Month: January 2023

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  • Vue d’exposition / Installation view, Giuseppe Gabellone, Art : Concept, Paris, 2023. Courtesy the artist and Art : Concept, Paris. Photo Aurélien Mole
  • Vue d’exposition / Installation view, Giuseppe Gabellone, Art : Concept, Paris, 2023. Courtesy the artist and Art : Concept, Paris. Photo Aurélien Mole
  • Giuseppe Gabellone, Untitled, 2022. Peinture acrylique, résine acrylique, fibre de verre, cadre en aluminium / Acrylic paint, acrylic resin, fiberglass, aluminium frame. 192,5 × 151 cm (75 ¾ × 59 ½ inches). Courtesy the artist and Art : Concept, Paris. Photo Claire Dorn
  • Giuseppe Gabellone, Untitled, 2022. Peinture acrylique, résine acrylique, fibre de verre, cadre en aluminium / Acrylic paint, acrylic resin, fiberglass, aluminium frame. 192,5 × 151 cm (75 ¾ × 59 ½ inches). Courtesy the artist and Art : Concept, Paris. Photo Claire Dorn
  • Vue d’exposition / Installation view, Giuseppe Gabellone, Art : Concept, Paris, 2023. Courtesy the artist and Art : Concept, Paris. Photo Aurélien Mole
  • Giuseppe Gabellone, Testa da Giardino, 2023. Impression numérique / digital print. 31,5 × 21 cm (12 ⅜ × 8 ¼ inches). Edition of 3 plus I AP. Courtesy the artist and Art : Concept, Paris. Photo Aurélien Mole
  • Vue d’exposition / Installation view, Giuseppe Gabellone, Art : Concept, Paris, 2023. Courtesy the artist and Art : Concept, Paris. Photo Aurélien Mole
  • Giuseppe Gabellone, Il pomeriggio sulla schiena, 2023. Résine de polyester, fibre de verre, bois, tissus / Polyester resin, fiberglass, wood, fabric. 98 × 115 × 700 cm (38 ⅝ × 45 ¼ × 275 ⅝ inches). Courtesy the artist and Art : Concept, Paris. Photo Aurélien Mole
  • Vue d’exposition / Installation view, Giuseppe Gabellone, Art : Concept, Paris, 2023. Courtesy the artist and Art : Concept, Paris. Photo Aurélien Mole
  • Vue d’exposition / Installation view, Giuseppe Gabellone, Art : Concept, Paris, 2023. Courtesy the artist and Art : Concept, Paris. Photo Aurélien Mole
  • Giuseppe Gabellone, Seguaci del Verdeazzurro, 2022
    Peinture acrylique, résine acrylique, fibre de verre, cadre en aluminium / Acrylic paint, acrylic resin, fiberglass, aluminium frame. 208 × 295,5 cm (81 ⅞ × 116 ⅜ inches). Courtesy the Artist; Art : Concept, Paris. Photo Claire Dorn
  • Giuseppe Gabellone, Seguaci del Verdeazzurro, 2022 (detail)
    Peinture acrylique, résine acrylique, fibre de verre, cadre en aluminium / Acrylic paint, acrylic resin, fiberglass, aluminium frame. 208 × 295,5 cm (81 ⅞ × 116 ⅜ inches). Courtesy the Artist; Art : Concept, Paris. Photo Claire Dorn

We are pleased to announce the second solo show by Giuseppe Gabellone at Art : Concept.

Vidya Gastaldon, Teapot, salad, poltergeist, 2012. Acrylique et huile sur toile / Acrylic and oil on canvas. 60 × 70 cm. Courtesy the Artist ; Wilde, Genève and Art : Concept, Paris.

Group show.

Houses of Tove Jansson is the largest exhibition in central Europe and France to explore the artist’s vast life and career. The exhibition is the first of its kind, providing new takes on the artist’s heritage as seen through the eyes of a diverse group of contemporary artists. It also showcases works and ephemera that have not been displayed publicly before.

Further information

Tania Pérez Córdova, Tu, yo, nosotrxs, ustedes, ellxs (You, Me, Us, You, Them), 2022, detail. Marble, personalized cosmetic contact lenses, one or more people wearing contact lenses of a color different from their natural eyes. 0.8 x 21.7 x 13.8 inches (2 x 55 x 35 cm). Commissioned by Museo Tamayo, Mexico City. Courtesy the artist. Photo: Gerardo Landa y Eduardo López (GLR Estudio)

Generalization is the first survey of artist Tania Pérez Córdova (b. 1979, Mexico City) in a United States institution, featuring a selection of twenty-four works made over the past ten years, as well as objects specially commissioned for this occasion.

The exhibition presents a reading of Pérez Córdova’s work through issues that her artistic endeavors have sought to address: the passage of time, the nature of materials, the gaze of the other, the imminence or possibility of an action, the way in which we assign value to objects, negative space, and more recently, the insufficiency of discourse.

Further information

Ulla von Brandenburg, Le milieu est bleu, 2020.
Super 16 mm film transferred to HD video, color, sound, 23’43”
Courtesy of the artist and Art : Concept (Paris); Meyer Riegger (Berlin/Karlsruhe/Basel); Pilar Corrias Gallery (London); Produzentengalerie (Hamburg)
In partnership with the Palais de Tokyo, Paris, le Théâtre du Peuple, Bussang, the CND Centre National de la Danse, Pantin and the Opéra National de Paris. Full credits.

With the aim of “creating and organizing a contemporary art event of international stature, in which sound – in all its forms – constitutes the heart of the event”, this biennial brings together sound installations and silent works in which sound is induced, as well as a series of events (sound performances, concerts, public discussions, etc.) across different venues, towns and villages (Sion, Martigny, Loèche, Sierre…).

As part of the exhibition Echoes of a Collection. Œuvres du Frac Franche-Comté (curated by Sylvie Zavatta, director of the Frac, in collaboration with Christophe Fellay, artist and teacher at EDHEA, Jean-Paul Felley, director of EDHEA) from September 16 to October 29, 2023 in Martigny (Switzerland) will include the following works by Ulla von Brandenburg : The Record (2005-2014) and Le milieu est bleu (2020), which are part of the Collection of Frac Franche-Comté.

Further information

Ulla von Brandenburg, It Has A Golden Sun and An Elderly Grey Moon, 2016, super 16 mm, couleur, son, 22:25 min., danseurs : Duncan Evennou, Hélène Iratchet, Christophe Ives, Viviana Moin, Giuseppe Molino, Benoît Réssilot, Pauline Simon, photos © Martin Argyroglo, Courtesy the Artist, Art:Concept, Pilar Corrias Gallery, Meyer Riegger, Producers Gallery Hamburg

Le titre de l’exposition “It Has a Golden Sun and an Elderly Grey Moon” fait référence à une œuvre de 2016 d’Ulla von Brandenburg (1974, vit et travaille à Paris et à Karlsruhe), qui est au centre de l’exposition. Dans la présentation expansive, dans laquelle le film, la performance, l’architecture et l’installation sont combinés, le spectateur pénètre dans un monde entre réalité et illusion, passé et présent. 

Plus d’informations

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Threads exhibition at Arnolfini. Image by Lisa Whiting Photography for Arnolfini. All rights reserved.

Arnolfini welcomes you to discover Threads, a major exhibition featuring 21 contemporary international artists and makers, who use textiles as their chosen medium. Celebrating material and making, these artists use the storytelling power of textiles to connect with past traditions, find commonalities between cultures, time and place, and to ‘breathe stories into materials’. Co-curated by leading textile artist Alice Kettle, Threads weaves throughout Arnolfini’s three floors, to reveal how textiles ‘remember’, how memory is ‘embedded within the process of making’ and how new narratives are created.

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It was through an exchange of artworks that Denis Savary and Pierre-Olivier Arnaud first got in touch and started a discussion. These exchanges continued during the Ballard in Albisola exhibition held in late 2021, organised by the MAMCO at the home of the artist Asger Jorn in Italy.[1] There, the artists created a collaborative artwork, a kind of collage that almost assumed the form of a garden sculpture, by bringing together objects found on the exhibition site. In other words, the encounter of a viscous vase the colour of “Heineken” glass; bunting in shades of grey; black and brown earthenware tiles; the base of an armchair; and a limestone concretion, as the origin of an entire exhibition project, held sometime later. […]

At the Synagogue de Delme, Denis Savary and Pierre-Olivier Arnaud invite the visitor to Josy’s Club, a space plunged into a half-light, becoming the receptacle of these finds taken from various wanderings and constituting a true reappropriation of urban space by the imagination. Inspired by the works of J.G. Ballard such as the Concrete Trilogy or The Burning World,[3] the exhibition reveals itself like a dry garden, in which each sculpture or pictorial element is symptomatic of grey areas. This arid, drab landscape reflects the peripheral variants of a modern, mapped-out thought, but in a spirit that is truly alive, because it is not ghosts or ruins that are up for discussion here.  The artists highlight a very lively and proliferating tendency of this early twenty-first century. Without falling into nostalgia or a certain fetishism for modernism, this project focuses on its deformation and traces within the present age; on its state of advanced decay, from which no alternative exists capable of resituating it within this world that, while living in an eternal present also cultivates a certain appetite for retro-futurism. The artists are interested in modernism’s aesthetic deployment in urban space, based on what people do and create with it, from indistinct foundations, using apparently non-artistic gestures, more akin to DIY, but contributing to modifying and evolving the forms and aesthetic of the city.

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