Roots<\/em><\/h3>\n <\/p>\n
and Jean-Baptiste Warluzel<\/h3>\nTwo thirds, one third<\/em><\/h3>\n <\/p>\n
Exhibition from March 13 to May 26, 2018<\/h3>\n
<\/p>\n
\n![\"\"](\"http:\/\/eva-vautier.com\/wp-content\/uploads\/2018\/02\/ERV-2017-Joseph-Dadoune-065BasB-copie-2.jpg\")
<\/a>Yosef Joseph Dadoune<\/strong>, Lost in the sea \/ Find \/ Forget<\/em>, 2017<\/h6>\n<\/div>\n <\/p>\n
Joseph Dadoune<\/strong> ‘s work is deeply marked by the questioning and overcoming of borders – whether they separate the East from the West, the central power from the periphery, or the imaginary from the real. At the confluence of video, photography, architecture and drawing, his research mixes artistic practice with social engagement and metaphysical reflection. Among his outstanding works, we will remember his film Sion<\/em> (2006-2007), produced by the Louvre Museum with actress Ronit Elkabetz; Impossible Calendars<\/em> (2013) exhibited notably at the Tel Aviv Museum during the celebration of the centenary of Dada; and, more recently, Protective Barrier<\/em> (2017), a set of autobiographical war drawings, collected in a publication by \u00c9ditions Arnaud Bizalion.<\/p>\n <\/p>\n
![\"\"](\"http:\/\/eva-vautier.com\/wp-content\/uploads\/2018\/02\/DADOUNE-006.jpg\")
<\/a>Yosef Joseph Dadoune, Hannah Arendt Poems, exhibition view \u00a9 Fran\u00e7ois Fernandez<\/h6>\n <\/p>\n
Poems Hannah Arendt
\nColored oil pastel on H\u00e4nemhule paper 190 gr
\n84.1 cm x 59.4 cm
\nSeries of 43 drawings<\/p>\n
The archetype of a letter changes into a spot 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 established. The loves found in Hannah Arendt’s poems become sometimes 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 fields of wheat, to extra-solar landscapes. Geographical and temporal landmarks are erased and give way to a white and “sonorous” background, on which traumas and memories are inscribed.<\/p>\n
<\/p>\n
![\"\"](\"http:\/\/eva-vautier.com\/wp-content\/uploads\/2018\/02\/DADOUNE-009.jpg\")
<\/a>Yosef Joseph Dadoune, Flowers \/ After War. Blind Spot, 2015-2016, exhibition view \u00a9 Fran\u00e7ois Fernandez<\/h6>\n <\/p>\n
Flowers \/ After War. Blind Spot \/ Tel Aviv, 2015-2016
\nSuite of 36 black oil pastels on paper<\/p>\n
I made these pastels in my studio, in the south of Tel Aviv, the neighborhood of Eritrean refugees that faces the towers of the wealthy “Gated Communities”. The girls and boys who died at the whim of the gods in Ovid become flowers or trees, recalling the metaphors of the wreaths of flowers woven by the Romans for their dead. Flowers \/ After War. Blind Spot are these flowers blackened by physical and political pollution. Their greased iron rods, their “legs” and their roots are like the bases on which anti-rocket missiles are fixed. They are vertical beauties; seen from afar, they form a field of black hybrid flowers where the feminine and masculine play the game of seduction.<\/p>\n
<\/div>\n\n <\/p>\n
![\"\"](\"http:\/\/eva-vautier.com\/wp-content\/uploads\/2018\/02\/DADOUNE-001.jpg\")
<\/a>Yosef Joseph Dadoune, Lost memory : Blind spot, 2017, exhibition view \u00a9 Fran\u00e7ois Fernandez<\/h6>\n <\/p>\n
Flowers \/ After War. Blind Spot \/ Tel Aviv, 2015-2016
\nSuite of 36 black oil pastels on paper<\/p>\n
I made these pastels in my studio, in the south of Tel Aviv, the neighborhood of Eritrean refugees that faces the towers of the wealthy “Gated Communities”. The girls and boys who died at the whim of the gods in Ovid become flowers or trees, recalling the metaphors of the wreaths of flowers woven by the Romans for their dead. Flowers \/ After War. Blind Spot are these flowers blackened by physical and political pollution. Their greased iron rods, their “legs” and their roots are like the bases on which anti-rocket missiles are fixed. They are vertical beauties; seen from afar, they form a field of black hybrid flowers where the feminine and masculine play the game of seduction.<\/p>\n
<\/p>\n<\/div>\n
<\/p>\n
Two thirds, one third<\/em><\/h3>\n <\/p>\n
Exhibition from March 13 to May 26, 2018<\/h3>\n
<\/p>\n
\n<\/a>Yosef Joseph Dadoune<\/strong>, Lost in the sea \/ Find \/ Forget<\/em>, 2017<\/h6>\n<\/div>\n <\/p>\n
Joseph Dadoune<\/strong> ‘s work is deeply marked by the questioning and overcoming of borders – whether they separate the East from the West, the central power from the periphery, or the imaginary from the real. At the confluence of video, photography, architecture and drawing, his research mixes artistic practice with social engagement and metaphysical reflection. Among his outstanding works, we will remember his film Sion<\/em> (2006-2007), produced by the Louvre Museum with actress Ronit Elkabetz; Impossible Calendars<\/em> (2013) exhibited notably at the Tel Aviv Museum during the celebration of the centenary of Dada; and, more recently, Protective Barrier<\/em> (2017), a set of autobiographical war drawings, collected in a publication by \u00c9ditions Arnaud Bizalion.<\/p>\n <\/p>\n
<\/a>Yosef Joseph Dadoune, Hannah Arendt Poems, exhibition view \u00a9 Fran\u00e7ois Fernandez<\/h6>\n <\/p>\n
Poems Hannah Arendt
\nColored oil pastel on H\u00e4nemhule paper 190 gr
\n84.1 cm x 59.4 cm
\nSeries of 43 drawings<\/p>\n
The archetype of a letter changes into a spot 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 established. The loves found in Hannah Arendt’s poems become sometimes 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 fields of wheat, to extra-solar landscapes. Geographical and temporal landmarks are erased and give way to a white and “sonorous” background, on which traumas and memories are inscribed.<\/p>\n
<\/p>\n
<\/a>Yosef Joseph Dadoune, Flowers \/ After War. Blind Spot, 2015-2016, exhibition view \u00a9 Fran\u00e7ois Fernandez<\/h6>\n <\/p>\n
Flowers \/ After War. Blind Spot \/ Tel Aviv, 2015-2016
\nSuite of 36 black oil pastels on paper<\/p>\n
I made these pastels in my studio, in the south of Tel Aviv, the neighborhood of Eritrean refugees that faces the towers of the wealthy “Gated Communities”. The girls and boys who died at the whim of the gods in Ovid become flowers or trees, recalling the metaphors of the wreaths of flowers woven by the Romans for their dead. Flowers \/ After War. Blind Spot are these flowers blackened by physical and political pollution. Their greased iron rods, their “legs” and their roots are like the bases on which anti-rocket missiles are fixed. They are vertical beauties; seen from afar, they form a field of black hybrid flowers where the feminine and masculine play the game of seduction.<\/p>\n
<\/div>\n\n <\/p>\n
<\/a>Yosef Joseph Dadoune, Lost memory : Blind spot, 2017, exhibition view \u00a9 Fran\u00e7ois Fernandez<\/h6>\n <\/p>\n
Flowers \/ After War. Blind Spot \/ Tel Aviv, 2015-2016
\nSuite of 36 black oil pastels on paper<\/p>\n
I made these pastels in my studio, in the south of Tel Aviv, the neighborhood of Eritrean refugees that faces the towers of the wealthy “Gated Communities”. The girls and boys who died at the whim of the gods in Ovid become flowers or trees, recalling the metaphors of the wreaths of flowers woven by the Romans for their dead. Flowers \/ After War. Blind Spot are these flowers blackened by physical and political pollution. Their greased iron rods, their “legs” and their roots are like the bases on which anti-rocket missiles are fixed. They are vertical beauties; seen from afar, they form a field of black hybrid flowers where the feminine and masculine play the game of seduction.<\/p>\n
<\/p>\n<\/div>\n
<\/p>\n
<\/a>Yosef Joseph Dadoune<\/strong>, Lost in the sea \/ Find \/ Forget<\/em>, 2017<\/h6>\n<\/div>\n <\/p>\n
Joseph Dadoune<\/strong> ‘s work is deeply marked by the questioning and overcoming of borders – whether they separate the East from the West, the central power from the periphery, or the imaginary from the real. At the confluence of video, photography, architecture and drawing, his research mixes artistic practice with social engagement and metaphysical reflection. Among his outstanding works, we will remember his film Sion<\/em> (2006-2007), produced by the Louvre Museum with actress Ronit Elkabetz; Impossible Calendars<\/em> (2013) exhibited notably at the Tel Aviv Museum during the celebration of the centenary of Dada; and, more recently, Protective Barrier<\/em> (2017), a set of autobiographical war drawings, collected in a publication by \u00c9ditions Arnaud Bizalion.<\/p>\n <\/p>\n
<\/a>Yosef Joseph Dadoune, Hannah Arendt Poems, exhibition view \u00a9 Fran\u00e7ois Fernandez<\/h6>\n <\/p>\n
Poems Hannah Arendt
\nColored oil pastel on H\u00e4nemhule paper 190 gr
\n84.1 cm x 59.4 cm
\nSeries of 43 drawings<\/p>\n
The archetype of a letter changes into a spot 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 established. The loves found in Hannah Arendt’s poems become sometimes 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 fields of wheat, to extra-solar landscapes. Geographical and temporal landmarks are erased and give way to a white and “sonorous” background, on which traumas and memories are inscribed.<\/p>\n
<\/p>\n
<\/a>Yosef Joseph Dadoune, Flowers \/ After War. Blind Spot, 2015-2016, exhibition view \u00a9 Fran\u00e7ois Fernandez<\/h6>\n <\/p>\n
Flowers \/ After War. Blind Spot \/ Tel Aviv, 2015-2016
\nSuite of 36 black oil pastels on paper<\/p>\n
I made these pastels in my studio, in the south of Tel Aviv, the neighborhood of Eritrean refugees that faces the towers of the wealthy “Gated Communities”. The girls and boys who died at the whim of the gods in Ovid become flowers or trees, recalling the metaphors of the wreaths of flowers woven by the Romans for their dead. Flowers \/ After War. Blind Spot are these flowers blackened by physical and political pollution. Their greased iron rods, their “legs” and their roots are like the bases on which anti-rocket missiles are fixed. They are vertical beauties; seen from afar, they form a field of black hybrid flowers where the feminine and masculine play the game of seduction.<\/p>\n
<\/div>\n\n <\/p>\n
<\/a>Yosef Joseph Dadoune, Lost memory : Blind spot, 2017, exhibition view \u00a9 Fran\u00e7ois Fernandez<\/h6>\n <\/p>\n
Flowers \/ After War. Blind Spot \/ Tel Aviv, 2015-2016
\nSuite of 36 black oil pastels on paper<\/p>\n
I made these pastels in my studio, in the south of Tel Aviv, the neighborhood of Eritrean refugees that faces the towers of the wealthy “Gated Communities”. The girls and boys who died at the whim of the gods in Ovid become flowers or trees, recalling the metaphors of the wreaths of flowers woven by the Romans for their dead. Flowers \/ After War. Blind Spot are these flowers blackened by physical and political pollution. Their greased iron rods, their “legs” and their roots are like the bases on which anti-rocket missiles are fixed. They are vertical beauties; seen from afar, they form a field of black hybrid flowers where the feminine and masculine play the game of seduction.<\/p>\n
<\/p>\n<\/div>\n
<\/p>\n
<\/p>\n
<\/a>Yosef Joseph Dadoune, Hannah Arendt Poems, exhibition view \u00a9 Fran\u00e7ois Fernandez<\/h6>\n <\/p>\n
Poems Hannah Arendt
\nColored oil pastel on H\u00e4nemhule paper 190 gr
\n84.1 cm x 59.4 cm
\nSeries of 43 drawings<\/p>\n
The archetype of a letter changes into a spot 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 established. The loves found in Hannah Arendt’s poems become sometimes 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 fields of wheat, to extra-solar landscapes. Geographical and temporal landmarks are erased and give way to a white and “sonorous” background, on which traumas and memories are inscribed.<\/p>\n
<\/p>\n
<\/a>Yosef Joseph Dadoune, Flowers \/ After War. Blind Spot, 2015-2016, exhibition view \u00a9 Fran\u00e7ois Fernandez<\/h6>\n <\/p>\n
Flowers \/ After War. Blind Spot \/ Tel Aviv, 2015-2016
\nSuite of 36 black oil pastels on paper<\/p>\n
I made these pastels in my studio, in the south of Tel Aviv, the neighborhood of Eritrean refugees that faces the towers of the wealthy “Gated Communities”. The girls and boys who died at the whim of the gods in Ovid become flowers or trees, recalling the metaphors of the wreaths of flowers woven by the Romans for their dead. Flowers \/ After War. Blind Spot are these flowers blackened by physical and political pollution. Their greased iron rods, their “legs” and their roots are like the bases on which anti-rocket missiles are fixed. They are vertical beauties; seen from afar, they form a field of black hybrid flowers where the feminine and masculine play the game of seduction.<\/p>\n
<\/div>\n\n <\/p>\n
<\/a>Yosef Joseph Dadoune, Lost memory : Blind spot, 2017, exhibition view \u00a9 Fran\u00e7ois Fernandez<\/h6>\n <\/p>\n
Flowers \/ After War. Blind Spot \/ Tel Aviv, 2015-2016
\nSuite of 36 black oil pastels on paper<\/p>\n
I made these pastels in my studio, in the south of Tel Aviv, the neighborhood of Eritrean refugees that faces the towers of the wealthy “Gated Communities”. The girls and boys who died at the whim of the gods in Ovid become flowers or trees, recalling the metaphors of the wreaths of flowers woven by the Romans for their dead. Flowers \/ After War. Blind Spot are these flowers blackened by physical and political pollution. Their greased iron rods, their “legs” and their roots are like the bases on which anti-rocket missiles are fixed. They are vertical beauties; seen from afar, they form a field of black hybrid flowers where the feminine and masculine play the game of seduction.<\/p>\n
<\/p>\n<\/div>\n
<\/p>\n
\nColored oil pastel on H\u00e4nemhule paper 190 gr
\n84.1 cm x 59.4 cm
\nSeries of 43 drawings<\/p>\n
<\/a>Yosef Joseph Dadoune, Flowers \/ After War. Blind Spot, 2015-2016, exhibition view \u00a9 Fran\u00e7ois Fernandez<\/h6>\n<\/p>\n
Flowers \/ After War. Blind Spot \/ Tel Aviv, 2015-2016
\nSuite of 36 black oil pastels on paper<\/p>\n
I made these pastels in my studio, in the south of Tel Aviv, the neighborhood of Eritrean refugees that faces the towers of the wealthy “Gated Communities”. The girls and boys who died at the whim of the gods in Ovid become flowers or trees, recalling the metaphors of the wreaths of flowers woven by the Romans for their dead. Flowers \/ After War. Blind Spot are these flowers blackened by physical and political pollution. Their greased iron rods, their “legs” and their roots are like the bases on which anti-rocket missiles are fixed. They are vertical beauties; seen from afar, they form a field of black hybrid flowers where the feminine and masculine play the game of seduction.<\/p>\n
<\/p>\n
<\/a>Yosef Joseph Dadoune, Lost memory : Blind spot, 2017, exhibition view \u00a9 Fran\u00e7ois Fernandez<\/h6>\n <\/p>\n
Flowers \/ After War. Blind Spot \/ Tel Aviv, 2015-2016
\nSuite of 36 black oil pastels on paper<\/p>\n
I made these pastels in my studio, in the south of Tel Aviv, the neighborhood of Eritrean refugees that faces the towers of the wealthy “Gated Communities”. The girls and boys who died at the whim of the gods in Ovid become flowers or trees, recalling the metaphors of the wreaths of flowers woven by the Romans for their dead. Flowers \/ After War. Blind Spot are these flowers blackened by physical and political pollution. Their greased iron rods, their “legs” and their roots are like the bases on which anti-rocket missiles are fixed. They are vertical beauties; seen from afar, they form a field of black hybrid flowers where the feminine and masculine play the game of seduction.<\/p>\n
<\/p>\n<\/div>\n
<\/p>\n
\nSuite of 36 black oil pastels on paper<\/p>\n