Anthony D Green was born in 1973 in Welwyn Garden City/UK.
He lives and works in Kent/UK.
Born in France in 1969, raised in Germany and based in England, Caroline Achaintre attended the Kunsthochschule in Halle, then the Chelsea College of Art and Design, and the Goldsmiths University of London. The artist is nourished by multiple and radically different cultural references that influence her approach. With her sculptures made of wool, ceramic and with her watercolours, the artist appropriates each space to install her hybrid creatures, transforming the exhibition space into a theater where a dialogue between different characters half-fantastic, half-ghostly can take place. Inspired at once by European carnivals, primitivism, German Expressionism and science fiction, Caroline Achaintre’s work on the one hand evokes the possible coexistence of several characters within a same being as well as the tensions generated by duality. No precise indication is given as to how to approach the work of Achaintre. We see in turn a mask, a garment, an animal… Her works have the particular feature of being difficult to define. At once abstract and figurative, they reveal anthropomorphic forms and indicate a particular interest for animism. The mutation of forms and the plurality of possible interpretations engage the mind and the whim of the viewer. This is the strength of Caroline Achaintre’s work: to question our own capacity to be in the world as individuals defined by complex and multiple identities.
Her work is part of numerous public collections among which: CAPC, Bordeaux/FR; Tate Britain, Londres/UK; Musée d’Art Moderne de la Ville de Paris, Paris; Centre national des arts plastiques, Paris; FRAC Aquitaine, Bordeaux, and FRAC Champagne-Ardenne, Reims.
Selected solo exhibitions: Kunstmuseum Ravensburg/Centre d’art Pasquart/CH (2021-2022), CAPC, Bordeaux/FR (2020-21), MO.CO., Montpellier/FR (2019); Belvedere 21, Vienna/AU (2019); De La Warr Pavilion, Bexhill-on-sea/UK (2018); FRAC Champagne-Ardenne, Reims/FR (2017); BALTIC, Centre for Contemporary Art, Gateshead/UK (2016); Tate Britain, London/UK (2015); Castello di Rivoli, Turin/IT (2013).
Hubert Duprat was born in 1957 in Nérac in Lot-et-Garonne, he lives and works in the South of France. Sumptuous, demanding and complex, the Duprat oeuvre draws inspiration from chance and the empirical, combining the discovery of objects, remnants and texts in a testing-out of matter, technique and dexterity. The artist is equally happy in the natural world or working with strange minerals (iron pyrites, calcite, ulexite, etc.), species that defy classification (amber, coral, etc.) and everyday industrial materials (polystyrene, concrete, paraffin, modelling clay, etc.) His repurposed processes come largely from the crafts – marquetry, goldsmithery, upholstery – but also from such vernacular domains as string art.*
His work can be found in several public collections among which: Centre Pompidou, Paris/FR; Paris Museum of Modern Art, Paris/FR; MusFondation Cartier, Paris; Fond National d’Art Contemporain, Paris.
A retrospective of his work is presented at the City of Paris Museum of Modern Art until 2021. Solo exhibitions have been dedicated to his work among which: Art : Concept, Paris/FR (2019); MONA, Tasmania/AU (2013); Norwich Museum, Norwich/UK (2011); Centre International d’Art et du Paysage, Vassivière/FR (2008); Musée Picasso, Antibes/FR (1998).
*Read the press release for the exhibition “Hubert Duprat” at the Musée d’Art Moderne de la Ville de Paris, written by Jessica Castex, 2020
Jean-Michel Sanejouand (1934-2021) was born in Lyon and lived and worked in the Anjour region. Hailing from the heart of the 60’s art scene, the work of Jean-Michel Sanejouand continues to resist any traditional type of classification, all the while maintaining a certain radicalness in its questioning of accepted forms and processes. Beyond the pure expression of formal liberty, Jean-Michel Sanejouand chose to exploit the very ruptures which result from contrasting various artistic elements. His ingeniousness has been recognized by a number of French and international institutions, including the Centre Georges Pompidou, which presented an important retrospective of his work in 1995.
His work is present in several French public collections including the Musée national d’art moderne/Centre Pompidou, the Musée d’Art moderne de la Ville de Paris, the Musée d’Art Contemporain de Lyon and the Lille Métropole Musée d’art moderne, d’art contemporain et d’art brut. Many solo exhibitions have been devoted to his work since the 1960s, including: Charges-Objets, MAMCO, Geneva (2015); Un peu d’espace(s) at Art : Concept, Paris in (2015); Rétrospectivement…, Frac Pays de la Loire, Carquefou/FR (2012); 1963-1995 retrospective, Centre Pompidou, Paris/FR (1995); Rétrospective des Charges-Objets aux Espaces-Peintures, Palais des Beaux-Arts, Lyon/FR (1986).
Pierre Bellot uses various photographic sources or personal archives to create fictions where the composition obeys its own rules and creates a new meaning. By ridding each element of its original functionality, a formal game is established where the important thing becomes the path that crosses the work and associates each part to the whole. The image thus appears as the receptacle of inner visions. The subject is a bait, the starting point of an artificial structure in which the artist comes to trap the reality of the starting pattern.
Text by Cécile Debray
Directrice du musée de l’Orangerie
Viva Villa, Édition 2020, « Les vies minuscules »
Graduated from École Nationale Supérieure des Beaux-Arts de Paris with honors. His work has been exhibited in Avignon (Collection Lambert), Paris (Bastille Design Center, Palais des Beaux-Arts, La Villette, Progress Gallery…), New York (56 Henry) and Berlin (Galerie Noah Klink). In 2019-2020, he was a member of the French Academy in Madrid, at Casa de Velázquez.
Nina Childress is a painter born in 1961 in Pasadena, USA, living and working in Paris.
Coming from the alternative punk scene and then the Frères Ripoulin (Ripoulin Brothers) collective, she has been painting since 1983. While obtaining a Master of Fine Arts in 2006, she decided to pursue her research by painting simultaneously in different styles. Offering a gritty revisiting of the history of portraiture in Western popular culture, her paintings increasingly captured the stereotypes of female representation. For some paintings, she creates several versions, oscillating between perfectionism and “badly done”, between realism and caricatures: between “Good” and “Bad”. In 2019-2020, Nina Childress started to paint with phosphorescent pigments. Today, her subjects focus more on portraits of glamorous female idols from the world of cinema and popular music, such as Sylvie Vartan, Kate Bush and Hedy Lamarr. In 2020, Hedy Lamarr is also the model for her first bronze statue.
In 2021, Nina Childress was named Chevalier de la Légion d’Honneur in France for her service to culture. A major retrospective will be dedicated to her in December 2021 in Bordeaux at the FRAC MÉCA Nouvelle-Aquitaine. On this occasion, her catalogue raisonné, from her first painting in 1980 to those of 2020, will be published along with an autobiography written by Fabienne Radi. Since 2019, she is Chairman at the École des Beaux-Arts in Paris.
Her work is represented by Nathalie Karg, New York and Art : Concept in Paris.
Her work is included in the collections of the Musée National d’Art Moderne, the Mamco in Geneva, the Mac-Val, the Fond Municipal d’Art Contemporain de la Ville de Paris and numerous Frac.
Working with a variety of media including installation, textile, ceramics, casting and glass, Newby is a sculptor who is committed to exploring and putting pressure on the limits and nature of sculpture. As such, she is interested in not only space, volume, texture and materials, but where and how sculpture happens. The handmade plays a very important role in her work ; it is not merely romantic or even retrograde, but rather the aesthetic byproduct of a position that shamelessly embraces direct experience over the mediated.
Kate Newby was born in Auckland, Aotearoa, New Zealand in 1979 and works in the United States where she resides. In 2015 she graduated with a PhD from the Elam School of Fine Art at the University of Auckland.
Her work has been shown at the 21st Biennale of Sydney in 2018, as well as in various institutions and galleries around the world: Palais de Tokyo, Paris (2022), Musée de Rochechouart (2021), Institut d’Art Contemporain Villeurbane (2019), Lumber room, Portland, Oregon (2019), Kunsthalle Vienna (2018), Kunsthaus Hamburg (2018), Index, Contemporary Swedish Art Foundation (2017), and the SculptureCenter, NY (2017).
Kate has completed residencies at: The Joan Mitchell Foundation (2019), The Chinati Foundation (2017), Artpace (2017), Fogo Island (2013), and the International Studio & Curatorial Program ISCP (2012).
She won the Walters Prize, New Zealand’s largest contemporary art prize, in 2012 and the Ettore Fico Prize (Turin, IT) in 2022.
Tania Pérez Córdova (b. 1979) is a Mexican artist born in Mexico City where she lives and works. After studying at the school of Fine Arts in Mexico City, she went on to get a BA in Fine Art at Goldsmiths College in London.
Her work has been shown in solo exhibitions at Museo Tamayo in Mexico (2022-2023), Kunsthalle Basel (2018), the Museum of Contemporary Art in Chicago (2017) and soon at Tamayo Museum in Mexico City (October, 2022). Her work is part of important public collections such as Museum of Contemporary Art Chicago/US, Tamayo Museum/MEX, Jumex Collection/MEX, San Francisco Moma/US, Cisneros Collection/US-VEN, Museo Amparo/MEX.
‘All our explanations’ showed at Art:Concept in January 2022 is her first solo exhibition in France.
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).
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).