Anthony D Green, Absolute Redundancy, 2023. Peinture acrylique et encre sur toile 141,1 × 100 × 3 cm (55 ½ × 39 ⅜ × 1 ⅛ inches)/ Acrylic paint and ink on canvas, 141,1 × 100 × 3 cm (55 ½ × 39 ⅜ × 1 ⅛ inches). Courtesy the Artist and Art : Concept, Paris. Photo Romain DarnaudAnthony D Green, Absolute Redundancy, 2023. Peinture acrylique et encre sur toile / Acrylic paint and ink on canvas, 141,1 × 100 × 3 cm (55 ½ × 39 ⅜ × 1 ⅛ inches). Courtesy the Artist and Art : Concept, Paris. Photo Romain DarnaudAnthony D Green, Absolute Redundancy, 2023. Peinture acrylique et encre sur toile / Acrylic paint and ink on canvas, 116,9 × 69,9 × 3 cm (46 × 27 ½ × 1 ⅛ inches). Courtesy the Artist and Art : Concept, Paris. Photo Romain DarnaudAnthony D Green, Absolute Redundancy, 2023. Peinture acrylique et encre sur toile / Acrylic paint and ink on canvas, 116,9 × 69,9 × 3 cm (46 × 27 ½ × 1 ⅛ inches). Courtesy the Artist and Art : Concept, Paris. Photo Romain Darnaud. Collection privée / Private collectionAnthony 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 DarnaudAnthony 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 DarnaudAnthony 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 DarnaudAnthony 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 DarnaudVue d’installation / Installation view, Anthony D Green, Lifestyle, Art : Concept, Paris, 2022-2023. Courtesy the artist and Art : Concept, ParisVue d’installation / Installation view, Anthony D Green, Lifestyle, Art : Concept, Paris, 2022-2023. Courtesy the artist and Art : Concept, ParisVue d’installation / Installation view, Anthony D Green, Lifestyle, Art : Concept, Paris, 2022-2023. Courtesy the artist and Art : Concept, ParisVue d’installation / Installation view, Anthony D Green, Lifestyle, Art : Concept, Paris, 2022-2023. Courtesy the artist and Art : Concept, ParisAnthony 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 DarnaudAnthony 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 DarnaudAnthony 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 DarnaudAnthony 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 DarnaudVue du stand / Booth view Neue Alte Brüecke, with Magnus Andersen, Will Benedict, Liz Craft, Bradley Davies, FIAC 2018, Paris/FRVue d’installation | Installation view Exercices in Style, Exhibition view A plus A, Venice/IT, 2019Anthony D Green, Aaanother Stroll, 2018. Mixed media. 200 × 150 cm (78 ¾ × 59 inches). Courtesy the Artist and Art : Concept, Paris.Anthony D. Green, ‘The Face’, 2018 via Neue Alte Brücke | Galleries 2018Anthony 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 ears, 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.
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: Künstlerhaus Markoberdorf /DE (2025), Visual, Carlow/IR, Museum Lothar Fischer, Neumarkt in der Oberpfalz/DE, Neues Museum, Nürnberg/DE (2023); Centre d’art Pasquart/CH (2022); Kunstmuseum Ravensburg/DE (2021); CAPC, Bordeaux/FR (2020), 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).
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 was presented at the City of Paris Museum of Modern Art in 2020-2021. 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
Hubert Duprat, Les cahiers du Musée national d’art moderne n°163, Sous la direction de Jean-Pierre Criqui, Éditions du Centre Pompidou, 2023 19 x 26 cm. 112 pages EAN 9782844269508 Hubert Duprat, 2020 Catalogue d’exposition / Exhibition catalog Éditions Paris Musées, Paris 21,3 x 30. 176 pages EAN : 9782759604791Hubert Duprat, Miroir du Trichoptère -The Caddisfly’s Mirror, 2020 Fage Editions (with the support of Fondation Antoine de Galbert) Edition bilingue français-anglais 23 x 34 cm. 628 pages, 1 000 illustrations ISBN : 978 2 84975 628 7VOLOS, Hubert Duprat, 2019 Fage éditions 11,5 x 16,5 cm. 64 pages ISBN : 9782849755334 Hubert Duprat. Le Jour Est Entré Dans La Nuit, Éditions les Pérégrines, 2015 13 x 21 cm. 80 pages ISBN: 9791025200803Hubert Duprat, massive centrale, 2011 Silvana Editoriale 27 x 18.5. 120 pages ISBN : 9788836620074Hubert Duprat, 1992 [Exposition du 10 juin au 4 oct. 1992, Hôtel Saint Simon, Angoulême] Fonds Régional d’Art Contemporain Poitou-Charentes 62 pages Référence RO80257662
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, 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, 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, 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, 2003-05-18-L’intrus (Espaces critiques), 2003. Acrylique sur papier / Acrylic on paper. 90 × 130 cm (35 ⅜ × 51 ⅛ inches).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 II, FRAC des Pays de la Loire, Carquefou FR, 2012. Le Clos du Pair. Accord de six, 1994. Acrylique sur toile / Acrylic on canvas. 6 x (130 x 195 cm) – (51 ⅛ × 76 ¾ inches).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, 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.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 KalkkinenJean-Michel Sanejouand, Accord de deux, 10/4.89, (Peintures en noir et blanc)1, 989 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 KalkkinenVue d’exposition / Installation view – Rétrospectivement I, Hab galerie, Nantes FR, 2012.Vue d’exposition / Installation view – Rétrospectivement I, Hab galerie, Nantes FR, 2012. La suite en 15, 11.5.87-17.1.88. Polyptyque Acrylique sur toile / Acrylic on canvas. 15 x (130 × 97 cm) – (51 ⅛ × 38 ¼ in.)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, 7.10.78 (Espaces-Peintures), 1978. Acrylique sur toile/ Acrylic on canvas. 89 × 116 cm (35 × 45 ⅝ inches). Photo: Dorine PotelJean-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 10.07.1982, 1982. Acrylique et vinylique sur toile / Acrylic and vinylic on canvas. 260 × 195 cm (102 ⅜ × 76 ¾ in.). Photo Ludovic SanejouandJean-Michel Sanejouand, Espace-Peinture 21.08.1982, 1982. Acrylique et vinylique sur toile / Acrylic and vinylic on canvas 130 × 195 cm (51 ⅛ × 76 ¾ inches).Photo Ludovic SanejouandJean-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.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, 2022Jean-Michel Sanejouand, Calligraphie d’humeur, 1974. Encre de Chine sur toile / China ink on canvas. 90 x 190 cm (35 ⁷/₁₆ x 74 ⁵¹/₆₄ in.). Photo: Dorine PotelJean-Michel Sanejouand, Calligraphie d’humeur, 1974. Encre de Chine sur toile / China ink on canvas. 90 x 190 cm (35 ⁷/₁₆ x 74 ⁵¹/₆₄ in.). Photo: Dorine PotelJean-Michel Sanejouand, Calligraphie d’humeur, 1974. Encre de Chine sur toile / China ink on canvas. 90 x 190 cm (35 ⁷/₁₆ x 74 ⁵¹/₆₄ in.). Photo: Dorine PotelJean-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.). Still from the film produced during the : Un Nouveau festival 2015 : Air de jeu, Centre Pompidou, Paris/FR, 2015Jean-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.) Still from the film produced during the : Un Nouveau festival 2015 : Air de jeu, Centre Pompidou, Paris/FR, 2015Jean-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 I, Hab galerie, Nantes 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. Coll Centre Pompidou – Musée National d’Art ModerneJean-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, Porte-Boules, 1963. Cailloux peints, cuir / Stone, acrylic, leather, 7 × 25 cm (2 3/4 x 9 7/8 in.)Vue d’exposition/ Installation view -Jean-Michel Sanejouand, Charges-Objets, Mamco, Genève/CH, 2015Vue d’exposition/ Installation view – Unlimited: Painting in France in the 1960s & 1970s, Philadelphia Museum of Art, Philadelphia/US, 2017 On the left : Toile de bâche à rayures et châssis bois, 1964 (Charges-Objets) toile de bâche, châssis bois 162 × 130 cm (63 ¾ × 51 ⅛ inches). Coll Philadelphia Museum of Art
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).
Jean-Michel Sanejouand -Rétrospectivement…, Texte de Anne Tronche et de Julie Portier, édition Skira / Flammarion, 2012Jean-Michel Sanejouand, rétrospective 1963-1995, Paris, Musée National d’Art Moderne, Centre Georges Pompidou, textes de François Barré, Robert Fleck, Germain Viatte et de Fabrice Hergott, 1995Jean-Michel Sanejouand : Espaces-Peintures 1978-1986, Musée d’Art Moderne, Villeneuve-d’Ascq, textes de Joëlle Pijaudier et de Michel Enrici, 1991
Pierre Bellot, 1999, 2023. Huile sur toile / Oil on canvas. 113 × 160 cm (44 ½ × 63 inches) Courtesy the Artist and Art : Concept, Paris.Vue d’exposition / Installation view Olio e pepe, Art : Concept, Paris, 2024. Courtesy the Artists and Art : Concept, Paris. Photo Romain DarnaudVue 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, La cascade, 2023. Huile sur toile / Oil on canvas. 100 × 80 cm (39 ⅜ × 31 ½ inches). Courtesy the Artist and Art : Concept, Paris. Photo Romain DarnaudVue 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, Les objets parlent, 2022. Huile sur toile / Oil on canvas. 190 × 230 cm (74 3/4 × 90 1/2 inches). 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 (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 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, 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 DornVue d’exposition / Installation view Les Pavillons, Art : Concept, 2021. Courtesy the artist and Art : Concept Paris. Photo Claire DornVue d’exposition / Installation view Les Pavillons, Art : Concept, 2021. Courtesy the artist and Art : Concept Paris. Photo Claire DornPierre 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 DarnaudPierre 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 DarnaudPierre 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 DarnaudPierre 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 DarnaudPierre 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 DarnaudVue d’exposition / Installation view Bonjour, Galerie du Crous, Paris, juin 2019. Photo Romain Darnaud
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.
Vue de l’exposition / Installation view, Lobody noves me, Fondation Ricard, Paris, 2020.Curator: Eric TroncyBush, bottes rouges, 2020 acrylique phosphorescente et huile sur toile / phosphorescent acrylic and oil on canvas, 250 x 180 cm. Collection MAC VAL / FRJane (grosse tête),2019 huile sur toile / oil on canvas, 250 x 180 cm, collection Musée d’Art Moderne, ParisGilet bleu, 2019 huile sur toile / oil on canvas, 24 x 41 cmFlashed, 2022 huile sur toile 81 × 130 cm (31 ⅞ × 51 ⅛ inches). Courtesy the Artist and Art : Concept, Paris. Photo Romain DarnaudGenoux serrés et Bad genoux serrés, 2020, acrylique phosphorescent et huile sur toile, 190 x 140 cm chaque. Don de Laurent Dumas avec le support des amis du Centre Pompidou, 2023. Collection Centre Pompidou, Paris Musée d’art moderne. Vue de l’exposition La Haute note jaune, Fondation Vincent van Gogh Arles, Arles, 2024 – 2025. Photo : François DeladerrièreLes 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 de l’exposition / Installation view Le rideau vert, Nouvelles vagues, Palais de Tokyo, Paris, 2013Vue de l’exposition / Installation view La haine de la peinture, Détail et destin, MAMCO, Geneva/CH, 2009
Biography
Nina Childress is a painter born in 1961 in Pasadena (California, USA). She lives and works 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.
Recently, her work has been shown in several institutions such as Centre Pompidou Metz (2025), Musée National d’Art Moderne – Centre Pompidou, Paris (2023/2024); FRAC Ile-de-France, Romainville (2023); La Cinémathèque française, Paris and MAC VAL, Vitry-sur-Seine (2022); MAMCO, Geneva (2021); Musée d’Art Moderne de Paris (2020). The Musée des Beaux-Arts de La-Chaux-de-Fond devoted a major exhibition to her work in 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 Nouvelle-Aquitaine MÉCA. 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. In June 2025, she was inducted into the Académie des Beaux-Arts as a member of the painting section.
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.
Nina Childress, 1081 peintures et Une Autobiographie de Nina Childress par Fabienne Radi, 2021 Co-éditeurs : Beaux-Arts de Paris éditions, Frac Nouvelle Aquitaine Méca, Galerie Bernard Jordan éditions, Paris Monographie de 750 pages avec plus de 1 400 illustrations. Biographie de 246 pages avec 150 petites photos noir et blanc. Ces deux livres séparés de même format (17 x 24 cm) sont réunis par un élastique en silicone vert. 998 pages ISBN : 978-2-84056-829-2 Nina Childress. Tableaux fluo – 2013-2016, 2016 Textes de Vanina Géré et Ramon Tio Bellido Edition Galerie Bernard Jordan, Paris, Les Presses du Réel, Dijon Publié par la Galerie Bernard Jordan, avec Le Parvis et le Carré 16,5 x 24,5 cm (broché), 104 pages (ill. coul. et n&b) ISBN : 978-2-917120-06-4 Nina Childress, Tableaux, 2008 Textes de Carole Boulbès, Vincent Labaume, Yannick Miloux, Véronique Pittolo Co-éditeurs : Frac Languedoc-Roussillon, Frac Limousin et galerie Bernard Jordan. Distribution Sémiose éditions Bilingue français / allemand 16.4 x 1 x 24.6 cm, 127 pages ISBN : 978-2915199338
Kate Newby was born in Auckland, Aotearoa, 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.
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. Consisting of site-specific projets that form relationships with locations througt actions, Kate Newby’s work engages with a wide range of situations using everyday actions and materials in order to displace and challenge how contemporary art is exhibited, viewed, and archived.
Her work has been shown at the 21st Biennale of Sydney in 2018, as well as in various institutions and galleries around the world: Sharjah Bienniale (2025), Fondation Hermès and Mori Art Museum in Tokyo, Japan (2023/2024), at Blaffer Art Museum, Houston, Texas, US (2023), 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.
Kate Newby YES TOMORROW. Published by Te Pātaka Toi Adam Art Gallery at Te Herenga Waka—Victoria University of Wellington, 2021, 216 pagesKate NEWBY Pocket Works, Michael Lett Books. Authors: Sara Jaffe, Jennifer Kabat, Sarah Miller Meigs, Eileen Myles, Sarah Sentilles, Stephanie Snyder and Kyle Dancewicz. Published by lumber room, Portland, 2019, 102 pagesKate Newby, Let the other thing in, Edité par Rosemary Heather et Nicolaus Schafhausen. Contributions de Paul Dean, Jennifer Kabat, Mami Kataoka, Kate Newby, Daniel Wong, 2013, 144 pages
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 Sculpture Center, New York (2023), Museo Tamayo, Mexico (2022-2023), Kunsthalle Basel (2018), the Museum of Contemporary Art in Chicago (2017). 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.
Tania Pérez Córdova, Generalization. Introduction with text by Humberto Moro. Text by Magalí Arriola, Elena Filipovic, Gregory R Miller & Company, 2024Tania Pérez Córdova, Smoke, nearby. Text : José Esparza Chong Cuy. Ed. Museum of Contemporary Art, Chicago, 2017
Andrew Lewis, Au bord du ruisseau, Ved Gjaetle-Bekken, By the brook, 2023. Huile sur toile / Oil on canvas. 58,5 × 124 cm (23 × 48 ⅞ inches). Courtesy the Artist and Art : Concept, Paris. Photo Romain DarnaudPas seulement, mais Aussi, 2023 Huile sur toile 71,4 × 151,9 cm (28 ⅛ × 59 ¾ inches)Andrew Lewis, C’est qui Denise ? – Who’s Denise please?, 2023. Huile sur toile / Oil on canvas. 103 × 138,2 cm (40 ½ × 54 ⅜ inches). Courtesy the Artist and Art : Concept, Paris. Photo Romain DarnaudAndrew Lewis, A quelques pas du Viel Ebeuf, not far from the Viel Ebeuf, 2023. Huile sur toile / Oil on canvas. 73 × 151,6 cm (28 ¾ × 59 ⅝ inches). Courtesy the Artist and Art : Concept, Paris. Photo Romain DarnaudAndrew Lewis, Vous savez qu’elles se rattraperont, They’ll get their own back you know, 2023. Huile sur toile / Oil on canvas. 148,4 × 110,2 cm (58 ⅜ × 43 ⅜ inches). Courtesy the Artist and Art : Concept, Paris. Photo Romain DarnaudAu Bonheur des femmes, 2023 Huile sur toile 83 × 138,4 cm (32 ⅝ × 54 ½ inches)Vue d’exposition / Installation view Andrew Lewis, Au Bonheur des femmes, 2023. Art : Concept, Paris. Courtesy the Artist and Art : Concept, ParisVue d’exposition / Installation view Andrew Lewis, Au Bonheur des femmes, 2023. Art : Concept, Paris. Courtesy the Artist and Art : Concept, ParisVue d’exposition / Installation view Andrew Lewis, Au Bonheur des femmes, 2023. Art : Concept, Paris. Courtesy the Artist and Art : Concept, ParisVue d’exposition / Installation view Andrew Lewis, Au Bonheur des femmes, 2023. Art : Concept, Paris. Courtesy the Artist and Art : Concept, ParisSesquicentenial, 2017, huile sur toile, 85,4 x 140,7 cm. Collection publique : CNAP FRMaria, 2017, huile sur toile, 74,9 x 130 cm. Collection publique : CNAP FR Le tube téléchrome / The Telechrome Tube, 2017, huile sur toile, 130,8 x 85,2 cm. Collection publique : CNAP FRV.A.B (Victoria & Albert Building), 2017, huile sur toile, 112 x 90,6 cm. Disponible Vue d’exposition, Andrew Lewis, Vers une boîte éclairée / Crystal Palace Transmissions, 2018Vue d’exposition, Andrew Lewis, Vers une boîte éclairée / Crystal Palace Transmissions, 2018Vue d’exposition, Andrew Lewis, Vers une boîte éclairée / Crystal Palace Transmissions, 2018Sir Christopher Cam Cams, 2017, huile sur toile, 108,8 x 121,3 cm. Disponible Field studies (les études en extérieur), 2012, huile sur toile, 53 x 100,5 cm. Disponible Field analysis (L’analyse en extérieur), 2012, huile sur toile, 71,2 x 129,5 cm, DisponibleChez Elizabeth Wydeville (With Elizabeth Wydeville), 2012 huile sur toile, 110 x 90 x 3,50 cm. Collection privée FRDynamique de groupe (Group Dynamics), 2012, huile sur toile, 90 x 90 x 3,5 cm. Collection publique : MONA, TasmanieChords of Affection, 2010, techniques mixtes, 190 x 210 x 81 cm. Disponible Félicité, 2009, pastel et huile sur bois 136,5 x 94,5 cm. Collection privée NLL’avenir sera banal, 2009, crayon et huile sur bois, 140 x 82 cm. Collection privée NL Sur rendez-vous, 2005, tirage numérique contre-collé sur aluminium 115 x 80 cm, ed 8. DisponibleL’avenir sera banal, 2009, crayon et huile sur bois, 140 x 82 cm. Collection privée NLHoedown, 2009, pastel et huile sur bois, 92 x 131 cm. Collection privée NLCouronne impériale, 2005, diptyque, tirage numérique contre-collé sur aluminium, 80 x 115 cm. DisponibleLes objets tendres, 2005, tirage numérique contre-collé sur aluminium, 80 x 115 cm. Disponible Pas même mes rêves satisfont les vrais besoins de mon cœur, 2005, tirage numérique contre-collé sur aluminium, 115 x 80 cm, ed.8. DisponibleFutur Centre d’Espace International, 2003, fusain sur papier, 120 x 80 cm. DisponibleVue d’exposition, Points de vues, Musée Départemental d’Art Contemporain, Rochechouart, 2005Vue d’exposition, Points de vues, Musée Départemental d’Art Contemporain, Rochechouart, 2005L’igloo, 2003, fusain sur papier, 80,01 x 120 cm. Collection privée CHLa grande muraille de Chine, 2003, fusain sur papier 80,01 x 120 cm. Collection privée FRLa pagode (Chine), 2003, fusain sur papier 80,01 x 120 cm, 80 x 120 cm. DisponibleLe château fort, 2003, fusain sur papier, 80 x 120 cm. DisponibleLutte d’espace, 2003, carton, bois, 200 x 180 x 160 cm. Collection publique : FRAC ALSACE FRSasha, 1993, carton, 43,18 x 48,26 x 48,26 cm. Collection privée 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.
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).
