EXPERTENAUSWAHL
KURATIERTE AUSWAHL VON KUNSTWERKEN ANERKANNTER EXPERTEN DER ZEITGENÖSSISCHEN KUNSTWELT.
JÉRÔME PANTALACCI
DER GLAUBE DURCH DAS BILD
Ein fotografischer Blick. Die Fotografie hat seit ihrer Entstehung die Validierung der Leichtgläubigkeit des Betrachters in sich getragen. Sie wurde sofort als treue Reflexion der Realität wahrgenommen. Was sie nie war. Die Fotografen haben sich nie auf diese Treue beschränkt und haben die Kamera ergriffen, um einen anderen Blick auf die Welt zu werfen und mit unseren Wahrnehmungssinnen zu spielen. In einer Zeit, in der die digitale Technologie und die künstliche Intelligenz alle Manipulationen ermöglichen und das Bild ständig in Frage gestellt wird, während die Fotografie jegliche Validierung der Leichtgläubigkeit verloren hat und der Betrachter nicht mehr glaubt, was er sieht, spielen Fotografen weiterhin mit der Kamera, mit dem Rahmen, mit dem monofokalen Blickwinkel, um Bilder zu produzieren, die uns dazu bringen, die Welt anders zu betrachten. Eine neue Aufmerksamkeit für die Welt zu entwickeln, sich nur dem Realen zu nähern oder seinen Blickwinkel zu ändern, ist eine Erholung für [...]
Ein fotografischer Blick
Die Fotografie hat seit ihrer Entstehung die Validierung der Leichtgläubigkeit des Betrachters in sich getragen. Sie wurde sofort als treue Reflexion der Realität wahrgenommen. Was sie nie war. Die Fotografen haben sich nie auf diese Treue beschränkt und haben die Kamera ergriffen, um einen anderen Blick auf die Welt zu werfen und mit unseren Wahrnehmungssinnen zu spielen.
In einer Zeit, in der die digitale Technologie und die künstliche Intelligenz alle Manipulationen ermöglichen und das Bild ständig in Frage gestellt wird, während die Fotografie jegliche Validierung der Leichtgläubigkeit verloren hat und der Betrachter nicht mehr glaubt, was er sieht, spielen Fotografen weiterhin mit der Kamera, mit dem Rahmen, mit dem monofokalen Blickwinkel, um Bilder zu produzieren, die uns dazu bringen, die Welt anders zu betrachten.
Eine neue Aufmerksamkeit für die Welt zu entwickeln, sich nur dem Realen zu nähern oder seinen Blickwinkel zu ändern, ist eine Erholung für das Auge in einer Welt, die von ungültigen Bildern überschwemmt wird, die uns unseren Glauben an die Realität verlieren lassen.
Ein fotografischer Blick. Die Fotografie hat seit ihrer Entstehung die Validierung der Leichtgläubigkeit des Betrachters in sich getragen. Sie wurde sofort als treue Reflexion der Realität wahrgenommen. Was sie nie war. Die Fotografen haben sich nie auf diese Treue beschränkt und haben die Kamera ergriffen, um einen anderen Blick auf die Welt zu werfen und mit unseren Wahrnehmungssinnen zu spielen. In einer Zeit, in der die digitale Technologie und die künstliche Intelligenz alle Manipulationen ermöglichen und das Bild ständig in Frage gestellt wird, während die Fotografie jegliche Validierung [...]
Ein fotografischer Blick
Die Fotografie hat seit ihrer Entstehung die Validierung der Leichtgläubigkeit des Betrachters in sich getragen. Sie wurde sofort als treue Reflexion der Realität wahrgenommen. Was sie nie war. Die Fotografen haben sich nie auf diese Treue beschränkt und haben die Kamera ergriffen, um einen anderen Blick auf die Welt zu werfen und mit unseren Wahrnehmungssinnen zu spielen.
In einer Zeit, in der die digitale Technologie und die künstliche Intelligenz alle Manipulationen ermöglichen und das Bild ständig in Frage gestellt wird, während die Fotografie jegliche Validierung der Leichtgläubigkeit verloren hat und der Betrachter nicht mehr glaubt, was er sieht, spielen Fotografen weiterhin mit der Kamera, mit dem Rahmen, mit dem monofokalen Blickwinkel, um Bilder zu produzieren, die uns dazu bringen, die Welt anders zu betrachten.
Eine neue Aufmerksamkeit für die Welt zu entwickeln, sich nur dem Realen zu nähern oder seinen Blickwinkel zu ändern, ist eine Erholung für das Auge in einer Welt, die von ungültigen Bildern überschwemmt wird, die uns unseren Glauben an die Realität verlieren lassen.
MARC DONNADIEU
FAMILIENBILDER (DER INDIANER-SOMMER)
Ein fotografischer Ausflug. Dieser fotografische Ausflug beschäftigt sich mit der Sommerzeit, einem Moment, in dem man das Gewöhnliche des Alltags hinter sich lässt, um diese Urlaubszeit anders zu erleben. So ermöglicht er es, mit Feingefühl neue Familiengeschichten festzuhalten, ähnlich wie die Bilder von Hicham Ahyoud, Hervé Gergaud oder Anne-Marie Bertin. Die Zeit der Reise zerfällt und rekonstruiert sich hervorragend in visuelle Fragmente. Die Werke von Henry Pouillon, Jean-Michel Ratron und Catherine Ballet sind das perfekte Beispiel dafür durch Effekte von Kontrast, Verzerrung oder Überlagerung. Für viele ist der Strand das emblematische Territorium der Ferien. Man trifft sich dort zahlreich und isoliert sich gleichzeitig von anderen. Die Fotografien von Cécile Ducrot, Emmanuel Passeleu und Hégémon Chaignon geben somit die menschliche Fragilität angesichts der Unermesslichkeit des maritimen Horizonts wieder. Doch sie ist ebenso eine Eroberung der Vertikalität, wie Gilliard Bressan [...]
Ein fotografischer Ausflug
Dieser fotografische Ausflug beschäftigt sich mit der Sommerzeit, einem Moment, in dem man das Gewöhnliche des Alltags hinter sich lässt, um diese Urlaubszeit anders zu erleben. So ermöglicht er es, mit Feingefühl neue Familiengeschichten festzuhalten, ähnlich wie die Bilder von Hicham Ahyoud, Hervé Gergaud oder Anne-Marie Bertin.
Die Zeit der Reise zerfällt und rekonstruiert sich hervorragend in visuelle Fragmente. Die Werke von Henry Pouillon, Jean-Michel Ratron und Catherine Ballet sind das perfekte Beispiel dafür durch Effekte von Kontrast, Verzerrung oder Überlagerung.
Für viele ist der Strand das emblematische Territorium der Ferien. Man trifft sich dort zahlreich und isoliert sich gleichzeitig von anderen. Die Fotografien von Cécile Ducrot, Emmanuel Passeleu und Hégémon Chaignon geben somit die menschliche Fragilität angesichts der Unermesslichkeit des maritimen Horizonts wieder. Doch sie ist ebenso eine Eroberung der Vertikalität, wie Gilliard Bressan und Sharlie Evans bezeugen. Man misst sich an anderen, wie man sich dort zu zweit durch fast luftige Figuren umarmt.
Die Fotografie ist ebenfalls eine Angelegenheit von Farben und Grafik, wie die melancholischen Sonnenuntergänge von Ori Junior, Debbie Scott-Queenin oder Elke Matthaeus bestätigen.
Luc Pallegoix verankert schließlich im Herzen der Sommernächte totemische Tierfiguren, die sowohl vom Spiel als auch von der Träumerei zeugen. Und wenn man im Sommer spielen würde?...
Ein fotografischer Ausflug. Dieser fotografische Ausflug beschäftigt sich mit der Sommerzeit, einem Moment, in dem man das Gewöhnliche des Alltags hinter sich lässt, um diese Urlaubszeit anders zu erleben. So ermöglicht er es, mit Feingefühl neue Familiengeschichten festzuhalten, ähnlich wie die Bilder von Hicham Ahyoud, Hervé Gergaud oder Anne-Marie Bertin. Die Zeit der Reise zerfällt und rekonstruiert sich hervorragend in visuelle Fragmente. Die Werke von Henry Pouillon, Jean-Michel Ratron und Catherine Ballet sind das perfekte Beispiel dafür durch Effekte von Kontrast, Verzerrung oder Überlagerung. [...]
Ein fotografischer Ausflug
Dieser fotografische Ausflug beschäftigt sich mit der Sommerzeit, einem Moment, in dem man das Gewöhnliche des Alltags hinter sich lässt, um diese Urlaubszeit anders zu erleben. So ermöglicht er es, mit Feingefühl neue Familiengeschichten festzuhalten, ähnlich wie die Bilder von Hicham Ahyoud, Hervé Gergaud oder Anne-Marie Bertin.
Die Zeit der Reise zerfällt und rekonstruiert sich hervorragend in visuelle Fragmente. Die Werke von Henry Pouillon, Jean-Michel Ratron und Catherine Ballet sind das perfekte Beispiel dafür durch Effekte von Kontrast, Verzerrung oder Überlagerung.
Für viele ist der Strand das emblematische Territorium der Ferien. Man trifft sich dort zahlreich und isoliert sich gleichzeitig von anderen. Die Fotografien von Cécile Ducrot, Emmanuel Passeleu und Hégémon Chaignon geben somit die menschliche Fragilität angesichts der Unermesslichkeit des maritimen Horizonts wieder. Doch sie ist ebenso eine Eroberung der Vertikalität, wie Gilliard Bressan und Sharlie Evans bezeugen. Man misst sich an anderen, wie man sich dort zu zweit durch fast luftige Figuren umarmt.
Die Fotografie ist ebenfalls eine Angelegenheit von Farben und Grafik, wie die melancholischen Sonnenuntergänge von Ori Junior, Debbie Scott-Queenin oder Elke Matthaeus bestätigen.
Luc Pallegoix verankert schließlich im Herzen der Sommernächte totemische Tierfiguren, die sowohl vom Spiel als auch von der Träumerei zeugen. Und wenn man im Sommer spielen würde?...
SONIA PERRIN
THE FOREST OF DREAMS
YourArt gives a voice to all visual artists and those who support them. Browse YourArt is a journey conducive to encounters, reflection, sharing of emotions and discovery. A walk where the diversity of creations and passions is comparable to the ecosystem of a forest. Artists are lookouts who invite us to keep our eyes open to the world.
Their testimony, in the selection offered here, highlights the beauty and richness of the living world through works that question the place of Man in his community. Networks or roots, branches or social fabrics, Man, just like the tree, flourishes within a living and global organization.
This link is not lost on artists who, in their representation of the plant world, denounce the imprint of Man on his environment, and encourage us to become aware of the vital nature that we have to modify our being-in-the-world.
Their testimony, in the selection offered here, highlights the beauty and richness of the living world through works that question the place of Man in his community. Networks or roots, branches or social fabrics, Man, just like the tree, flourishes within a living and global organization.
This link is not lost on artists who, in their representation of the plant world, denounce the imprint of Man on his environment, and encourage us to become aware of the vital nature that we have to modify our being-in-the-world.
YourArt gives a voice to all visual artists and those who support them. Browse YourArt is a journey conducive to encounters, reflection, sharing of emotions and discovery. A walk where the diversity of creations and passions is comparable to the ecosystem of a forest. Artists are lookouts who invite us to keep our eyes open to the world. Their testimony, in the selection offered here, highlights the beauty and richness of the living world through works that question the place of Man in his community. Networks or roots, branches or social fabrics, Man, just like the tree, flourishes within a living [...]
YourArt gives a voice to all visual artists and those who support them. Browse YourArt is a journey conducive to encounters, reflection, sharing of emotions and discovery. A walk where the diversity of creations and passions is comparable to the ecosystem of a forest. Artists are lookouts who invite us to keep our eyes open to the world.
Their testimony, in the selection offered here, highlights the beauty and richness of the living world through works that question the place of Man in his community. Networks or roots, branches or social fabrics, Man, just like the tree, flourishes within a living and global organization.
This link is not lost on artists who, in their representation of the plant world, denounce the imprint of Man on his environment, and encourage us to become aware of the vital nature that we have to modify our being-in-the-world.
SONIA PERRIN
COUPS DE ❤️ ART-O-RAMA
YourArt is a partner of Art-o-rama, the feel-good fair. A stroll through the identity-related concerns of Generation Z, the 17th edition of this summer event dedicated to emerging galleries is refreshing. 1/ Sissi Club invites artists Camille Bernard and Corentin Darré to a sensitive and fantastic dialogue. Camille Bernard paints scenes in which humans, represented in inclusive form, cohabit between two worlds, in carnal and spiritual harmony with nature. Corentin Darré's stories are based on modern fairy tales, and explore the vulnerability of identity through sculpture and 3D video. 2/ Gaby Sahhar exhibits the Europe-Palestine project at Spiaggia Libera. Her paintings and drawings deal with the construction of identity linked to migration and gender identity. The series reveals hybrid architectures, between European capitals and the West Bank, and bears witness to the artist's phycho-affective context. 3/ Galerie in situ presents the sociological work of young visual and performance [...]
YourArt is a partner of Art-o-rama, the feel-good fair. A stroll through the identity-related concerns of Generation Z, the 17th edition of this summer event dedicated to emerging galleries is refreshing.
1/ Sissi Club invites artists Camille Bernard and Corentin Darré to a sensitive and fantastic dialogue. Camille Bernard paints scenes in which humans, represented in inclusive form, cohabit between two worlds, in carnal and spiritual harmony with nature. Corentin Darré's stories are based on modern fairy tales, and explore the vulnerability of identity through sculpture and 3D video.
2/ Gaby Sahhar exhibits the Europe-Palestine project at Spiaggia Libera. Her paintings and drawings deal with the construction of identity linked to migration and gender identity. The series reveals hybrid architectures, between European capitals and the West Bank, and bears witness to the artist's phycho-affective context.
3/ Galerie in situ presents the sociological work of young visual and performance artist Oroma Elewa. In large-format photo and text tableaux, the artist questions the image of black women and the stereotypes associated with their cultural identity.
4/ At Gilles Drouault, artist Johannes Sivertsen draws inspiration from the great masters of classical painting, such as Delacroix, to question the mechanisms of power within dominant groups, and bears witness to the dual process of otherness and hostility towards minorities.
YourArt is a partner of Art-o-rama, the feel-good fair. A stroll through the identity-related concerns of Generation Z, the 17th edition of this summer event dedicated to emerging galleries is refreshing. 1/ Sissi Club invites artists Camille Bernard and Corentin Darré to a sensitive and fantastic dialogue. Camille Bernard paints scenes in which humans, represented in inclusive form, cohabit between two worlds, in carnal and spiritual harmony with nature. Corentin Darré's stories are based on modern fairy tales, and explore the vulnerability of identity through sculpture and 3D video. 2/ Gaby [...]
YourArt is a partner of Art-o-rama, the feel-good fair. A stroll through the identity-related concerns of Generation Z, the 17th edition of this summer event dedicated to emerging galleries is refreshing.
1/ Sissi Club invites artists Camille Bernard and Corentin Darré to a sensitive and fantastic dialogue. Camille Bernard paints scenes in which humans, represented in inclusive form, cohabit between two worlds, in carnal and spiritual harmony with nature. Corentin Darré's stories are based on modern fairy tales, and explore the vulnerability of identity through sculpture and 3D video.
2/ Gaby Sahhar exhibits the Europe-Palestine project at Spiaggia Libera. Her paintings and drawings deal with the construction of identity linked to migration and gender identity. The series reveals hybrid architectures, between European capitals and the West Bank, and bears witness to the artist's phycho-affective context.
3/ Galerie in situ presents the sociological work of young visual and performance artist Oroma Elewa. In large-format photo and text tableaux, the artist questions the image of black women and the stereotypes associated with their cultural identity.
4/ At Gilles Drouault, artist Johannes Sivertsen draws inspiration from the great masters of classical painting, such as Delacroix, to question the mechanisms of power within dominant groups, and bears witness to the dual process of otherness and hostility towards minorities.
THE DRAWER
RAINBOW PORTRAITS
Photographer, draughtsman and performer, Laurent Poleo-Garnier graduated from the Beaux-Arts de Paris in 2020. Sensitive and close to their models, his portraits of Parisian and Berlin youth, or of dancer and choreographer François Chaignaud, tell the story of a fluid era and express the artist's taste for metamorphoses, costumes, the world of show business, drag culture and its representatives, illustrious or anonymous. Laurent Poleo-Garnier also depicts himself in self-portraits inspired by figures from his personal pantheon (Nijinsky, Yves Saint Laurent, etc.), sometimes enhanced in ink or pencil with rainbow colors. These founding, free and transgressive figures are also reproduced in his works on canvas and paper. Far from the selfie and close to the homage, the images of Poleo-Garnier, a transformist artist heir to the pioneers Barbette, Claude Cahun and Manon, blend eras, genres and mediums, building aesthetic and sensitive bridges between the 20th and 21st centuries, between the [...]
Photographer, draughtsman and performer, Laurent Poleo-Garnier graduated from the Beaux-Arts de Paris in 2020. Sensitive and close to their models, his portraits of Parisian and Berlin youth, or of dancer and choreographer François Chaignaud, tell the story of a fluid era and express the artist's taste for metamorphoses, costumes, the world of show business, drag culture and its representatives, illustrious or anonymous.
Laurent Poleo-Garnier also depicts himself in self-portraits inspired by figures from his personal pantheon (Nijinsky, Yves Saint Laurent, etc.), sometimes enhanced in ink or pencil with rainbow colors. These founding, free and transgressive figures are also reproduced in his works on canvas and paper.
Far from the selfie and close to the homage, the images of Poleo-Garnier, a transformist artist heir to the pioneers Barbette, Claude Cahun and Manon, blend eras, genres and mediums, building aesthetic and sensitive bridges between the 20th and 21st centuries, between the visual arts and the performing arts.
Photographer, draughtsman and performer, Laurent Poleo-Garnier graduated from the Beaux-Arts de Paris in 2020. Sensitive and close to their models, his portraits of Parisian and Berlin youth, or of dancer and choreographer François Chaignaud, tell the story of a fluid era and express the artist's taste for metamorphoses, costumes, the world of show business, drag culture and its representatives, illustrious or anonymous. Laurent Poleo-Garnier also depicts himself in self-portraits inspired by figures from his personal pantheon (Nijinsky, Yves Saint Laurent, etc.), sometimes enhanced in ink or [...]
Photographer, draughtsman and performer, Laurent Poleo-Garnier graduated from the Beaux-Arts de Paris in 2020. Sensitive and close to their models, his portraits of Parisian and Berlin youth, or of dancer and choreographer François Chaignaud, tell the story of a fluid era and express the artist's taste for metamorphoses, costumes, the world of show business, drag culture and its representatives, illustrious or anonymous.
Laurent Poleo-Garnier also depicts himself in self-portraits inspired by figures from his personal pantheon (Nijinsky, Yves Saint Laurent, etc.), sometimes enhanced in ink or pencil with rainbow colors. These founding, free and transgressive figures are also reproduced in his works on canvas and paper.
Far from the selfie and close to the homage, the images of Poleo-Garnier, a transformist artist heir to the pioneers Barbette, Claude Cahun and Manon, blend eras, genres and mediums, building aesthetic and sensitive bridges between the 20th and 21st centuries, between the visual arts and the performing arts.
STARTER
ARTYSANAT
If the boundary between art and craft has always been difficult to draw, today it is even more permeable with the arrival of technologies capable of reproducing the work of the human hand.
By turns craftsmen, designers, photographers, sculptors, and sometimes all at once, the artists in this selection produce works that are veritable condensations of technicality, whether automated or manual. While they sometimes call on cutting-edge technologies such as artificial intelligence, they also revisit ancestral methods where calm and patience are de rigueur, the combination of these skills leading to a redefinition and new incarnation of aesthetic codes.
Is it still possible to distinguish the work of man from that of the machine?
This tour questions the role of the hand in contemporary production, whether by its absence when it is replaced by an algorithm, or by its obvious presence when the work reveals a commitment to the artist's gesture and body.
By turns craftsmen, designers, photographers, sculptors, and sometimes all at once, the artists in this selection produce works that are veritable condensations of technicality, whether automated or manual. While they sometimes call on cutting-edge technologies such as artificial intelligence, they also revisit ancestral methods where calm and patience are de rigueur, the combination of these skills leading to a redefinition and new incarnation of aesthetic codes.
Is it still possible to distinguish the work of man from that of the machine?
This tour questions the role of the hand in contemporary production, whether by its absence when it is replaced by an algorithm, or by its obvious presence when the work reveals a commitment to the artist's gesture and body.
If the boundary between art and craft has always been difficult to draw, today it is even more permeable with the arrival of technologies capable of reproducing the work of the human hand. By turns craftsmen, designers, photographers, sculptors, and sometimes all at once, the artists in this selection produce works that are veritable condensations of technicality, whether automated or manual. While they sometimes call on cutting-edge technologies such as artificial intelligence, they also revisit ancestral methods where calm and patience are de rigueur, the combination of these skills leading [...]
If the boundary between art and craft has always been difficult to draw, today it is even more permeable with the arrival of technologies capable of reproducing the work of the human hand.
By turns craftsmen, designers, photographers, sculptors, and sometimes all at once, the artists in this selection produce works that are veritable condensations of technicality, whether automated or manual. While they sometimes call on cutting-edge technologies such as artificial intelligence, they also revisit ancestral methods where calm and patience are de rigueur, the combination of these skills leading to a redefinition and new incarnation of aesthetic codes.
Is it still possible to distinguish the work of man from that of the machine?
This tour questions the role of the hand in contemporary production, whether by its absence when it is replaced by an algorithm, or by its obvious presence when the work reveals a commitment to the artist's gesture and body.
STARTER
IMAGINING THE INVISIBLE
Since the first "views from above", taken from a balloon in the mid-19th century, fascination with aerial views has grown steadily, in tandem with technological advances and the conquest of space. The magnetism exerted by cosmic iconography oscillates between wonder and disquiet. Artists seize on aerial mapping technologies as tools of surveillance, or imagine what has yet to be observed, depicting in the process more or less optimistic visions of our planet and the omnipresent control systems that surround us, as witness Markel Redondo's works, archaeologies of a new type of ruin, or Leah Desmousseaux's clichés born of an immobile voyage. Representations of that which is not visible from our own point of view fuel both hopes and fears. Blaise Schwartz asks us: are we strangers to our own world? What is invisible arouses curiosity and leaves potential room for a new apprehension of space, as illustrated by Yannis Khannoussi. But the unknown remains a threat. Space images offer a window [...]
Since the first "views from above", taken from a balloon in the mid-19th century, fascination with aerial views has grown steadily, in tandem with technological advances and the conquest of space.
The magnetism exerted by cosmic iconography oscillates between wonder and disquiet. Artists seize on aerial mapping technologies as tools of surveillance, or imagine what has yet to be observed, depicting in the process more or less optimistic visions of our planet and the omnipresent control systems that surround us, as witness Markel Redondo's works, archaeologies of a new type of ruin, or Leah Desmousseaux's clichés born of an immobile voyage.
Representations of that which is not visible from our own point of view fuel both hopes and fears. Blaise Schwartz asks us: are we strangers to our own world?
What is invisible arouses curiosity and leaves potential room for a new apprehension of space, as illustrated by Yannis Khannoussi. But the unknown remains a threat.
Space images offer a window onto distant worlds, but also materialize the extent of our ignorance, stimulating our desire to discover, feeding the fantasy of another form of life, but also scientific research, supporting the need to explore the abysses of our galaxy.
Since the first "views from above", taken from a balloon in the mid-19th century, fascination with aerial views has grown steadily, in tandem with technological advances and the conquest of space. The magnetism exerted by cosmic iconography oscillates between wonder and disquiet. Artists seize on aerial mapping technologies as tools of surveillance, or imagine what has yet to be observed, depicting in the process more or less optimistic visions of our planet and the omnipresent control systems that surround us, as witness Markel Redondo's works, archaeologies of a new type of ruin, or Leah Desmousseaux's [...]
Since the first "views from above", taken from a balloon in the mid-19th century, fascination with aerial views has grown steadily, in tandem with technological advances and the conquest of space.
The magnetism exerted by cosmic iconography oscillates between wonder and disquiet. Artists seize on aerial mapping technologies as tools of surveillance, or imagine what has yet to be observed, depicting in the process more or less optimistic visions of our planet and the omnipresent control systems that surround us, as witness Markel Redondo's works, archaeologies of a new type of ruin, or Leah Desmousseaux's clichés born of an immobile voyage.
Representations of that which is not visible from our own point of view fuel both hopes and fears. Blaise Schwartz asks us: are we strangers to our own world?
What is invisible arouses curiosity and leaves potential room for a new apprehension of space, as illustrated by Yannis Khannoussi. But the unknown remains a threat.
Space images offer a window onto distant worlds, but also materialize the extent of our ignorance, stimulating our desire to discover, feeding the fantasy of another form of life, but also scientific research, supporting the need to explore the abysses of our galaxy.
THE DRAWER
THE ART OF BLURRING
Working the image or motif in such a way as to give it an indefinite character, playing with tools or scales to modify reality, bringing sensations to life through a gesture or repeated writing: blur is a singular art form. Breaking away from figurative art, but not in the realm of abstraction, these works deserve redoubled attention. What is there to see in Léa Belooussovitch's colored pencil drawings on felt-tip pen? What's the point of Armelle de Sainte Marie's works on paper, made with an often-repeated hatching gesture? You have to look at the titles of the works to grasp the subject. The first is based on violent news images, which she reframes and redraws in her own way. The second seeks to depict atmospheres, worlds, seascapes or forests. For Houston Maludi, it's the accumulation of details that leads to a form of indeterminacy. From a distance, the compositions resemble an abstract motif. Up close, an urban landscape comes to life. Charles Le Hyaric, for his part, seeks to mimic [...]
Working the image or motif in such a way as to give it an indefinite character, playing with tools or scales to modify reality, bringing sensations to life through a gesture or repeated writing: blur is a singular art form. Breaking away from figurative art, but not in the realm of abstraction, these works deserve redoubled attention. What is there to see in Léa Belooussovitch's colored pencil drawings on felt-tip pen? What's the point of Armelle de Sainte Marie's works on paper, made with an often-repeated hatching gesture? You have to look at the titles of the works to grasp the subject. The first is based on violent news images, which she reframes and redraws in her own way. The second seeks to depict atmospheres, worlds, seascapes or forests. For Houston Maludi, it's the accumulation of details that leads to a form of indeterminacy. From a distance, the compositions resemble an abstract motif. Up close, an urban landscape comes to life. Charles Le Hyaric, for his part, seeks to mimic "what we perceive of this great whole called nature". He entitles his canvas "Ouvrir les yeux sous l'eau" ("Open your eyes under water"). And everything naturally becomes a blur. English artist Jack Warne, who suffers from a hereditary corneal disease, manipulates the source photographic image to create compositions in which real objects stand out. These works are best viewed with eyes half-closed, to gain new insights into our world and theirs.
Working the image or motif in such a way as to give it an indefinite character, playing with tools or scales to modify reality, bringing sensations to life through a gesture or repeated writing: blur is a singular art form. Breaking away from figurative art, but not in the realm of abstraction, these works deserve redoubled attention. What is there to see in Léa Belooussovitch's colored pencil drawings on felt-tip pen? What's the point of Armelle de Sainte Marie's works on paper, made with an often-repeated hatching gesture? You have to look at the titles of the works to grasp the subject. The [...]
Working the image or motif in such a way as to give it an indefinite character, playing with tools or scales to modify reality, bringing sensations to life through a gesture or repeated writing: blur is a singular art form. Breaking away from figurative art, but not in the realm of abstraction, these works deserve redoubled attention. What is there to see in Léa Belooussovitch's colored pencil drawings on felt-tip pen? What's the point of Armelle de Sainte Marie's works on paper, made with an often-repeated hatching gesture? You have to look at the titles of the works to grasp the subject. The first is based on violent news images, which she reframes and redraws in her own way. The second seeks to depict atmospheres, worlds, seascapes or forests. For Houston Maludi, it's the accumulation of details that leads to a form of indeterminacy. From a distance, the compositions resemble an abstract motif. Up close, an urban landscape comes to life. Charles Le Hyaric, for his part, seeks to mimic "what we perceive of this great whole called nature". He entitles his canvas "Ouvrir les yeux sous l'eau" ("Open your eyes under water"). And everything naturally becomes a blur. English artist Jack Warne, who suffers from a hereditary corneal disease, manipulates the source photographic image to create compositions in which real objects stand out. These works are best viewed with eyes half-closed, to gain new insights into our world and theirs.
STARTER
NEW PERSPECTIVES
This selection aims to highlight, in the most respectful way possible, an artistic and activist presence that offers new perspectives, in particular a generation of LGBTQIA+ artists whose practices are seizing on societal issues.
Through their work, these artists convey values of inclusion, witness and respect for difference.
The selected works explore shifting identities in both discourse and form, illustrate dreams and inspirations, raise awareness of sexual and gender discrimination, challenge heteronormative and cisgender models, and above all reject injunctions to fit into boxes.
Through their work, these artists convey values of inclusion, witness and respect for difference.
The selected works explore shifting identities in both discourse and form, illustrate dreams and inspirations, raise awareness of sexual and gender discrimination, challenge heteronormative and cisgender models, and above all reject injunctions to fit into boxes.
This selection aims to highlight, in the most respectful way possible, an artistic and activist presence that offers new perspectives, in particular a generation of LGBTQIA+ artists whose practices are seizing on societal issues.
Through their work, these artists convey values of inclusion, witness and respect for difference.
The selected works explore shifting identities in both discourse and form, illustrate dreams and inspirations, raise awareness of sexual and gender discrimination, challenge heteronormative and cisgender models, and above all reject injunctions to fit into boxes.
Through their work, these artists convey values of inclusion, witness and respect for difference.
The selected works explore shifting identities in both discourse and form, illustrate dreams and inspirations, raise awareness of sexual and gender discrimination, challenge heteronormative and cisgender models, and above all reject injunctions to fit into boxes.
