76 rue de Turenne
We are pleased to introduce RESTONS UNIS, a collective initiative that brings together twenty-six Parisian galleries. Throughout this summer, each gallery presents a selection of works, available in our Viewing Salon as well as exhibited in our Saint-Claude space in Paris.
The seven participating galleries feature artists Pauline Boudry and Renate Lorenz, Katherine Bradford, Ulla von Brandenburg, Mark Dion, Ryan Gander, Mark Geffriaud, Lothar Hempel, Jiří Kovanda, Ilya Lipkin, Liz Magor, Adam McEwen, Otobong Nkanga, Bruno Perramant, Cinzia Ruggeri and Max Hooper Schneider.
Art : Concept presents the works of Ulla von Brandenburg, Adam McEwen and Lothar Hempel. Founded in 1992 in Nice by Olivier Antoine, the gallery relocated to Paris in 1997. Art : Concept is established in the 3rd district of Paris.
Ulla von Brandenburg is a German artist born in 1974 in Karlsruhe and based in Paris since 2005. Her work is characterised by a diversity of means and media that answer to one another and which she stages according to different exhibition spaces. Perfectly mastering the codes of scenography, nourished by literature, the history of the arts and architecture but also psychoanalysis, spiritism and magic, she derives as much from esoteric rituals and popular ceremonies, as from the mechanisms and codes of the theatre, to explore the construction of our social structures. Masks, costumes, sets and props coming from different popular traditions thus allow her to transgress symbolically norms and hierarchies by subtly mingling reality and appearances in theatrical presentations. Her internationally recognised work has appeared in numerous solo shows, currently at the Palais de Tokyo until September 13th, 2020.
There is no shortage of female figures in Lothar Hempel’s work (born in 1966 in Cologne). Here they are clearly identified, already mythologised. In his series “Plakat”(poster in German), one finds three Jodie Fosters, at different stages of her early days in cinema.
Like a DJ, the artist-composer cheerfully mixes materials, disciplines and references. Going from American sitcoms to the big names of cinema, touching on installation, painting and collage evoking Matisse’s cut-outs as well as Dada posters, his approach is not so much an appropriationist attitude, but more of a tribute to a generation and its political and aesthetic commitments. He extracts, cuts and assembles to recompose new pieces of art that are always open to an infinity of interpretations, since they support a multitude of imaginaries.
Adam McEwen was born in London in 1965 and lives and works in New York. The artist moves freely between the disciplines of painting, sculpture and installation. He is well known for his lifesized graphite sculptures of such familiar consumer objects as an ATM, a water fountain or a credit card, his ‘’Bomber Harris’’ series - monochromatic paintings covered with chewed gums - and his prints on sponges claim both archival aspect and nostalgic imagery, creating a strange mix of historical gaze and subjective feelings. His compositions with three-dimensional objects tend to trigger a psychological unease, or to write a narrative which is uncontrolled and defined by the viewer, not unlike montage.
Campoli Presti features artists Katherine Bradford and Cinzia Ruggeri. Campoli Presti was founded in London in 2003 and established its permanent space in Paris in 2007.
Katherine Bradford (born in 1942) is a New York based artist who researches figuration within the tradition of Color Field painting. Bradford’s figures progressively gain intensity and depth through a translucent use of thin layers of luminous colours. Bradford’s paintings concentrate on our visible and coherent side as much as the cryptic and absurd aspect of our social behaviour. Ambiguity, inflated masculinity and vulnerability occupy the atmosphere of her canvases without losing a sense of mischief and joy.
Cinzia Ruggeri (1942 – 2019) was an artist, designer, and fashion designer born in Italy. Ruggeri’s furniture and objects delve into the relationship between the animate and the inanimate. Her perspective on fashion takes garments as a distinctive space that is inhabited, negotiated and interpreted by each person in a distinctive way. Ruggeri’s works also take the territory of language through their titles, playfully alternating between form and function. Her accessories and objects retrieve surrealist tropes and motifs, such as word-image interplays, or the use of curtain or veils, taking ordinary objects into the realm of the fantastic.
gb agency presents Ryan Gander, Mark Geffriaud and Jiří Kovanda. gb agency has been founded by Solène Guillier and Nathalie Boutin. The gallery is established in the Marais district in Paris.
Ryan Gander was born in 1976 in Chester (United Kingdom). Blurring the boundaries between reality and fiction, the artist assembles seemingly disparate objects, actions and texts to develop his own narrative systems. Characterized by conceptual rigor, visual simplicity and allusive text, Ryan Gander's works probe the processes of emergence and the mechanisms of perception entailed by the work of art. Installations, photographs, performances, publications and press inserts are his means of following up a train of thought concerning art's discursive potential and its transmission systems. His practice, which makes extensive use of language and work with other artists, aims at “making the invisible visible” and providing the “possibility and preconditions for things to happen”.
Your Nostalgia plays with the ideas of presence and absence. Ryan Gander’s own sports shoes have been cast and a bronze sculpture reproducing them has been created. Presentedon the floor, the piece is part of a narrative, this one more autobiographical. The artist usesthe architecture of the exhibition space itself, like missing parts of a story that he then fillswith works resembling fictional characters.
Mark Geffriaud was born in 1977 in Paris. Based on the production of installations, sculptures, films and performances the work of Mark Geffriaud focuses on the construction of time and memory. The apparition (circulation) and disappearance (oblivion) of images and forms prepares the ground of a fragmented archaeology in which misunderstanding as a cognitive process plays a great part. Free associations, formal comparisons and false fictions allow the artist to share a kind of subtle and shifted perception of the world. Mark Geffriaud’s works suggest an absence and tends to draw the outline of a universe that the viewer is invited to fill up with his own projections.
Jiří Kovanda (born in 1953) has been one of the outstanding conceptual artists of the Czech art scene. He organised his first performances in public environments in Prague in the mid-1970’s. His minimal actions, all based on a detailed scenario, were all recorded through photography in black and white and instruction leaflets.
In the eye of the artist, the work of art is made up of these documents, these performances having no other aim than the traces that are recorded. In his performances, those mundane actions appear slightly off-key, allowing us, through this combination of apparent simplicity and unbalance, to grasp at the individual and what remains real and human in a society under surveillance. After 1978, Kovanda staged minimalist and poetical interventions still recorded through a photograph and a text while the artist vanished completely from his interventions which deal with the very notion of traces. In the 1980’s, Kovanda turned to painting before abandoning all artistic practices. His work was rediscovered only recently and Kovanda has been active again creating installations, paintings and performances as discrete still and poetical in which he strives to find beauty in everyday life and to map out a space where the individual can actually exist.
High Art features artists Ilya Lipkin and Max Hooper Schneider. High Art has been founded by Philippe Joppin, Romain Chenais and Jason Hwang. The gallery is established in the 9th district in Paris.
Ilya Lipkin composes images that exist at the intersection of fashion, contemporary art and commercial photography. Expanding on questions of legitimacy and value, Lipkin’s work poignantly questions his own existence as a subject within what is now an intertwined realm of branding and value accumulation.
Max Hooper Schneider's (born in 1982) work is a result of what can only be described as recalcitrant experimentation. Perverting from various fields of knowledge, Schneider introduces multiple species of objects from live ecosystems to drawings on paper. Specifically paying attention to the evolving relationship between philosophy and nature, Schneider’s work responds to the current climate of communication and habitation, as it is defined through the natural laws that govern our world.
In Situ presents the works of Mark Dion, Bruno Perramant and Otobong Nkanga. It was founded in 2001 by Fabienne Leclerc. The gallery is established in Romainville.
Mark Dion is known for exploring the culture of collecting, its politics, social history and psychology. Over the past few decades he has worked with the collections of Natural History Museums, Universities, Zoos and Art Museums, manifesting bold new arrangements with these which reference the cabinets of wonder of the Renaissance. His frame of reference if often an ecological one which forefronts anthropogenic challenges to the natural world. In some ways his work takes the form of a melancholic meditation on morning our lost natural world. Dion often employs humor to undercut the seriousness of his endeavor.
In A Cabinet of Wonder - World's End, Dion turns his critical eye on his own sculptural legacy as an artist who works with collections. The work explores elements of Dion's practice and thus forms a kind a artist's retrospective or even a self portrait. The decadent deserts, burnt archives marine debris featured in some of his previous project make a prominent appearance in this piece.
Born in Brest in 1962, Bruno Perramant lives and works in Paris. The artist’s oeuvre is deeply influenced by the history of art, literature and cinema. In his works he plays not only with colors but also words and narrative. Language holds an important place in his painting, relecting his interest in literature and poetry, but also his desire to trouble the perceptions of a viewer. Words act as a counterpart to visual interpretation, inscribed directly onto the canvas, or entering the field of perception through the titles Perramant gives to his works.
The presence of Otobong Nkanga in her work has been described by critic Philippe Pirotte as a "self-effacing catalyst, an invisible hand that sets the artistic process in motion".
This notion is made most explicit in In A Place Yet Unknown, a tapestry work that displays a poem written by Nkanga, as well as the process of its composition. The end of the woven textile is dipped in ink, which over time rises through the tapestry. In a Place Yet Unknown grows through a process of chromatographic contamination, floating, to quote the work, in the place between stillness and motion; solidity and fragility; yesterday, today and tomorrow.
Marcelle Alix was founded in 2009 and settled in a characteristic, early 20th-century boutique in Paris-Belleville, with a decorated floor and two basements. It supports the idea of a gallery as a creative space, where the dialog with the artists is not only meant to facilitating the handling of art pieces, but is based on a more equal relationship to creativity. The gallery features artists Pauline Boudry and Renate Lorenz alongside artist Liz Magor.
Pauline Boudry and Renate Lorenz have been working together in Berlin since 2007. They produce installations that choreograph the tension between visibility and opacity.
The Right to Have Rights shows a performer (MPA) who speaks the text of the so-called 1951 Geneva Convention (Convention Relating to the Status of Refugees), a protocol by which 145 states guaranteed wide-ranging rights to people on refuge and which in theory is still valid at present. Instead of delivering this statement in a lecture hall and addressing an audience, it is here re-located to an empty runway at the former Tempelhof Airport in Berlin. The performer's speech has been partially altered through digital processing and is turned into a piece of electronic music that does not quite seem to derive from a ‘human source’. The work raises the questions: who is seen as ‘human’ and who can access rights?
Liz Magor was born in 1948 in Winnipeg (Canada).
“I started making things as a child simply as a way to make up for the deficiency of what was offered. I found most things around me to be practical, unbeautiful and meaningless. I needed things to be emotionally charged and personal, almost equivalent to me in terms of subjectivity (...) From one point of view, making art is a way of testing the positions one might take relative to the world, and the people and things found in the world. The materials, the images, the operations, the forms of address, they all come from an inventory of possibilities and I’m conscious of my choices. By now I have an enhanced ability to make things, but a diminished need for those things to speak symbolically or profoundly. Now I’m spending hours making the things I used to find unbeautiful and meaningless--a pile of towels, a stack of trays, a discarded jacket, a cardboard box--and setting them up in relationship to found things. My interest is how the studio part affects the found part. Through some mysterious operation the found things become really alive when set against the sculptural representation of something ordinary.”