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 TroncyVue de l’exposition / Installation view, Lobody noves me, Fondation Ricard, Paris, 2020. Curator: Eric TroncyAgent double (Lee Remick), 2021 pigments phosphorescents et huile sur toile / phosphorescent pigments and oil on canvas, 61 X 50 cmBush, bottes rouges, 2020 acrylique phosphorescente et huile sur toile / phosphorescent acrylic and oil on canvas, 250 x 180 cm. Collection MAC VAL / FRGilet bleu, 2019 huile sur toile / oil on canvas, 24 x 41 cmJane (grosse tête),2019 huile sur toile / oil on canvas, 250 x 180 cm, collection Musée d’Art Moderne, ParisHedy, 2012 huile sur toile / oil on canvas, 250 x 200 cm, collection CNAP, Centre national des arts plastiques Vue de l’exposition / Installation view Le rideau vert, Nouvelles vagues, Palais de Tokyo, Paris, 2013The years of G.M., 2012 huile sur toile / oil on canvas, 130 x 195 cm, collection Musée d’Art Moderne, ParisGrande chambre verte, 2007 huile sur toile / oil on canvas, 195 x 390 cm, triptyque, collection MAMCO, GenevaLes 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 d’exposition / Installation view La haine de la peinture, FRAC Limousin, Limoges, 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, Beaux-Arts de Paris éditions, Frac Nouvelle Aquitaine Méca, Galerie Bernard Jordan éditions, Paris, 2021, 998 pagesNina Childress. Tableaux fluo – 2013-2016, textes de Vanina Géré et Ramon Tio Bellido, édition Galerie Bernard Jordan, Paris, Les Presses du Réel, Dijon, 2016Nina Childress. Tableaux, textes de Carole Boulbès, Vincent Labaume, Yannick Miloux, Véronique Pittolo, éd. Galerie Bernard Jordan et Sémiose, Paris, 2008
Healing Painting (Chasse aux esprits), 2015. Huile sur tableau trouvé / Oil on vintage painting. 32,5 × 40,5 cm (12 ¾ × 16 inches). Courtesy the artist and Art : Concept, Paris. Photo Claire Dorn
Figures of care since medieval times, patients and diseases, touching and being touched, the infinitely small… Fascinating themes evoked by this exhibition as transversal as it is philosophical.
Hubert Duprat, Volos, 2013. Lame de hache, pain d’argile, plastique / Axehead, raw clay, plastic approx.: 56 × 20 cm (22 × 7 ⅞ inches). Edition of 5. Courtesy the artist and Art : Concept, Paris. Photo Rebecca Fanuele
The work can be quickly described as follows: it is an ordinary loaf of clay, still in its original packaging, placed vertically, into which a polished axe made of dark stone dating from the Neolithic period is stuck. How could sculpture be simpler? In this respect, it seems very singular in Hubert Duprat’s body of work, but it nevertheless echoes the artist’s other creations, notably by the extent of its historical charge.
The loaf of earthenware is as it is found in the shops, Duprat having not taken the trouble to remove it from its protective covering. In this way, the container and the content make it a ready-made of a particular kind, comprising from the outset the promises of nature and artifice. While affirming its literalness, it presents itself as a raw material promised to some unknown future form. On the formal level, the parallelepiped under which the commercial clay is presented is of an already undone geometry. The thin plastic film ensures the preservation, albeit provisionally, of its humidity, of an “original” state. Once the skin is removed, the malleable material would enter an irreversible state, frozen in an irremediable sterility. Conceptually and materially, this object thus embodies the very idea of power as much as its opposite.
Caroline Achaintre, Shopper, 2012. Céramique, métal / Ceramic, metal, 43 x 31 x 39 cm. Collection Frac Champagne-Ardenne
The exhibition Des eaux artificielles suggests to mix crystal fish and naturalized mackerel, iridescent sculpture and shells with a pearly surface. Here, contemporary works of art rub shoulders with aquatic specimens. We are free to discover the showcases as we would observe aquariums evoking diversified microcosms.
How can we understand the opposition between inside and outside? What parallels exist between a closed universe such as the aquarium and the domestic space?
With specimens from the collection of the Muséum-Aquarium and works from the 3 FRAC du Grand Est by artists Caroline Achaintre, Ismaïl Bahri, Patty Chang, Edith Dekyndt, Marcel Dinahet, Lili Dujourie, Michel François, Élise Grenois, Josefa Ntjam, David Posth-Kohler, Capucine Vandebrouck and Chen Zhen. Based on a proposal by Carson Chan, Director of the Emilio Ambasz Institute for the Joint Study of the Built and Natural Environment at MoMa, New York.
In 2016, Le Portique hosted the exhibition Pull Over Time by Michel Blazy. In his second solo exhibition at Le Portique, the artist pursues his reflection on the world of the living, its mutations and evolutions.
Six Feet on Earth invites the visitor to reconnect with the earth, the soil, to literally “take root”, in order to reconnect with nature and plants. “I like the simplicity of this title: it contains in a synthetic way, the idea of death and life.
Generalization, Tania Pérez Córdova. Museo Tamayo, 2022.
Photo Gerardo Landa and Eduardo López (GLR Estudio). Courtesy of Museo Tamayo
Generalization is the first solo exhibition of Mexican artist Tania Pérez Córdova (Mexico City, 1979) in a national institution that presents a representative selection of the last 10 years of her artistic production, as well as objects commissioned especially for this occasion.
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.
Update. Ulla von Brandenburg is the winner of the Kubus Sparda Art Prize.
Kubus Sparda Art Prize, jointly established by Sparda – Bank Baden – Württemberg and the Kunstmuseum Stuttgart, will be awarded for the fifth time in 2022.
This year, three artists have been nominated whose work can be linked to sculpture in the broadest sense: Ulla von Brandenburg (1974 in Karlsruhe), Camill Leberer (1953 in Kenzingen) and Ülkü Süngün (*1970 in Istanbul). They mount an exhibition at the Kunstmuseum Stuttgart in their own rooms.
Jeremy Deller, The Deliverers, 2022. Film. Courtesy the Artist; The Modern Institute/Toby Webster LTD; Art : Concept, Paris. Photo by Colin Davison.
Jeremy Deller presents a new film The Deliverers, commissioned for the show, that explores the fantastic journey of the Lindisfarne Gospels from London to Newcastle upon Tyne.
