Caroline Achaintre

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Exhibition view, FRAC Champagne Ardenne, 2016. Photo: S. Deman.
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Exhibition view, FRAC Champagne Ardenne, 2016. Photo: S. Deman.
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Exhibition View (Detail), Muralnomad, Le Quadrilatère, Beauvais, 2018. Photo: Dominique Mathieu.
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Exhibition View, Fantômas, Be-Part, Waregem Platform for Contemporary Art and De La Warr Pavilion, Waregem, 2018. Photo: Dirk Pauwels.
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Exhibition View, Fantômas, Be-Part, Waregem Platform for Contemporary Art and De La Warr Pavilion, Waregem, 2018. Photo: Dirk Pauwels.
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Exhibition View, Fantômas, Be-Part, Waregem Platform for Contemporary Art and De La Warr Pavilion, Waregem, 2018. Photo: Dirk Pauwels.
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Exhibition View, Dissolver, Dortmunder Kunstverein, Dortmund, 2018. Photo: Simon Vogel.
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Exhibition View, Dissolver, Dortmunder Kunstverein, Dortmund, 2018. Photo: Simon Vogel.
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Exhibition View, Dissolver, Dortmunder Kunstverein, Dortmund, 2018. Photo: Simon Vogel.
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Exhibition View, Fantômas, Be-Part, Waregem Platform for Contemporary Art and De La Warr Pavilion, Bexhill-on-Sea, 2018. Photo: Dirk Pauwels.
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Exhibition View, Fantômas, Be-Part, Waregem Platform for Contemporary Art and De La Warr Pavilion, Bexhill-on-Sea, 2018. Photo: Dirk Pauwels.
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Exhibition view, FRAC Champagne Ardenne, 2016. Photo: S. Deman.
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Exhibition view, FRAC Champagne Ardenne, 2016. Photo: S. Deman.
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Exhibition view, BALTIC Centre for Contemporary Art, 2016. Photo: John McKenzie.
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Exhibition View, “Encore un jour banane pour le poisson-rêve”, Palais de Tokyo, Paris, 2018. Photo : Aurélien Mole.
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Exhibition View, Caroline Achaintre, Duo Infernal, Galerie Art : Concept courtesy of the artist and Art : Concept. Photo: Claire Dorn
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Exhibition View, Caroline Achaintre, Duo Infernal, Galerie Art : Concept courtesy of the artist and Art : Concept. Photo: Claire Dorn
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Exhibition View, Caroline Achaintre, Muralnomad, Courtesy de Le Quadrilatère, Beauvais, Photo: Dominique Mathieu, 2018
caroline-achaintre-Fantômas-be-part-photo-Dirk Pauwels-tableau-2
Exhibition View, Fantômas, Be-Part, Waregem Platform for Contemporary Art and De La Warr Pavilion, 2018. Photo: Dirk Pauwels.
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Beedeebee, 2017 ceramic 24 x 29 x 33 cm (9 1/2 x 11 3/8 x 13 in.)
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Duo Infernal, 2018 watercolour and ink on paper 28,8 x 22 cm (11 3/8 x 8 5/8 in.)
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Doggy Doc, 2018 watercolour and ink on paper 38,3 x 25,6 cm (15 1/8 x 10 1/8 in.)
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ALBAVOL, 2018 hand tufted wool 190 x 135 cm (74 3/4 x 53 1/8 in.)
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Ditto, 2017 ceramic 60 x 22 x 4 cm (23 5/8 x 8 5/8 x 1 5/8 in.)Courtesy the artist and Art : Concept, Paris. photo © Claire Dorn
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Hot Coq, 2018, watercolour and ink on paper, 13 3/8 x 10 1/8 in.
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Hocus Locus, 2018, hand tufted wool, 92 1/2 x 107 1/2 in.
caroline achaintre, La Loupe, 2017, ceramic, 15 3/4 x 7 1/8 x 0 3/4 in.
La Loupe, 2017, ceramic, 15 3/4 x 7 1/8 x 0 3/4 in.
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Envers, 2017, ceramic, 20 x 24,5 x 1 cm
Frac Champagne Ardenne solo show
exhibition view: Caroline Achaintre, Frac Champagne Ardenne, 2017
BALTIC Centre for Contemporary Art solo show
exhibition view: Caroline Achaintre, BALTIC Centre for Contemporary Art 2016

Biography:

Born in Toulouse in 1969, Caroline Achaintre lives and works in London. Caroline Achaintre is nourished by multiple and radically different cultural references that influence her approach. With her sculptures made of wool, ceramic and with her watercolors, 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 has been purchased by numerous public collections among which: Tate Britain, Londres/UK, Musée d’Art Moderne de la Ville de Paris, Paris/FR Centre national des arts plastiques, Paris/FR, Frac Aquitaine, Bordeaux/FR, Frac Champagne-Ardenne, Reims/FR.Several solo shows have been dedicated to her work such as Moco, Montpellier (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, Londres/UK (2015), Castello di Rivoli, Turin/IT (2013).

Caroline Achaintre first monograph Caroline Achaintre première monographie 2016 exhibition catalog catalogue exposition baltic frac champagne ardenne

Caroline Achaintre first monograph

Caroline Achaintre first monograph accompanies her major survey exhibition at BALTIC Centre for Contemporary Art, Gateshead and FRAC – Fonds Regional d’Art Contemporain Champagne-Ardenne, Reims.

Exploring the breadth of Achaintre’s remarkable practice, this monograph brings together an expansive body of work from the last decade, and includes essays by Anne Dressen, Curator at ARC/Musée d’Art moderne de la Ville de Paris, Zoë Gray, Senior Curator at WIELS Contemporary Art Centre, Brussels and a conversation between the artist and BALTIC Curator Emma Dean.

Caroline Achaintre, Hardback, 30 cm x 20 cm, 192 pages
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Rétroviseur

Art : Concept presents Rétroviseur, a group exhibition with Caroline Achaintre, Julien Audebert, Miryam Haddad, Adam McEwen, Jean-Michel Sanejouand and Alexandre Singh.

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