Biography

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

Kate Newby creates sculptures and installations using a variety of media including ceramics, glass and textiles. By incorporating discarded everyday objects (cigarette butts, coins, broken glass), she magnifies the prosaic by giving it new form and space, from the minuscule to the monumental. Her interventions are unique and site-specific, playing with their luminosity, their spatiality and their original use. The artist interferes in these places with handmade works, transforming raw materials into bricks, candlesticks or windows and invites the spectators to come closer to better (re)discover their textures and details.

Her work has been shown at the 21st Biennale of Sydney in 2018, as well as in various institutions and galleries around the world: at the Institute of Contemporary Art in Villeurbane (2019), Kunsthalle Vienna (2018) and Index, Contemporary Swedish Art Foundation (2017). In 2012 she won the Walters Prize, New Zealand’s largest contemporary art prize.

At the gallery

  • Indus 2, Group show, 2019
  • Upcoming, Solo show, 2022

Downloads

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.

Her work has been shown in solo exhibitions at Kunsthalle Basel (2018), the Museum of Contemporary Art in Chicago (2017) and the Tamayo Museum in Mexico City (2016) amongst others.

She will have her first solo exhibition in France at Art:Concept in January 2022.

At the gallery

Video

Downloads

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).

At the Gallery

Downloads

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

Videos

Downloads

Biography

Jeremy Deller was born in 1966 and lives and works in London.

Much of Deller’s work is collaborative; it has a strong political aspect, in the subjects dealt with and also the devaluation of artistic ego through the involvement of other people in the creative process. The great strength of Jeremy Deller’s artworks is that they directly raise the question of the sacredness and untouchability of spaces, social codes and emblems of power and even more so of political, economic and religious powers. Whether it’s stepping on Stonehenge’s sacred ground, jumping on it or highlighting popular culture, evoking music fans or the British, it’s all about mass creative power. Rather than fearing or suffering the powers in place, it results in a confrontation between history, culture and heritage. The work of Jeremy Deller is to be experienced by all and for all, he invites us to create a participatory work where everyone has a role to play. His artworks, trans-historical and partisan of free expression as a vector of values ​​and meaning, initiate a dialogue between cultures, people, the past, the present and what could be the future. In a society that claims to open up access to culture and continues to provide a model to follow on what is culturally and intellectually acceptable from what is not, Deller gets away and plays with these societal stereotypes by focusing on subcultures, folklore, people.

He won the Turner Prize in 2004, and in 2010 was awarded the Albert Medal of the Royal Society for the encouragement of Arts, Manufactures & Commerce (RSA). His work is present, among others, in the following institutions: FNAC, Paris; FRAC Nord-Pas-De-Calais; FRAC Pays de la Loire; FRAC Provence-Alpes-Côte d’Azur, Musée des Arts Contemporains, Grand-Hornu; Tate Modern, London; Victoria & Albert Museum, London. Exhibitions include : Wir haben die Schnauze voll, Bonner Kunstverein, Bonn/DE (2020); Everybody In The Place, The Modern Institute, Glasgow/UK (2019); English Magic, British Pavilion, 55th Venice Biennale/IT (2013); Sacrilege, Esplanade des Invalides, Projet Hors les Murs, FIAC Paris/FR (2012); Joy In People, Hayward Gallery, London/UK (2012); D’une révolution à l’autre, Carte Blanche à Jeremy Deller, Palais de Tokyo, Paris/FR (2008).

At the gallery

Video

Links

Artist’s website

Downloads

Biography

Vidya Gastaldon was born in 1974 in Besançon. She lives and works in Brénod, France.

With her mystical, fantastical and extremely vivid approach to art, Vidya Gastaldon develops a sort of harmonisation of qualities both spiritual and physical. Allergic to any attempt to control and restrain her universe, she delivers a cosmic overview combining Hindi divinities, Muppet-Show characters and Christian references. Her work, reminiscent of artists such as Turner, Burchfield, Blake or Bunuel, is extremely multi faced and deals with the divine, the hallucinatory but also with everyday life. In a mixture of sacred, sensual, tongue-in-cheek and sometimes provocative creations, she manages to establish a connection between “being” and “meant to be”. She engenders new beliefs, and by means of negative and positive impulses she pushes social unconsciousness out of the way, liberating our collective thought of the predefined egregores that oblige us to keep reproducing spiritual and social patterns.

Her work is part of the following collections: Wilhelm Hack Museum, Ludwigshafen am Rhein; Musée des Beaux-Arts, Brest; Fonds Municipal d’Art Contemporain, Geneva; Jenisch Museum, Vevey; Kunst Museum Bern; Fonds National d’Art Contemporain, Paris; Collection Région Piémont, Turin; Kadist Art Foundation, Paris; MAMCO, Geneva; Musée National d’Art Moderne – Centre Pompidou, Paris.

Selected solo exhibitions: J’aurais voulu qu’on s’aime tous, Wide, Genève (2020), Objets peints au feu de bois, Art : Concept, Paris (2019); Push the earth with your knees, the sky with your head, Art Bärtschi & Cie, Geneva (2017); Les Rescapés, Musée de l’Abbaye Sainte-Croix, Les Sables d’Olonne; Hello From the Other Side, Art : Concept, Paris (2016); Tu es Monstrueux et je t’aime beaucoup, MAMCO, Geneva (2012); Domaine de Kerguehennec, Bignan (2009), among others. In 2019 her work was part of the group exhibition ‘Futur, ancien, fugitif’ at the Palais de Tokyo, Paris.

At the gallery

Video

Links

Artist’s website

Downloads

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 recognised 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

Biography

Lothar Hempel was born in 1966 in Cologne where he lives and works.
He draws his inspiration from German history as well as from Californian New-Wave, Greek tragedy, pagan culture, music and cinema. His interest doesn’t reside in references as such: taking images for what they are or for what they convey in contemporary western culture is not his main concern. Rather, he seeks a re-appropriation akin to a way of seizing reality to make it circulate in his universe. His works are densely emotional, and instead of relinquishing themselves from the start in the form of a concept, they make us face lost or forgotten memories which we feel we could recover from one second to the other, thus engendering a multiplicity of individual interpretative possibilities and creating paths between dream and reality. Lothar Hempel creates a cosmogony – complete with characters, objects and environment – in which verbal and visual intermingle and by which previously distinct media clash in an almost violent way.

Recent solo shows include Le Terrain Vague, Stuart Shave / Modern Art, London (2018); Oral Heart, Anton kern gallery, New York (2017); Sex and the City, Art : Concept, Paris (2016); Working Girl, Sies + Höke, Düsseldorf (2016); Tropenkoller, Modern Art, London (2015).

At the gallery

Downloads

Biography

The universe of Corentin Grossman mixes various iconographic influences, from medieval painting to popular arts, images of record sleeves, to 3D modeling products. From Jérôme Bosch to Brueghel, the Elder marked the artist, who often likes to develop compositions in which a multitude of disparate elements are arranged. If the surreal and dreamlike dimension seems obvious, his work is also anchored in reality, woven with references to current events such as the earthquake which struck Haiti in 2011, or more generally the phenomena related to globalization.*

“If I refer to a local, partial, tiny, or very short reality, it is better to register it in the interdependent and infinitely complex movements of the countless elements that make up our cosmos. The ambiguity of the approach also lies in this thought, the structuring tendency of which is doomed to failure in advance. It can be a question, not without humor, of the lightest and most serious thing at the same time. Relating them to eachother, without any hierarchy, is a poetry that I like.” – Corentin Grossmann

Corentin Grossmann’s work has been presented in the following institutions: Wiels, Bruxelles/BE (2021); Centre Pompidou, Metz/FR (2020); le Palais de Tokyo, Paris/FR (2019-2020); Les Magasins Généraux, Pantin/FR (2019); CAC – la synagogue de Delme, Delme/FR (2018); Le 19, CRAC, Montbéliard/FR (2016); Consortium, Dijon/FR (2012); la Fondation Ricard, Paris/FR (2011); Musée des Beaux-arts de Nancy, Nancy/FR (2010). Recent solo exhibitions include: Corentin Grossmann, curated by Cay-Sophie Rabinowitz, OSMOS, New York/us (2019); La Tentation du Sens, Galerie Jean Roch Dard, Paris/FR (2014); Grey Flags, Galerie Backslash, Paris/FR (2014); Notre Monde, Galerie Jean Roch Dard, Paris/FR (2011).

*Text from catalogue Futures of Love, Édition Magasins généraux, Paris, 2019.

At the gallery

Links

Artist’s website

Downloads

Biography

Philippe Perrot’s paintings are always about family. But he constantly interrupts the narrative function of the image, with each canvas suggesting various skits without reality divulging any family secrets. Nevertheless, his singular way of painting the signs and images suggests something of their weight and their influence on the organisation of pictorial space. The varying effects of scale contribute to altering the latter’s homogeneity. The point is to disconcert the viewer’s gaze and make them seek new reference points and follow aleatory lines of thought. It is by maintaining a permanent non-resemblance between the signs and their signification, creating a disjunction between the image and its referent, that this challenge the viewer attains its full meaning.
(Evence Verdier / Translation : L.S Torgoff).

The work of Philippe Perrot (Paris, 1967 – Paris, 2015) is present, among others, in the following institutions: MOCA, Los Angeles; Frissimas Museum, Athènes; FRAC Ile de France, Paris; FMAC Ivry syr Seine; CCCG, Gennevilliers. Exhibitions: Art:Concept, Paris (2004); Le monde vous appartient, Palazzo Grassi, Venise (2011); Rosa et Carlos de la Cruz, Miami (2007).

At the gallery

Videos

Downloads