Founded in October 2010 by Rosario Caltabiano, the 22.48 m² gallery aims to be a unique exhibition space and a venue for contemporary works from the international scene, with particular attention paid to emerging French artists.
The video, Je te relaxe en touchant des œuvres (2021) by Caroline Delieutraz was created during the pandemic. It diverts the classic ban on touching the works. The artist summons ASMR, a relaxation practice born on YouTube, in order to experiment with works from the point of view of their manipulation and their power of relaxation.
To do this, she collaborated with Behind the Moons, the pseudonym of an ASMR creator who distributes her videos to a large online community. By using different manipulation techniques specific to this practice, she explores the soothing potential of post-Internet works, located on the border between physical and digital.
an office for organisation of contemporary art projects.
Since 2019, 40mcube is labelled Contemporary art centre of national interest by the franch ministry of Culture.
40mcube produces works, dffuses them in the form of exhibitions or interventions in the public space, sets up artists residencies, accompanies the commission of works,
promotes and mediates them to the public.
While leading a bleak existence as a jobless and precarious “artist” with his roommate Sara in an ugly suburban apartment building, Haunted discovers a secret room behind his
bathroom sink. This disturbing inconsistency is linked to a mysterious character: Erebo Rose.
EREBO ROSE is an excerpt from THEREMESPARE, a film in the making about the existential quest of a fanatical narrator character whose path crosses a pseudo-cult, then heads for
Theremespare, a fantastical place whose existence remains doubtful.
Founded as a hybrid platform between commercial mediation and cultural contribution, ADN Galeria promotes and supports current artistic ideas and trends. The program focuses on content-based productions that work as a semantic reflection of the contextual dynamics in which they emerge.
The work is a performative action carried out by the artist in the extensive fields of the Argentine Pampas. A place known as a world reference in the livestock industry. Inspired by the Kulning old Scandinavian songs, where the owner attracts his cows with the sound of his voice, Melis offers those present a reading of ideological speeches by Fidel Castro and Che Guevara that emphasize not only livestock but also concepts on “productivity” and the “new man”. The extracts, read passively in a tone of conviction, show communist ideology as a system superior to capitalism. As the reading progresses, the cattle expand and flee in their attempt to get as far away as possible from the speaker’s presence. As if it were a visual sweep, Melis shakes the terrain in each sequence and animals always run to the opposite side disappearing from the shot, leaving us in an empty terrain.
Founded in 1990 by Florence Bonnefous and Edouard Merino and baptized Air de Paris, in homage to Marcel Duchamp, the gallery defends committed, iconoclastic, multidisciplinary and sometimes ephemeral art. After Nice and Paris, she settled in Romainville on an industrial site rehabilitated in residences for artists and places of art, including the Regional Fund for Contemporary Art Ile-de-France. Within Komunuma, the two pioneers pursue a demanding program with their own fantasy; they inaugurate Le Klingon cinema in 2021, they present and represent artists of all generations.
Bow to Bow by SHIMBUKU is a 12-minute video, Shimabuku wonders about the homonymous character of the word “bow” (also in Japanese: Yumi), which designates both the weapon used to propel the arrows and a device to play string instruments. A true lover of puns, Shimabuku literally stages the speculative passage between archery equipment and musical tool.
In Bow to Bow’s the Japanese archery place at Kibitsu Shrine, Okayama, we first observe a young man methodically shooting an arrow at a target from a distance. Next, two men (one of whom is the artist himself) practice bow pizzicato. In the following interior scene, a man holds a double bass while a woman strums the strings with a weapon bow. After that, we listen to a musical duo performing a composition by Nomura Makoto: one strumming his double bass with an archery bow accompanied by a woman playing hers with an ordinary music bow.
AKINCI focuses on new developments in contemporary art and explicitly engages with artists who integrate socio-political, ecological and gender issues into their work. Our program is defined by a diversity of media as well as intersections between sound, architecture, painting, sculpture, film and installation. Since 1988, AKINCI’s mission has been to be a career development platform as well as a solid foundation for the artists we represent. The gallery grew with the artists who joined us in the founding years and continues to grow with the younger generations.
TouchMEtell by Melanie Bonajo empowers kids (and adults) to think and talk about intimacy, boundaries, and body awareness.
Melanie Bonajo and a group of children aged 6 to 8 explore how they experience their own bodies and physical contact with others. Melanie uses open-ended interviewing techniques and kinesthetic acting forms that take place in a soft, blurry, cuddly, multi-colored landscape of different formed objects.
‘What is sex? Does love have anything to do with sex? Can you feel emotional pain in your body? What are feelings? Are you alone already?’ is a selection of the many questions bonajo asks children as they push, hug, comb or caress.
Pioneers and enthusiasts, Christian Bourdais and Eva Albarrán have accompanied key players in architecture and contemporary art for more than fifteen years. In 2004, Eva Albarrán and Christian Bourdais founded Eva Albarran & Co, now recognized as one of the three largest contemporary art production companies in France.
In Paseo by Iván Argote, games of utopian fiction materialize in the public and video intervention “Paseo” where the statue of Christopher Columbus that crowns the homonymous square, is removed and driven in a truck through Madrid until she leaves town. This rolling performance materializes the possibility of transforming the public space by leaving aside the traditional warrior and colonial tributes and also confronts the passer-by with a kind of hyper realism of change; maybe something like this could happen, now or in the near future.
Alberta Pane Gallery specializes in contemporary art. The gallery supports the work of international artists, whose practices conceptually focus on a variety of subjects, through an interdisciplinary approach and with particular attention to installations, volumes and the perception of space.
With Unforeseen Space, Marie Lelouche reinvests and experiments, from stratum to stratum, by additions and subtractions, phenomena of inversions – of scales, paradigms, points of view – and porosity between species (species) and spaces (spaces) through which it causes loss of bearings which commit us to see, to perceive, to conceive and to be moved differently. In doing so, she invites us to take the measure of our environment in a different way and to fundamentally question the capacity for reunion of beings and things by underlining all the ambiguities and the complexity that a real encounter with the other gives rise to, between attractions and repulsions and beyond.
Opened in 1999, the Anne Barrault gallery, dedicated to contemporary art, moved into a new space in 2013 on rue des Archives, in the Marais district of Paris. Since its inception, the gallery has been committed alongside young artists.
Rayane Mcirdi’s films capture intimate or collective events rooted in daily life. The videographer becomes an ethnographer, collecting these micro-stories. In 2021, Love will come later was presented for the first time at the Kunsthal Charlottenborg (Denmark) at the opportunity for a program by Mohamed Bourrouissa. Rayane Mcirdi produces a video work between documentary and fiction whose actors are members of her family or relatives filmed at home or in places that are familiar to them.
Founded in 2016 in Paris in the Marais, the Anne-Sarah Bénichou gallery represents 14 artists from different generations, French and foreign, emerging and established. The great diversity of practices and origins of these artists contributes to promoting individuals endowed with a singular view of the world, and to establishing a dialogue between different periods and various forms of art (painting, photography, sculpture, performance, installation and drawing).
The result of a filmed meeting with students from a secular college and a Jewish school in Sarcelles, Quatrième Sarcelles by Valerie Mrejen collects testimonies from teenagers about their relationship to this multicultural city, their dreams, or even their relationship to religion.
Created by Christian Mooney in 2008. Arcade offers both a program of exhibitions and an ever-evolving platform of performances, live events, talks and publications. Through this range of formats, Arcade aims to find new ways of presenting and representing some of the complexities of today’s contemporary art scene; explore new developments in international contemporary art, across a range of practices, media and concerns.
In this series of memes Do you believe in life after love? by Marijke De Roover, the artist takes her exploration of self-exposure through confessional self-fiction further by producing comedic diy “self-portraits” copying images circulating in popular culture that display uncomfortable subtext cultural norms such as success/failure, femininity, desire, etc. She thus revisits her earlier “selfie” work and transforms it into a more advanced and flowery kind of self-portraiture, through which she explores female and queer sexuality within heteropatriarchy. She claims that she at least owns the rights to herself. To use his own image.
Founded in 2012 by architect Alexis Rastel, the Archiraar gallery represents international artists of the emerging generation and collaborates with exhibition curators. In a brutalist building in Brussels, its two complementary spaces host resonant projects. The white cube is the artistic laboratory, the black cube offers a more domestic approach.
In LIBRE MAINTENANT / FREE NOW – MOVIE by Pierre Libaert, models who responded to his advertisement wanted to pose behind closed doors, as if this face to face with the photographer of whom they knew nothing was the only thing ‘they were waiting.
At the crossroads of major European capitals, the Bacqueville gallery, located in Hauts-de-France and the Netherlands, has carved out a local and international identity. Audacity and rigor are at the heart of Cédric Bacqueville’s approach, who does not hesitate to highlight established artists as well as to promote young talents while maintaining a particular attachment to photography.
The internationalization of Gautier Deblonde’s “Atelier(s)” project aims to extend the dialogue that the series has enabled to initiate with other artists around the issue of the gaze “at work” and the conditions of creation.
By going beyond the documentary and visual limits of his work, by changing the way we look at these workshops, he wishes to open up a questioning in the form of “mise en abyme par l’image” as to the status of the work as of the artist. , at a time when these are apprehended in an increasingly globalized and dematerialized way.
Galerie Catherine Issert is a contemporary art gallery, located in Saint-Paul-de-Vence. Since its creation in 1975, the Galerie Catherine Issert has defended emerging creation. In particular painting, drawing and sculpture, in their contemporary expressions. Overall, the Galerie Catherine Issert organizes four exhibitions, in situ, per year. Alternating collective exhibitions and monographic exhibitions.
In Jennifer Douzenel’s Bergen video, the plaster-covered picture rails invite the outdoors inside. On them unfold pieces of landscape taken here and there by the videographer, the nocturnal eddies of the bay of Hong Kong, the rustle of millions of monarch butterflies in Mexico, the undulations of captive marine beings in Norway or projected walkers upside down on tufa beds in Turkey. In the half-light of the gallery, time comes to a halt as it passes, slow and sublime. It arises, contemplates itself, and loops, ad infinitum.
Galerie Jacques Cerami is an active private gallery based in Charleroi. Galerie Jacques Cerami is a 21 year old private gallery that presents mainly photography with a focus on conceptual art.
Le génie des lieux by Michèle Couturier, is a double looped video revealing the unexpected, the surging that seems to sum up Couturier’s journey on the theme of Myth. A surveillance camera captures and reflects an incredible image, a kind of glittering texture that at first sight is impossible to decipher. At the same time, the same thing happens on the window of an office in the port. The sun and the sea meet in an extraordinary shimmer, and the result is a seduction for the eye as attractive as the song of a mermaid. Is it a natural and supernatural entity? Is it the Genius sending its signal?
Founded in Saint-Étienne in 2006 by François Ceysson and Loïc Bénétière, joined by Bernard Ceysson, artistic advisor, the Ceysson & Bénétière gallery has developed its locations in Luxembourg, Paris, Geneva and New York.
Memorandum by Mounir Fatmi is a video shot in 2006 during the exhibition “Black panther party for self defense”, in Paris. It records the meeting and dialogue between David Hilliard, member of the Black Panthers and chief of staff of the revolutionary movement, and the audience, composed of art lovers and young people from the Parisian suburbs. The video shows images of the leader evoking the history of the party or answering questions from the audience, superimposed on photographs of FBI archive documents concerning the Black Panthers, reports of investigations recovered from the American authorities by David Hilliard, following their de-classification in 2004, which allowed them to be made public.
Dvir Gallery was founded in Tel Aviv in 1982 by Dvir Intrator with the aim of promoting and exhibiting the contemporary art scene through emerging and established Israeli artists. In a short period of time, it has become an important player in the local art scene, presenting the most appreciated artists of the time. In this spirit, from 1994 onwards, the gallery began collaborating with international artists such as Lawrence Weiner, Latifa Echakhch, Adel Abdessemed and many others.
Dor Guez’s video, (Sa)Mira, traces Samira’s journey. She is a first-year psychology student at the Hebrew University of Jerusalem. Her colloquial Hebrew, her choice of clothing and her mannerisms make her indistinguishable from her Israeli Jewish contemporaries. Guez asks her to recount a recent experience: at the restaurant where she works as a waitress, her Arab name has provoked racist reactions, prompting her boss to ask her to change her name to Sima, which sounds more Jewish-Israeli. They finally settle on Mira. As Samira remembers the incident and repeats it at Guez’s urging, she begins to articulate the complexity of her identity and the impact of racism on her life. (Sa)Mira‘ was premiered at the Petach Tikva Museum for Art, Israël.
Ellen de Bruijne Projects is a contemporary art gallery and project space located on the Jordaan. Since its first exhibition in October 1999, the gallery has focused on new trends in contemporary art, concentrating on performance art, socially related art, installations and works in progress. The gallery creates a platform for young and mid-career international artists, generating high-level performances on an international level and in an international context.
The aim of the gallery is to look for future trends by putting the new against the recent past and experimenting to develop new standards.
Fireflies is a 2021 film by Pauline Curnier Jardin in collaboration with Feel Good Cooperative, a social collective founded by the artist, an architect and a group of sex workers in Rome in 2020, with the aim of providing financial support to sex workers in the Italian capital during the initial lockdown of the pandemic.
The film was shot on the outskirts of Rome, where there used to be fireflies, but now there is a motorway and cars with their headlights. Finally, with their passage, they act as spotlights that sometimes spot sex workers walking or posing at the side of the street. The film follows their erratic flickering and in a nostalgic midnight blue light offers glimpses of visibility to the otherwise invisible bodies of these contemporary luccioles, their braziers, their vinyl boots, their bonfires and their sorrows.
As a collector and dealer of modern art, Eric Mouchet offers a varied programme based on artists selected for the rigour, relevance and poetry of their work, in all its forms. Eric Mouchet has set up his gallery at 45 rue Jacob in order to contribute to the development of contemporary culture.
Through a dissociation between image and sound space, Capucine Vever’s film La Relève, shot only from the Créac’h semaphore at the end of the land on the island of Ouessant, plays with the contrast between contemplative images of the ocean space – the common vision of a wild and authentic ocean – and a voice that describes the intense activity that takes place there but that is no longer visible from the coast. The narrator is invisible, her presence is suggested by the movements of a subjective camera that wanders around the building whose function was to carry (photos) the sign (sema).
exhibitions, performances, signatures and other events around
contemporary art. Espace à vendre offers single works and multiples
such as artists’ editions, serigraphs and lithographs.
Thierry Lagalla is a visual artist and video artist. He shows, exposes,
produces, manifests, and risks himself in video productions, each one
more amusing and amazing than the last. With finesse and skill, he
manages to bring humour and burlesque together.
He is a militant of reality. This reality, which is Lagalla’s vein, is found in his drawings and paintings. Sometimes derived from videos, they are a return to the fixed image, to the original “Pantaï” of the Lagalla universe. The line is simple, uncluttered, avoiding all formal chatter to offer the viewer the image of the essential reality of art, that of creation.
Heteroclite or, more precisely, heterogeneous, Thierry Lagalla makes
opposites friendly: anecdotal/historical, prosaic/poetic,
Florence Loewy, active since 1989, moved to the Marais in 2001 where she inaugurated a bookshop space designed by the duo Jakob+MacFarlane and initiated a programme of exhibitions that began with General Idea Boutique Coeurs Volants. The programming continues to take into account the permeability between the projects of the artists represented and the bookshop space, which presents monographic exhibitions, launches and external collaborations around the artist’s book.
Fascinated by the aesthetics of comics, which he has read since he was a child, Francesc Ruiz is interested in their narrative construction and the complexity of the social systems they convey. In his video of Asoul, Francesc Ruiz delivers a sequence of images circulating on social In his video of Asoul, Francesc Ruiz delivers a sequence of images circulating on social networks, diffusing the impression of a world going off the rails, or sinking into a common madness. Their interplay to the rhythm of an epic music renders a climate of generalized paranoia.
Dedicated to contemporary photography, Galerie Binome opened in 2010 in the Marais district of Paris. It opens its programming to emerging artists of contemporary art. The selection is more specifically oriented towards the visual arts in search of new forms in photography. Coming from various horizons, from conceptual or plastic photography, sculpture, performance, drawing or writing, the artists explore the boundaries of the medium and the supports. The definition of the photographic field, its extent and its limits, are at the heart of the gallery’s research.
In Soleil noir Année, Thibault Brunet renews the ways of capturing reality by recording the world with a lidar (3D scanner). In the video, the multiplication of possible points of view, exceeding the viewer’s ability to move physically, transforms our relationship to spaces, represented here by a cliff, a forest, living or working places. A questioning of the relationship of scale between the human body and the landscape that produces undeniable reversals.
Founded in 1989 by Claudine Papillon, the gallery was quickly recognized for its cutting-edge programming and its characteristic editorial line. Since the opening of its first space, Claudine Papillon has presented solo exhibitions of Erik Dietman, Dieter Roth, Michael Craig-Martin, Hreinn Fridfinnsson and Sigmar Polke, who have become emblematic artists. Since January 2016, it is now under a new identity, “Galerie Papillon”, that Claudine and Marion Papillon, partners for 9 years, continue their commitment to support contemporary creation. They bring together artists who share a certain sensitivity, a sense of poetry and irony, audacity and sometimes even anti-conformism.
Examining our humanity and the issues that run through it, Céline Cléron shakes up our imaginations by creating works that are based on fragility and cracks, between grace and robustness, grace and gravity, evanescence and duration. In the video La ligne est un point qui marche, a title inspired by a phrase of Paul Klee, Céline Cléron advances cautiously on a frozen lake in Sweden by following a fracture line of the ice. Only the footsteps that rustle and crackle along this Kintsugi, the Japanese art of repairing a crack, are visible. Where will this line lead? The unknown is complete, the tension is palpable. With poetry, humour and irony, the marvellous landscape that we can imagine rubs shoulders with the danger of the fall that could be imminent. In addition to this video, we will put forward a photographic work, “Aire de rien” (Area of nothing), produced in the same place as the video, this image with its resounding silence calls out to us, the lunar light and the frozen landscape invite us to contemplate as well as to be concerned.
Pursuing a consistent and personal line, the gallery puts the emphasis on the artist’s vision and its relation to the medium used. It is particularly interested in artists who work across disciplines (from performance to video or installation). Following its editorial line, Galerie Dix9 aims to introduce emerging artists to local and international audiences. It has often held their first solo show. It may occasionally promote some mid career artists not represented in France. Their ideas start from the « real », whether treated realistically or not. Their work concentrates on passages and mutations, looking for the past in tomorrow’s world, somewhere between illusion and objectivity, reality and fiction, memories and the forgotten. It’s a matter of duration and time, whether intimate, social or political. And it’s a matter of image and identity, the conditions of its manifestation and perception.
We meet an idyllic Alpine landscape that seems unreal in its beauty and peace. In the foreground is the lake, bounded by greenery and mountains, and we can hear the appropriate sounds of small animals. But this absolute peace is suddenly brutally interrupted with the noisy fall of a human body into the water, as if it were a bomb. After the ferocious and turbulent disturbance of the initial image, the sounds are eliminated, until the troubled surface of the lake is gradually calmed, and the little sounds return. The human figure, however, that of the author himself, after his disruptive intrusion, does not emerge from the water, rather the original image is tacitly renewed, and the work repeats in its loop.
Galerie Sono is a young contemporary art gallery which opened its doors in May 2021 in the heart of the Village Saint Honoré in the 1st arrondissement of Paris, a stone’s throw from the Bourse de Commerce – Pinault Collection.
The Sono Gallery is part of an ecological approach and tends to move towards a more sustainable contemporary art. Nature, the living, the impact of humanity on our planet are all themes that we wish to defend through the work of the artists we exhibit. The identity of the Sono Gallery was entirely conceived by Alex Vaysse and Hélène Geber, young enthusiasts and collectors of contemporary art, who wish to represent current subjects that our generation is keen to defend and support.
In J’ai cru voir by Eugénie Touzé, It is dark in the heart of the forest. The sensitivity of the camera is raised to its maximum and records what the human eye cannot perceive with the naked eye. The result is a crackling, noisy image of coloured spots within which white silhouettes suddenly appear. The sound of crickets sizzles and the owl cries. Some equally enigmatic sound apparitions. As the sequence progresses, visibility diminishes. It gets darker and darker.
Isabelle Gounod opened her first gallery in 2004, and inaugurated her space in Le Marais in 2008. The gallery is expanding with the “Studio”, which is both a showroom and a new exhibition space. From the outset, the gallery has paid particular attention to the French art scene, and has accompanied and represented the work of Michaële-Andréa SCHATT, Martin BRUNEAU and Jérémy LIRON for more than ten years, and more recently, Jacqueline DAURIAC, Florent LAMOUROUX and Moussa SARR.
In the video Blackface, Moussa SARR appears wearing black make-up and a large red mouth. He takes up an American theatrical practice from the end of the 19th century, common in “minstrel shows”, which represented the black man as an idiot, animal and monstrous. In this video, Moussa SARR uses cotton wool to remove the black and red make-up that covers his face, a “man of colour”. In the words of the artist: “It’s all a question of perception”. Moussa SARR, who had put aside questions of stereotypes for a while, felt the need to return to them after the broadcasting of several interpretations of Blackface by personalities mostly from the world of fashion (Gucci, American Vintage, French underwear, etc.) as well as during the controversy surrounding the Suppliantes played at the Sorbonne. The video underlines the difficulty of freeing oneself from clichés; it refers to Bruce Nauman’s video Art Make Up (1967-1968), which highlighted the artist’s role of representation.
Kogo is a contemporary art gallery that opened at The Widget Factory in Tartu in the spring of 2018, and is aimed at improving the international visibility of artists and introducing their art practice more broadly.
At the centre of Kogo’s diverse exhibition programme are artists’ solo projects and exhibitions created in collaboration with artists and curators. Kogo is committed to supporting free creative expression, interdisciplinarity, imagination and innovative ideas in art, as well as initiating and maintaining creative relationships and uniting the community of artists and art enthusiasts
The video Liga Spunde, There‘s No Harm In Any Blessings is a poetic collage of facts and interpretations, using motifs from my life, as well as the story of David Vetter (“The Bubble Boy”).
The piece is structured in four parts, and two of them taking place in a dark, abstract space. The dialogues were written by Vetter, and they are from a book about the boy’s life in total isolation “Bursting the Bubble: The Tortured Life and Untimely Death of David Vetter” by Raymond J. Lawrence and Mary Ada Murphy.When David got very bored, he would write short screenplays, which he would later play out together with his psychotherapist Mary Ada Murphy. The dialogue in the video is a short and simple conversation between a wife (David) and a husband (Murphy), which shows the tragedy of David’s totally sterile, safe, and isolated life, as well as his reaction to it.
Since September 2016, Natacha Mottart, Christophe Veys and Olivier Legrain have been developing a programme focusing on national and international mid-career artists whose work reflects the concerns of a world in the making. Our programme aims to promote a dialogue between different fields of knowledge such as science, history, literature and politics. It is also a gallery where young artists can experiment with their aesthetic development in relation to environmental and societal issues.
For many years, Maria Friberg has been exploring masculinity. She has made an active choice not to focus the camera lens on her own body, as countless other women artists have done since the 1970s and beyond. Instead, in Somewhere Else, Maria Friberg has cleverly projected so-called ‘feminine features’ onto a group of men, highlighting the subjugation that both sexes face when denied the freedom to fully express their humanity.
Thus, we will find in a transversal way the concern for meaning through the notion of writing and that of freedom in the staging of bodies in the gallery’s programming. The gallery highlights committed women artists such as Sarah Trouche, Johanna Reich, Camille Cottier, the couple Lucy Jorge Orta.
By exploring different mediums such as performance, drawing, photography, painting and sculpture. Since 2019 she has participated in many fairs in France and on the international scene (Art Paris, La art Show, Art On Paper Brussels ..)
In the ARTICV3 performance that Sarah Trouche creates in Svalbard, the artist, naked, struggles with the harshness of an environment in which she is only passing. She tries to create the movement of the Moon, its lunar orbit. This ellipse is the imprint of the impossibility of acting in the face of such rapid transformations of the landscape. It symbolises the acceleration of a change that we can only witness.
The Marina Bastianello gallery was inaugurated in October 2012 in the heart of Mestre. The peculiarity of the Marina Bastianello gallery is to represent almost exclusively artists born (by birth) in the 80s, following them step by step and thus building a cultural support point for emerging talents, becoming a reference point also for curators sensitive to future artists.
Amazon Dance is a video performance, part of a research study that aims to investigate the algorithms used in factories such as Amazon, to find the minimum time and the most efficient way to organise and deliver items in large warehouses, which is costly and time-consuming. Although many of these tasks are performed by humans, their routes are perfectly predetermined based on algorithms and their movements are specific to achieve the goals of each shift: to pick the maximum amount of product.
Director and visual artist Nico Angiuli stages the question of big business: is human or robot work more profitable? How does this translate to the performing body? Nico has analysed such algorithms to create a form of choreographic ‘score’. How to represent the abstract space of computers and invisible calculations through the movement and effort of the body?
Founded in 1992, Michel Rein is a contemporary art gallery located in Paris in the heart of the Marais and in Brussels in the commune of Ixelles. Michel Rein accompanies French and international artists of different generations, both established and emerging. Recognised by private and institutional collections and regularly invited to major international events, the gallery’s artists poetically question the issues of the contemporary world. Michel Rein supports artists from the French scene and has been participating in the FIAC since 1993.
In the video, Un Homme sans image… by Enrique Ramirez “A sail is an instrument to push in the wind, to seek a direction. It is also a flag, an idea, a reference, a history, a map, a way to go, a thought, a question to the world, a compass”.
Enrique Ramirez clings to his work like a man clings to his boat in the middle of a stormy sea, searching for a new horizon, far from any certainty. For him, art is an act of resistance, of perseverance. Between poetic fiction and documentary realism, he encourages his viewers to decentre their gaze, to change course, to rethink our way of being in the world, to stop the future repeating itself tirelessly, indissociable from the past.
Established in Liège (Belgium) since 1998, the Nadja Vilenne gallery works in close collaboration with some twenty artists, both emerging and internationally established. In addition to her exhibitions, Nadja Vilenne publishes books, undertakes curatorial projects outside the gallery and regularly participates in various international art fairs.
Is the camera docile? Come on, make the beautiful, the camera! In Tentative d’échapper à la surveillance d’une caméra Snapping his fingers, Jacques Lizène tries to draw up a camera. Down, the camera! Then, from one end of the screen to the other, the Little Master tries to escape the surveillance of that same camera. A work that is both filmic and performative, this sequence produced in 1971 is the third film by Jacques Lizène, after Traveling on a wall (I will not procreate) and Absence of filmed subject, and testifies to the beginnings of video art in Belgium. This work tames, between lucidity and clumsiness, this new medium entered the field plastic arts, it is also of great political consciousness, bringing into play the domination of the media, the subjugationtion to the dominant order, the discourse on voluntary servitude.
Roger Nilsson and Alain Chiglien have developed a unique expertise over the years, building on the success of their two Parisian galleries and being lifelong art collectors. Today, they are highly respected for what has quickly become their speciality: ceramic sculpture as a work of art, inscribed in a dynamic of innovation both technical and formal.
“To burn with desire and remain silent about it is the greatest punishment one can inflict on oneself.” – Federico García Lorca, Blood Wedding and Yerma
Human desire is the fundamental motivation for all human action. Vincent Gagliostro’s film Thereneverwasanarrative documents the relationship between ourselves and our desires, and how we interact with those desires. The focus is on a young man. After I sent him my proposal. It was his response that triggered our collaboration and documented his personal reflection on his own gender and unacknowledged desires.A journey.
Nicoletti Contemporary is a London-based contemporary art gallery dedicated to supporting the development of emerging artists. Their exhibition programme investigates current and future socio-ecological paradigms, with a particular focus on exploring the complex relationship between climate change, colonialism, identity politics and technology.
Dislocation is a film directed by Josèfa Ntjam. In this short film we follow Persona, Josèfa Ntjam’s avatar who appears on screen a second time. He continues his initiatory journey from the Internet(s) to a cave floating in space among a constellation of shells and asteroid-like fossils – a soft, rocky cave, both underwater and interstellar. Here Persona attempts to recover the lost memories of Cameroon’s independence struggles. It is in this cave, floating in space, that the artist takes as a metaphor the spaces of revolt and dissent that have developed on the fringes of the lights. The walls and drops of the cave are a window on an archive that eventually merges with Persona, whose humanoid shell has disappeared. They lose their bodies in a puddle that still bears imprints and memories preserved by the water.
The gallery Raffaella De Chirico Arte Contemporanea was founded in 2011 and has always focused its exhibition program on the production and realization of nationally unpublished work, favouring artists under 40, who have already distinguished themselves for their artistic themes and study and outside of Italy.
A constant principle of the study, based on the idea of then and now underlies the attention to semantics, conceptual minimalism, use of new production materials, as well as social and current affairs photography. The truthful search for a dialogue with the past aims at delving into the peculiarities of the present, in the attempt to stimulate discussion and discourse.
Dear no-one by Fabio Perino is an anonymous letter addressed to no one, dedicated to those who are open to discussion and acceptance of new forms of language, and to communicating the unspeakable through different means and situations. the water pouring out almost obsessively with the precise rhythmicity marked by the water head is an allegory for human life and symbolizes energy, without purpose or reason, and incoherence, destined to meet the ghost of reality as the only objective source of comparison.
Salle Principale invites you to contemplate a world that inspires us, questions us and reinforces the idea that there is another world but that it is within this one. The designer Dominique Mathieu, through his photographs and images collected on the internet, delivers his committed, poetic and banal vision of the world today.
In Lois Weinberger’s first video, Datura Stramonium is the name of a toxic and hallucinogenic plant filmed in very close-up by the artist. This immersion in the heart of the plant thus disturbs our perception of the subject by transgressing the boundaries between plant and animal.
And Stroksbill / the Life of plants is a colour video that evokes desire. In Stroksbill / the Life of plants the petals of a red flower filmed in close-up evoke desire and the beating of a heart subjected to
Société is a Berlin-based gallery with an international profile – its main activities are in Europe, the USA and Asia. The gallery’s exhibitions, publications and boundary-pushing initiatives have established a vital dialogue between artists working internationally. The company focuses on building long-term symbiotic relationships with its gallery artists, many of whom have had their first solo exhibition with the gallery. Paramount to the structure of the gallery’s programme and the form…
This video installation is a production by artist Trisha Baga especially for the exhibition at Pirelli Hangar Bicocca in 2020. 1620 is inspired by the legendary site known as Plymouth Rock, which symbolically marks the origins of the United States of America. The video opens with text referring to a fictional organisation called DNA USA, an experimental gene therapy programme launched in response to the current ‘disease’ in the United States of America.
Designed as a 3D documentation of an imaginary theatrical performance with actors posing as pilgrims, the video gives a specific role to technology. As each act develops, the narrative framework breaks down further, mimicking the way media technology has changed the way we tell and read stories over time, fracturing and recomposing temporal sensibilities and perception.
The Valeria Cetraro Gallery represents artists whose practice is often at the crossroads of several media and several disciplines. The axes of research defined by the gallery guide the choices of a program whose objective is to federate around precise themes the various actors of the artistic current events and the art market.
The films Foulplay I, Foulplay II and Foulplay III (2022) were made by Laura Gozlan on the occasion of two new solo exhibitions which took place successively at the Galerie Valeria Cetraro in Paris and at the art centre Les Bains-douches in Alençon in 2022. Within the trilogy Foulplay, 2022 and in the continuity of the previous works and since 2019, Laura Gozlan interprets the character of Mum, incarnation of the “Feminine-Monstrous” of the feminist film and horror theorist, Barbara Creed, under different forms: archaic mother, vampire, witch. Here Mum practices sexual magic.