“If there is one thing Richard Fauguet has got us used to, it’s his use of puns and set phrases in the names of his exhibitions, which, in an area of art where seriousness reigns supreme, can be disconcerting. His new exhibition at the Art : Concept gallery is no exception to this (pseudo) rule, and, from the outset, Pipe-Show makes us smile with the promise of an alluring performance.”*

*Excerpt from the press release by Xavier Franceschi, curator of the show.

The gallery team is deeply saddened by the death of Lin May Saeed.
Despite this terrible news, we have chosen to maintain the exhibition organized in recent years in collaboration with the artist and his gallery Jacky Strenz. Because this exhibition was so important to her, and because we are convinced of the importance of her work, we are continuing this project in her memory with a selection of recent works.

Lin May Saeed’s latest series illustrate a certain narrative of the conflictual relationship between humans and animals, from prehistory to the present day. Her various references, drawing on both Western traditions and her Judeo-Arabic heritage, range from the Animal Liberation Front to Die Brücke and ancient Mesopotamia*.

With enchanting dexterity, Lin May Saeed transforms ordinary, inexpensive materials into something sublime. Far from monumental, their “provisional” aesthetic turns away from traditional production and preservation techniques: marble or bronze are replaced by sculpted polystyrene blocks.*

*Joe Scotland, Director, Studio Voltaire

Art : Concept is pleased to present Andrew Lewis’s fifth solo exhibition, Au Bonheur des femmes (The Women’s Delight).

With this new series, based on Emile Zola’s novel Au Bonheur des dames (The Ladies’ Delight), the British artist continues his reflection on the renewal and relevance of genre painting.

Ten years ago, M presented an exhibition by photographer Geert Goiris (1971). Today, Goiris returns, but this time as curator of a presentation from the contemporary art collection. The exhibition is entitled DOKA, which is short for “darkroom” in NL, and refers to the magical space where images are created.

“The darkroom is where images are created through the interaction of light and chemistry – a magical process. That is also how I see this collection presentation: works that have been in a dark storeroom for years are now suddenly coming to light.”—Geert Goiris

Plus d’informations

Nina Childress, Minet/Minette 2, 2022. Huile sur toile, cadre en bois / Oil on canvas, wooden frame, 77,5 x 66,5 cm. Photo : Romain Darnaud 
Courtesy de l’artiste, Nathalie Karg Gallery, NY et galerie art : concept, Paris
© adapg 2023

A colorful exhibition designed as a mockery of decorum and good taste, Ravalement de façade pokes fun at the magma we call identity.
with the magma we call identity. A fluctuating, imprecise matter, it becomes here, through playfulness and audacity ; plural, chosen, uncompromising, a powerful opening onto the world…

With Grégoire Alexandre, Marion Auburtin, Carla Barkatz, Mike Boursheid, Christophe Brunnquell, Nina Childress, Famous People Cakes, Beth Frey, Anais Gauthier, Laura Gozlan, Antony Huchette, Gil Lesage, jess mc cormak, Sarah Olivier, Nina Orliange, Laurent Poleo-Garnier, Maroussia Rebecq, Christine Rebet

Further information

Vue d’exposition / View of the exhibition Ulla von Brandenburg. Le milieu est bleu, Palais de Tokyo, Paris, 2020. Photograph: Aurélien Mole

The work of artist Ulla von Brandenburg (Karlsruhe, Germany, 1974) is shaped by her early training as a stage designer and a brief stint in the world of theatre, two cornerstones of her work. The variety of mediums and techniques — installations, films, murals, performances — represent a meticulous control of stage language with which the artist meshes other areas of interest such as psychoanalysis, magic and esoteric rituals to investigate social structures and put forward new alternatives.

Von Brandenburg’s installations give rise to subjective spaces which immerse the spectator in suspended places that straddle reality and fiction. The artist resignifies the once impassable fourth wall, often employing curtains and drapery which rather than establishing a dividing line with visitors, encourage them to participate in the work and become part of the scene. Thus, she champions a concept of the arts that is much more permeable and less hierarchical and one which encourages an exchange between spectator and actor. Further, her attraction to colour underlines the influence of Wolfgang von Goethe, whose theories conferred an emotional and phenomenological quality to colours, refuting the theory of Isaac Newton and his claim they were merely physics.

The Palacio de Velázquez in the Retiro Park becomes the ideal context for a new installation by the artist, whereby visitors knowingly move deeper into the space and activate a staging that interweaves the individual and the collective, reminding us that life is a theatre in which everyone chooses the role they wish to play. On this occasion, the artist incorporates into the exhibition structure a selection of her films, most of which are recorded in a single long shot to encourage spectators to move through this new staging of spaces and overlapping stories.

Ulla von Brandenburg has exhibited her work at the Weserburg Museum für moderne Kunst in Bremen (2022), the Palais de Tokyo in Paris (2020), Whitechapel Gallery in London (2018), Kunstmuseum Bonn (2018), the Pérez Art Museum Miami (2016) and the Contemporary Art Museum St. Louis (2016), among other museums and institutions.

Further information

Thursday, November 30, 7pm, Tina Kim Gallery, New York, USA.

Tania Pérez Córdova’s performance, In OtherNews, will be followed by a conversation with Humberto Moro, artist and curator of her show at SculptureCenter, New York, Generalization.

Tania Pérez Córdova’s In Other News (commissioned for her 2022 exhibition at Museo Tamayo, Mexico City) is a live reading presenting a continuous flow of recent world events, a collection of headlines rewritten to abstract from any specificity (names, spaces, times), resulting in a single line that has the tension of a story. The work serves as a review of the world outside of the gallery during the time of her exhibition. It functions as a backdrop to a collective experience which, as in most of Pérez Córdova’s work, describes an ongoing narrative that deviates and reconfigures into new forms as it unfolds. At the same time, the juxtaposition of events, almost unintentionally, evinces the contradictory nature of social and political events and their intersections across geographies and socio-political spheres. 

Further information