Indeed, Brittany is also well-known for its creative strength and entrepreneurial spirit in the field of innovation, and particularly in the design sectors, materials and trades. Taking the shape of islands, several stopovers divide the space into five main sections: social design, industrial design, design related to craftsmanship, eco-design, among which the maritime dimension is more particularly highlighted, with reference to the Armorican peninsularity.
A new opportunity to bring together heritage and contemporary creation. The exhibition shows their respective work and an articulation of their works created simultaneously and side by side over the past seven months. At the end of this working time, they propose Suave Sueur , an exhibition showing their respective work and an articulation of their works created simultaneously and side by side during the last seven months. Energy, sensuality, generosity, technicality are all different ways to approach sculpture.
Morgan Azaroff was stressed, but for this exhibition at the HubHug , he feels better. Louise Mervelet focuses on the field of pop culture.
Artists Flora Moscovici and Yoan Sorin are known for their respective work. Since , they also work together as a duo, under the name of Mobilier Peint, creating installations that combine painting and sculpture. They also realize performances, in connection with everyday places and objects, in a familiar relationship with art that gives rise to intuitive practice that is like a conversation taking on a plastic and pictorial form.
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Their exhibition at 40mcube is designed as a specific space for their new works created for the occasion. At the crossroads of their two artistic practices, Flora Moscovici and Yoan Sorin seize furniture and objects that they paint, transform, dismantle and reassemble. Thus, based on these borrowed objects and an arbitrary and limited choice of colours, they explore the place of painting in the art history and its relationship with the medium on which it takes place.
As an extension of this link with the object, Flora Moscovici and Yoan Sorin consider the exhibition space as a domestic space and the exhibition work itself in terms of its layout. They perceive the space as a whole, both divided into several sections by Venitian blind paintings and unified by a painted carpet that covers the entire floor. Sculptures take place there in a systematic way, like a declination in several variations of the same installation.
In this way of inhabiting the exhibition space, posters are placed on the walls, supports such as pedestals, shelves and seats are all furniture-sculptures that retain their function and use. These everyday objects become both the supports of painting, subjects to be painted, in a kind of space design of the paintings.
13 Best Project Board- KI images | Project board, Wood floor pattern, Light art
In conjunction with the creation of these forms and spaces, Mobilier Peint develops a new research project on the writings about art. Then, they asked musician Julien Perez to set it to music.
This music, played during the exhibition, constitutes its soundtrack. With all the innocent promise of the first rays of dawn. Bringing together works imbued with attentiveness to the invisible and the fleeting, Nobody, not even the rain, has such small hands counters the sound and fury of our everyday lives with the fragile beauty of growth and slow pulsation. Like the poet whose personification of rain blurs the boundary between humanity and nature, the works in this exhibition are situated at the junction between natural and manmade objects — between sensation and emotion.
Like the poet who endows the rain with hands and vice versa, the works assembled here take issue with a distance — temporal, spatial, contemporary — which this challenge diminishes, or at least curbs. Like the poet who loves, this exhibition sets out to reflect tenderness, not to say an experience of dazzlement. And tomorrow we shall return to the fire. Through various forms installations, sculptures, videos, performances, etc. Their works also shed light on strategies used to institutionalize power, but also on the tension between the individual and the hierarchical systems they are confronted with.
The artists thus offer a new perspective on national boundaries Conflict Lines , , which can vary according to geopolitical choices, and landscapes, whose topology can be modified by conflicts Debrisphere. Pas le hasard, mais un simple compagnonnage. Les peintures ici mises en regard avec tes sculptures sont des plein ciels. Avec lui, le vertige. Clown Blanc? For his first institutional solo show in France, Californian artist David Horvitz is looking to our perceptions of time and space in terms of variation and interchange.
His work makes use of a range of media either material photographs, books, performances, sculptures or immaterial interventions on the Net, narratives, rumours. Heir to both the Romantics and the Conceptualists, he practises an art of play, surprise, rhizomatics and circulation. The chimes will be played twice by professional musicians as part of performances; the rest of the time it will be up to individual visitors to originate and orchestrate interpretations of their own. Visitors play a core part for Horvitz, who enjoys establishing a give-and-take relationship that involves them in his work process.
To take one example, you, cloud, rain, river, spring, lake, snow, dew, ice, mist, wave invites the spectator to make free use of the ink stamps and sheets of paper on a table and to take the resultant compositions home with them. Springing from a simple, everyday nomadic practice, the art of David Horvitz is one of transposition: Map of Brittany from a Wednesday is a bouquet of the same kinds of flowers from different, carefully chosen spots in Brittany, but all gathered the same day.
The posters for Proposals for Clocks are scattered through the city, sneakily catching the eye of passers-by. David Horvitz brings joy and simplicity to living and working, to shaping ideas as much as forms, to blurring the boundaries between art and life and time and space. He makes it seem self-evident. And a way out, too. Angela Glajcar is a contemporary German artist exhibiting all over the world. The principle of her works is simple, she aligns leaves, cutting or tearing them to form excavations inspired by glaciers, rock, imaginary vortices … Her favorite material for the design of her works is white paper.
The formation of layers of paper forms tunnels of light out of the ordinary. Each piece is composed of a torn hole. The accumulation of multiple objects creates a tunnel effect. His work is an exploration of the contrast between shadow and light, as well as the simultaneous expression of fragility and strength. Julie Bonnaud et Fabien Leplae travaillent ensemble la peinture et le dessin depuis First communicating, he then turned to computer science that he has combined with contemporary creation. Her artistic practice is based on electronic programming, combined with a fascination for everyday objects and fragile materials.
The artist creates large scale sculptures and kinetic installations specific to the sites on which he evolves. The mechanical rhythm is at the center of his work. By incorporating sound and simple components such as moving everyday objects, his minimalist works carry a poetic and emotional depth, constantly changing the setting of the exhibition space. New way of apprehending the place and the creation!
Pauline Boudry and Renate Lorenz have been working together for more than ten years, making films, and producing installations and sculptures. The film opens with a protagonist wearing tinted glasses. Before shifting to her identity as a woman, this latter was a US army soldier who was sent to Iraq, best known for having downloaded and distributed a certain number of secret military reports, which led to his imprisonment.
In the words spoken by the protagonist to the camera, there is thus a mixture of snippets of texts and words uttered by K. Acker and C. Manning, which gravitate around several subjects: anti-militarism, sex, identity and subversion. Through the stances and roles she incarnates, what is involved is both transforming society and waging a personal revolution. It aims to reflect on different ways of being by opening up and enacting distinct paths, not only through dissonance but also through contestation and sometimes through the break of meaning that happens with the embracing of the unknown.
To this end, this Biennale project aims to gather about thirty international artists who have been shaping different ways to inhabit the world, and who are reflecting on distinct imaginaries of a collective whole. The exhibitions will show large bodies of work and new commissions specifically produced for the occasion. For his first personal exhibition at the Oniris gallery, Didier Mencoboni presents canvases, works on paper and recent sculptures from 28 September to 03 November His work is made up of both small and large formats and periodically calls for different media such as canvas, paper, fabric, plexiglass or other materials.
The work of Didier Mencoboni is deliberately experimental. It is necessary for him to vary the disciplines in order not to create habits with a medium. Each technique is an extension of the other: there is the idea of going out of the table to go to volume or rather extend the table. Nous soulignons. Laurent Marissal , peintre au bleu entre autres. In this way, his research in film has brought him to heavily charged locations such as Hiroshima, Chandigarh or even Brasilia.
Today, it is the magical rites of healers on the Peruvian desert coast that interest the artist. His most important plant is the San Pedro, a psychoactive cactus whose earliest ritual use goes back some years. The practice of the curanderos interests Louidgi Beltrame above all as a form of post-colonial resistance. Its characteristic syncretism can be seen as an adaptive camouflage developed by the Andean population in order to survive first the Inquisition and then colonial repression. The current form of this traditional medicine is characterized by successive cultural influences that have been present in the Andean territory.
Highlighting in this way the persistence of Pre-Hispanic elements related to shamanistic practices which are particularly based on the use of psychotropic plants. In order to film these ceremonies without compromising their unfolding, Louidgi Beltrame had his camera outfitted with a specially designed infrared lens. Unlike the aesthetic of used by surveillance cameras, the pinkish hues seen here accentuate the immersive dimension of the film. The image seems strangely natural, even if we observe that the participants do not completely occupy the space in the darkness that remains abstract for the viewer.
She then became a professor at the University of the Immaculate Heart. As an artist, woman, teacher and nun, Corita could not be pigeonholed.follow
Dominique de Villepin
Her silkscreen works showed a celebratory approach to consumer society, running counter to Pop art champions like Robert Rauschenberg, Jasper Johns and Richard Hamilton, in whose work the flaws of materialism appear in a colder light. In that context of emancipation, Corita appropriated the language of advertising and let color and words enjoy an explosion of freedom.
The works brought together at the Passerelle art centre covering the period from to illustrate this optimism, and her radical approach to art teaching and an growing openeness towards activism. She encouraged them to go to supermarkets and garages, and to be in contact with local communities. She quotes E. The work of Alexandre Lavet has the particularity of fading into its environment, of avoiding any spectacular effects, while refusing all the same to disappear completely.
They are indeed sculptures, paintings, drawings, gestures, images or even sound pieces that make up his body of work, and which adjust themselves to the characteristics of the site in which they are shown: we pass next to a receipt which has been flippantly left on the floor… When we return toward this object, we perceive that it is in fact a simulacra produced by the artiste, who has scrupulously recopied its content with pencil. This is not a simple reproduction of a forgotten scrap of paper: through this painstaking work the artist attempts to give life to an entire world, that of the system of production and consumption, to a whole series of objects that have been purchased and of which this ticket represents the ultimate trace once these objects have been dispersed.
This ticket also has moved from the personal space of the artist his studio to another more collective and community-oriented space that of openings, of exhibitions that are open to the public….
They are made up of encounters, activities, jobs, volunteering, travels, passages through certain places and discoveries… In short, a presence through absence which mark the weight of episodes of time.