Under the title La Société des spectacle, the Fondation Pernod Ricard presents a duo show with Farah Atassi et Ulla von Brandenburg from February 13 to April 20. Curator: Marjolaine Lévy
What might be the common denominator between the practices of Farah Atassi and Ulla von Brandenburg, two artists who at first glance have nothing in common? Perhaps an exaltation, a celebration of the spectacle of forms that a half-drawn curtain presents to us. [The] viewer is invited to enter Ulla von Brandenburg’s environments and traverse the colours and monumental textile paintings that the artist majestically deploys within the space.
La société des spectacles examines the use of the stage, spectacle, and artifice, and all the ambiguities that they give rise to within very different art practices, while both fall within a modernist legacy.
This international group exhibition is dedicated to sound as a medium and to hearing as sense perception. It is about how hearing influences our everyday experiences. It focuses on the perception of sound, music, tones, and noises, and what they can affect.
The works of art presented in the exhibition, some of which were developed especially for it, are experienced via the sense of hearing and the entire body. They use the architecture as a resonance chamber and demonstrate how the auditory impression is also shaped by the design of the space.
This exhibition is Roman Signer’s first major solo exhibition in Sweden and Scandinavia. It presents works from his entire career, from the 1970s to the present day, including a new work that was produced specifically to be shown at Malmö Konsthall.
Tommy Malekoff, Alligator Alley, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 11 ½ × 17 ½ × 1 inches (29,21 × 44,45 × 2,54 cm) / 12 ½ × 18 ½ × 1 ½ inches (31,75 × 46,99 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Glade Town, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 11 ½ × 17 ½ × 1 inches (29,21 × 44,45 × 2,54 cm) / 12 ½ × 18 ½ × 1 ½ inches (31,75 × 46,99 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Edison’s Banyan, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 11 ½ × 17 ½ × 1 inches (29,21 × 44,45 × 2,54 cm) / 12 ½ × 18 ½ × 1 ½ inches (31,75 × 46,99 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Edison Ghost, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 11 ½ × 17 ½ × 1 inches (29,21 × 44,45 × 2,54 cm) / 12 ½ × 18 ½ × 1 ½ inches (31,75 × 46,99 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Drexel Banyan, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 20 ¼ × 27 ¼ × 1 inches (51,44 × 69,22 × 2,54 cm) / 21 ¼ × 28 ¼ × 1 ½ inches (53,98 × 71,76 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Gator Glow, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 20 ¼ × 27 ¼ × 1 inches (51,44 × 69,22 × 2,54 cm) / 21 ¼ × 28 ¼ × 1 ½ inches (53,98 × 71,76 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Sugarland Circle, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 17 ¼ × 27 ¼ × 1 inches (43,82 × 69,22 × 2,54 cm)/ 18 ¼ × 28 ¼ × 1 ½ inches (46,36 × 71,76 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Black Snow (South Bay), 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 17 ¼ × 27 ¼ × 1 inches (43,82 × 69,22 × 2,54 cm) / 18 ¼ × 28 ¼ × 1 ½ inches (46,36 × 71,76 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Clewiston Country Club, 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 17 ¼ × 27 ¼ × 1 inches (43,82 × 69,22 × 2,54 cm) / 18 ¼ × 28 ¼ × 1 ½ inches (46,36 × 71,76 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Tommy Malekoff, Nightshine (Pahokee), 2022. Encre acrylique et aquarelle sur mousseline / Acrylic ink and watercolor on muslin. 17 ¼ × 27 ¼ × 1 ½ inches (43,82 × 69,22 × 3,81 cm) / 18 ¼ × 28 ¼ × 1 ½ inches (46,36 × 71,76 × 3,81 cm) (framed). Courtesy the artist, ZERO…, Milano and Art : Concept, Paris. Photo Nicolas Brasseur.
Art : Concept is pleased to present a series of recent paintings by Tommy Malekoff.
Tommy Malekoff is an American artist, born 1992 in South Boston, Virginia. He lives and works in New York, NY. His work with video and photography deals with insular worlds and displaced phenomenons in the American landscape.
His work has been exhibited at New Canons and Jeffrey Stark in New York/US, Morán Morán Gallery in Los Angeles/US, 44 Michigan Avenue in Detroit/US and galleria ZERO in Milan/IT.
Vue de l’exposition / Installation view, Lobody noves me, Fondation Ricard, Paris, 2020.Curator: Eric TroncyBush, bottes rouges, 2020 acrylique phosphorescente et huile sur toile / phosphorescent acrylic and oil on canvas, 250 x 180 cm. Collection MAC VAL / FRJane (grosse tête),2019 huile sur toile / oil on canvas, 250 x 180 cm, collection Musée d’Art Moderne, ParisGilet bleu, 2019 huile sur toile / oil on canvas, 24 x 41 cmFlashed, 2022 huile sur toile 81 × 130 cm (31 ⅞ × 51 ⅛ inches). Courtesy the Artist and Art : Concept, Paris. Photo Romain DarnaudGenoux serrés et Bad genoux serrés, 2020, acrylique phosphorescent et huile sur toile, 190 x 140 cm chaque. Don de Laurent Dumas avec le support des amis du Centre Pompidou, 2023. Collection Centre Pompidou, Paris Musée d’art moderne. Vue de l’exposition La Haute note jaune, Fondation Vincent van Gogh Arles, Arles, 2024 – 2025. Photo : François DeladerrièreLes couleurs éclatantes de la table et du bouquet étaient utiles pour égayer ce chevet que le tableau rendait austère. Vous devez renoncer à …la salle à manger. (Triptyque Onéguine), 2006 huile sur toile / oil on canvas 195 x 374 cm, triptyque, collection FRAC Nouvelle Aquitaine MÉCA, Bordeaux Vue de l’exposition / Installation view Le rideau vert, Nouvelles vagues, Palais de Tokyo, Paris, 2013Vue de l’exposition / Installation view La haine de la peinture, Détail et destin, MAMCO, Geneva/CH, 2009
Biography
Nina Childress is a painter born in 1961 in Pasadena (California, USA). She lives and works in Paris.
Coming from the alternative punk scene and then the Frères Ripoulin (Ripoulin Brothers) collective, she has been painting since 1983. While obtaining a Master of Fine Arts in 2006, she decided to pursue her research by painting simultaneously in different styles. Offering a gritty revisiting of the history of portraiture in Western popular culture, her paintings increasingly captured the stereotypes of female representation. For some paintings, she creates several versions, oscillating between perfectionism and “badly done”, between realism and caricatures: between “Good” and “Bad”. In 2019-2020, Nina Childress started to paint with phosphorescent pigments. Today, her subjects focus more on portraits of glamorous female idols from the world of cinema and popular music, such as Sylvie Vartan, Kate Bush and Hedy Lamarr. In 2020, Hedy Lamarr is also the model for her first bronze statue.
Recently, her work has been shown in several institutions such as Musée National d’Art Moderne – Centre Pompidou, Paris and Centre Pompidou Metz (2023/2024); FRAC Ile-de-France, Romainville (2023); La Cinémathèque française, Paris and MAC VAL, Vitry-sur-Seine (2022); MAMCO, Geneva (2021); Musée d’Art Moderne de Paris (2020). The Musée des Beaux-Arts de La-Chaux-de-Fond devoted a major exhibition to her work in 2022. In 2021, Nina Childress was named Chevalier de la Légion d’Honneur in France for her service to culture. A major retrospective has been dedicated to her in December 2021 in Bordeaux at the FRAC Nouvelle-Aquitaine MÉCA. On this occasion, her catalogue raisonné, from her first painting in 1980 to those of 2020, will be published along with an autobiography written by Fabienne Radi. Since 2019, she is Chairman at the École des Beaux-Arts in Paris.
Her work is represented by Nathalie Karg, New York and Art : Concept in Paris.
Her work is included in the collections of the Musée National d’Art Moderne, the Mamco in Geneva, the Mac-Val, the Fond Municipal d’Art Contemporain de la Ville de Paris and numerous Frac.
Nina Childress, 1081 peintures et Une Autobiographie de Nina Childress par Fabienne Radi, 2021 Co-éditeurs : Beaux-Arts de Paris éditions, Frac Nouvelle Aquitaine Méca, Galerie Bernard Jordan éditions, Paris Monographie de 750 pages avec plus de 1 400 illustrations. Biographie de 246 pages avec 150 petites photos noir et blanc. Ces deux livres séparés de même format (17 x 24 cm) sont réunis par un élastique en silicone vert. 998 pages ISBN : 978-2-84056-829-2 Nina Childress. Tableaux fluo – 2013-2016, 2016 Textes de Vanina Géré et Ramon Tio Bellido Edition Galerie Bernard Jordan, Paris, Les Presses du Réel, Dijon Publié par la Galerie Bernard Jordan, avec Le Parvis et le Carré 16,5 x 24,5 cm (broché), 104 pages (ill. coul. et n&b) ISBN : 978-2-917120-06-4 Nina Childress, Tableaux, 2008 Textes de Carole Boulbès, Vincent Labaume, Yannick Miloux, Véronique Pittolo Co-éditeurs : Frac Languedoc-Roussillon, Frac Limousin et galerie Bernard Jordan. Distribution Sémiose éditions Bilingue français / allemand 16.4 x 1 x 24.6 cm, 127 pages ISBN : 978-2915199338
Richard Fauguet, Saint Jacques, 2015. Clay, seashells, glass, aluminum, plaster. 34 × 64 × 47 cm. Courtesy the artist and Art : Concept, Paris. Photo Dorine Potel
For Richard Fauguet, reality is a playground for displacement. His works are the result of sometimes improbable associations, rapid shifts, and the misappropriation of objects. He brings together and connects elements of different kinds to produce forms that refer to familiar images, from art history to popular culture.
Caroline Achaintre, MissTique, 2019, Laine tuftée à la main / Hand tufted wool, 220 × 167 cm. Photo by Laetizia Debain. Courtesy of the artist and Art : Concept, Paris
AAfter a first edition at the Kunstmuseum of Ravensburg (Germany), the exhibition Shiftings moves to Switzerland.
This exhibition “provides an overview of the memorable work of the Franco-German artist. Achaintre transposes traditional techniques such as tapestry, ceramics and watercolour into the present, exploring the boundaries between abstraction and representation.”
Jeremy Deller, Rythmasspoetry (in collaboration with Cecilia Bengolea), 2015. HD Video. 6 min 29 sec. Edition of 3 plus II AP. Courtesy of the artists and Art : Concept, Paris
Jeremy Deller and Cecilia Bengolea have roamed together Lyon’s urban area. When the artists meet Denis Trouxe, former deputy mayor, responsible for culture and heritage in the city of Lyon, Cecilia Bengolea writes with him a rap song with lyrics both ironic and voluntarily exaggerated. Denis Trouxe accepts to interpret it in his Champagne-au-Mont-d’Or (a West Lyon prosperous suburb) opulent-looking villa – accompagnied by Domy Caramel, Latys Shye, and Sarah, three dancehall dancers from Vaulx-en-Velin, to the east of the city. This gives a strange music video that links, for a few moments, two sides of an urban area that do not have many opportunities to meet.
Jeremy Deller, Father and Son, 2021, time-based sculptural installation, wax, wood, wick and flame. Commissioned by ACCA. Courtesy of the artist and The Modern Institute, Glasgow. Photo by Christian Capurr
ACCA ‘present the first Australian commission by Turner Prize-winning artist Jeremy Deller as a one-day only off-site project in an ecclesiastical setting. […] Through the lens of art history, religion and popular culture, Father and Son explores questions of generational change, and the legacies we leave for future generations.’
´Deller, with apologies to his close friend Urs Fischer gives us this worthless inheritance and the profits of a family who gained the whole world but lost its soul and destroyed the earth in its raging intolerance, bigotry, hatred and tyrannical cruelty.’ Jerry Saltz
+ ACCA is pleased to announce a new limited-edition artwork by Jeremy Deller, produced to coincide with Jeremy Deller: Father and Son, and available exclusively via the ACCA Shop.
Miryam Haddad’s solo show at the FRAC Auvergne will be on view from October 2 to December 30 2021.
In collaboration with: Printemps de Septembre festival from September 17 to October 17, 2021 as part of the artist’s exhibition at the Abattoirs, Musée – FRAC Occitanie, Toulouse.
FRAC Auvergne 6 Rue du Terrail 63000 Clermont-Ferrand/FR
