Caroline Achaintre, Elm, 2021. Céramique/terre cuite / Ceramic/terracotta, 63 × 26 × 22 cm. Courtesy the artist and Art : Concept, Paris. Photo Romain Darnaud. Collection Villa Datris

Avec Toucher Terre, la Villa Datris poursuit l’exploration des savoirs ancestraux revisités par la création contemporaine, comme un écho à Tissage/Tressage, exposition présentée en 2018 et consacrée à l’art textile.

Du 27 mai au 1er novembre 2022, la Fondation explore l’art de la sculpture céramique en réunissant plus de 130 œuvres réalisées par 100 artistes historiques, contemporains et émergents français et internationaux.

En s’emparant avec créativité et originalité de cette matière qu’est la terre, les artistes semblent partager une vision du monde réparatrice, qui cherche à lier la société à la nature, les cultures passées à celles à venir. Plus actuelles que jamais, ces techniques immémoriales ouvrent un nouvel espace de créativité pour les artistes qui puisent dans leurs forces inouïes une profonde énergie et une merveilleuse source d’inspiration pour notre temps.

Depuis quelques années, le travail de la terre est revenu sur le devant de la scène contemporaine avec des artistes qui interrogent dans leurs œuvres, les problématiques sociétales et environnementales.   C’est ce que la Fondation Villa Datris souhaite transmettre à ses visiteuses et visiteurs tout en célébrant une approche pleine d’humour et de surprise de l’art céramique.

Contre-Nature (Against Nature) is an exhibition inhabited by insolent, hybrid shapes made of clay and enamel, such grotesque creatures compose a luxuriant, original, mysterious, troubling, or even hallucinatory world.
Nature is artifice, and artifice becomes nature in order to decategorize scales and values, as well as to reverse commonplaces regarding sculpture and the ceramic tradition. The works gathered concern ceramics less as folklore than as modeling and alchemy, technique, and magic. Water, earth, and fire are the essential, unrivaled components of these new worlds: « What we call against nature is in fact against custom. » (Montaigne)

Carbonate of Copper features international and Texas-based visual artists and scholars who work in varied media to examine questions of circuitry, flow, foundation, and cultural inheritance, particularly in relation to infrastructure, the environment, and geological time. The exhibition sits in company with the award-winning poem and forthcoming volume Carbonate of Copper by Houston-based writer Roberto Tejada. Featured artists include Gwenneth Boelens, Anna Mayer, Kate Newby, George Smith, Josie Ann Teets, and Roberto Tejada.

The use of the poem is one of a conductive thread, establishing a unique counter-response to the writing’s exploration of vibrant matter – objects alive in their complex interrelationships, entanglements, and tendency for open-ended change. In the poem and exhibition, labor and extractive processes are positioned in contrast to our everyday experience of being used, of using, of residue, squandering, of constraint, of rebuilding, and preservation. 

The artwork in Carbonate of Copper evokes deeper thought by requiring closer contemplation of material and process. Artpace alumni artist Kate Newby’s installation, I love you poems (2018-2022), for example, investigates the way  material interventions are made in response to a site’s particular temporal, physical, and geographical conditions.

Jennifer Teets told Artpace, “Carbonate of Copper considers what we inherit and its inextricable connection to socio-environmental shifts in Texas and at large. The exhibition is a transdisciplinary experiment focusing on the cross-pollination of the visual arts and humanities, with unpublished and rare works by both writers and artists. Dr. Tejada’s conversation with Dr. Cecilia Balli will undoubtedly be an important public forum to share thinking around material culture and border politics in the now.”

“From rural raves in Castlemorton to anti-nuclear protests at Greenham Common, this exhibition presents a radical view of the British landscape in art.”

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Adam McEwen is part of the exhibition Le songe d’Ulysse at Villa Carmignac, Villa Carmignac, Ile de Porquerolles, from 30 April 2022 to 16 October 2022

Adam McEwen places his work at the intersection of popular culture and personal mythologies. One of those stories that stagnate under the surface and refuse to disappear is here printed on sponge.

Guest curator: Francesco Stocchi (Boijmans van Beuningen Museum)

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Lothar Hempel, Plakat (1977), 2016, inkjet on Dibond, acrylic, mixed material. 259 × 259 × 10 cm (102 × 102 × 3 ⅞ inches). Courtesy of the artist & Art : Concept, Paris
Kate Newby, Sans titre, 2022. Bricks installation at Palais de Tokyo. Courtesy of the artist and Art : Concept.

Kate Newby presents her new works created for the Palais de Tokyo in the group exhibition ‘Reclaiming the Earth’.

All works were created for the occasion during residencies in France. For her brick works, the artist collaborated with the brick factory Les Rairies-Montrieux.

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Miryam Haddad, Garde le regard sur ses égards, 2021. Oil on canvas. 200 × 425 cm (78 ¾ × 167 ⅜ inches). Courtesy of the artist and Art : Concept, Paris. Photo Romain Darnaud

With Jean Claracq, Cecilia Granara, Miryam Haddad, Nathanaëlle Herbelin, Simon Martin Madeleine Roger-Lacan, Christine Safa, Elene Shatberatshvili.

Curators Anaël Pigeat and Sophie Vigourous

A group of artists who look at each other and talk to each other is an ongoing phenomenon. What gave us the desire to bring these eight painters together, and to continue a series of exhibitions initiated in 2019, is to question the way in which forms emerge today, not only in the solitude of the studio, but also through looks, words or affinities. They have in common a practice of painting where images have their place. In their canvases, they assume their emotions and their pleasures, their desires and their claims, carried by a humanity devoid of cynicism. What binds them together is also their shared life, the organic and fluid relationships they have with each other. They are a portrait of a generation.

Ulla von Brandenburg signs the concept, stage and costumes of Richard Wagner’s ‘Die Walküre’ third act at the Stuttgart Opera @staatsoperstuttgart. 

The Premiere, scheduled for April 10, 2022, marks the opening of the Staatsoper Stuttgart’s third spring festival; additional performances of ‘Die Walküre’ will take place on April 18, 23, 29 and May 2, 2022.

With the Dutch theater collective Hotel Modern (1. Act) and lighting designer Urs Schönebaum (2. Act). 

Read the article published on The New York Times

Caroline Achaintre, MissTique, 2019, Laine tuftée à la main / Hand tufted wool, 220 × 167 cm. Photo by ​​Laetizia Debain. Courtesy of the artist and Art : Concept, Paris

AAfter a first edition at the Kunstmuseum of Ravensburg (Germany), the exhibition Shiftings moves to Switzerland.

This exhibition “provides an overview of the memorable work of the Franco-German artist. Achaintre transposes traditional techniques such as tapestry, ceramics and watercolour into the present, exploring the boundaries between abstraction and representation.”

Further information on the show