{"id":658,"date":"2020-09-02T09:47:37","date_gmt":"2020-09-02T09:47:37","guid":{"rendered":"http:\/\/www.galerieartconcept.com\/new\/?p=658"},"modified":"2026-03-24T14:31:03","modified_gmt":"2026-03-24T14:31:03","slug":"michel-blazy","status":"publish","type":"post","link":"http:\/\/www.galerieartconcept.com\/en\/michel-blazy\/","title":{"rendered":"Michel Blazy"},"content":{"rendered":"\n
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Vue d’exposition \/ Installation view Vivre, 2025, Memento, Auch\/FR.
Production : MEMENTO-Espace d\u00e9partemental d\u2019art contemporain-
Cr\u00e9dit photo : Cyril Boixel<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Vivre, 2025, Memento, Auch\/FR.
Production : MEMENTO-Espace d\u00e9partemental d\u2019art contemporain-
Cr\u00e9dit photo : Cyril Boixel<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view: La f\u00eate int\u00e9rieure!, Gare Saint Sauveur, Lille 3000, Lille\/FR<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view: La f\u00eate int\u00e9rieure!, Gare Saint Sauveur, Lille 3000, Lille\/FR<\/figcaption><\/figure>\n\n\n\n
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Michel Blazy, Le mus\u00e9e des ind\u00e9sirables, 2025, Mus\u00e9e d’Art et d’Histoire, Gen\u00e8ve\/CH<\/figcaption><\/figure>\n\n\n\n
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Michel Blazy, Le mus\u00e9e des ind\u00e9sirables, 2025, Mus\u00e9e d’Art et d’Histoire, Gen\u00e8ve\/CH<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Mutual Aid – Arte in collaborazione con la natura,
Castello di Rivoli, Turin\/IT. 2024<\/figcaption><\/figure>\n\n\n\n
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Figuier, 2024
Tuyau (100 x 10 cm), plateau (25 cm de diam\u00e8tre), figuier
150 \u00d7 25 \u00d7 25 cm (59 \u00d7 9 \u215e \u00d7 9 \u215e inches). Photo Romain Darnaud<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view D\u00e9liquescence, 2024, Fonderie Darling, Montr\u00e9al\/CA.
Photo Guy L’Heureux<\/figcaption><\/figure>\n\n\n\n
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Mur de double concentr\u00e9 de tomate, 2009-2024
Double concentr\u00e9 (28 %) de pur\u00e9e de tomate sans sel
Dimensions variables<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view, Michel Blazy, Mur de double concentr\u00e9 de tomates, 2009-2022, FRUITING BODIES, 2022, TANYA BONAKDAR GALLERY, NEW YORK\/US<\/figcaption><\/figure>\n\n\n\n
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Michel Blazy, La Cantine, commande artistique r\u00e9alis\u00e9e dans le cadre de l\u2019action Nouveaux Commanditaires, 2024. Photo : Centre International d\u2019Art et du Paysage \u2013 \u00cele de Vassivi\u00e8re<\/figcaption><\/figure>\n\n\n\n
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Installation view, Toi qui chemines il n\u2019y a pas de chemin, Red Brick
Art Museum, Beijing\/CHINA. 2019<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Acqua Alta, Viva Arte Viva, 57th International Art Exhibition – La biennale di Venezia, Venice, 2017. Photo: Andrea Avezz\u00f9<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Le temps qu’il nous faut, MAIF Social Club, Paris, 2023 – 2024. Photo Maif Social Club<\/figcaption><\/figure>\n\n\n\n
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When Forms Come Alive, Hayward Gallery February 2024\nMichel Blazy<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view, Falling Garden, Kunstraum Dornbirn\/AT (curator :
B\u00e4rbel Vischer). 2007<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition Bouquet Final 2, Mairie du 4\u00e8me, dans le cadre de
la Nuit Blanche, Paris\/FR. 2012<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Lignes de fuite, CIAP Vassivi\u00e8re, 2022. Photo : \u00a9 Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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Michel Blazy, Tapis d’accueil, 2021, corde de coco, verre, eau, plantes, dimensions variables, Courtesy de l’artiste et de Art : Concept, Paris<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Lignes de fuite, CIAP Vassivi\u00e8re, 2022. Photo : \u00a9 Aur\u00e9lien Mole<\/figcaption><\/figure>\n\n\n\n
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D\u00e9canalisation, 2019, metal, plants, soil, water, 60 x 70 x 24 cm<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition, \u00c0 pied d\u2019oeuvre(s), Monnaie de Paris, Paris\/FR. 2017<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition, Michel Blazy & Enzo Mianes, On loop, Curator: Pietro Della Giustina, In extenso, Clermont-Ferrand\/FR, 2021. Courtesy In extenso \u00a9 Ludovic Combe<\/figcaption><\/figure>\n\n\n\n
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Le mur qui boit du vin, 2014
Verre incrust\u00e9 dans le mur, vin rouge, bouteilles.
Vue de l’exposition, Living Room II, Maison Herm\u00e9s Tokyo, Tokyo\/JP. 2016<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Living Room II, Maison Herm\u00e9s Tokyo, Tokyo\/JP. 2016<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, We Were the Robots, Moody Center for Contemporary Arts, Houston, TX, 25 janvier \u2013 18 mai, 2019 \u00a9 Nash Baker<\/figcaption><\/figure>\n\n\n\n
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E133, 2023. Colorant alimentaire E133, eau, sur carton plume \/ Food coloring E133, water, on cardboard. 100 \u00d7 140 cm (39 \u215c \u00d7 55 \u215b inches). Photo Romain Darnaud. Courtesy the Artist and Art : Concept, Paris.<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Timeline, galerie des ponchettes, MAMAC, Nice, 2018, \u00a9 MAMAC, ADAGP.<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Timeline, galerie des ponchettes, MAMAC, Nice, 2018, \u00a9 MAMAC, ADAGP.<\/figcaption><\/figure>\n\n\n\n
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La vie des formes: sandwich chasseur, 2019
Vue de l’exposition,
Collectionner au XXI\u00e8me si\u00e8cle : De leur temps, Collection Lambert, Avignon \/FR. 2020<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Last Garden, Temple du Go\u00fbt, Nantes, 2018 (part of Le Voyage \u00e0 Nantes). Photo: Martin Argyroglo<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Acqua Alta, Viva Arte Viva, 57th International Art Exhibition – La biennale di Venezia, Venice, 2017. Photo: Andrea Avezz\u00f9<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Acqua Alta (details), Viva Arte Viva, 57th International Art Exhibition – La biennale di Venezia, Venice, 2017. Photo: Andrea Avezz\u00f9<\/figcaption><\/figure>\n\n\n\n
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Living Sculpture, 2014, arbre, feuille d\u2019or, dimensions variable.
Collection NMNM, Nouveau
mus\u00e9e National de Monaco\/MC<\/figcaption><\/figure>\n\n\n\n
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Living Sculpture, 2014, arbre, feuille d\u2019or, dimensions variable. Photo: Rebecca Fanuele<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, “Le Grand Restaurant” Michel Blazy \/ Frac Ile-de-France \/ Le plateau. 2012<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Post Patman, Palais de Tokyo, Paris, 2006. Photo: Marc Domage.<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Post Patman, Palais de Tokyo, Paris, 2006. Photo: Marc Domage.<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Post Patman, Palais de Tokyo, Paris, 2006. Photo: Marc Domage.<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Instant Mashed Potato\u00efd, Cimaise & Portique, Albi, 2002. Photo: Marc Boyer<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Instant Mashed Potato\u00efd, Cimaise & Portique, Albi, 2002. Photo: Marc Boyer<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition,
Monanism an evolving exhibition, Mona-Museum of Old and New Art, Hobart, Tasmanie, 2011<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Instant Mashed Potato\u00efd, Cimaise & Portique, Albi, 2002. Photo: Marc Boyer<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Instant Mashed Potato\u00efd, Cimaise & Portique, Albi, 2002. Photo: Marc Boyer<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, Instant Mashed Potato\u00efd, Cimaise & Portique, Albi, 2002. Photo: Marc Boyer<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition,The greenhouse effect, Serpentine Gallery, London\/
UK. 2000<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition, L\u2019Histoire de l\u2019Infamie, Venice Biennale, 1995. Curator Jean-Yves Jouannais<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Biography<\/h4>\n\n\n\n

Born in 1966 in Monaco, Michel Blazy lives and works in Saint-Denis (Ile-de-France\/FR). <\/p>\n\n\n\n

Since his studies at the Villa Arson in the \u201890s, the artist has worked on the use of unusual materials as well as living matter. Showing preference for humble materials, generally issued from his everyday life, objects and substances that can be found in kitchens (plastic-cups, papertowels, food colorings, detergent products, etc.)
or live organisms extracted from his own garden, Michel Blazy\u2019s use of materials concurs to show the evolution and freedom of projects aiming to underline the passage of time. From his very first experiences with lentils, to his \u201cpeeling walls\u201d and all the way to his foam-fountains, Michel Blazy\u2019s pieces spotlight transformations of matter and leave a prominent place to chance and unpredictability. The artist gives the first impulse, and matter takes over, evolving and transforming during the space-and-time of the exhibition, according to its intrinsic properties as well as the showing conditions. Often criticizing nowadays consumerism, but always making use of poetry and humor, his work not only questions the status of artwork but also proposes alternatives to reconcile artificiality and nature, the world of technology and the world of living organisms.*<\/p>\n\n\n\n

His work has been purchased by numerous public collections among which: The National Museum of Modern Art \u2013 Centre Pompidou; the Museum of Old and New Art (MONA), Tasmania; the Museum of Modern Art of the City of Paris, France; the New Museum of Monaco; the National Contemporary Art fund, Paris, France; and several regional funds for contemporary art (FRAC).<\/p>\n\n\n\n

Several personal exhibitions have been consecrated to his work in the last years, among them: <\/meta>La cantine, CIPAV, Ile de Vassivi\u00e8re\/FR (2024) ; Six pieds sur terre, Le portique, Le Havre (2022); Multiverse, La Loge, Brussels (2019); We Were The Robots, Moody Center for the Arts, Houston, TX (2019); Living Room II, Maison Herm\u00e8s, Tokyo (2016); Pull Over Time, Art : Concept, Paris (2015); Bouquet Final 3, National Gallery of Victoria; Melbourne White Night (2013); Le Grand Restaurant, Frac \u00cele-de-France, Paris (2012); Post Patman, Palais de Tokyo, Paris (2007). Michel Blazy\u2019s work was part of the exhibition Viva Arte Viva, curated by Christine Macel during the 57th Venice Biennale.<\/p>\n\n\n\n

*Text by the Victoria National Gallery\/AU <\/p>\n\n\n\n

At the gallery<\/h4>\n\n\n\n