Press Dossier GB - Galerie Les Filles du Calvaire

Press Dossier
Brussels
Exhibition from 15th January to 6th March 2010
Opening Thursday 14th January from 6 pm to 9 pm
FDC SATELLITE
GALERIE LES FILLES DU CALVAIRE, BRUXELLES
Boulevard Barthelemy, 20, 1000 Bruxelles, Tel: +32 (0) 2 511 63 20, Fax:+32 (0) 2 511 45 16
[email protected] - www.fdcsatellite.com
Press Release
Speed Dating, Edith Dekyndt - Gert Robijns
La terre d’à côté, Paul Pouvreau - Hugues Reip
Exhibition from 15th January to 6th March 2010
Opening Thursday 14th January 2010
The gallery FDC SATELLITE (Les filles du calvaire, Brussels) is pleased to present Speed Dating , an invitation
from Edith Dekyndt (BE) to Gert Robijns (BE), and La terre d’à côté an invitation from Paul Pouvreau (FR) to
Hugues Reip (FR). These are eyes meeting between four artists sharing their recreated common, daily concerns.
Edith Dekyndt
In accomplishing her creative acts by way of an experimental approach to the world, Edith Dekyndt relates to that driving force which is
desire, comparable to the constructivist sentiment defined by Deleuze and Guattari: “Desire is always assembled and fabricated.”1 Driven by
this dynamic aspiration, as embodied in the alternating laboratory practices of evasion and observation, her work is nurtured by a meticulous
attention to the physical world. Its epitome is not dissimilar to Stimmung, which has been studied for a long time in numerous disciplines
(philosophy, aesthetics and literature). This German concept could be summarised as the expression of a harmonious unity and sensation of
plenitude we experience when faced with a landscape, to the extent that it brings about the desire to be absorbed by or even become the
landscape (Liquid States-Weather Indices, and Stimmung).
Whilst assembling a coherent whole, Dekyndt confounds improbabilities, whichreveal the intention of her work and give it a poetic power of
persuasion. First there is movement, then hands.
Beginning with the liquid, aerial movement, the shift is always a generic, operational device, to the point of overstepping boundaries and
proposing the mad design of filming the explosion of a bottle of water in the far north of Canada (Program for a Cold Place). This futile plan if
ever there was one, to organise an artistic expedition in the manner of the great exploratory missions, the height of utopia in its enthusiasm,
now governs the course of her work under the title Universal Research of Subjectivity.
The physical anchoring point in the real world of her elusive and molecular, fragile and unstable work always results from an intuition. The
artist seizes on a moment of life and focuses on it tenaciously, revealing its free configurations of movement. She presents the imperceptible
movement of dust in a shaft of light (Discreet Piece), or plays on the length of time accorded to insignificant objects, so as to magnify the
element in suspension and its trajectories (Parallelepiped of Air). If sometimes the experiment involves a geographic displacement, this desire
for movement also reveals changes in state (liquid/solid – invisible/ visible), sustaining itself on the immediacy of and at the same time
revealing their sensuous qualities2.
Paradoxically, the creation is worked out through manipulation in the sense of handling, rather than some manœuvre which aims to hatch
some plot or other or misrepresent reality. Hands shape matter (Martial M), they delimit it (Provisory Object 01, 02, 03). Confronted with the
vision of the latter, the renunciation of the notion of nothingness emerges. As Gaston Bachelard wrote in his essay Water and Dreams: “By
remaining long enough on the iridescent surface we understand the price of profundity.”3 This image of the abyss, paradoxically introduced
by a surface, offers an astonishing insight into Dekyndt’s approach to her work, which absorbs (…)
Extract from the text of Cécilia Bezzan, Are you experienced ? , catalogue Edith Dekyndt, I Remember Earth, 2009
(1) Jean-Paul Thibaut, Mouvement et perception des ambiances souterraines in Les annales de la recherche urbaine, june 1996, n°71
(2) Gaston Bachelard, L’eau et les rêves, Ed. José Corti, Paris, 1942
Paul Pouvreau
In his work, Paul Pouvreau, prefers to use an increased representation of realism or of a like realism that is re-edified. Pouvreau uses
documents that are loaded with what may call standard value, such as the written word, often injected with diverse, banal roles which are
already in use in other forms such as in the consumer society and informational documentation of our daily lives. These different materials
are the support beams in this horizontal dimension and Duchamp-esque of his work. All of these images where we can also find packing
boxes, newspaper pages, advertising posters and documentary photography: All of these images, objects and ideas that they refer to are
then reorganized in a composition of realism, often the source of criticism. Some of these images are chiselled into a conceptual approach,
others are modelled under the details of signification, whilst others, finally, are assembled with humour, derision or poetry. This original and
voluntary style of creation diverts our habitual codes of interpretation whereas the spectator derives no logic, and cannot, oppositely, “say”
anything where he or she demands an answer. With his “Various facts” Paul Pouvreau, produces a photographic series composed of
commercial advertising. The directional use of its extreme quality on the “product”, in its lighting, framing and composition of the image
greets the viewer with pure visual bliss. While these commercial images are consumed in our daily outlook, here, the incongruity of the objects
FDC SATELLITE
GALERIE LES FILLES DU CALVAIRE, BRUXELLES
Boulevard Barthelemy, 20, 1000 Bruxelles, Tel: +32 (0) 2 511 63 20, Fax:+32 (0) 2 511 45 16
[email protected] - www.fdcsatellite.com
have become glorified through the strength of the light beaming from the projectors that defies our understanding. In fact the materials used
to compose this “product” are none other than humble, plastic bags. These discourteous accessories, transient and amusing are simple
residues of our activities as consumers and they find themselves gracefully drowned in their intricate, beautifully overlaid fragments and
harmonious compositions where the colours measure out the balance of its forms. Their precarious and intrinsic fragility suggests a
friendship, an indulgence, almost a compassion for these little beings of no importance that attempt to grow into the gratifying status of
art.(…)
Véronique d’Auzac de Lamartinie, « Documents à l’appui » : le réalisme recomposé de Paul Pouvreau. Véronique d’Auzac de Lamartinie : Author of « L’art
contemporain est-il de l’art ? » Publishing of l’Hèbe, art critic.
Hugues Reip
« Far from bringing us new responces or new definitions, Hugues Reip, on the contrary lets himself go through questions that are directly
asked of us: « How do you present reality that escape us? Can we further than what is visible? What is an image and what is the use of it or,
better still, what kind of meaning can we derive from it »?
And, from his side, to invent, new ways of escaping from the already established knowledge in order to question the nature, its sense and our
conscience outlook in realism as well as its more simple Metamorphosis”.
Extract from the text of Charles-Arthur Boyer, catalogue Hugues Reip. Co-publishing le Quartier, Centre d’art contemporain, Quimper, and le Frac FrancheComté.
“We have to accept that there are a dozen evolving worlds intertwined to this one and in the same space” Abraham Merritt (1) We can
attempt to trace a discontinued line, that, since the dawn of humanity, shows the desire to comprehend and to interpret our universe. For our
precursors, it was about intuition, mythology, and divine intervention, in order to explain the irrational. The first writers of fables participated
in elaborate fictive reproductions, followed by narratives from Jules Verne (2) that rendered the unreal believable. It evoked a world that
would have a body, time, and a space visibly different from ours…but at the same place. This double reality of floating worlds was frequently
the place of an eat me, drink me (3) where a number of artists would draw upon for their inspirations (…). Lucien de Samosate (4), whilst
composing the very first text of science-fiction, taking into account the author from beyond the worlds, drew from mythology, the absurd,
confabulation, insolence and paradoxically entitled his work « Real Stories ». The works presented hereby establish as many points of views
possible on a place where fiction becomes this fantastic reality revealing a dream-like effect that we all have inside us and that we could
define as a Cartesian dream. All a world.
Extract of Parallel Worlds (catalog) – Sprout publishing, Tokyo, 2008.
(1) Author and editor of American science fiction (1884-1943)
Dwellers in the mirage, 1932) Publishing. .J'ai Lu, 1999
(2) French writers (1828-1905)
(3) Lewis Carroll, writer photographer, and English mathematician
(4) Greek writer (125-192)
Histoire Véritable (Verae Historiae,166 ) Publishing. Actes Sud. 1988.
Gert Robijns
From a distance what seems to be presented like an abstract sculpture, or an accentuated mural decoration, white on white, reveals itself as
cupboards from a furbished kitchen. They occupy a place, generally unused, directly under the ceiling of the exhibition imposing on us its
bird’s eye view. The use of all of this furniture finds itself confronting, as often with the work of Gert Robijns, a reversal of order revealing
more clearly their presence in their specific and unique qualify. By slightly moving the objects, Robijns, allows us to see that are over
manipulated in order to review them again. The principal alignment of the pieces as they are presented in the second part of the work Even
ademhalen (To take your breath back), 2005, reappears from time to time within the work of the artist (see Hold the line, 2007 and In
Concert, 2007)
Some scattered objects, used in their domestic universe are placed against the wall on the same inclination as the angle. The natural position
of a squeegee to mop the floor is left there as if just being used finds itself in a precarious relation to that of metallic shelf or a stool where a
roll of scotch tape lies enthroned in its red winder. There are two inversed modern armchairs in imitation black, leather that follows the same
movement. One faces us and the other has its back to us, all whilst, revealing the squared girth underneath. The scene is turned upside down
and completed by books and desk accessories on the shelves, barely holding themselves up in the acute angle designated for them. The
spectator who had wished to read the titles of the books must incline himself in such manner that he participates in the general change. The
centre of gravity of the installation appears to be displaced: the objects are found exposed as if on an invisible plain where the orientation
provokes a quasi choreographic movement that conditions a tension throughout.
Extract of Bettina Klein’s text, Exhibition Frac Bourgogne , Even ademhalen (Take a Deep Breath), 2005
Thanks to Stella Lohaus Gallery, Antwerp, BE/ Galerie du jour agnès b, Paris, FR/ SFP (Société Française de Photographie), Paris, FR
FDC SATELLITE
GALERIE LES FILLES DU CALVAIRE, BRUXELLES
Boulevard Barthelemy, 20, 1000 Bruxelles, Tel: +32 (0) 2 511 63 20, Fax:+32 (0) 2 511 45 16
[email protected] - www.fdcsatellite.com
Edith Dekyndt was born in 1960 in Ypres, BE
She lives and works in Belgium
SOLO EXHIBITIONS
2009 Silence, a composition, Hiroshima Contemporary Art Museum,
Hiroshima, JP
Les Ondes de Love, Mac’s, Grand Hornu, BE
Grey Song, Karin Guenther Gallery, Hamburg, DE
The transparent ceiling, Galerie Les filles du calvaire, Paris, FR
Agnosia, Witte de With, Rotterdam, NL
2008 One second of silence, Parker’s Box, New York, US
Present Perfect (II), Program, Berlin, DE
Present Perfect (I), Galerie Les Filles du Calvaire, Brussels, BE
2007 Project Room, Galerie Les Filles du Calvaire, Brussels, BE
2006 Two White Pieces, Arch 2 Gallery, University of Manitoba & Plug
In Gallery, commissariat Neil Minuk, Winnipeg, CA, USA
2004 Any Resemblance To Persons, Living or Dead is Purely
Coincidental, BPS 22, commissariat Pierre-Olivier Rollin,
Charleroi, BE
SELECTED GROUP EXHIBITIONS
2009 Edith Dekyndt & Micheal Stevenson, Meyer Riegger Gallery,
Karlsruhe, DE
Gagarin, SMAK, Gand, BE
Avec le temps, with time, Robert Miller Gallery, commissariat
Tim Goossens, New York, USA
Nos (Us), The Museu da Repùblica, Rio de Janeiro,BR
(a)pesanteur,récit sans gravité, Frac Lorraine, Metz,FR
Brussels Biennial, dans la section Witte de With, Brussels, BE
2007 Commitment, Cultuurcentrum Mechelen, commissariat Luk
Lambrecht, Mechelen, BE
2006 Tracer, Retracer 2, Leonard & Bina Ellen Gallery, curated by
Nicole Gingras, Montréal, CA, USA
Welcome Back, Mister Paik!, Mukha Media, Antwerp, BE
Satellite of Love, Witte de With, Rotterdam, NL
Martial M, 2007, video loop, 11’39
The taste of the apple … lies in the contact of the fruit with the palate. Not
in the fruit itself; in a similar way … poetry lies in the meeting of the poem
and reader, not in the lines of the symbols printed on the pages of a book.
What is essential is the aesthetic act, the thrill, the almost physical emotion
that comes with each reading.
Turn of the century Austrian architect Adolf Loos would not allow his
buildings to be documented in photographs or printed plans. Loos believed
that it was impossible to capture the qualitative aspects of the environments
that he designed. He said "the sign of a truly felt architectural work is that in
plan it lacks effect." He lamented that one could not smell the dust of the
sofa in a photograph of the sofa. Edith DeKyndt, in her art, seeks to make
us intensely aware of the phenomena that Loos found unrepresentable.
The work of Edith Dekynt deals more than anything else with the aesthetic
act. Her research into phenomena is a search for a truth that exists in the
invisible or nearly visible. In this way she approaches the infinite, absolute,
and unreachable.[cold, dust, humidity, static electricity]. The invisible or
nearly visible has a profound and mutable beauty that she seeks to uphold
and make the viewer aware of.
Something Blue, 1996, photography diasec, 40 x 60cm
In Deleuze, as in the phenomenological tradition, one finds the reading or
description of reality as something that must be built, designed, as a
process from the subject, as work to be done, drafted ... While Edith's
pursuit to apprehend often overlooked phenomenon is conceptually and
theoretically rigorous, her strategies have the freshness and optimism of a
'student science fair project'. It might be that many of us haven't thought
about the events that so interest her, since our childhood. Edith's work, and
it is work in the real sense because she is so serious and earnest, is
explored in a manner not unlike a scientific study. Clearly however, the work
is subjective, her built description of reality. Again, her aims are poetic
rather than 'objective’.
Edith is acutely interested in the individual viewer and their engagement
with her work. As a result, her heightened perceptual inquiries may not
engage the casual observer. Edith is seemingly searching for Universal
elemental meanings.
FDC SATELLITE
GALERIE LES FILLES DU CALVAIRE, BRUXELLES
Boulevard Barthelemy, 20, 1000 Bruxelles, Tel: +32 (0) 2 511 63 20, Fax:+32 (0) 2 511 45 16
[email protected] - www.fdcsatellite.com
The work by-passes the sentimental or romantic and manifests a concern
for site, birth of the viewer and phenomenological vision. This vision is
concerned with how an artwork might be constructed to influence or reach
the individual subject or perceiver. The path is often through collective
'windows' that open to the individual side of the subject. In this context,
identifying these 'windows' becomes important. Memory, psychic
apprehension, synesthetic experience and elemental sensations are
employed in this context. DeKyndt aims to emphasize a visceral reception of
art and focusses not only on visual, olfactory, tactile and oral sensations.
And above all, the understanding of Edith's art requires a spiritual or
metaphysical dimension.
DeKyndt's work is embodied by ephemeral gestures and unstable materials.
She is most interested in the presence of the materials that surround us,
rather than their representation. DeKyndt's work attains a transformational
quality by allowing a profound experience of unstable or banal materials. !
Edith seems to be searching for the 'Degree zero of aesthetic signification.'
Her projects are intentionally reductive to the point that any further
reduction would render their collapse. Her work is primarily based on
abstraction [water freezing] and the opening of the point of signification by
slight ephemeral gestures that the subject is incapable of eliminating.It is
this descent into the foundations of individual experience that philosopher,
Eugenio Trias refers to as 'The logic of the limit'. Architectural theorist,
Ignasi de Sola Morales describes it as "the most fragile but surest path
leading back to an encounter with the profound aesthetic experience. !
Les ondes de Love, 2009, video loop
Niel Minuk, Architect and Director of Plug In Institute for Contemporary Art,
Winnipeg, Canada, CA (extract)
Ground control, 2008, polypropylene object, helium, oxygen, diameter of 150 cm
COLLECTIONS :
MOMA, New York, US
FRAC Lorraine, FR
FRAC Picardie, FR
Province de Hainaut, BE
FNAC, Paris, FR
006, 2009, ink on aluminium, 28 x 39 cm
FDC SATELLITE
GALERIE LES FILLES DU CALVAIRE, BRUXELLES
Boulevard Barthelemy, 20, 1000 Bruxelles, Tel: +32 (0) 2 511 63 20, Fax:+32 (0) 2 511 45 16
[email protected] - www.fdcsatellite.com
Paul Pouvreau was born in 1956 in Aulnay-sous-Bois, FR
He lives and works in Paris and in Argenton-sur-Creuse, FR
SOLO EXHIBITIONS
2008 Centre de Photographie, Lectoure, FR
2007 Ecole des Beaux-Arts, Tours, FR
2005 Beaux arts school gallery, Marseille, FR
2004 Galerie les filles du Calvaire, in Paris Photo
Month, Paris, FR
Frac Alsace, Sélestat , FR
2003 Espace des arts, Colomiers, FR
Galerie Les filles du calvaire, Brussels, BE
2001 Art Center La Ferme du Buisson, Marne-la- Vallée, FR
Beaux Arts School gallery, Toulouse, FR
SELECTED GROUP EXHIBITIONS
2008 Centre d’art d’Annemasse, FR
Société francaise de photographie, FR
2007 FRAC Franche Comté, FR
2006 Les peintres de la vie moderne Donation,
Centre Georges Pompidou, Paris, FR
2004 Art Center Parc St Léger, Pougues-les-Eaux, FR
2003 Roebling Hall Gallery, Brooklyn, USA
2002 Smack Mellon Center, Brooklyn, USA
2001 Bienne Photos days, Bienne, CH
Chapelle du Rham, LU
Têtes d'affiches, 2007, 32 x 42cm, color print on aluminium
[...] Pouvreau works in the world, on the world and with the world, with
the pure presence of things, even though the codes that link them
together have rusted out from within. These things are always very
ordinary, since they are our common lot, which means, quite literally, that
everyone has access to them. This is neither good nor bad; it just is. What
matters is the way Pouvreau apprehends them. The things he sees are
always at ground level, a space of ruins, a state produced not by
disintegration but transformation. These objects appear so fragile and
unauthoritative that they seem to belong not to the usual order of this
world but to some new space where traditional hierarchies no longer
obtain.[...]
Exhibition view Documents à l'appui , Villa du Parc, Annemasse, September 2007
( On wall photo serie; têtes d'affiche, 2007, c-print, 32 x 42cm.
On floor, Untitled, 2007, print on tarpaulin, palett and cardboard)
In his images one reality (a group of objects – a wall, a tree, a well-known
character, cardboard boxes, etc.) meets its iconographic equivalent
(silhouettes, writing and marks on the wall, drawings on boxes, etc.) This
articulation of signs and the overlapping of their levels of representation,
halfway between a snapshot and a mise-en-scène, forms a loop, a
concentration of meanings, exactly because the thrust of what is being
said is carefully contained within this concern for the signifying-space in
which the objects, because they are stripped of their advertising
arrogance, all acquire a singular iconic status and yet, within the economy
of the image, all occupy positions of equivalent importance.[...]
It is this eternal cycle, or recycling, of the object as a sign, as a critical
element of a general space of representation, that marks Pouvreau’s
photographic universe. This new space registered by photography is built
upon the ruins of the appearances our anthropocentric vision has gotten
us used to. Pouvreau’s deconstruction is neither gratuitously formalistic
nor revolutionary.
FDC SATELLITE
GALERIE LES FILLES DU CALVAIRE, BRUXELLES
Boulevard Barthelemy, 20, 1000 Bruxelles, Tel: +32 (0) 2 511 63 20, Fax:+32 (0) 2 511 45 16
[email protected] - www.fdcsatellite.com
It simply records an experience, a worried instant of doubt as to what lies
behind the outward coherence of things. This is what infuses these photos
with a kind of astonishment. It is the surprise seen on the faces of
characters in burlesque comedy films, whose misadventures are not only a
source of humour but also a sign of a new and inarticulate relationship with
a world where who knows what can happen.
Jean-Marc Huitorel, Paul Pouvreau, Reality Stripped Bare by Her Image Even,
in art press n°244, march 1999 (extract)
Untitled, 2007, 120 x 160 cm, lambda print on aluminium frame
(Intervention in Société Française de Photographie’s window, June 2007)
Untitled, 2007, black and white impression on aluminium, 70 x 100cm
COLLECTIONS :
Artothèque de Caen, FR
Artothèque de Limoges, FR
Artothèque de Lyon, FR
Artothèque de Nantes, Le Ring, FR
Fonds national d’art contemporain, FR
FRAC de Franche Comté, FR
FRAC de Basse Normandie, FR
FRAC du Limousin, FR
Fonds National d’Art Contemporain, Paris, FR
FRAC d’Alsace, FR
Musée de Valence, FR
Caisse des dépôts et consignations, Paris, FR
Musée Géo Charles, Echirolles, FR
Collection NSM Vie, Paris, FR
3 D, 2006 (3 drawings), 36 x 58 cm, graphite on newspaper, plexiglas
Exhibition view Documents à l'appui, Villa du Parc Annemasse, September 2007
FDC SATELLITE
GALERIE LES FILLES DU CALVAIRE, BRUXELLES
Boulevard Barthelemy, 20, 1000 Bruxelles, Tel: +32 (0) 2 511 63 20, Fax:+32 (0) 2 511 45 16
[email protected] - www.fdcsatellite.com
Gert Robijns was born in 1972 in Sint-Truiden, BE
He lives and works in Charleroi, BE
SOLO EXHIBITIONS
2008 HAPPY NEW YEAR, Stella Lohaus Gallery, Antwerp, BE
2007 Slalom, Galerie Michael Cosar, Düsseldorf, DE
Olympics, Art Agents Gallery, Hamburg, DE
2006 Slalom, Stella Lohaus Gallery, Antwerp, BE
2005 Never left right, z33, Hasselt, BE
Even ademhalen, Stella Lohaus Gallery, Antwerp, BE
SELECTED GROUP EXHIBITIONS
2008 Un-Scene, Wiels Contemporary Art Center, Brussels, BE
Brussels Biennial Contemporary Art in the City, Brussels, BE
Curiosität, curated by François Curlet, Galerie Micheline
Szwajcer, Antwerp, BE
Dekoderis / Decoder. The 3rd Biennial for Video Art – Contour
2007, curated by Nav Haq, SMC/ CAC, Vilnius, LT
2007 Um-kehrungen, Kunstverein Braunschweig, Braumschweig, DE
Marta schweigt, Museum Marta, Herford, DE
Exhibition view, Stella Lohaus Gallery, 2008, mixed media
Rather than mirroring or representing reality, Gert Robijns’ (b. 1972) works
are conceived as extensions of it. Robijns operates with a minimum of signals
that can be sounds but equally a change in temperature, a gust of wind or a
flickering lightbulb, to generate a peripheral snippet of our attention. Robijns
transposes these signals, with a minimal enunciative potential, into extensive
installations. In 1997 he laid out an outdoor landscape made up of
polystyrene beads hemmed in by the boundaries of an existing tennis court
and covered with a transparent plastic roof. On the ground between the thick
layers of beads, ventilators blew the beads, occasionally exposing the terrain
and placing its viewers in another time where, between the play of natural
and artificial wind, any deceleration became a performance in slow motion.
Robijns is focussing and scattering our perceptions by adding sounds or
images to a space like interpolating pixels in the digital realm. In that
enhanced space a network of triggers unfolds like an index of space, time
and subjectivity.
Article of Wim Peeters in Flash Art Magazine, march/april 2004 (extract)
Even ademhalen, 2005, mixed media, 203 x 520 x 185 cm
Prêt à porter, 2009, sculpture installation
FDC SATELLITE
GALERIE LES FILLES DU CALVAIRE, BRUXELLES
Boulevard Barthelemy, 20, 1000 Bruxelles, Tel: +32 (0) 2 511 63 20, Fax:+32 (0) 2 511 45 16
[email protected] - www.fdcsatellite.com
Hugues Reip was born in 1964 in Cannes, FR
He lives and works in Paris, FR
SOLO EXHIBITIONS
2009 Le château, Domaine Départemental de Chamarande,
Chamarande, FR
2008 Parallel Worlds, M.O.T Museum, Tokyo, JP
Parcours Saint-Germain 08, Galerie du Jour-agnès b, Paris, FR
2007 Eden, Safn Museum, Reykjavik, IS
Tokyo Wonder Site, Tokyo, JP
Hugues Reip, Galerie du Jour-agnès b, Paris, FR
2005 Hugues Reip, Frac Limousin, Limoges, FR
2004 Pencil Test, Frac Basse-Normandie, Caen, FR
2002 Everything in Particular, Art in General, New-York, US
Toon, Brooklyn Museum of Art, New-York, US
SELECTED GROUP EXHIBITIONS
2009 New Wave Atlanta, Ernest G. Welch School of Art & Design
Gallery, Georgia State University, Atlanta, US
2008 Des Constructeurs Eclectiques, Centre Régional d’Art
Contemporain LR, Sète, FR
Continuum, Musée des Beaux-Arts, Saint-Lô, FR
Histoires de Point d’Ironie, Galerie du Jour-agnès b, Paris, FR
Mondo e Terra, MAN (Musée d’Art de Nuoro), Sardaigne, IT
2007 Presque Rien, Nylo (Living Art Museum), Reykjavik, IS
2006 Accords Excentriques, Domaine Départemental de
Chamarande, Chamarande, FR
Programmation vidéo, curated by Hugues Reip, Galerie du
Jour-agnès b, Paris, FR
FLIP/FLAP Serie, 2003, print on paper with 3D effect, 110 x 80 cm
FLIP/FLAP Serie, 2003, print on paper with 3D effect,110 x 80 cm
Born in Cannes, France in 1964, artist Hugues Reip commands an array
of art media, including neon and video. Parallel Worlds gathers Reip's
major works in one exhibition, such pieces as "Eden," in which viewers
encounter an optical illusion of themselves, as tiny as insects, inside huge
plants, and "White Spirit," in which humorous ghosts fleetingly appear and
disappear. The world of Reip's imagination unfolds around us, a world
uncanny, yet filled with warmth.
Exhibition Parallel Worlds , M.O.T Museum, Tokyo, 2008 (extract)
White Spirit, 2005-2009, Installation, Nuits blanches 2009, Paris, FR
FDC SATELLITE
GALERIE LES FILLES DU CALVAIRE, BRUXELLES
Boulevard Barthelemy, 20, 1000 Bruxelles, Tel: +32 (0) 2 511 63 20, Fax:+32 (0) 2 511 45 16
[email protected] - www.fdcsatellite.com