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.
This international group exhibition is dedicated to sound as a medium and to hearing as sense perception. It is about how hearing influences our everyday experiences. It focuses on the perception of sound, music, tones, and noises, and what they can affect.
The works of art presented in the exhibition, some of which were developed especially for it, are experienced via the sense of hearing and the entire body. They use the architecture as a resonance chamber and demonstrate how the auditory impression is also shaped by the design of the space.
This exhibition is Roman Signer’s first major solo exhibition in Sweden and Scandinavia. It presents works from his entire career, from the 1970s to the present day, including a new work that was produced specifically to be shown at Malmö Konsthall.
Tommy Malekoff, Alligator Alley, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 11 ½ × 17 ½ × 1 inches (29,21 × 44,45 × 2,54 cm) / 12 ½ × 18 ½ × 1 ½ inches (31,75 × 46,99 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Glade Town, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 11 ½ × 17 ½ × 1 inches (29,21 × 44,45 × 2,54 cm) / 12 ½ × 18 ½ × 1 ½ inches (31,75 × 46,99 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Edison’s Banyan, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 11 ½ × 17 ½ × 1 inches (29,21 × 44,45 × 2,54 cm) / 12 ½ × 18 ½ × 1 ½ inches (31,75 × 46,99 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Edison Ghost, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 11 ½ × 17 ½ × 1 inches (29,21 × 44,45 × 2,54 cm) / 12 ½ × 18 ½ × 1 ½ inches (31,75 × 46,99 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Drexel Banyan, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 20 ¼ × 27 ¼ × 1 inches (51,44 × 69,22 × 2,54 cm) / 21 ¼ × 28 ¼ × 1 ½ inches (53,98 × 71,76 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Gator Glow, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 20 ¼ × 27 ¼ × 1 inches (51,44 × 69,22 × 2,54 cm) / 21 ¼ × 28 ¼ × 1 ½ inches (53,98 × 71,76 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Sugarland Circle, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 17 ¼ × 27 ¼ × 1 inches (43,82 × 69,22 × 2,54 cm)/ 18 ¼ × 28 ¼ × 1 ½ inches (46,36 × 71,76 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Black Snow (South Bay), 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 17 ¼ × 27 ¼ × 1 inches (43,82 × 69,22 × 2,54 cm) / 18 ¼ × 28 ¼ × 1 ½ inches (46,36 × 71,76 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Clewiston Country Club, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 17 ¼ × 27 ¼ × 1 inches (43,82 × 69,22 × 2,54 cm) / 18 ¼ × 28 ¼ × 1 ½ inches (46,36 × 71,76 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Nightshine (Pahokee), 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 17 ¼ × 27 ¼ × 1 ½ inches (43,82 × 69,22 × 3,81 cm) / 18 ¼ × 28 ¼ × 1 ½ inches (46,36 × 71,76 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Art : Concept is pleased to present a series of recent paintings by Tommy Malekoff.
Tommy Malekoff is an American artist, born 1992 in South Boston, Virginia. He lives and works in New York, NY. His work with video and photography deals with insular worlds and displaced phenomenons in the American landscape.
His work has been exhibited at New Canons and Jeffrey Stark in New York/US, Morán Morán Gallery in Los Angeles/US, 44 Michigan Avenue in Detroit/US and galleria ZERO in Milan/IT.
Nina Childress, Sœurs/Fleurs, 2023. Huile sur tissu vinyl holographique / Oil on vinyl holographic fabric. 90 × 80 cm (35 ⅜ × 31 ½ inches). Courtesy the Artist and Art : Concept, Paris.
Vue d’exposition / Installation view, Nina Childress, Le tombeau de Simone de Beauvoir, Musée des beaux-arts de Rouen, 2022
Nina Childress, Blow, 2022. Huile et pigments iridescents sur toile argentée. 81 × 54 cm (31 ⅞ × 21 ¼ inches). Courtesy the artist; Nathalie Karg, New York; Art : Concept, Paris
Nina Childress, Lower Level Exhibits, 2022. Acrylique, huile et pigments phosphorescents sur toile argentée. 113,5 × 135,5 cm (44 ⅝ × 53 ⅜ inches)Courtesy the artist; Nathalie Karg, New York; Art : Concept, Paris. Photo Romain Darnaud
Sharon S. (grosse tête), 2021 huile sur toile / oil on canvas 260 x 210 cm
Paul, 2021, pigments phosphorescents et huile sur toile / phosphorescent pigments and oil on canvas, 33 x 41 cm
Verhoeven, 2021, huile sur toile / oil on canvas, 81 x 60 cm
Harehoeven, 2021, pigments iridescents et huile sur toile / phosphorescent pigments and oil on canvas, 50 x 40 cm
Blurriness (Adrienne), 2000 huile sur toile / oil on canvas 195 × 114 cm
Vue d’exposition / Installation view, Body Body, FRAC MECA, 2022
Vue de l’exposition / Installation view Body Body, 2021-2022, Frac Nouvelle-Aquitaine MÉCA, Bordeaux. Photos : Jean-Christophe Garcia L’enterrement, 2011 huile et peinture aérosol sur toile / oil and spray paint on canvas, 300 x 600 cm, triptyque. Collection privée / private collection
Vue de l’exposition / Installation view, Lobody noves me, Fondation Ricard, Paris, 2020. Curator: Eric Troncy
Vue de l’exposition / Installation view, Lobody noves me, Fondation Ricard, Paris, 2020. Curator: Eric Troncy
Vue de l’exposition / Installation view, Lobody noves me, Fondation Ricard, Paris, 2020. Curator: Eric Troncy
Agent double (Lee Remick), 2021 pigments phosphorescents et huile sur toile / phosphorescent pigments and oil on canvas, 61 X 50 cm
Bush, bottes rouges, 2020 acrylique phosphorescente et huile sur toile / phosphorescent acrylic and oil on canvas, 250 x 180 cm. Collection MAC VAL / FR
Gilet bleu, 2019 huile sur toile / oil on canvas, 24 x 41 cm
Jane (grosse tête),2019 huile sur toile / oil on canvas, 250 x 180 cm, collection Musée d’Art Moderne, Paris
Hedy, 2012 huile sur toile / oil on canvas, 250 x 200 cm, collection CNAP, Centre national des arts plastiques
Vue de l’exposition / Installation view Le rideau vert, Nouvelles vagues, Palais de Tokyo, Paris, 2013
The years of G.M., 2012 huile sur toile / oil on canvas, 130 x 195 cm, collection Musée d’Art Moderne, Paris
Grande chambre verte, 2007 huile sur toile / oil on canvas, 195 x 390 cm, triptyque, collection MAMCO, Geneva
Les couleurs éclatantes de la table et du bouquet étaient utiles pour égayer ce chevet que le tableau rendait austère. Vous devez renoncer à …la salle à manger. (Triptyque Onéguine), 2006 huile sur toile / oil on canvas 195 x 374 cm, triptyque, collection FRAC Nouvelle Aquitaine MÉCA, Bordeaux
Vue d’exposition / Installation view La haine de la peinture, FRAC Limousin, Limoges, 2009
Biography
Nina Childress is a painter born in 1961 in Pasadena (California, USA). She lives and works 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.
Recently, her work has been shown in several institutions such as Musée National d’Art Moderne – Centre Pompidou, Paris and Centre Pompidou Metz (2023/2024); FRAC Ile-de-France, Romainville (2023); La Cinémathèque française, Paris and MAC VAL, Vitry-sur-Seine (2022); MAMCO, Geneva (2021); Musée d’Art Moderne de Paris (2020). The Musée des Beaux-Arts de La-Chaux-de-Fond devoted a major exhibition to her work in 2022. In 2021, Nina Childress was named Chevalier de la Légion d’Honneur in France for her service to culture. A major retrospective has been dedicated to her in December 2021 in Bordeaux at the FRAC Nouvelle-Aquitaine MÉCA. 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.
Nina Childress 1081 peintures et Une Autobiographie de Nina Childress par Fabienne Radi, Beaux-Arts de Paris éditions, Frac Nouvelle Aquitaine Méca, Galerie Bernard Jordan éditions, Paris, 2021, 998 pages
Nina Childress. Tableaux fluo – 2013-2016, textes de Vanina Géré et Ramon Tio Bellido, édition Galerie Bernard Jordan, Paris, Les Presses du Réel, Dijon, 2016
Nina Childress. Tableaux, textes de Carole Boulbès, Vincent Labaume, Yannick Miloux, Véronique Pittolo, éd. Galerie Bernard Jordan et Sémiose, Paris, 2008
Richard Fauguet, Saint Jacques, 2015. Clay, seashells, glass, aluminum, plaster. 34 × 64 × 47 cm. Courtesy the artist and Art : Concept, Paris. Photo Dorine Potel
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.”
Jeremy Deller, Rythmasspoetry (in collaboration with Cecilia Bengolea), 2015. HD Video. 6 min 29 sec. Edition of 3 plus II AP. Courtesy of the artists and Art : Concept, Paris
Jeremy Deller and Cecilia Bengolea have roamed together Lyon’s urban area. When the artists meet Denis Trouxe, former deputy mayor, responsible for culture and heritage in the city of Lyon, Cecilia Bengolea writes with him a rap song with lyrics both ironic and voluntarily exaggerated. Denis Trouxe accepts to interpret it in his Champagne-au-Mont-d’Or (a West Lyon prosperous suburb) opulent-looking villa – accompagnied by Domy Caramel, Latys Shye, and Sarah, three dancehall dancers from Vaulx-en-Velin, to the east of the city. This gives a strange music video that links, for a few moments, two sides of an urban area that do not have many opportunities to meet.
Jeremy Deller, Father and Son, 2021, time-based sculptural installation, wax, wood, wick and flame. Commissioned by ACCA. Courtesy of the artist and The Modern Institute, Glasgow. Photo by Christian Capurr
ACCA ‘present the first Australian commission by Turner Prize-winning artist Jeremy Deller as a one-day only off-site project in an ecclesiastical setting. […] Through the lens of art history, religion and popular culture, Father and Son explores questions of generational change, and the legacies we leave for future generations.’
´Deller, with apologies to his close friend Urs Fischer gives us this worthless inheritance and the profits of a family who gained the whole world but lost its soul and destroyed the earth in its raging intolerance, bigotry, hatred and tyrannical cruelty.’ Jerry Saltz
+ ACCA is pleased to announce a new limited-edition artwork by Jeremy Deller, produced to coincide with Jeremy Deller: Father and Son, and available exclusively via the ACCA Shop.
Le Tigre définitive is a series of drawings made for a children’s book. Jean-Luc Blanc creates a sequence of images based around the figure of Janus, the philosopher with two faces. The sequence is read from left to right, from right to left from the center, it does not matter, the personal projection of the viewer is the only truth.
…que le vent ne se lève et ordonne ce petit monde de bien mystérieuse façon.
– Elle n’ira pas danser. – Elle ne tournera pas la tête à droite. – Elle n’observera nul horizon.
Son bateau plusieurs fois sera détruit, mais la lumière captive derrière ses paupières ouvrira d’autres bals…
En ce temps-là un homme-grenouille possédant plus d’une théorie sur l’origine du ressac, plongeait là-bas… Mais peut-être que les équations sont plus faciles à résoudre que les vagues à gominer.
C’est sous un manteau troué Au sortir d’images fixes, et articulées comme des automates que tout cela commença très lentement avant même que…
L’oiseau bleu pâlit.
Les après-midi tombaient mal, et endurant ce temps les brumes d’ombre périphérique protégeraient sur de multiples miroirs des incendies permanents pour tisseuse de belles aventures. Voilà ce qui est exactement arrivé.
– Mon premier se trouve aux temps où il fallait encore surprendre d’autres affinités aux symétries paradoxales. – Mon second vogue sur tout un sillage en pente. – Ou sont les autres? demande mon troisième. – Aussi bien nulle part rétorque mon avant-avant-dernier.
Dès à présent, tandis qu’une tête endimanche les dépendances d’un château de fables, au demeurant immuable…
…Là où trois mouvements lents plus tard il se fait entendre comme un doux chant pluriel – fais ceci – ceci n’est pas parfait – ceci n’est pas un fait
En pleine lumière dis-moi quelque-chose
Rangez vos joues joues rien ne va plus. Mais quoi encore ! – Un concerto panoramique. – Un diapason à bulle ? – Laper l’eau en vol ? Là, je comprends. Métamorphosé, un cancre est là. Non, un orphéon est un luth en point de croix avec beaucoup de ciel tout autour dans les tons de Jade et qui décrirait une valse enjouée avec Jupiter.
Et maintenant maintes fois maintenu dans un mélange de mystères frivoles et exaspérants joue-nous ton air favori. Sans oublier de donner à boire au poisson chaque minute
je compte avec toi.
Alors j’ouvris sept portes et glissai sur une vague d’encre bien des fois une feuille blanche me pris en otage. Terre promise d’un soleil avenir toujours plus proche à chaque nouvelle écoute toujours plus proche toujours plus proche
Écoute … en ce jardin voir des roses ne pousser qu’à l’envers, et faire signe à une fée volage souriant sur les feux de voilage iridescents à celle qui prendrait la mesure de tout ces quadrilles hypnotiques 1, 1, 1, 2, 2, 2, 2, 3, 3, 3, 3, 3, 4, 5, 6, 6, 6, 6, 6, 7, 7, 7, 7, 8, 8, 8, 9, 9…
….et deux qui font un.
Quand bientôt, à l’ombre d’Orion, comme une ligne sur ton beau visage, passent un pour toujours et un jamais plus particulièrement aimants aux fleurs, flammes et autres fétiches glacés Δ K O n + =
Alors je n’entendis plus rien ni les chevaux invisibles et, comme dans un scintillement broussailleur dans une sombre forêt un soleil vert.
