Peinture, Le Plateau/Frac Ile-de-France, Paris & Camden Arts Center, London (2006).
He recently has been part of the following group shows: Abbaye Saint-André, Centre d’Art Contemporain, Meymac/FR; Monument, FRAC Alsace, Sélestat/FR.
The Economist (EmoTion Chest), 2007, collage of cuts from «The Economist» on chipboard and clip-framed, 25 x 36 x 1 5/8 in.
The Economist (EmoTion Chest), 2007, collage of cuts from «The Economist» on chipboard and clip-framed, 25 x 36 x 1 5/8 in.
Biography
Born in 1980 in Bordeaux, Alexandre Singh lives and works in Paris and New York.
In 2012 he was awarded the Meurice prize for Contemporary Art. His work is characterized by a protean nature, evolving between writing, performance, collage, installation and sculpture. Far from creating hermetism, all these different practices work together to constitute a complete oeuvre that questions the human nature, its genesis, its defects as well as the multiplicity of its facets. The artist’s references are just as eclectic and vast; giving birth to characters and stories indistinctively inherited from popular culture – the advertising and television world – and the classical dramatic repertoire (Molière), as well as ancient Greek comedy (Aristophanes). This assemblage of images and references evokes his early collage series The Economist (2006) and Assembly Instructions (2008-2011), series that drew their sources as much from Montaigne’s Essais as from Ikea catalogs. In 2012 he directed his first play, The Humans, developed during his residency at the Witte de With and presented at the Rotterdamse Schouwburg, as well as at the Brooklyn Academy of Music in New York and at the 2014 Avignon Festival.
His work can be found in the collections of several institutions such as the National Centre for the Visual Arts Paris, the FRAC Pays de la Loire (Carquefou, France), the Solomon R. Guggenheim Museum and New York’s Museum of Modern Art.
Recently, several solo exhibitions have been dedicated to his work both in Europe and in the United States; in 2011 he presented his The School of Objects Criticized at the Palais de Tokyo (Paris) – (originally shown at the New Museum in New York in 2010 ) – and Assembly Instructions: The Pledge at Monitor Gallery (Rome) and Art : Concept (Paris), (also shown at the Drawing Center (New York) in 2013). That same year he presented The Humans at Metro Pictures (New York) then at Sprüth Magers, London, in 2014. In 2019 he presented a monographic exhibition at the Fine Arts Museums of San Francisco (California).
Vue d’installation / Installation view Jeremy Deller, Art is Magic, Musée des beaux-arts de Rennes, 2023. Rennes/FR. Photo Aurélien Mole
Jeremy Deller, So Many Ways to Hurt You (The Life and Times of Adrian Street), 2010. vidéo / video 16:9, 30 mn. peinture murale, dimensions variables / Wall paint, variable dimensions.Edition of 3
Vue d’installation / Installation view Jeremy Deller, Art is Magic, Musée des beaux-arts de Rennes, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, Musée des beaux-arts de Rennes, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, Musée des beaux-arts de Rennes, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, La Criée, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, La Criée, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, Frac Bretagne, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, Frac Bretagne, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’installation / Installation view Jeremy Deller, Art is Magic, Frac Bretagne, 2023. Rennes/FR. Photo Aurélien Mole
Vue d’exposition / Exhibition View, Warning Graphic Content – Jeremy Deller Prints and Posters 1993-2023, FJK3 – Contemporary Art Space, Vienna, March 3rd until May 7th 2023
Jeremy Deller, Marmite On Toast, 2021. Sérigraphie sur papier / Silk screen on paper, 60 × 80 cm (23 ⅝ × 31 ½ inches). Edition of 25. Courtesy the Artist; The Modern Institute / Toby Webster, ltd. Glasgow, and Art : Concept, Paris
Jeremy Deller, English Magic circa 1990, 2014. Lithographie sur papier / Lithographic on paper. 59 × 84 cm (23 ¼ × 33 ⅛ inches). Edition of 300 plus III APCourtesy the Artist; The Modern Institute / Toby Webster, ltd. Glasgow, and Art : Concept, Paris
Jeremy Deller, Thank God for Immigrants, 2020. Sérigraphie sur papier / Silk screen on paper. 59,4 × 42 cm (23 ⅜ × 16 ½ inches). Edition variable of 500 Courtesy the Artist; The Modern Institute / Toby Webster, ltd. Glasgow, and Art : Concept, Paris
Jeremy Deller, Every age has its own fascism, 2019. Flyposting poster, 76,2 × 51 cm (30 × 20 ⅛ inches). Edition of 300 Courtesy the Artist; The Modern Institute / Toby Webster, ltd. Glasgow, and Art : Concept, Paris
Vue d’exposition / Installation view Jeremy Deller : Welcome to the shitshow, Kunsthal Charlottenborg, København/DK, 2023 Photo by David Stjernholm / @david_stjernholm
Jeremy Deller, The Deliverers, 2022. Film. Courtesy the Artist; The Modern Institute/Toby Webster LTD; Art : Concept, Paris. Photo by Colin Davison.
Installation view, Warning Graphic Content, MAMCO, Genève/CH. Courtesy the artist ; Art : Concept, Paris ; The Modern Institute/Toby Webster LTD, Glasgow. Photo Annik Wetter
Vue in-situ / In-Situ, Jeremy Deller, Money Laundering, 2022, Parcours Art Basel, Basel/CH. Courtesy the artist ; Art : Concept, Paris ; The Modern Institute/Toby Webster LTD, Glasgow. Photo Courtesy Art Basel
Vue de l’exposition / Installation view, Radical Landscapes, 2022 Tate Liverpool/UK. Jeremy Deller, Cerne Abbas, 2019. Courtesy the artist, the Modern Institute, Glasgow and Art : Concept, Paris. photo Jack Hems
Installation view, Father and Son, 2021, wax. Presented by ACCA at St Saviour’s Church of Exiles, Melbourne
Installation view, The Lovers, 2021, sculpture, Messeyne Garden, Kortrijk
Stonehenge at Sunset, 2013. Sérigraphie sur papier Silkscreen on paper 60 x 90 cm Ed. 60 + 10 AP
Installation view, Jeremy Deller, Everybody in the Place, An Incomplete History of Britain, 1984-1992, 2018, video, 62 min. Courtesy Art : Concept, Paris. Photo: OH Dancy.
Indus Sounds, 2019, file on iPod
Everybody in The Place: An Incomplete History of Britain 1984-1992, 2018, documentary
Jeremy Deller, Centenary Celebration of Stonehenge, Salisbury, 26th October 2018. Photo: Jeremy Deller.
Installation view, Skulptur Projekte Münster 2017, Speak to the Earth and It Will Tell You (2007-2017)
Rhythmasspoetry, 2015 (film still), film in collaboration with Cécilia Bengolea, 13th Biennale de Lyon
Installation view, All That Solid Melts into Air, Manchester Art Gallery, 2013. Photo: Alan Seabright.
Installation view, Sacrilege, FIAC, Paris, 2012. Photo: James Hutchinson.
English Magic, 2012 (detail), lambda print pasted on dibond, polyptych of 8, 40 x 50 cm, 15 3/4 x 19 5/8 in, edition of 5 + 2 AP
Bless This Acid House, 2012, silkscreen on aluminium, 205 x 70 cm (80 3/4 x 27 1/2 in.)
Installation view, Joy in People, Hayward Gallery, 2012. Photo: Linda Nylind.
Installation view, Joy in People, Hayward Gallery, London, 2012. Photo: Linda Nylind.
Procession, 2009, 5 July 2009, Deansgate, Manchester, Commissioned by Cornerhouse and Manchester International Festival, dimensions variables
Installation view, D’Une Révolution à l’Autre, Carte Blanche, Palais de Tokyo, 2008. Photo: Marc Domage.
Installation view, D’Une Révolution à l’Autre, Carte Blanche, Palais de Tokyo, 2008. Photo: Marc Domage.
Manifesta 5, European Biennal of Contemporary Art, San Sebastian, 2004, Courtesy of the Artist.
Manifesta 5, European Biennal of Contemporary Art, San Sebastian, 2004, Courtesy of the Artist.
History of the World, 1997-2004, wall painting, dimensions variable
Bird in Hand at Red Hook Raptor Center, 2003, c-print, 80 x 80 cm, 31 1/2 x 31 1/2 in, edition of 6
Wal-Mart trolley on snow hill, in a car park in Red Hook, from this is US, 2003, c-print, 80 x 80 cm, 31 1/2 x 31 1/2 in, edition of 6
Sans titre, 2002, c-type print, 20,5 x 25,5 cm, 8 1/8 x 10 in, edition of 3
Veterans Day parade near Pahrump, from After the Gold Rush, 2001, c-print, 120 x 80 cm, 47 1/4 x 31 1/2 in, edition of 6
Battle of Orgreave, 2001, Re-enactment and film, commissioned and produced by Artangel
Biography
Jeremy Deller was born in 1966. He lives and works in London.
Much of Deller’s work is collaborative; it has a strong political aspect, in the subjects dealt with and also the devaluation of artistic ego through the involvement of other people in the creative process. The great strength of Jeremy Deller’s artworks is that they directly raise the question of the sacredness and untouchability of spaces, social codes and emblems of power and even more so of political, economic and religious powers. Whether it’s stepping on Stonehenge’s sacred ground, jumping on it or highlighting popular culture, evoking music fans or the British, it’s all about mass creative power. Rather than fearing or suffering the powers in place, it results in a confrontation between history, culture and heritage. The work of Jeremy Deller is to be experienced by all and for all, he invites us to create a participatory work where everyone has a role to play. His artworks, trans-historical and partisan of free expression as a vector of values and meaning, initiate a dialogue between cultures, people, the past, the present and what could be the future. In a society that claims to open up access to culture and continues to provide a model to follow on what is culturally and intellectually acceptable from what is not, Deller gets away and plays with these societal stereotypes by focusing on subcultures, folklore, people.
He won the Turner Prize in 2004, and in 2010 was awarded the Albert Medal of the Royal Society for the encouragement of Arts, Manufactures & Commerce (RSA). His work is present, among others, in the following institutions: FNAC, Paris; FRAC Nord-Pas-De-Calais; FRAC Pays de la Loire; FRAC Provence-Alpes-Côte d’Azur, Musée des Arts Contemporains, Grand-Hornu; Tate Modern, London; Victoria & Albert Museum, London.
Recent exhibitions include : Warning Graphic Content, MAMCO, Genève/CH (2022) ; Wir haben die Schnauze voll, Bonner Kunstverein, Bonn/DE (2020); Everybody In The Place, The Modern Institute, Glasgow/UK (2019); English Magic, British Pavilion, 55th Venice Biennale/IT (2013); Sacrilege, Esplanade des Invalides, Projet Hors les Murs, FIAC Paris/FR (2012); Joy In People, Hayward Gallery, London/UK (2012); D’une révolution à l’autre, Carte Blanche à Jeremy Deller, Palais de Tokyo, Paris/FR (2008). In 2023, a retrospective of his work is going to take place simultaneously at La Criée Centre d’Art Contemporain, at FRAC Bretagne and at the Musée des Beaux-Arts de Rennes.
Vue d’exposition / Installation view Olio e pepe, 2024, Art : Concept, Paris. Courtesy the Artists and Art : Concept, Paris. Photo Romain Darnaud
Vidya Gastaldon, Healing Painting (Flower Poltergeist), 2014. Huile sur tableau trouvé / Oil on vintage framed painting, 24 × 19 cm (9 ½ × 7 ½ inches)Courtesy the Artist and Art : Concept, Paris. Photo Fabrice Gousset
Vidya Gastaldon, Moomin Landscape, 2023. Acrylique et crayon sur toile et cadre peint / Acrylic and pencil on canvas and painted frame. 36,7 × 47 cm (14 ½ × 18 ½ inches). Courtesy the Artist and Art : Concept, Paris.
Vues d’exposition / Installation view Houses of Tove Jansson, Espace Mont-Louis, Paris, 2023. Curated by The Community.
Vues d’exposition / Installation view Houses of Tove Jansson, Espace Mont-Louis, Paris, 2023. Curated by The Community.
Vidya Gastaldon, Healing Painting (Marine monster), 2016. Huile sur tableau trouvé / Oil on canvas on found painting, 55 × 47 cm (21 ⅝ × 18 ½ inches). Courtesy the Artist and Art : Concept, Paris. Photo Claire Dorn. Collection privée / Private collection
Vue d’exposition / Installation views The Moth and The Thunderclap, Modern Art, London/UK, 2023. Courtesy the artist and Art : Concept, Paris. Photo by Michael Brzezinski.
Vue d’exposition / Installation view, Jusque-là, Le Fresnoy – Studio national, Tourcoing, 2022. Vidya Gastaldon, Escalator (Rainbow Rain), 2007, laine, fils, baguettes de tilleul / wool, threads, lime tree sticks, 700 × 100 cm, Pinault Collection. Courtesy the Artist; Wilde, Genève; Art : Concept, Paris. Photo: Théo Coeugniet
Vue d’exposition / Exhibition view Histoires d’abstractions. Le cauchemar de Greenberg, Fondation Pernod Ricard, Paris, 2021-2022. Courtesy of the artist and Art : Concept, Paris. Photo Thomas Lannes
Installation view Paysages du temps zéro, 2021. Photo Nicolas Brasseur. courtesy of the artist and Art : Concept, Paris
Vidya Gastaldon, Les yeux libres 54, 2021, Acrylic paint and varnish on plate ø 12,7 cm (ø 5 inches). Photo Nicolas Brasseur. Courtesy of the artist & Art : Concept, Paris
Vidya Gastaldon, Sentiment océanique (Marquis-e), 2021, Watercolour, gouache paint, acrylic paint, pencil and coloured pencils on paper, 20,8 × 29,4 cm (8 ¼ × 11 ⅝ inches). Photo Nicolas Brasseur. Courtesy of the artist & Art : Concept, Paris
Vidya Gastaldon, Sentiment océanique (pommettes chaudes), 2021, Watercolour, gouache paint, acrylic paint, pencil and coloured pencils on paper, 29,4 × 41,6 cm (11 ⅝ × 16 ⅜ inches). Photo Nicolas Brasseur. Courtesy of the artist & Art : Concept, Paris
Santa Saturnia, 2019, acrylic on clock and painted objects, 261 x 41 x 27,7 cm.
Healing object (chakra echelle), 2019. Acrylic paint and varnish on found ladder, 87 x 26 3/8 x 5 1/8 in. Private collection FR
Healing object (cubistery n°1), 2019, acrylic paint and varnish on found object, 19 5/8 x 19 5/8 x 19 5/8 in.
Vidya Gastaldon was born in 1974 in Besançon. She lives and works in Grange Neuve (Ain), France.
With her mystical, fantastical and extremely vivid approach to art, Vidya Gastaldon develops a sort of harmonisation of qualities both spiritual and physical. Allergic to any attempt to control and restrain her universe, she delivers a cosmic overview combining Hindi divinities, Muppet-Show characters and Christian references. Her work, reminiscent of artists such as Turner, Burchfield, Blake or Bunuel, is extremely multi faced and deals with the divine, the hallucinatory but also with everyday life. In a mixture of sacred, sensual, tongue-in-cheek and sometimes provocative creations, she manages to establish a connection between “being” and “meant to be”. She engenders new beliefs, and by means of negative and positive impulses she pushes social unconsciousness out of the way, liberating our collective thought of the predefined egregores that oblige us to keep reproducing spiritual and social patterns.
Her work is part of the following collections: Frac Normandie, Rouen; Wilhelm Hack Museum, Ludwigshafen am Rhein; Musée des Beaux-Arts, Brest; Fonds Municipal d’Art Contemporain, Geneva; Jenisch Museum, Vevey; Kunst Museum Bern; CNAP, Centre national des arts plastiques, Paris; Collection Région Piémont, Turin; Kadist Art Foundation, Paris; MAMCO, Geneva; Musée National d’Art Moderne – Centre Pompidou, Paris.
Selected solo exhibitions: Océan sentimental, Centre d’Art Contemporain Les Capucins, Embrun (2022); J’aurais voulu qu’on s’aime tous, Wilde, Genève (2020), Objets peints au feu de bois, Art : Concept, Paris (2019); Push the earth with your knees, the sky with your head, Art Bärtschi & Cie, Geneva (2017); Les Rescapés, Musée de l’Abbaye Sainte-Croix, Les Sables d’Olonne; Hello From the Other Side, Art : Concept, Paris (2016); Tu es Monstrueux et je t’aime beaucoup, MAMCO, Geneva (2012); Domaine de Kerguehennec, Bignan (2009), among others. In 2019 her work was part of the group exhibition ‘Futur, ancien, fugitif’ at the Palais de Tokyo, Paris.
Vue d’exposition/Installation view, Jean-Michel Sanejouand, Un peu d’espace(s), 2015
Vue d’exposition/Installation view, Jean-Michel Sanejouand, Un peu d’espace(s), 2015
Vue d’exposition/Installation view, Jean-Michel Sanejouand, Un peu d’espace(s), 2015
Vue d’exposition/Installation view, Jean-Michel Sanejouand, Un peu d’espace(s), 2015
Vue d’exposition/Installation view, Jean-Michel Sanejouand, Un peu d’espace(s), 2015
Vue d’exposition/Installation view, Jean-Michel Sanejouand, Un peu d’espace(s), 2015
Vue d’exposition/Installation view, Jean-Michel Sanejouand, Un peu d’espace(s), 2015
Vue d’exposition/Installation view, Jean-Michel Sanejouand, Un peu d’espace(s), 2015
Vue d’exposition/Installation view, Jean-Michel Sanejouand, Un peu d’espace(s), 2015
9.6.96, 1996, acrylique sur toile/ acrylic on canvas, 96 x 130 cm (37 3/4 x 51 1/8 in.)
Le vieux poivron, 1996, acrylique sur toile/acrylic on canvas, 97 x 130 cm (38 1/4 x 51 1/8 in.)
L’arbre aussi, 30.6.89 / 24.7.89, acrylique sur toile/acrylic on canvas, diptyque/diptych, 162 x 130 cm chaque (63 3/4 x 51 1/8 in. each)
9.5.88, 1988, acrylique sur toile/acrylic on canvas, 195 x 130 cm (76 3/4 x 51 1/8 in.)
Toile blanche et lacet en cuir, 1962, acrylique sur toile et lacet de cuir/ acrylic on canvas and leather, 35 x 22 cm (13 3/4 x 8 5/8 in.), collection de l’artiste/ collection of the artist
L’enfance de l’art – moulin à prières – tricuspide, 1989-90-92, bronze, dimensions variables/variable dimensions. Collection privée/private collection CH
Derrière, 2013, pierres peintes en noir/stones painted black, 17,5 x 6,5 x 6 cm (6 7/8 x 2 1/2 x 2 3/8 in.)
Lance-pierre, 2006, pierre, acrylique/stone, acrylic, 14,9 x 13 cm (7/8 x 5 1/8 in.) Collection privée/private collection CH
Désert, 2015, pierres peintes en noir/stones painted black, 12,5 x 9 x 5,5 cm (4 7/8 x 3 1/2 x 2 1/8 in.)
Glissade, 2015, pierres peintes en noir/stones painted black, 17 x 13 x 6 cm (6 3/4 x 5 1/8 x 2 3/8 in.)
15 ans après, 2015, pierres peintes en noir/stones painted black, 10,5 x 7 x 5 cm (4 1/8 x 2 3/4 x 2 in.)
Sans Titre 06.2012, 2012, acrylique sur papier/acrylic on paper, 25,5 x 36 cm (10 x 14 1/8 in.). Collection privée/private collection FR
Calligraphie d’humeur (08/1974),1974, encre de chine sur toile/ Indian ink on canvas, 90 x 190 cm (35 3/8 x 74 3/4 in.)
Calligraphie d’humeur, 1974, encre de chine sur toile/ Indian ink on canvas, 90 x 190 cm (35 3/8 x 74 3/4 in.)
Le corbeau, 2004, acrylique sur toile/acrylic on canvas, 30 x 40 cm (11 3/4 x 15 3/4 in.)
Le gisant, 2004, acrylique sur toile/acrylic on canvas, 30 x 40 cm (11 3/4 x 15 3/4 in.)
À l’écoute, 1999, acrylique sur toile/acrylic on canvas, 60 x 81 cm (23 5/8 x 31 7/8 in.)
Espace-Peinture, 29.6.78, 1978, acrylique sur toile/acrylic on canvas, 89 x 190 cm (35 x 74 3/4 in.)
Espace-peinture, 8.2.81, 1981, acrylique sur toile/acrylic on canvas, 89 x 116 cm (35 x 45 5/8 in.) Collection publique/Public collection: Nouveau Musée National de Monaco
8.10.84, 1984, acrylique sur toile, diptyque/acrylic on canvas, diptych, 240 x 190 cm (94 1/2 x 74 3/4 in.) Collection privée/private collection FR