Category: artists

  • Anthony D Green, Coffee Machine, 2022. MDF, peinture en aérosol, peinture acrylique, papier imprimé / MDF, spray paint, acrylic paint, printed paper. 210,5 × 150 × 9 cm (82 ⅞ × 59 × 3 ½ inches). Courtesy the artist and Art : Concept, Paris. Photo : Romain Darnaud
  • Anthony D Green, 8am, 2022. MDF, peinture en aérosol, peinture acrylique, papier imprimé / MDF, spray paint, acrylic paint, printed paper. 210,5 × 150 × 9 cm (82 ⅞ × 59 × 3 ½ inches). Courtesy the artist and Art : Concept, Paris. Photo : Romain Darnaud
  • Anthony D Green, Designer chair, 2022. MDF, peinture en aérosol, peinture acrylique, papier imprimé / MDF, spray paint, acrylic paint, printed paper. 210,5 × 150 × 9 cm (82 ⅞ × 59 × 3 ½ inches). Courtesy the artist and Art : Concept, Paris. Photo : Romain Darnaud
  • Anthony D Green, Stay close, 2022. MDF, peinture en aérosol, peinture acrylique, papier imprimé / MDF, spray paint, acrylic paint, printed paper. 210,5 × 150 × 9 cm (82 ⅞ × 59 × 3 ½ inches). Courtesy the artist and Art : Concept, Paris. Photo : Romain Darnaud
  • Anthony D Green, The wall, 2022. MDF, peinture en aérosol, peinture acrylique, papier imprimé / MDF, spray paint, acrylic paint, printed paper. 210,5 × 150 × 9 cm (82 ⅞ × 59 × 3 ½ inches). Courtesy the artist and Art : Concept, Paris. Photo : Romain Darnaud
  • Anthony D Green, This space, 2022. MDF, peinture en aérosol, peinture acrylique, papier imprimé / MDF, spray paint, acrylic paint, printed paper. 210,5 × 150 × 9 cm (82 ⅞ × 59 × 3 ½ inches). Courtesy the artist and Art : Concept, Paris. Photo : Romain Darnaud
  • Anthony D Green, Washing machine, 2022. MDF, peinture en aérosol, peinture acrylique, papier imprimé / MDF, spray paint, acrylic paint, printed paper. 210,5 × 150 × 9 cm (82 ⅞ × 59 × 3 ½ inches). Courtesy the artist and Art : Concept, Paris. Photo : Romain Darnaud
  • Anthony D Green, Yellow sofa, 2022. MDF, peinture en aérosol, peinture acrylique, papier imprimé / MDF, spray paint, acrylic paint, printed paper. 210,5 × 150 × 9 cm (82 ⅞ × 59 × 3 ½ inches). Courtesy the artist and Art : Concept, Paris. Photo : Romain Darnaud
  • Vue du stand / Booth view Neue Alte Brüecke, with Magnus Andersen, Will Benedict, Liz Craft, Bradley Davies, FIAC 2018, Paris/FR
  • Anthony D Green, Aaanother Stroll, 2018. Mixed media. 200 × 150 cm (78 ¾ × 59 inches). Courtesy the Artist and Art : Concept, Paris.
  • Vue d’installation | Installation view Exercices in Style, Exhibition view A plus A, Venice/IT, 2019
  • Anthony D Green, Christopher Williams, 2011. Mixed Media. 200 × 150 cm (78 ¾ × 59 inches). Courtesy the Artist and Art : Concept, Paris.
  • Anthony D Green, The Weekend, Things can only get better, 2011. Mixed media. 200 × 250 cm (78 ¾ × 98 ⅜ inches). Courtesy the Artist and Art : Concept, Paris.
  • Anthony D Green. Work And It’s Public Relations, 2011. Mixed media. 200 × 150 cm (78 ¾ × 59 inches). Courtesy the Artist and Art : Concept, Paris.
  • Anthony D Green. A Report The Face A Room Heating Up, 2009. Mixed Media. 190 × 160 cm (74 ¾ × 63 inches). Courtesy the Artist and Art : Concept, Paris.
  • Anthony D Green, Workmachine Enter Exit, 2008. Mixed Media. 160 × 110 cm (63 × 43 ¼ inches). Courtesy the Artist and Art : Concept, Paris.
  • Anthony D Green, The Wall, The Organisation, Waiting…(2nd Version), 2008. Mixed Media. 75 × 94 cm (29 ½ × 37 inches). Courtesy the Artist and Art : Concept, Paris.
  • Anthony D Green, A Stroll How Can We Escape Our Petty Little Fascism’s?, 2008. Mixed Media. 290 × 200 cm (114 ⅛ × 78 ¾ inches). Courtesy the Artist and Art : Concept, Paris.

Biography

Between painting and bas-relief, Anthony D. Green’s recent works attest to the artist’s fascination with images, their central place in consumer society and their potential for transformation. Hijacking the codes of advertising photography and computer graphics, he establishes a distance with the subjects, here taken from commercial image banks. Made of MDF, spray paint, acrylic paint, printed paper and assembled, they play with volumes and points of view, and disturb the gaze through formal games (shift, repetition, etc.). The ear, in relief on one of the volumes, then appears as a way out of the grip exerted by the visual regime. Natural bas-reliefs, they are the mediators between the non-visible outside and an invisible inside, signifying the access to something beyond the visible.

Anthony D Green was born in 1973 in Welwyn Garden City/UK. He lives and works in Kent/UK.

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  • Caroline Achaintre, Museum Lothar Fischer, Neumarkt in der Oberpfalz, 2023. Photo: Andreas Pauly
  • Caroline Achaintre, Museum Lothar Fischer, Neumarkt in der Oberpfalz, 2023. Photo: Andreas Pauly
  • Vue d’exposition / Installation view, Earth Spells Witches of the Anthropocene at RAMM, Exeter, 2023.
    Caroline Achaintre, Ghost Duck, 2020. Laine tuftée à la main / Hand tufted wool, 240 × 205 cm (94 ½ × 80 ¾ in)
    Courtesy the Artist and Art : Concept, Paris.
  • Caroline Achaintre, Elm, 2021. Céramique/terre cuite / Ceramic/Terracotta. 63 × 26 × 22 cm (24 ¾ × 10 ¼ × 8 ⅝ inches). Courtesy the artist and Art : Concept, Paris. Collection privée. Photo Romain Darnaud
  • Vue d’exposition / Installation view, Caroline Achaintre, Shiftings, 2022, Centre d’art Pasquart, Biel/CH. Photo Stefan Rohner. Courtesy the artist; Arcade, London; Art: Concept, Paris
  • Vue d’exposition / Installation view, Caroline Achaintre, Shiftings, 2022, Centre d’art Pasquart, Biel/CH. Photo Stefan Rohner. Courtesy the artist; Arcade, London; Art: Concept, Paris
  • Vue de l’exposition / Installation view, L’Ame primitive, Musée Zadkine, Paris, 2021. Courtesy the Artist and Art : Concept, Paris.
  • Caroline Achaintre, AstraY, 2014. Laine tuftée à la main / Hand tufted wool, 280 × 222 × 25 cm. Courtesy the Artist and Art : Concept, Paris. Collection Tate Britain (Acquisition 2015)
  • Vue d’exposition / Installation view Caroline Achaintre. Shiftings, Kunstmuseum Ravensburg 2021, Courtesy the Artist and Art : Concept, Paris, Photo by Wynrich Zlomke
  • Vue d’exposition / Installation view Caroline Achaintre. Shiftings, Kunstmuseum Ravensburg 2021, Courtesy the Artist and Art : Concept, Paris, Photo by Wynrich Zlomke
  • Major strike, 2021, watercolour and ink on paper, 14 × 10 in.
  • Derma D, 2020, ceramic (porcelain), 13 3/8 × 26 3/4 × 3 7/8 in.
  • Inhibitor, 2020, hand tufted wool, 104 3/4 × 81 7/8 in. Collection privée/private collection
  • Slacks, 2020, ceramic (porcelain), 13 3/4 × 17 3/4 × 14 1/8 in.
  • Solaris inverse, 2021, watercolour and ink on paper, 14 × 10 in.
  • Vue d’exposition, Caroline Achaintre Tête-à-tête, Art : Concept, Paris, 2021
  • Louis Q, 2020. Hand tufted wool, 98 3/8 x 78 3/4 in.
  • Vue d’exposition, Vue Liquide, Fondation Thalie, Brussels, 2020. Photo: Laetizia Debain
  • Vue d’exposition, Vue Liquide, Fondation Thalie, Brussels, 2020. Photo: Laetizia Debain
  • Permanente, Installation view, Fondazione Giuliani, May – October 2020. Photo: Giorgio Benni
  • Permanente, Installation view, Fondazione Giuliani, May – October 2020. Photo: Giorgio Benni
  • Permanente, Installation view, Fondazione Giuliani, May – October 2020. Photo: Giorgio Benni
  • Permanente, Installation view, Fondazione Giuliani, May – October 2020. Photo: Giorgio Benni
  • Installation view, Ca roline Achaintre, permanente, Capc Musée d’art contemporain de Bordeaux, 2020. Photo: Arthur Péquin
  • Installation view, Ca roline Achaintre, permanente, Capc Musée d’art contemporain de Bordeaux, 2020. Photo: Arthur Péquin
  • IGOR, 2019. Hand tufted wool, 102 3/8 x 65 in.
  • MissTique, 2019. Hand tufted wool, 86 5/8 x 65 3/4 in.
  • Vue d’exposition / Installation view Caroline Achaintre. Permanente, MOCO Panacée, Montpellier, 2019
  • Vue d’exposition / Installation view Caroline Achaintre. “Dauerwelle”, 2019 Foto: kunst-dokumentation.com, Manuel Carreon Lopez; © Belvedere, Wien
  • Vue d’exposition / Installation view Caroline Achaintre. “Dauerwelle”, 2019. Foto: kunst-dokumentation.com, Manuel Carreon Lopez; © Belvedere, Wien
  • Vue d’exposition / Installation view Caroline Achaintre. “Dauerwelle”. Foto: kunst-dokumentation.com, Manuel Carreon Lopez; © Belvedere, Wien
  • Caroline Achaintre, Severine, 2018 céramique / ceramics. 26,04 × 40,01 × 35,88 cm (10 ¼ × 15 ¾ × 14 ⅛ in). Courtesy the Artist and Art : Concept, Paris. Photo Claire Dorn
  • Vue d’exposition / Installation view, Fantômas, Be-Part, Waregem Platform for Contemporary Art and De La Warr Pavilion, Waregem, 2018. Photo: Dirk Pauwels
  • Installation view, Fantômas, Be-Part, Waregem Platform for Contemporary Art and De La Warr Pavilion, Bexhill-on-Sea, 2018. Photo: Dirk Pauwels
  • Vue d’exposition, Caroline Achaintre, BALTIC Centre for Contemporary Art
    Photo: John McKenzie
  • Vue d’exposition / installation view. Caroline Achaintre – Frac Champagne Ardenne, 2017. Photo Martin Argyroglo
  • Vue d’exposition / installation view. Caroline Achaintre – Frac Champagne Ardenne, 2017. Photo Martin Argyroglo

Biography

Born in France in 1969, raised in Germany and based in England, Caroline Achaintre attended the Kunsthochschule in Halle, then the Chelsea College of Art and Design, and the Goldsmiths University of London. The artist is nourished by multiple and radically different cultural references that influence her approach. With her sculptures made of wool, ceramic and with her watercolours, 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 is part of numerous public collections among which: CAPC, Bordeaux/FR; Tate Britain, Londres/UK; Musée d’Art Moderne de la Ville de Paris, Paris; Centre national des arts plastiques, Paris; FRAC Aquitaine, Bordeaux, and FRAC Champagne-Ardenne, Reims.

Selected solo exhibitions: Kunstmuseum Ravensburg/Centre d’art Pasquart/CH (2021-2022), CAPC, Bordeaux/FR (2020-21), MO.CO., Montpellier/FR (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, London/UK (2015); Castello di Rivoli, Turin/IT (2013).

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  • Hubert Duprat. Vue d’exposition / Exhibition view, La mer Imaginaire / The Imaginary Sea, Fondation Carmignac, Porquerolles/FR, 2021. Curator: Chris Sharp. Photo: Marc Domage
  • Hubert Duprat, Martyr, 2019. Plexiglas / Plexiglass. 20 × 100 cm (7 ⅞ × 39 ⅜ inches)
  • Hubert Duprat, Sans titre / Untilted, 2013. Plâtre, pots en terre cuite / Plaster, baked clay pots. 232 × 1 800 × 15 cm (91 ⅜ × 708 ⅝ × 5 ⅞ in.)
  • Hubert Duprat, Volos, 2013-2015. Pointe de hache en silex poli du néolithique tardif, argile crue / Late neolithic polished flintstone axehead, raw clay. 51 x 20 x 6 cm (20 1/8 x 7 7/8 x 2 3/8 in.)
  • Tribulum, 2012-2015. Hubert Duprat, Tribulum, 2012-2015. Mousse de polyuréthane, silex / Polyurethane foam , flint, 100 x 69,85 x 18,1 cm (39 3/8 x 27 1/2 x 7 1/8 in.)
  • Hubert Duprat, Chagrin, 2009-2012. Polystyrène, bois et chagrin / Polystyrene, wood and shagreen, dimensions variables / variable dimensions
  • Hubert Duprat, Chagrin, 2009-2012. Polystyrène, bois et chagrin / Polystyrene, wood and shagreen, dimensions variables / variable dimensions
  • Hubert Duprat, Sans titre/ Untilted, 2008-2015. 200 000 magnétites / 200 000 lodestones, 85 x 280 x 280 cm (33 1/2 x 110 1/4 x 110 1/4 in.)
  • Hubert Duprat, Sans titre / Untilted, 2007-2008. Cristaux de pyrite broyés, colle araldite, base / Crushed pyrite crystals, araldite glue, base, hauteur: 44 cm, diamètre: 48 cm / height: 17 3/8 in., diameter: 18 7/8 in.
  • Hubert Duprat, Comme un gant / Like a glove 2003-2005. Galets d’hématite, mastic polyester, 5 tubes / Hematite pebbles, polyester mastic cement, 5 tubes, 120 x 205 x 120 cm. (47 1/4 x 80 3/4 x 47 1/4 in.)
  • Hubert Duprat, Sans titre (Le feu) / Untilted (The Fire), 2002. Encre de chine sur contreplaqué / Chinese ink on plywood, 122 x 420 cm (122 x 165 3/8 in.)
  • Hubert Duprat, Sans titre (série Les bêtes) / Untilted (beast series) 1992-1999. Silex / Flint, 30 x 35 cm (11 3/4 x 13 3/4 in.)
  • Hubert Duprat, Corail Costa Brava / Costa Brava Coral, 1994-2021. Corail rouge de Méditerranée, mie de pain, colle / Red mediterraneen coral, bread, glue, 20 × 22 × 24 cm (7 ⅞ × 8 ⅝ × 9 ½ in.)
  • Hubert Duprat, Coupé-Cloué / Cut-Nailed, 1991-1994. Bois et clous de laiton / Beech wood and upholstery brass nails, 53 × 507 cm (20 ⅞ × 199 ⅝ in.)
  • Hubert Duprat, Les Agates / The Agates 1986-1989. Quatre cibachromes couleur / Four color cibachromes, 4 x (76 x 160 cm) ( 4x (29 7/8 x 63 in.)), ed 1/3
  • Hubert Duprat, Tube de trichoptère / Trichoptera’s tube, 1980-2015. Or, turquoise, saphir / Gold, turquoise, sapphire, 0,5 × 1,8 cm (¼ × ¾ in.).

Biography

Hubert Duprat was born in 1957 in Nérac in Lot-et-Garonne, he lives and works in the South of France.

Protean, demanding and complex, Duprat’s work draws inspiration from chance and the empirical, combining the discovery of objects, remnants and texts in a testing-out of matter, technique and dexterity. The artist is equally happy in the natural world or working with strange minerals (iron pyrites, calcite, ulexite, etc.), species that defy classification (amber, coral, etc.) and everyday industrial materials (polystyrene, concrete, paraffin, modelling clay, etc.) His repurposed processes come largely from the crafts – marquetry, goldsmithery, upholstery – but also from such vernacular domains as string art.*

His work can be found in several public collections among which: Museum of Old and New Art (MONA), Tasmanie/AU; Centre Pompidou, Paris/FR; Nouveau Musée National de Monaco, Monaco/FR; Collection Musée des Arts Contemporains de la Fédération Wallonie-Bruxelles, Grand-Hornu/BE ; Paris Museum of Modern Art, Paris/FR; Musée d’Art Contemporain de Lyon/FR ; Fondation Cartier, Paris; Fond National d’Art Contemporain, Paris; and in numerous regional art funds (FRAC).

A retrospective of his work is presented at the City of Paris Museum of Modern Art until 2021. Solo exhibitions have been dedicated to his work among which: Art : Concept, Paris/FR (2019); MONA, Tasmania/AU (2013); Norwich Museum, Norwich/UK (2011); Centre International d’Art et du Paysage, Vassivière/FR (2008); Musée Picasso, Antibes/FR (1998).
 
*Read the press release for the exhibition “Hubert Duprat” at the Musée d’Art Moderne de la Ville de Paris, written by Jessica Castex, 2020

At the gallery

Video

Downloads

CV (pdf)Download
Press (pdf)Download
  • Vue d’exposition/ Installation view – Beyond Color , Galerie Art : concept, Paris FR, 2018.
  • Vue d’exposition / Installation view – Beyond Color, Galerie Art : concept, Paris FR, 2018.
  • Jean-Michel Sanejouand, Sans titre, (Espaces & Cie), 2017. Acrylique sur papier / Acrylic on paper. 45,3 × 30,5 cm (17 ⅞ × 12 in.). Photo: Claire Dorn.
  • Jean-Michel Sanejouand, Sans titre, (Espaces & Cie), 2017 . Acrylique sur papier / Acrylic on paper. 45,3 × 30,5 cm (17 ⅞ × 12 in.).
  • Jean-Michel Sanejouand, Le silence, 1996, Bronze. 110 x 90 x 60 cm ( 43 5/16 x 35 7/16 x 23 5/8 in.). Coll. du FRAC Île-de-France.
  • Jean-Michel Sanejouand, Révérence, 2002-2017. Bronze. 10,5 × 45 × 45 cm (4 ⅛ × 17 ¾ × 17 ¾ in.). Coll. privée / FR. Photo: Claire Dorn.
  • Jean-Michel Sanejouand, Casse-noisette, 2007. Pierres, peinture acrylique / Stones, acrylic paint. 10 x 20,2 x 12 cm (3 ¹⁵/₁₆ x 7 ⁶¹/₆₄ x 4 ²³/₃₂ in.). Coll. du FRAC Picardie. Photo: André Morin.
  • Jean-Michel Sanejouand, Le contemplatif, 2011. Pierres, peinture acrylique. Stones, acrylic paint. 20 x 9 x 8,5 cm ( 7 ⁷/₈ x 3 ³⁵/₆₄ x 3 ¹¹/₃₂ in.). Coll. du FRAC Pays de la Loire.
  • Jean-Michel Sanejouand, Espace critique couleur, 2006, Acrylique sur papier / Acrylic on paper. 34,2 x 42,6 cm ( 13 ¹⁵/₃₂ x 16 ⁴⁹/₆₄ in.). Coll. du FRAC Pays de la Loire. Photo: Vaida Budreviciuté.
  • Jean-Michel Sanejouand, Le baiser (Espaces critiques), 2003. Acrylique sur toile / Acrylic on canvas. 100 × 130 cm (39 ⅜ × 51 ⅛ in.).
  • Jean-Michel Sanejouand, 2003-02-28 (Espaces-Critiques), 2003. Acrylique sur toile / Acrylic on canvas. 100 × 130 cm (39 ⅜ × 51 ⅛ in.).
  • Jean-Michel Sanejouand, Espace critique couleur (Espaces critiques), 2006. Acrylique sur papier / Acrylic on paper. 34,2 x 42,6 x 2,5 cm (13 ¹⁵/₃₂ x 16 ⁴⁹/₆₄ x ⁶³/₆₄ in.) Coll. du FRAC Pays de la Loire. Photo: Vaida Budreviciuté.
  • Vue d’exposition / Installation view – Rétrospectivement II, FRAC des Pays de la Loire, Carquefou FR, 2012.
  • Vue d’exposition/ Installation view – Rétrospectivement I, Hab galerie, Nantes FR, 2012.
  • Vue d’exposition/ Installation view – Rétrospectivement I, Hab galerie, Nantes FR, 2012.
  • Vue d’exposition / Installation view – Rétrospectivement I, Hab galerie, Nantes FR, 2012.
  • Jean-Michel Sanejouand, A l’écoute (Sculptures-peintures), 1999. Acrylique sur toile / Acrylic on canvas. 60 x 81 cm ( 23 ⁵/₈ x 31 ⁵⁷/₆₄ in.).
  • Jean-Michel Sanejouand, Bi-plan, 1999. Acrylique sur toile / Acrylic on canvas. 97x 130 cm ( 38 ³/₁₆ x 51 ³/₁₆ in.).
  • Jean-Michel Sanejouand, Le catamaran, 1997. Acrylique sur toile / Acrylic on canvas. 130 x 162 cm ( 51 ³/₁₆ x 63 ²⁵/₃₂ in.). Coll. du FRAC des Pays de la Loire. Photo: Bernard Renoux.
  • Jean-Michel Sanejouand, Le baiser. Acrylique sur toile / Acrylic on canvas. 36,1 x 44,1 cm ( 14 ⁷/₃₂ x 17 ²³/₆₄ in. ). Coll. du FRAC des Pays de la Loire. Photo: Vaida Budreviciuté.
  • Jean-Michel Sanejouand, 9.6.96, 1996. Acrylique sur toile / Acrylic on canvas. 96 × 130 cm (37 ¾ × 51 ⅛ in.). Photo: Dorine Potel.
  • Jean-Michel Sanejouand, L’Îlien, 1994. Acrylique sur toile / Acrylic on canvas. 130 × 195 cm (51 ⅛ × 76 ¾ in.).
  • Jean-Michel Sanejouand, Sans titre, 1995. Acrylique sur toile / Acrylic on canvas. Polyptyque en 4 parties. 263 x 393 cm ( 103 ³⁵/₆₄ x 154 ²³/₃₂ in. ) Coll. du Centre National des Arts Plastiques. Photo: Yves Chenot.
  • Jean-Michel Sanejouand, Le vieux poivron, 1996. Acrylique sur toile / Acrylic on canvas. 97 × 130 cm (38 ¼ × 51 ⅛ inches). Photo: Dorine Potel.
  • Jean-Michel Sanejouand Deux-Deux, 1989, (Peintures en noir et blanc). Acrylique sur toile / Acrylic on canvas. 130 × 97 cm (51 ⅛ × 38 ¼ in.). Photo: Claire Dorn.
  • Jean-Michel Sanejouand, L’arbre aussi (30.6 – 24.7.89) (Peintures en noir et blanc), 1989. Acrylique sur toile / Acrylic on canvas. Diptyque / Diptych. Chaque toile: 162 x 130 cm ( Each canvas: 63 ²⁵/₃₂ x 51 ³/₁₆ in. ). Photo: lmari Kalkkinen
  • Jean-michel Sanejouand, Ca ira, Ca ira, 1989. Lithographie sur papier / Lithography on paper. Tirage: 1/100. 72 x 102 cm ( 28 ¹¹/₃₂ x 40 ⁵/₃₂ in.) Coll. du Centre National des Arts Plastiques.
  • Jean-Michel Sanejouand, 3/11/88, (Peintures en noir et blanc),1988. Acrylique sur toile / Acrylic on canvas. 130 × 97 cm (51 ⅛ × 38 ¼ in.). Photo: Claire Dorn.
  • Vue d’exposition / Installation view – Rétrospectivement I, Hab galerie, Nantes FR, 2012.
  • Vue d’exposition / Installation view – Rétrospectivement I, Hab galerie, Nantes FR, 2012.
  • Vue d’exposition / Installation view – Rétrospectivement I, Hab galerie, Nantes FR, 2012.
  • Vue d’exposition / Installation view – Rétrospectivement I, Hab galerie, Nantes FR, 2012.
  • Jean-Michel Sanejouand, Espace-Peinture (Espaces-Peintures), 1983. Acrylique et vinylique sur toile / Acrylic and vinylic on canvas. 260 × 195 cm (102 ⅜ × 76 ¾ in.).
  • Jean-Michel Sanejouand, Espace-Peinture, 7.10.78 (Espaces-Peintures), 1978. Acrylique sur toile/ Acrylic on canvas. 89 × 116 cm (35 × 45 ⅝ inches). Photo: Dorine Potel
  • Jean-Michel Sanejouand, Espace-Peinture, 8.2.81, (Espaces-peintures), 1981. Acrylique et vinylique sur toile / Acrylic and vinylic on canvas. 89 × 116 cm (35 × 45 ⅝ in.) Coll. Nouveau Musée National de Monaco. Photo: Dorine Potel.
  • Jean-Michel Sanejouand, Espace-peinture, (Espaces-Peintures), 1978. Encre de Chine et gouache sur papier / China ink and gouache on paper. 50,2 x 65 cm ( 19 ⁴⁹/₆₄ x 25 ¹⁹/₃₂ in.) Coll. du FRAC Picardie. Photo: André Morin.
  • Jean-Michel Sanejouand, Calligraphie d’humeur, 1968. Feutre sur papier / Felt pen on paper. 9 x 32,5 cm ( 3 ³⁵/₆₄ x 12 ⁵¹/₆₄ in.). Collection du Centre Pompidou. Photo: Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. RMN-GP.
  • Jean-Michel Sanejouand, Calligraphie d’humeur, 1974. Encre de Chine sur toile / China ink on canvas. 90 × 190 cm (35 ⅜ × 74 ¾ inches). Collection du Centre Pompidou. Photo: Dorine Potel.
  • Jean-Michel Sanejouand, Calligraphie d’humeur, 1968. Feutre sur papier / Felt pen on paper. 9 x 32,5 cm ( 3 ³⁵/₆₄ x
    12 ⁵¹/₆₄ in.). Collection du Centre Pompidou. Photo: Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. RMN-GP.
  • Jean-Michel Sanejouand, Calligraphie d’humeur, 1968. Feutre sur papier / Felt pen on paper. 9 x 32,5 cm ( 3 ³⁵/₆₄ x
    12 ⁵¹/₆₄ in.). Collection du Centre Pompidou. Photo: Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. RMN-GP.
  • Vue d’exposition/ Installation view – Horizones, Fondation Pernod Ricard, Paris FR, 2022
  • Jean-Michel Sanejouand, Calligraphie d’humeur, 1974. Encre de Chine sur papier / China ink on paper. 90 x 190 cm (35 ⁷/₁₆ x 74 ⁵¹/₆₄ in.). Photo: Dorine Potel
  • Jean-Michel Sanejouand, Calligraphie d’humeur, 1974. Encre de Chine sur papier / China ink on paper. 90 x 190 cm (35 ⁷/₁₆ x 74 ⁵¹/₆₄ in.). Photo: Dorine Potel
  • Jean-Michel Sanejouand, Calligraphie d’humeur, 1974. Encre de Chine sur papier / China ink on paper. 90 x 190 cm (35 ⁷/₁₆ x 74 ⁵¹/₆₄ in.). Photo: Dorine Potel
  • Jean-Michel Sanejouand, Organisation de l’espace du chantier situé sur l’emplacement de l’ancienne gare Montparnasse, 1970. Papier plastifié marouflé sur bois / Laminated paper smoothed on wood. Panneau 1/3 (Board 1/3). Ensemble: 360 x 330 cm. (All: 141 ⁴⁷/₆₄ x 129 ⁵⁹/₆₄ in.). Panneau 1: 120,1 x 75,1 cm. ( 1st board: 47 ¹/₄ x 29 ⁹/₁₆). Coll. du Centre National des Arts Plastiques.
  • Jean-Michel Sanejouand, Schéma d’organisation des espaces de la vallée de la Seine entre Paris et Le Havre, 1969 – 1978. Papier plastifié marouflé sur bois / Laminated paper smoothed on wood. Panneau 1/38 (Board 1/38) Ensemble: 144 x104 cm. (All: 56 ¹¹/₁₆ x 40 ¹⁵/₁₆ in.) Chaque panneau: 144 x 104 cm ( All: 56 ¹¹/₁₆ x 40 ¹⁵/₁₆ in.). Coll. du Centre National des Arts Plastiques.
  • Jean-Michel Sanejouand, Organisation de l’espace de la cime du Vésuve, 1972. Papier stratifié sur panneau / Stratified paper on a board. Panneau 1/2. Ensemble: 233 x 188 (All: 91 ⁴⁷/₆₄ x 74 ¹/₆₄ in.). Panneau 1: 117 x 93,8 cm ( 1st board: 46 ¹/₁₆ x 36 ⁵⁹/₆₄ in. ). Coll. du Centre National des Arts Plastiques. Photo: Yves Chenot.
  • Jean-Michel Sanejouand, Organisation de l’espace d’une station de sports d’hiver implantée sur 3 niveaux d’altitude, 1970. Panneau 1/2 (Board 1/2). Ensemble: 372 x 300,5 cm. (All: 146 ²⁹/₆₄ x 118 ⁵/₁₆ in.). Panneau 1: 186 x 200,5 cm ( 73 ¹⁵/₆₄ x 78 ¹⁵/₁₆ in.). Coll. du Centre National des Arts Plastiques. Photo: Yves Chenot.
  • Jean-Michel Sanejouand, Jeu de topo, 1963-76. Plateau de jeu en plexiglas gravé, 2 ensembles de 8 cailloux / Engraved plexiglas game board, 2 sets of 8 stones. 50 × 50 × 9 cm (19 ⅝ × 19 ⅝ × 3 ½ in.). Photo: Marc Domage.
  • Jean-Michel Sanejouand, Jeu de topo, 1963-76. Plateau de jeu en plexiglas gravé, 2 ensembles de 8 cailloux / Engraved plexiglas game board, 2 sets of 8 stones. 50 × 50 × 9 cm (19 ⅝ × 19 ⅝ × 3 ½ in.). Photo: Marc Domage.
  • Jean-Michel Sanejouand, Jeu de topo, 1963-76. Plateau de jeu en plexiglas gravé, 2 ensembles de 8 cailloux / Engraved plexiglas game board, 2 sets of 8 stones. 50 × 50 × 9 cm (19 ⅝ × 19 ⅝ × 3 ½ in.). Photo: Marc Domage.
  • Jean-Michel Sanejouand, Jeu de topo, 1963-76. Plateau de jeu en plexiglas gravé, 2 ensembles de 8 cailloux / Engraved plexiglas game board, 2 sets of 8 stones. 50 × 50 × 9 cm (19 ⅝ × 19 ⅝ × 3 ½ in.). Photo: Marc Domage.
  • Jean-Michel Sanejouand, Kayak grillé, 1965. Kayak et grillage / Kayak and wire fence. 80 x 80 x 520 cm (31 ¹/₂ x 31 ¹/₂ x 204 ²³/₃₂ in.). Coll. du FRAC Alsace.
  • Vue d’exposition/ Installation view – Rétrospectivement II, FRAC des Pays de la Loire, Carquefou FR, 2012.
  • Jean-Michel Sanejouand, Toile noire et miroir, 1963. Tissu noir sur chassis en bois, miroir / Black fabric on wooden stretcher, mirror. 195×260 cm (76 3/4 x 102 3/8 in.) Photo: Marc Domage.
  • Jean-Michel Sanejouand, Bloc-cuisine (Charges-Objets), 1969. Deux éléments de cuisine, un bouquet de fleur en plastique, un coussin et deux morceaux de mousse / Two kitchen units, a plastic flower bouquet, a cushion and two pieces of foam. 79 × 155 × 53 cm (31 ⅛ × 61 × 20 ⅞ in.). Coll. du FRAC des Pays de la Loire. Photo: Bernard Renoux.
  • Jean-Michel Sanejouand, Zoé (Charge-objet), 1963. Verre peint, céramique, formica, acier chromé. 18 × 40 × 35 cm (46 ½ × 15 ¾ × 13 ¾ in.). Photo: Marc Domage.
  • Jean-Michel Sanejouand, Orange à saisir (Charges-Objets), 1966. Bois, toile, métal/ Wood, canvas, metal. 280 × 40 × 11 cm (110 ¼ × 15 ¾ × 4 ⅜ in.). Photo: Marc Domage.
  • Jean-Michel Sanejouand, Linoléum, châssis et plaque métallique perforée (Charges-Objets), 1966. Linoléum, châssis et métal / Linoleum, canvas and metal. 146 × 114 × 70 cm (57 ½ × 44 ⅞ × 27 ½ in.). Coll. Galerie Kreo.
  • Jean-Michel Sanejouand, Fauteuil et carré de toile rouge (Charges-Objets), 1966. Fauteuil en skaï noir et toile en tissu rouge montée sur châssis / Black skaï arm chair and red canvas on a frame. 179 × 100 × 94 cm (70 ½ × 39 ⅜ × 37 in.). Coll. du FRAC Île-de-France, Le Plateau.
  • Vue d’exposition/ Installation view – Rétrospectivement II, FRAC des Pays de la Loire, Carquefou FR, 2012.
  • Jean-Michel Sanejouand, Feuille plastique, grillage plastique et toile de bâche ( Charges-objets), 1966. Acétate de cellulose, grillage plastique, toile / Cellulose acetate, plastic wire fence, canvas. 146 × 114 × 13 cm (57 ½ × 44 ⅞ × 5 ⅛ in.). Coll. du FRAC des Pays de la Loire. Photo: Marc Domage.
  • Jean-Michel Sanejouand, Porte-Boules, 1963. Cailloux peints, cuir / Stone, acrylic, leather, 7 × 25 cm (2 3/4 x 9 7/8 in.). Photo : Ilmari Kalkkinen
  • Vue d’exposition/ Installation view – All over , Galerie des galeries, Galeries Lafayette, Paris FR, 2016.

Biography

Jean-Michel Sanejouand (1934-2021) was born in Lyon and lived and worked in the Anjour region.

Hailing from the heart of the 60’s art scene, the work of Jean-Michel Sanejouand continues to resist any traditional type of classification, all the while maintaining a certain radicalness in its questioning of accepted forms and processes. Beyond the pure expression of formal liberty, Jean-Michel Sanejouand chose to exploit the very ruptures which result from contrasting various artistic elements. His ingeniousness has been recognized by a number of French and international institutions, including the Centre Georges Pompidou, which presented an important retrospective of his work in 1995.

His work is present in several French public collections including the Musée national d’art moderne/Centre Pompidou, the Musée d’Art moderne de la Ville de Paris, the Musée d’Art Contemporain de Lyon and the Lille Métropole Musée d’art moderne, d’art contemporain et d’art brut.

Many solo exhibitions have been devoted to his work since the 1960s, including: Charges-Objets, MAMCO, Geneva (2015); Un peu d’espace(s) at Art : Concept, Paris in (2015); Rétrospectivement…, Frac Pays de la Loire, Carquefou/FR (2012); 1963-1995 retrospective, Centre Pompidou, Paris/FR (1995); Rétrospective des Charges-Objets aux Espaces-Peintures, Palais des Beaux-Arts, Lyon/FR (1986).

At the gallery

Links

Artist’s website

Downloads

CV (pdf)Download
Presse (pdf)Download


  • Vue d’exposition / Installation view Pierre Bellot, Les objets parlent, Art : Concept, Paris, 2022. Courtesy the artist and Art : Concept, Paris. Photo Romain Darnaud.
  • Vue d’exposition / Installation view Pierre Bellot, Les objets parlent, Art : Concept, Paris, 2022. Courtesy the artist and Art : Concept, Paris. Photo Romain Darnaud.
  • Pierre Bellot, Le paravent, 2021. Huile sur toile / Oil on canvas. 170 × 230 cm (66 7/8 × 90 1/2 inches). Courtesy the artist and Art : Concept, Paris. Photo Romain Darnaud.
  • Pierre Bellot, Sans titre, 2022. Huile sur toile / Oil on canvas. 24 × 10 cm (9 1/2 × 3 7/8 inches). Courtesy the artist and Art : Concept, Paris. Photo Romain Darnaud.
  • Pierre Bellot, Le diable, 2022. Huile sur toile / Oil on canvas. 24 × 10 cm (9 1/2 × 3 7/8 inches). Courtesy the artist and Art : Concept, Paris. Photo Romain Darnaud.
  • Pierre Bellot, William Morris, 2022. Huile sur toile / Oil on canvas. 32 × 42 cm (12 5/8 × 16 1/2 inches). Courtesy the artist and Art : Concept, Paris. Photo Romain Darnaud.
  • Pierre Bellot, Sans titre (Fantôme), 2021. Huile sur toile / Oil on canvas. 19 × 24 cm (7 1/2 × 9 1/2 inches). Courtesy the artist and Art : Concept, Paris. Photo Romain Darnaud.
  • Pierre Bellot, Le jardin des lettres, 2021. Huile sur toile / Oil on canvas. 130 × 162 cm (51 1/8 × 63 3/4 inches). Courtesy the artist and Art : Concept Paris. Photo Claire Dorn
  • Vue d’exposition / Installation view Les Pavillons, Art : Concept, 2021. Courtesy the artist and Art : Concept Paris. Photo Claire Dorn
  • Pierre Bellot, Boîte d’allumettes, 2021. Huile sur toile / Oil on canvas. 16 × 22 cm (6 1/4 × 8 5/8 inches). Courtesy the artist and Art : Concept Paris. Photo Romain Darnaud
  • Pierre Bellot, Les yeux du chat, 2021. Huile sur toile / Oil on canvas. 18 × 10 cm (7 1/8 × 3 7/8 inches). Courtesy the artist and Art : Concept Paris. Photo Claire Dorn
  • Pierre Bellot, Georgia O’Keeffe, 2021. Huile sur toile / Oil on canvas. 150 × 200 cm (59 × 78 3/4 inches). Courtesy the artist and Art : Concept Paris. Photo Claire Dorn
  • Vue d’exposition / Installation view Les Pavillons, Art : Concept, 2021. Courtesy the artist and Art : Concept Paris. Photo Claire Dorn
  • Pierre Bellot, Looking at flowers, 2021. Huile sur toile / Oil on canvas. 18 × 24 cm (7 1/8 × 9 1/2 inches). Courtesy the artist and Art : Concept Paris. Photo Romain Darnaud
  • Pierre Bellot, Montagnes Russes, 2020. Huile sur toile / Oil on canvas. 150 × 200 cm (59 × 78 3/4 inches). Courtesy the artist and Art : Concept Paris, Photo Romain Darnaud
  • Pierre Bellot, Hola (gauche / left) ; Tête (droite / right), 2020, Huile sur toile / Oil on canvas. 18 × 10 cm (7 1/8 × 3 7/8 inches). Courtesy the artist and Art : Concept Paris. Photo Romain Darnaud
  • Pierre Bellot, Sans titre, 2020. Huile sur toile / Oil on canvas. 21 × 25 cm (8 1/4 × 9 7/8 inches). Courtesy the artist and Art : Concept Paris. Photo Claire Dorn
  • Pierre Bellot, Plante, 2020. Huile sur toile / Oil on canvas. 22 × 16 cm (8 5/8 × 6 1/4 inches)Courtesy the artist and Art : Concept Paris. Photo Romain Darnaud
  • Pierre Bellot, Jardin, 2020. Huile sur toile / Oil on canvas. 130 × 162 cm (51 1/8 × 63 3/4 inches). Courtesy the artist and Art : Concept Paris. Photo Romain Darnaud
  • Vue d’exposition / Installation view Bonjour, Galerie du Crous, Paris, juin 2019. Photo Romain Darnaud
  • Vue d’exposition / Installation view Bonjour, Galerie du Crous, Paris, juin 2019. Photo Romain Darnaud
  • Pierre Bellot, Bonjour, 2019. Huile sur toile / Oil on canvas. 18 × 10 cm (7 1/8 × 3 7/8 inches). Photo Pierre Bellot
  • Pierre Bellot, Shiba, 2019. Huile sur toile / Oil on canvas. 18 × 10 cm (7 1/8 × 3 7/8 inches). Photo Pierre Bellot

Born in 1990, Pierre Bellot lives and works in Paris.

“Pierre Bellot uses various photographic sources or personal archives to create fictions where the composition obeys its own rules and creates a new meaning. By ridding each element of its original functionality, a formal game is established where the important thing becomes the path that crosses the work and associates each part to the whole. The image thus appears as the receptacle of inner visions. The subject is a bait, the starting point of an artificial structure in which the artist comes to trap the reality of the starting pattern.”

Text by Cécile Debray
Directrice du musée de l’Orangerie
Viva Villa, Édition 2020, « Les vies minuscules »

Graduated from École Nationale Supérieure des Beaux-Arts de Paris with honors. His work has been exhibited in Avignon (Collection Lambert), Paris (Bastille Design Center, Palais des Beaux-Arts, La Villette, Progress Gallery…), New York (56 Henry) and Berlin (Galerie Noah Klink). In 2019-2020, he was a member of the French Academy in Madrid, at Casa de Velázquez.

Solo show at the gallery

Download

CV (pdf)Download
Press (pdf)Download

Online

Artist’s website

Presentation video (Casa Vélazquez, 2020)

  • Vue d’exposition / Installation view, Nina Childress, Cils, Poils, Cheveux, Musée des Beaux-Arts de la Chaux-de-Fonds, 2022. Courtesy the Artist; Nathalie Karg, New York; Art : Concept, Paris. Photo Gaspard Gigon
  • Vue d’exposition / Installation view, Nina Childress, Cils, Poils, Cheveux, Musée des Beaux-Arts de la Chaux-de-Fonds, 2022. Courtesy the Artist; Nathalie Karg, New York; Art : Concept, Paris. Photo Gaspard Gigon
  • Vue d’exposition / Installation view Ridiculously Yours! Art, Awkwardness and Enthusiasm. Courtesy the Artist; Art: Concept, Paris; Nathalie Karg, New York. Photo: Mick Vincenz, 2022 © Kunst- und Ausstellungshalle der Bundesrepublik Deutschland GmbH
  • Vue d’exposition / Installation view Hey Lamarr – The Strange Women, La Galerie, Noisy-le-Sec, 2022. Photos © Salim Santa Lucia
  • 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


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    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, USA, living and working 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.

Rencently, her works has been shown in the context of a solo show at La-Chaux-de-Fond (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 MÉCA Nouvelle-Aquitaine. 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.

Links

Artist’s website

CV (pdf)Download
Press (pdf)Download
  • Kate Newby, I like the way I am, 2023. Bronze, corde artisanale / Bronze, Handmade rope. Dimensions variable. Courtesy the artist and Art : Concept, Paris. Photo by Jorge Davalos Palma
  • Kate Newby, Kate Newby, a year in the wild, 2022. Verre, jaune d’argent / Glass, jaune d’argent. 37 × 37 cm (14 ⅝ × 14 ⅝ inches). Courtesy the artist and Art : Concept, Paris. Photo Nicolas Brasseur
  • Vue d’exposition / Installation view Feel Noise, Kate Newby and MacKenzie Stevens, 2022, Testsite, TX/US
  • Vue d’exposition / Installation view Carbonate of Copper, 2022, Artpace, San Antonio, TX/US
    Curator Jennifer Teets
  • Vue d’exposition / Installation view Carbonate of Copper, 2022, Artpace, San Antonio, TX/US
    Curator Jennifer Teets
  • Vues de l’exposition / Installation view “Réclamer la terre”, 14.04.22 – 04.09.22, Palais de Tokyo, Paris. Courtesy the artist & Art : Concept, Paris. Photo Aurélien Mole
  • Vues de l’exposition / Installation view “Réclamer la terre”, 14.04.22 – 04.09.22, Palais de Tokyo, Paris. Courtesy the artist & Art : Concept, Paris. Photo Aurélien Mole
  • Vues de l’exposition / Installation view “Réclamer la terre”, 14.04.22 – 04.09.22, Palais de Tokyo, Paris. Courtesy the artist & Art : Concept, Paris. Photo Aurélien Mole
  • Vues de l’exposition / Installation view “Réclamer la terre”, 14.04.22 – 04.09.22, Palais de Tokyo, Paris. Courtesy the artist & Art : Concept, Paris. Photo Aurélien Mole
  • Vue de l’exposition / Installation view, Kate Newby: Try doing anything without it, 2022, Art : Concept, Paris
  • Kate Newby, 5 minutes to everywhere, 2022, Bronze, 19,5 x 54 x 0,4 cm
  • Kate Newby, amazing all times of year, 2022. White brass, silver, found glass (Auckland), stoneware, glaze (6 pieces). Dimensions variables (6 pièces). Dimensions variables. Courtesy of the artist and Art : Concept, Paris. Photo Nicolas Brasseur
  • Try doing anything without it, 2022. Briques, pièces de monnaie, verre trouvé (Paris, Texas) / Bricks, coins, found glass (Paris, Texas). 324 x 397 cm. Produit aux / Produced at Rairies Montrieux. Courtesy of the artist and Art : Concept, Paris. Photo Nicolas Brasseur
  • Vue de l’exposition / Installation view, Kate Newby: Try doing anything without it, 2022, Art : Concept, Paris
  • Vue de l’exposition / Installation view, Kate Newby: Try doing anything without it, 2022, Art : Concept, Paris

  • Thank you for taking us along (à gauche/left), Her expression (à droite/right), 2022. Briques, mortier / Bricks, mortar. 324 x 10 x 11 cm (127 1/2 x 3 7/8 x 4 3/8 in). Produit aux / Produced at Rairies-Montrieux. Courtesy of the artist and Art : Concept, Paris. Photo Nicolas Brasseur
  • Vue de l’exposition / Installation view, Kate Newby: Try doing anything without it, 2022, Art : Concept, Paris
  • Vue de l’exposition / Installation view, Kate Newby: Try doing anything without it, 2022, Art : Concept, Paris
  • Kate Newby, Walking with a lot of people, 2022. Limoges porcelain, glass, whipping twine, woolen rope, wire, Jute, ribbon, thread, gold, bronze. Dimensions variables. Courtesy of the artist and Art : Concept, Paris. Photo Nicolas Brasseur
  • Kate Newby, Walking with a lot of people, 2022. Limoges porcelain, glass, whipping twine, woolen rope, wire, Jute, ribbon, thread, gold, bronze. Dimensions variables. Courtesy of the artist and Art : Concept, Paris. Photo Nicolas Brasseur
  • Kate Newby, Walking with a lot of people, 2022. Limoges porcelain, glass, whipping twine, woolen rope, wire, Jute, ribbon, thread, gold, bronze. Dimensions variables. Courtesy of the artist and Art : Concept, Paris. Photo Nicolas Brasseur

  • Generous and with light, 2019. Verre, corde de laine, câble / glass, wool rope, wire, dimensions variables Courtesy of the artist and Art : Concept, Paris. Photo Nicolas Brasseur

  • Generous and with light, 2019. Verre, corde de laine, câble / glass, wool rope, wire, dimensions variables Courtesy of the artist and Art : Concept, Paris. Photo Nicolas Brasseur
  • :
    Kate Newby. Grows and grows on you, 2021
    Argile, bris de verres collectés, crayon dermographique, 3700 éléments.
    Vue d’exposition / Installation view Musée d’art contemporain de Haute-Vienne – Château de Rochechouart
    photo: Aurélien Mole
  • Kate Newby, ’Sorry fingers keep going’, 2018. White brass, porcelain, silver, brass, stoneware and glaze, 8 pieces
  • Kate Newby, ‘Let me be the wind that pulls your hair’, 2017, Exhibition view (detail), Artpace, San Antonio, TX, USA
  • Kate Newby, ‘I can’t nail the days down’, 2018. Exhibition detail, Kunsthalle Wien, Vienna, Austria
  • Kate Newby, ‘I can’t nail the days down’, 2018. Exhibition detail, Kunsthalle Wien, Vienna, Austria
  • Kate Newby, ’lit by lightning’, 2019. Glass, Two parts, 9.4 x 18 x 29cm, 8.8 x 20 x 11.5cm
  • Kate Newby, ’Bring Everyone’, 2019. Glass, Dimensions vary according to site
  • Kate Newby, ‘The more I listen to it the more I love it’, 2017. Glass, beer bottles Exhibition detail, Contemporary Swedish Art Foundation, Stockholm, Sweden
  • Kate Newby, ‘Not this time, not for me’, 2017. Mortar, concrete colour, silver, white brass, porcelain, cotton rope, glass, stoneware. Exhibition detail, SculptureCenter, New York, NY, USA
  • Kate Newby, ‘Let me be the wind that pulls your hair’, 2017. Exhibition detail, Artpace, San Antonio, TX, USA
  • Kate Newby, ‘A rock in this pocket’, 2018. Bricks, glass, ceramics, metal Exhibition view, 21st Biennale of Sydney, Sydney, Australia

Biography

Kate Newby was born in Auckland, Aotearoa, New Zealand in 1979 and works in the United States where she resides. In 2015 she graduated with a PhD from the Elam School of Fine Art at the University of Auckland.

Working with a variety of media including installation, textile, ceramics, casting and glass, Newby is a sculptor who is committed to exploring and putting pressure on the limits and nature of sculpture. As such, she is interested in not only space, volume, texture and materials, but where and how sculpture happens. The handmade plays a very important role in her work ; it is not merely romantic or even retrograde, but rather the aesthetic byproduct of a position that shamelessly embraces direct experience over the mediated.

Her work has been shown at the 21st Biennale of Sydney in 2018, as well as in various institutions and galleries around the world: Te Papa Tongarewa, Museum of New Zealand, Wellington, Nouvelle-Zélande (2023); Palais de Tokyo, Paris (2022); Musée de Rochechouart (2021); Institut d’Art Contemporain Villeurbane (2019); Lumber room, Portland, Oregon (2019); Kunsthalle Vienna (2018); Kunsthaus Hamburg (2018); Index, Contemporary Swedish Art Foundation (2017); and the SculptureCenter, NY (2017).

Kate has completed residencies at: The Joan Mitchell Foundation (2019), The Chinati Foundation (2017), Artpace (2017), Fogo Island (2013), and the International Studio & Curatorial Program ISCP (2012).

She won the Walters Prize, New Zealand’s largest contemporary art prize, in 2012 and the Ettore Fico Prize (Turin, IT) in 2022.

At the gallery

Downloads

CV (pdf)Download
Press (pdf)Download

  • Vue d’exposition / Installation view Tania Pérez Córdova. Generalization, Museo Tamayo, 2022.
    Photography by Gerardo Landa and Eduardo López (GLR Estudio). Courtesy of Museo Tamayo.
  • Vue d’exposition / Installation view Tania Pérez Córdova. Generalization, Museo Tamayo, 2022.
    Photography by Gerardo Landa and Eduardo López (GLR Estudio). Courtesy of Museo Tamayo.
  • Vue d’exposition / Installation view Tania Pérez Córdova. Generalization, Museo Tamayo, 2022.
    Photography by Gerardo Landa and Eduardo López (GLR Estudio). Courtesy of Museo Tamayo.
  • Vue d’exposition / Installation view Tania Pérez Córdova. Generalization, Museo Tamayo, 2022.
    Photography by Gerardo Landa and Eduardo López (GLR Estudio). Courtesy of Museo Tamayo.
  • Vue d’exposition / Installation view Tania Pérez Córdova. Generalization, Museo Tamayo, 2022.
    Photography by Gerardo Landa and Eduardo López (GLR Estudio). Courtesy of Museo Tamayo.
  • Vue d’exposition / Installation view Tania Pérez Córdova. Generalization, Museo Tamayo, 2022.
    Photography by Gerardo Landa and Eduardo López (GLR Estudio). Courtesy of Museo Tamayo.
  • Vue d’exposition / Installation view Tania Pérez Córdova. Generalization, Museo Tamayo, 2022.
    Photography by Gerardo Landa and Eduardo López (GLR Estudio). Courtesy of Museo Tamayo.
  • Vue d’exposition / Installation view Tania Pérez Córdova. Generalization, Museo Tamayo, 2022.
    Photography by Gerardo Landa and Eduardo López (GLR Estudio). Courtesy of Museo Tamayo.
  • Vue de l’exposition/Installation view, Tania Pérez Córdova, All our explanations, Art: Concept, 2022. Courtesy of the artist & Art : Concept, Paris. Photo by: Nicolas Brasseur
  • Vue de l’exposition/Installation view, Tania Pérez Córdova, All our explanations, Art: Concept, 2022. Courtesy of the artist & Art : Concept, Paris. Photo by: Nicolas Brasseur
  • Vue de l’exposition/Installation view, Tania Pérez Córdova, All our explanations, Art: Concept, 2022. Courtesy of the artist & Art : Concept, Paris. Photo by: Nicolas Brasseur
  • Vue de l’exposition/Installation view, Tania Pérez Córdova, All our explanations, Art: Concept, 2022. Courtesy of the artist & Art : Concept, Paris. Photo by: Nicolas Brasseur
  • ania Pérez Córdova, Strelitzia, 2022, Artificial plant, stainless steel, chain, Leaf 80 x 27 x 38 cm ; chain : variable dimensions. Courtesy of the artist & Art : Concept, Paris. Photo © Nicolas Brasseur
  • The politicians are saying (Los políticos están diciendo), 2022 , Aluminium cast, water, artificial saliva, plastic irrigation system, dripping timed to a speech, 74 × 80 × 64 cm (29 ⅛ × 31 ½ × 25 ¼ inches, Courtesy of the artist & Art : Concept, Paris. Photo © Nicolas Brasseur
  • Tania Pérez Córdova, Empty days (Found dead bees, shade of 11 inches macbook air, red velvet lipstick, fragment of a plastic bag, thread, fragment of a tag, tape, paper found on wet pavement, fragment of a leaf, fragment of packing material, lettuce leaf, candy wrapping, dust, color. We didn’t need all those things we bought), 2022, Stratified glass, mixed materials, stainless steel, 140 × 80 × 3 cm (55 ⅛ × 31 ½ × 1 ⅛ inches), Courtesy of the artist & Art : Concept, Paris. Photo © Nicolas Brasseur
  • Tania Pérez Córdova, Strike (Huelga), 2018-2022, Bread cooked with cigarettes. Reenactment of a strike, 17,5 × 15 × 14 cm (6 ⅞ × 5 ⅞ × 5 ½ inches), Courtesy of the artist & Art : Concept, Paris. Photo © Nicolas Brasseur
  • Tania Pérez Córdova, Todas nuestras explicaciones, 2022, Béton coloré, glace en train de fondre, 26,5 x 38 x 9,5cm. Courtesy of the artist & Art : Concept, Paris. Photo Nicolas Brasseur
  • Tania Pérez Córdova, Small Tragedies 1 (There are dead bees on the ground, they are in extinction, I explain it to my son, whose clothes no longer fit, and have holes, other holes are made by pests, others can be handmade, it is triple filter, it is just dust, It’s blush, it’s trash, it is myopia, it is astigmatism; we didn’t need all those things we bought.), 2021, Stratified glass: reused museum window, found bees, contact lenses, fragments of clothes, receipts, leaf, blush, dust, bread crumbles, fragment of N95 mask, plastic bag, plasticine, tape, uv filter. 150 × 80 cm (59 × 31 ½ inches)
  • Tania Pérez Córdova, We Belong /We Dissent (from the series Things in Pause), 2017, marble, borrowed guitar string, 91 x 65 x 3 cm. Indus 2 exhibition view. Photo Fabrice Gousset
  • Tania Pérez Córdova, Substraction 1, 2018, Iron (Le Creuset Dutch casserole dish that has been cast, melted, and remelted in its own mold), 2 parts, pot 31 x 22 x 10 cm; lid: 24.4 x 15 cm.
  • Tania Pérez Córdova, Sincere I Non-sincere, 2018, gold facsimile necklace, obsidian, water, 26 x 44 x 13 cm. Photo Fabrice Gousset
  • Tania Pérez Córdova, Paisaje, 2018, aluminum, various materials (fragment of fence cast, melted, and recast in its own mold), dimensions variable
  • Tania Pérez Córdova, Paisaje, 2018, aluminum, various materials (fragment of fence cast, melted, and recast in its own mold), dimensions variable (detail)
  • Tania Pérez Córdova, Panorama, 2020, Professional airbrush sunless spray tan on canvas
    210 × 116 cm (82 7/10 × 45 7/10 in)
  • Tania Pérez Córdova, Voice, 2013, Borrowed sim card, porcelain, 36.5 x 25.8 cm (14 3/8 x 10 3/16 inches). Photo Claire Dorn. Courtesy of the artist, José García and Galerie Perrotin
  • Tania Pérez Córdova, installation view Daylength of a room, Kunsthalle Basel, 2018. Photo Philipp Hänger / Kunsthalle Basel
  • Tania Pérez Córdova, installation view Daylength of a room, Kunsthalle Basel, 2018. Photo Philipp Hänger / Kunsthalle Basel
  • Tania Pérez Córdova, installation view Daylength of a room, Kunsthalle Basel, 2018. Photo Philipp Hänger / Kunsthalle Basel
  • Tania Pérez Córdova, installation view Daylength of a room, Kunsthalle Basel, 2018. Photo Philipp Hänger / Kunsthalle Basel
  • Tania Pérez Córdova, Short Sight Box – Hole E, 2020, Imprint of a hole dug in a field, earth, plant roots, plaster, mesh, enamel paint, South Sea pearl, artificial pearl, 80 × 66 × 26.7 cm (31 1/2 × 26 × 10 1/2 in).
  • Tania Pérez Córdova, installation view Short Sight Box at Tina Kim Gallery. Photo Hyunjung Rhee
  • Tania Pérez Córdova, installation view Short Sight Box at Tina Kim Gallery. Photo Hyunjung Rhee

Biography

Tania Pérez Córdova (b. 1979) is a Mexican artist born in Mexico City where she lives and works. After studying at the school of Fine Arts in Mexico City, she went on to get a BA in Fine Art at Goldsmiths College in London.

Tania Pérez Córdova uses a large range of media, namely sculpture, found objects and installation, but also photography and performance, through which she explores the contextual relationship between everyday objects. The visual elements she presents are meant to be understood in the context of a larger narrative to which the titles give the keys – the artist likes to refer to her works as ‘situations’.

« Pérez Córdova layers different technologies, time periods and materials — gunpowder, cigarette ash, makeup, foam, bronze poured into sand, jewellery — to present poetic snapshots of a narrative that has already happened or might yet take place. Her elegant sculptures are questions hanging in the air, a feeling unarticulated.

In her intimate creations, vestiges of human presence can be discerned as objects are given new purposes; a medallion of melted beer cans trapped between reused window glass, a bronze cast of someone’s pocket, a coloured contact lens on marble. She often activates her sculptures through a playfully performative element such as having a person in the gallery wear the partner contact lens or earring to one in a sculpture. »*

*Text by d’Elizabeth Fullerton

Her work has been shown in solo exhibitions at Museo Tamayo in Mexico (2022-2023), Kunsthalle Basel (2018), the Museum of Contemporary Art in Chicago (2017) and soon at Sculpture Center, New York (2024). Her work is part of important public collections such as Museum of Contemporary Art Chicago/US, Tamayo Museum/MEX, Jumex Collection/MEX, San Francisco Moma/US, Cisneros Collection/US-VEN, Museo Amparo/MEX.

‘All our explanations’ showed at Art:Concept in January 2022 is her first solo exhibition in France.

At the gallery

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  • Sesquicentenial, 2017. Oil on canvas, 33 5/8 x 55 3/8 in. Public collection CNAP FR
  • Le tube téléchrome / The Telechrome Tube, 2017. Oil on canvas, 51 1/2 x 33 1/2 in. Public collection CNAP FR
  • Le tube téléchrome / The Telechrome Tube, detail, 2017. Oil on canvas, 51 1/2 x 33 1/2 in. Public collection CNAP FR
  • Calais combi, 2017. Oil on canvas, 33 1/4 x 55 1/4 in. Public collection CNAP FR
  • Maria, 2017. Oil on canvas, 29 1/2 x 51 1/8 in. Public collection CNAP FR
  • Installation view, Andrew Lewis, Vers une boîte éclairée / Crystal Palace Transmissions, 2018. Public collection CNAP FR
  • Installation view, Andrew Lewis, Vers une boîte éclairée / Crystal Palace Transmissions, 2018
  • Installation view, Andrew Lewis, Vers une boîte éclairée / Crystal Palace Transmissions, 2018
  • Sir Christopher Cam Cams, 2017. Oil on canvas, 42 7/8 x 47 3/4 in. Available
  • V.A.B (Victoria & Albert Building), 2017. Oil on canvas, 44 1/8 x 35 5/8 in. Available
  • Field studies (les études en extérieur), 2012. Oil on canvas, 20 7/8 x 39 5/8 in. Available
  • Field analysis (L’analyse en extérieur), 2012, oil on canvas, 28 x 51 in. Available
  • Dynamique de groupe (Group Dynamics), 2012, oil on canvas, 35 3/8 x 35 3/8 x 1 3/8 in. Public collection : MONA, Tasmania
  • Chez Elizabeth Wydeville (With Elizabeth Wydeville), 2012 oil on canvas, 43 1/4 x 35 3/8 x 1 3/8 in. Private collection FR
  • Chords of Affection, 2010. Mixed media, 74 3/4 x 82 5/8 x 31 7/8 in. Available
  • Hoedown, 2009, oil on wood and pastel, 36 1/4 x 51 5/8 in. Private collection NL
  • L’avenir sera banal, 2009. Pastel and oil on wood, 55 1/8 x 32 1/4 in. Private collection NL
  • Félicité, 2009, Pastel and oil-paint on wood panel, 53 3/4 x 37 1/4 in. Private collection NL
  • Venus et Apollo, 2009. Oil on wood panel, 10 5/8 x 17 3/4 in. Private collection FR
  • Couronne impériale, 2005. Diptych, digital print laminated on aluminum, 31 1/2 x 45 1/4 in. Available
  • Couronne impériale, 2005. Diptych, digital print laminated on aluminum, 31 1/2 x 45 1/4 in. Available
  • Sur rendez-vous, 2005, C-print on aluminium, 45 1/4 x 31 1/2 in., ed 8. Available
  • Les objets tendres, 2005. C-print on aluminium, 31 1/2 x 45 1/4 in. Available
  • Pas même mes rêves satisfont les vrais besoins de mon coeur, 2005, C-print on aluminium, 45 1/4 x 31 1/2 in., ed 8. Available
  • Installation view, Points de vues, Musée Départemental d’Art Contemporain, Rochechouart, 2005
  • Installation view, Points de vues, Musée Départemental d’Art Contemporain, Rochechouart, 2005
  • Futur Centre d’Espace International, 2003, charcoal pencil on paper, 47 1/4 x 31 1/2 in. Available
  • L’igloo, 2003. Charcoal pencil on paper, 31 1/2 x 47 1/4 in. Private collection CH
  • La grande muraille de Chine, 2003. Charcoal pencil on paper. Private collection FR
  • La pagode (Chine), 2003. Charcoal pencil on paper, 31 1/2 x 47 1/4 in. Available
  • Le château fort, 2003. Charcoal pencil on paper, 31 1/2 x 47 1/4 in. Available
  • Lutte d’espace, 2003, cardboard, wood, 78 3/4 x 70 7/8 x 63 in. Public collection: FRAC ALSACE FR
  • Sasha, 1993. Cardboard, 17 x 19 x 19 in. Private collection IT

Biography

Born in 1968 in London, Andrew Lewis lives and works in Argenton-sur-Creuse. He develops the idea of interaction between characters both human or sculpted and their immediate environment, which tends to create a group dynamic. His works show all the innovation and ingenuity that we’ve had to use to develop within the bosom of society which in turn has begun to function like an organism abolishing its own privileges, thus breaking the codes that it had eagerly created not so long before. Andrew Lewis intends to make an original synthesis between the painterly transposition of calm and hieratic characters and time in its most fleeing, mobile and evolving aspects. His figures evoke Robert Musil’s ones. They are men and woman without evident “qualities” who, once freed of the sediments of their own milieu and epoch, become extremely sensitive to all experiments and act as a sort of trans-historic multiple conscience.

His work is present in the following institutions: Arts Council Collection, London; Stedelijk Museum, Amsterdam; FRAC Alsace, Sélestat; FRAC Limousin, Limoges. Exhibitions: Vers une boîte éclairée / Crystal Palace Transmissions, Art:Concept, Paris (2016); Les filtres harmoniques, Art:Concept (2012); Archi-Peinture, Le Plateau/Frac Ile-de-France, Paris & Camden Arts Center, London (2006).

He recently has been part of the following group shows: Abbaye Saint-André, Centre d’Art Contemporain, Meymac/FR; Monument, FRAC Alsace, Sélestat/FR.

At the Gallery

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  • TB103 (autumn), 2018 watercolour, pencil and india ink 62 x 43 in. framed: 64 3/8 x 45 3/8 in.
  • TB103 (winter), 2018 watercolour, pencil and india ink 62 x 43 in. framed: 64 3/8 x 45 3/8 in.
  • TB103 (spring), 2018 watercolour, pencil and india ink 62 x 43 in. framed: 64 3/8 x 45 3/8 in.
  • TB103 (summer), 2018 watercolour, pencil and india ink 62 x 43 in. framed: 64 3/8 x 45 3/8 in.
  • La Tour Cuisine, 2018 bronze 14 1/8 x 14 1/8 x 24 3/4 in. ed 1/3 + 2 AP
  • La Tour Cuisine, 2018 bronze 14 1/8 x 14 1/8 x 24 3/4 in. ed 1/3 + 2 AP
  • La Tour Cuisine, 2018 bronze 14 1/8 x 14 1/8 x 24 3/4 in. ed 1/3 + 2 AP
  • La Tour Cuisine, 2018 bronze 14 1/8 x 14 1/8 x 24 3/4 in. ed 1/3 + 2 AP
  • La Tour Maquette, 2018 bronze 12 x 12 x 17 3/4 in. ed 1/3 + 2 AP
  • La Tour Maquette, 2018 bronze 12 x 12 x 17 3/4 in. ed 1/3 + 2 AP
  • TB56, 2017 watercolor and ink on paper 21 7/8 x 15 3/8 in. framed: 23 1/8 x 16 5/8 in.
  • TB15, 2017 paint and india ink on paper 17 1/2 x 14 1/2 in. framed: 18 3/4 x 15 3/4 in.
  • TB68, 2017 india ink on paper 28 1/2 x 43 1/4 in. framed: 29 3/8 x 44 5/8 in.
  • TB102, 2018 watercolor and inkjet on paper 7 3/8 x 14 3/8 in. framed: 8 5/8 x 15 1/2 in.
  • Exhibition view, The Chorus, Art : Concept, Paris, 2014
  • Exhibition view, The Chorus, Art : Concept, Paris, 2014
  • Front Page, 2013, giclee and watercolour on paper, 16 3/8 x 11 1/4 in.
  • Business, 2013, watercolour on paper, 16 3/8 x 22 1/2 in.
  • Harry Foulbreech, 2013, bronze, silver leaf, 17 3/4 x 9 1/2 x 9 7/8 in.
  • Bullen, 2013, bronze, 17 3/8 x 9 7/8 x 10 1/4 in.
  • The Humans, performance, Rotterdamse Schouwburg, Rotterdam, 2013
  • The Miracle (Manna from Heaven), 2013, watercolour, pencil on inkjet ultrachrome archival print, collage, 47 1/4 x 31 1/2 in.
  • Installation view, Assembly Instructions: The Pledge, The Drawing Center, New York, 2013
  • Installation view, Assembly Instructions: The Pledge, The Drawing Center, New York, 2013
  • The School for Objects Criticized, 2010, mixed media, sound, dimensions variable
  • The School for Objects Criticized (detail), 2010, mixed media, sound, dimensions variable
  • Dynasty, Palais de Tokyo & Musée d’Art moderne de la ville de Paris, 2010, ©P.Antoine
  • The Economist (EmoTion Chest), 2007, collage of cuts from «The Economist» on chipboard and clip-framed, 25 x 36 x 1 5/8 in.
  • The Economist (EmoTion Chest), 2007, collage of cuts from «The Economist» on chipboard and clip-framed, 25 x 36 x 1 5/8 in.

Biography

Born in 1980 in Bordeaux, Alexandre Singh lives and works in Paris and New York.

In 2012 he was awarded the Meurice prize for Contemporary Art. His work is characterized by a protean nature, evolving between writing, performance, collage, installation and sculpture. Far from creating hermetism, all these different practices work together to constitute a complete oeuvre that questions the human nature, its genesis, its defects as well as the multiplicity of its facets. The artist’s references are just as eclectic and vast; giving birth to characters and stories indistinctively inherited from popular culture – the advertising and television world – and the classical dramatic repertoire (Molière), as well as ancient Greek comedy (Aristophanes). This assemblage of images and references evokes his early collage series The Economist (2006) and Assembly Instructions (2008-2011), series that drew their sources as much from Montaigne’s Essais as from Ikea catalogs. In 2012 he directed his first play, The Humans, developed during his residency at the Witte de With and presented at the Rotterdamse Schouwburg, as well as at the Brooklyn Academy of Music in New York and at the 2014 Avignon Festival.

His work can be found in the collections of several institutions such as the National Centre for the Visual Arts Paris, the FRAC Pays de la Loire (Carquefou, France), the Solomon R. Guggenheim Museum and New York’s Museum of Modern Art.

Recently, several solo exhibitions have been dedicated to his work both in Europe and in the United States; in 2011 he presented his The School of Objects Criticized at the Palais de Tokyo (Paris) – (originally shown at the New Museum in New York in 2010 ) – and Assembly Instructions: The Pledge at Monitor Gallery (Rome) and Art : Concept (Paris), (also shown at the Drawing Center (New York) in 2013). That same year he presented The Humans at Metro Pictures (New York) then at Sprüth Magers, London, in 2014. In 2019 he presented a monographic exhibition at the Fine Arts Museums of San Francisco (California).

At the gallery

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