Cellman

2003 - Painting (Painting)

200 x 200 x 5 cm

Fabrice Hyber


The works of Fabrice Hyber provoke divergent ways of thinking. In a kindred spirit with Raymond Hains, image and writing are intertwined. Drawings and diagrams are visually direct, as shown in the series of “Peintures Homéopathiques” (“Homeopathic Paintings”), collages covered in transparent resin (1986-1988). In Cellman (2003) on the bottom right, stones and the arrows refer to skipping stones of “thinking”. A recurring human figure, commonly associated with Hyber’s theatrical world, is shown in Cellman and also L’homme de Bessines (1990). The artist uses writing as an engine of formal and semantic associations (“galet, galette, cellman, bulle, cellule “). The figure recalls that the body is a collection of cells. Like in the work Artère, le jardin des dessins ( Artery, the garden of drawings, a monument commissioned by Sidaction, Parc de la Vilette, Paris), the artist captures the inner workings of the body through schemas.


In each of his self-portraits, Fabrice Hyber (he removed the last “t” in Hybert in 2004) is elusive. This has been expressed in the photo “C’est le moment de se préparer à de nouvelles expériences” (It’s time to prepare for new experiences) (1987), or when we look at the upside down, hanging by one foot in “Traduction, le plus gros savon du monde” (Translation, the biggest soap in the world) (1991). “I? am an alien! ” says the artist. “Games and shifts are the only things able to face any kind of fundamentalism. Trade, commerce, image and poetry are means of osmosis. Through them gradually you can set up all of the ways to increase life beyond death. It is necessary to mix time, upgrade products, and imagine that works die in order to be assimilated then revisited. A work is absolutely not precognitive but always from here” said Fabrice Hyber in conversation with Thierry Laurent. Fabrice Hyber was born in 1961 in Luçon, France. He lives and works in Paris.


Colors:



Other related works, blended automatically  
» see more

Valz
© » KADIST

Fabrice Hyber

2003

Drawing, which is the essential embodiment of Fabrice Hyber’s artistic thinking, is at the origin of all his works...

Related works sharing similar palette  
» see more

Marie Laurencin’s Queer, Feminine Utopias Are Gaining Renewed Recognition
© » ARTSY

Marie Laurencin’s Queer, Feminine Utopias Are Gaining Renewed Recognition | Artsy Skip to Main Content Advertisement Art Marie Laurencin’s Queer, Feminine Utopias Are Gaining Renewed Recognition Olivia Horn Nov 30, 2023 10:42PM Man Ray, Marie Laurencin , 1925...

Appearance of Isabel Rosario Cooper
© » KADIST

Miljohn Ruperto

2009

Miljohn Ruperto’s silent video work Appearance of Isabel Rosario Cooper is an archive of ghosts...

Six Impressionists you should know
© » ROYAL ACADEMY

Six Impressionists you should know | Article | Royal Academy of Arts Caption toggle button Six Impressionists you should know Published on 19 January 2024 Move over, Monet! Here are six Impressionists we think deserve the spotlight...

artn’t: Thailand’s Rebel Artists
© » ARTS EQUATOR

artn’t: Thailand’s Rebel Artists | ArtsEquator Skip to content Nutcha Tantivitayapitak and Sudarat Musikawong travel to Chiang Mai, Thailand to shine a light on the artn’t Collective, who are currently facing numerous legal charges for works that are viewed as critiquing the state...

Other works by: » Fabrice Hyber  
» see more

Valz
© » KADIST

Fabrice Hyber

2003

Drawing, which is the essential embodiment of Fabrice Hyber’s artistic thinking, is at the origin of all his works...

Related artist(s) to: Fabrice Hyber » Andrea Fraser, » Richard Long, » Amalia Ulman, » Angelika Markul, » Douglas Gordon, » Franz West, » James Lee Byars, » Julien Prévieux, » Lawrence Weiner, » Robert Filliou  
» see more

2016 in Museums, Moneys, and Politics
© » KADIST

Andrea Fraser

2020

The year 2016 is organized like a telephone book; the data corresponding to the contributions are classified in alphabetical order by the name of the donor...

The Making of Monster
© » KADIST

Douglas Gordon

1996

In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...

The Left Hand Can't See That the Right Hand is Blind
© » KADIST

Douglas Gordon

2004

Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...

Blind Spencer (Mirror)
© » KADIST

Douglas Gordon

2002

Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...

Related works found in the same semantic group  
» see more

Zasha Colah and Sumesh Sharma
© » KADIST

Zasha Colah and Sumesh Sharma, curators at Clark House Initiative Bombay, in discussion at Kadist Paris...

Prajakta Potnis
© » KADIST

In the framework of the exhibition: L’exigence de la saudade curated by Zasha Colah and Sumesh Sharma at Kadist Art Foundation in Paris...

Brutalismo Americano
© » KADIST

KADIST presents Brutalismo Americano , a newly commissioned work by Brazilian artist Marlon de Azambuja...

The Production of Truth and the Negation of Oblivion
© » KADIST

The Production of Truth and the Negation of Oblivion is an Online Video Exhibition conceived to accompany The Missing Circle , a three-year program curated by Magalí Arriola departing from the shared experience of death and extinction that has traversed Latin America since colonial times...