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Simone Simon


A photographer by trade, Simone Simon has been developing for fifteen years an artistic practice combining photography, videos, sound recordings and written testimonials. Each of her projects is built in a pragmatic way, to render a raw, often poetic reality. Anchored in a social approach, she seeks in the subjects she captures a living testimony, where absence and time weigh sometimes as a threat, sometimes as a hope.


Thus, time seems to have stopped when she photographs industrial districts and disused infrastructures in several European cities, giving light the leading role (Smile, we are being destroyed, Thus goes the light). With Les portes du St Pierre (ed. Le Passager Clandestin), she goes to meet women in a suburb of Nice as their unhealthy building, already half abandoned, is about to be destroyed.


Invoking the buried memories of childhood, cradle of the first emotions, she gathers audio testimonies, on the edge of a dream (Ne regardez pas le renard passer). With Nostalgie du présent, a nod to the world of Paul Auster, she brings children’s and adults’ faces face to face: “Everything is already inscribed in a child’s face “*, she observes, and the double portraits she offers bring out in a disturbing way the astonishing resemblance of a face that time cannot denature.


Simone Simon often relies on the participation of anonymous people (On the passage of a few people through…) and whatever the problem posed, the images, stories and testimonies speak a language common to all. The artist highlights mental images, convictions, regrets or dreams, taking the time to listen, with the strong will not to stage anything, but simply to grasp a subjective reality in which each person can find a little bit of himself and his relationship with others. This is also her approach when she directed with Eric Antolinos the film, Boxing-club, shot in a boxing club in the suburbs of Nice. There, she gives free speech and lingers on the sporting gestures and attitudes that create the link between these inhabitants of all generations and communities.

In her current work of photographs and testimonies, Le vent se lève, she gathers about thirty testimonies of women in the often shocked relationship they have with their bodies. Posing naked in a setting that is intimate to them, these anonymous women affirm their desire for freedom: they speak out against cultural diktats and aesthetic codes, which are often alienating.

Without ever getting into pathos, nor claiming any militancy, she nevertheless evokes how people’s lives are affected by political decisions of all kinds. Benevolence and slowness make up this very particular poetry, where time seems suspended.


* Paul Auster in, L’invention de la solitude, ed. Actes Sud, 1993




At the beginning of this afternoon, which announces a Côte that we love so much and that we finally find again, after these few months of barbarism, this Côte so nicely named by Stephen Liégeard, of azure, I look at this face -that of Simone Simon- as we are both sitting, side by side, on the orange skaï couch of my office. To tell the truth, it is she who turns to me and looks at me. Her narrow shoulders, her whole bust, her legs against each other with her hands resting delicately on them, her whole body sets itself as a “goal” to look at me and not only at me. She sees me. Does she know that inside, I am enjoying this name that perspires with ambiguity? I wonder doubly. Who is this woman?

We made an appointment for me to write a text about her, about her work.


Like everyone else, I meet her regularly at openings. We greet each other and talk about the works on display, the artists, everything, nothing. Finally, I realize that she is a stranger to me.

She came with a plastic bag containing a book. And, as if it were useless, shows me the contents quickly, turning the pages with a certain embarrassment, almost in a hurry to get rid of this formality that also embarrasses me. I hate these moments. Very quickly his smile takes over. She talks to me… about others.


What do I know about her best? These are some photographs seen at Eva Vautier’s gallery. Rigorous photographs which, at the time, seemed to me distant, almost cold, photographs of architecture taken in Eastern countries, I think. Small format photographs at modest prices that convinced me, without really knowing why. She talks to me about this work. I am absent, I hardly listen to her, I look at her and, in my turn, I see her.


I understand now. What I had identified as a somewhat cold distance, is only honesty, sincerity, modesty and… forbidden.


She forbids herself any form of corruption, she who worked for a while for the fashion press. She refrains from any self-centered ambition, she who today dares not call herself an artist. She refrains from any form of grandiloquence, she who devotes herself to the sole pleasure of photography. She refrains from talking about herself, she who never ceases to be interested in others.


This honesty, this sincerity, this modesty are truly the material with which she works, in addition, of course, to her camera.


If I had to cite only one work, or rather one project, since this is how she considers her way of working, it would certainly be the one realized in Nice in 2007/2008 Les Portes Du Saint-Pierre. A project, encounters, testimonials, words of women about their city where she has, with an astonishing acuity and a remarkable accuracy, not only testified to the daily life of the women of this suburb but really made work. As always, this project has been the subject of a publication, with deceptive modesty.


As in Boxing Club, a short film made earlier in 2006, or in the project Ne regardez pas le renard passer, the one that occupies her today and which she presents to me with thoughtful enthusiasm. It is the human being that is at the heart of her preoccupations, sometimes to the point of absence, as in these photographs found in Eva Vautier’s work.

At the end of our interview and as the light slowly fades, I walk back to the gate this small silhouette, so luminous in this late afternoon. How time can pass quickly. I forgot about Simon… and dare not tell him that I find her magnificent, that her work touches me and that I would have so much pleasure in writing a few words about Simone.


Yves Peltier


Lives in Nice







CORPS / VOIX Territoires de l’intime
Curratrice Chiara Palermo
Vernissage vendredi 27 septembre 2019 à partir de 18h
Avec Présentation et signature du livre NU, Simone Simon, préface de David Le Breton, texte de Chiara Palermo
Galerie Eva Vautier, Nice




Ne regardez pas le renard passer
Installation sonore
Supervues, petite surface de l’art contemporain
35 chambres, 35 artistes
Hôtel Burrhus, Vaison-la-Romaine




Diaporama de 7 minutes
En collaboration avec les femmes et les enfants résidants du CHRS, Les Yuccas




Ainsi Va La Lumière

Artiste invité : Joseph Dadoune

Galerie Eva Vautier, Nice




Souriez, On Se Détruit, Maison Abandonnée

La Villa Caméline, Nice




Les Portes Du Saint Pierre

Hôtel de Chartrouse, Rencontres de la Photoraphie, Arles

Les Portes Du Saint Pierre

Galerie Depardieu, Nice




Nostalgie Du Présent, FNAC

Monaco Nostalgie Du Présent

La Station, Nice




Sur Le Passage De Quelques Personnes À Travers

DOJO, Nice






1 mètre de distance
Exposition collective avec Benoît Barbagli et Aimée Fleury, Tom Barbagli, Arnaud Biais, Evan Bourgeau, Pauline Brun, Anna Byskov, Marc Chevalier, Joseph Dadoune, Nicolas Daubanes, Kristof Everart, Anne Favret et Patrick Manez, Forstner Gregory, Camille Franch-Guerra, Jacqueline Gainon, Marie Genin, Anne Gérard, Alexandra Guillot, Alice Guittard, Laurie Jacquetty, Sandra Lecoq, Gilles Miquelis, Frédérique Nalbandian, Gérald Panighi, François Paris, Charlotte Pringuey-Cessac, Caroline Rivalan, Omar Rodriguez Sanmartin, Justin Sanchez, Simone Simon, Cedric Teisseire, Florent Testa, Ben Vautier, Agnès Vitani, Agathe Wiesner, Anne-Laure Wuillai et Junko Yamasaki.
Galerie Eva Vautier, Nice




Cabinet pique-nique, femmes artistes
Installation vidéo Voyage immobile
Avec Olga Adorno, Brigitte Cardinal, Catherine Cattaneo, Caroline Challan-Belval, Elena Ferrer, Jacqueline Gainon, Alexandra Guillot, yayoi Gunji, Yoko Gunji, Corinna Kiefer, Jeanne Le Guff, Louise Luc Kheloui, Stéphanie Marin, Evelyne Noviant, Jackie Monnier Matisse, Lola Parrot, Marinella Senatore, Franka Séverin, Simone Simon, Anna Tomaszewski Maison abandonnée (Villa Cameline), Nice




Ne regardez pas le renard passer
Installation sonore
Avec Gilles Miquelis, Vivre à en crever
Galerie Eva Vautier, Nice Dans le cadre de l’exposition, Souvenir, réalité ou fiction ?, débat mené par Chiara Palermo (commissaire d’exposition, docteur en philosophie) et Jean-Pierre Joly (psychiatre, psychanalyste)




Avec Mathieu Alary, Pauline Brun, Joseph Dadoune, Sandra D. Lecoq, Kristof Everart, Gregory Forstner, Jacqueline Gainon, Anita Gauran, Alice Guittard, Philippe Jusforgues, Virginie Le Touze, Natacha Lesueur, Cécile Mainardi, Gilles Miquelis, Frédérique Nalbandian, Gérald Panighi, François Paris, Charlotte Pringuey-Cessac, Simone Simon, Ben Vautier, Agnès Vitani




Il était une fois… Une exposition de Jean Dupuy et de ses amis : Catherine Cattaneo & Gilbert Caty, Jean Dupuy, Philippe Boulard & Jean-Baptiste Gurly, Jean-Luc Parant, Thierry Lagalla, Simone Simon…Hôtel Burrhus, Vaison-la-Romaine

À Une Année Lumière, Galerie Eva Vautier, Nice




Mise En Scène, UMAM, Château de Grimaldi, Cagnes sur Mer 2013

Se Dérober, Musée de la Photographie André Villers, Mougins




L’Art À L’Abattoir, le 109, Nice




J’aime les femmes et je le prouve

Espace À Débattre, BEN, Nice






La Manga Del Mar (MURCIA), photographie N/B (1/5 tirages numériques), série Ainsi Va La Lumière, collection privée

Ambleteuse et Wimereux 2 photographies (EA), série Ainsi Va La Lumière, collection privée



Nu Sans Tête, photographie N/B (1/5 tirages numériques), Musée de la Photographie, Mougins



L’Art À L’Abattoir, vidéo co/réalisé avec Eric Antolinos Archivée à la médiathèque du MAMAC, Nice

Cabines de Bains BERG, photographie (1/5 tirages numériques), collection privée 2012 Sans Titre, photographie (1/5 tirages numériques), édition Les Portes Du Saint Pierre



One, photographie (1/7 tirages numériques), série Nieuwpoort, collection privée

One, photographie (2/7 tirages numériques), série Nieuwpoort, collection privée Bleu 2, photographie (1/7 tirages numériques), série Nieuwpoort, collection privée Charleroi Tuyaux, photographie (1/7 tirages numériques), collection privée



Charleroi Box, digigraphie (1/5 tirages numériques), collection privée
Charleroi Metro 1, digigraphie (1/5 tirages numériques), collection privée
Wimereux, photographie (1 et 2/ 5 tirages numériques), série Voyage En Diagonale 2002003, collection privée



Les portes Du Saint Pierre, Paroles De Femmes Dans Leur Cité, livre de photographies aux éditions Le Passager Clandestin

Archivé au Musée National de l’Histoire de l’Immigration, Paris



Boxing Club, Vidéo-documentaire archivée au Musée National de l’Histoire de l’Immigration, Paris






Les Portes Du Saint Pierre, Éditions Le Passage Clandestin, Paris 2006 Nostalgie Du Présent, Éditions e-dite, Paris







Voie Ferrée, Alicante, Exposition Ainsi Va La Lumière, Galerie Eva vautier, Nice Blockhaus, Wissant, Exposition Ainsi Va La Lumière, Galerie Eva vautier, Nice



Château En Espagne, Alicante, Exposition Mise En Scène, Château Grimaldi, Cagnes sur Mer



Boxing Club, Festival Cannes, Short Film Corner,



Boxing Club, Un Festival C’est Trop Court, Cinéma Rialto, Nice




Ainsi Va La Lumière, Galerie Eva Vautier, Émission FR3, Nice



Les Portes Du Saint Pierre, Émission Escale Festival, Rencontres Internationales de la

Photographie à Arles, Radio France Inter (juillet 2009)
Les Portes Du Saint Pierre, Article dans le Journal Le Monde 2 (septembre 2009)
La Parole aux Sans-Voix, article dans le Journal El Watan (Décembre 2009)



Sur Le Passage De Quelques Personnes À Travers, Exposition personnelle, DOJO, Nice

émission FR3
Article Nice Matin (janvier 2002)






Les Portes Du Saint Pierre,
Aide financière du Conseil Général

Aide à l’exposition, Ville de Nice



Boxing Club, Vidéo-Documentaire







Assistante Photo, Paul Genest, Plateau Sud, Rungis 1978-2002 Photographe



Photographe et vidéaste



Grau du roiGrau-du-roi, Gard, 2012

Silver print, glued. Signed, dated, titled on the back, 53 x 80 cm



Cité de MurciaCité de Murcia, zone résidentielle Nueva Condomina, 2013
Print on paper, “fine art by” hahnemühle, 30 x 30 cm

Ainsi va la lumière  

Simone Simon , Joseph Dadoune

Exhibition from February 15 to March 22, 2014

Opening February 14, 2014





Ne regardez pas le renard passer

Simone Simon

Exhibition from January 14 to March 4, 2017

Opening on January 13, 2017



Ainsi va la lumière - Simone Simon

Personal website :


Charlotte Pringuey-Cessac

I rub, I flatten, I explode, I crush, I push…


“Where are we going? Everything has been done. For the past twenty years, it seems that the extreme limits have been reached. One cannot be more ingenious, more refined than Ravel, more daring than Stravinsky. What will be the new formula
of art? We will have to go back to the very sources, to simplicity, to find something truly new. Counterpoint? There, no doubt, lies the future! “(Paul Dukas, 1865-1935).


I rub, I flatten, I explode, I crush, I push… . Rustles of first plastic actions from which are born sophisticated, intriguing visions that oppose formal principles that have long been used to distinguish Abstractions from each other and whose primitive nature the artist proves to us: the lyrical and the geometric, the expression and the concept what else are they but the reflection of the facture of a world where the organic and the crystalline, the underwater fauna and bamboo right always oppose each other


By reintroducing natural motifs and using poor materials, the artist reminds us that at the heart of abstractions, it is the heart of the world we hear.

A post-modern artist in search of timelessness, Pringuey-Cessac does not care about artificial “purity”: thus the figure appears, oscillates and disappears, dissolves or lodges itself in the title. She moves naturally from mural work to the appropriation of an administrative tool, from drawing to sculpture, from in situ to video recorded action. And yet, as soon as they enter her practice, all these processes complement each other instead of opposing or succeeding each other. They thus participate in the extension of a singular universe.


Pringuey-Cessac’s compositions show its pronounced taste for black, coal, graphite, traces of burnt or compressed organic life. The wall becomes for him a vertical arena, a place to dance with matter, a place of cadences, of organic, aquatic or fiery forms. But she never ceases to counterbalance her expressive movements rigorously with clean lines, whiteness and silences.


Even if the final appearance is never anticipated in the slightest detail, the artist does not embark on a purely instinctive journey whose outcome would be completely unknown to her at the moment she begins to realize it. Conceived according to the place, her wall drawings (O.d.e.) and in situ sculptures are thought out and prepared well in advance. Fruits of well-controlled gestures, their very aim frames them: trompe l’oeil and anamorphosis cannot be improvised.


Thus the appearance of the works reflects an approach where premeditation and serendipity are not mutually exclusive. Following the example of counterpoint and the A-B-A structure which is specific to L’adagio and the sculpture of the same name, the same principles reappear regularly in his work to generate new forms flat or in space. Dear to the artist, the reference to music is omnipresent: these ink stamps where a geometrical frame encloses a more or less “loaded” interior are called Variations.


As when the white wall is framed in black charcoal embers, the contours of the ink pads are clean, administrative, as is their standard size. The application protocol is no less clear: 5 stamps and 5 principles of composition and action (Stamp!) result in 25 combinations. Tilting between stain and line, stability and imbalance, spacing and superimposition, the artist explores compositional principles and the laws of our perception: when we look at this drawing with the required attention, each combination gives us a very specific sensation: loss of balance, precarious stability or vibrating pause.


Inventing new processes or appropriating existing techniques, Charlotte Pringuey- Cessac pushes back the boundaries of her universe, extending it both horizontally and vertically. She enlarges and she digs in parallel: after using charcoal to draw, depositing dark matter on paper or the wall, the paper or wall finally becomes a work of art, like the erasers entirely saturated with dark matter and the very gestures of the draftswoman in the video. When this imposing trunk saved from the fire becomes the Adagio sculpture, the fundamental opposition between natural undulation and artefactual geometry is once again played out in a different way.


Burnt wood is also the material for Le Baiser sculpture. Homage to Gaston Bachelard’s Psychoanalysis of Fire, it can be seen as the artist’s response to Brancusi’s The Kiss. The union between the lovers remains partial and potentially ephemeral and their difference is as important as their resemblance.


While Charlotte Pringuey-Cessac asks questions as a draftsman and sculptor and is constantly working to expand her plastic vocabulary and field of intervention, her works never overlook the experience of the receiver. Faced with her works, our imaginary plays just as important a role as our pleasure with forms and materials. The volumes she creates and the lines she draws activate memories that we can sometimes ask ourselves if they are really ours or if they are not rather part of our collective consciousness. Her works thus bring to light huts, underwater visions, forest hiding places, caves, embers or camouflaged demons that often seem to cross time as much as cultures. Ghillie-Ghillie brings together the yokai, disturbing beings of Japanese folk monstrology, and the Ghillie follows, a camouflage outfit that imitates forest vegetation.
This outfit, which imitates its environment in order to better blend in with it, is in the image of the artist’s compositions, which never cease to oscillate between fusion and distance, presentation and representation, clue and image, whispering and silence.


Klaus Speidel,
philosopher and art critic

Born on October 12, 1981, in Vincennes.








Bruit Originaire, Mamac, Terra Amata, Nice



INFRA, archéologie du corps ou comment les gestes bâtissent, CAC de Châteauvert, sortie de résidence Voyons Voir



Nuit de la Création, invitation de la Ville de Versailles



Bruits de couloir, Carte blanche chez Alexandre Dufaye, Nice



Variations, Galerie Eva Vautier, Nice

Super Party, Grimaldi Forum, Monaco

Dessins et sculptures, Galerie Martagon, Malaucène



Primitif Aujourd’hui, Terra Amata, Musée de la préhistoire, Nice



Black in Light, Banque Privée, Monte Carlo, Monaco



Les visiteurs du soir, Villa Rivoli, Nice



Mouvements, Paribas Banque Privée, Monaco Transparence, Privé, Nice






Tableaux Fantômes, Villa Marguerite Yourcenar (Juin) / La Piscine, Roubaix (novembre)

Avec plaisir, Galerie Eva Vautier, Nice



Bruit Originaire, Supervues, Hotel Burrhus, Vaison la Romaine

Galerie Martagon, Malaucène

Penta du Casinca, Corse

Tableaux Fantômes #6, Lille



Impressions d’ateliers, Centre international d’art contemporain, Carros

Tableaux Fantômes #4 / #5, Lille

Vent des Forêts, Fresnes-au-Mont, Meuse



Tribu, Galerie Eva Vautier, Nice

Croquer, Mac ARTEUM, Chateauneuf Le Rouge

Tableaux Fantômes #2, Fort de Mons

À Une Année Lumière, Galerie Eva Vautier, Nice Ré-Éditions, Espace À Vendre, Nice



Les Tableaux Fantômes, Médiathèque Danielle et François Mitterand, Bailleul

Les 10 ans, Espace À Vendre, Nice

En suspens, Galerie Eva Vautier, Nice

Concentration(s), Le 11, Roubaix



Drawing by Numbers, Espace à Vendre, Nice

La Réserve, Galerie Laure Roynette, Paris



Métamorphoses, Galerie Laure Roynette, Paris

Gravures de Poche, Ancien Collège des Jésuites, Reims

No-Made, Villa Le Roc Fleuri, Cap D’Ail

La Poétique de l’Espace, Galerie DDC chez Laurent Mueller, Paris



L’Arboretum, Roure Villa Le Roc Fleuri, Cap D’ail 2010-11

Le Salon de l’Auto, Auto-Station, La Station, Nice



Clairs – Obscurs, UMAM, Château de Cagnes- Sur-Mer



Hypothétiques, commissariat Catherine Macchi, Atelier Soardi, Nice

Traits noirs, Musée des Beaux-Arts Jules Chéret, Nice



Biennale de Nîmes, Galerie La Salamandre

On ne prend pas les mêmes et on recommence, Chapelle des Pénitents Blancs, Falicon



Tumbleweed II, Collectifs N202 et Le White Club, Museaav, Nice

L’Art c’est renversant, Galeries Lafayette, Nice

Tumbleweed, Collectifs N202 et Le White Club, Salzburg, Autriche

Génération 2007, Galerie de la Marine, Mu- seaav, Nice

Exposition des étudiants, Galerie expérimentale, Villa Arson, Nice



Ne pas toucher au contour, commissariat Caroline Challan-Belval, Galerie expérimentale, Villa Arson, Nice






Résidence Voyons Voir, CAC, Châteauvert



Résidence Penta du Casinca, Corse

Soutien financier du Centre International d’Art Verrier, Meisenthal

Résidence CCE, arts du feu et nouvelles technologies, ENSA, Limoges



Résidence Sophia, mécénat privé, Versailles

Résidence au Vent Des Forêts, Centre d’Art Rural, Meuse



Mécénat La Forestière du Nord, Igny



Résidence à Anyskciai, en Lituanie



Aide à la création, DRAC, Aix-en-Provence



Prix Bonnard, UMAM, Cagnes-Sur-Mer

La Forestière du Nord, mécène, aide à la production et à l’édition, Igny



Bourse Erasmus, échange avec les Beaux-Arts de Hangzhou, Chine






CONGRÈS ARCHÉOLOGIQUE DE FRANCE – Nice et Alpes-Maritimes Nice : Abbaye de Saint Pons ; p. 39/40



INRAP – Opération des fouilles du tramway à Nice dirigée par Marc Bouiron : Chap. 5.

Études et Analyses de Fragments d’Enduits Peints du XV°

ARCHÉAM – Revue archéologique : Dossier Spécial Abbaye de Saint Pons, L’Église Abbatiale de Saint Pons à Nice : un Exemple d’Architecture Juvarrienne



MÉMOIRE – Master II, Université des Lettres et des Sciences Humaines à Nice : L’Église Abbatiale de Saint Pons et l’Ancien Monastère






Prix Bonnard 2010- Kanesuiban 2011, Éditions U.M.A.M.



Trames de l’imaginaire, Charlotte Pringuey- Cessac, Dessins et sculptures, Éditions La Forestière du Nord






INFRA, archéologie du corps ou comment les gestes bâtissent, CAC de Châteauvert, sortie de résidence Voyons Voir



Sperenza, Vent des Forêts, Fresnes-au-Mont, Meuse



Dessin mural – charbon de bois (70m2), Hall de l’École Sciences Po Méditerranée, Ville de Menton

Eau, Feu Eau Feu ∞, 2014,
Charcoal, mixed media, 241 x 391 cm





Le Baiser, 2014
Charcoal, 34 x 7 cm






Sans titre, 2014

213 x 122 cm
Charcoal, mixed media

En suspens

Exhibition from May 13 to June 14, 2014

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


Gérald Panighi



They were all reincarnated

Gérald’s work is an interdependent association between an image carefully neglected with a powerful reference and a text diverted from everyday life situations.

The gap between the two triggers laughter or smile. Gérald’s humor is often abrupt, sometimes dark, stressing our humanity and our imperfections, referring us back to our own reflection through the prism of his vision. In addition to his new original works, he will present two works made in conjunction with Villa Arson graduate Caroline Rivalan, as well as a limited edition made especially for the occasion.

His guest, Philippe Jusforgues excels in the art of accommodating strangeness, he leads us into the world of collage and photography.

« Upon seeing Gerald Panighi’s works for the first time, evidently my eyes strayed to the stunning explosion of work casually invading an entire wall as if they were ordinary Post-Its. There is much to see and read in Gerald’s work. It may sound silly, but I immediately said to myself that he must have feasted on a lot of Strange as many boys of his generation and perhaps even read alarming issues of ”Detective” in his childhood – where the punches, despite the hyper-expressivity of the individuals drawn by Angelo Di Marco, are not only onomatopoeic. In these early days of his life, he may have also remained puzzled by Magritte’s “This is not a pipe”, an attractive anti-tautology after all…

If the representation is not real, the combined dissociation of the process beloved of the Surrealists has a more abstruse charm. Nothing is more enigmatically captivating than the assumed dysfunction of the image. We enjoyed it with Magritte as we revered it in the 80s, in the trivial world of Glenn Baxter’s illustrations… The absurd is the answer to all occlusive, ridiculous speculation and it is precisely that that manages to be deliciously enjoyable (without the slightest pretence) in the work of Gerald Panighi. »

Michèle Goarant, 2011

Gérald panighi

Born on 11-01-1974, in Menton

Lives and works in Nice






L’odeur est la principale préoccupation du chien, Galerie Eva Vautier, Nice



Il buvait en cachette mais tout le monde le savait, avec Baptiste César, Galerie incognito, Paris



Exposition atelier César, invitation BEN, Nice

Je sais pas comment il fait pour vivre avec lui-même, Galerie vingt-cinq capucins, Lyon

Du bazar des mots et des images, Librairie « aux bons livres », Nice


La vie est une fausse barbe qui se décolle de temps en temps, Villa Caméline, Nice


Et l’autre qui se prend pour un génie alors que c’est moi, avec Caroline Rivalan, galerie Incognito, Paris
Eponyme, avec Frédéric Nakache, L’Arteppes-espace d’art contemporain, Annecy
Gérald Panighi «dessins», Galerie L’entrepôt, Monaco


Ils ont tous été réincarnés, Galerie Eva Vautier, Nice
Deux vieux se sont battus pour une histoire de nougat, boutique Agnès b, les visiteurs du soir, BOTOXS, Nice



Dessins (avec Junko Yamasaki) Chez Lola Gassin, Nice

Deux nerveux dans une boîte de nuit, Galerie Espace à débattre, Nice

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

Je suis victime d’une multitude de malentendu, Galerie Martagon, Malaucène



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



Gérald Panighi “Dessins”, Galerie Baumet-Sultana, Paris

Galerie de l’UQAM, commissariat Louises Dery, Montréal, Quebec






Ian curtis likes this place, une proposition de Julien Griffaud et Quentin Spohn, Villa Cameline, Nice

La vie est un film, commissariat BEN, le 109, Nice

Avec Plaisir / 1, Galerie Eva Vautier, Nice

Projektraum Ventilator Katzbachstr / 2, commissariat Axel Pahlavi, Berlin

Drawing now, le salon du dessin contemporain, galerie Eva Vautier, Le carreau du temple, Paris

Narrations, le lieu multiple, Montpellier



Drawing now, le salon du dessin contemporain, galerie Eva Vautier, Le carreau du temple, Paris

Précipité, Atelier Chaussée de Jette, Galerie Ceysson & Bénétière invite Gérald Panighi, avec le concours de la galerie Eva Vautier, Bruxelles



Une collection #4, accrochage d’oeuvres d’art dans une villa privée (sur une invitation de Marie-France Frasca, en collaboration avec la galerie Eva Vautier), Villa Riviera Cottage, Nice

Projektraum Ventilator Katzbachstr / 1, commisariat Axel Pahlavi, Berlin

Cabinet utopique, villa Cameline, Nice

Voyage immobile, Caisse d’épargne, Nice

Show me the way, hôtel Windsor, Nice

Le monde à l’envers, Galerie La mauvaise réputation, Bordeaux

Le lieu multiple, Montpellier/Sète



Le monde à l’envers, Galerie La mauvaise réputation, Bordeaux

Le lieu multiple, Montpellier/Sète



Palais idéal des ego étranges, Château de Hauterives, commissariat Ben

Impressions d’ateliers, château Grimaldi du Haut-de-Cagnes

UMAM, palais de l’Europe, Menton

Un festival VRRRR, Toulon

Supervues, Hotêl Burrhus, Vaison la Romaine



Tribu, Galerie Eva Vautier, Nice

Le festival du Peu, Bonson

Des statistiques terrifiantes Galerie Eva Vautier, Nice

Words…Words…Words…, Galerie Helenbeck, Nice

Un printemps à Anvers, Galerie l’entrepôt, Monaco

A une année lumiére, galerie Eva Vautier, Nice



Où commence le futur ? collection du MAMAC, galerie des Ponchettes, Nice

Cadavre exquis à la plage, Projektraum Ventilator, Berlin, Allemagne

J’écris donc je suis, Ben, la station et invités, le Garage, Brive

High Hopes, le lieu de hypothèse, Paris



Art on paper +1, salon du dessin contemporain, white hotel by ibis styles, Bruxelles

E-motion (collection Bernard Massini), Fondation Maeght, Saint-Paul de Vence*

Affordable Art Fair, foire d’art de Bruxelles, galerie Laureen Thomas

10 ans de mauvaise réputation, galerie Espace à vendre, Nice

Drawing Now, salon du dessin contemporain, Galerie Kahn, Paris*

Dessine moi un mouton, Institut français, Nouakchott, Mauritanie.

Un phénomène de Bibliothèque, galerie Immanence, Paris

Bonjour monsieur Matisse, Musée d’art moderne et d’art contemporain, Nice*



Be Another, galerie espace à débattre, Nice

Be yourself, galerie espace à débattre, Nice

Impressions d’ateliers, Galerie Maud Barral, Nice

Sunshine & Précipitation, La Station & Catalyst arts, Belfast, Irlande

Échappé belle, Galerie l’Entrepôt, Monaco

Les primitifs d’en face, Maison abandonnée, Villa Cameline, Nice

Bête et méchant, Galerie The Window, Paris

À l’origine Nice, Galerie Marlborough, Monaco

La ligne, Galerie le cabinet, Paris



Macumba night club de ryhmänäytelly, exposition collective de 65 artistes, Nice

Vitrine-Galerie Palais de la Scala, Monaco

Ici Nice, les abattoirs, chantier 109, Nice



One more reality, Careof, commissariat Documents d’artistes, Milan, Italie

Le drame de Mayerling, Galerie metropolis, Paris

La ligne, Galerie espace à vendre, Nice

Le patriote, Galerie espace à vendre, Nice

Tout est clair et obscur à la fois, Château-musée Grimaldi, Cagnes-sur-mer

De la trace à la tache, Galerie Martagon, Malaucène



Comic Strip, Centre d’art, musée de Sérignan

La vitrine de Brolly heberge 5 extra-terrestres, commissaire BEN, Galerie jean Brolly, Paris

Hypothètiques, commissaire Catherine Macchi, Galerie Soardi, Nice

Back to drawing, Galerie “Le Cabinet” Paris



Niça l’occitana a perpinyà la catalane, Fluxus, La Station I altres de 1968 à 2008, A cent mètres du centre du monde, centre d’art contemporain, Perpignan

Oeuvres sur papier, Galerie Baumet-Sultana, Paris



Show off, Espace Pierre Cardin, Paris

Tank Loft, Chongqing contemporary art center, Chine

Etes-vous bien adapté à la vie moderne ? Galerie Norbert Pastor, Nice

“Hope you guess my name”, La maison, Galerie singulière, Nice

Ralentir, La cour des miracles, Vallauris

Dessins, exposition collective des artistes de la Galerie, Galerie Baumet-Sultana, Paris

Sculpture, Quenza, Corse

Cabinet démocratique, Villa Cameline, Nice



Dessins, Galerie Catherine Issert, Saint-Paul-de-Vence

Show off, Foire d’art contemporain, Espace Pierre Cardin, Paris

Cabinet névrotique, Villa Cameline, Nice



Vinyl, Villa Cameline, Nice

Cabinet érotique, Villa Cameline, Nice

Dormir tête bêche avec un inconnu, La Station, Friche Belle de mai, Marseille

La réserve, Galerie des Ponchettes, Nice



Atelier Spada, Nice

3 ème République, La Colle-sur-loup

L’amerique #4, le désappartement, Nice

Errer la nuit, visite publique d’espaces privés, Nice

Hôtel de ville #3, le désappartement, Nice

Le désappartement #2, le désappartement, Nice



Lee 3 Tau Ceti Central Armory Show, Commissariat Stéphane Magnin,Villa Arson, Nice



Peaux d’Ane (2), Galerie SOARDI, Nice

Chambre 09, sur une proposition de C.Familliari, Villa Arson, Nice



Atlantic Hôtel, Le Dany’s, Nice





MAMAC, Nice, 2012

Médiathèque de Nice, 2007

Présence dans des collections privées






L’art contemporain et la côte d’azur, édition de l’art, 2012

Sunshine & Précipitation, édition La Station, 2012

Échappé belle, édition Galerie l’Entrepôt, 2012

A l’origine Nice, édition Malborough Gallery, 2012



Ici Nice, édition Bernard Chauveau, Paris, 2011



28 ateliers d’artistes de la ville de Nice – Halle Spada, édition Ville de Nice, 2008



Show Off, Espace Pierre Cardin, co-édition Show Off et Monografix Éditions, 2007



Show Off, Espace Pierre Cardin, co-édition Show Off et Monografix éditions, 2006



La réserve, texte de Catherine Macchi, édition Galerie des Ponchettes, Culture Nice, 2005



Lee 3 tau ceti central armory show, édition Villa Arson, Nice 2004






En Attendant, revue, une collaboration BOTOX[S] – La Strada, 2012

Impression d’atelier, édition South art, 2012



KIOSK n°28 , édition DEL’ART, 2011

Tout et blanc et obscurs à la fois

Gérald Panighi « Et l’autre qui se prend pour un génie alors que c’est moi », édition La bibliothèque fantastique, Paris, 2011






Galerie de L’UQAM, commissaire Louise Dery, Montréal, Canada

Ils ont tous été réincarnés

Gérald Panighi et Philippe Jusforgues 

Exhibition from November 19 to January 11, 2014

Opening November 16, 2014


carton vide rectangle gerald

Find the silkscreen prints on the gallery’s store


Gérald Panighi, "Il parait quils dorment ", 2014, 33 x 23 cm, Sérigraphie quatre couleurs sur papier Velin dArches Rives BFK 300g. Bords frangés grain torchon

Gérald Panighi, “Il parait qu’ils dorment sur un clic-clac”, 2014, 33 x 23 cm, Four colors silkscreen on Velin dArches Rives BFK 300g paper. Fringed cloth grain edges



Elle lui en voulait pour une histoire de drogue

“Elle lui en voulait pour une histoire de drogue”, 2013, 64 x 43,5 cm, Mixed media on paper


un texte test

“C’était trop bruyant pour faire des blagues”, 2013, 98 x 67 cm, Mixed media on paper


Gérald Panighi, "Le Paranoiaque aime rendre parano", 2011, 65 x 50,5 cm, Technique mixte sur papier

“Le Paranoiaque aime rendre parano”, 2011, 65 x 50,5 cm, Mixed media on paper

greald image numéro 3

“La photo n’est plus dans le cadre”, 2013, 93 x 75 cm, Mixed media on paper


“Un coup de sonette a 3h30”, 2013, 65 x 46 cm, Mixed media on paper

Documents d’artistes :


Frédérique Nalbandian

portrait ainsi soit il

Frédérique Nalbandian


Frédérique Nalbandian is a graduate of the École Pilote Internationale d’Arts et de Recherches, Villa Arson, Nice. Since these years spent experimenting with forms in the making, she has been refining her science of materials and her interest in the vast and troubling question of the flow of time. Soap still occupies a predominant place in her work as a sculptor, but also plaster and glass. On occasion, these substances are loaded with water, air, carmine red pigment and coal powder, become impregnated and even bruised. Chemical exchanges thus take place in installations that follow the laws of fallow landscapes or interact with architectural spaces full of meaning. In these works, from which emerge as many balanced volumes as “intranquilous” structures, the artist uses motifs such as the circle and the column. In other works that say something about man’s relationship with the world, it is a question of the ear and understanding, of hands in prayer and near silence. Here, receptacles with their large surfaces of vibration, there, concretions made of folds and meanders like those of the brain for example. Undeniably, these works, because of their repetitive force and their power to integrate linguistic signs – one must listen to the titles the artist attributes to his works -, impose the idea of a quest that is haunted by the poetic and haunted by what makes it a prodigy: the blossoming of meaning, its possible dehiscence, without recourse to argumentation or the slightest dialectical system. Finally, it must be said that Frédérique Nalbandian executes a number of drawings in which a weaving between references to the history of art and imprecise anatomy emerges with varying degrees of sharpness on the paper. A partition, one could say, between what would be the desire to describe the whirling of the sky and the desire to put man back at the center of the system …



Text by Ondine Bréaud-Holland (excerpts from the artists’ dictionary)

Frédérique Nalbandian

Born in 1967, she lives and works in Nice.







Musée du Pavillon de Vendôme, Aix-en-Provence (à venir)



L’Oreille qui tombe, deuxième effondrement, en collaboration avec Pascal Quignard, Savonnerie du Fer à cheval, & PAC, ass. Voyons-Voir, Marseille



Espace Madoura, Vallauris



Centre d’Art Villa Saint-Cyr, Bourg-la-Reine



De Aquis confusis, monographie, Musée Jean Cocteau – collection Séverin Wunderman, Menton

L’Oreille qui tombe, Festival de musique MANCA & Musée Jean Cocteau – collection Séverin Wunderman, Menton

Trop Poétique, Galerie Kamila Régent, Saignon-en-Lubéron

La Quinzaine arménienne, La Maison Blanche, Marseille

L’Oreille qui tombe, exposition personnelle et première performance des Ténèbres en collaboration avec Pascal Quignard, Centre d’Art Le Moulin, La-Valette-du-Var



Mille Litres, Galerie Eva Vautier, Nice

Réminiscences, Èglise Sainte-marie, Ass. Voyons-Voir, Puyloubier

Les ateliers contemporains sur Francis Ponge, Colloques de Cerisy, Cerisy-la-Salle



Ainsi soit-il, invitée par Jacqueline Gainon, Galerie Eva Vautier, Nice



Mirage, œuvre in situ semi pérenne, Parc du Grand-Saint-Jean, Aix-en-Provence



Adduction, in situ et work in progress, pour «Les architectures de l’eau», directrice Jacqueline Ursch, ass.ESSOR, Archives Départementales des Bouches-du-Rhône, Marseille

Sur la piste des éléments, CIAC Carros, curator Sophie Braganti, Carros



A ciel Ouvert, L’art contemporain et la Côte d’Azur, curator Maurice Fréchuret, Coaraze



Quatre savons, Viapac Rte de l’art contemporain, Musée Gassendi, commissariat Nadine

Gomez, Jardins des Cordeliers, Digne-les-Bains

Fragments sonores, installation work in progress sonore avec la collaboration de Cécile Bonopéra, psychanalyste, co-produite par le Centre National de Création Musicale, Nice

Entre-Temps II, Galerie Depardieu, Nice



S’eaux, installation définitive du work in progress, Chambre de Séjour avec vue, Saignon en Luberon



Entre-Temps, Galerie Entropyart, Naples, Italie

Trésor, Galerie Depardieu, Nice

Lab Gallery, curator Enrico Pedrini, New-York, Etats-Unis

S’Eaux, work in progress, Galerie Kamila Regent, Saignon



Apokalupsis, Centre d’Art Intercommunal, Istres

À creux perdu, Galerie Depardieu, Nice

À creux perdu, Galerie des Ponchettes, Ville de Nice



Fort Napoléon, Galerie La Tête d’Obsidienne, La Seyne-sur-Mer

Galerie Soardi, Nice



Rose-Chlore, pièce in situ, Jardins de la Bastide du Roy, Antibes



Phantasma, participation de Caroline Apostolopoulos, Vitrine, Musée d’Art Moderne et Contemporain, Nice



Galerie Kamila Regent, Saigon



Je sais, tu sais, nous savons… ils savonnent, Galerie d’Art Contemporain, La Valette-du-Var



Lieux vexés des habitudes, a.j.m, Monaco

Chapelle Saint-Jacques, Menton





Avec plaisir #2, Galerie Éva Vautier, Nice
La Belle et la Bête, Musée Jean Cocteau, Menton
Face à Face, avec César, Musée de Montélimar & CAC Château des Adhémar, Montélimar
Exposition d’été, Galerie Kamila Régent, Saignon-en-Lubéron



Avec Plaisir, Galerie Eva Vautier, Nice

Mères, Marie, marais, écologie d’un mythe, Musée de la Camargue, Arles



Les Savonnières, Galerie Salle des Machines, rue des Savonnières, Toulon



Impressions d’Ateliers, Musée Château des Hauts de Cagnes, Cagnes-sur-Mer

Ai Amore,  Community Hall e Minna, Rikuzentakata, Japon



Les Arts éphémères, Parc de la Maison Blanche, Marseille

À une année lumière, Galerie Eva Vautier



Foire International d’Art Contemporain d’Amsterdam, Galerie Arkivio, Amsterdam



Hommage à Jean Moulin, UMAM, Banque Barclay & Espace Vision Future, Nice, Menton

Abbey Contemporary Art, ex Abbazia di San Remigio, Parodi Ligure, Italie

Soap Festival, Foire de Paris Porte de Versailles, curator Serge Malik, Paris



Impressions d’Ateliers, Galerie Maud Barral, ass.South Art, Nice

Quatre, ass. Voyons-Voir, Les Vigneaux/Mont-Dauphin

Histoire de la performance sur la côte d’azur de 1951 à nos jours, CNAC Villa Arson, Nice

Ligue dissoute, Musée Museum Départemental, Gap

L’art contemporain et la Côte d’Azur,  Coaraze

L’art contemporain et la Côte d’Azur, Galerie Depardieu, Nice



Chic art fair, Galerie Depardieu, Paris

Biennale de l’UMAM, Musée Château de Cagnes-sur-Mer, Ht de Cagnes



Murs Visibles, murs invisibles, L’Art au Garage, Paris 19è

Alios, Sculptures dans la ville, Ville de La Teste de Buch

Château en chantier, Château du Domaine d’Avignon, Les Saintes- Marie-de-la-Mer



Il Giallo di Napoli, Galerie Entropyart, Naples, Italie

New Sex Time, Galerie Helenbeck, Nice



Alter-ego, exposition avec Jeffrey Haines, Galerie Chantal Helenbeck, Paris

Open 2007, Le Lido, Venise, Italie



Madame, sculpture & performance, Printemps des Arts, Théâtre de la Photo, Nice



Forme a venire, Galleria dell’Academia, Accademia di Belle Arti, Florence, Italie.

Par ce passage, infranchi, Le Frioul/Friche “La Belle de Mai”, Marseille



Les Murs, un autre regard / Intra-muros,  Ville de Nice



Hors les murs, Galerie Soardi, Chantal Helenbeck, Bastide du Roy, Antibes



Pièces d’attention, Galerie Red District et Espace Culturel, Marseille



Pour le plaisir, Galerie d’art Contemporain, La Valette du Var



Symposium International de Sculpture, Beyrouth/Aley, Liban



Narcisse réfléchi, Musée de la Préhistoire, Menton

Ateliers porte-ouvertes, Musée Palais Carnoles



Matière en émoi, Centre Gildo Pastor, Monaco



Tremplin 97, Usine Corot, Marseille

Atelier du Sud, Musée de la Préhistoire, Menton

Premier prix de sculpture Jeunes Talents, Chapelle Saint-Jacques, Menton



Bienvenue Présentation n°2, Galerie Maxime Puglisi, Nice

100%, Villa Arson, Nice

Murmure, Salons du Louvre, atelier “porte ouverte”, Menton



Nice by Night Open 3, Nice

6ème Festival des Arts, Beaulieu-sur-Mer



Public and private collections :



Sculpture Ritournelle & deux dessins, collection FRAC-PACA

Ordalie, collection Musée d’Art Moderne et Contemporain de Pales$ne

Miracles, collection Musée de la Camargues, Arles



Quand les volets, dessins livre d’artiste avec Sophie Braganti, 30 exemp, Édition : Coll. de Madame L, Paris


Artworks in public space :



Retraites pacifiques, en cours d’acquisition, Hall de l’Hôtel de Ville, Bourg-la-Reine



Deux, Jardins des Grenadiers, CHU Pasteur II, Nice



Mirage, in situ, Parc du Domaine du Grand Saint Jean, Aix-en-Provence



Lauréate, projet d’aménagement du Chemin de Compostelle en collaboration avec Loïc Gestin architecte



Formation and residence :



Artelinea-Ha, résidence et forma$on, réalisation d’une série de 30 pièces en faïence



Centre National de Recherche Musicale, bande sonore « 27éme jour, Nice 09-09-10 »

Résidence Voyons-Voir, Parcours d’Art Contemporain “Quatre”, Les Vigneaux et Mont-Dauphin



Production, Conseil Général, Musée du Verre Sars-Poterie, Nord Pas-de-Calais



Fragments Sonores, Aide à la production, Centre National de Recherche Musical, Nice

Subvention Conseil Régional PACA, aide à l’édition



Subvention Conseil Régional PACA, aide à l’édition

Subvention, Ville de Nice, aide à l’édition



Subvention D.A.P, Aide à la première exposition personnelle, Galerie Soardi, Nice



Subvention DRAC-PACA, Aide au réaménagement d’atelier

Résidence, Institut Culturel Italien Marseille, Province de Salerne, Italie

Résidence, Chambre de Séjour avec Vue, Galerie Kamila Regent, Saignon en Lubéron



Atribution atelier, Ville de Nice, DRAC/PACA



Résidence Unesco, Beyrouth, Liban



DNSEP, Villa Arson, Nice



Frédérique Nalbandian, Charge, 2014

plaster glass, 14 x 17 cm



Frédérique Nalbandian, Blues, 2010

blue pigment soap 53 x 27 cm




Frédérique Nalbandian, Ritournelle, 2016

Moulds in Marseille soap mounted on axles and metal plates.




Frédérique Nalbandian, Eclats, 2014

plaster glass, 43 x 65 x 27 cm




Frédérique Nalbandian, Périples, 2012-2014
marble soap evolving piece, 200 x 64 x 42 cm



Frédérique Nalbandian, Velours I, 2014

pastel soapy water on velvet paper, 50 x 32,5 cm


Mille litres,

Frédérique Nalbandian,

 Exhibition from October 17 to December 5, 2015


1000 litres 2


Frédérique Nalbandian, Mille litres, 2013,
sculpture evolving installation, soap PVC cistern water tank metal tank micro irrigation




Ainsi soit-il

Jacqueline Gainon et Frédérique Nalbandian

Exposition septembre 2014


Frédérique Nalbandian, Périples, Carros 6-01-13, Nice 01-09-14, 2012 2014,

marble soap evolving piece, 200 x 64 x 42 cm





Frédérique Nalbandian, Périples, 2012-2014,
marble soap evolving piece, 200 x 64 x 42 cm

Personal website :


Documents d’artistes :


Press kit: “L’oreille qui tombe”, exhibition at the Espace d’art Le Moulin from February 13 to April 23, 2016 :

Press kit Le Moulin – NALBANDIAN

Alice Guittard

Alice Guittard

Transvestite fables


“It’s not the way you said what you said, it’s the look you had while you were saying it…” Alice Guittard’s sentences sometimes sound like a line from Jean-Pierre Léaud, sometimes like a prerogative straight out of a physics textbook: “It is necessary to disregard the center by focusing on everything else. “It is between these two extremes that the artist produces a kind of “pataphysical literature”, combining the exploration of language with that of hostile landscapes, preferring imaginary solutions to tangible results, and his crossroads to the roads he has laid out.


It is with Tom Bulbex (a fictional character imagined from a slip of the tongue that she makes while still a student at the Villa Arson, confusing him with the guest artist, Alain Bublex) that she sets out in search of the “nodal point” – “the country where the vocal cords of dogs are cut to avoid avalanches”, a totally silent zone at the crossroads of three mountains. In the course of the symbolically authentic non-Euclidian Transalpine Quest edition, produced in 2012, she accumulates the elements of the survey that are supposed to prove the existence of the place: geographical coordinates and mathematical data, analogies of mountain shapes, scientific instruments for measuring the es- pace-time, maps. The reading of this initiatory narrative, nestled between Thomas Mann’s The Magic Mountain and René Daumal’s unfinished novel The Analogous Mount, is entrusted to a man who stutters…


Sounding out the editorial space and the limits of language, she edits a trilogy based on the protocol of a chain reaction of translations. Each element of composition of the original book of a Romanian poet who committed suicide (she tells us) – title, author, logo, prize, ISBN, etc. – is knowingly replicated and affixed with its synonym. By subjecting the entire text to the same process, she makes the words slide and capsizes the meaning. So much so that one ends up pouring into texts with stumbling sono- rities, diffracted syntaxes on the page, and increasingly pleasing poetic inventions. Alice Guittard literally likes not to know where she sets foot. This is surely why she goes to Iceland, a land that seems very foreign to her; it is also why she films herself from afar climbing the volcano of Anarnarstapi – the same volcano described by Jules Verne – or crossing a icy lake – renouncing at the last minute to plant on the island opposite her flower brought back from Nice. All these derisory quests lead us to consider his warnings at the beginning of the work sparingly: “despite certain appearances, it is necessary to treat this work with gravity”. To the expected exploit of the performance, it responds to the fragility of its drifts. When she makes the tour of Iceland, it is by hitch-hiking with a sign “it doesn’t matter”.


Mathilde Villeneuve

Born in 1986 in Nice, lives and works in Paris.



In Ruins, Parco Scolacium, Catanzaro Lido, Italie


SAGA II, Double V Gallery,  com. Nicolas Veidig-Favarel,  Marseille
Portrait de l’artiste en jeune femme, La Halle, Pont-en-Royans
Nos armes, Galerie Perpitch & Bringuand, Paris
La mémoire et la mer, ENTRE I DEUX, Nice
Espaces Témoins, Galerie Praz-Delavallade, Paris
L’art de la Forme, Parcours Saint Germain, Boutique Longchamp, Paris
Objet de tendresse, Galerie Michel Journiac, Paris,
Shelves Hanger Desk, Le Cœur, Paris


En forme de Vertiges, Bourse Révélations EMERIGE, com. Gaël Charbau, Paris
L’Institut d’Esthétique, com. H Grenet, E. Degorce-Dumas, V. Voillat,  Palais de Tokyo, Paris
Surface sans cible, com. Anaïd Demir, #22VISCONTI, Paris
SAGA, Double V Gallery, com. Nicolas Veidig-Favarel, Marseille
Les secrets du Docteur F., Under construction, com. Théo-Mario Coppola, Paris
Art-o-rama, show room, com. Gaël Charbau, Marseille
Inventeurs d’aventures, com. Gaël Charbau, Marseille
Émulsions, Galerie Arnaud Deschin, com. Alexandre Quoi, Paris



Immersions, Cité Internationale des Arts, com. J.C. Arcos, Paris
Impressions d’ateliers, CIAC, Carros
Photographic Study, Jogging, Marseille


biblioteca, Under Construction Gallery, com. Katarina Stella, Paris
Tribu, Galerie Eva Vautier, Nice
O.V.N.I., Musée Masséna & Galerie Eva Vautier, Nice
Meet me on the beach, La Couleuvre, Saint-Ouen
Blam Baoum Ballade, MDAC, Cagnes s/mer
Parti(e) du paysage, Galerie Simon Cau, Montrouge
Xochimilco, Oaxaca, MX
À une année lumière, Galerie Eva Vautier, Nice
Éditions, Espace à Vendre, Nice


Au Pays des Enchantements, Galerie de La Marine, Nice
HBP, La GAD, com. Chloé Curci, Marseille
Minimenta, Galerie Bertand Baraudou, Paris
En Suspens, Galerie Eva Vautier, Nice
59ème Salon de Montrouge, Montrouge


Magie Noire #1,  Yoyo, Palais de Tokyo, Paris
Dupinpopupstore #2, Galerie Dupin, Reykjavik, Paris
Dupinpopupstore #1, Galerie Dupin, Reykjavik, Paris
Des corps compétents, Galerie Carrée, Villa Arson I Nice
Le sens de la vague, Galerie de la Marine, Nice



Dialogue, Reykjavik, Islande
Banana spleen, Hemmi og Valdi, Reykjavik, Islande
Útrýmingarsala, Kaffistofan, Reykjavik, Islande
Komumaður spyr hvort eg vaki, cur. Unnar Örn Auðarson, Útúrdúr, Reykjavik, Islande
Halarófa Gjörningar, Reykjavik, Islande




Villa Pisani, Biennale de Venise, Italie
Puisque rien ne dure, vraiment
Galerie The Pill, Istanbul, Turquie
Musée des Arts Décoratifs, La Havane, Cuba

Atrocement réel, Cité des Arts, Paris





Réalisation des décors des Droits de l’Enfant à l’Auditorium Rainier III à Monaco Membre de l’Orchestre Inharmonique de Nice, projet de Gauthier Tassard

Réalisation du visuel pour la journée portes ouvertes de la Villa Arson Participation au projet sonore du Printemps des Arts avec Pascal Broccolichi



Participation au projet de lecture performance Comment faire un bloc ? (Joris Lacoste) avec Emmanuel Lecomte Co-présidente de l’association EVA (Étudiants Villa Arson)

Réalisation du visuel pour la journée portes ouvertes de la Villa Arson Administratrice du blog d’esthétique Troublant Noir http://troublantnoir.tumblr.com/ Réalisation de performances The Nice Choir avec A Constructed World à la Biennale

de Belleville) Membre de The Nice Choir, réalisation de performances pour l’exposition DOUBLE BIND : ARRÊTEZ D’ESSAYER DE ME COMPRENDRE ! à la Villa Arson



Assistante-Scénographe sur Macbeth mis en scène par Frédéric De Goldfiem au Théâtre National de Nice

Née en 1986 à Nice, vit et travaille à Paris.



Alice Guittard, “Crypte #1“, 2014, variable dimensions, mixed technique

 Alice Guittard n° 5385 [En panne] 2014 Néon

Alice Guittard, “En panne“, 2014, Neon

Alice Guittard n° 5384 [Occupation optimale (mais partielle) du...] 2014 Edition, exemplaire unique10 feuilles 42 x 29,7 cm

Alice Guittard, “Occupation optimale (mais partielle) du Mont Chauve”, 2014 Edition, single copy 10 sheets 42 x 29.7 cm

Personal website :


Natacha Lesueur

natacha recadre


Born in 1971 in Cannes, Natacha Lesueur studied at the Villa Arson in Nice. Her first solo exhibition took place in 1996. She won the Ricard Prize in 2000 and resided at the Villa Medici in Rome in 2002-2003. She has exhibited in many countries in Europe, USA, Korea and China. The Charlotte Moser Gallery in Geneva and the Clara Maria Selz Gallery in Dusseldorf represent her work. Her works are present in the most prestigious public and private collections. A retrospective of his work was published by the MAMCO in Geneva in 2011.  She lives and works in Paris.




The whole of Natacha Lesueur’s work is, since 93, essentially photographic. If photography ultimately determines her relationship to the image, she constructs her images as paintings. The photographic image comes to pose like a varnish on the compositions. Her artistic preoccupations revolve around the body, appearance, pageantry and the intimate relationship between flesh and food. This body, the subject of predilection, has been subjected in different series of images to different treatments that involve constraint, staging, and mask (between adornment and camouflage). She produces series, which follow one another without resembling each other, unfolding in an infinite variety where notions such as: the motif, the tour de force, the trompe l’oeil, the optical traps resonate with each other and make the very unity of the work. Half of his photographic production confronts the body with food (aspics as bathing caps (97-98), salmon skin as bun fishnet, legs covered with pork strainer (97-98), mouths whose teeth are seeds of all kinds (00), mounted pieces of food and hair (02-07), etc.). ) In other images, women’s bodies are marked with pearl imprints (94-96), vision test (00-01), sleeping men’s faces are encrusted with feather marks (04), nails are carved (97-03), young girls with red varnished teeth burst out laughing (07-08). In the series produced between (2011-14), she explores the figure of the actress Carmen Miranda and opens to the moving image . She uses the body as an inscription surface, a more or less regular support for the culinary preparations or the prints she places on it. Object of covetousness, the body is fragmented, it is one, it is all bodies.


born in 1971 in Cannes
Lives and works in Paris






Ombres blanches, commissaire : Maurice Frechuret, Musée national Marc Chagall, Nice, France. (cat)



Outside a nut, commissaire : Marie Canet, Fondation Ricard, Paris, France

Like Mirror, avec Brice Dellsperger, commissaire : Damien Sausset, Transpalette, Bourges, France.



Ne me touche pas, Frac Languedoc-Roussillon, commissaire : E.Latreille Montpellier, France.



Je suis néE, etc. MAMCO, commissaire : C. Bernard Genève, Suisse.

Exposition miroir, Galerie Charlotte Moser, Genève, Suisse

Zakouski, Galerie de l’ Arsenal, Metz, France



Musée d’art et d’histoire et chapelle des pénitents bleus, “Casanova Forever”, FRAC Languedoc Roussillon Narbonne, France. (cat).



Vitrine des galeries Lafayette, commissaire : E.Lavigne, Centre Pompidou, Paris, France.



Tokyo-arts, boutique Van Cleef & Arpels, Tokyo, Japon.

Degustarte avec Diana Theocharidis, Polyforum Sequeiros, Mexico, Mexique.

Moins, ce ne serait pas assez, CPPM, Nimes, France. (cat)



Maison de la culture, commissaire : H. Besacier, Bourges, France.

La femme que j’aime semble porter un masque certains jours, Galerie Charlotte Moser, Genève, Suisse.

Je suis folle de ta bouche de fraise, Maison de la photographie, Toulon, France. (cat)



Installation en milieu urbain, Gwangju, Corée.

Institut français de Valence, Espagne.



Galerie Clara Sels, Düsseldorf, Allemagne.

Arrangement Culinaire, incidental projects, Agentur, Amsterdams, Hollande.

Galerie Praz Delavallade, Paris, France.



Galerie Krinzinger, Vienne, Autriche.

Frac Poitou-Charentes, Angoulême, France.

Uomo, CAN, Neuchâtel, Suisse.



Galerie Charlotte Moser, Genève, Suisse.

Sei, Villa Médicis, Rome, Italie.(cat)

Galerie Française, Rome, Italie.



Galerie Praz Delavallade, Paris, France.

Opticalifragilistic, commissaires : T. Davila et R. Klein, Aldrich Museum of Contemporary Art, Ridgefield, USA.(cat)



Prodige, Centre Pompidou, Paris, France.

Galerie Clara Sels, Düsseldorf, Allemagne.

Il faut toujours plaire, commissaire : C. Bernard, MAMCO, Genève, Suisse.(cat).



Galerie Soardi, Nice, France.

Natacha Lesueur et Bruno Pelassy, Le Hall, École des Beaux Arts de Lyon. France.

Natacha Lesueur & Bruno Pelassy, FIAC 2000, Galerie Krinzinger, Paris, France

Galerie Praz Delavallade, Paris, France.



Galerie Clara Sels, Düsseldorf, Allemagne.

Galerie Krinzinger, Vienne, Autriche.

Ancien collège des jésuites, commissaire : G. Jassaud, Reims, France.

Museum fûr fotographie, Braunnschweig, Allemagne.



Galerie Krinzinger, Fôrderprogramm Art Cologne, Allemagne.

Galerie Fotohof, Salzburg, Autriche.

Galerie Soardi, Nice, France.

Galerie Françoise Knabe, Francfort, Allemagne.



Galerie du triangle, commissaire : X. Boussiron, Bordeaux, France.

Galerie M.D.J, commissaire : J.P.Huguet, Neuchâtel, Suisse.



Galerie Évelyne Canus, La Colle sur Loup, France.

Galerie des cyprès, Villa Arson, Nice, France. (cat)

Galerie Manu Timoneda, Aix en Provence, France.







Le rire, The drawer, Paris, France.

Me + you in the living room, SongEun Art and Cultural Foundation, Séoul, Corée.

Où commence le futur ?, Galerie des ponchettes, MAMAC, Nice, France.

Les esthétiques d’un monde désenchanté, Centre d’art contemporain, Meymac, France.

Identité de genre, Galerie Galerie Réjane LOUIN , à Locquirec, France.

Sinon, le chaos, commissaire Timothée Chaillou , L’appartement, Paris, France.

Grey Flags, commissaire Timothée Chaillou , galerie Backslash, Paris, France.

Le Festin de l’art, commissaire J.J Aillagon, Dinard, France. (cat)

Identité de genre, Galerie Françoise Besson, Lyon , France.

Le mur, la collection Antoine de Galbert, La maison rouge, Paris, France

Picasso, Magritte, Warhol… une exposition aux visages multiples, Centre de la Vielle Charité, Marseille, France.



Cet art qui m’entreprends≠4, commissaire : Bernard Muntaner, UPE 13, Marseille, France

Saison 17, commissaire : la Station, Lieu commun, Toulouse, France.

The look behind,, commissaire Christoph Kohl, Märkisches Museum Witten, Allemagne.

Polka palace, musée de Bastia, Bastia, Corse, France

Entrée libre mais non obligatoire, collection Noël et Loupio Dolla. Villa Arson, Nice, France.

Archipels réinventés, commissaire: E.Lavigne, Centre de la Vielle Charité, Marseille, France.

Sleep disorders V et VI, commissaire B. L. Aman & M. Auburtin, Cité Int. des Arts, atelier C3, Paris, France.

Ulysses, L’autre mer, Musée d’art et d’histoire, Saint Brieuc, France.

Volupté, Galerie des galeries, Astérides, Marseille, France.

Ça grimpe ? Galerie Charlotte Moser, Genève, Suisse



Chaos et déséquilibre, Chalabi Art Gallery, commissaire : Ali Akay, Istanbul, Turquie

Questions d’images (visages de sable), Carré d’Art – Musée d’art contemporain de Nîmes, Nimes, France

Visage et Portrait , Galerie Charlotte Moser, Genève, Suisse

Peau d’âme, Galerie Next Level, Paris, France.

Mesdames et messieurs, au 8 rue Saint-bon, éditions du Mamco, Paris, France

L’amour du risque, Musée d’art contemporain, Zagreb, Croatie.

Question de goût, Salle d’exposition, Guyancourt, France.

Identité de genre, Galerie Marie José Degrelle, Reims, France.



COLUMNA 01, Musée St Pierre, commissaire : la Station, Vienne, France.

My Paris – Collection Antoine de Galbert , Me Collectors Room, Berlin, Germany.

Identité de genre, Centre d’art Contemporain / Passages, Troyes, France.

Le Beau est toujours bizarre, FRAC Haute Normandie, Trafic, Sotteville-les-rouen, commissaire P Piguet,          France.

Femme objet, femme sujet, Abbaye Saint André, Centre d’art contemporain, Meymac, commissaire :      C.Bissière et J P. Blanche, France.

Filament, Galerie Charlotte Moser, Genève, Suisse.

Peau, fondation Claude Verdan, Lausanne, Suisse.

Attention à la figure,L’art contemporain et la Côte d’Azur, un territoire pour l’expérimentation, Château de Villeneuve, Vence, commissaire R. Durand, France. (cat)



Ni maître, ni valet, Galerie Soardi, Nice, France.

Clairs-obscur, château musée grimaldi, biennale umam 2010, Haut de Cagnes, France.

Animal politique, FRAC Poitou-Charentes, Linazay, France.

Extraits de Printemps: La part des ombres, Musée Henri-Martin, Cahors, France.

Metissages, Hôtel hèbre de Saint-clement, Rochefort, commissaire Y. Sabourin, France.

elles@centrepompidou, Centre Pompidou, Paris, France. (cat)



La Bagna Cauda, Galerie Sandrine Mons, Le Loft, Nice, France.

Pol/A, commissaire: label hypothèse, Galerie Nivet-Carzon, Paris, France.

Metissages, musée Baron Gérard, Bayeux, commissaire Y. Sabourin, France.

Pas nécessaire et pourtant indispensable, centre d’art contemporain de Meymac, France.

Archipels réinventés, commissaire: E.Lavigne, Centre Pompidou, Paris, France.

Carte blanche à la Station, module1, palais de Tokyo, paris , France.

elles@centrepompidou, Centre Pompidou, Paris, France.

Un voyage sentimental, Maison de la culture Amiens, commissaire : H. Besacier, France. (cat)



Pernod Ricard art world french contempory art, 10 years of Riacrd foundation prize, centre d’art contemporain     Winzavod, Moscou, commissaire : C. Staebler, Russie.

Chaud’biz, Galerie Charlotte Moser, Genève, Suisse.

L’image fabriquée, Musée des beaux arts Ho Chi Minh Ville, commissaire : P. Piguet, Vietnam. (cat)

De l’impertinence! Maison de la culture Amiens, commissaire : H. Besacier, France.

Subito, commissaire : la Station, Apricale, Italie.

Ça fout les chocottes! Vallon du Villaret, Bagnols-les-bains, France. (cat)

Et tout pour les mange-tripes ! Musée Pierre Andre Benoit et espace de Rochebelle, Ales, France. (cat)

Panurge dit tout et n’entend rien ! château d’Ô, Montpellier, France. (cat)

Trinch! Château de Jau, Cases-de-pene, France. (cat)

Métamorphose, fondation Salomon, Abbaye d’Annecy-le-Vieux, France.

Babylon Inside, un projet d’Edouard Ropars, La Station, Nice, France.

Metissages, musée de Bourgoin-Jallieu, commissaire Y. Sabourin, France.

Des constructeurs éclectiques, commissaire L.Guéhenneux, CRAC, Sètes, France.



Interstices, installation en milieu urbain, la chambre clair, Parc Borely, Marseille, France.

Métissages, The Jim Thompson Art Center, Bangkok, Thailand. commissaire Y. Sabourin

Versailles off, nuits blanches au château de Versailles, commissaire L. Lebon, France.

Quarantaine, Galerie Norbert Pastor, Nice, France.

Nice to meet you, MAMAC, Nice, France. (cat)

Billboards, Jurmala, Lettonie

Faits en France, National art gallery, Sofia, Bulgarie. (cat)

Sweet’art, Parcours Saint Germain- café de Flore, Paris, France

Le corps comme spectacle, Museum of Modern and Contemporary Art

Dolac, Rijeka, Croatie



Bon appétit, Galerie Lisi Hämmerle, Bregenz, Autriche.

Art in context, exposition en milieu urbain, la chambre clair, Marseilles, France.

L’égosystème ,10 ans de la Station, confort moderne, Poitiers, France.

Profils 15 ans de création artistique en France, commissaire P. Piguet, musée Péra, Istanbul,

Benaki Muséum, Athènes.

Métissages, Musée des arts décoratifs, institut français, Prague,Tchécoslovaquie, commissaire Y. Sabourin

Unlimited Bodies – Every sperm is sacred – every sperm is great, Galerie Clara Maria Sels, Dusseldorf, Allemagne

La force de l’art, prix Ricard, grand palais, Paris.

Channel, Sheffield Contemporary Art Forum, Sheffield, Angleterre

Dormir, Rêver… et autres nuits, CAPC de Bordeaux, Bordeaux, France. (cat)



Lotissement de cimaises, Villa Arson, Nice. France.

Exposiition d’été, Galerie Charlotte Moser, Genève, Suisse.

Venus en Perigord, commissaires : A. Avila et D. Le Sergent, Collégiale de Ribeyrac, France.

Main dans la main, Kunstverein Bad Salzdetfurth, Allemagne.

Enchanté Chateau, commissaire C. Bernard, Chateau d’Arenthon, fondation Salomon, Alex, France.

De lo Real y lo Ficticio. Arte contemporaneo de Francia, Museo de arte Moderno de Mexico, Mexique.

Post-Apostrof’, commissaire : La Station, museo laboratorio d’arte contemporanea dell’Università, La Sapienza, Rome, Italie.

Dormir tête beche avec un inconnue, commissaire : La Station, La friche de la belle de mai, Marseille, France.



Body Extensions, Mudac, musée de design et d’arts appliqués contemporains, Lausanne, Suisse.

Hors d’oeuvre, commissaire : M. frechuret, CAPC, Bordeaux, France. (cat)

Support, Neue Galerie Graz am Landesmuseum Joanneum, Graz

Des images qui ne seraient pas du semblant-la photographie écrite, commissaire : JM. Ribettes, Passage de Retz, Paris, France.

Pop culture, commissaire : Agnès de Gouvion Saint-Cyr, Gallery Sejul, Seoul, Korea./ Old Parliament House, Singapour/Tadu Contemporary Art Gallery, Bangkok, Thaïlande.

Fridge, commissaire : L.H Dreyfus, Hong kong, Chine.

Body bilder, commissaire : C. Teisseire, Kunsthalle Palazzo, Liestal, Suisse.



Photo-sculptures(2) gestes poses attitudes, Frac Limousin, Limoges, France.

Défilé d’art, Paris, Galerie Lafayette, France.

L’art d’être au monde à Melle, Romanes, Festival International d’art contemporain, Deux-Sèvres, France.

Fable de l’identité, commissaire : R. Durand, CNP, Paris, France.

Les 20 ans des Frac, Trésors Publics , Entrepôts SNCF, Arles, France.

Moi je(ux), Espace Peiresc, Toulon, France.

La fabrication du réel 1980-2000, Maison Européenne de la Photographie, Maison Hongroise de la Photographie, Budapest, Hongrie. (cat)



C’est pas Joli Joli, Turin, Institut culturel français, Italie.

 self/in material conscience, Fondation Sandretto (guarone), Italie.

Photobiennale 2002, 4 °mois international de la photographie à Moscou, Maison de la Photographie, Moscou,  Russie. (cat)

Chaussés croisés, Mudac, musée de design et d’arts appliqués contemporains, Lausanne, Suisse.

Collections croisées, CAPC, Bordeaux, France.

Rapprochement entre l’art et la mode, Espace Ricard, Gal Papillon-Fiat, Paris, France

 The Armory Show 2002, galerie Praz Delavallade, New York, U.S.A.

 Less Ordinary, commissaire : S. Kim, Artsonje Center, Séoul, Korea. (cat)

Voilà la France, commissaire : A.Busto, Centre Expérimental Pour les Arts Contemporains, Carraglio, Italie.

Passages, Galerie il Prisma, Cunéo, Italie.

Les vertus sont des titres, les souffrances sont des droits, Frac Poitou-Charentes, Angoulême, France.

Fridge, commissaire : L. H. Dreyfus, galerie Fraîche attitude, Paris, France. (cat)

Closing party, Palazzo delle Esposizioni, Rome, Italie.



Le regard du photographe, Arthotèque in Lyon, France.

Heads or tails, gallerie Praz Delavallade, Paris, France.

Human Factor, galerie Unlimited, Athènes, Grèce.

Léger différé, CRAC, Sète, France.

Métamorphoses, Espace Culturel rural, Guillestre, France.

Effervescence, galerie G. -P. & N. Vallois, Paris, France.

The Armory Show 2001, galerie Praz Delavallade, New York, U.S.A.

Vitrine d’artiste, commissaire : O. Saillard, Le Bon Marché, Paris, France.

Virtuel -Réel, Espace de l’Art Concret, Mouans Sartoux, France.

Interférence, commissaire : M-J Jean, VOX, Metro Berry-UQUAM, Montréal,Canada. (cat)

Réjouissez-vous, avec B. Pellassy, commissaire : S.Froux, Le Parvis, Tarbes, France.

Ambiance magasin, Centre d’art contemporain de Meymac, France.

Transposition, my generation, commissaire : M. Nash, A. Pollazzon, 24 hours of vidéo art, Atlantis Gallery,                   Londres, Angleterre.



La Station, commissaire : la Station, E.L.A.C, Lausanne, Suisse.

Main basse, commissaire : la Station, M.A.M.A.C, Nice, France.(cat)

Prodige, commissaire : R. Fleck, espace Paul Ricard, Paris, France.(cat)

Cross female-metaphors of the female in the art of the 90s, Künstlerhaus Bethanien, Berlin, Allemagne.(cat)

Garde-Robe, Faux mouvement, Metz, France.

 Grand TOUR, fotodifuzionne 2000, Palazzo Bricherasio, Turin, Italie.(cat)

Corps et attitudes, commissaire : Café-Crème, ancienne chapelle du Rham, Luxemboug-cents,           Luxemboug.(cat)

Les dames de la côte, commissaire : la Station, galerie C.art, Dornbirn, Autriche.

Juste au corps, la Criée, Rennes, France

Narcisse blessé, Passage de Retz, commissaire : J-M Ribettes, Paris, France.(cat)

16° Lifting, C/o Voulleminot, Paris, France.

Uomini con baffi in Napoli, Fondation Morra, Napoli, Italia

Sous l’écran pur de la peinture la mémoire jout son théâtre d’ombre, Centre d’art contemporain de Meymac,  France.

Big Torino, commissaire R. Fleck, Turin, Italie.(cat)

Paysage dans l’assiette, Soirée Nomade food lab, Fondation Cartier, Paris, France.

Au centre l’artiste, centre Pasquart, Bienne, Suisse.

À table !, Villa du parc, Annemasse, France.



Les coups, Frac Bourgogne, Dijon, France.

Christian Robert Tissot, Natacha Lesueur, Galerie M.D.J, Neuchâtel, Suisse.

A girl like you, Galerie Praz Dellavalade, Paris , France.

Officina de Europa, commissaire : R. Barrili, Imola, Italie.(cat)

The anagrammatical body, commissaire: Peter Weibel, kunsthaus Mürzzuschlag, Autriche. (cat)

Le siècle du corps : Photographie 1900-2000, Culturgest, Lisbonne, Portugal.

Lascaux 2, commissaires : J. Joy, P. Devautour, villa Arson, Nice, France.

Drive in, commissaire la Station, parking de l’hôpital de l’archet 2, Nice, France.

Désir, Art Process, commissaire : E. Mezan, Paris, France

Extra et Ordinaire, commissaire : C. Macel, Le printemps de Cahors, Cahors, France.(cat)

Clin d oeil, commissaire : S. Schashl, Galerie Fotohof, Salzburg, Autriche.

Unheimlich, commissaire : U. Stahel, Fotomuseum, Wintherthur, Suisse.(cat)

Vanitas, oeuvres éphémères, Institut Culturelle francais de Rotterdam, Pays-bas.



F comme Photographie, commissaire : M. Ritter, Fri-Art, Friburg, Suisse.

Dolce Vista, commissaire : la Station, La Salara, Bologne, Italie.

Bruits secrets, commissaire : O. Reneau et C.Sarraeiva, CCC, Tours, France.

Paul Ritter; In Site kunstraum Kreuzlingen, Suisse.

Lifestyle, Kunsthaus Bregenz, Autriche.

Photography as concept, commissaire : R. Wiehager, internationale Foto Triennale, Esslingen, Allemagne.(cat)

EX- hibition# 4, Galerie Xavier Laboulbenne, New York, U.S.A.

Arcus 3, commissaire : la Station, früher Philips/Tekade, Nûnberg, Allemagne. (cat)

Et stock, FRAC Bourgogne, Dijon, France.

Phänomen des Flüchtigen, Kultur raum spitalskirche, Lienz, Autriche. (cat)

Bonne Année, Galerie Air de Paris, Paris.



fasten seatbelt, Galerie Krinzinger, Vienne, Autriche.

Take off, Galerie Krinzinger, Bregenz, Autriche.

From One Point To Another commissaires N. Goudinoux, A. Huber, R. Fleck, Atelier Soardi, Nice.

Des histoires en formes, Le Magasin, CNAC de Grenoble, France. (cat

Vraiment Féminisme et Art, commissaire L. Cottingham, Le Magasin, CNAC de Grenoble, France. (cat)



Pomme Z, Galerie Artco, Ajaccio, France.

L’art du plastique, commissaire R. Fleck, énsb-a, Paris, France.

Absolutely Fabulous, Galerie Sintitulo, Nice, France.

118M2, Galerie Manu Timoneda, Aix en Provence, France.

Frühwirth, Lesueur, Luche, Lulic, Ritter, Serralongue, Steiner, Stockburger, cur : Axel Huber,  Heiligenkreuzerhof, Vienne (cat)

Übungspalast, chez U.fuchs et L.Tirala, Innsbruck, Autriche.

49F90, commissaires M. Matray et V. Justin, Galerie la caisse, Nice, France.

 Le titre est dans la valise, Galerie Sanguine, Paris, France.

My own private riviera, Galerie Sintitulo, Nice, France.



Intervention, club du Capitaine Pip, Espace Jules Verne, Brétigny-sur-Orge, France.

 &, Galerie Valentin, Paris, France.

Nice by night III, un parcours nocturne dans plusieurs appartements niçois.

Spicy cuisine, avec B. Dellsperger, projection vidéo, ELAC, Lyon, France.



P.S.S.S.S …, commissaire N. Dolla, Galerie Evelyne Canus, La Colle-sur-Loup, France.

Spicy cuisine, Vidéogrammes, vidéochroniques, Marseille, France.

Nice by night. I et II un parcours nocturne dans plusieurs appartements niçois.

5793- copie

Coiffures accidentées,  2015
Analogic Photograph, Lambda print on ilfoflex, 100 x 80 cm



5794 - copie

Chantal, 2007,
Analogic Photograph, Lambda print on ilfoflex, 100 x 80 cm




5797  Sans titre, 1996
Baryte silver gelatino silver print, 100 x 100 cm


Sans titre, 1996
Barium silver gelatino silver print, 120 x 55 cm




Natacha publication1

Sans titre, 1998,
Analog photography, Lambda print on ilfoflex, 80 x 80 cm




Sans Titre

Sans titre, 2010
Analog photography, Pigment proof on fine art paper, 127 x 100 cm




131a-double panier2-16bit

Sans titre, 2009
Analog photography, Pigment proof on fine art paper, 110 x 87 cm

Find the silkscreen prints on the gallery’s store

5796- copie


Sans titre,  2015, 44 x 11 cm

Analog photography,

Lambda print on ilfoflex

Cailles blanches, grisettes et aigrettes noires

Exhibition from May 10 to April 11, 2015

5793- copie


Jacqueline Gainon


Jacqueline Gainon


Ainsi soit-il


It is around the dilemma between image and painting, between memory and fantasy, between good manners and forbidden games that Jacqueline Gainon’s exhibition in the space of the Galerie Eva Vautier is articulated. Placed under the sign of color, two series of large blue and red paintings confront each other in diametrically opposed registers.


Executed in a naïve, almost licked style, the blue series calls upon the artist’s childhood memories: it is based on a free interpretation of photographs of mountain excursions from a family album. The original images, taken by the artist’s father in the hinterland of Nice, are here the subject of a series of plastic operations. Their transposition in a monumental format, the passage from black and white to color and from the smooth rendering of photography to pictorial materiality gives them an undeniable sumptuousness. Finally, everything that was landscape is replaced by a pastel blue background that is more reminiscent of a child’s bedroom wallpaper than a summer sky. The picturesque elements still present in the first versions of the series – panoramas, rocky peaks or calvaries – have disappeared to give way to a space/time that is as abstract as it is timeless.


Between pious image and bad dream, these paintings show strange, incredibly peaceful portraits in which the artist, still a little girl, and her family members stand against each other in a kind of half-sleep. Their eyes are closed and when they are open, they seem definitely absent as if each one was looking inside himself ignoring the presence of the other. Sometimes their heads fall to the side or their faces fade away, while their bodies seem to float in this blue expanse. Their pale complexion suggests the worst.


If the strangeness of the scene is due to the collective standing sleep, it is counterbalanced by the tender gestures of this father and mother towards their four children. There is something touching, still vibrant that gives hope for a happy ending. The mind likes to imagine this ideal family, alive and well, eyes open to the photographic lens because these images have something universal, they could just as well be ours. But here the optic is replaced by the artist’s gaze, which obviously treats his childhood memories in a psychoanalytical way through the operations of displacement it imposes on them. Thus, these fragments of the past reappear as moments lost forever, as if the artist was unable to restore the joyful temporality of his childhood, but instead offered him eternal rest. The photographic evidence is replaced by the opacity of the painting with its lumpy and tormented materiality.


With tenderness and humor, Jacqueline Gainon distorts the idea of family happiness all the more obsolete as it has gone to hell, thus affirming something of the order of unbelief in the family. Behind the initial naivety of these great icons, which are so many variations on the theme of the Virgin and Child, but which could also be likened to the popular practice of ex-votos by their deliberately clumsy side, lies an inexorable sense of loss. No, painting is not reassuring, it is harsh and impure. And isn’t the role of the artist to confuse and disturb? So be it.


As for the red series, it is infinitely more gestural and expressionist. It obeys a very fluid pictorial treatment that leaves room for colored drips and juices. If the material is more transparent than in the blue series, this series of paintings is also darker literally and figuratively.


It depicts a disturbing huis-clos in which a little girl dressed in a red dress becomes the prey of a group of young boys armed with bats and guns. We find the girl who appeared in the images of the blue series with her fifties dress and who is assumed to be the artist’s sister. But whereas in the previous series the child was as wise as an image, here she is represented in movement, in perilous postures induced by the violence inflicted on her by her torturers. Blindfolded, she is bound and beaten. Her small body can barely stand upright because she is so badly mauled. She ends up falling to the ground.


It is difficult not to be touched by what appears to be a distant trauma, especially since the girl seems to be pushed out of the picture. If only we could be given the opportunity to help her.


But who exactly are her aggressors who barely come out of the shadows and whose silhouette seems to belong to the dark background of the paintings? Why are they attacking the girl? They look like members of an anonymous child militia. Their features are erased as if violence has no face. The eye, it is true, is entirely turned towards the red dress that twirls in the space of the painting and ends up distracting our attention. We then forget that the boys are still in short pants and that their gestures, if we subject them to close scrutiny, are a bit clumsy and borrowed. What if it was just a game? Jacqueline Gainon sows doubt. So secret militia or a bunch of scouts?


We end up wondering if the object of desire of these young people is not also ours. It must be said that the artist has organized her compositions by dramatizing at will these playlets with their folded perspective and the plunging light which come to stretch out to us on a plate the almost erotic body of this child with the pink flesh all dressed in red. Here we are in the skin of the wolf. Between abuse and forbidden games, these nightmarish and suffocating scenes thwart the imagery of Épinal of the blue series and all that she could state of reassuring and ideal on the notion of family but also and especially on the idea of painting. They involve us in the erotic game of representation of which we become the voyeurs.


Opposite this very intense pictorial series are extraordinary small drawings in Indian ink and gouache felt pen where the fight seems to be rebalanced in places. It happens then that the girl manages to keep her aggressors in respect. The victim thus becomes the executioner for the greatest delight of us viewers. To finish, the little red riding hood in her light muslin dress, which one would like to see in muslin, hoists herself up on an enormous skull where she manages to keep herself in balance, thus making a fist at death. So be it.


Catherine Macchi

Jacqueline Gainon

Born in 1951. Lives and works in Nice since 1978






Ithaque, Galerie Norbert Pastor, Nice



Galerie Norbert Pastor, Nice

Un, deux, trois, Soleil, Galerie de la Marine, Nice



Collège Port Lympia, Nice



Un autre lundi, Galerie Françoise Vigna, Nice



Galerie Lilo Marti, Saint-Paul de Vence



Galerie Martagon, Malaucène

Atelier Pascal Paradis, Nice



Foire de Hambourg



Fondation Sicart-Iperti, Vallauris



Galerie Joachim Becker , Cannes

Galerie Martine Queval, Paris



Galerie Tobias Hirschman, Francfort



Atelier 80, Bordeaux

Galerie Dau Al Set, Barcelone

Galerie René Baériswyl, Genève

Galerie Joachim Becker, Cannes



Christine Colmant Art Gallery, Bruxelles

Galerie Tobias Hirshman, Francfort



Galerie Municipale, Kaarst (Allemagne)

Galerie Joachim Becker, Cannes

Gallerie Tobias Hirshmann, Baden-Baden



FIAC, Paris, Galerie Joachim Becker

Galerie Anna Friebe, Cologne



Galerie Mudolo, Lisbonne

Galerie Laurens Daane, Amsterdam

Galerie Anna Friebe, Cologne



ARCO, Madrid

Musée de Toulon

Galerie Joachim Becker, Cannes



Galerie Joachim Becker, Cannes

Galerie Anna Friebe, Cologne



Lola Gassin, Nice

Atelier Macé, Cannes

Anna Johnson Gallery, Cambridge (USA)

Find the silkscreen prints on the gallery’s store



Jacqueline Gainon n° 5466 [Ainsi soit t il] 2014 encre de Chine et encre sur papier FabrianoSigné et daté. 76 x 56 cm ©Eva Vautier

Ainsi soit il, 2014,

46 x 36 cm, Four color silkscreen on paper,
Velin d’Arches Rives BFK 300g,
fringed edges cloth grain,
Edition 25 copies numbered and signed..




Jacqueline Gainon n° 2078 [Sans titre] 1998 Serigraphie monochrome sur papier. Tirage numéroté à 75 exemplaires, datée et signée. 65 x 45 cm

Sans titre,1998,

Monochrome serigraphy on paper,

Numbered edition of 75 copies

Ainsi soit-il

Exhibition from September 28 to November 6

 Opening on September 26th

Jacqueline Gainon n° 5466 [Ainsi soit t il] 2014 encre de Chine et encre sur papier FabrianoSigné et daté. 76 x 56 cm ©Eva Vautier

Website : 



Workshop printing : 

Workshop printing Jacqueline Gainon

Gregory Forstner


Gregory Forstner was born in Douala, Cameroon, to a French mother and an Austrian father. He interrupted his high school studies and decided to study at the Academy of Applied Arts in Vienna, Austria, then at the Villa Arson in Nice. He then worked in Nice for several years.
In 2008, winner of a grant from the French Ministry of Culture for a one-year residency in New York. He settled there with his family.


The Collector’s Fiancée

She was tall, she was blonde, she was the collector’s fiancée. I made her nourishing hips (in addition to the buttocks, I like women’s hips), swimmer’s shoulders (I am a swimmer), Naples yellow hair (I am blond) and a colonial helmet from the African bush (I was born in Cameroon). Might as well paint the girls we like to fuck. The stereotypes have stiff skin, their surface is gold-plated. The desirable girl is therefore blonde, pulpy, with hard pointed breasts, her lips are red and shiny. Smoke passes through my fingers. I paint with sugar.


I have a direct link with my childhood. I am there when I want. When I think of cloud, I imagine it blue. In painting mountains are always blue. The child on the beach draws the blue cloud. The sky is blue too and the sea below is blue as well but deeper. In the middle it’s “empty”, it’s the white of the paper that doesn’t ask for anything. It took me a long time to paint landscapes. I have no problem with the wind, the sea, the grass, the cows, all that. When they arrive in the painting, they are there to pose a scene. The Fall of Icarus is a good example. The subject has gone underwater, only the ridiculous feet and the burning calves are visible at the bottom right. In the meantime, every detail of the landscape allows for a dive.


Art is compensatory. The painting does not try to say something. It is about a moment. You have to pinch yourself to believe it! No kidding, painting is nothing but to pinch yourself to believe in it. There is History and the little story, but in truth, it is always a sensation that slips away to be renewed elsewhere and differently. One hides behind the images of others to appear bigger. The rest is conversation. Others have to have fun, alone, we don’t exist. Here, the sky is as blue as its clouds, and in the wind the Bride pulls The Collector. The object of the figure is its presence, its appearance is its effect. Do not look elsewhere. The child begins by drawing what seems essential to him, arms, legs, head, and he marvels. I have grown up and I paint what I like: breasts, eyes, pool cues, assholes and hips, scuba divers and then sometimes dogs – you always have to paint the things you want – or the things you hate.


I prefer to paint pretty girls. Sometimes the paint paints them ugly, but I paint them beautiful. Painting sometimes decides otherwise because around a girl there is always something going on that you don’t anticipate. In life, it is the same. It is necessary that the girl complains a little so that the painting turns, she makes the pout, a grimace, and one cracks. While looking for the air of the hostess, we perceive the air of the painting in its bottom. By forcing stereotypes, the natural explodes. By dint of making the gesture, he leaves alone.



Gregory Forstner

Né à Douala au Cameroun. Vit à New-York








Encore / Partie 2, Galerie Eva Hover, Paris, France

Epines d’Eden, Galerie Dubois Friedland



La belle peinture 2, FRAC Réunion, Phoenix des Halles, Port St Louis, Mauritius
Entrée libre mais non obligatoire/Noël Dolla, Villa Arson, Nice, France
Pièces Montrées – Frac Alsace, 30 ans de collection, FRAC Alsace, Fondation Fernet-Branca, Saint-Louis, France
De leur Temps 4 : Nantes, Regards croisés de 100 collectionneurs sur la jeune création, Nantes, France

Fuck Sandy!, Galerie Zink, Berlin, Germany




Works on paper, Otto Zoo, Milano, Italy

Study for An American Archetype, Messineo Art Projects / Wyman Contemporary, New York, USA

La Grande Bouffe ou Le Triomphe de Bacchus, Galerie Eva Hober, Paris, France




Rain Dogs, Galerie Zink, Berlin, Germany




Looking For Icarus, Galerie Zink, Munich, Germany Salon du dessin contemporain, Paris




The Ship of Fools, Musée de Grenoble, Grenoble, France




The Waiting Rooms, Galerie Zink, Munich, Germany




Easyover, Galerie du MAMAC, Museum of Modern and Contemporary Art, Nice The Party, Galerie Michael Zink, Berlin, Allemagne




Galerie Jocelyn Wolff, Paris
Galerie de l’UQAM, avec Gérald Panighi, commissaire Louise Déry, Montréal, Canada




Pièce unique, Centre culturel français, Turin, Italie




Galerie Jocelyn Wolff, Paris




Galerie Jocelyn Wolff, Paris






La Fabrique de la Peinture. Avec: Jeff Koons, Anne Neukamp, Marc Molk, Damien Cadio, Jules de Balincourt, Eva Nielsen,
Jake and Dinos Chapman, Hernan Bas, Chéri Samba, Thomas Lévy-Lasne, Ida Tursic et Wilfried Mille, Gregory Forstner, Glenn Brown, Amélie Bertrand.
E-Motion, collection Bernard Massini, Fondation Maeght, Saint-Paul de Vence, France

Code Noir. 30 ans de shopping, FRAC Haute-Normandie, Rouen, France




Carte Blanche, Lili-Ubel Gallery, Paris, France
La Maladie de Flaubert, Musée Flaubert et d’Histoire de la Médecine, Rouen, France Ventotto, Otto Zoo, Milano, Italy
What Only Paint Can Do, curated by Karen Wilkin, Triangle Arts Association, New York, USA La belle peinture est derrière nous, le lieu unique, Nantes, France
Collectionner aujourd’hui…, Collection Philippe Piguet, Centre d’art contemporain de Saint Restitut, France
Figure Libre, Collections du MAMAC, Galerie des Ponchettes, Nice, France




Nullportrait, Galerie Zink, Berlin, Germany
Le Beau est toujours bizarre, FRAC Haute Normandie, Sotteville-lès-Rouen, France La belle peinture est derrière nous, Cagdas Merkesi, Ankara, Turkey
Des Paysages des Figures, Château de Saint-Ouen, France
Des limites de ma pensée, dubois friedland gallery, Brussels, Belgium




La belle peinture est derrière nous, Sanat Limani, Istanbul, Turkey
Des paysage des figures, Dukan & Hourdequin, Marseilles, France
Aquisitions Recentes, Musée d’Art Moderne et d’Art Contemporain, Nice, France
Antrepo #5, Istanbul
The Elizabeth Foundation for the Arts, New York
Drawing on paper, Galleri Se Konst, Falum, Sweden
Liaisons Dangereuses, Thomas Rehbein Galerie, Cologne
Hunting Trophy, Parker’s Box, New York
Sic Transit Gloria Mundi, Galerie Eva Hober, Paris
Collection 3, Fondation pour l’art contemporain Claudine et Jean-Marc Salomon, Alex, France




Le Bizarre, l ́étrange et l ́incongru, Sélest’art Biennale, Sélestat Brussels Art Fair
NUN, Galleria Otto Zoo, Milan, Italie




Stultifera Navis: The Ship of Fools, Porta Sant’Agostino, Bergame, Italie
From Brooklyn with love, Parker’s Box Gallery, Brooklyn, New York, Etats-Unis Chicago Art Fair




Art Basel Miami, Galerie Wolff, Paris
Dialogues Méditerranéens, St Tropez, commissariat génerale Suzanne Van Hagen
Fait en France, National Art Gallery de Sofia/Musée national des Beaux-Arts de Lettonie, Riga Peinture(s), Génération 70, Fondation Salomon
De leur temps II, Musée de Grenoble


Timesharing, Galerie Jocelyn Wolff, Paris
Villa Holiday Warsaw, Pologne-Galerie Jocelyn Wolff, Paris
Everything is wrong, Kunsthalle Palazzo, Liestal, Suisse
Nos amours de vacances, CIAC, Carros
PROFILS 15 ans de création artistique en France, Péra Museum, Istanbul,Turquie, Benaki Museum, Athènes, Grèce
Galerie Jocelyn Wolff, Paris
Tennewpaintings, Parker’s Box, New York, Etats-Unis




Etats de Peinture, commissaire Philippe Piguet, Maison des Arts, Malakoff
Galerie S.E, Bergen, Norvège
La Réserve, avec Julien Bouillon, Marc Chevalier, Gregory Forstner, Karim Ghelloussi, Sandra D. Lecoq, Gérald Panighi, Ingrid Maria Sinibaldi, sur une proposition de Catherine Macchi, Galerie des Ponchettes, Nice




Association KUB/Galerie Soardi, avec Denis Castellas et Valérie Favre, Nice
Body Bilder, commissaire Cédric Teisseire, avec ALaPlage, Caroline Boucher, Jean-Robert Cuttaïa, Brice Dellsperger, Natacha Lesueur, Ingrid Maria Sinibaldi et Jean-luc Verna, Kunsthalle Palazzo, Liestal, Suisse
Décomplexés, avec Norbert Bisky, Steven Black, Galerie Jocelyn Wolff, Paris




Lee 3 Tau Ceti Central Armory Show, Centre d’Art Villa Arson, Nice




Faculté de Lettres, Nice




Association KUB/Galerie Grégoire Gardette, avec Ali Mahdavi, Marie Doria, Alain Pontarelli, Yannick Vernet, Nice
Exposition 109, Sophia Antipolis




Résidence, Triangle, New York, Etats-Unis


Résidence et Workshop, Triangle, New York, Etats-Unis



Prix Matisse, France
Résidence à Berlin, Villa Arson (réseau Age d’Or ) 2003-02



Premier prix Festival Jeune Talent, Cagnes-sur-Mer (président du jury Jacques Lepage)




Gregory Forstner – De La haute Mer au midi Brûlant, 31 Octobre Conférence et Workshop à L’école d’art d’Angers, le 6 et 7 Novembre. Conférence et Workshop à L’école d’art de Toulon du 17 au 21 Novembre.

Des Pas dans L’Escalier – FRAC Basse-Normandie (11 Octobre – 23 Novembre) Oeuvre exposé : Coming back Home – Tea for Two (acquisition FRAC BN).

Slick Art Fair – Galerie Dubois friedland – Bruxelles, Vernissage le 21 Octobre-26 Octobre



Musée de la Ville De Paris (ARC), Paris, France
Musée d’Art Moderne et d’Art Contemporain,(MAMAC) Nice, France Musée de Grenoble, Grenoble, France
Fond National d’Art Contemporain (FNAC), Paris, France
Fond Régional d’Art Contemporain (FRAC), Alsace, France
Fond Regional D’Art Contemporain, Haute Normandie, France
Fond Regional D’Art Contemporain Basse-Normandie, France Sammlung Goetz, Munich, Germany
Fondation Bernard Massini, Nice, France
Fondation Claudine et Jean-Marc Salomon, Alex, France
Fondation SACEM, France
Richard Massey Foundation, New York

Présence dans des collections privées




Mon Héros aux Éditions Derrière la Salle de Bains dans le Journal Behind – 2014
La Fiancée du Collectionneur – (à l’occasion de l’exposition à la galerie Eva Vautier à Nice) aux Éditions Derrière la Salle de Bains – 2014


Rain Dogs, Galerie Zink, 2011, essay by Jeanette Zwingenberger. Published by Galerie Zink, Berlin


The Ship Of Fools, textes Guy Tosatto, Ludwig Seyfart, Eckhardt Momber, Gregory Forstner, édition Musée de Grenoble, Galerie Zink/Verlag Für Moderne Kunst, 2009


Grégory Forstner / Easyover, textes de Gilbert Perlein, Joseph Mouton, Stéphanie Katz,édition du Mamac, Nice, 96 p, français/anglais/allemand, 2007


Gregory Forstner – Dit is de Minj, catalogue de l’exposition à la Galerie de l’UQAM, Montréal, texte de Louise Déry, éditions Revolver verlag, Francfort / Main, 80p., français/anglais/allemand, octobre 2006




E-Motion / Collection Bernard Massini, Fondation Maeght, Saint-Paul de Vence, 2013
De Leur Temps 4, Hangar à Bananes, Nantes, 2013
«Pièces Montrées» 30 ans de collections, FRAC Alsace et Fondation Fernet Branca, Saint Louis, 2013
Fetishism in Fashion, by Lidewij Edelkoort, édition FRAME, 2013
La Belle Peinture, Bratislava, Institut Français, Galerie Eva Hober, 2013



Laugh and Cry, édition Earnest and Algernon, 2012



La belle peinture est derrière nous, Samat Limani, Istanbul, L’institut Français de Turquie & Galerie Eva Hober, 2011

Galerie Eva vautier



Sic Transit Gloria Mundi, textes Richard Leydier and the artists, Galerie Eva Hober, 2010 Salon Du Dessin Contemporain, Galerie Zink, Paris, France, 2010
Collection 3, Fondation Salomon, Alex France, textes Anne Malherbe et Jean-Marc Salomon, 2010



Art Basel Miami, 2007
Fait en France, National Art Gallery de Sofia/ Musée National des Beaux-Arts de Lettonie, Riga, Lithuania, 2007
Peinture(s) génération 70, Fondation pour l’art contemporain Jean-Marc et Claudine Salomon, texte de Philippe Piguet et Anne Malherbe, édition de la Fondation Salomon, 110 pages, 2007 Notre temps II, textes Philippe Piguet, Guy Tosatto, édition du Musée de Grenoble
Dialogues Méditérranéens, Suzanne van Hagen, édition Beaux-arts éditions, 66 pages, 2007



PROFILS 15 ans de création artistique en France, édition du Musée de Péra stanbul, mai 2006

Nos amours de vacances, édition du CIAC de Carros, juillet 2006



La réserve, texte de Catherine Macchi, Ville de Nice, Direction Centrale des Affaires Culturelles – Galerie des ponchettes, 2005



Association KUB/Galerie Grégoire Gardette, avec Ali Mahdavi, Marie Doria, Alain Pontarelli, Yannick Vernet, Nice, 2004



Lee 3 Tau Ceti Central Armory Show, édition Villa Arson, Nice, 2003


Gregory Forstner, "Blondie and the Sons of Bitches (on the Beach)", 2013,180 x 290 cm, huile sur toile

Gregory Forstner, Blondie and the Sons of Bitches (on the Beach)”, 2013, 180 x 290 cm, oil on canvas




Gregory Forstner, 'The Collector's Girl Friend', 2013, 250 x 200 cm, huile sur toile

 Gregory Forstner, The Collector’s Girl Friend, 2013, 250 x 200 cm, oil on canvas




Gregory Forstner "The Princess of Bed-stuy 2", 2013, 61 x 50 cm, huile sur toile

 Gregory Forstner, The Princess of Bed-stuy 2, 2013, 61 x 50 cm, oil on canvas



Gregory Forstner, "Young Soldiar", 2009, 56 x 38 cm, Gravure à l’eau-forte monochrome sur papier, fait à la main, provenant d’un portfolio comprenant sept planches. Edition Galerie Zink New York

Gregory Forstner, Young Soldiar, 2009, 56 x 38 cm, Monochrome etching on paper, handmade, from a portfolio of seven plates. Edition Galerie Zink New York





Gregory Forstner, "Blondie Red Lips", 2009, 56 x 38 cm, huile sur toile

Gregory Forstner, Blondie Red Lips, 2009, 56 x 38 cm, oil on canvas


La Fiancée du Collectionneur 

Exhibition from November 15 to January 3, 2015

Opening on Friday, November 14



Website :



Documents d’artistes :




At the Publishing House derrière la salle de bains :

Ma Poupée
La Fiancée du Collectionneur (Avec la Galerie Eva Vautier, Nice)
Mon Héros (dans le journal Behind Automne 2014)



At the Publishing House Wildproject:

Plein la Vue – par Marc Molk

Pauline Brun

Pauline Brun


Pauline Brun began her training in classical and contemporary dance at the Conservatoire Régional de Nice before entering the École Supérieure d’Arts Plastiques, the Villa Arson, and then the École Nationale Supérieure des Beaux-Arts de Paris where she developed her work in sculpture, installation and video. It is since her plastic research that she redirects herself towards dance and performance and integrates the ex.e.r.ce training at the National Choreographic Center of Montpellier. There, she experimented with stage space, developed a choreographic work and began various collaborations on dramaturgical and scenographic issues. Invited for the Museum On/Off exhibition at the Centre Georges Pompidou in 2016, she wrote the performance GRAND BAIN for the space of the permanent collection. For the Nuit Européenne des Musées at MAC VAL, she presents the performance ÉTALON PAR DÉFAUT. She also participates in group exhibitions with installations and videos. In addition, she is a performer, accompanies the staging or designs spaces for choreographers Fanny De Chaillé, Paula Pi, Pauline Simon, Ingrid Berger Myhre and Gaetan Bulourde.





En Suspens


To approach Pauline Brun’s work, one would have to start immediately by isolating two spaces: the physical, geographical or architectural one, the one that finally delimits, and the more metaphysical one, of creation, of the very logic of the work in progress. These two spaces have their own parameters. They have their own rules and laws and allow the artist to operate within a framework that imposes its limits, the contexts that govern it. Pauline Brun’s work is therefore an attempt to apply within these limits, a succession of operations, gestures that will push back these boundaries and in doing so, erase them to create a third space which is that of the work.

A space that will bring them all together to capture, in one movement, the vibrations and friction of elements that at first seemed to be isolated, but which suddenly, and together, make sense. If we isolate from the start two spaces, perhaps we can also evoke two gestures which are their own: the turning around, and the injection of narrative processes. Pauline Brun’s works are thought for spaces. It will always be a work that will echo the place that is supposed to house it. Thus, the challenge of the work is to use the constraints of the place in order to bring about an upheaval that I call here inversion. Here, a wooden plank is transformed into a suspended surface, a necessity of the form by the action of the paint which imposes its weight and these physical properties for a drying time. There the walls or partitions are used as raw material for the elaboration of a sculpture, of which one could not say whether it is a sculpture or the base waiting for his work. It seems that the wall itself has set itself in motion and in movement and that, in a great effort, it has managed to push back the material that encircled and constituted it, thus extracting itself from its condition. The space itself, caught in its physical constraints, is thus treated as a material that the artist comes to sculpt as he pleases, pulling, twisting and pushing it to the extreme. Isolating these elements, taking them out of their initial context and turning them over to make them what they are not, is therefore to ask the question of what they are. It is by asking this question that narrative games begin. The artist voluntarily leaves his trace in the manipulation of these spaces, and plays with it. Blurring the tracks, creating false ones, erasing some, accentuating the line at times. Isolating the constituent material from the space and treating it as an object is to give it a body. The works and the space thus bear the traces of their own history, of which we can never say whether they are part of a fiction or document the actual realization of the plastic work. A body bearing the stigmata of a game or a confrontation between it and the artist. A whole poetic and imaginative vocabulary is thus deployed which makes the bodies reason among themselves, the materials and the forms. The cut-out of the partition reveals the wall that supports it, thus stratifying the architecture of the White Cube to better reveal its double belonging, in time and space, to the theoretical and architectural universe. In the same gesture, the White Cube returns to its condition as a historical object, the one that can be told.


And if the artist leaves traces, proofs of her passage, it is because Pauline Brun’s work is ultimately nothing other than the practice of these spaces. It is through the experience of manipulating these different objects that the work appears. It is because the partition of the wall has become sculpture, that the space can be read in its poetic dimension, revealing the story it carries, a story that would not have been revealed if the artist’s gesture had not discovered it. It is thus indeed a base that one observes, the very one that supports the practice and the experience which, thus, joined together in a gesture make work. In the end, it is through the body, and through the body of the artist so often staged or brought into play in her work (and we suddenly make the link between this red surface taken in her time off and the costume that the artist wears in some of her videos, a work that is not presented here and which therefore allows the time necessary to clean and dry the costume), that Pauline Brun unveils the spaces in which her work takes shape. And it is through the experience of these spaces that she manages to create the one in which the work of art unfolds.

Arthur Eskenazi

Lives and works in Paris









Caméra Caméra / Galerie Eva Vautier, Hôtel Windsor, Nice

Avis de grand frais / Exposition collective / Cannes

Éclairage Public 2 / Performance / La Station, Nice

Warm up / Exposition collective / Bruxelles

Pink Room / Atelier Estienne, Pont-Scorff




MOVIMENTA / Galerie Éva Vautier, Nice

Blaise Start / Performance de restitution de workshop / Ping Pong Théorie / Centre Geogres Pompidou, Paris

Blaise Start / Performance de restitution de workshop / MAC VAL, Vitry-sur-Seine

Nuit Européenne des Musées / Performance / MAC VAL, Vitry-sur-Seine

Salon de Montrouge / Exposition collective / Montrouge, Paris




Par le courant d’un fleuve submergé / Exposition collective / Grotte du Dard, Baumes les Messieurs

GRAND BAIN / Exposition Museum ON/OFF / Centre Georges Pompidou, Paris




OVNI / Exposition collective / Hôtel Windsor (par la Galerie Eva Vautier), Nice

Tribu / Exposition collective / Galerie Eva Vautier, Nice

Hypothèse / Exposition CRATCH / 116, Montreuil

À une année lumière / Exposition collective / Galerie Eva Vautier, Nice

Toujours sans titre #radiophonique / Festival Tropisme / La Panacée, Montpellier




R.A.S. / Exposition collective / Galerie ABC, Dijon

Feldstärke International / Kyoto Art Center, Kyoto (Japon)

En suspens / Exposition collective / Galerie Eva Vautier, Nice

In fieri / Exposition collective / Dole

Feldstärke International / Exposition collective / Monte Vidéo, Marseille

Fenêtre indiscret Janela do pàtio / Collaboration avec Bruno Freire / La Panacée, Montpellier

10 ans / Exposition collective / Galerie Espace à Vendre, Nice




En déséquilibre / Monographie / Galerie 360m3 / Biennale Off, Lyon

Aux demeurants / Exposition collective / Château de Neublans-Abergement, Neublans

Objet #3 / Collaboration avec Arthur Eskenazi et le Collectif d2 / Point Éphémère, Paris



(72h/85 m2) / Exposition collective / Galerie Schirman et de Beaucé, Paris  

Groom / Exposition collective / Parcours Saint-Germain, Hôtel Lutetia, Paris  



Bandits-mages / Exposition collective / Bourges

Le grand écart / Exposition collective / Galerie Espace à Vendre, Nice

Festival Video Art / Exposition collective / Athènes (Grèce)

Biennale Wro Art Center / Exposition collective / Wroclaw (Pologne)






Scruffy Shot / Festival C-TAKT#2 / C-Mine, Genk / 2018 

And we are not at the same place / Athens and Epidaurus Festival, Athens / 2016 

Avant-propos / ICI-CCN, Montpellier / 2015 

Toujours sans titre / ICI-CCN, Montpellier / 2015 

Encore sans titre / ICI-CCN, Montpellier / 2015 

Note déplacée / ICI-CCN, Montpellier / 2014 

Interlude spectaculaire / ICI-CCN, Montpellier / 2014






Störlaut / Jule Flierl / Charleroi Danse, Bruxuelles / Les Rencontres Chroégraphiques Internationales de Seine-Saint-Denis, Paris / Schaubühne Lindenfels, Leipzig / Sophiensaele, Berlin / MUMOK, Impultanze, Vienne / 2018 

Dans la profondeur de champ / Gaëtan Bulourde / France / 2017 – 2018 

Supplies / Ingrid Berger Myhre / Black Boxe Theater, Oslo / 2016 

Hecce (H)omo / Paula Pi / CN D Pantin / 2016 

Postérieurs / Pauline Simon / Ménagerie de Verre, Paris / 2016 

Das ist / Paula Pi / Théâtre de poche, Hédé / 2015




Réciter Les Langues / Lynda Rahal et Célia Gondol / Palais de Tokyo, Paris / 2017 

Dans la profondeur du champ / Gaëtan Bulourde / France / 2017-2018 

Mauvais Genre / Alain Buffard / CN D Pantin, Théâtre de Nîmes / 2017 

À la recherche du _ / Bruno Freire / ICI-CCN, Montpellier / 2015-2016 

Passage à l’acte / Fanny De Chaillé & Philippe Ramette / France & USA / 2011-2016




La Station, Nice / 2018 

TAKT-Dommelhof, Neerpelt / 2018 

CN D, Pantin / 2017-2018 

workspacebrussels, Bruxelles / 2016-2017 

Cité Internationale des Arts, Paris / 2015-2017 

Honolulu, Nantes / 2015 

Théâtre de poche, Hédé / Collaboration avec Paula Pi / 2015 

Villa Arson, Nice / Collaboration avec Diane Audema & Diane Blondeau / 2014 

Villa Arson, Nice / Partenariat avec ICI-CCN Montpellier / 2013




CN D, Pantin / 2018 

MAC VAL , Vitry-sur-Seine / 2016 – 2017 

Centre Georges Pompidou / Studio 13-16, Paris / 2017

Pauline Brun n° 5377 [Dessin préparatoire à pièce de...] 2014 Série de dessins,Papiers, graphite, découpe, collage 50 x 65 cm

Pauline Brun, Dessin préparatoire à pièce de coupe, 2014, 50 x 65 cm
Series of drawings, Papers, graphite, cutting, collage

Pauline Brun n° 5658 [Under Control] 2015 Plaque de pltre, pltre, colorants.Non signé et non daté 90 x 120 x 90 cm ©Artiste

Pauline Brun, Under Control, 2015, 90 x 120 x 90 cm, Gypsum board, plaster, stains

En suspens
Exhibition from May 13 to June 14, 2014

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




Pauline Brun, Alice Guittard

Exhibition En Suspens at Galerie Eva vautier

Joseph Dadoune


Le Musée Noir

Ultimate photograhy


Joseph Dadoune made a name for himself in the West and in the Middle East in the early 2000s thanks to remarkable video installations and an original photographic work. On the occasion of a solo exhibition (Khamsin Photography, 2007) at the Böhm Trade Center in Düsseldorf, he declared: “Today I tend to think that the filmed image is the most appropriate semantics, and that cinema makes it possible to talk about a subject by concentrating its multiple aspects […] The installation, through its format (montage, real-life scenes, device) also raises the question of how to pose a camera in the face of these lived things while putting pathos or sentimentalism at a distance. If my aim is to use documents as a starting point, I do not wish to make a documentary work. …] I don’t try to create a fiction from reality. Rather, I seek to open doors to make connections possible. »


Joseph Dadoune’s work has never ceased to question Judaism, post-colonialism, the periphery and homosexuality. His films and photographs shed light on these archaic symbolic violences.


For any creator – with a sense of history – a question is always asked: what stone should be added? For Dadoune, it would rather be: what image to add to the images already there? Alain Badiou is said to have spoken of new fictions.


Like Ad Reinhardt, Joseph Dadoune has decided to bury the image, without however making a clean sweep of the figure, of the sign. Reinhardt liked to consider his Black Paintings as “a free, unmanipulable, useless, unsaleable, irreducible, unphotographable, unreproducible, inexplicable icon. “Joseph Dadoune’s Black Boxes are in their own way part of the modernist logic of Reinhardt’s Ultimate Paintings. These works, as dry, hermetic and closed as they may be – to use the artist’s words – nevertheless echo very tangible realities. Counter Composition V (2011) evokes a vulva as much as the eponymous work by Theo van Doesburg (1924), which earned him a presentation by Galerie Le Minotaure last October at the Fiac, alongside works by Hans Bellmer, Marcel Duchamp, Louise Bourgeois, Man Ray and Pierre Molinier. Contemporary history is never far away, Black Tunnel (2013) symbolizes one of the underground galleries built by the Palestinians to transport food between Gaza and Egypt. Palm Box reverses the Epinal fifties imagery of the resort. As for Black Museum (2011), in the face of which, a champion of relational aesthetics could fantasize about multiple collective fictions, we prefer to take the time to question the future lives of the White Cube. What is behind the White Cube? What symbolic violence? What ideology? What utopia seals the Black Museum? Brian O’Doherty’s essays then appear to be highly topical and necessary (see “Inside the White Cube: The Ideology of the Gallery Space” in Artforum, 1976).


These photographs, conceived in a studio with windows without frames or shutters – like eyes without eyelids – open to the outside, in permanent connection with the street, neighbors, passers-by, life, necessarily refer to an exteriority, to an Other. Each photograph attempts to answer the questions that run through this ensemble: what happens beyond the image? Behind the image? Behind the black box?


Just like the artist’s studio, these photographs are not closed works, on the contrary, they impose neither an authoritarian point of view nor a doxa. They are open works in the sense that Umberto Eco meant.

Elodie Antoine, 2014


Born in 1975 in Nice. Lives and works in Paris

Website : www.josephdadoune.net



Solo Exhibitions ( Selection ) :


2020 Perspective. On arty minute, exposition en ligne durant la crise sanitaire. Paris. Fr        (commissariat: Doron Von Beider)

2018 : Family Album. curators: Leor Grady, Orit Mor, Barbara Wolffer, The Lobby, Tel Aviv

2018 : Yosef Joseph Dadoune, Des Racines. Texte: Raphaël Sigal. Galerie Éva vautier, Nice

2017 : Sillons. curator : Isabelle Bourgeois, Espace Richaud, Versailles

2016 : In praise of the Sequence. curators: Leor Grady, Orit Mor, The Lobby Art Space, Tel Aviv

2016 : << Pour qui sont ces serpents qui sifflent sur vos têtes>>, curator : Isabelle Bourgeois, Beit Uri and Rami Nehostan Museum, Kibbutz Ashdod Yaakov Meuhad, Israel

2015 : Border Notes, Yosef Joseph Dadoune and Eyal Assulin, curator : Ziva Yalin, Be’eri gallery, Kibbutz Be’eri, Israel

2015 : Joseph Dadoune, curator : Isabelle Bourgeois, artiste invité PAREIDOLIE, Salon international du dessin contemporain, Marseille

2014 : Le Kiosque Noir, Espace d’art le Moulin, La Valette, France

2014 : Le Musee Noir, Galerie Eva Vautier, Nice, France

2012 : Ofakim, (Curator : Eyal Assulin), Sapir College’s School of Art, Sderot, Israel

2012 : Ofakim, (Curator : Drorit Gur Arie), La Bulle, French Institute, Tel-Aviv, Israel

2012 : Ofaqim, (Curator : Drorit Gur Arie) Petach Tikva Museum, Petach Tikva, Israël

2008 : 3 films by Joseph Dadoune (Premier-monographie), Tel Aviv Cinematheque, Tel Aviv, Israel

2007 : Joseph Dadoune A Cinematic Trilogy, (monographie) (Curator : Drorit Gur Arie) Petach Tikva Museum, Petach Tikva, Israël

2007 : Purifying Love, curator : Dr Sania Papa, Track7artsLaboratorium, Athènes, Grèce

2007 : Project Room #1 : « Universes », Galerie Martine Aboucaya, Paris, France

2006: Milk Teeth, Janco Dada Museum, Ein Hod, Israel

2006: Chanti, Espace expérimental, Le Plateau Contemporary Art Center / FRAC Ile de France, Paris, France

2005: images from the movie Universes, EspaceCulture, in association with the 6th Israeli film festival, Marseille, France

2004: Universes, Joël Scholtès Gallery, Nice, France

2004: Universes, Alon Segev Gallery, Tel-Aviv, Israel

2004: Universes, the artists’ house, Jerusalem, Israel

2002: Limited Club, Joël Scholtès Gallery, Nice, France.

2001: The Cold Room, French Institute, Tel-Aviv, Israel

2001: Bienvenue au Club, Alon Segev Gallery, Tel-Aviv, Israel

2001: La Viande Autrement / L’autre Substance – Mode d’emploi… Passage de Retz, Paris, France

2000: Le Cabinet / Temple, Eric Dupont Gallery, Paris, France

1999: Prophylaxie Production, Galerie du Tableau, Marseille, France

1999: Le Réduit, observation / concentration – The Organ, emission / reception, Espace d’art Contemporain Le Faubourg,   Strasbourg, France

1996: Les Valises Itinérantes, Le Chanjour Gallery, Nice, France



Group exhibitions ( Selection ) :


2020: ‘Transmission’. APT, London, UK (commissariat Drorit Gur Arie)

2020 : Outside Box 2. Old Jaffa, Jaffa, Il (commissariat: Liav Mizrahi & Yael Rozin)

2020 :  1 metre de distance, galerie Éva Vautier, Nice, FR

2020 : Constelaciones. MUNTREF, El Museo de la Universidad Nacional de Tres de Febrero Buenos Aires, AR ( commissariat: Diana Wechsler & Benedetta Casini)

2020 :  Vividus. Petach Tikva Museum of Art, IL (commissariat: Bar Yerushalmi)

2019 : Avec plaisir #2. Galerie Éva Vautier, Nice, FR

2019 : Naked Soul: Chaïm Soutine. Ein Harod museum, Kibbutz Ein Harold, IL (commissariat: Yaniv Shapira, Surya Sadekova, Batsheva Goldman-Ida)

2019 : Hshuma. Museum and Center of Contemporary Art, Bellinzona, CH (commissariat Sharon Toval)

2019 : Teder print fair, Teder, Tel Aviv, IL (commissariat: Michael Liani)

2019 : Family trees, FRAC Normandie Rouen, The botanical garden fo Rouen,  FR Rouen, FR (curator Véronique Souben)

2019 : Révélation. Galerie ANNE+, Paris, FR

2019 : Jacqueline Kahanoff: The Levant as a Parable. MUSA museum, Tel aviv, IL (commissariat: Sara Turel)

2018 : THE LAND OF PROMISE. curator: Tamás Don. MODEM Modern and Contemporary Arts Centre, Debrecen, Hongrie

2018 : Make Up, curators: Drorit Gur Arie & Tal Schwartz, Labirynt Galerie, Lublin, Pologne

2018 : FROTTEMENT, 10è édition des Arts Éphémères, curated by: Isabelle Bourgeois & Martine Robin, Parc et Salons de Maison Blanche, Marseille

2018 : TO THE END OF LAND, curated by: Drorit Gur Arie & Or Tshuva. National Gallery of Modern Art New Delhi, Indes

2018 : RÉSONANCE, FRAC Normandie Rouen, Musée des Beaux-Arts de Rouen, Rouen, France

2017 : Blues prints II, models, curator: Orit Mor. The Lobby art space, Tel Aviv

2017 : Inconfort moderne, curator : Annie Aguettaz / Imagespassages, La Fabric, Fondation Salomon, Annecy, France

2017 : Je T’aime Ronit Elkabetz, curator: Yaara Keydar. Directeur artistique: Shlomi Elkabetz, Design museum, Holon, Israel

2017 : To and Fro, curator: Dr. Batsheva Goldman-Ida. The Jerusalem Biennale, Van Leer Jerusalem Institute, Jerusalem

2017 : Materials for Thought Selection from the Museum Collection. Curators: Dalia Manor & Nirit Dahan. Negev Museum, Beer Sheva, Israel

2016 : D’UNE MEDITERRANEE, L’AUTRE, commissaires italiens : Francesco Bonami & Emanuela Mazzonis, commissaires français : Pascal Neveux & Ricardo Vazquez, Hôtel des Arts, Toulon

2016 : À L’HEURE DU DESSIN 4e TEMPS, curator: Martine Robin. Chateau de Serviers, Marseille

2016 : FUNDAMENTAL, curated by: Drorit Gur Arie. 5e Mediations Biennale. Poznań, Pologne

2016: Post- postmodernism ≠ Utopia, “Extremely Loud and Incredibly Close ». Curators: Svetlana Reingold. Haifa Museum of Art, Haifa, Israel

2016 : Alchemy of Words: Abraham Abulafia, Dada, Lettrism, curated by: Bat Sheva Ida Goldman. Tel Aviv museum of Art, Tel Aviv

2016 : STRATA, curator: Drorit Gur Arie. CIRCLE1 Gallery, Berlin

2016 : Alt- Neu, curator: Nogah Davidson. Rosenbach Contemporary gallery, Jerusalem

2015 : Imago Mundi – Mappa dell’arte nuova. Luciano Benetton Collection, curator: Naomi Aviv. Fondazione Giorgio Cini, Venise

2015 : Bibliologia: The Book as Body, curators: Drorit Gur Arie & Raphael Sigal. Petach Tikva Museum, Petach Tikva, Israël

2015 : ‘Stains And Stampings’, Mizrahi and Palestinian Identity in Visual Art in Israel, curated by: Shula Keshet and Farid Abu-Shakr. Sister Gallery, Tel-Aviv, and at Art Gallery, Latin Quarter, Nazareth

2015 : « Expressions méditerranéennes. De la poésie à l’engagement », Hôtel des Arts, Toulon, France

2015 : Recurrence: Rituals, Place, and History, ( Curator : Drorit Gur Arie ) The Nicosia Municipal Arts Centre & the Pierides Foundation, Nicosia, Syprus

2015 : A une année lumière, Galerie Eva Vautier, Nice, France

2015 : Border Notes, Eyal Assulin and Yosef Joseph Dadoune, ( Curator : Ziva Yalin ) Be’eri gallery, Kibbutz Be’eri, Israel

2014 : Inhabiting the World, ( Curator : Olivier Kaeppelin ), Busan Biennale 2014, Busan, Korea ( Republic of )

2014 : Projecting Art – Curator : Sophia Dekel-Caspi, Ilana Goor Museum, Jaffa, Israel ‎

2014 : Mazal U’braha, Myth and Superstition in Contemporary Israeli Art, ( Curator : Carmit Blumensohn ), Beit Hatfutsot, Tel Aviv, Israel

2014 : Ruins, ( Curator : Nitsa Peri ), City Lights, Aneba Parc, Modiin, Israel

2014 : LES DÉSASTRES DE LA GUERRE, 1800-2014, ( Curator : Laurence Bertrand Dorleac ) Louvre Museum, Lens, France

2014 : Until you get out of my voice, ( Curated by : Yuval Beaton & Roni Cohen-Binyamini ), Ashdod Art Museum, israel

2014 : “Confluence: Israel”, ( Curator : Shosh Dagan ), Art Center Sarasota, USA

2014 : Measure for Measure, ( Curators: Drorit Gur Arie & Hila Cohen-Schneiderman ), Petach Tikva Museum, Petach Tikva, Israël

2014 : Confrontation” ( Curator : Marie Shek ), Galerie Le Minotaure & Galerie Alain Le Gaillard, Paris, France

2013 : Expo-étagères « 21/12 », ( By : Audrey Illouz, Nathalie Brevet & Hughes Rochette ) La Ruche, Paris, France

2013 : No Place ( Curator: Jonathan Touitou ) BAAD Reservoir Gallery, Bezalel Academy of Arts and Design, Tel Aviv, Isarel

2013 : “Paris – Tel-aviv, a history of black & white”, ( Curator : Marie Shek ), The Salon Art+Design, New York, USA

2013 : SEXE, HUMOUR & ABSTRACTION – Texte : Bernard Marcadé Scénographie : Mathieu Mercier, GALERIE LE MINAUTORE, FIAC 2013, Paris

2013 : Honey, I rearranged the Collection – Philippe Cohen Collection ( Curator : Ami Barak ) Passage de Retz, Paris

2013 : CroSSing SpaCe „Hotel de inmigrantes“, Kunsthalle Faust, Hannover, Germany

2013 : SCHWereloS, ( co-curated by Drorit Gur Arie & harro Schmidt ), Kunsthalle Faust, Hannover, Germany

2013 : The Compromised Land: Recent Photography and Video from Israel, ( co-curated by Helaine Posner, guest curator Lilly Wei ), Neuberger Museum of Art, NYC, USA

2013 : Black Point, ( Curators Shula Keshet & Yoram Blumenkrantz ), Black Night event, Achoti (Sister) house, Tel Aviv

2013 : Rise Be’er, MA curators program ( Stav Bar On & Stav Tehodor ) Ben Gourion University, Habeer, art and Visual media center, Beer Sheva, Israel

2013 : MOMENTUM Paris – Tel Aviv – Paris, ( Curator Marie Shek ), Galerie Minotaure, Tel Aviv, Israel

2013 : En Route, ( Curator : November Wanderin ), Gallery Ermanno Tedeschi, Tel Aviv, Israel

2013 : The Appearance of Images ( Curator: Audrey Illouz ) , Fondation Ricard, Paris, France

2013 : Lyrical Correctness ( Curator : Micha Kirshner ) Wizo Haifa Academy of Design and Education, Haifa, Israel

2012 : Great Wide Open: New and Old in the Collection, ( Curator: Amitai Mendelsohn ), The Israel Museum, Jerusalem, Israel

2012 : The Unknown, (Curator : Drorit Gur Arie), Mediations Biennale, Poznan, Pologne

2012 : Frontières/Territoires, ( Curator : Maud Calmé et Luc Texier ), ArtCourtVideo, Palais de l’Achevêché, Arles, France

2012 : Black Box, ( Curator : Rami Maymon ), #2 International Photography Festival, Jaffa Port, Israel

2012 : Tectonic Faults, ( Curator : Drorit Gur Arie ), Beit Mani (Mani House), Tel Aviv, Israel

2012 : Terra Mediterranea – In Crisis, ( curated by Yiannis Toumazis ) the Nicosia Municipal Arts Centre, Nicosia, Syprus

2012 : In memory of Boaz Tal ( Curator : Dr Sorin Heller ), The artists’ house, Tel Aviv, Israel

2012 : ICI/PARIS – Curator Marie Shek, Galerie Michel Rein, Paris, France

2012 : Le désir de Paris, ( Curator : Svetlana Reingold ), Musée Mané Katz – Haïfa, Israel

2012 : Baad Influence, BAAD Reservoir Gallery, Bezalel Academy of Arts and Design, Tel Aviv, Isarel

2012 : The Armory Show, Vivian Horan Gallery, NYC, USA

2012 : Works on paper, Vivian Horan Gallery, NYC, USA

2012 : “Israel From Within and from Without”, ( Curators : Rinat Harel, Holland Dieringer, and Stuart Steck ) Good Question Gallery, New Jersey, USA

2011 : inSALAAM inSHALLOM ( Curator : Ayelet Bitan Shlonsky & Claudette Zorea ), Beit H’air – Urban Culture Museum, Tel Aviv, Israel

2011 : Site Specific ( Curator : Carmit Blumensohn ) The Open University Department of Literature, Language and the Arts, Raanana, Israel

2011 : lyrical correctness ( Curator : Katharina Mayer ), August-Pieper-Haus Bischöfliche Akademie, Aachen, Germany

2011 : Southern Spirit – Aspects of the Negev in Contemporary Israeli Art ( curator Dr Dalia Manor ) The Genia Schreiber University Art Gallery, Tel Aviv University, Tel Aviv, Israel

2011 : AD – DRESS : Thoughs on Garments, ( Curator : Sophia Dekel-Caspi ), Jerusalem Artists’ House, Jerusalem, Israel

2011 : Southern Spirit, Aspects of the Negev in Contemporary Israeli Art ( curator : Dr Dalia Manor ), Negev Museum Beer Sheva, Beer Sheva, Israel

2011 : Home, Memory, Place: Negev, ( curator : Israel Rabinovitsh ), Kay academic college, Beer Sheva, Israel

2011 : Lyrical Correctness, ( curator : Katharina Mayer ), FiftyFifty Galerie, Dusseldorf, Germany

2011 : Schwarze Wielde Chaye, ( Curator : Liav Mizrahi ), Zemac Contemporary Art, Tel Aviv

2011 : “Israel From Within and from Without”, ( Curators : Rinat Harel, Holland Dieringer, and Stuart Steck ) Rubin-Frankel Gallery, Boston University Hillel, Boston, USA

2011 : site specific, ( Curator : Carmit Blumenson ), 10 Gallery, Bet Michal, Rehovot, Israel

2010 : Far away, Right here, ( A project by : Fabio Morais & Marilá Dardot ), 29th São Paulo Biennial, Sao Paulo

2010 : The Exotic West, ( Curator : Dor Guez ) The Jewish Cultural Centre, parallel to the São Paulo Biennial, Sao Paulo

2010 : Fresh Paint 3, Inga Gallery of Contemporary Art, Tel Aviv, Israel.

2010 : The “Old Man” : David Ben-Gurion and His Legacy in the Mirror of Israeli Art, ( Curator Prof. Haim Maor ), Ben-Gurion University of the Negev, Israel

2010 : In Detail: From the Collections of Arnie Druck ( Curator : Yeala Hazut ), Haifa Museum of Art, Haifa, Israel

2009 : The Winners for 2008 The Ministry of Culture and Sport, Prizes in Art and Design, ( Curator : Galia Bar Or ) Museum of Art, Ein Harod, Israel.

2009 : Consolation ( Hosting by : David Adika ) Inga Gallery of Contemporary Art, Tel Aviv, Israel.

2009 : Forbidden Juctions, ( Curator : Dor Guez )  The Israeli Center for Digital Art, Holon, Israel.

2008 : Silencio!, ( Curator : Audrey Illouz ) Vermelho Gallery, Sao Paolo, Brazil

2008 : Local, 10 Exhibitions. ( Curator : Shelly Cohen ) The Architect’s House Gallery, Jaffa, Israel

2008 : Sehnsucht (Aspiration), ( Curator : Dr Georges Armaos ), Light & Sie Gallery, Dallas, Usa

2007 : Of Ar, The architcture worker, Commissariat : Shelly Cohen, Architecte & Dr Shani Bar-On, The Gallery of the Achitect house, Jaffa, Israel

2007 : “Crossings” The Nicosia Municipal Arts Centre, The Pierides Foundation, Nicosia, Cyprus

2006 : In Between Places: New Art from Israel (curator: Kari Conte),Vivian Horan Gallery, New York, United-States

2006 : New Territories (curator : Michel Dewilde) Hall de Bruges, Belgium

2005 : Arab Jews and Arab (curators – Shula Keshet and Zahad Harsh, kufur-kassem), Israel

2005 : Border Lines Action Field KODRA 2005. Curator: Sania Papa, Kalamaria, Thessaloniki, Greece.

2005 : Israeli photographers Photographing Themselves Photographing, (curator: Prof Mordechai Omer) – The Genia Schreiber University Art Gallery – Tel-Aviv University Ramat Aviv, Tel-Aviv, Israel

2004 : “you don’t look hungry to me…” (curators: Michal Shamir & Orly Welkovsky), Limbus Gallery, Tel Aviv, Israel

2004 : In memory of Dan Zakhem, Shelter 209, Tel Aviv, France

2003 : Israeli Object / a Matter of Time (curator: Tsofia Dekel), The Israel national museum of science, planning & technology, Daniel & Matilde Recanati Center, Haifa, Israel

2002 : Arts & Food (curator: Hagite Elon), The Israel Museum, Jerusalem

2002 : Jouets d’artistes, Joël Scholtès Gallery, Nice

2002 : Clinique, Rosenfeld Gallery, Tel-Aviv, France

2001 : The Cold Equator, Daniel Azoulay Gallery, Miami, United States

2001: Jolie attaque pour perdre, La Station, Espace des arts, Colomiers, France

2000: Kaléidoscope, Mediarama Logoscope, Monaco

2000 : Lucy sweetie darling, Roselyne & Patrick Michaud collection, La Station, Galerie du Château, Nice, France

2000 : Pioneer Hotel, Triangle France, la Friche la belle de mai, Marseille, France


Screenings ( Selection ) :


2014 : The Giant, ( Curator : Eitan Buganim ), artists studio Tel Aviv, Tel Aviv Israel

2012 : inSALAAM inSHALLOM ( Curator : Ayelet Bitan Shlonsky & Claudette Zorea ), Beit H’air – Urban Culture Museum, Tel Aviv, Israel

2010 : Others2Specify ( Curated by : SpecifyOthers ) White Box, NYC

2007 : Fiac cinema (Guest curator : d.c.a / Centre Photographique d’Ile-de-France) Palais de Tokyo, Paris

2007 : Film Museum Dusseldorf, Dusseldorf

2006 : Filmés au Louvre, (Curator : Marie-Laure Bernadac) The Louvre Museum, Paris, France

2006 : Museum of Modern and Contemporary Art, Strasbourg, France in connection with the Apollonia project “Artists from here and there, a dynamics for the territories”

2005 : Museum of Modern and Contemporary Art, Nice, France

2005 : Le miroir, Marseille Museums theater, France

2006 : CROSSINGS a contemporary view, Fort Saint Angelo, Birgu, Malta


Formation : 


2012 : Ecole supérieure des Beaux Arts, Toulon, France

2011 : The Artis Grant Program, Artis, NYC, USA

2008 : Young Artist’s Prize, Israeli Ministry of Science, Culture & Sports Prize, Israel

2008 : Artist Prize, South Film Festival, Sderot, Israel

2004 : European Association for Jewish Culture, Paris, France

2003 : Aide à la création, French Judaïsm Foundation, Paris, France

2001 : Alliance Israélite Universelle, Paris, France




2010: South Film Festival, Sderot, Israel

2009 : City Shelter, Sapir Academic College, Sderot, Israel

2009 : Displacement, ( Curator : Irena Gordon ) MusraraMix#9 International Festival for Art, Culture and Society, Musrara, Jerusalem

2008 : South Film Festival, Sderot, Israel

2005 : Focus on Israeli filmmaking, Marseille (6th edition)

2005 : 5th Israeli film festival, Paris




2014 : Schir Residency, Berlin, Germany

2012 : Villa Tamaris, La Seyne sur Mer, France

2011 : Artist Pension Trust studio, Brooklyn, USA

2007 : Mishkan Amanim, Herzlia. Israël

2007 : Gast Atelier Stadt Dusseldorf, Kunstler Hous, Dusseldorf, Allemagne

2006 : Atelier de production, Centre Photographique d’Ile-de-France (Contemporary Art Center for Photography), Pontault-Combault, France

2006 : Cité internationale des arts, Paris

2005 : Apollonia Strasbourg  & ArtBOX Grèce. (curator: Sania Papa. Kalamaria, Thessaloniki, Greece

200ִִ4-5 : Cité internationale des arts, Paris,  France

2000 : Triangle France, Marseille, France



Conservation projects:


2006 : Amit Berlovitz (Moi, Elles…) Relation photographique au féminin, Publisher: Raw Art Gallery, Tel Aviv, Israël (catalogue)

2004-2005 : Vite ! Vite ! du Noir…Atelier 8422, Cité Internationale des Arts, Paris, France

2002 : Clinique, Rosenfeld Gallery, Tel-Aviv, Israel  (catalogue).

Yosef Joseph Dadoune
Furrow testimony, 2016-2017
Tar, lava, iron powder, acrylic,
japanese black ink on canvas
Signed on the back
60 x 40 x 3 cm

Joseph Dadoune
Fleurs / After War. Blind Spot, 2015-2016
Black oil pastel on Fabriano paper 90 gr
Series of 33 drawings signed on the back
57,8 x 41,8 cm

Joseph Dadoune
Fleurs / After War. Blind Spot, 2015-2016
Black oil pastel on Fabriano paper 90 gr
Series of 33 drawings signed on the back
57,8 x 41,8 cm

Joseph Dadoune
Fleurs / After War. Blind Spot, 2015-2016
Black oil pastel on Fabriano paper 90 gr
Series of 33 drawings signed on the back
57,8 x 41,8 cm

Joseph Dadoune
Fleurs / After War. Blind Spot, 2015-2016
Black oil pastel on Fabriano paper 90 gr
Series of 33 drawings signed on the back
57,8 x 41,8 cm

Yosef Joseph Dadoune
Lost in the sea / Find / Forget, 2017
Oil pastel, aerosol paint, tarred
with silver top, wax on canvas
Signed on the back
170 x 126 cm

Joseph Dadoune
Métamorphose Hybride, 2016-2017
Tar, iron powder, copper powder,
gold powder and malachite on canvas,
sanding tape Signed on the back
18 x 14 x 2 cm

Yosef Joseph Dadoune
Lost roots / Lost memory / we new , 2017
Color Pastels on Hahnemühle paper 185g
Series of 76 drawings
21 x 29,7 cm

Yosef Joseph Dadoune
Lost roots / Lost memory / we new , 2017
Color Pastels on Hahnemühle paper 185g
Series of 76 drawings
21 x 29,7 cm

Yosef Joseph Dadoune
Lost roots / Lost memory / we new , 2017
Color Pastels on Hahnemühle paper 185g
Series of 76 drawings
21 x 29,7 cm



Joseph Dadoune,
Tar Corner , 2011,
45 x 55 cm Premium fine art on dibond, Anti-uv glass, Tirage : 5/5


Joseph Dadoune,
Black Palms, 2012,
120 x 160 cm, Premium fine art on dibond,
Tirage : 5/5


Joseph Dadoune, Counter composition V, 2011, 42 x 41 cm, Premium fine art on dibond, Anti-uv glass, Tirage : 5/5


Yosef Joseph Dadoune

Des Racines

Exhibition from March 13 to May 26, 2018


Yosef Joseph Dadoune, Lost in the sea / Find / Forget, 2017


Joseph Dadoune‘s work is profoundly marked by the questioning and overcoming of borders – be it those separating East from West, central power from the periphery, or the imaginary from the real. At the confluence of video, photography, architecture and drawing, his research blends social engagement and metaphysical reflection with artistic practice. Among his outstanding works are his film Sion (2006-2007), produced by the Musée du Louvre with actress Ronit Elkabetz; Impossible Calendars (2013), exhibited notably at the Tel Aviv Museum during the celebration of the centenary of Dada; and, more recently, Barrière Protectrice (2017), a collection of autobiographical war drawings, published by Éditions Arnaud Bizalion.


Yosef Joseph Dadoune, Hannah Arendt Poèmes, exhibition view © François Fernandez


Poèmes Hannah Arendt
Colored oil pastel on Hänemhule paper 190 gr
84,1 cm x 59,4 cm
Série de 43 dessins

The archetype of a letter is a stain or a line. The use of German, which I don’t speak, allows me to project myself elsewhere, to be someone else. Another language is then installed. The loves found in Hannah Arendt’s poems sometimes become flowers, sometimes writings metamorphosed into solar wheat, sometimes titles: You and Me. Me and You, the double arrows, refer to the comings and goings of yellow or pink springs, to the subjectivity of lovers lying in wheat fields, to extrasolar landscapes. The geographical and temporal landmarks are erased and give way to a white and “sound” background, on which traumas and memories are inscribed.


Yosef Joseph Dadoune, Fleurs / After War. Blind Spot, 2015-2016, exhibition view © François Fernandez


Fleurs / After War. Blind Spot / Tel Aviv, 2015-2016
Series of 36 black oil pastels on paper

I made these pastels in my studio, in the south of Tel Aviv, the neighborhood of Eritrean refugees facing the towers of the wealthy “Gated Communities”. The girls and boys who died by the whims of the Gods in Ovid here become flowers or trees, recalling the metaphors of the sheaves of flowers woven by the Romans for their dead. Flowers / After War. Blind Spot are those flowers blackened by physical and political pollution. Their greased iron stems, their “legs” and their roots are like the bases on which the anti rocket missiles are fixed. They are vertical beauties; seen from afar, they form a field of hybrid black flowers where feminine and masculine play the game of seduction.


Yosef Joseph Dadoune, Lost memory : Blind spot, 2017, exhibition view © François Fernandez


Fleurs / After War. Blind Spot / Tel Aviv, 2015-2016
Series of 36 black oil pastels on paper

I made these pastels in my studio, in the south of Tel Aviv, the neighborhood of Eritrean refugees facing the towers of the wealthy “Gated Communities”. The girls and boys who died by the whims of the Gods in Ovid here become flowers or trees, recalling the metaphors of the sheaves of flowers woven by the Romans for their dead. Flowers / After War. Blind Spot are those flowers blackened by physical and political pollution. Their greased iron stems, their “legs” and their roots are like the bases on which the anti rocket missiles are fixed. They are vertical beauties; seen from afar, they form a field of hybrid black flowers where feminine and masculine play the game of seduction.


Joseph Dadoune - Ainsi va la lumière

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