Lothar Hempel, Plakat (1977), 2016, inkjet on Dibond, acrylic, mixed material. 259 × 259 × 10 cm (102 × 102 × 3 ⅞ inches). Courtesy of the artist & Art : Concept, Paris
Reconciling genres and generations, Hippydrome brings together a collective exhibition featuring new acquisitions made by the Frac Normandie, including several donations, along with older works from the collection and others loaned for the occasion.
Hippydrome also nods to the central role of the racecourse in Caen’s urban planning. The majority of the works are interior landscapes or portraits that serve as miniatures of the world. They often share an eccentric or fantastic sensibility, loosely connecting them to surrealism and related art forms. The Hippie Movement, alluded to in the title, was a syncretic art form closely related to the Beat sensibility, while also drawing on Symbolist imagery, the Surrealist pantheon, and Pop culture.
Kate Newby, Sans titre, 2022. Bricks installation at Palais de Tokyo. Courtesy of the artist and Art : Concept.
Kate Newby presents her new works created for the Palais de Tokyo in the group exhibition ‘Reclaiming the Earth’.
All works were created for the occasion during residencies in France. For her brick works, the artist collaborated with the brick factory Les Rairies-Montrieux.
Miryam Haddad, Garde le regard sur ses égards, 2021. Huile sur toile / Oil on canvas. 200 × 425 cm (78 ¾ × 167 ⅜ inches). Courtesy of the artist and Art : Concept, Paris. Vue d’exposition / Installation view Entre tes yeux et les images que j’y vois, Fondation Pernod Ricard, Paris/FR.
With Jean Claracq, Cecilia Granara, Miryam Haddad, Nathanaëlle Herbelin, Simon Martin Madeleine Roger-Lacan, Christine Safa, Elene Shatberatshvili.
Curators Anaël Pigeat and Sophie Vigourous
A group of artists who look at each other and talk to each other is an ongoing phenomenon. What gave us the desire to bring these eight painters together, and to continue a series of exhibitions initiated in 2019, is to question how forms emerge today, not only in the solitude of the studio, but also through looks, words, or affinities. They have in common a practice of painting where images have their place. In their canvases, they assume their emotions and their pleasures, their desires and their claims, carried by a humanity devoid of cynicism. What binds them together is also their shared life and the organic and fluid relationships they have with each other. They are a portrait of a generation.
Ulla von Brandenburg signs the concept, stage and costumes of Richard Wagner’s ‘Die Walküre’ third act at the Stuttgart Opera @staatsoperstuttgart.
The Premiere, scheduled for April 10, 2022, marks the opening of the Staatsoper Stuttgart’s third spring festival; additional performances of ‘Die Walküre’ will take place on April 18, 23, 29 and May 2, 2022.
With the Dutch theater collective Hotel Modern (1. Act) and lighting designer Urs Schönebaum (2. Act).
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.”
Shifting the Silence features dynamic works by thirty-two women artists who use the radical language of abstraction to enhance our understanding of the world we inhabit. Named after artist Etel Adnan’s 2020 book about history and existence, Shifting the Silence embraces experimentation, impermanence, and subjectivity — bold yet poetic characteristics that mark the art of our time.
Featuring recently acquired works by Firelei Báez, Nairy Baghramian, Liz Hernández, Cinthia Marcelle, Tania Pérez Córdova, Lorna Simpson, and Haegue Yang, the exhibition harnesses their defiant, yet enlightened energy to explore visual culture, the motivations of its practitioners, and its varied influences. This experiential exhibition of art produced over the last quarter-century includes sculpture, photography, textile, video, painting, and time-based installation.
Vidya Gastaldon, Healing object (cubistery n°1), 2019. Acrylic paint and varnish on found object. 50 × 50 × 50 cm (19 ⅝ × 19 ⅝ × 19 ⅝ inches). Courtesy of the artist and Art : Concept, Paris
This free interpretation of esotericism was conceived around a dialogue between students of the Haute Ecole des arts du Rhin and twenty works of contemporary artists, in an inter-generational game of crossed glances, where videos and photographs, drawings and installations, sculptures and performances transfigure the space of the Chaufferie.
Curated by Julien Bécourt, journalist and art critic, invited by the group No Name.
Julien Audebert, Obsidionale (Anthemis tinctoria / Anthémis des teinturiers), 2019-2020, Huile sur cuivre / Oil on copper. 18 × 15 cm (7 ⅛ × 5 ⅞ inches). Courtesy artist & Art : Concept, Paris
Julien Audebert, Obsidionale (Bunias fausse-roquette), 2019-2020, Huile sur cuivre / Oil on copper. 18 × 15 cm (7 ⅛ × 5 ⅞ inches). Courtesy artist & Art : Concept, Paris
Julien Audebert, Obsidionale (Centaurée de Nice), 2019-2020, Huile sur cuivre / Oil on copper. 18 × 15 cm (7 ⅛ × 5 ⅞ inches). Courtesy artist & Art : Concept, Paris
Julien Audebert, Obsidionale (Crépis de Nîmes), 2019-2020, Huile sur cuivre / Oil on copper. 18 × 15 cm (7 ⅛ × 5 ⅞ inches). Courtesy artist & Art : Concept, Paris
Julien Audebert, Obsidionale (Epervière de Bauhin), 2019-2020, Huile sur cuivre / Oil on copper. 18 × 15 cm (7 ⅛ × 5 ⅞ inches). Courtesy artist & Art : Concept, Paris
Julien Audebert, Obsidionale (Potentille droite), 2019-2020, Huile sur cuivre / Oil on copper. 18 × 15 cm (7 ⅛ × 5 ⅞ inches). Courtesy artist & Art : Concept, Paris
Julien Audebert, Obsidionale (Potentille norvégienne), 2019-2020, Huile sur cuivre / Oil on copper. 18 × 15 cm (7 ⅛ × 5 ⅞ inches). Courtesy artist & Art : Concept, Paris
Julien Audebert, Obsidionales (Catalanche jaune), 2019-2020, Huile sur cuivre / Oil on copper. 18 × 15 cm (7 ⅛ × 5 ⅞ inches). Courtesy artist & Art : Concept, Paris
Julien Audebert, Obsidionales (Souci étoilé), 2019-2020, Huile sur cuivre / Oil on copper. 18 × 15 cm (7 ⅛ × 5 ⅞ inches). Courtesy artist & Art : Concept, Paris
From the symbolism of flowers in the Middle Ages to the current issues of well-being and preservation of the planet, the garden has always fascinated artists who wished to inscribe the sensations that the garden inspired in them in Art.
Some forty artists of our time reveal their vision in the exhibition “The Garden, Mirror of the World”. An invitation to feel the soothing power of the themes linked to the art of the garden, and the ecosystems specific to gardens and to preserve, the inter-pollination between environmental movements and the earthy work of the gardener.
Since 2019, Julien Audebert has been painting and working on a a series of small works with oil on copper. His most recent series, Obsidionales, consists of small oil paintings on copper. These exogenous “flowers of war” moved by the soles of soldiers, railroad or horses, are painted, centred in the middle of the frame, as a child would do, done “alla prima” (a technique imposed by the adhesion on the copper). These works place the war and the decorative in tension, in create conflagration between the subject and an often invisible historical underpinning.
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.
Miryam Haddad, Comme le sort d’un matin, 2021, Huile sur toile / oil on canvas. 22 × 16 cm (8 ⅝ × 6 ¼ inches). Courtesy of the artist & Art : Concept, Paris. Photo Romain Darnaud
Miryam Haddad, Ruines des regards, 2021, Huile sur toile / oil on canvas. 20 × 20 cm (7 ⅞ × 7 ⅞ inches). Courtesy of the artist & Art : Concept, Paris. Photo Romain Darnaud
Miryam Haddad, Trahit le temps, l’éternel, 2021, Huile sur toile / oil on canvas. 24 × 19 cm (9 ½ × 7 ½ inches). Curtesy of the artist & Art : Concept, Paris. Photo Romain Darnaud
Miryam Haddad participates in the exhibition We Paint! at Palais des Études des Beaux-Arts de Paris.
The exhibition organised by Fondation Bredin Prat deals with the effervescence of painting in contemporary art through 33 French and foreign artists selected over the last ten years by the Jean-François Prat Prize.
The group show features several recent paintings by Miryam Haddad, winner of the Jean-François Prat Prize in 2019.
Curator and scenographer Cristiano Raimondi Palais des Beaux-Arts – 14 rue Bonaparte, 75006 Paris March 24 – April 24, 2022
