Kate Newby, Do it tired, 2023. Cast iron. Loading dock. 14 x 24 x 2 in. (9 pieces)
Courtesy of the artist and Laurel Gitlen. Photo: Jen Bootwala/Cynthia Woods Mitchell Center for the Arts

Group show.

Intimate confession is a project is a group exhibition that considers transmission, intergenerational life, and cultural inheritance through the prism of intimacy and infrastructure. Through the work of eleven artists spanning generations and geographies, the exhibition thinks through infrastructure as an intimate holding cell, capable of affective and affirmative power.

The title is borrowed from a sonnet line by poet Juliana Spahr, and is recast to reflect on the relational infrastructures of cultural material. In recent years, a surge of scholarship on the built and unbuilt environments has emerged contrasting “humans, things, words, and non-humans into patterned conjunctures,” to quote feminist theorist Michelle Murphy. This exhibition examines how infrastructures can be understood as “affective” in their varied expressions of movement and imprint on cultural life.

Curator: Jennifer Teets

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Vue d’exposition / Installation view: Our Ecology: Toward a Planetary Living, Mori Art Museum, Tokyo/JP.
Kate Newby, FIRE!!!!!!!, 2023. Terrazzo produced at Torii Cement Kougyou Co., Ltd., Toyama (Concrete and found materials in Tokyo: stone, ceramics, glaze, glass, rubber, plastic, enamel, cork, metal, rope, concrete, shell, and bitumen), Indigo Fabric produced at Kosoen, Ome (Organic Cotton, indigo dye). Dimension variable. Co-production: Fondation d’entreprise Hermès and Mori Art Museum Photography: Go Itami

Group show.

Our Ecology will feature four chapters of diverse expression courtesy of an impressive lineup of international artists, from historical works to a number commissioned especially for the exhibition.

Above all, the title Our Ecology: Toward a Planetary Living asks who we are, and to whom the Earth’s environment belongs, and the exhibition urges us to think about environmental problems and other issues not only from an anthropocentric perspective, but also by looking at the Earth’s multiple ecologies from a broader, more comprehensive standpoint. This sustainable exhibition, designed to reduce the use of transport to a minimum by reusing and recycling as many resources as possible, will make the Mori Art Museum a place to contemplate how contemporary art and artists have to date engaged with environmental issues, and how they can continue to do so in the future.

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16-21 Oct. 23
10:00 – 18:00 hr
23 rue Vaneau
Paris 75007

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Group show.

For the 40th anniversary of the Frac, the aim is both to rethink the institution’s history, written in particular through its collection, and to look towards shared and desirable futures.

The Gunaikeîon exhibition invites a number of curators to write their own narratives based on works from the collection and in encounter with other invited works. Traditionally, the gunaikeîon was the flat in Greek and Roman houses where women spent most of their time, and which was set apart so that they had no direct contact with the street. The aim of this exhibition, on the other hand, is to open up the spaces of the Frac’s Réserves and the Fondation Fiminco’s Chaufferie to the surrounding neighbourhoods and the sounds of the world. The exhibition will be divided into several chapters, with each of the curators updating the collection in the light of her own obsessions, which are rooted in contemporary society.

Curators : Jade Barget, Daisy Lambert, Camille Martin, Céline Poulin & Elsa Vettier

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Richard Fauguet, Sans titre, 1995. Objets en verre, plaques de verre et colle silicone / Glass objects, glass plates and silicone glue. Collection Frac Nouvelle-Aquitaine Méca. Vue de l’exposition / Installation view “Parler avec elles” conçue par Emilie Parendeau – exposition anniversaire 40 ans du Frac MÉCA. Frac Nouvelle-Aquitaine MÉCA, Bordeaux. Crédit photo : Grégoire Grange

During fall-winter 2023-2024, Frac MÉCA hosts “Parler avec elles”, an exhibition conceived by artist Émilie Parendeau that brings together some fifty works, including forty from the Frac’s collection, a group of paintings by Claude Rutault, at the same time as it hosts proposals created specifically for the occasion by Florence Jung, Delphine Reist, and Davide-Christelle Sanvee.

The project imagined by Émilie Parendeau focuses on the processes involved in making a work of art, and aims to draw our attention to the work inherent in exhibiting it.

Anniversary exhibition – 40 years of the Frac.

With works by: ABSALON, John M.ARMLEDER, Pierre BARÈS, Karina BISCH, Jean-Marie BLANCHET, Pauline BOUDRY / Renate LORENZ, Yves CHAUDOUËT, Stéphanie CHERPIN, Claude CLOSKY, Stéphane DAFFLON, Richard FAUGUET, Dominique GHESQUIÈRE, John GIORNO, Alexander GUTKE, Louise HERVÉ & Clovis MAILLET, Joël HUBAUT, IFP, Florence JUNG, Imi KNOEBEL, Jeff KOONS, Pierre LABAT, Quentin LEFRANC, Richard LONG, Nicolas MILHÉ, Adrien MISSIKA, Joachim MOGARRA, Roman OPALKA, Serge PROVOST, Delphine REIST, Claude RUTAULT, Davide-Christelle SANVEE, Reena SPAULINGS, Haim STEINBACH, Didier VERMEIREN, Heimo ZOBERNIG.

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A look back at 20 years of work in an introspective (rather than retrospective) exhibition featuring recent paintings, photographs, installations, music and works by friends, all of which contribute to forming a portrait of the artist, but also of an era.

With works by Ismaïl Bahri, Louidgi Beltrame, Davide Bertocchi, Loïc Blairon, Jean-Luc Blanc, Lilian Bourgeat, Julien Carreyn, Nina Childress, Isabelle Cornaro, Monique Deregibus, Adélaïde Feriot, Mark Geffriaud, Guillaume Janot, Pierre Joseph, Shawn Lee, Géraldine Longueville, Didier Marcel, Laurent Millet, Laurent Montaron, Ange Petit, Jean-Marie Perdrix, Loïc Raguénès, Clément Rodzielski, Sarah Tritz, Pierre Vadi, Xavier Veilhan…

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Jean-Michel Sanejouand, Sans Titre 06.2011, 2011. (Espaces & Cie). Acrylique sur papier / Acrylic on paper. 30,5 × 45 cm. Courtesy the Artist Estate and Art : Concept, Paris.

Companions of our daydreams, stones, older than life, have exerted on humans a fascination of which each of us shares the experience: a collection, a launch, an admiring contemplation. Poets and artists of all periods of art have testified to the profound inflections that these silent presences have had on their creations.

The great surrealist writer Roger Caillois, some remarkable examples from whose collection of minerals constitute the prologue of this exhibition, was able to describe this insistent relationship: ‘more than once, I have thought that it was appropriate to look at stones as a kind of poem.’ Accompanied by the writer’s prose, the exhibition is the novel of this continuous frequentation that reveals how these minerals occupy a decisive position between the caprice of nature and the work of art.

The Stories of stones exhibition presented at the Villa Medici has benefited from loans from more than 70 institutions and brings together nearly 200 works, from the oldest terrestrial mineral dating back 4.4 billion years to the latest mineral created, Sentimentite, by the contemporary artist Agnieszka Kurant. The route unfolds in ten exhibition rooms and continues in the ancient reservoir of the Villa Medici, in the apartments of Cardinal Ferdinand de Medici and in the Balthus workshop.

Curators: Jean de Loisy & Sam Stourdzé

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Group show

The convulsive programming developed by the teams at the Centre Wallonie-Bruxelles/Paris reboots within its vessel, restored to its primal edifice and stripped of all ornament, with from October 13 to 29, part 2 of Les Heures Sauvages-Nef des Marges dans l’ombre des certitudes, an archipelagic program, This archipelagic program, initiated in the wake of the docking operation, is the climax of a series of initiatives undertaken by the Centre, including the cycles dedicated to artists’ films 25 Arts Seconde, the festival of sound probes (((INTERFERENCE_S))), the Belgian Theory contemporary thought platforms and the festival dedicated to short films : le Court en dit Long.

Our programming is reintegrated with the same aspiration for non-canonization, with the same desire not to entrench, crystallize or confine ourselves to it, and in parallel with the pursuit of viralization in physical elsewhere and in Cyberspace. They reinfiltrate, contaminated by numerous alliances and the same quest to highlight and probe powerful universes that suggest art as a veritable heuristic of our liquid present.

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In modernism since the 19th century and in the classical avant-gardes of the early 20th century, there is a very specific dialectic at work: on the one hand, there are bold innovations, radical negation, and aesthetic dogmas; on the other hand, there is a certain kind of laughter that forms the basis for this exhibition project. It is a laughter that is fun and at the same time – without wanting to merely scandalize – undermines all conservatism, bigotry, morality and, not least, avant-garde dogmatism.

This exhibition flirts with the humor of disaster, bad taste, the camp approach, trash culture, science fiction, horror and porn, the do-it-yourself attitude of punk, so-called “outsider art,” immaturity, idiocy, intuition and, of course, passion and enthusiasm.

Further infirmation

Exhibition view: Home Is Where You’re Happy, Haus Mödrath, 2023/2024.
Photo Simon Vogel, Cologne

Group show.

The works of the participating artists all directly or indirectly address the themes of home, domesticity, and family life, with all its happy (and tricky) implications. The exhibition’s title, Home Is Where You’re Happy, is borrowed from a song written by Charles Manson, whose childhood home was anything but happy, and who eventually founded his own murderous “Family.” Thematically linked through an array of dialogues, the artworks are representatives of all the psychodynamic processes, fantasies, and memories still haunting Haus Mödrath.

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