For its second exhibition, La Gaya Scienza invites curator and art critic Émilie Flory.
Émilie Flory orchestrates a group show in this house, putting the idea of mutual strength of mutual strength through the sharing of knowledge, desires, passions and enthusiasms. We Are Happy Here in A Happy House brings together artists from different generations. Work and life merge interfere with each other, and it’s only logical that circles of thought, friendships and play a central role. The happiness of a friend delights us. It adds to us. It takes nothing away.
We are pleased to invite you to discover Olio e pepe, the group show that gathers the gallery’s figurative painters.
Whitney Bedford Pierre Bellot Jean-Luc Blanc Nina Childress Vidya Gastaldon Miryam Haddad Lothar Hempel Andrew Lewis Philippe Perrot Jean-Michel Sanejouand
This spring, DAS MINSK Kunsthaus in Potsdam will present the group exhibition Soft Power, which positions textile design as an artistic means of expression that can be employed to question power relations. The exhibition addresses various aspects of textile art in three chapters.
The chapter “Invisible Hands” focuses on the production conditions of textiles and their raw materials, including the history of the Leipzig-Lindenau cotton mill, among other examples. It will demonstrate the interrelation of historical and contemporary production conditions, trade relations, and their enduring ecological implications. “Disrupting Patterns” is the title of the second chapter. Textile patterns are often based on the repetition of graphic structures, which typically originate from long traditions and can convey information about power hierarchies or status. The works presented in this chapter of the exhibition question existing patterns and relationships. The chapter “Ancestral Threads” traces the lines that connect us to the past. Just as individual threads can combine to form fabrics and larger networks, the historical and contemporary works in this chapter refer to past traditions that continue to have an effect today.
Soft Power shows works by Magdalena Abakanowicz, Caroline Achaintre, Wilder Alison, Leonor Antunes, Ouassila Arras, Kevin Beasley, Mariana Chkonia, Edith Dekyndt, Gee’s Bend Quiltmakers (Ella Mae Irby, Candis Mosely Pettway, Quinnie Pettway), Philipp Gufler, William Kentridge, Maria Lai, Joanna Louca, Sandra Mujinga, Gulnur Mukazhanova, Ramona Schacht, Gabriele Stötzer, Johanna Unzueta, Hamid Zénati, and others.
The exhibition will be curated by Daniel Milnes, who has worked as a curator at DAS MINSK since June 2023. Milnes grew up in Leeds, Great Britain, and studied modern languages (German and Russian) in Oxford and art history in Freiburg and St. Petersburg. After completing a traineeship at Kunstmuseum Stuttgart, he was part of the curatorial team at Haus der Kunst in Munich and subsequently at the Hamburger Bahnhof – Nationalgalerie der Gegenwart in Berlin. In 2019, he was part of the curatorial collective that curated the 12th Kaunas Biennial.
““Wild Grass: Our Lives” was conceived at the end of 2021 as an exhibition theme for the 8th Yokohama Triennale. It was a time when the world gradually emerged out of COVID-19 pandemic, restarting and reconnecting. The preparation for the 8th Yokohama Triennale was part of this worldwide recovery, with an aspiration to set new standards, to distinguish itself among the 250 or so biennales and triennales that are held around the world today. This ambitious and courageous initiative exudes the light of hope. This light shoots out of a backdrop of devastation, desperation, and a profound sense of crisis brought about by the pandemic, climate change, the widespread turn towards conservative nationalism and authoritarianism, the Russian war in Ukraine, the rise of conspiracy theories in popular consciousness, and other multitudes of adversities. We were inspired to search for an exhibition theme that speaks of humble humanism, courage, resilience, faith, and solidarity.”
— LIU Ding and Carol Yinghua LU Artistic Directors 8th Yokohama Triennale
Ulla von Brandenburg, Sweet Feast, 2018. Film Super 16 mm (transferé sur vidéo HD), couleur, son,11 min 25 s. Edition of 5 plus II AP
With Sweet feast, Ulla von Brandenburg invites us to enjoy an immersive, joyful, physical and mental experience, based on the themes that permeate her work: theater, fabric, stage, color, movement and ritual. With his highly holistic approach, the artist has imagined a total project for Le Parvis, uniting the exhibition space of the contemporary art center with that of the Hall, which guides public circulation to the adjoining theater and cinema.
In the art center, two large-scale textile environments follow one another, hosting three films as visitors make their way through, proving once again that for the artist, working with space and the body are never separate. While in the Hall, a monumental wall drawing evokes the round, pop and acidic aesthetics of the seventies, and celebrates the venue’s fiftieth anniversary. These two spaces, which respond to each other through a dichotomous narrative between interior and exterior, empty and full, develop a “looping” language that returns visitors to the immanence of the installation, to the place that welcomes them. With Sweet feast, Ulla von Brandenburg invites us to take part in a veritable voyage of initiation into color and matter, into other spaces and temporalities.
Kate Newby, ‘us, call us’, 2023/2024 et ‘always, always, always’ 2023/2024. Photo credits: Nacása & Partners Inc. / Courtesy of Fondation d’entreprise Hermès
The Fondation d’entreprise Hermès is currently presenting “Ecology: Dialogue on Circulations”, an ongoing two-part exhibition series that examines ecological practices in art.
Following the first exhibition by Jaeeun Choi, Dialogue 1 “La Vita Nuova”, the second installment, Dialogue 2 “Ephemeral Anchoring” will be held from February 16, featuring four artists: Nicolas Floc’h, Kate Newby, Takeshi Yasura, and Raphaël Zarka. The exhibition will be a dialogue exploring the potential of communication and the phenomenon of energy circulation between nature and humans within the platform of contemporary art.
Under the title La Société des spectacle, the Fondation Pernod Ricard presents a duo show with Farah Atassi et Ulla von Brandenburg from February 13 to April 20. Curator: Marjolaine Lévy
What might be the common denominator between the practices of Farah Atassi and Ulla von Brandenburg, two artists who at first glance have nothing in common? Perhaps an exaltation, a celebration of the spectacle of forms that a half-drawn curtain presents to us. [The] viewer is invited to enter Ulla von Brandenburg’s environments and traverse the colours and monumental textile paintings that the artist majestically deploys within the space.
La société des spectacles examines the use of the stage, spectacle, and artifice, and all the ambiguities that they give rise to within very different art practices, while both fall within a modernist legacy.
Nina Childress, Goldengirl, 2023. Huile sur toile / Oil on canvas. 60 × 81 cm. Courtesy the Artist and Art : Concept, Paris.
To kick off this Olympic year in style, Les Franciscaines presents the exhibition Sport, for the beauty of the gesture, an exploration of the sporting gesture in its physical, technical and spiritual dimensions.
An expression of the athlete’s genius, the grammar of the sporting gesture has always been a source of inspiration for artists, between power and mastery, grace and performance. The exhibition reveals this aesthetic of gesture, which strives for perfection through eight sporting disciplines: tennis, soccer, rugby, boxing, high jump, diving, archery and running.
To this end, Le sport, pour la beauté du geste brings together a selection of works of art, documentary images, models and photographs from the collections of INSEP (Institut national du Sport, de l’Expertise et de la Performance), the Musée National du Sport, the Centre Pompidou and the iconothèque of the newspaper L’Équipe. From the photographic canon that captures the truth of the gesture to the views of artists who idealize or even transcend it, the exhibition highlights the back-and-forth between sport and culture, two worlds that constantly enrich each other.
Curated by Thierry Grillet, former director of cultural diffusion at BnF, essayist and writer.
Nina Childress, Film Freud, 2020. Huile sur toile / Oil on canvas. 130 × 88 cm. Courtesy the Artist and Art : Concept, Paris.
Marie-Laure Bernadac and Bernard Marcadé, art historians, in association with Gérard Wajcman and Paz Corona, psychoanalysts.
The ideas of Jacques Lacan are, alongside the work of Roland Barthes, Michel Foucault, Jacques Derrida and Gilles Deleuze, essential for understanding our modernity. While homages and exhibitions have already been dedicated to these intellectual figures, the thought of Lacan has not been dealt with in museums to date, even though he was strongly attached to works of art.
Lacan was closely involved with 20th-century art and artists, and in his teaching never ceased to draw on the art of all times. His discourse on art has been as fresh as it has been unusual, holding back, intriguing and provoking many contemporary artists. He has interpreted artworks not just as powers that give us something to see, but as dazzling objects that look back at the viewer. In devoting an exhibition to Jacques Lacan, we wanted to surround his fascinating figure with a multitude of such gazes.
All this is far removed from a psychoanalytical interpretation of artists. The psychoanalyst is quite the opposite of a master: he or she is a student of art, docile to art’s original truths, and aiming to decipher the previously unsuspected knowledge it contains. That is why this exhibition is not only a homage to psychoanalysis: it also celebrates what remains behind, after all elucidation, of the mystery of art. Lacan, at the end of his life, saw things no differently.
Lacan opened up an innovative space that is at the heart of our modernity and of our contemporary experience. Today we are debating issues of sex, love, identity, gender, power, belief or disbelief, all questions for which the psychoanalyst provided precious reference points.
The visit should be seen and experienced as a journey through specifically Lacanian notions, beginning with the mirror stage, which has fascinated so many artists and film-makers. Next, the exhibition evokes the concept of Lalangue, a word invented by Lacan to describe a form and function of language that is more closely linked to what the psychoanalyst called the Real, and which echoes the work of artists who have played with words, double meanings, babbling and even the language of birds, while not forgetting its links with poetry. The Name of the Father section will be a chance to rethink the notion of patriarchy. Next, is a section on object a, Lacan’s invention to describe the object that is the cause of desire as a lack, remainder and fall. It will be deployed in a range of variations: fall, phallus, breast, body fragments, shit, voice, nothing, gaze and lastly hole.
The chapter devoted to Gustave Courbet’s L’Origine du monde will be a crucial part of the visit. Lacan and his wife Sylvia bought the painting in 1954. They kept it hidden behind a panel designed by André Masson. It has given rise to many contemporary interprétations.
The Woman does not exist section is dedicated to Lacan’s famous phrase, underlining the fact that there is no essence in woman, and shows the works of artists questioning misogynous representations. Femininity is often multifaceted, and the masquerade section will pay homage to Joan Riviere’s concept, which was taken up by Lacan. The masquerade is featured in the work of many modern and contemporary artists making use of transvestism, confirming Lacan’s position that anatomy is not destiny, meaning that gender does not necessarily correspond to the sex assigned at birth.
According to Lacan’s famous phrase, There are no sexual relations. This is the name of a section organised around a replica of Duchamp’s The Large Glass, where the bride’s enjoyment of pleasure in the upper realm occurs without any physical contact with the bachelors in the lower realm. For Lacan, love is “what replaces the absence of sexual relations” (Again, Le Séminaire, Livre XX, text compiled by Jacques-Alain Miller, Paris, Seuil, 1975), but is also what opens the way to jouissance or enjoyment – “Only love causes jouissance to stoop to desire” (Anxiety, Le Séminaire, Livre X, text compiled by Jacques-Alain Miller, Paris, Seuil, 2004). A section will explore “jouissance”, female pleasure, first of all, epitomised in the mystical transports expressed in Bernini’s Ecstasy of Saint Teresa and its contemporary incarnations in the works of Anselm Kiefer, ORLAN, and even the performances of the Sisters of Perpetual Indulgence.
The last years of the psychoanalyst’s teaching were largely devoted to topology, to Borromean knots, Möbius strips and Klein bottles. The last section of the exhibition reflects both Lacan’s interest in the knots and braiding produced by François Rouan, an artist he met at the Villa Médicis, and for whom he wrote a text, and the influence of Lacan’s topological preoccupations on contemporary artists. The visit concludes with a cabinet of curiosities, entitled Curiosa, showing how the figure of Jacques Lacan is still an endless source of inspiration for the artists of our time.