Nina Childress, Peintre et sculpteur, 2015. Huile sur toile, encadré / Oil on canvas, framed. 73 × 92 cm (28 ¾ × 36 ¼ inches)
Richard Fauguet, Formical blues part II, 2020. Assise de chaise en formica, encre sur bois / Formica chair seat, ink on wood, 32 × 37 × 4,2 cm (12 ⅝ × 14 ⅝ × 1 ⅝ inches)

MIAM-Hervé Di Rosa continues its work of exploring art territories that are too often ignored. Who are these painters who had a moment of popular glory before falling into oblivion, these artists of undeniable success, yet relegated to the shadows of history?

BEAUBADUGLY – The Other History of Painting will present the original paintings of these artists on the margins of the common imagination and taste, who sometimes sold thousands of reproductions of their works in supermarkets, and whose posters are familiar to us all.

On the first floor of the museum, Colette Barbier and Nina Childress – associate curators for this part of the exhibition – will offer us conceptual, ironic, playful, admiring and offbeat responses from contemporary artists of different generations and origins.

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On view on until July 31, 2025

Le Parvis, which in 50 years has programmed over 300 exhibitions, will be blowing out its candles with a feed-back and forward-looking exhibition entitled Future is now, inviting some 50 artists who exhibited between 1974 and 2024 to return to the site.

Le Parvis is one of the first contemporary art institutions in France, and also one of the most atypical. And it has to be said that the past 5 decades have not diminished the enthusiasm of artists and audiences alike for this intriguing venue, located in a shopping mall and integrated into a national arts scene.

With: Martine Aballéa – Saâdane Afif – Atelier Van Lieshout – Nils Alix-Tabeling – John M. Armleder – Virginie Barré – Berdaguer & Péjus – Michel Blazy – Bianca Bondi – Céleste Boursier-Mougenot – Xavier Boussiron – Ulla von Brandenburg – Nina Childress – Claude Closky – Delphine Coindet – Caroline Corbasson – Alain Declercq – Damien Deroubaix – Erik Dietman – Mounir Fatmi – Daniel Firman – Dora Garcia – Marco Godinho – Laurent Grasso – Josep Grau-Garriga – Joël Hubaut – Fabrice Hyber – Pierre Joseph – Kapawani Kiwanga – Arnaud Labelle-Rojoux – Bertrand Lavier – Ange Leccia – Jacques Lizène –  Philippe Mayaux – Caroline Mesquita – Tania Mouraud – Philippe Quesne – Philippe Ramette – Lionel Sabatté – Bruno Schmeltz – Franck Scurti – Alain Séchas – Djamel Tatah – Barthélémy Toguo – Niek Van de Steeg – Xavier Veilhan – Jean-Luc Verna – Jacques Vieille – Gisèle Vienne – Jérôme Zonder

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Ulla von Brandenburg, Zelt, 2024. Verschiedene Textilien, Seil, Holzbänke, variable Maße. Installationsansicht „Wir legten Hände in das Wasser“, Altes Kurhaus Bad Kösen, Naumburg, 2024. Foto: Stark Shakupa / Ulla von Brandenburg, Zelt, 2024. Fabrics, rope, wooden benches, variable dimensions. Installation view „Wir legten Hände in das Wasser“, Altes Kurhaus Bad Kösen, Naumburg, 2024. Photo: Stark Shakupa

We put our hands in the water is the debut dieDAS art initiative. The exhibition is a cooperative project realized by the academy, curator Daniel Marzona, and the city of Naumburg, and intends to promote and spread the cultural and social values of the academy beyond Saaleck.

We put our hands in the water features work by artists Ulla von Brandenburg and Olaf Holzapfel.

Ulla von Brandenburg’s large-format fabric panels will transform the rooms into vibrant, stage-like settings reminiscent of dreamlike worlds. The artist describes her works as “spatial stagings” that bring together folklore, songs, theater, dance, and architecture to explore both the individual as well as the dynamics and functioning of community and society between chaos and regularity. In this way, von Brandenburg’s pieces formally examine aspects of the theatrical within the visual arts and conjure up delicate moments between utopia and reality, leaving the gap open for new perspectives and the previously unthought-of.

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Kate Newby, anything, anything, 2024. Clay (“Lumière”), glas, 2 lines, each 500cm x 25 cm. Produced with the support of Rairies Montrieux, France. Exhibition view anything, anything, Klosterruine Berlin 2024, Photo: Robert Hamacher

Kate Newby’s exhibition “anything, anything” addresses the Klosterruine Berlin as a place of permanent change, drawing on the processual and allowing the outside world to become a part of it. Through subtle and expansive interventions into existing structures, the artist draws attention to often overlooked details in everyday life. In doing so, she gives preference to direct experience and establishes a relationship with the built space and its lived environment.

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Julien Audebert, La nuit du monde (Marie-Lise), 2023. Tirs au pistolet, huile sur cuivre, encadré / Gun shots, oil on copper, framed. 40 × 40 cm (15 ¾ × 15 ¾ inches)
Richard Fauguet, Sans titre (table de ping pong), 2000-04. Table de ping-pong, tige en inox, balles de ping-pong. dimensions variables. Edition of 3
Exposition “Tirs.Cibles.Impacts”, 2024, Galerie Marcel-Duchamp de l’Ecole des Beaux-Arts de Châteauroux/FR

The exhibition Tirs.Cibles.Impacts. highlights the notions of shot, target and impact through paintings, sculptures, photographs, installations, drawings and videos, presented in the great nave of the Cordeliers convent.

It brings together 14 internationally renowned contemporary artists: Marina Abramović & Ulay, Julien Audebert, Philippe Cognée, Gérard Deschamps, Noël Dolla, Richard Fauguet, Chantal Fontvieille, Jacques Monory, Jean Pierre Raynaud, Sylvie Réno, André Robillard, Niki de Saint-Phalle, John Tremblay and Stéphane Vigny.

Michel Blazy, La Cantine, 2023 © CIAPV

The former Chamet vacation center in Faux-la-Montagne, Creuse, France, has been abandoned since the late 2000s.
In 2018, it was taken over by a group of independent researchers who set up create and build a place for research and study.
In 2019, the group calls on CIAPV to accompany them in the commissioning of a work that questions the takeover of civilizational sites by new forms of life.

Chosen to respond to this commission, artist Michel Blazy is developing La Cantine, a garden of anticipation in the site’s former refectory. He treats the ruin as a living being in its own time, observing its movements and exchanges with other species. It becomes a new nurturing environment without human domination, a space of symbiosis and reconciliation between artifact and organic, between human, plant and animal.

Commissioned as part of the Nouveaux commanditaires program,
Lac du Chamet, Plateau de Millevaches.
Sponsors: Center for Forest Research and Study.
With the support of Fondation Daniel et Nina Carasso Foundation, the Fondation de France and the volunteers who participated in the production of the work.

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Ulla von Brandenburg, Un bal sous l’eau (film still), 2023. Super-16 mm film transferred to HD video, colour, sound, 26:25 min

Over the last 20 years, Ulla von Brandenburg has developed an acclaimed practice blending painting, textiles, film and performance. The solo exhibition Under Water Ball by von Brandenburg in VISUAL’s main gallery marks the first time she has exhibited in Ireland in 15 years, and is the largest exhibition of her work in the country to date.
The exhibition consists of a site-specific, immersive installation of large-scale textile and sculptural works, and includes the European premiere of von Brandenburg’s latest film, co-commissioned by VISUAL. (Un bal sous l’eau, 2023).

To mark the opening of the exhibition, von Brandenburg will present A Colour Form Instead, a series of commissioned performances to activate the exhibition, featuring her regular collaborators Benoit Resillot, Giuseppe Molino and Julia Mosse, and Irish collaborators Aoibhinn O’Dea, Eoghan McIntyre, Mayumi Nakabayashi, Sarah Joan K, Stephane Bena Hanly and Venus Patel.
A Colour Form Instead runs over 06–08 Jun 2024 during the run of the Carlow Arts Festival at the times abow. Attendance is free and booking isn’t necessary. The performance will be approximately 30 mins in duration, with audiences free to come and go as they wish.

The film Un bal sous l’eau (2023) is commissioned by the National Gallery of Victoria, Melbourne.
Additional support by FRAC Picardie, Amiens and VISUAL Centre for Contemporary Art, Carlow.

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Cremona Contemporanea | Art Week stems from the need to reaffirm in Italy and abroad the value of Cremona through a dialogue between its places and contemporary artists. The cultural heritage in the city area, which counts numerous historic buildings, small and large squares, private galleries and disused spaces to be rediscovered, needs to be reactivated, enhanced and promoted.

Cremona has been a crossroads of changes, theater of interesting cultural and political ferments, tensions and conflicts, and has seen the passage of important families who have left traces which are still visible today. The project aims to give voice and life to this important artistic and cultural chapter (and capital) of the city and to witness the vitality and richness of the cultural and social status of Cremona.

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Vue d’exposition / Installation view La main (et) le gant, 2024, Musée Jenisch Vevey, Vevey/CH Courtesy Musée Jenisch Vevey. Photo Julien Gremaud.

A symbol of power, devotion, and seduction, as well as an indispensable tool for tactile exploration for workers and artists alike, the motif of the hand and glove is explored from the 16th century to contemporary art in this exhibition. Featuring a selection of works from the museum’s collections and enhanced by external loans, this thematic display sheds new light on the narrative functions of the hand, both bare and gloved. The drawings, prints, sculptures, paintings, and videos assembled here testify to the hands’ creative and symbolic power and their chosen accessories, gloves.

Curated by Philippe Piguet, historian, art critic, and independent curator, with the assistance of Margaux Farron, curatorial assistant.

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