Month: May 2024
Courtesy the Artist and Art : Concept, Paris. Photo Romain Darnaud
Courtesy the Artist and Art : Concept, Paris. Photo Romain Darnaud
Courtesy the Artist and Art : Concept, Paris. Photo Romain Darnaud
Courtesy the Artist and Art : Concept, Paris. Photo Romain Darnaud
Courtesy the Artist and Art : Concept, Paris. Photo Annabel Elston
Courtesy the Artist and Art : Concept, Paris. Photo Annabel Elston
Courtesy the Artist and Art : Concept, Paris. Photo Romain Darnaud
Courtesy the Artist and Art : Concept, Paris. Photo Romain Darnaud
Courtesy the Artist and Art : Concept, Paris. Photo Romain Darnaud
Courtesy the Artist and Art : Concept, Paris. Photo Annabel Elston
Courtesy the Artist and Art : Concept, Paris. Photo Angus Mil
Courtesy the Artist and Art : Concept, Paris. Photo Angus Mill
Courtesy the Artist and Art : Concept, Paris. Photo Angus Mill
Courtesy the Artist and Art : Concept, Paris. Photo Romain Darnaud
Courtesy the Artist and Art : Concept, Paris. Photo Romain Darnaud
Courtesy the Artist and Art : Concept, Paris. Photo Romain Darnaud
“Before we had language and written stories we had images. There were ways of holding and communicating knowledge that did not require words; ways that had to do with the body and movement, like the form of a dance or a facial expression, or produced through drawing and images such as cave paintings. There is a language of the imagination and a life of the mind that predates logical reasoning and the urge to categorise. They are modes of thought deeply embedded in human culture and psychology.
Encountering the works of Caroline Achaintre is like taking a field trip to this different life of the mind. Her creations are full of idiosyncratic personalities and psychological resonances. They are at the same time majestic and absurd, transgressive and homely. Like artefacts of a lost civilisation or creatures that have wandered from the pages of an otherworldly bestiary, they challenge and play with our perceptions and emotions. They return our gaze, they get under our skin, they make us laugh, they hide secrets, they resist interpretation, and pose questions that do not have answers.”
Excerpt from the press release, Brian Cass
On view on Arte.tv until July 31, 2025
Le Parvis, which in 50 years has programmed over 300 exhibitions, will be blowing out its candles with a feed-back and forward-looking exhibition entitled Future is now, inviting some 50 artists who exhibited between 1974 and 2024 to return to the site.
Le Parvis is one of the first contemporary art institutions in France, and also one of the most atypical. And it has to be said that the past 5 decades have not diminished the enthusiasm of artists and audiences alike for this intriguing venue, located in a shopping mall and integrated into a national arts scene.
With: Martine Aballéa – Saâdane Afif – Atelier Van Lieshout – Nils Alix-Tabeling – John M. Armleder – Virginie Barré – Berdaguer & Péjus – Michel Blazy – Bianca Bondi – Céleste Boursier-Mougenot – Xavier Boussiron – Ulla von Brandenburg – Nina Childress – Claude Closky – Delphine Coindet – Caroline Corbasson – Alain Declercq – Damien Deroubaix – Erik Dietman – Mounir Fatmi – Daniel Firman – Dora Garcia – Marco Godinho – Laurent Grasso – Josep Grau-Garriga – Joël Hubaut – Fabrice Hyber – Pierre Joseph – Kapawani Kiwanga – Arnaud Labelle-Rojoux – Bertrand Lavier – Ange Leccia – Jacques Lizène – Philippe Mayaux – Caroline Mesquita – Tania Mouraud – Philippe Quesne – Philippe Ramette – Lionel Sabatté – Bruno Schmeltz – Franck Scurti – Alain Séchas – Djamel Tatah – Barthélémy Toguo – Niek Van de Steeg – Xavier Veilhan – Jean-Luc Verna – Jacques Vieille – Gisèle Vienne – Jérôme Zonder
We put our hands in the water is the debut dieDAS art initiative. The exhibition is a cooperative project realized by the academy, curator Daniel Marzona, and the city of Naumburg, and intends to promote and spread the cultural and social values of the academy beyond Saaleck.
We put our hands in the water features work by artists Ulla von Brandenburg and Olaf Holzapfel.
Ulla von Brandenburg’s large-format fabric panels will transform the rooms into vibrant, stage-like settings reminiscent of dreamlike worlds. The artist describes her works as “spatial stagings” that bring together folklore, songs, theater, dance, and architecture to explore both the individual as well as the dynamics and functioning of community and society between chaos and regularity. In this way, von Brandenburg’s pieces formally examine aspects of the theatrical within the visual arts and conjure up delicate moments between utopia and reality, leaving the gap open for new perspectives and the previously unthought-of.