Figure: 20.00 x 20.00 x 20.00 cm, Cube: 100.00 x 40.00 x 40.00 cm
Epiphany…learnt through hardship is composed of a bronze sculpture depicting the model of the little dancer of Degas, in the pose of a female nude photographed by Edward Weston (Nude, 1936) accompanied by a blue cube. The work refers to the positive occupations of space and the absence of form and structure, to the relationship between the visible and the invisible, to memory, and to the relationship we have to images and to our history. The work refers to childhood, biography and learning to question how meaning is made and how history is remembered and performed. The installation of the piece on the floor of the exhibition space rouses a physical sense of being-in-space to which we are often unconscious; we move into the earth as we approach the work.
Ryan Gander’s practice explores what-ifs, questioning the structural limits and rules of society and being. His work, which ranges from installations, sculptures and photographs, to performative lectures, publications, inventions and intervention, looks at the production of art and culture, to enquire into the processes through which art is perceived and valued. The spirit of his practice centers on development, education, and storytelling, hoping to evoke immediate and honest engagements by the viewer with his narratives. Gander is a collector. His studio is filled with found images, personal images, printed documents and newspaper clippings.
NO POSITIONS AVAILABLE is composed of panels covering the entire wall of the gallery exemplifying one of the tendencies of the artist...
The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...
The work of Keith Tyson is concerned with an interest in generative systems, and embraces the complexity and interconnectedness of existence...
The film Line Describing a Cone was made in 1973 and it was projected for the first time at Fylkingen (Stockholm) on 30 August of the same year...
Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...
Untitled (Perfect Lovers + 1) by Cerith Wyn Evans takes as its starting point Felix Gonzales-Torres’s seminal work Untitled (Perfect Lovers) , in which two clocks were synchronized and left to run without interference, the implication being that one would stop before the other...
The work of Keith Tyson is concerned with an interest in generative systems, and embraces the complexity and interconnectedness of existence...
The film Line Describing a Cone was made in 1973 and it was projected for the first time at Fylkingen (Stockholm) on 30 August of the same year...
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Nicolas Daubanes — Du béton, de l’acier et de la viande — La Maréchalerie, centre d’art contemporain — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Nicolas Daubanes — Du béton, de l’acier et de la viande — La Maréchalerie, centre d’art contemporain — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Nicolas Daubanes — Du béton, de l’acier et de la viande Exposition Architecture, installations Derniers Jours Nicolas Daubanes, La grâce présidentielle, à la galerie Territoires Partagés, Marseille PAC 2022 © JC Lett Nicolas Daubanes Du béton, de l’acier et de la viande Encore 6 jours : 22 septembre → 17 décembre 2023 La pratique artistique de Nicolas Daubanes se déploie à travers le dessin, la sculpture, la vidéo et l’installation...
Mullican’s Stick Figure Drawings depict characters reduced to their most basic graphic representation...
Rosalind Nashashibi’s paintings incorporate motifs drawn from her day-to-day environment, often reworked with multiple variations...
Foreigners Everywhere is a series of neon signs in several different languages...
In One Must , an image of a pair of scissors, accompanied by the words of work’s title, poses an ominous question about the relationship between the image and the text...
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...