Focus Salon de Montrouge / Languedoc Roussillon 9-13 mai 2016

FOCUS ARTS VISUELS

61e Salon de Montrouge / Languedoc Roussillon
9 – 13 May 2016

 

simulation 3d de l’extension du musée de Sérignan © DR

 
18 contemporary art locations visited

34 French professionals/artists met

16 curators invited

 

 

Severin Duenser – Curator, 21er Haus, Museum of contemporary art, Vienna

Benjamin Seroussi – Director, Casa do Povo and curator, la Vila Itororó, São Paulo

Georgina Jackson – Director of Exhibitions & Publications, Mercer Union, Toronto

Lorna Brown  –  Curator Belkin Art gallery, Vancouver

Alejandro Martin – Curator, Museo La Tertulia, Cali

Felix Ruhöfer –  Artistic director and curator, basis e.v, Francfort

Sunil V. – Founder of the Kochi- Muziris biennale, executive director of  Wieden + Kennedy’s agency

Massimo Torrigiani – Chairman of the curatorial board, PAC Padiglione di Arte Contemporanea di Milano, director of the center for contemporary art, Bari

Toshio Kondo – curator, Art front gallery, Tokyo

Taiye Idahor  –  Curator, contemporary art center, Lagos

Anna Czaban  –  Curator in the Department of Community Oriented Projects, Contemporary Art Ujazdowski Castle, Warsaw

Zhenya Chaika –  curator and director of Artist-in-residence program, Ural Industrial Biennal, Ekaterinburg

Gridthiya Gaweewong – artistic director Jim Thompson Art Center, Bangkok

Elif Kamisli – independant curator and coordinator for the Istanbul Biennial

Leigh Arnold – Curator, Nasher Sculpture Center, Dallas

Kyla McDonald – Artistic Director, Glasgow sculpture centre

 

PROGRAM

 

Monday May 9


Welcoming at the INSTITUT FRANÇAIS and introduction of the guests

 

Palais de Tokyo

Michael et Florian Quistrebert - The light of the light / Louidgi Beltrame - El Brujo / Sara Favriau - La redite en somme, ne s’amuse pas de sa répétition singulière

Fondation d’Entreprise Ricard

Dove Allouche - Mea culpa d’un sceptique

Meeting with Melik Ohanian

 

Tuesday May 10

 

MAC VAL, musée d’art contemporain du Val-de-Marne

Pierre Ardouvin -Tout est affaire de décor

La Ferme du Buisson

Kapwani Kiwanga - Ujamaa

Château de Rentilly

Michel François - Dix neuf mille affiches. 1994 - 2016

Villa Vassilieff

Group show: Groupe mobile

 

Wednesday May 11

 

Meeting with Ulla Van Brandenbourg

Galleries tour

Screening and meeting with Red Shoes

Visit of la cité internationale des arts

 

Thursday May 12

 

61th Salon de Montrouge

Frac Languedoc Roussillon

Presentation of the collection and visit of Hamid Maghraoui « Dresscode » exhibition

 

Friday May 13

 

Meeting with Nicolas Bourriaud director of the contemporary art centre La Panacée, Montpellier

Centre Régional d’art contemporain, Sète

Philippe Durand – La vallée des merveilles 2

Philippe Ramette– Promenades irrationnelles

Olga Kisseleva– Sea view

Musée Régional d’art contemporain de Sérignan (Mrac)

Presentation of the collection and visit  of Bruno Peinado’s exhibition

 

 

 

               
 
 
 
  • MONDAY 9TH MAY

    Michael and Florian Quistrebert - The light of the light

    Palais de Tokyo

     
     
    The two brothers, Florian and Michaël Quistrebert have been painting four-handed since 2007. Practicing in pairs, they are driven to re-question – in an empirical manner filled with fantasy – the ambition of modernism. They experiment with freedom of forms, materials and references from the dark romanticism of their first paintings to the iridescent abstraction of their latest works. But they also explore the imaginary worlds of the space occupied by the depiction that they wield on the canvas or screen, with a pronounced taste for what transgresses the frontiers between real and virtual on contact with the multiple interfaces of the digital era.
    Le Palais de Tokyo is presenting the first large-scale monographic show of Florian and Michael Quistrebert. Invited to occupy a space measuring 1000 m2 in Palais de Tokyo, they are putting on an eclectic piece of optical theatre in which lights, videos and paintings lead the visitors, all while experiencing erratic disturbances by the shine and internal motions of various objects. In their pieces, they summon the ghosts of Malevich, De Staël, Picasso, (Hans) Richter and Fischinger, amongst others, while going back over the main themes of modern art, using contemporary, experimental techniques, in association with their particularly personal approach to materials. Their paintings, like their videos, explore the effects of light and shade which are both seductive yet at times, hypnotising and repulsive.
     
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    Credit : Exhibition view, Palais de Tokyo, courtesy of the artists and Galerie Crèvecoeur (Paris) Photo : Aurélien Mole.
     

    Louidgi Beltrame - El Brujo

    Palais de Tokyo

     
     
    Louidgi Beltrame’s work is based on documenting modes of human organisation throughout the history of the 20th century. He travels to sites defined by a paradigmatic relation to modernity: Hiroshima, Rio de Janeiro, Brasilia, Chandigarh, Tchernobyl or the mining colony of Gunkanjima, over the sea off Nagasaki. His films - based on the recording of reality and the constitution of an archive - appeal to fiction as a possible way to consider History.
    In El Brujo (’sorcerer’ in Spanish), Louidgi Beltrame juxtaposes several temporal and geographic strata, as well as two people: José Levis Picón, a Peruvian healer, and Jean-Pierre Léaud, the famous actor from Les Quatre Cents Coups (1959).
     
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    Credit : Exhibition view, Palais de Tokyo, courtesy of the artists and Galerie Jousse (Paris) Photo : Aurélien Mole.
     

    Sara Favriau - La redite en somme, ne s’amuse pas de sa répétition singulière

    Palais de Tokyo

     
     
    For her solo show at Palais de Tokyo, Sara Favriau (born in 1983, lives in Paris), is deploying 2,000 plain spruce cleats in the space of the Wilson gallery, which have been sculpted and assembled into an archipelago of five cabin-containers, linked by footbridges.

    Sara Favriau is inviting several artists to exhibit as part of her installation.  « Collaboration is not just about connecting individuals, it means getting them to work together, and opening up a conversation. Hence my decision to play the diversity card, to check out other creative fields and make them frequent each other. » The overall piece dialogues via transparency with the works it receives, most of which are new. And yet these cabins are impractical, built just below the human scale, forming a closed circuit, inciting the public to explore her work via mental projection.

     
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    Légende : Vue de l’exposition du Palais de Tokyo. Courtesy de l’artiste et Galerie Maubert (Paris). Photo : André Morin
     

    Dove Allouche - Mea culpa d’un sceptique

    Fondation d’Entreprise Ricard

     
                                                                                                                                                                                  
     
    The question of time lies at the heart of Dove Allouche’s work, whether in terms of his sources of inspiration—clearly influenced by literature and film—or in the very production of his pieces, which can take up to several years to complete. Through a meticulous process involving a photo or drawing, he retranscribes instants, places that are stamped by history or a powerful symbolism. From the burned forests in Portugal that the artist photographed and faithfully reproduced in graphite, to the tenvolume inventory of the Sarcelles library’s withdraw slips for books of poetry, which the artist digitalized, Allouche invests a significant amount of time to depict a subject or a vanished instant. A temporal distortion thus springs up between the event and its formal realization. This work of the memory produces a shift, a distancing with respect to reality.
     
    Dove Allouche’s new body of work is informed by his interest in parietal art, an extension of his fascination with earth’s primordial elements.  Using fugitive materials and processes associated with both drawing and photography, Allouche produces artworks that capture the passage of time,  and that in their unfolding wrestle with the mysteries of the earliest forms of image-making.
     
     
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    Credit : Exhibition view, Fondation d’Entreprise Ricard, Photo : Aurélien Mole / Fondation d’Entreprise Ricard
     

    Meeting with Melik Ohanian

     
    For some twenty years, Melik Ohanian has developed a very personal work based on a special focus of the relations between science, astrophysics and the visual arts, supported by a wide multiplicity of forms and mediums. Nourished by a solid culture of the image in all of its diversity, Melik Ohanian’s art draws its inspiration from the cinema’s own various procedures and from contemporary techniques of projection. The artist invents a work whose ambition is to take the world as its subject and assert that time is the motor of things. Constructed like a series of states of consciousness, Melik Ohanian’s powerfully allegorical work looks at the world through the filter of memory.
     
     

    TUESDAY 10TH MAY

    Pierre Ardouvin-Tout est affaire de décor

    MAC VAL, musée d’art contemporain du Val-de-Marne

     
    With his work in art Pierre Ardouvin is patiently building up a poetry of banality. All of his installations and drawings take society as a motif and are tinged with both a good -natured nostalgia and an unmistakable pessimism. The disillusion of daily life is suggested through arrangements of simple objects and the biting connections the French artist draws between them. Behind the pop music Ardouvin likes to employ, we feel our weariness of spectacles and the spectacular beginning to surface.
    The artificial, the synthetic and the plastic (what can be given three-dimensional form, that is) are constants that run throughout the work of Pierre Ardouvin. From popular knickknacks Ardouvin selects objects that are emblematic of a certain cheap, bogus aesthetic (strings of lights, fake flowers), one that is fairly typical of suburban communities with their rows and rows of individual houses.
     
     
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    Credit : La Tempête, 2011© Pierre Ardouvin & Praz-Delavallade, Paris/Brussels — Photo François Fernandez © CCC Tours © Adagp, Paris 2015.

     


    Kapwani Kiwanga - Ujamaa

    La Ferme du Buisson


    After a number of well-received exhibitions abroad, La Ferme du Buisson is now presenting her biggest solo show to date. Kapwani Kiwanga draws on her training in the social sciences for experimental projects in which she plays the part of a researcher. 

Her method consists in creating systems and protocols which function as filters through which she observes different cultures and their capacity for change. Her projects give rise to installations, videos, sound pieces and performances. In general terms her practice focuses on such concepts as Afro-futurism, anticolonial struggles and their legacy, and popular and vernacular cultures. 

For her exhibition at La Ferme du Buisson, she is occupying all the art centre’s exhibition spaces with previous works and three big, site-specific installations. Via this blending of materials and ideas relating to economics, agriculture, magic, anthropology and museology, she extends earlier research, undertaken at the Jeu de Paume and the South London Gallery, into belief systems and pre- and post-independency trajectories in Tanzania.
     
     

    Michel François - Dix neuf mille affiches. 1994 - 2016

    Château de Rentilly

     

    Le château in Rentilly is frac île-de-france’s second venue. The rehabilitation of the castle, which is part of the Parc Culturel de Rentilly, has permitted the development of an atypical project: on the initiative of frac île-de-france, the rehabilitation has been entrusted to an artist in order to transform the castle into both a veritable work of art and an ideal venue for the presentation of works of art. The proposal of the selected artist, Xavier Veilhan (in collaboration with the architects Bona/Lemercier) makes le château one of the key spots in the Paris region.
    The frac île-de-france’s latest exhibition at the Château de Rentilly looks at a particular aspect of the work of the artist Michel François . While François’s work is essentially sculptural, it uses a wide range of media, from drawing and installation to video and, most importantly, photography.
    Epitomising this key role, each of the artist’s exhibitions since 1994 has been accompanied by the publication of a large-scale (120 x 180 cm) poster based on one of his photographs. The exhibition at the Château de Rentilly presents this ongoing series of works, which has recently entered the collection of the frac île-de-france.
     
     
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    Credit : Château de Rentilly, 2014 Philippe Bona and Elisabeth Lemercier (architects), Xavier Veilhan (artist), Alexis Bertrand (stage designert). Photo © Florian Kleinefenn / Vincent Germond ; © Veilhan / ADAGP, Paris, 2014

     


    Collective exhibition : Groupe mobile

    Villa Vassilieff

     
    Villa Vassilieff, a cultural establishment owned by the City of Paris, is located in the heart of Montparnasse, on the site of Marie Vassilieff’s former studio, which until 2013 housed the Musée du Montparnasse. It is run by Bétonsalon — Center for art and research, which is thus opening its second site of activities. Villa Vassilieff is con­ceived as a place for working and living, where to stimulate the blos­soming of ideas, encoun­ters and the sharing of knowl­edge.
    A former carpenter who learned about photography after being harmed during the First World War, Marc Vaux carried his photographic chamber around the artists studios of Montparnasse and Paris from the 1920s to the 1970s, producing more than 250 000 glass plates. Groupe Mobile, Villa Vassilieff’s inaugural project, takes our exploration of the Marc Vaux funds, conserved at the Centre Pompidou, as a starting point to re-examine — in dialogue with contemporary artists and associate researchers — these photographs, their context of production and the historical narratives attached to them.
     
     
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    Credit : Villa Vassilieff
     
     

    WEDNESDAY 11TH MAY

    Meeting with Ulla Van Brandenbourg

    Ulla von Brandenburg’s work is characterised by a variety of media – drawing, wall painting, performance, film and installation – in which are combined more or less explicit references to magic, carnival and theater, but also “fin de siècle” Europe, modernity and psychoanalysis, involving the viewer in a mysterious spatial and temporal relationship. Playing with textures and patterns, the artist adapts her works to the specific context in order to create a dreamlike fiction that could awaken ghosts.

     


    Galleries tour

     

    Galerie Eva Meyer : group exhibition with Stéphane Bérard, Nicolas Boulard, Julien Discrit, Séverine Hubard, Jan Kopp  
     
    Galerie Odile Ouizeman : solo exhibition Mehdi Meddaci
     
    Galerie Marcelle Alix : solo exhibition Lola Gonzàlez

     


    Screening and meeting with Red Shoes

     
    Red shoes is a company dedicated to production and distribution of contemporary works, films and other projects types. Through setting up original production and distribution models, in collaboration with several art and industry partners, we wish to support a scene of young independant cinema authors.

     


    Visit of la cité internationale des arts

     

     

    THURSDAY 12TH MAY

    61th Salon de Montrouge

     

    61th edition of Salon de Montrouge, dedicated to the promotion of emerging artists and curated by Ami Barak. Former director of the Frac (French Regional Contemporary Art Funds) from 1993 to 2002, Ami Barak was also the President of the International Association of Contemporary Art Curators – IKT from 2002 to 2005. Former Head of the Visual Art Department at the City Council of Paris (2003-2008), he was the Artistic Director and Coordinator of ‘Nuit Blanche’ (“Sleepless Night” Contemporay Art Festival) in Paris in 2003 and 2004 and initiated the public commissioning program “Art for the Tram”, including projects by Sophie Calle/Frank Gehry, Dan Graham, Peter Kogler, Claude Lévêque, Christian Boltanski, Bertrand Lavier, Angela Bulloch and Didier Fiuza Faustino.
     
     
     

    Frac Languedoc Roussillon

    Presentation of the collection and visit of Hamid Maghraoui « Dresscode » exhibition

     
    Born in 1973, Hamid Maghraoui lives and works in Nîmes. Venues of group exhibitions include : la Panacée, contemporary art centre of the city of Montpellier, Le Carré d'art in Nîmes, Musée Suisse du Jeu, Lausanne and Yvon Lambert's Collection Lambert in Avignon
     
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    Credit : Exhibition view, DRESSCODE, Hamid Maghraoui, Frac Languedoc Roussillon, 2016. Photo P.Schwartz.
     
     

    FIRDAY 13TH MAY

    Meeting with Nicolas Bourriaud, director of the contemporary art center La Panacée

    Nicolas Bourriaud co-founded, and from 1999 to 2006 was co-director of the Palais de Tokyo, Paris together with Jérôme Sans. He was also founder and director of the contemporary art magazine Documents sur l'art (1992–2000), and correspondent in Paris for Flash Art from 1987 to 1995. Bourriaud was the Gulbenkian curator of contemporary art from 2007-2010 at Tate Britain, London, and in 2009 he curated the fourth Tate Triennial there, entitled Altermodern.He was the Director of the École Nationale Supérieure des Beaux-Arts, an art school in Paris, France, from 2011 to 2015. In 2015, he was appointed director of the future Contemporary Art Center of Montpellier, France, due to open in 2019, and director of La Panacée art center.

     


    Philippe Durand La vallée des merveilles 2

    Centre Régional d’art contemporain, Sète

     

    Photographic, Philippe Durand’s work incorporates the world in a shifting geography, to different degree. A large part of his work regards the public space, looking for marks of expression that can be found there, auto-generated collages, graffiti, and stratification, objects placed and displaced. Considering the valley of marvels (national park of Mercantour) like a proto-museum in open air, without artists, curators, public or communication, the artist made of this area the place of his work development in a new spatial and temporal dimension. The exhibition Vallée des Merveilles 2 unfolds the stakes of this research, applying to a highly historical and symbolic site several representations, some being based on the mass-market entertainment industry. 
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    Credit : Exhibition view, CRAC, © Philippe Durand - Production CRAC LRMP
     

    Philippe RamettePromenades irrationnelles

    Centre Régional d’art contemporain, Sète

     
    Philippe Ramette is a plastic artist born in 1961 in Auxerre (France) and living and working in Paris. Primarily a sculptor, he creates objects whose purpose is not so much their quotidian use but the thinking process engaged in them. He then stages his sculptures in photographs. His practice is generally concerned with imagination, shifting meaning and perception and his works tinted with a defiantly absurd sense of demonstration. Philippe Ramette stages himself in a suit, composing the image of a landscape of which he will be a part of in the most extravagant way, in a visually stunning, or (literally) tilted image. His photographs, or rather his “installation-sculptures”, are never retouched or manipulated, as the artist wishes to preserve his sculpture.
     
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    Credit : Promenade irrationnelle - Philippe Ramette, Sans titre, 2015 Photographie couleur, Photo : Marc Domage © Philippe Ramette - Production CRAC LRMP
     

    Olga KisselevaSea view

    Centre Régional d’art contemporain, Sète

    The artist Olga Kisseleva's approach to her work is much the same as a scientist's. A discrepancy detected during a procedure or within the workings of a structure oblige her to formulate a hypothesis, in order to explain the complication in question, and wherever possible, to propose a solution to the problem.  She then determines the skills necessary to pursue the relative study, and commissions the research.

    The artist calls upon exact sciences, on genetic biology, geophysics, and also on political and social sciences. She proceeds with her experiments, calculations and analyses, while strictly respecting the methods of the scientific domain in question.  Her artistic hypothesis is thus verified and approved by a strictly scientific method.


    Musée Régional d’art contemporain de Sérignan (Mrac)

     
     
     
    In May 2016, in the frame of the opening of an extension, le Musée Régional de Sérignan will open an important solo show by the French mi career artist Bruno Peinado, who has also been commissioned to realise a permanent public installation for the museum. This opening will also be the occasion for the museum to host an important deposit of the CNAP’s (centre national des arts plastiques) collection. 
     
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    Credit simulation 3d de l’extension du musée de Sérignan © DR

     

  • Toshio Kondo Art Front Gallery Japon Site web
  • Alejandro Martin Museo La Tertulia, Cali Colombie Site web
  • Anna Czaban Contemporary Art Ujazdowski Castle Pologne Site web
  • Elif Kamisli Biennale d'Istanbul Turquie Site web
  • Felix Ruhöfer basis e.v, Francfort Allemagne Site web
  • Georgina Jackson Mercer Union Canada Site web
  • Leigh Arnold Nasher Sculpture Center États-Unis Site web
  • Lorna Brown Belkin art gallery Canada Site web
  • Massimo Torrigiani Pac - Padiglione di Arte Contemporanea di Milano Italie Site web
  • Taiye Idahor Contemporary art center, Lagos Nigéria Site web
  • Zhenya Chaika Ural Industrial Biennal Russie Site web
  • Kyla McDonald Glasgow sculpture studios Royaume-Uni Site web
  • Gridthiya Gaweewong Jim Thompson Art Center Thaïlande Site web
  • V. Sunil Kochi Biennale Foundation Inde Site web
  • Benjamin Seroussi Casa do Povo Brésil Site web
  • Severin Duenser 21er Haus Autriche Site web