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Marc Chevalier

Marc Chevalier was born in Paris on August 28, 1967. He then lived in the Poitou region of France and when it was time for him to go to art school, he chose the Villa Arson in Nice. “Because, he said, of the excellent reputation it had. He graduated in 1993, but stayed at the Villa for two more years as a resident. Already, he wants to create, to paint. It remains to be defined how. He is convinced that it cannot be like before. The act of painting is now in question, open to a multiplicity of practices that analyze it, deconstruct it, question it. Marc’s answers will come through practice. It is by doing that he will find. For the time being, he participates in the creation of the Station, a group that brings together young artists from Nice. Then he leaves Nice. His life and his creation continue in Paris and Berlin. […] If he has travelled, his thinking remains the same. It is based on an observation; “a feeling of emptiness of meaning” [in documentsdartistes.org, 1998]. The values received, the discourse and the artistic representations give voice to a strange silence, a vacancy that opens up once their literality is overcome. What is at stake beyond words and their immediate meanings? What can images mean? Hence Marc’s question: “I began by thinking about symbolic values and symbols without values? “According to him, the writing that he invented represents “the existence of an unformulable reality” which Wittgenstein had the intuition and on which the principle of his aesthetics is based: “What can be shown cannot be said”. Hence Marc’s conclusion: “The nonsense of a word that speaks suggests a painting that reflects on itself while being made; the painting makes its own criticism, begins a discourse on itself in a discourse that, through a talkative metalanguage, attempts to define something irreducible to language. »

 

Excerpt from the article “Les bonheurs du simulacre”, by Michel Franca, journalist
Impressions d’ateliers, LA CRÉATION CONTEMPORAINE SUR LA CÔTE D’AZUR, by Patrick Boussu, coordinator of the book, Michel Francan journalist and Jean-Michel Sordello, photographer, South Art Éditions

SOLO EXHIBITIONS

 

2020

Les tableaux n’existent pas, La galerie Eva Vautier, Nice

 

2016

La chaire des ombres, Le Dojo, Nice

 

2014
Les visiteurs, événement « Les visiteurs du soir », réseau Botox, Nice

 

2012
Abstraction objective ?, MDAC, Cagne sur Mer

 

2007

Apostrophogénie, Villa Cameline, Nice
Les aventures, Donation Mario Prassinos, Saint Rémy de Provence

 

2002

Remarques sur le voisinage, Le Parvis Scène Nationale, Tarbes

 

2000
Stéréo, Marc Chevalier (avec Arnaud Maguet), Galerie Françoise Vigna, Nice

 

1998
Marc Chevalier (avec Cédric Teisseire), Galerie Éof, Paris

 

1997

Musée des Tapisseries, Aix-en-Provence Galerie Sintitulo, Nice

 

1995

Galerie de l’École, Villa Arson, Nice
Galerie La Tête d’Obsidienne, La Seyne-sur-Mer

 

 

GROUP EXHIBITIONS

 

 

2019

Avec plaisir #2, galerie Eva Vautier, Nice
La vie est un film, invitation de Ben, Le 109, Nice
Spoutnik le château l’étoile et la roue, projet collaboratif avec Agathe Wiesner, Arnaud Biais, Juliette Liautaud, France Gayraud, Utopia, Piedigriggio, Corse

 

2018

Avec plaisir, galerie Eva Vautier, Nice
La fabrique de l’art, Le FRAC PACA hors les murs, Briançon
Pause déjeuner, Caisse d’Epargne Masséna, Nice
Cabaret chaotique, événement « Eclairage publique », Le 109, Nice Very Nice, Centre d’art contemporain de St Restitut, St Restitut
Trà e stelle, Utopia résidence d’artistes, Piedigriggio, Corse, 2018

 

2017

Go canny, Villa Arson, Nice
Citations et références, Le FRAC PACA hors les murs, Centre culturel de St Raphaël Eclairage publique, Le 109, Nice
La comédie du travail, « événement les visiteurs du soir », Le 109, Nice

 

2016

Impressions d’ateliers, Musée Grimaldi, Cagne-sur-Mer

Histoires parallèles, FRAC PACA, Marseille
Supervues, Hôtel Burrhus, Vaison-la-Romaine

 

2015

A une année lumière, galerie Eva Vautier, Nice
Texto, oeuvres de la collection du FRAC Poitou Charente, Roumazières-Loubert

 

2014

Je ne sais pas ce que j’ai vu, Cité du design, Saint-Etienne,

J’écris donc je suis, Le Garage, Brive la Gaillarde
10 ans de la galerie Espace à Vendre, Nice
UMAM, Château de Cagne-sur-Mer

 

2013

Plug-in, oeuvres de la collection du FRAC Poitou Charente, Musée d’Angoulême
Pouquoi pas… / Why not…, Biennale d’art non objectif, Moulins de Villancourt, Pont-de-Claix Certaines minutes, Les Charpentiers de la Corse, Ponte-Leccia
Un tramway nommé d’Azur, Fondation rené d’Azur, Nice

 

2012

Be youself, Galerie Espace à débattre / Espace à vendre, Nice Colorific, Ecole des arts de Braine, Belgique
Texto, oeuvres de la collection du FRAC Poitou Charente, Montmorillon

 

2011

La peinture autrement, Musée national Marc Chagall, Nice

La couleur en avant, MAMAC, Nice
Cure d’azote, La Maison singulière, Nice
Ici Nice, Chantier sans neuf, Nice

 

2010

Double bind Arrêter d’essayer de me comprendre, Villa Arson, Nice

Caractères, FRAC Poitou Charente, Angoulême
Version couleur, Galerie José Martinez, Lyon

 

2009

+1+2+3+4, La Station, Nice, CCNOA, Bruxelles, Belgique
UND #5 (Voilà), commissaires : Tilman (Bruxelles), Jan van der Ploeg (Amsterdam) et Billy Gru- ner (Sydney), Villa Caméline, Nice
Réveille-toi on est demain, Musée départemental des Hautes-Alpes, Oeuvre de la collection FRAC Paca, Gap

 

2008

Le nouveau émerge de l’ancien, Mao, Centre d’art ACMCM, Fluxus, La Station, Perpignan Subito, La Station, Château d’Apricale, Italie
La Maison, Galerie Singulière, Nice
Slick, Stand de la Galerie Norbert Pastor, 104, Paris

 

2007

Nice to meet you, Mamac, Nice
Duels, Frac Paca, Marseille
Slick, Stand de la galerie Norbert Pastor, Paris
Plus, Lauréats de la fondation Vordemberge-Gildewart, Museum Wiesbaden, Allemagne IRL, Interface invite la Station, galerie Interface, Dijon
Commissaire de paille, Le Commissariat, Paris
Démarche Singulière, Roland Berger consultants strategy, Paris

 

2006

Art multiple, Espace de l’Art Concret, Mouans-Sartoux L’égosystème, Le confort Moderne invite la Station, Poitiers Cabinet névrotique, South Art, Villa Cameline, Nice
Galerie Norbert Pastor, Nice

 

2005

Lotissement de cimaises, collection du Frac Paca, Villa Arson, Nice
Low tech, le Labo, salle « Temps Réel », Villa Arson, Nice
Post’apostrof’, la Station, Museo laboratorio di arte contemporanea università di roma « la Sapienza », Rome, Italie
Dormir tête-bêche avec un inconnu, Friche la belle de Mai, Marseille, Carte blanche à la Station

Aujourd’hui ou demain, collection du Frac Paca, au Circa, la Chartreuse de Villeneuve-les-Avi- gnon
La Réserve, Galerie des Ponchettes, Nice
Exposition – vente de multiples d’artistes, Astérides, Marseille
Cabinet névrotique, South Art, Villa Cameline, Nice

 

2004

Nice in Nice, Bernsteinzimmer galerie, Nürnberg, Allemagne
Black-out (lame de fond), collection du FRAC Poitou-Charentes, à l’Ancien Marché de l’Arse- nal, La Rochelle
Prêts à prêter, Frac Paca, Marseille

 

2003

Sur le front, le Triage, Nanterre

 

2002

Les illusions perdues, FRAC Poitou-Charentes, Angoulême, France Passages, galerie Il Prisma, Cuneo, Italie
Vu d’ici, Château de Lauris, Lauris
Voilà la France, commissariat Andrea Busto, CESAC, Caraglio, Italie Nouvelles acquisitions, Galerie du MAMAC, Nice

Dubuffet e l’Arte dei graffiti, Palazzio Martinengo, Brescia, Italie
C’est pas joli, joli, Centre culturel français de Turin, Chiostro S. Filippo, Turin, Italie

 

2001

Jolie attaque pour perdre, La Station, Espace des Arts, Colomiers, France Arte Fiera 2001, Stand Galerie Françoise Vigna, Bologne, Italie

Exit 5, Roberto Vitali, Sala Silentium, Bologne, Italie

 

2000

La Station à Lausanne, l’ELAC, Lausanne, Suisse
La Station fait main basse, Galerie du MAMAC, Nice
Artissima 2000, Stand de la Galerie Françoise Vigna, Turin, Italie
La Vérité, (organisé par Ben) Galerie Mockers, Strasbourg Art-jonction, Stand de la Galerie Françoise Vigna, Nice
Les Dames de la Côte, La Station – Galerie C. Art, Dornbirn, Autriche Appartement témoin, Galerie Porte Avion, Marseille
Uomini con baffi in Napoli, Fondazione Morra, Naples, Italie

 

1999

Officina Europa, Villa di Rosa, Galleria d’Arte Moderna di Bologna, Bologne, Italie

 

1998

Avec la participation de, commissaire Tiphaine Le Bec, Paris
Printemps français, Espace de l’Art Concret, Mouans-Sartoux (Prix de la fondation Vordlem- berge-Gildewart)
Surplus, La Station, Nice
Synthetic Pleasure, Boréalis, Montpellier
Dolce vista, Galleria Neon, La Salara, Bologne, Italie
Plein à craquer, Le Centre du Monde, Nice

 

1997

Adieu monde cruel, association Alloncle-la-Rose, Paris
F. Baudevin, M. Chevalier, L/P, C. Robert-Tissot, La Station, Nice

 

1996

Le titre est dans la valise, Galerie Sanguine, Paris
Non pas comme ça, commissaire Marc-Olivier Wahler, CAN, Neuchâtel, Suisse Starter, La Station, Nice
18m2, Galerie Manu Timoneda, Aix-en-Provence

 

1995

Gambit, Galerie Évelyne Canus, La Colle-sur-Loup
Nice by night 3, commissaire Axel Huber, exposition en appartements, Nice

 

1994

Nice by night 2, commissaire Axel Huber, exposition en appartements, Nice Nice by night 1, commissaire Axel Huber, exposition en appartements, Nice Art Jonction, Stand de la Villa Arson, Cannes

 

1993

Les passants du phalanstère, Villa Arson, Nice

 

 

GRANTS, RESIDENCES

 

2020

Rouvrir le monde, Levens

 

 

 

CATALOGS (Solo)

 

2020 

Les tableaux n’existent pas, galerie Eva Vautier

 

2007

Semaines, Bimestriel pour l’art contemporain, éd Analogues,

2005 Marc Chevalier, Céline Flécheux : Marc Chevalier : La limitation de l’imitation, éd. Ulisse & Calipso, Naples, avec le concours de la Station et de la Galerie Françoise Vigna

1995 Marc Chevalier, préface de Jean-Philippe Vienne, Villa Arson, Nice, Galerie La Tête d’Obsidienne, La Seyne-sur-Mer

 

 

 

CATALOGS (Group)

 

2020

Fire walk whith me !, IEA Nice et université Cote d’Azur

Ian Curtis like this place, La Maison Abandonnée (Villa Cameline)

 

2013 

Pourquoi pas… / Why not, Ville de Pont-de-Claix

 

2011 

L’Art contemporain et la Cote d’Azur – Un territoire pour l’expérimentation – 1951-2011, édition Les presses du réel

 

2007 

Plus, Museum Wiesbaden / Stiftung Vordemberge-Gildewart, 2007

L’Egosystème, coéd Confort Moderne / La Station, 2007

Nice too meet you, Villa Arson / MAMAC Nice, éd Nice Musées 2007

UMAN, édition Ville de Nice, 2007

Vue d’ici, coéd association Signé Lauris / Edition du Lubéron, 2007

 

2006 

Art multiple, Espace de l’Art Concret, Mouans-Sartoux, 2006

Parcours, Château du Haut-de-Cagnes , 2006

 

2005 

Low Tech, édition Villa Arson, Nice, 2005

La réserve, texte de Catherine Macchi : Subpictural : Publiatrucs, Galerie des ponchettes, Nice, 2005

Prêts à prêter, collection Frac paca 2000 /2004, texte de Sylvie Coëllier : Une bonne prise…! ?, coédition Frac paca, Ithme éditions, 2005

 

2004 

Marc Chevalier in cat « 72 (projets pour ne plus y penser) », coéd Frac paca, Espace Paul-Ricard, Cneai

Marc Chevalier in cat « Ben/ La Station », Espace des art (Colomiers) / La Station, 2004

 

2002 

in cat Dubuffet e l’arte dei graffiti, éd Mazzotta 2002

 

2001 

Exit 5, Renato Barili, Roberto Daolio, Valerio Deho, Gaetano Buttaro…, Roberto Vitali, éd. edisai srl, Ferrare, janvier 2001

La Station fait main basse, préface de Gilbert Perlein, Enrico Pedrini : La Station comme agrégation dynamique…, Petra Schelm : Lorsque création rime avec passion !, MAMAC, Nice, 2001

 

2000 

Utopie concrète, 10 ans, vingt-neuf expositions, Espace de l’art concret, Mouans-Sartoux, septembre 2000

 

1999 

Officina Europa, Bologne-Imola-Cesena-Rimini, Renato Barilli : A Check-up alle soglie del duemila, Galleria d’Arte Moderna di Bologna, Bologne, 1999

 

1997 

Culture et entreprise, texte de Catherine Macchi, Aix-en-Provence, 1997

 

1996 

Non pas comme ça, préface de Marc-Olivier Wahler, CAN, Neuchâtel, 1996

Deux mètres vingt deux par, 2018

Dried paint on screen-printed plastic bags,

16 x 17,5 cm

 

 

Deux mètres cinquante par deux, 2015

Dried paint on screen-printed plastic bags,

18 x 16 cm

 

 

 

Marc Chevalier

Deux mètres cinquante par deux mètres soixante sept, 2015

Dried paint on screen-printed plastic bags,

18 x 21 cm

 

 

 

 

 

 

Les tableaux n’existent pas
Exhibition from February 15 to March 21, 2020

 

 

 


© François Fernandez

 

On the walls of the gallery Marc Chevalier proposes to come and “think freehand” about the painting object and the place it occupies in our mental representation of art.
When we close our eyes and we hear the word tree or pebble, we figure something, an archetypal vision comes to mind. But what do we see when we hear the word painting?

Documents d’artistes : 

www.documentsdartistes.org

Benoit Barbagli

Engineer in conceptual technology, develops a remote thought transmission network without intermediate interface. A technology that acts as a lubricant on words and things, between gestures and emotions, to soften and connect them. It uses love and life to achieve this. A technology that is sometimes verbal, sometimes plastic, that never ceases to build bridges between many kinds of knowledge that are revealed through encounters and the collective. Each project generates the emulsion of different trades: mountaineers, engineers, architects, sailors…

 

 

 

The artist does not know, he learns, he exchanges and becomes like the mirror of his encounters. Transdisciplinarity is the strength of the projects. It undoes the already porous walls of art to make of it an object without edge, not constituted, with vocation to create bond.

 

 

 

An extravagant engineering out of phase with any technological progress, a sensitivity to the ecological cause, a praise of the simplicity of the gesture, gives a certain militant reading. The look on the gestures oscillates between a satire of the instituting cultural forms, an unreasoned poetic act and a vigorous erotic expression crossed by a questioning on the genre.

 

 

 

It fluctuates between a large-scale communication and diffusion project (Art – Bussiness – Contemporary Marketing 3.0 ) and an intense love story told with sincerity and commitment. It vacillates between a rigorous, structured, logical discourse and an intellectual imposture that one can never quite say when it would have started. Dressed by complex devices and sometimes tenuous references, the sense of the gesture, expresses itself in a simple, popular, always sincere language.

 

 

 

Bucolic, in love, loving life, and giving her thanks, plunging frankly into it, decreeing art as a pretext for life. And believe it or not, in this bubbling activity, praise is given to slowness, stammering decay as the only possible environmental window. This slowed down activity turns more and more towards meditation, as a way of access to oneself, as a way of societal claim, fantasizing the ultimate piece as a simple breath: a breath.

 

Tentative amoureuse, 2014

 

 

Tentative liquide, 2015

Benoit Barbagli lives and works in Paris.

 


 

 

GROUP EXHIBITIONS

 

 

2018

Avec plaisir, Galerie Eva Vautier, Nice

La mémoire et la mer, commissariat Rebecca François Massena, Nice

Private Choice, commissariat Nadia Candet,  Paris

Emosophia, commissariat Caterina Zevola Open Bach,  Paris

Une collection 5, commissariat Camillle Frasca, Paris

Rien ne se perd, commissariat Camillle Frasca, Paris

 

 

2017

Une collection, Commissariat Camillle Frasca, Nice

Derrière la Mer, Galerie de Beuil, Beuil (en duo avec Anne-laure Wuillai)

 

 

2015

Odyssée, Galerie La Marine, Nice / Exposition organisée par la Villa Arson – étudiants diplômés 2015

 

 

2014

Des corps compétents, Centre d’art de la Villa Arson, Nice

 

 

2013

Travaux en cours, Galerie Eva Vautier, Nice / Exposition collective et commissariat organisé en partenariat avec Eva Vautier

Manca, concert performatif, MAMAC, Nice

 

 

 

PUBLICATIONS

 

 

2014

Ici la terre – le mémoire, Mémoire de fin d’études suivi par Joseph Mouton, Villa Arson, Nice

 

2015

Ici la terre – l’expédition, Coédition pour le projet Ici la terre, réalisée avec les textes d’Antoine Tournier

 

 

 

FORMATIONS

 

 

2015

DNSEP, Villa Arson, École Nationale Supérieure des Beaux-Arts de Nice

 

2013

DNAP, Villa Arson, École Nationale Supérieure des Beaux-Arts de Nice

 

2011

Licence III Philosophie, Université Nice Sophia Antipolis

La marée de la trépidation 

© Benoit Barbagli

 

 

 

Expression d’une émotion amoureuse

© Benoit Barbagli

 

 

Nous avons essayé de nous endormir sous l’eau

© Benoit Barbagli

AZIMUTH

 

Curator of the exhibition Élémentaire, 2017, with Tom Barbagli, Charlie Chine, Jacqueline Gainon, Anne-Laure Wuillai

 

 

Benoît BarbagliTom Barbagli, Evan Bourgeau

Camille Franch-Guerra, Omar Rodriguez Sanmartin

Florent TestaAnne-Laure Wuillai

 

 

With the participation of

Célia Vanhoutte, energy scenography

Frédéric Blancart, curator

 

 

 

 

« Qui nous a traînés ici ? Je le maudis ! »

 

Cette phrase revenait souvent avec ces variations :

 

« Mes mains sont gelées ! » 

« Je suis encore tombé dans un trou ! »

« Ce n’est pas le bon chemin ».

 

 

Parfois la vallée taisait les grognements, à d’autres instants elle leur offrait un puissant écho. À 2500 m d’altitude dans les montagnes du Mercantour, la traversée du Trécolpas vers le refuge de la Cougourde fut bien plus ardue que nous l’avions imaginé.

 

Tout d’abord parce que les raquettes premier prix en dévers cela ne marche pas, ça déchausse tout le temps, tu perds l’équilibre et tu tombes sur le côté, et puis bon courage pour te relever.

 

Du coup la plupart d’entre nous a choisi de ne pas les utiliser, et comme il y avait au moins un mètre de neige, c’était assez gelé pour glisser mais aussi assez mou pour qu’on s’enfonce jusqu’à l’entrejambe. Avec le poids du sac à chaque pas c’était la peur que la neige craque, car une fois bloqué ça impliquait plusieurs minutes pour se dégager.

 

Artist co-founder & curator, at Galerie Eva Vautier, Nice
NICE
Galerie Eva Vautier
2 rue vernier – Libération Neighborhood
06600 Nice
Tel 09 80 84 96 73
Tel 06 07 25 14 08

 


 

 

Artist at Galerie Bertheas – Saint-Etienne, Vichi, Paris

PARIS

76, rue de Turenne 75003
01 42 71 73 51 – 06 13 57 11 80
[email protected]

________________________

SAINT-ETIENNE

1 & 2 place Maxime Gorki 42000
04 77 41 80 77 – 06 14 75 05 48
[email protected]

_________________________

VICHY

23, rue du Parc 03200
04 70 31 74 08 – 06 89 95 59 13
[email protected]

Tom Barbagli

 

 

TOM BARBAGLI

 

Tom Barbagli, lives and works in Nice.

 


 

A graduate of the Institut Supérieur de Design, he explores the connections and fractures between the worlds of design and art, campaigning to remove the edges and limits.

 

He engages in singular experiments, deviating the laws of physics with as many utilitarian materials (motors, light-emitting diodes, hard disks) as natural materials (beeswax, solid wood, minerals). The ingenuity of the mechanical assemblies then creates dreamlike objects or immersive installations, related to micro-phenomena.

 

Thus the objects he makes transmit inelegible cognitive data on the functioning of consciousness and the surrounding world. And well beyond visual perception, they lead to awakening… awakening of the senses, awakening of consciousness.

 

Noème, 2017
motorized titanum spinning top, glass bell, base and foot in cast iron
160 x 30 cm

 

 

 

Contre-Temps, 2017
Metronome, wood, metal
160 x 11 x 11 cm
©Tom Barbagli

 

 

Tom Barbagli and Anne-Laure Wuillai
Double positif, installation , 2017
sodium lamp, diffusing plexiglass, increased light intensity, painted medium.
100 x 47 x 30 cm

 

 

 

 

 

Contre poids, 2017
Granite ball, rubber, steel, cable, winch
3m diam 4 m

 

AZIMUTH

Benoît BarbagliTom Barbagli, Evan Bourgeau

Camille Franch-Guerra, Omar Rodriguez Sanmartin

Florent TestaAnne-Laure Wuillai

 

With the participation of

Célia Vanhoutte, energy scenography

Frédéric Blancart, curator

 

« Qui nous a traînés ici ? Je le maudis ! »

 

 

 

 

 

Noème, 2017
motorized titanum spinning top, glass bell, base and foot in cast iron
160 x 30 cm

 

 

 

 

 

Tom Barbagli and Anne-Laure Wuillai
Double positif, installation , 2017
sodium lamp, diffusing plexiglass, increased light intensity, painted medium.
100 x 47 x 30 cm

 

 

Tom Barbagli, Distension, 2017
Iceland, black and white HD video, 14min

Nicolas Daubanes

 

 

 

Hexagon

 

“I invest in the essential questions: life, death, the human condition and the social forms that shape them. In my latest works, the speed, fragility, porosity, ghostly aspect of images and materials, transmit the pressure of the past to the belief of what is to come.

My work is in the long term. It draws a path, a trajectory that tends towards the search for freedom, the release of constraint. I try to experiment intensity and rigor, I play with danger, mental, visual, physical, to reinforce the creative energy and transmit its strength. I am driven by my history, my own existential questions and by the choice of a permanent and subtle adequacy between form and content.

For example: silicone, the same silicone that is usually used to restore heritage buildings, transposed, allows the creation of a new space that visually induces the disappearance of the original wall and suggests a possible escape route (Membranes series). In this way, moulting and skinning are introduced into my work. The iron filings, used in the drawings, refer to the bars of the prisons, but also to the files that allow escape. This material is dangerous to the eye and is deposited by magnetism, while the slightest penny can make the drawing disappear. What appears is fragile, we must take care of it and know that everything is ephemeral. Sugar-laden concrete, inspired by the vain gesture of the resistance fighters during the Second World War, corroborates the fleeting, temporary nature of the objects produced in my work. It is a question of seeing before the fall, before the ruin, the vital impulse. »

 

 

 

Drawings, prisons and watchtowers

 

Nicolas Daubanes makes drawings with iron filings.

He considers this state of matter as the symbol of the traces of an escape: by filing the bars of the cell, we will leave with our hands covered with filings. These drawings represent prisons, occupied or disused.
The prisons that Nicolas Daubanes draws are all from the architectural project of the utilitarian philosopher Jeremy Bentham, the panoptic. He focuses on some extracts of the buildings that bear witness to this inspiration. All the views come from photographs he makes himself, the passage to black and white and the modeling with iron powder allows him to use these images otherwise the prison administration would not allow him.
At times, the artist takes some prison architectural specifications such as stairwells that were installed following the mutinies of the 70s and 80s, grids that complement the doors failing in terms of security, surveillance station …

For Nicolas Daubanes, making these drawings was also an opportunity to classify and document all the prisons in which he went to work or simply to visit.

Nicolas Daubanes

Biography

Born in 1983, lives and works in Perpignan.

 


 

 

SOLO EXHIBITIONS

 

2017

Les mains sales, Galerie Maubert, Paris
Le batiman et a nous, La Station, Nice

 

2016

… mais ce jour ce jour ne viendra peut être jamais., Galerie L’isba, Perpignan
La vie de rêve, Angle art contemporain, Saint Paul Trois Châteaux, Vitrine régionale d’art contemporain, Millau

 

2015

Go Canny, Galerie Martagon, Malaucène

 

2014

MURS, Centre culturel français de Freiburg, Freiburg
SABOTAGE, LAC, Sigean
[Fe], Musée Régional d’Art Contemporain du Languedoc Roussillon, Sérignan

(Expositon dans la Librairie du Musée, en regard des productions des détenus du centre pénitentiaire de Béziers)

 

2013

Le jour après le lendemain, Maison Salvan, Labège
La Tuilerie, Atelier Licence III, Perpignan

 

2012

TEMPS MORT, Centre d’art le LAIT, Albi
Fiat Lvx, Question d’art, Bibliothèque universitaire de Perpignan

 

2009

Put me back on my bike, Atelier Licence III, Perpignan

 

 

GROUP EXHIBITIONS

 

 

2016

Vitrine sur l’art, Galerie Lafayette, présenté par la Maison Salvan, Toulouse, parc de la Maison blanche, Marseille
Visions portées, MAC Arteum, Châteauneuf le Rouge
Si er sur la colline, Château d’Alba, Alba la Romaine
Le sens de la peine, La terrasse, Nanterre 2015
En mémoire, Musée des Archives nationales, YIA ART FAIR hors les murs, Paris
A l’heure du dessin, 3ème temps, Château de Servière, Marseille
La nouvelle garde, parenthèse photojournalisme, en résonance avec la biennale de Lyon, Centre d’art contemporain Lithos, Saint Restitut
Enfermés, déformés, Moments artistiques Chez Christian Aubert, Paris
Etant donné la noire montagne, Maison des mémoires, Carcassonne
DPS 2, La Filature, Mulhouse
Global Snapshot, La Panacée, Montpellier
Con uence : France, Art Center of Sarasota, Floride, USA
La belle échappée, Institut supérieur des beaux arts, Besançon

 

2014

Time out/out of time, Galerie Léonardo Agosti, Sète
Voyage au sein de nos mythologies actuelles, Auz’arts, Auzeville
Conscience de classe, Lieu Commun, Toulouse
La belle échappée, Centre d’art contemporain du Chateau des Adhémar, Montélimar
Le dessin et l’objet, Mac ARTEUM, Chateauneuf le Rouge
Paper works, Galerie Léonardo Agosti, Sète
1913-2014, Centre d’art contemporain, Saint restitut
70 combats pour la liberté, 70 artistes, Le radar, espace d’art actuel, Bayeux -AVOIR 10 + 1, Centre d’art contempo- rain, Saint restitut
IMAGO, Jean Marc Cérino-Nicolas Daubanes, galerie AL/MA, Montpellier
BEYOND, galerie Maubert, Paris
Ingravid, Figueres, Espagne

 

2013

IZI, Frac Languedoc Roussillon, Montpellier
ENTROPIA1: Métapmorphose(s), centre d’art contemporain Walter Benjamin, Perpignan

 

2012

La passion des Gurly (Supervues/Hôtel Burrhus), Galerie du tableau, Marseille
Interstice, des espaces immersifs, Carbone 14, galerie municipale St Ravy, Montpellier
10 ans 100 % dessins, galerie AL/MA, Montpellier

Matières Grises, M.I.N. (Hors les murs, Lieu Commun, Les sens de l’art), Toulouse

Le silence n’est pas un oubli, Nicolas Daubanes – Pablo Garcia, Galerie Sit Down, Paris – A quoi rêvent t-ils ?, Galerie Sit Down, Paris
Mulhouse 012, Biennale des jeunes créateurs, Mulhouse

 

2011

Supervues, 3 jours à l’hotel Burrhus, Vaison la romaine
Ingravid (Showcase), Figueres, Espagne
Festival APART, Pôle artistes émergents, St Rémy de Provence
Ones from the Heart, Coiuvent des minimes, Perpignan
Visible I et II, journées portes ouvertes des ateliers résidences d’Aldebaran, Castries
Traverse Vidéo, Centre culturel bellegarde, Toulouse

 

2010

Alerte météo, Musée Régional d’Art Contemporain du Languedoc Roussillon, Sérignan – Nathalie Leroy Fiévé et Nicolas Daubanes, galerie AL/MA, Montpellier
Casanova Forever, Frac Languedoc Roussillon, Forteresse de Salses, Salses
+ si a nité 2010, AFIAC, Fiac 2009
+ si a nité 2009, le Hors, AFIAC, Fiac 2008
Comment faire disparaître un corps, Chapelle des pénitents, Aniane

 

 

PERFORMANCES / VIDEO PROJECTIONS

 

2017

Soirée Vidéo, Centre d’art contemporain, Istres 2016

 

2016

Passage pas sage, Paris
Cosa Mangiare, La cuisine centre d’art et de design, Negrepelisse

 

2013

Nuit blanche, «les centres d’art font leur cinema», Paris

 

2012

Soirée art vidéo 2, Espace o25rjj, Loupian
Carte Blanche à Nicolas Daubanes, Institut Jean Vigo, Perpignan
Au Tour, Cinéma Le Régent et la chapelle St Jacques, centre d’art contemporain de St Gaudens

 

2011

St Gaudens, Plateau de Beille, 168 km sur la route du Tour, Chapelle St Jacques, centre d’art contemporain de St Gaudens

 

2010

Avoir l’apprenti dans le soleil, Café performance, AFIAC, Fiac

 

 

ARTFAIRS / TRADE SHOWS

 

2017

Independent, présenté par la galerie Maubert, Bruxelles

 

2016

YIA Art Fair, présenté par la galerie Maubert, Carreau du Temple, Paris
Drawing Room 016, présenté par la galerie AL/MA, La Panacée, Montpellier
Paréidolie, salon international du dessin, présenté par la galerie Maubert, château de Servière, Marseille

 

2015

Contemporary Istanbul, art fair, présenté par la galerie Analix forever, Istanbul

 

2013

Art on paper, Drawing art fair, présenté par la galerie AL/MA, Bruxelles -Drawing o , o de Drawing room 013, Li- cence III, Montpellier
Drawing Room 2013, présenté par la galerie AL/MA, Carré St Anne, Montpellier

 

2012

Drawing Room 2012, présenté par la galerie AL/MA, Carré St Anne, Montpellier
Salon-Vidéo 5, galerie 10m2, Sarajevo, Bosnie

 

 

RESIDENCES

 

2016
Le bbb, Art à l’hopital, Toulouse

 

2014/2015
La Cuisine, à la maison d’arrêt de Montauban, Nègrepelisse

 

2014
La Filature, à la maison d’arrêt de Mulhouse et à la Maison centrale d’Ensisheim, Mulhouse 2012/2013
CAN XALANT, Mataro, Espagne

 

2011

Aldebaran, Castries

 

2008
AFIAC, au centre pénitantiaire pour mineurs de Lavaur, Lavaur

 

 

ACQUISITIONS

 

 

2016
Sabotage 4, Parc de la maison Blanche, Mairie du 9 et 10 ème, Marseille

 

2015
Détenus Particulièrement Surveillés 2, Conseil Général des Bouches du Rhône, «les nouveaux collectionneurs au collège»

 

 

GRANTS/AWARDS

 

 

2017
Premier lauréat Grand prix Occitanie, Lieu commun / Les sens de l’art, Toulouse

 

2016
Nominé pour le «Grand prix de l’art contemporain», Les sens de l’art / Lieu commun, Toulouse

 

2014
Aide individuelle à la création, région Languedoc-Roussillon

 

2012
Aide individuelle à la création DRAC Languedoc-Roussillon
Lauréat du prix du centre culturel français de la ville de Freiburg lors de la biennale européene des jeunes créateurs de Mulhouse (Mulhouse 012)

 

 

BIBLIOGRAPHY

 

 

Le chassis, numéro 2, printemps/été 2017
La vie de rêve, édition monographique personnelle, 2016
Cosa mangiare, édition personnelle, 2016
Con uence : France, catalogue de l’exposition, 2015
PLI 4, revue, 2015
PLI 3, revue, 2015
Le Radar, Espace d’art actuel, 70 combats pour la liberté/70 artistes, Catalogue de l’exposition, 2014
Fireboox, éd. VOIX, 2014
PEAH 21122014, éd. Charlotte Sometimes, 2014
Prisons de Lyon, Une histoire manifeste, éd. Lieux Dits 2013
PLI, revue, 2013
L’évolution psychiatrique, revue, Octobre-decembre 2012
Les entretiens d’AL/MA 2, éd. Méridianes, Montpellier, 2012
Mulhouse 012, Catalogue de l’exposition, biennale européene des jeunes créateurs, 2012
L’art proxime, Catalogue du festival Traverse vidéo, 2011
Courir contre la montre, Semaine 49.10, Revue hebdomadaire pour l’art contemporain, éd. Analogues, 2011

Casanova Forever, Catalogue de l’exposition, Frac Languedoc-Roussillon, 2010
+ si a nités, Catalogue de l’exposition, A ac / les Abattoirs, 2010

 

 

Press

 

ArchiSTORM, architecture et design, numéro spécial #09, 2016 – ArchiSTORM, architecture et design, #69, 2014
L’art vues, février/mars, 2014
Flash, le mensuel, Toulouse Culture et Loisirs, Juin, 2013

Parcours des Arts, la revue d’art du sud ouest, numéro 34, 2013
Next Liberation, le silence n’est pas un oubli, Octobre 2012
Arthebdo Média, interview de Jackie Ruth Meyer, directrice du centre d’Art le LAIT, Albi
Flash, le mensuel, Toulouse Culture et Loisirs, Janvier 2012 -Art Absolument n°42
– Parcours des Arts, la revue d’art du sud ouest, numéro 28 -Next Liberation, Festival Apart, été 2011

 

Formation

 

2012
DNSEP au grade master, avec les félicitations du jury, HEART Perpignan 2010 – DNSEP, avec les félicitations du jury, HEART Perpignan

 

2008
DNAP, avec les félicitations du jury, HEART Perpignan

Vos questions n’appellent aucune sorte de réponse, 2017

Magnetic steel powder drawing on marouflé paper
100 x 70 cm
© photo F.Fernandez

 

 

 

Ensisheim, escalier de détention, 2016
Magnetic Steel Powder Drawing on Medium
© photo F.Fernandez

 

La petite roquette, Paris, 2017

Magnetic Steel Powder Drawing on Medium (diptych)
160 x 95 cm (chaque)

 

 

Stutthoff (mirador), 2017
Magnetic steel powder drawing on embossed paper
40 x 30 cm

 

Charlette, 2017
Drawing with ferrous meteorite powder on embossed paper
50 x 40 cm
© photo F.Fernandez

 

 

Hexagone, 2017
Mouse skin captured and naturalized by an inmate of the Baumettes prison in Marseille.
9 x 8 cm
© photo F.Fernandez

 

 

Quartier des femmes mineures, prison des Baumettes, Marseille, 2017

Key to a prison door, dental ceramics
2 copies
13,5 cm
© photo F.Fernandez

Calepinage, prison de Montluc à Lyon, 2017

Silkscreen three colors,
signed, numbered on the back. 100 copies 70 x 50 cm exhibition view
© photo F.Fernandez

 

 

Calepinage, prison de Montluc à Lyon, 2017

Silkscreen three colors,
signed, numbered on the back. 100 copies 70 x 50 cm

 

 

Prison de Montluc à Lyon, 2017

Hexagone, 2017
Mouse skin captured and naturalized by an inmate of the Baumettes prison in Marseille.
9 x 8 cm

 © photo F.Fernandez

 

 

exhibition view Hexagone 2017
© photo F.Fernandez

 

 

exhibition view
© photo F.Fernandez

 

 

exhibition view
© photo F.Fernandez

 

 

exhibition view
© photo F.Fernandez

 

Charlette, 2017
Drawing with ferrous meteorite powder on embossed paper
50 x 40 cm
© photo F.Fernandez

 

 

Ensisheim, escalier de détention, 2016
Magnetic Steel Powder Drawing on Medium
© photo F.Fernandez

Ben Patterson

 

Ben Patterson © Fabrizio Garghjetti

 

Ben Patterson
(United States 1934 – Germany 2016) 

 

 

 

Pioneer artist of the avant-garde Fluxus, Ben Patterson began studying botany, zoology, rocks and minerals during his childhood, and later devoted himself entirely to music.

 

In 1952 he began his musical studies at the University of Michigan, graduating in 1956. As a virtuoso double bass player, because of his skin color, he could not join an American symphony orchestra. From 1956 to 1957 he joined the Halifax Symphony Orchestra in Canada, then from 1958 to 1959 he joined the U.S. 7th Army Symphony Orchestra based in Germany, and returned to Canada with the Ottawa Philharmonic Orchestra until 1960.

 

His keen interest in research in electronic music led him to travel to Cologne, Germany, where he was able to follow Karlheinz Stockhausen’s work in the WDR studios. Nevertheless, during concerts in Mary Bauermeister’s studio, he was fascinated by John Cage, whose Cartridge Music he performed in its world premiere.

 

He met Nam June Paik and Wolf Vostell, and presented his first musical works, Paper Piece, Solo for Double Bass, Variations for Double Bass (in which objects such as clamps, clamps, etc. are xed to the double bass), which were to become indispensable pieces for the Fluxus concerts.

 

He publishes on his own account a collection of his compositions and artistic experiments, Me- thods and Process, with the help of Daniel Spoerri. In 1962, in Paris, he exhibited his Puzzle Poems with Robert Filliou, collaborated in his “Legitimate Gallery” (which fits in his hat), and participated, invited by George Maciunas, in the Fluxus concerts in Wiesbaden and Copenhagen (1963), then returned to New York where he held a position as librarian at the New York Public Library.

 

In 1964, George Maciunas published Poems in Box and Instruction No. 2, and Ben Patterson created the performance Lick Piece (naked woman covered with whipped cream to lick).

 

He gradually abandoned his artistic activity which he resumed by taking part in the Fluxus Festival in Wiesbaden in 1982, celebrating the twenty years of the movement, and then in the Sao Paulo Biennial in 1983. A solo exhibition was organized in 1988 at the Emily Harvey Gallery in New York. In 2012, he organizes the 50th anniversary of Fluxus, a major retrospective in the city of Wiesba- den in Germany.

 

Since then, he has been the subject of numerous exhibitions in Europe, Asia, Russia and America, with concerts, readings and performances.

 

 

 

 

 

 

 

“Ben Fluxus”: a subversive incarnation of “Ben Natural”? 

Is “Ben Fluxus” (here Ben Patterson) actually a subversive incarnation of “Ben Natural”? A careful observer might find interesting connections between my private life and my work as an artist. Suggesting this possibility, in my opinion, what reveals these relationships is my long involvement with “nature”.

 

Faced with the impossibility of distancing myself sufficiently from myself to give an objective judgment, I will present in the following text only documented facts and I authorize you, dear reader, to draw your own conclusions. In this text, I am thinking of “nature” according to the definition given by the American Dictionary of the English Language: “The physical world, generally in the open air, which includes all living beings”.

 

Let me begin with a romanticized (but true) family story.

My ancestors came to the “New World” as slaves. The paternal lineage fled to Pennsylvania in the early 1840s. The maternal line, from the Bahamas Islands, fled to western Pennsylvania between 1780 and 1790. These ancestors became pioneer farmers, occupying virgin lands.

When I was born, only my maternal grandparents still lived on the original farm… It was while visiting them that I first encountered nature, virgin (in the forties many of these lands were still surrounded by virgin forest). My great-uncle Peter (half American Indian) taught me to recognize birds, to follow deer tracks, to catch fish with their hands and to recognize edible wild plants. However, my school education began in 1941 when my parents bought a piece of land in the rural suburbs of Pittsburgh and began building a house (work that would last for 10 years). The pond that was on our land, the creek that flowed through it and the abandoned farms on a thousand acres of land and woods all around, became my laboratory for the study of a wonderful world of ore and wildlife.

 

At the age of 12, when I joined the Boy Scouts of America, I furthered my studies for nature. As a teenager I won medals of merit for astronomy, bee care, bird study, botany, camping, canoeing, conservation, dog care, forestry, gardening, hiking, insects, archery, orienteering, poultry farming, reptile, rock and mineral study, skiing contests, research, swimming, climate and zoology… Finally, I was promoted to Eagle Scout.

 

At that time, I spent every summer at Camp Twin Echo, a scout camp in the Allegheny Mountains of Pennsylvania and was Director of Nature Studies from 1950 to 1952. In those same years, I volunteered weekly in the Autecology Department of the Carnegie Museum of Natural History and in the Herpetology Division of the Pittsburgh Zoo. (In my spare time, I was captain of the high school cross-country race team, conductor of the high school band, president of the debate club, bass player in two local semi-professional orchestras, having taken a week of double bass, piano and music composition classes).

 

For the past four years at the University of Michigan, I have been detaching my interest in “nature” to devote myself entirely to music. From 1957 to 1959, while serving in the United States in the 7th Symphonic Army serving in Europe, I had the opportunity to ski in Garmish, St. Anton and Cortina, to climb the Zugspitze, the Gross Glockner and Monte Rosa (the highest mountains in Germany, Austria and Italy).

 

Since the 1960’s, my career has limited my relationship with “Mother Nature” to occasional adventures around the world: winter camps and cross-country skiing in the Adirondack Mountains in New York State, rowing in St. Anton and Cortina, to climb the Zugspitze, the Gross Glockner and Monte Rosa (the highest mountains in Germany, Austria and Italy), to climb the Zugspitze, the Gross Glockner and the Monte Rosa. St. Leuve Lawrence in Quebec, Gros Morne National Park in Newfoundland, long hiking and climbing in Patagonia, diving in the reefs of the Bahamas and Hawaii, hiking in the rainforest of the Amazonia National Park in Brazil, an animal observation on a ranch in Namibia (where I also founded the Sub-Counscious Museum), an animal observation during a tourist stay in Argentina (where I also founded a department of the Sub-Counscious Museum), ice fishing on the shores of Lake Baikal in Russia. In n, I celebrated my seventieth birthday on Mount Fuji in Japan.

 

Nature is part of the equation.

Ben Patterson

United States

05/29/1934 – 06/25/2016

 

 


 

 

He began his musical studies at the University of Michigan in 1952 and graduated in 1956. As a virtuoso double bass player, because of his skin color he was unable to join an American symphony orchestra; he then joined the Halifax Symphony Orchestra in Canada from 1956 to 1957, then from 1958 to 1959, the United States 7th Army Symphony Orchestra based in Germany, and finally returned to Canada with the Ottawa Philharmonic Orchestra until 1960.

 

His keen interest in research in electronic music led him to travel to Cologne, Germany to follow Karlheinz Stockhausen’s work in the WDR studios. Nevertheless, during concerts in Mary Bauermeister’s studio, he was fascinated by John Cage, whose Cartridge Music he performed in its world premiere. He met Nam June Paik and Wolf Vostell, presented his first musical works, Paper Piece, Solo for Double Bass, Variations for Double Bass (in which objects such as clamps, clamps, etc. are attached to the double bass), which were to become indispensable pieces for the Fluxus concerts. Publishes a collection of his compositions and artistic experiments, Methods and Process, with the help of Daniel Spoerri.

 

In 1962, in Paris, he exhibited his Puzzle Poems with Robert Filliou, collaborated in his “Legitimate Gallery” (which fits in his hat), and participated, invited by George Maciunas, in the Fluxus concerts in Wiesbaden and Copenhagen (1963), then returned to New York where he held a position as librarian at the New York Public Library. In 1964, George Maciunas published Poems in Box and Instruction No. 2, and Patterson created the performance Lick Piece (a naked woman covered with whipped cream to be licked). He then gradually abandoned his artistic activity, which he resumed by taking part in the Fluxus Festival in Wiesbaden in 1982, celebrating the movement’s twentieth anniversary, and then in the Sao Paulo Biennial in 1983.

 

A solo exhibition was organized in 1988 at the Emily Harvey Gallery in New York. Pioneer artist of the avant-garde Fluxus, he has not stopped performing and exhibiting throughout the world since then. In 2012, he organizes the 50th anniversary of Fluxus, a major retrospective in the city of Wiesbaden in Germany.

Ben Patterson , Since Marchel Duchamp, 2015
Toilet seat, mirror lettering on canvas. Signed and dated.
60 x 50 cm

 

 

 

 

Ben Patterson, Controlling House hold pests, 2005,

Collages and canvas on a shelf. Signed and dated.
67 x 87 cm

 

 

Ben Patterson, Le carnaval des animaux, 2011

figurines, wood, fabric, theater. variable

 

Ben Patterson, No more pink ? try amethyst !, 2013

Objects on canvas in polyptych. Signed and dated.

110 x 110 cm

Exhibition from January 6 to February 24, 2018

No more pink ?

Ben Patterson, remember Mauro Ghiglione

 

Ben Patterson

 

 

 

 

Ben Patterson
Le carnaval des animaux, 2011

figurines, wood, fabric, theater, variable

 

 

Exhibition view © Fr Fernandez

 

 

 

Exhibition view © Fr Fernandez

 

 

Exhibition view © Fr Fernandez

 

 

Exhibition view © Fr Fernandez

 

 

 

 

Exhibition view © Fr Fernandez

 

Anne-Laure Wuillai

 

Anne-Laure Wuillai

 

Born in 1987 in Versailles, Anne-Laure Wuillai is a graduate of the École Nationale Supérieure des Beaux-Arts de Paris (2014). Artist in residence at La Station, she lives and works in Nice.

 

Anne-Laure Wuillai uses her own body as a yardstick for measurement, at the origin of a reflection on the frameworks that govern our perception. She locates the lines and grids that punctuate and organize our movements and displacements. She operates on the daily structures that order our lives, basing her gestures on pre-constructed reference points, templates, frames and established boxes, … in order to give back its place to the human being.

 

The banal objects that she installs are as many challenges to our body, that is to say to what looks but is also looked at, to what sees but is not seen. Playing with norms and the normative, she traces the paradox of our presence in the world, a presence torn between freedom and constraint, our self and the other.

Née en 1987 à Versailles,

Lives and works in Nice

 


 

Personal Exhibitions

 

2016 

Carte blanche sonore, interview de Laurie Etourneau et Janoé Vulbeau 59’59’’ d’émission pour Motifs Pluriels

Radio Campus Lille

 

2015 

Installation 06.03.15 pour l’association Les Nuits de Pleine Lune

La Mécanique Ondulatoire, Paris 11è

 

2014

Exposition DNSAP Ces copies qu’on forme

Galerie Gauche, ENSBA Paris 6è

 

 

Group Exhibitions

 

2019

Azimuth

Benoît Barbagli, Tom Barbagli, Evan Bourgeau, Camille Franch-Guerra, Omar Rodriguez Sanmartin, Florent Testa, Anne-Laure Wuillai

Galerie Eva Vautier, 2 rue Vernier, Nice

 

2018 / 2019

Avec Plaisir

Group exhibition with the artists of the Galerie Eva Vautier

Galerie Eva Vautier, 2 rue Vernier, Nice

 

2018

Nopoto

Group exhibition on an invitation from Matériaux Mixtes

Atelier Patrick Frega, 3 rue Martin Seytour, Nice

 

2018

Pensées Sauvages

Group exhibition on an invitation from No Made

Curated by Florent Testa and Stéphanie Laubry

Jardin de la Villa Roc Fleury, Cap-d’Ail

 

2018

Trà e Stelle

Group exhibition at the invitation of La Station and Utopia Résidence d’artistes

Les Charpentiers de la Corse, Piedigriggio, Haute-Corse

 

2018

100 TITRES

Curated by the Mixed Materials Association

Bel Oeil, 12 rue Emmanuel Philibert, Nice

 

2018

Avis de grand frais

Group exhibition at the invitation of La Station, curated by Hanna Baudet.

Le Suquet des Art(iste)s, 7 rue Saint-Dizier, Cannes

 

2018

Réservoirs

Within the framework of Curiosité(s), organized by the association Botox(s)

Tom Barbagli, Evan Bourgeau, Camille Franch Guerra,

Igor Marchal, Florent Testa, Caroline Trucco, Anne-Laure Wuillai

Workshop 28, Vieux Chemin de Gairaut, Nice

 

2017

PORTES OUVERTES ATELIER 28

Igor Marchal, Florent Testa, Tom Barbagli, Anne-Laure Wuillai

Workshop 28, Vieux Chemin de Gairaut, Nice

 

2017

UNE COLLECTION #4

Group exhibition at the invitation of Marie-France Frasca

Curated by Camille Frasca and Antoine Py

Villa Riviera Cottage, Nice

 

2017

Élémentaire, la règle du jeu

Tom Barbagli, Charlie China, Jacqueline Gainon, Anne-Laure Wuillai, Agnès Vitani

Galerie Eva Vautier, 2 rue vernier, Nice

 

2017

Derrière la mer

Anne-Laure Wuillai and Benoît Barbagli

Gallery of Beuil, Church Square, Beuil

 

2016

PORTES OUVERTES ATELIER 28

Igor Marchal, Florent Testa, Tom Barbagli, Anne-Laure Wuillai

Atelier 28, Vieux Chemin de Gairaut, Nice

 

2015

Chers Objets #2

Curated by Tridécagone collective

With Frédéric Vincent and Cannelle Tanc

Immanence Art Space, Paris 15th district

 

2015

Chers Objets #1

Curated by Tridécagone collective

Réfectoire des Cordeliers, Paris 6è

 

2013

La France en copie

Retrospective of a road trip in North America

Exhibition curated by Marie-José Burki

Galerie Gauche, ENSBA Paris 6è

 

2013

Hasard d’ensembles

With the participation of Djamel Tatah and a selection of students from his workshop

GAC, Groupe d’Art Contemporain d’Annonay

 

2011

Tatah Yoyo

Exhibition organized by the students of Djamel Tatah and Giuseppe Penone

Galerie Droite, ENSBA Paris 6è

 

 

 

Residences

 

2018

UTOPIA Artist Residence, with Verana Costa

Les Charpentiers de la Corse, Piedigriggio, Haute-Corse

 

 

 

Scholarships

 

2014

Scholarship from the Office Franco-Québécois pour la Jeunesse

Study trip to Montreal for the Biennale Looking Forward – The Future

 

2013

Colin Lefranc Scholarship

Exchange Program at the Université du Québec à Montréal

 

 

 

Publications

 

2015

Exhibition catalog Chers Objets, ” À noter dans l’agenda ”

Text written by Sacha Alexandre Pevak, Beaux-Arts de Paris éditions

 

2015

Catalog des Diplômés 2014, Beaux-Arts de Paris éditions

 

2013

Exhibition catalog Hasard d’ensembles

Text written by Guitemie Maldonado, Beaux-Arts de Paris éditions

 

 

 

Formations

 

2014

DNSAP, École Nationale Supérieure des Beaux-Arts de Paris

Djamel Tatah workshop, theoretical follow-up Didier Semin

2nd Cycle (September 2012 to November 2014)

 

2013

Bachelor of Visual Arts, Université du Québec à Montréal

University Exchange Program (January to June 2013)

 

2012

DNAP, École Nationale Supérieure des Beaux-Arts de Paris

Dominique Gauthier and Djamel Tatah workshops

1st Cycle (September 2009 to June 2012)

Anne-Laure Wuillai, Mètre Cube, 2018

One cubic meter of solid wood, recycled wood waste, rubber swivel wheels

120 x 100 x 100 cm © Galerie Eva Vautier

 

 

Anne-Laure Wuillai, Hyper-Conditionnement, 2018

Mediterranean Sea in plastic bags thermo-welded in a stainless steel gabion

50 x 50 x 50 cm © Galerie Eva Vautier

 

 

Anne-Laure Wuillai, Space Oddity, 2016-2019

Pacific Ocean 1 Litre, Acrylic glass cube with glass and resin cap

12 x 12 x 12 cm © Galerie Eva Vautier

 

 

Anne-Laure Wuillai, Paysage artificiel, 2018

Plexiglas, demineralized water, water-soluble dye, silicone stopper

70 x 100 x 5 cm © Galerie Eva Vautier

 

 

 

Anne-Laure Wuillai, Cyanometer, 2016

Acrylic on wood and wooden box

7 x 42,5 X 4 cm © Galerie Eva Vautier

Élémentaire #1, 2017, Exhibition Galerie Eva Vautier,

With Tom Barbagli,  Charlie Chine, Jacqueline Gainon, Anne-Laure Wuillai

© Galerie Eva Vautier

 

 

 

Élémentaire #2, 2017,  Exhibition Galerie Eva Vautier,

With Tom Barbagli, Charlie Chine, Jacqueline Gainon, Anne-Laure Wuillai

© Galerie Eva Vautier

 

 

 

Élémentaire #3, 2017,  Exhibition Galerie Eva Vautier,

With Tom Barbagli, Charlie Chine, Jacqueline Gainon, Anne-Laure Wuillai

© Galerie Eva Vautier

 

 

 


 

 

 

AZIMUTH

 

Benoît BarbagliTom Barbagli, Evan Bourgeau,Camille Franch-Guerra, Omar Rodriguez Sanmartin, Florent TestaAnne-Laure Wuillai

With the participation of Célia Vanhoutte, energy scenography / Frédéric Blancart, curator

 

 

 

« Qui nous a traînés ici ? Je le maudis ! »

Cette phrase revenait souvent avec ces variations :

« Mes mains sont gelées ! » 

« Je suis encore tombé dans un trou ! »

« Ce n’est pas le bon chemin ».

 

Parfois la vallée taisait les grognements, à d’autres instants elle leur offrait un puissant écho. À 2500 m d’altitude dans les montagnes du Mercantour, la traversée du Trécolpas vers le refuge de la Cougourde fut bien plus ardue que nous l’avions imaginé.

 

Tout d’abord parce que les raquettes premier prix en dévers cela ne marche pas, ça déchausse tout le temps, tu perds l’équilibre et tu tombes sur le côté, et puis bon courage pour te relever.

 

Du coup la plupart d’entre nous a choisi de ne pas les utiliser, et comme il y avait au moins un mètre de neige, c’était assez gelé pour glisser mais aussi assez mou pour qu’on s’enfonce jusqu’à l’entrejambe. Avec le poids du sac à chaque pas c’était la peur que la neige craque, car une fois bloqué ça impliquait plusieurs minutes pour se dégager.

Gilles Miquelis

Gilles Miquelis

 

Living to death

“Smokers are at the crossroads of the documentary. Filled with ease, full of self-satisfaction, to the point of becoming flammable! Borrowed directly from a 19th century painting, they are faces of angels, from a casting of young first ones.

Watching them surround themselves with delight with multiple volutes of smoke, the “gang of the lit ones” is the archetype of innocence, vitality and future all traced!

Here the child obviously takes power in order to probably go up in smoke himself… A kind of striptease, the pictorial story of a contemplative who shows what he has stolen from the daily life, at the moment when the ordinary merges with the extraordinary. »

Biography

Born in 1976. Lives and works in Nice

 


 

 

SOLO EXHIBITIONS

 

 

2017

Galerie Eva Vautier, Nice

 

2014

Galerie Hélène Jourdan Gassin, Nice

 

2011

Ragots d’humanité, La conciergerie, dans le cadre de la manifestation « L’art contemporain et la côte d’azur”, Nice

 

2010

Dimanche, Galerie Sintitulo, Mougins

Galerie Aminiart, Monaco

 

2009

Galerie Arkos, Clermont-Ferrand

 

2007

Ailleur, Galerie Norbert Pastor, Nice

 

2006

Galerie L’atelier, Monaco

Galerie Arkos, Clermond Ferrand

Galerie Aminiart, Monaco

 

2005

Humanité, Galerie 14, Paris

 

2004

Galerie Arkos, Clermont Ferrand

Nous autre, Galerie 14, Paris

 

 

GROUP EXHIBITIONS

 

 

2016

Formats raisin, Galerie Martagon, Malaucène

Impression d’atelier, la création contemporaine sur la Côte d’Azur, CIAC, Carros

Art fair Athina, Galerie Laureen Thomas, Athènes, Grèce

 

2015

Galerie Martagon, Malaucène

A une année lumière, Galerie Eva Vautier, Nice

 

2014

Dernières acquisitions, MAMAC, Musée d’Art Moderne et d’Art Contemporain, Nice

Mur, Mur, Galerie Martagon, Malaucène

Quand même .., Galerie le 22, Nice

Zootropie, Galerie le 22, Nice

Galerie Laureen Thomas, Cagnes sur Mer

Galerie Phillipe Jourdan Gassin, Nice

Formats raisin, Galerie Martagon, Malaucène

 

 

2013

Bonjour Monsieur Matisse, rencontre(s), MAMAC, Musée d’Art Moderne et d’Art Contemporain, Nice

Art fair Athina, Galerie Laureen Thomas, Athènes, Grèce

Art fair Bruxelles, Galerie Laureen Thomas, Belgique

 

2012

La menuiserie, Nice

A l’origine Nice, Galerie Malborough, Monaco

 

2011

Ici Nice, Les Abattoirs Chantier Sang Neuf, Nice

La conciergerie, dans le cadre de la manifestation « L’art contemporain et la côte d’azur », Nice

 

2010

Group show, Galerie Rdf, Nice

Phase zéro, Galerie Serge Aboukrat, Paris

Galerie Aminiart, Monaco

 

2009

So feucking french, Soff, Londres, Royaume Uni

Galerie Norbert Pastor, Nice

Galerie Arkos, Clermont Ferrand

Galerie lj Beaubourg, Paris

Art Elysée, Paris

 

2007

Galerie lj Beaubourg, Paris

Dessine moi un…, Galerie Serge Aboukrat, Paris

Slick, Foire d’art contemporain, Paris

UMAM Union Méditerranéenne d’Art Contemporain, Nice

French touche, Villa Tamaris, la Seyne sur mer

Galerie Arkos, Clermont Ferrand

 

2006

Galerie Norbert Pastor, Nice

 

2005

Espace Julio Gonzales, Arceuil

 

 

BIBLIOGRAPHY

 

2015

Impression d’ateliers, La création contemporaine sur la Côte d’Azur, Patrick Boussu, Jean-Michel Sordello, Michel Franca, volume 2, Edition South Art, Nice, 2015

 

2014

Biennale UMAM, 65 artistes contemporains du bassin Méditerranéen, Château musée Grimaldi, Cagnes sur Mer, 2014

 

2013

Bonjour M. Matisse ! Rencontres, Mamac, Ville de Nice, 2013

 

2012

A l’origine Nice, Malbourough Monaco, 2012

 

2007

French touche, Villa Tamaris centre d’art, La Seyne-sur-Mer, 2007

Gilles Miquelis

Vivre à en crever

January 14 to March 4, 2017

 

 

 

“Smokers are at the crossroads of the documentary. Filled with ease, full of self-satisfaction, to the point of becoming flammable! Borrowed directly from a 19th century painting, they are faces of angels, from a casting of young first ones.

Watching them surround themselves with delight with multiple volutes of smoke, the “gang of the lit ones” is the archetype of innocence, vitality and future all traced!

Here the child obviously takes power in order to probably go up in smoke himself… A kind of striptease, the pictorial story of a contemplative who shows what he has stolen from the daily life, at the moment when the ordinary merges with the extraordinary.”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Website: 

www.gilles-miquelis.fr

 

Documents d’artistes : 

http://www.documentsdartistes.org

Florian Pugnaire

florien

Florian Pugnaire pays particular attention to the notion of the workshop as a place of practice, but also as a place of fiction, an in-between where the goal of work is not yet defined and where everything can still be invented or modified. Through a personal or collaborative practice (with David Raffini), he shows an interest in the process of fabrication and creation, and situates his work in an intermediate space between the workshop and the exhibition space.

 

He works on the material, time and space contained in the act of creation. In this, he joins Robert Morris, who – in rejection with Greenbergian thought – refused in 1970 to see the work as a timeless, finished object, which would only be experienced optically: “I think that, in the past (…), such efforts [the creative process] have been seen as an unsystematized sequence of technical, anecdotal or biographical facts, unrelated to the real “work”, plated as a timeless deposit and frozen on the flypaper of culture. 1 »

 

Through a field of cultural references revolving around martial arts (L.E.W. Q , Shadow Boxing, Stunt Lab), the automobile (Dyane +, Expanded Crash) and the world of the building site (In Fine, Meurtrières), Florian Pugnaire produces constant back and forth between sculpture and video: “These connections between film and sculpture, then between sculpture and narrative, involving the time factor and summoning the image, are the essential data of Florian Pugnaire’s personal works (the recent Stunt Lab, film of a combat choreographing the destruction of a set, projected with the compression of the latter at its side, offers a very immediate example of these combinations. 2 »

 

Pauline Thyss

Florian Pugnaire was born in 1980,
Lives and works in Nice and Paris.

 


 

 

Solo Exhibitions

 

2019

Fahrenheit 134, Galerie Ceysson & Bénétière, Paris

 

2018

Show Me, L’étrangère, Londres
Ressac, Le Portique, Le Havre
Artbrussels, solo Pugnaire et Raffini, Galerie Ceysson et Benetiere

 

2016
Mechanical Stress, Galerie Eva Vautier, Nice
Show me, Galerie Torri, Paris
Florian Pugnaire & David Raffini, Prix Ricard

 

2015
Florian Pugnaire et David Raffini, Centre Georges Pompidou, Paris

 

2014
Le coefficient de Poisson, Le Patio, La Maison Rouge, Paris *

 

2013
Chjami rispondi, Galerie Torri, Paris *
Energie Sombre, Musée Picasso, Antibes *
Matières temps, Centre d’art contemporain Les églises, Chelles *
Fondre Battre Briser, Centre d’art Le Pavillon Blanc, Colombiers *

 

2012
III, Centre culturel Una Volta, Bastia *

 

2011
Amnesia, Espace contemporain Domaine Orenga, Patrimonio
Glissements, Le Dojo, Nice *
Paris – Berlin 2011, Galerie Carlier I Gebauer, Berlin *

 

2010
Hors Gabarit, Galerie Torri, Paris *
In Fine, Palais de Tokyo, Paris *
E figura si l’isula, fantasy island, FRAC

 

2009
Expanded-Crash, Villa Arson, Centre d’art, Nice *
Expanded-Crash, Module 2, Palais de Tokyo, Paris *

 

Group Exhibitions

 

2019

Artbrussels, Galerie Ceysson & Bénétière, Bruxelles

 

2018
Scar / Face, Galerie Ceysson & Bénétière, Paris

Kanal – Centre Pompidou, anciens locaux Citroën, Bruxelles
Précipité, Atelier de Jette, Bruxelles
Dawing now, Paris (galerie Eva Vautier)

 

2017
FIAC hors les murs, galerie Ceysson et Benetière, jardin des Tuileries, Paris
Artbrussels, Galerie Ceysson et Benetière, Bruxelles

 

2016
Sculptures, matières, matériaux, textures, Galerie Ceysson et Benetière, Foetz, Luxembourg

 

2015

Sphère, Galleria Continua, Les Moulins, Boissy-le-Châtel
L’ordre des lucioles, Fondation d’entreprise Ricard, Paris
GAS Station, Gagliardi Art System Gallery, Turin, Italie
Artbrussels 2015, stand TORRI, Bruxelles, Belgique
Chercher le Garçon, MAC VAL, Vitry sur Seine
Énergie sombre, Artemovendo, Porto Alegre, Brésil
Énergie sombre, ArtVilnius, Vilnius, Lituanie
Énergie sombre, Athens Digital Arts festival, Athènes, Grèce
Videonale 15, Bonn, Allemagne
Collective collection volet III, Le BBB centre d’art, Toulouse

 

2014
Shit and Die, Palazzo Cavour, Turin, Italie
Energie Sombre, Biennale de Belleville, Paris
J’écris donc je suis – Ben et La Station, le Garage, Brive

 

2013
Saison 17 – La Station à Lieu Commun, Lieu Commun, Toulouse
Boîte en valise, Institut Français, Exposition itinérante
Sans matières ajoutées, CNEAI, Chatou
Entrée libre mais non obligatoire, CNAC Villa Arson, Nice
Réinventer le monde – exposition du Frac Acquitaine
Sala Rekalde, Bilbao, Espagne

 

2012
Impressions d’Ateliers, Galerie Maud Barral, Nice, France
First Shanghai Sculpture Project, Shanghai Art Institute, Chine
Matières grises, Lieu commun, Toulouse
Sunshine and Precipitation – exposition de La Station, Catalyst Arts, Belfast, Irlande
Texture – Material (Berlin Paris 2012), KLEMM’S Gallery, Berlin, Allemagne
Les feux de l’amour, FRAC Aquitaine, Bordeaux
Paper, Galerie du MAMAC, Nice
New Abstract generation, Le Box, Fonds M-ARCO, Marseille, France

 

2011
La fabrique sonore, Domaine Pommery, Reims
FIAC 2011 – stand TORRI, Grand Palais, Paris
Art-o-rama, Friche Belle de Mai, Marseille
Focus, Parcours associé de la Biennale de Lyon, Vienne (France)
Programme video, Module 1 du Palais de Tokyo, Paris
Collectionneurs en situation, Espace de l’Art Concret, Mouans-Sartoux
La Sculpture autrement, Ecoparc, Mougins
Que sera, sera… La Station au CAN, CAN, Neuchâtel, Suisse
Tout ce que vous avez toujours voulu savoir sur le blanc, Frac Aquitaine, Bordeaux

2010
Auto – Station, La Station, Nice
Dynasty, Palais de Tokyo et Musée d’Art Moderne de la Ville de Paris, Paris

Reset, Fondation d’entreprise Ricard, Paris

2009
Kit invite n°2, Paris
Group show, RDF Galerie, Nice
Points, lignes et plans-séquences, Galerie des musées, Toulon
II, RDF Galerie, Nice

 

2008
Home Cinema, Trafic, Lausanne, Suisse
Panorama 9-10, Le Fresnoy, Tourcoing
Accidents de parcours, Performance, Corte, Corse

 

2007
Temps d’images, La ferme du Buisson, Noisiel
Panorama 8, Le Fresnoy, Tourcoing

 

Awards

 

2015
Prix de la Fondation Ricard, Paris
Videonale Audience Award of KfW Stiftung, Bonn, Allemagne

2014
Prix des Amis de la Maison Rouge, Paris

 

Formations

 

2008
Le Fresnoy, Studio National des Arts Contemporains, Tourcoing

 

2007
Diplôme National Supérieur d’Expression Plastique, La Villa Arson, Nice

Avec David Raffini *

 

Residences

 

2016
Fahrenheit Foundation By Flax, Los Angeles, États-Unis

 

2009
Cité Internationale des Arts, Paris
Synagogue de Delme

 

Public Collections 

 

Centre Georges Pompidou, Paris

Frac Aquitaine

MECHANICAL STRESS

 

Pauline THYSS

 

From the mechanical constraint to the narrativity of the gesture

 

Using materials traditionally used in construction (plasterboard, sheet metal, lead), he is interested in their physical properties, their resilience, their remanence … which is measured through mechanical stress. This concept, used in material sciences, evaluates the elastic and plastic capacity of an element to absorb the effects of torsion, tension or pressure. Florian Pugnaire relies on certain specificities – the flexibility of lead, the resistance of metal, the brittleness of plasterboard – to which he imposes a work force that can sometimes bring materials to their breaking point. To do this, the artist uses mechanical tools such as straps, winches, hoists and hydraulic jacks which are sometimes an integral part of the work. This tooling is diverted from its ordinary application to operate stresses and deformations, creating a plastic vocabulary whose industrial aesthetics, here tormented, tends towards collapse, ruin, degradation …

 

Florian Pugnaire’s works would be vestiges of the fight he leads with matter, because he considers the studio as the place where he practices the battle of art: he confronts the elements in a struggle where each round tests their respective physical capacities. His approach to sculpture is therefore fundamentally defined by a performative dimension, characterized by the action and involvement of the body. In this his sculptures are haptic works: touch and self-perception in the environment are at the center of his process. If in his duo practice with David Raffini, he explores the sculptural field through monumental installations or “event-works”, he individually produces works on a more human scale. The question of process is however at the center of these two practices, which we could call action-sculpture : just as in action-painting, the gesture is more important here than the result.

There is a form of indeterminacy in his practice, since experience directs the process: his sculptures are both reproducible (once their manufacturing process is established) and singular, since they are each time the result of a unique action. In this perspective, Florian Pugnaire’s practice is in line with the theory of Anti-form ² defended by Robert Morris and including artists such as Eva Hesse, Bruce Nauman or Barry Flanagan: to produce his works, he does not look for a precise figure but finds his form by manipulating the material. Formal connections with the work of Eva Hesse are also sometimes blatant: her metal sheets constrained by a metal frame (Untitled, 2016) echo Aught (1968), a piece composed of plastic sheeting held to the wall by a tape frame. But his combative approach to the process takes him away from the soft works of the Anti-form: his sculptures are dynamic, visually sometimes violent.

 

 Exposition "Mechanical Stress" Galerie Eva Vautier 2016


Sans titre 2016 – polished aluminum, stainless steel lacquered aluminum, stainless steel

 

Florian Pugnaire thus proposes formal potentialities more than determined forms: he freezes the material in a given state at a decisive, empirical moment “T”. This process produces freeze-frames that generate recognizable shapes (a punching bag, a flag) or snapshots (folding, twisting, compression). For example, his series of lead sculptures (2016): the artist uses the same amount of material – sheets of 60 x 90 x 0.1 cm – that he works to obtain five variations. A dense and tortuous knot unfolds little by little to become an aerial drapery, seeming to float lightly. The form thus evolves from a simple gesture, the maximum twisting of a leaf (the knot) to the creation of an image, an erected flag. The deconstruction of the movement, almost chronophotographic, produces here visually the idea of a duration. A sort of timeline with different formal potentialities, it produces a plastic narrative, a silent narration. It takes us back to a history of the sculptural gesture, from the classical drapery to Richard Serra’s Hand Catching Lead (1968).

 

Nœud, drapé, drapeau, 2016 plomb

Nœud, drapé, drapeau 2016, lead

 

In other works, this narrativity is rather suggested, but the form always contains an analepse (or flash-forward) in its movement: the base of Constriction (2016) is potentially totally destroyed, the sheet metal of Traverse (2016) could pass completely through the partition, the punching bag of Untitled (2016) could be nothing more than a shapeless mass. In other words, the form always contains the anticipation of its total and irreversible destruction. This temporality is thus based on the entropy of matter, which naturally tends towards a state of disorganization, and on gesture, thanks to which the artist maintains this disposition to chaos in a transitory state.

 

Florian PUGNAIRE

Traverse 2016, stainless steel, winch, cable

 

On the other hand, this plastic narrative contains two forms of prolepse (or flashback). A historical memory that translates into artistic references that are sometimes antagonistic (Greek sculpture meets minimalism, the ready-made plays with processual art…) and a much more specific reminiscence, that of the time of elaboration. This past, usually invisible in a finished work, refers us indirectly to the space of the studio and the innumerable potentialities of a work in progress: “I pay particular attention to the notion of the studio as a place of practice, but also as a place of fiction, an in-between where the finalité of the work is not yet définie and where everything can still be invented or modifié.³ “

 

 

Fiction of the process: video and cinema

From his third year of study at the Villa Arson, Florian Pugnaire documented his gestures in the form of films. Initially thought of as archives, these videos quickly freed themselves from this status to become works in their own right. The influence of Bruce Nauman was then important, especially his videos from the late sixties in which the artist stages himself in the studio, performing a simple and repetitive gesture (walking, balancing on one foot, bouncing off a wall…). These elementary gestures experimented in the form of filmed actions, not unrelated to the activity of dancers such as Merce Cunningham and Trisha Brown or Brecht’s theater, allow Nauman to experience modalities: those of the body intervening in time and space, those of the limits of relevance of an action, even those of the body as the primary material of the work.

 

His first video was intended to document the making of a sculpture: in Dialogue with Sculpture (2004), we see him shaping a punching bag made of aluminum sheet metal with his fists for three minutes. Aware of the performative dimension of his action, he filmed himself from three different angles in order to obtain a complete vision. He explains: “It was by importing the media from the three cassettes that I understood the impact of the editing: my three cameras were not only around the object, but also framed three different shot values, which gave the action a dynamic look with the right rhythm. While my intention was to create a sculpture in a performative way and to document the process, I realized that the archive I had produced was an integral part of the work as a whole.4 “From this initial desire to bear witness thus arose a reflection on the video medium itself, leading the artist to think of it in terms of its own characteristics; over time, the shooting, framing, grading, sound and editing of his films have been perfected and today give his works a truly cinematic dimension.

 

The problems he addresses in his videos are the same as in sculpture: he questions the processes of fabrication of the work by staging constraints, transformations, destructions… We find an aesthetic of the construction site and the workshop as well as the same plastic vocabulary (metal, plaster, hoists, straps…). But, by revealing the processual phase in time and not only in space, Florian Pugnaire transforms it into a fictional experience. Here, the narrativity of the work is no longer based solely on the entropy of matter and gesture, since the moving image induces a temporality per se. Often accompanied by installations taken from the film set, his videos question creative time in a complex way by distorting it: analepses and prolepses overlap, blurring the linearity of the narrative; the work continually renews itself between construction, destruction and reconstruction.

 

While in his early video works he focused on archiving the activation of a processual sculpture, Florian Pugnaire quickly autonomized the gesture to produce movements seemingly induced by the process itself, without human intervention. Taking place in indeterminate spaces, between the wasteland, the studio and the white cube, his videos unroll the processual gesture to create chain reactions: the decor self-destructs and the materials become actors of spectacular pyrotechnic and mechanical disasters. And when the body comes back into play, as in Stunt Lab (2009) or Agôn (2016), it seems to undergo the same extraordinary force: the gestures are destructive and the organisms are as mistreated as the materials around them. In watching his films, we think of Der Lauf der Dinge (The Course of Things, 1987) by Peter Fischli and David Weiss, Water Boots (1986) by Roman Signer or One Minute Sculptures (1997-1998) by Erwin Wurm: temporary sculptures, resting on a precarious balance, leaving an imminent and programmed catastrophe in abeyance or activating, they bring into play, with derisory dramatic intensity, the fundamentals of sculptural practice as a determined and immobile form.

 

But Florian Pugnaire’s films carry within them a gravity foreign to these works: nimbed by a strange, sometimes nightmarish atmosphere, they send us back to the fantastic film. In Paramnésis (2011), we observe a succession of events unfolding through different spaces, initially immaculate and circumscribed, then increasingly dirty and indeterminate. Several mechanical reactions take place: impacts, flows, absorptions. The atmosphere becomes unhealthy, disturbing: acetone flows over polystyrene, which melts to create blackish threads, reminiscent of Ridley Scott’s Alien (1979); a sheet metal sheet is pushed into a wall to leave a gaping hole, black as nothingness…”. In space, no one will hear you scream,” these poor tortured materials seem to tell us.

The works he creates with David Raffini have something more romantic about them. Their videos, whose main characters are generally vehicles (backhoe, van, car) are the subjects of a poetics of metamorphosis, leading the processual fiction towards phantasmagoria. From these videos come the sculptures made from these vehicles: playing an ellipse between cinematographic and real time, these often violent works – In Fine’s backhoe pulls back on itself, Dark Energy’s truck is dismembered – send us back to the fiction of their making. The filmed account of their metamorphosis is inscribed both in the real (the effects are mechanical and not digital) and in the myth: we cross with them abandoned wastelands and plains, we sympathize with the inevitable transformations they undergo to end up conferring them an anthropomorphic and ontological dimension. “In Dark Energy, or in In Fine, mechanical machines are shown as both “utilitarian” and fantastically glorified, human and extra-human. (…) Thus these mechanical machines are associated with the idea of almost mythical ancestrality at the same time as they are metaphorical of the “homo faber”, that definition of man forever restless, forever taken from the desire to manufacture – and consequently, to transform his environment.5 “We then think of Christine, a book by Stephen King published in 1983 and adapted by John Carpenter the same year, or Ballard’s Crash! (1973), adapted by David Cronenberg in 1996: the machine becomes mortal, raised as a symbol of the human condition and a vector of our own loss.

Agôn (2016) would be the sum of all these reflections, and it is Florian Pugnaire’s most syncretic work. We see two combatants confronting each other, prisoners of a timeless loop. The set comes to life and metamorphoses around them to finally self-destruct: carried away in this perpetually changing scenography, the actors seem absorbed by the violence of their own action, almost indifferent to the brutal reactions that surround them.

 

Florian PUGNAIRE

Exhibition View Film Agôn 2016

 

Here again, Florian Pugnaire tells us about the process and Agôn is certainly a sculptural film; however, it is also a truly cinematic work. The narrative thread is based on a chain reaction leading us into a succession of spaces in which the fight unfolds. The montage alternates between close-up shots of the action of the two protagonists and elliptical shots revealing the scale of the set, creating dynamic variations in rhythm. The sound brings a fantastic atmosphere while reflecting the realistic aspect of the fight. Close to the bodies, it focuses on the impacts and the runaway of the breath while evolving according to the changes of space, recalling at times the disturbing Polymorphia (1961) by Krzysztof Penderecki, used by William Friedkin in The Exorcist (1973) and by Stanley Kubrick in The Shining (1980). This agonizing atmosphere is grafted onto the aesthetics of the studio: the construction and deconstruction of the decor bears witness to a process involving the making, the undoing, the gesture, the gestation, the sculpture in the making.

Produced with the professional techniques of the film industry, Agôn is thus an art video in which cinema is integrated both as a reference and as a form. Florian Pugnaire’s influences are varied here but all belong to genre cinema: martial arts films (from Akira Kurosawa’s Chanbara to John Woo’s Hong Kong cinema), fantasy and science fiction films (Tobe Hooper, David Cronenberg, Stanley Kubrick)… By drawing on this repertoire, the artist allows himself an incursion into entertainment, leading his aesthetic issues towards the spectacular. We are indeed taken aback and come out of the projection by fantasizing an improbable remake of The Course of Things by Fischli & Weiss by John Carpenter.

 

Florian Pugnaire

Film  Agôn  2016

 

However, Agôn has nothing to do with Hollywood productions: for Florian Pugnaire, artistic fiction must understand the way in which the image industry generates codes of representation in order to divert them and create alternative forms. “Since Greenberg, the flow of globalized images, online exploits, and endless replicas of entertainment productions have flooded into our receiving channels. Game and fiction are now included in the self-reflection of art. And unlike entertainment, artistic fiction does not aim to hypnotize the spectator, even if it lets him or her absorb the content.6 “In Agôn, the spectacular plays with the spectacle, artifice is thwarted by the real and performative staging of the action, and violence poses an axis of reflection on human nature.

For if Florian Pugnaire uses certain mechanisms of Hollywood cinema, he sets aside the Manichean vision. The fight, like the term Agôn and its polysemy 7, offers several avenues for reading. From a narrative point of view, it is absurd: we will never know why these two adversaries are so keen to annihilate each other and we will never know their story. The absence of context transforms the film experience into a powerful visual and sensory exploration that imprints itself on our retinas and chases us for a long time. The atmosphere, full of ruins and mists, at times reminds us of Stalker’s Zone (1980, Tarkovski): physical space becomes mental and the struggle is then tinged with an ontological, even metaphysical dimension. Between instincts of life and death, Agôn reminds us of the vanity of our existence and our irrational and essential will to overcome it.

As Kubrick said: “A film is – or should be – much closer to music than to a novel. It must be a sequence of feelings and atmospheres. The theme and all that is in the background of the emotions it conveys, the meaning of the work, all this must come later. You leave the theater and, maybe the next day, maybe a week later, maybe without you realizing it, you acquire something that is what the filmmaker has tried to tell you”.

 

Pauline Thyss, September 2016

 

[1] Claire Moulène, in the article Action Sculpture published in Code 2.0 in the fall of 2010, defines the practice of Florian Pugnaire and David Raffini as follows.
[2] Article published in Artforum (VI, n° 8) in April 1968 in which Robert Morris, opposing minimalism, defends a process according to which the artist delegates artistic choice and gesture to the material. This article lists, since Jackson Pollock and Morris Louis, the American expressions of this process which “lets matter, gravity and chance “speak”.
[3] Florian Pugnaire, about Stunt Lab, 2010
[4] Interview, Pauline Thyss and Florian Pugnaire, 2016.
[5] Sylvie Coëllier, Dark Energy: Chronicle of an Announced End, in catalog Dark Energy, Pablo Picasso National Museum, 2014.
[6] Sylvie Coëllier, Pugnaces et raffinés – Florian Pugnaire et David Raffini: une épopée des moteurs, 2013.
[7] The genealogy of the term Agôn goes back to the texts of Ancient Greece and reveals, since its origin, numerous shifts in meaning. It appears in the Iliad to describe the assembly that witnessed the establishment of funerary games, before evolving in the Odyssey to designate the arena in which the tournaments took place. It then expands to define the panhellenic games, and then some of their specificities linked to the notion of combat, such as contest, struggle, rivalry. Finally, Agôn can designate the place of the combat as the combat itself, the combativeness and, by extension, the judicial or verbal joust, the dialectical debate, the theatrical dispute…
[8] Remarks by Stanley Kubrick collected by Peter Lyon for the magazine Holiday (February 1964).
Florian PUGNAIRE Exposition "Mechanical Stress" Galerie Eva Vautier 2016

Sans titre, 2016
Stainless steel, winch, cable
100 x 166 x 26 cm


Florian PUGNAIRE Exposition "Mechanical Stress" Galerie Eva Vautier 2016 Projection "Agôn"

Projection Agôn, 2016


Florian PUGNAIRE Exposition "Mechanical Stress" Galerie Eva Vautier 2016

Traverse, 2016
stainless steel, strap


Florian PUGNAIRE

Noeud, drap, drapeau, 2016
lead


Florian PUGNAIRE Exposition "Mechanical Stress" Galerie Eva Vautier 2016

Meurtrière III, 2016
BA13, strap, white paint, caparol binding agent
90 x 250 cm


Florian PUGNAIRE Exposition "Mechanical Stress" Galerie Eva Vautier 2016

Exhibition view


Florian PUGNAIRE Exposition "Mechanical Stress" Galerie Eva Vautier 2016

Sans titre, 2016
gas bottle, galvanized chain, aerosol paint 
170 x 30 x 30 cm


Florian PUGNAIRE Exposition "Mechanical Stress" Galerie Eva Vautier 2016

Tôle sanglée, 2016
stainless steel, strap 
165 x 90 x 100 cm


Florian PUGNAIRE Exposition "Mechanical Stress" Galerie Eva Vautier 2016

Exhibition view


Florian PUGNAIRE Exposition "Mechanical Stress" Galerie Eva Vautier 2016

Exhibition view


Florian PUGNAIRE Exposition "Mechanical Stress" Galerie Eva Vautier 2016

Traverse, 2016
stainless steel, strap


Florian PUGNAIRE Exposition "Mechanical Stress" Galerie Eva Vautier 2016

Traverse, 2016
stainless steel, strap


Florian PUGNAIRE Meurtrière 2016 Plaque de plâtre cartonnée, sangle d'arrimage 74x37cm édition 25 exemplaires Exposition "Mechanical Stress" Galerie Eva Vautier 2016

Meurtrière 2016
Gypsum plasterboard, lashing strap 
74x37cm
edition

MECHANICAL STRESS

 

FLORIAN PUGNAIRE

 

September 24 – December 31, 2016

 

+ informations

Florian PUGNAIRE Exposition "Mechanical Stress" Galerie Eva Vautier 2016

Exhibition view

 

 

Vue d'exposition "Mechanical Stress" Galerie Eva Vautier 2016

Exhibition view

 

 

Vue d'exposition "Mechanical Stress" Galerie Eva Vautier 2016

Exhibition view

 

 

Florian PUGNAIRE Exposition "Mechanical Stress" Galerie Eva Vautier 2016

Exhibition view

 

 

Florian PUGNAIRE Exposition "Mechanical Stress" Galerie Eva Vautier 2016

Exhibition view

Article de presse de Florian Pugnaire paru dans le numéro 260 du magazine de La Strada du 26 Septembre au 9 Octobre 2016

Press article on Florian Pugnaire published in the n° 260 of La Strada magazine from September 26 to October 9, 2016.

 

 

Article de presse sur l’exposition MECHANICAL STRESS paru dans le n°866 du magazine Tribune le vendredi 21 Octobre 2016

Press article on Florian Pugnaire published in the n°866 of the magazine Tribune Bulletin Côte d’Azur on Friday, October 21, 2016.

 

Article sur l’exposition MECHANICAL STRESS de Florian Pugnaire publié sur le blog Chez Lola Gassin le lundi 14 Novembre 2016.

Article on the exhibition MECHANICAL STRESS by Florian Pugnaire published on the blog Chez Lola Gassin on Monday, November 14, 2016.

 

 

 

 

http://documentsdartistes.org/artistes/pugnaire-raffini/repro.html

http://documentsdartistes.org/artistes/pugnaire-raffini/repro.html

 

https://www.centrepompidou.fr/cpv/resource/caXkgze/r4ykGj7

https://www.centrepompidou.fr/cpv/resource/caXkgze/r4ykGj7

Agnès Vitani

Agnès Vitani collects, consumes, recomposes, stretches and reformulates elements and materials that, in the intrigue of her approaches, recover identities otherwise presumed. Consumed, the material is rehabilitated, lived, trivialized or marginalized. These adjectives do not compete according to the point of view we bring to it.
The analysis of matter is a constant feature of Agnès Vitani’s activity: from this stems the greatest unconsumable Barbapapa: Barbe Bleue (Bluebeard). Nebulous, declination of the colors of the felts and fraying of the fluffy ones unfold in a magic swelling(Oz?).

 

I particularly like the Boulders. Blue Jean (David Bowie?), Working Blue (Denim?), Indigo (The original habitat of the indigo tree remains however unknown: in India, the plant has been cultivated for more than four thousand years) .

Agnès Vitani’s Rocks look like maritime cushions or Japanese footsteps; synthetic foams covered with used denim canvas, spotted with paint, “almost” emblematic re-marks of the painter on his clothes. The objects are placed in space and like his other works, they are particularly exposed to light. Jumping from one rock to another, then spreading out…

Finally, let us return to the “spirit” of sedimentation that runs through all of Agnès Vitani’s work: the “soaps”, her latest works carry the domestic enigma of this experimented variation of color through an observed, tested chemistry. A charm yes, the sense of construction of a work that is exposed in its process before it is even exhibited. It looks like an Opal…

The earth shook again in Los Angeles. An earthquake of magnitude 5.1 occurred on Saturday, March 29, in the suburbs of the city. The tremor was felt in much of southern California, in the southwestern United States. This earthquake occurred twelve days after another tremor of magnitude 4.4 which had awakened the inhabitants of the megalopolis on March 17th.**

 

This set of “soccer balls” forms an ethnic group that has no similar coverings or external signs – except for their size and their “32 faces*” – that would make it possible to recognize them. These eccentric jewels, marginal if one is attached to the sportsmanship of their origins, delicately occupy the space that no sculpture can claim.

* Geometrically, the 32-panel balloon can be described as a truncated icosahedron, a semi-regular polyhedron with 60 vertices and 32 faces, 20 hexagonal and 12 pentagonal, whose edges are all the same length.

 

Ingrid Luche

pointedefleches-resized

Agnès vitani, “Pointes de flèches”, 2013, 46 x 30 x 0.6 cm, felt pens, wood

IMG_9829-resized

Agnès vitani, “Barbe à papa 3”, 2014, 60 x 40 cm, felt-tip pens, soccer ball

– 

 

masque-resized

Agnès vitani, “Bouton masque”, 2014, 40 x 40  cm,
felt and polystyrene, 40 x 40  cm

 

Agnes Vitani

lives and works in Nice

 

INDIVIDUAL EXHIBITIONS

2018
Vide-poches et fonds de tiroirs, commissariat Fafé Martinetti, Lycée d’Estienne d’Orves, Nice

2000

Atelier d’art contemporain, MAMAC, Nice

 

GROUP EXHIBITIONS

2018
Avec plaisir, Galerie Eva Vautier, Nice
Idoles stars et reliques, Mamdac, Haut de cagnes. Commissariat Anne Sechet
Pause déjeuner, Caisse d’épargne Masséna, Commissariat Entre Deux, Nice

2017
Eclairage public, Chantier 109,Nice
Elementaire ou la règle du jeu, Galerie Eva Vautier, Nice

2015

Tribu, Galerie Eva Vautier, Nice
Quand je serai grand, Commissariat Valérie Arboireau, la Galerie, Galeries Lafayettes, Saint Laurent du Var
A une année lumière, Galerie Eva Vautier, Nice
2014
En suspens, galerie Eva Vautier, Nice
J’écris donc je suis, sur une proposition de Ben, La station et invités, Le garage, Brive
Cure d’azote, la maison, Nice, tract distribué a l’occasion de J’écris donc je suis,le Garage,Brive
2013
Supervues, Hôtel Burrhus, Vaison La Romaine
2012
Le cerveau, Espace à débattre, Nice
2011
J’aime les femmes et je le prouve, Espace à débattre, Nice
2007
Cabinet démocratique, South Art et le Labo, Villa Caméline, Nice
2006
Parcours Art contemporain, commissariat Anne Sechet, Haut de Cagnes
Cabinet névrotique, South Art et le Labo, Villa Cameline, Nice
2005
Troisième République deuxième round premier raout, La Station, La Colle sur Loup
Cabinet érotique, South aAt et le Labo, Villa Caméline, Nice
2002
C’est pas joli joli, La Station, Institut culturel français,Turin, Italie
Jolie attaque pour perdre, sur une proposition de Ben, La Station, Espace de arts, Colomiers
Co incident, Maison des artistes, Cagnes sur mer
2000
Y’a pas le feu, Le LAC, Centre d’art, Sigean
1998
Surplus, La Station, Nice
1995
Nice By night 2, Nice

 

OTHER PRODUCTIONS, GRANTS, ACQUISITIONS, CATALOGS

2000

Aide individuelle à la création, Drac Paca

2006

Parcours Art contemporain, Edition de la Ville de Cagnes- sur-Mer, 2004 La Station hors ses murs, édition Ulisse & Calipso, Naples

2002

Catalogue de l’Espace des arts, Colomiers

 

PRESS AND MAGAZINE ARTICLES

2000

La jeune création au LAC, Beaux Arts Magazine n° 198,

En suspens
Exhibition from May 13 to June 14, 2014

Pauline Brun, Alice Guittard, Charlotte Pringuey-Cessac, Agnès Vitani

 

 

ensuspens-crop-u36128

 

Agnès Vitani, “Rochers”, 2013, Variable dimensions, Mixed techniques

 

Exhibition view

Exhibition En Suspens at Galerie Eva vautier

François Paris

François Paris

 

Torn between opposing impulses, but which he does not seek to unify, François Paris deploys a singular and offbeat universe.

 

The artist plays on the interstices of time, off-camera, sentimental disillusions and misunderstandings, between images and words, the setting in poetic, dark and unanswered abyss, but where the absurdity of existence prevails. A mixture of hope and derision, it leads us to question the real futility of our modern lives, a frantic race to chaos, a dark farce that we don’t want to see for an immediate, instantaneous enjoyment with no real tomorrow. An impulse towards the worst in a happy melancholy.

 

These drawings are usually executed in grey and criterium pencil on relatively small sheets of paper and presented in clouds, however he is also making larger formats since 2012.

Scene of life, sometimes absurd, family photos, propaganda, worried characters, erased faces, uncertain place marked by austerity, incongruous objects, the strange interpretations make us fall into the ineffable disaster, through the prism of old found slides, stale images available on the internet, old forgotten memory cards, the artist seizes them to confront us with a kind of precise decomposition of the soul or what is left of it …

 

Playing the card essentially black and white and a little color, without having any real stylistic preoccupation, he draws, as he explains, everything and nothing at the same time, but all the time and everywhere !

 

This allows him, in his programmed wandering, to perceive the contours of disillusionment. Stopping the narrative impulse, he deconstructs the primary meaning of the initial image by reorganizing it through a particular cut-out or framing and creating new meanings. (…)

 

M. F, 2013

François Paris
Born in 1975, he lives and works in Nice.

 

 


 

 

SOLO EXHIBITIONS

 

2018

La conjoncture du hasard, Galerie Éva Vautier, Nice.

 

2014

Villa Cameline, Nice

 

2008

Les surfaces du vide, Galerie Renoir et Galerie du Château, Nice

 

2007

La zone, Nice

 

2005

Mars aux Musées, photographies et installations, Musée des beaux arts, Nice

 

 

GROUP EXHIBITIONS

 

2019

Avec plaisir 2, Galerie Eva Vautier, Nice.
Nopoto, Matériaux mixtes, Nice.
La vie est un film, Au 109 Ben. Nice.
Ian Curtis likes this place, Villa Caméline, Nice.
Road Movie, Caisse d’épargne, Nice.
Drawing Now, Art fair, Paris.
Mobile Home, Ecoles Municipales Artistiques, Vitry-sur-Seine.

 

2018
François Paris / Gérald Panighi, exposition SAJ, Nice.

Nopoto, Matériaux mixtes, Nice.
Vom Winde verweht, Berlin.
100 titres, Bel oeil, Nice.

 

2017
Kunstschorle, Projektraum Ventilator 24, Berlin.

Show me the way, Hôtel Windsor, Nice.

Le cabinet utopique, Villa Caméline, Nice.

Éclairage public, le 109, Nice.

Imago Mundi, _ Fondazione Luciano Benetton, Italie.

 

2016
Le Palais Idéal des égo étranges, Château de Hauterives, Hauterives.

Préfiguration des ego étranges, Galerie Eva Vautier, Nice.

 

2015
Centre d’art « Aldébaran », Montpellier.
Tribu, Galerie Eva Vautier, Nice.

À une année lumière, Galerie Eva Vautier. Nice.
Un printemps à Anvers, Galerie Daniel Boéri, Monaco.

 

2014
Centre d’art « Aldébaran ». Montpellier.
Cadavre exquis à la plage, Projektraum Ventilator 24, Berlin.
J’écris donc je suis, Ben, La Station & invités, Centre d’art Le Garage, Brive.

 

2013

Vendanges tardives, Galerie Martagon, Malaucèn

Ombres et lumières, UMAM Nice.

 

2012

Be another, Espace à débattre, Nice

Le cerveau, Espace à débattre, Nice

Échappée belle, Galerie Daniel Boéri, Monaco

Les visiteurs du soir, Draft – Reisefieber, Nice

La Vitrine, Palais la Scala, Monaco

 

2011

ryhmänäytelly, Macumba night club, Nice.

La Menuiserie, Nice

Supervues 2011, 3 jours à l’hôtel Burrhus, Vaison la Romaine

Que sera, sera, Centre d’art, Neuchâtel, Suisse

 

2010

We are all photographers now !, Musée de l’Elysée, Lausanne, Suisse

 

2009

La menuiserie, Nice

 

2007

Cabinet démocratique, Villa Cameline, Nice

We are all photographers now !, Musée de l’Elysée, Lausanne, Suisse

 

2006

Avatars, Atelier Soardi & le Labo, Nice

Excentricités, Atelier Soardi & le Labo, Nice

Made in Cannes, installation vidéo, Cannes

Cabinet névrotique, Villa Cameline, Nice

 

2005

Low Tech 1, Villa Arson, Nice

Hypegallery photo, Rencontres d’Arles, Arles

Vinyl, Villa Cameline, Nice

Cabinet érotique, Villa Cameline, Nice

 

2004

Hôtel de ville, Le désappartement, Nice

Et l’autre qui se prend pour un génie, alors que c’est moi, Nice

Jeunes artistes autour de Louis Bréa, IPAG, Nice

 

2003

Les Mars de l’art contemporain, installation vidéo, Clermont-Ferrand

 

2002

Foire d’Art Contemporain, Galerie Esca, Nîmes

 

2001

Jolie attaque pour perdre, La Station, Toulouse

 

2000

Promotion 2000, Villa Arson, Nice

Francois Paris, De l’antique regard absent, 2019

Pencil lead drawing on Arches paper 300 Gr, 36 x 26cm

 

 

Francois Paris, Au Centre caché, 2019

Pencil lead drawing on Arches paper 300 Gr

26 x 36 cm

 

 

Francois Paris, Sans titre, 2018

Pencil lead on paper, 75 x 118 cm

 

 

 

Francois Paris, Faux semblant, 2018

Pencil lead on paper, 90 x 75 cm

 

 

François Paris, Unknown Pleasures, 2014

Pencil lead on paper, 65 x 50 cm

François Paris, Exhibition View © photo Fr Fernandez

 

 

 

François Paris, Exhibition View © photo Fr Fernandez

 

 

 

 

 

Francois Paris,
Sans titre, 2018
Pencil lead on paper, 75 x 118 cm

 

 

 

François Paris, Exhibition view © photo Fr Fernandez

 

 

 

 

François Paris, Exhibition view © photo Fr Fernandez

 

 

 

 

 

Francois Paris, Nihilistics paradise, 2017
Pencil lead, charcoal on Arches paper
300 Gr with fringed edges,
57 x 77 cm