JOHAN VAN MULLEM, “FOR LOVE’S S(N)AKE”, ARTS LIBRE, MAY 2023
ARGHAËL, “UNDER MY SKIN”, TRANSFUGE MAGAZINE, MARCH 2023
TANC, “FRAGMENTS”, URBAN ART, FEBRUARY 2023
TANC, “FRAGMENTS”, TÉLÉRAMA SORTIR, FEBRUARY 2023
TANC, “FRAGMENTS”, TRANSFUGE, FEBRUARY 2023
TANC, “FRAGMENTS”, L’OFFICIEL DES SPECTCALES, JANUARY 2023
TANC, “FRAGMENTS”, PARIS TONKAR, JANUARY 2023
TANC, “FRAGMENTS”, TOUTE LA CULTURE, JANUARY 2023
TANC, “FRAGMENTS”, TOUTE LA CULTURE, JANUARY 2023
TANC, “FRAGMENTS”, ART HEBDO MÉDIAS, JANUARY 2023
Johan-Van-Mullem-P20065-2021-Encre-sur-canvas-100x70cm
Johan Van Mullem
P20065 (2020)
Ink on canvas
100 x 70 cm
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ohan-van-mullem-p18010-2018-encre-sur-canvas-160x30cm.jpg
Johan Van Mullem
P20064 (2020)
Ink on canvas
100 x 70 cm
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ohan-van-mullem-p18010-2018-encre-sur-canvas-160x30cm.jpg
Johan Van Mullem
P18010 (2018)
Ink on canvas
160 x 130 cm
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Johan-Van-Mullem-P18004-2018-Encre-sur-canvas-160x160cm
Johan Van Mullem
P18004 (2018)
Ink on canvas
160 x 160 cm
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johan-van-mullem-p17033-2021-encre-sur-canvas-160x40cm
Johan Van Mullem
P17033 (2017)
Ink on canvas
160 x 140 cm
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Johan-Van-Mullem-P18003-2021-Encre-sur-canvas-170x120cm
Johan Van Mullem
P18003 (2018)
Ink on canvas
170 x 120 cm
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Turmeric, 2010, Pastel on paper, 57 x 76 cm
Fred Kleinberg
Turmeric (2010)
Pastel on paper
57 x 76 cm
POUR PLUS D'INFOS >
embrasure-23-acrylique-sur-toile-73×100-2022-tana-borissova
Tana Borissova
Embrasure 23 (2022)
Acrylic on canvas
100 x 73 cm
POUR PLUS D'INFOS >
Tana Borissova was born in Sofia, Bulgaria in 1978. She has been living and working in Paris, France since 1997.
She became interested in art through books that she discovered during her childhood. While studying in a high school of applied arts in Sofia, her desire to create art was awoken when she began creating oil paintings, watercolors, and drawings. When she arrived in Paris at the age of nineteen, she was accepted to the École Nationale Supérieure des Beaux-arts (ENSBA), where she studied with Vladimir Velickovic and Dominique Gauthier. She graduated in 2003.
In her work, Borissova explores the body, the space within it, and its interactions with the outside world. She does so by referencing nature and its metamorphoses, movements, momentum, and contradictions that go beyond a scale of time.
The gallery Myriam Bouagal exhibited her first solo show, Corps, in January 2014, as well as her second show in June 2015, Ma place mon corps, which included inks and paintings. In September 2017, she presented her work in the Arrivage Gallery in Troyes. She published a collection of inks and texts for the occasion. In May 2019, she presented a selection of her inks and paintings with Loo & Lou Gallery during the JustLX art fair in Lisbon, Portugal at the Museu da Carris. From January to March 2020, the Loo & Lou Atelier hosted an exhibition of her paintings entitled Éclats de nuit.
encounters-10-acrylic-and-enamel-on-vintage-newspaper-140-x-134-cm-andrew-ntshabele
Andrew Ntshabele
Encounters 10 (2021)
Acrylic and lacquer on vintage and contemporary newspaper
140 x 134 cm
POUR PLUS D'INFOS >
There is a shaking in society 10, Acrylic on contemporary newspaper, 155x117 cm, 2021, Andrew Ntshabele
Andrew Ntshabele lives and works in Johannesburg, South Africa, in the midst of the urban unrest that fuels his inspiration. He sees the physical, socio-economic and political changes of the post-apartheid city as the results of rapid urbanization. His daily interactions with the residents lead him to investigate this difficult social reality, and to seek to understand the root cause of the current degradation of the inner city.
the-greater-purpose-5-acrylic-and-enamel-on-vintage-documents-letters-postcards-89-x-70-cm-andrew-ntshabele
Andrew Ntshabele
The greater purpose 5 (2022)
Acrylic and lacquer on vintage documents
89 x 70 cm
POUR PLUS D'INFOS >
There is a shaking in society 10, Acrylic on contemporary newspaper, 155x117 cm, 2021, Andrew Ntshabele
Andrew Ntshabele lives and works in Johannesburg, South Africa, in the midst of the urban unrest that fuels his inspiration. He sees the physical, socio-economic and political changes of the post-apartheid city as the results of rapid urbanization. His daily interactions with the residents lead him to investigate this difficult social reality, and to seek to understand the root cause of the current degradation of the inner city.
sans-titre-5-2021-ink-on-canvas-200x345cm-johan-van-mullem
Johan Van Mullem
Sans titre 5 (2021)
Ink on canvas
200 x 345 cm
POUR PLUS D'INFOS >
curiosité II-2015-grenade et terre crue – 6x11x9cm-Lydie-Arickx.
Lydie Arickx
Curiosité II (2015)
Pomegranate and clay
6 x 11 x 9 cm
POUR PLUS D'INFOS >
curiosité II-2015-grenade et terre crue – 6x11x9cm-Lydie-Arickx.
Olivier de Sagazan
Untitled 6 (2022)
Acrylic, grass, clay and mixed media on canvas
160 x 130 cm
POUR PLUS D'INFOS >
Born in 1959 in Brazzaville, Congo. Lives and works in Saint-Nazaire. Biologist of formation, Olivier de Sagazan is interested in life and seeks to establish through his work, a sort of genea-logy of the sensitive to understand how at a given moment, the inert matter structured in cells has generated life and sensitivity.
sans-titre-10-detail-2021-herbe-fleurs-argile-materiaux-mixtes-140x40x26-olivier-de-sagazan-scaled.jpeg
sans-titre-10-detail-2021-herbe-fleurs-argile-materiaux-mixtes-140x40x26-olivier-de-sagazan-scaled.jpeg
sans-titre-10-detail-2021-herbe-fleurs-argile-materiaux-mixtes-140x40x26-olivier-de-sagazan-scaled.jpeg
Olivier de Sagazan
Untitled 10 (2022)
Grass, flowers, clay and mixed media
120 x 32 x 23 cm
POUR PLUS D'INFOS >
Born in 1959 in Brazzaville, Congo. Lives and works in Saint-Nazaire. Biologist of formation, Olivier de Sagazan is interested in life and seeks to establish through his work, a sort of genea-logy of the sensitive to understand how at a given moment, the inert matter structured in cells has generated life and sensitivity.
sans-titre-13-2021-herbe-argile-materiaux-mixtes-71x24x40-olivier-de-sagazan-1-scaled.jpg
sans-titre-13-2021-herbe-argile-materiaux-mixtes-71x24x40-olivier-de-sagazan-1-scaled.jpg
sans-titre-13-2021-herbe-argile-materiaux-mixtes-71x24x40-olivier-de-sagazan-1-scaled.jpg
Olivier de Sagazan
Untitled 13 (2022)
Grass, clay, mixed media
71 x 24 x 40 cm
POUR PLUS D'INFOS >
Born in 1959 in Brazzaville, Congo. Lives and works in Saint-Nazaire. Biologist of formation, Olivier de Sagazan is interested in life and seeks to establish through his work, a sort of genea-logy of the sensitive to understand how at a given moment, the inert matter structured in cells has generated life and sensitivity.
vue-de-lexposition-etre-chair-olivier-de-sagazan-6-scaled.jpeg
sans-titre-13-2021-herbe-argile-materiaux-mixtes-71x24x40-olivier-de-sagazan-1-scaled.jpg
Olivier de Sagazan
Untitled 5 (2022)
Acrylic, grass, clay and mixed media on canvas
160 x 130 cm
POUR PLUS D'INFOS >
Born in 1959 in Brazzaville, Congo. Lives and works in Saint-Nazaire. Biologist of formation, Olivier de Sagazan is interested in life and seeks to establish through his work, a sort of genea-logy of the sensitive to understand how at a given moment, the inert matter structured in cells has generated life and sensitivity.
chemin-de-croix-IX-2020-chanvre-44-35-24cm-lydie-arickx
Lydie Arickx
Chemin de croix IX (2020)
Hemp
44 x 35 x 24 cm
POUR PLUS D'INFOS >
Job-6-2009-Encre-et-mine-de-plomb-sur-papier-Ingres-42×29.7cm-Lydie-Arickx
Lydie Arickx
Job VI (2009)
Ink and graphite on Ingres paper
42 x 29 x 70 cm
POUR PLUS D'INFOS >
vanite-2019-fonte-et-borosilicate-h19x23x16cm-lydie-arickx
Lydie Arickx
Vanité (2019)
Cast iron and borosilicate glass
19 x 23 x 16 cm
POUR PLUS D'INFOS >
sans-titre-2-2018-encre-sur-toile-160x160cm-jvm
Johan Van Mullem
Sans titre 2 (2018)
Ink on canvas
160 x 160 cm
POUR PLUS D'INFOS >
sans-titre-1-2017-encre-sur-toile-160x140cm-jvm
Johan Van Mullem
Sans titre 1 (2017)
Ink on canvas
160 x 140 cm
POUR PLUS D'INFOS >
sans-titre-4-2021-ink-on-canvas-275x200cm-johan-van-mullem
Johan Van Mullem
Sans titre 4 (2021)
Ink on canvas
275 x 200 cm
POUR PLUS D'INFOS >
embrasure-5-acrylique-sur-toile-97×146-2021-tana-borissova
Tana Borissova
Embrasure 5 (2021)
Acrylic on canvas
146 x 97 cm
POUR PLUS D'INFOS >
Tana Borissova was born in Sofia, Bulgaria in 1978. She has been living and working in Paris, France since 1997.
She became interested in art through books that she discovered during her childhood. While studying in a high school of applied arts in Sofia, her desire to create art was awoken when she began creating oil paintings, watercolors, and drawings. When she arrived in Paris at the age of nineteen, she was accepted to the École Nationale Supérieure des Beaux-arts (ENSBA), where she studied with Vladimir Velickovic and Dominique Gauthier. She graduated in 2003.
In her work, Borissova explores the body, the space within it, and its interactions with the outside world. She does so by referencing nature and its metamorphoses, movements, momentum, and contradictions that go beyond a scale of time.
The gallery Myriam Bouagal exhibited her first solo show, Corps, in January 2014, as well as her second show in June 2015, Ma place mon corps, which included inks and paintings. In September 2017, she presented her work in the Arrivage Gallery in Troyes. She published a collection of inks and texts for the occasion. In May 2019, she presented a selection of her inks and paintings with Loo & Lou Gallery during the JustLX art fair in Lisbon, Portugal at the Museu da Carris. From January to March 2020, the Loo & Lou Atelier hosted an exhibition of her paintings entitled Éclats de nuit.
here-is-a-shaking-in-society-10-acrylique-sur-papier-journal-vintage-156-x-123-cm-andrew-ntshabele
Andrew Ntshabele
There is a shaking in society 10 (2021)
Acrylic and lacquer on vintage and contemporary newspaper
156 x 123 cm
POUR PLUS D'INFOS >
There is a shaking in society 10, Acrylic on contemporary newspaper, 155x117 cm, 2021, Andrew Ntshabele
Andrew Ntshabele lives and works in Johannesburg, South Africa, in the midst of the urban unrest that fuels his inspiration. He sees the physical, socio-economic and political changes of the post-apartheid city as the results of rapid urbanization. His daily interactions with the residents lead him to investigate this difficult social reality, and to seek to understand the root cause of the current degradation of the inner city.
aile-7-acrylic-on-canvas-50×61-2020-tana-borissova
Tana Borissova
Aile 7 (2020)
Acrylic on canvas
61 x 50 cm
POUR PLUS D'INFOS >
Tana Borissova was born in Sofia, Bulgaria in 1978. She has been living and working in Paris, France since 1997.
She became interested in art through books that she discovered during her childhood. While studying in a high school of applied arts in Sofia, her desire to create art was awoken when she began creating oil paintings, watercolors, and drawings. When she arrived in Paris at the age of nineteen, she was accepted to the École Nationale Supérieure des Beaux-arts (ENSBA), where she studied with Vladimir Velickovic and Dominique Gauthier. She graduated in 2003.
In her work, Borissova explores the body, the space within it, and its interactions with the outside world. She does so by referencing nature and its metamorphoses, movements, momentum, and contradictions that go beyond a scale of time.
The gallery Myriam Bouagal exhibited her first solo show, Corps, in January 2014, as well as her second show in June 2015, Ma place mon corps, which included inks and paintings. In September 2017, she presented her work in the Arrivage Gallery in Troyes. She published a collection of inks and texts for the occasion. In May 2019, she presented a selection of her inks and paintings with Loo & Lou Gallery during the JustLX art fair in Lisbon, Portugal at the Museu da Carris. From January to March 2020, the Loo & Lou Atelier hosted an exhibition of her paintings entitled Éclats de nuit.
the-greater-purpose-2-acrylic-and-enamel-on-vintage-documents-90-x-70-cm-andrew-ntshabele
Andrew Ntshabele
The greater purpose 2 (2022)
Acrylic and lacquer on vintage documents
90 x 70 cm
POUR PLUS D'INFOS >
There is a shaking in society 10, Acrylic on contemporary newspaper, 155x117 cm, 2021, Andrew Ntshabele
Andrew Ntshabele lives and works in Johannesburg, South Africa, in the midst of the urban unrest that fuels his inspiration. He sees the physical, socio-economic and political changes of the post-apartheid city as the results of rapid urbanization. His daily interactions with the residents lead him to investigate this difficult social reality, and to seek to understand the root cause of the current degradation of the inner city.
Turmeric, 2010, Pastel sur papier, 57 x 76 cm
Tana Borissova
Embrasure 08 (2021)
Acrylic on canvas
162 x 114 cm
POUR PLUS D'INFOS >
Tana Borissova was born in Sofia, Bulgaria in 1978. She has been living and working in Paris, France since 1997.
She became interested in art through books that she discovered during her childhood. While studying in a high school of applied arts in Sofia, her desire to create art was awoken when she began creating oil paintings, watercolors, and drawings. When she arrived in Paris at the age of nineteen, she was accepted to the École Nationale Supérieure des Beaux-arts (ENSBA), where she studied with Vladimir Velickovic and Dominique Gauthier. She graduated in 2003.
In her work, Borissova explores the body, the space within it, and its interactions with the outside world. She does so by referencing nature and its metamorphoses, movements, momentum, and contradictions that go beyond a scale of time.
The gallery Myriam Bouagal exhibited her first solo show, Corps, in January 2014, as well as her second show in June 2015, Ma place mon corps, which included inks and paintings. In September 2017, she presented her work in the Arrivage Gallery in Troyes. She published a collection of inks and texts for the occasion. In May 2019, she presented a selection of her inks and paintings with Loo & Lou Gallery during the JustLX art fair in Lisbon, Portugal at the Museu da Carris. From January to March 2020, the Loo & Lou Atelier hosted an exhibition of her paintings entitled Éclats de nuit.
Dog, 2006, Pastel et huile sur papier, 210 x 230 cm
Fred Kleinberg
Dog (2006)
Pastel and oil on paper
57 x 76 cm
POUR PLUS D'INFOS >
Relief, 2005, Mixed media and collage, 210 x 230 cm
Fred Kleinberg
Relief (2005)
Mixted media and collage
210 x 230 cm
POUR PLUS D'INFOS >
La fuite I, 2005, Oil and collage on canvas, 197x 130 cm
Fred Kleinberg
La fuite I (2005)
Oil and collage on canvas
130 x 197 cm
POUR PLUS D'INFOS >
Benoit-Luyckx-strong-human-wasp-2020
Benoit-Luyckx-strong-human-wasp-2020
Benoit-Luyckx-strong-human-wasp-2020
Benoît Luyckx
Strong Human Wasp (2020)
Belgian bluestone
59 x 43 x 14 cm
POUR PLUS D'INFOS >
Joel-Person-frederi- 2021
Joël Person
Frédérique (1984-2015)
Charcoal on glued paper
135 x 131 cm
POUR PLUS D'INFOS >
Axelle Viannay
“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.
Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”
— Philippe Garnier, Les Cahiers Dessinés #9
The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.
Joel-Person-La-Deferlante-Interieure-2020-2021
Joël Person
Cheval Dragon 4 (2013)
Black stone pencil on paper
62 x 34 cm
POUR PLUS D'INFOS >
Axelle Viannay
“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.
Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”
— Philippe Garnier, Les Cahiers Dessinés #9
The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.
Joel-Person-La-Deferlante-Interieure-2020-2021
Joël Person
La Déferlante Intérieure (2020-21)
Charcoal on paper
244 x 95 cm
POUR PLUS D'INFOS >
Axelle Viannay
“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.
Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”
— Philippe Garnier, Les Cahiers Dessinés #9
The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.
Joel-Person-Deferlante- 2021
Joel-Person-Deferlante- 2021
Joël Person
Déferlante (2021)
Charcoal on paper
985 x 152 cm - Assembly of two pieces of paper
POUR PLUS D'INFOS >
Axelle Viannay
“Joël Person was born in 1962 in Abidjan, Ivory Coast and he currently lives and works in Paris. After graduating from the École nationale supérieure des Beaux-Arts de Paris, he devoted himself to portraiture before focusing drawing horses and erotic poses. He combines the classical purity of the line with a rare intensity of expression in his paintings and drawings. Person knows the traps of virtuosity. He looks for the moment where a nervous influx or spurt of life might change the careful framework of a figure.
Since his childhood he has been fascinated by horses whose physical structure he finds to be saturated with energy. He is equally captivated by the human figure. Eluding his own figurative technique, he looks for a breaking point in the static ritual of the pose. The moment a model rears up and flees elsewhere, he captures it with a contraction of the forehead, a twisting of the shoulder, a tilt of the face; Person maintains an illusion of realism. The intense life within his portraits is not born from the expressionist style, but rather from an anxious tension. It emerges from the artist’s confrontation between the “self” with others; a sudden surge towards freedom, a raw solitude which suddenly and briefly arises between the surface of the body, and the tension of the nervous system.”
— Philippe Garnier, Les Cahiers Dessinés #9
The artist has had several solo and group exhibitions in France and China, and many institutions have taken an interest in his universe. He has participated in residencies throughout the world that testify to his international career (China, several times, Bosnia-Herzegovina, Ireland, Slovenia…). His work is a part of many private collections and is present in several important collections, notably within the collection at Hermès; his drawings and paintings are exhibited in their boutiques around the world (Paris, Milan, Istanbul, Tokyo, Shanghai, Dubai and Las Vegas…). Person has also taught drawing at the Prép’Art and Atelier Hourdé. His drawing Confinement has been acquired by the musée Jenisch in Vevey, Switzerland.
Published on April 7, 2023
From 31 March to 23 July, the Royal Museums of Fine Arts of Belgium (RMFAB) present For Love’s S(n)ake! an exhibition by Belgian artist Johan Van Mullem.
By inviting Johan Van Mullem to the heart of their collection of Ancient Art, the Royal Museums of Fine Arts of Belgium establish their role of catalyst to pass on history to the widest audience possible, therefor actively embodying their support for the contemporary creation that puts down its roots in Brussels.
Originally from Bruges and now a Brussels’ citizen, Johan Van Mullem stands as a true national flagship and a renowned multidisciplinary artist. He will be the only Belgian contemporary artist to be exhibited at the RMFAB this year, and the exhibition is the perfect opportunity to build bridges with his native country. As the only Belgian contemporary artist to be exhibited at the RMFAB in 2023, he meets his country through this exhibition.
By questioning our changing society in his own individual way, he finds his place within the Remedies exhibitions’ program. Confronted with the ills and symptoms of our humanity, Johan Van Mullem’s art tends to offer a therapeutic path and seems to suggest possible remedies by encouraging us to slow down, reflect and meditate.
For Love’s S(n)ake! reveals never before shown pieces as well as the latest work produced by the Brussels artist. The body of works on display contrasts with what the public knows of the artist’s work, namely his depictions of phantasmagoric faces, reflecting on what lies within, presented notably during his monographic exhibition at the Musée d’Ixelles in 2016-2017.
A transition has taken place in recent years from portraits to nature. The health crisis and successive lockdowns have had a catalytic effect on his practice. Forced to slow down, the artist rediscovered his (inner) garden, a new horizon that inspired him to create universes more oriented towards the exterior. The vegetal dimension calls for serendipity and the artist’s colour palette blooms through the dreamy landscapes. The overall effect culminates in a peculiar luminescence enhanced by the use of printing and etching inks.
Between emotions and memory, between movement and light, some fifty new works, sometimes of an impressive format, open up a timeframe far from any urgency, and offer the public a new perspective, inscribing contemporary creation in its historical roots.
© Constance Le Hardy
Musées royaux des Beaux-Arts de Belgique
3 rue de la Régence – 1000 Bruxelles
Tél.: +32 (0)2 508 32 11
Fax: +32 (0)2 508 32 32
info@fine-arts-museum.be
Published on April 6, 2023
Joël Person participates in the first edition of the Arles drawing festival, among 41 other artists, initiated by Vera Michalski and Frédéric Pajak.
Project’sintention
Joël Person will exhibit at the Saint-Césaire enclosure as well as at the Espace Van Gogh, alongside Hervé Di Rosa and Anna Sommer.
He will also participate in the drawing concert of the National Orchestra of Cannes on May 3 at the Théâtre Antique in Arles. He will realize a performance of drawings on the spot, projected live on a giant screen, in collaboration with Anna Sommer.
Published on November 16, 2022
Artist photographer Jean Claude Wouters presents “Light of Void” at the Alien Art Centre in Taiwan, alongside artist Arman from November 23, 2022 to March 9, 2023.
The title of the current exhibition Light of Void, includes purposely the word “light”. It is presently this special light Wouters’ works speak about. “I draw with light, I don’t make a copy of reality”, Wouters says. In japanese photography is translated by shashin, two ideograms meaning copy/reality. In most occasions, photography is used as “a copy of reality”, rather than “drawing with light”. I prefer to think of the photography of the beginnings, in the XIX century, with its special painting feeling.” All the technics Wouters use are very traditional photographic ones and it is a fact that most of them are disappearing quickly pushed out by the new digital technology for photography. In a few years from now, Wouters might not be able to create more the art pieces he makes today that we can see in this current exhibition, while the special mat baryte paper he uses has already became difficult to find. We won’t see anywhere else such a refined nuance of greys like in Wouters’ work– which are never black and white but merely a unique greyish.
Exhibition
From November 23, 2022 to March 9, 2023
ALIEN Art Center
No.111, Gushan 1st Rd., Gushan Dist.,
Kaohsiung City 804, Taiwan
Published on June 16, 2022
Elisabeth Daynès participates in the symposium “Images de l’homme fossile” organized by the Collège de France on Friday June 17, 2022. She will talk about “The Search for Lost Identities”. As an artist, Elisabeth Daynès brings reflection about identity, the significance of the skull, and the face, from our origins, to today, until the future. Her art toys discontinuously with science because science plays a big role in our imaginary.
The symposium focuses on the multiple images of the fossil man :
“From the beginning, research on human evolution and prehistory has had a double function. On the one hand, they have developed as new scientific disciplines, at the borders of biology and human sciences. On the other hand, they provided, in the West at least, the substance of a new account of origins that could replace that which the Bible had delivered for centuries.
This mythological and narrative dimension undoubtedly explains in part the fascination that this field of knowledge has always held for the public. Very quickly, the literature and the plastic arts took possession of the “prehistoric” theme, while the scientific knowledge remained still embryonic. A phantasmal prehistory has always rubbed shoulders with the one that archaeologists and paleontologists were trying to reconstitute. The border between the two remained porous and, in their attempts to fill the gaps in the fossil record, the researchers themselves were never free of subjectivity.
This account of origins touches us probably too closely to escape religious, philosophical and sometimes even political presuppositions. Each historical period has produced its own prehistory and human evolution, in accordance with the spirit of the time.
During this symposium, paleoanthropologists and historians of science will discuss the representations of fossil men and Paleolithic societies as they are produced by scientific works, then delivered to the public.”
Symposium
Friday, June 17, 2022
all day – Lecture is open to all, free of charge and without prior registration
Collège de France
11 place Marcelin-Berthelot
75005 Paris
Benoit-Luyckx-white-way-2020
Benoit-Luyckx-white-way-2020
Benoît Luyckx
White Way (2020)
Belgian bluestone
32 x 30 x 13,5 cm
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Benoit-Luyckx-slice-fruit-2020
Benoit-Luyckx-slice-fruit-2020
Benoit-Luyckx-slice-fruit-2020
Benoît Luyckx
Slice Fruit (2020)
Belgian bluestone
43 x 25 x 16,5 cm
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Benoit-Luyckx-etre-en-nature-2020
Benoit-Luyckx-etre-en-nature-2020
Benoît Luyckx
Être en Nature (2018-2020)
White Greek marble
53 x 41 x 18,5 cm
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Louise-Frydman-composition-2021-diptyque-2021
Louise Frydman
Composition (2021)
Diptych, Ceramic
L 95 x I 61 cm (each)
POUR PLUS D'INFOS >
Louise Frydman is a French artist who was born in 1989 in Paris.
She graduated from ESAG-Penninghen School of Art in 2012 and studied photography at the International Center of Photography in New York.
Her studio is located in Burgundy since 2015. Louise Frydman began by composing light and delicate works in white paper and then turned to ceramics in 2015 when she created her monumental piece La Fée des Pétales hanging in the courtyard of the Hôtel de Croisilles in Paris.
In treating ceramics, she will preserve the white matte of the paper as well as the delicacy of the material. Her sculptures, mirrors, or mobile installations, inspired by the forms of nature, play with light and movement. Her meeting with the ceramist Jean-François Reboul in 2015 allowed her to deepen her learning and to assert herself in her artistic approach. She exhibits her work in 2017 and 2019 at the Revelations Biennal at the Grand Palais in Paris.
Today, Louise Frydman collaborates with luxury houses such as Hermès, Bonpoint or Yiqing Yin haute couture, she works with the promoter Vinci Immobilier and sells her sculptures to decorators such as Minassian Chahan. In June 2019, Louise Frydman was awarded the “1 immeuble, 1 œuvre” Prize by the Minister of Culture Franck Riester, for her collaboration with Vinci Immobilier. Her work was also selected for the ICAA International White China Competition, whose exhibition took place in Beijing in August 2019. Her sculptures are currently presented at the showroom of the designer Philippe Hurel in Paris in the first arrondissement.
Loo & Lou Gallery exhibited her work for the first time at the fair JustLX in Lisbon in May 2019. Since then, she has had two solo exhibitions, one entitled Nature Fragile in the Loo & Lou Atelier and the second, Contemporary Ceramics, in the gallery’s space at George V.
Louise-frydman-corolle-ii-2020-ceramique
Louise Frydman
Corolle II (2020)
Wall sculpture, Ceramic
L 54 x I 53 x H 12 cm
POUR PLUS D'INFOS >
Louise Frydman is a French artist who was born in 1989 in Paris.
She graduated from ESAG-Penninghen School of Art in 2012 and studied photography at the International Center of Photography in New York.
Her studio is located in Burgundy since 2015. Louise Frydman began by composing light and delicate works in white paper and then turned to ceramics in 2015 when she created her monumental piece La Fée des Pétales hanging in the courtyard of the Hôtel de Croisilles in Paris.
In treating ceramics, she will preserve the white matte of the paper as well as the delicacy of the material. Her sculptures, mirrors, or mobile installations, inspired by the forms of nature, play with light and movement. Her meeting with the ceramist Jean-François Reboul in 2015 allowed her to deepen her learning and to assert herself in her artistic approach. She exhibits her work in 2017 and 2019 at the Revelations Biennal at the Grand Palais in Paris.
Today, Louise Frydman collaborates with luxury houses such as Hermès, Bonpoint or Yiqing Yin haute couture, she works with the promoter Vinci Immobilier and sells her sculptures to decorators such as Minassian Chahan. In June 2019, Louise Frydman was awarded the “1 immeuble, 1 œuvre” Prize by the Minister of Culture Franck Riester, for her collaboration with Vinci Immobilier. Her work was also selected for the ICAA International White China Competition, whose exhibition took place in Beijing in August 2019. Her sculptures are currently presented at the showroom of the designer Philippe Hurel in Paris in the first arrondissement.
Loo & Lou Gallery exhibited her work for the first time at the fair JustLX in Lisbon in May 2019. Since then, she has had two solo exhibitions, one entitled Nature Fragile in the Loo & Lou Atelier and the second, Contemporary Ceramics, in the gallery’s space at George V.
Louise-frydman-L’Envole-Les-Chemins-des-Délices-2013
Louise Frydman
Efflorescence II (2020)
Wall sculpture, Enameled earthenware
D 60 cm
POUR PLUS D'INFOS >
Louise Frydman is a French artist who was born in 1989 in Paris.
She graduated from ESAG-Penninghen School of Art in 2012 and studied photography at the International Center of Photography in New York.
Her studio is located in Burgundy since 2015. Louise Frydman began by composing light and delicate works in white paper and then turned to ceramics in 2015 when she created her monumental piece La Fée des Pétales hanging in the courtyard of the Hôtel de Croisilles in Paris.
In treating ceramics, she will preserve the white matte of the paper as well as the delicacy of the material. Her sculptures, mirrors, or mobile installations, inspired by the forms of nature, play with light and movement. Her meeting with the ceramist Jean-François Reboul in 2015 allowed her to deepen her learning and to assert herself in her artistic approach. She exhibits her work in 2017 and 2019 at the Revelations Biennal at the Grand Palais in Paris.
Today, Louise Frydman collaborates with luxury houses such as Hermès, Bonpoint or Yiqing Yin haute couture, she works with the promoter Vinci Immobilier and sells her sculptures to decorators such as Minassian Chahan. In June 2019, Louise Frydman was awarded the “1 immeuble, 1 œuvre” Prize by the Minister of Culture Franck Riester, for her collaboration with Vinci Immobilier. Her work was also selected for the ICAA International White China Competition, whose exhibition took place in Beijing in August 2019. Her sculptures are currently presented at the showroom of the designer Philippe Hurel in Paris in the first arrondissement.
Loo & Lou Gallery exhibited her work for the first time at the fair JustLX in Lisbon in May 2019. Since then, she has had two solo exhibitions, one entitled Nature Fragile in the Loo & Lou Atelier and the second, Contemporary Ceramics, in the gallery’s space at George V.
Wilkening-Catherine-L’Envole-Les-Chemins-des-Délices-2013
Wilkening-Catherine-L’Envole-Les-Chemins-des-Délices-2013
Catherine Wilkening
L'Envol, 2013
Black earth, Chamotte
97 x 20 x 15 cm
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“One day in 2002, during my career as an actress, the need to put my hands in matter imposed itself on me; the earth became vital to me at once. I launched into sculpture with a primal, animal instinct, guided by a deep and irreproachable impulse. My exploration is underground and organic, my work is physical, sensual, enjoyable. There is no conceptual plan, I let go of what is in my head and become one with living matter. I take a leap into the void.
My work has always been nourished by the feminine figure, with obsessive themes – birth, chaos, death, rebirth, impermanence, devotion, cannibalism – subjects that I explored through porcelain sculptures in 2019 during Art Paris at the Grand Palais with Loo & Lou Gallery. Today, going through these long periods of confinement in an anxiety-provoking climate, I feel the need to connect to the luminous, the spiritual, the elevated, the transcendental… to work on repetition, the multiple, the swarming, the infinite, the infinitely monumental in the infinitely tiny, like mantras that soothe and numb cerebral agitation, like broad breaths – to build from chaos, from fragments of aborted or abandoned sculptures, and give them a new breath of life… These long months of gestation birthed immense, immaculate, porcelain Madonnas, adorned with gold, Murano glass, crowned with roses, thorns, roots.”
– Catherine Wilkening
catherine-wilkening-envole-moi-les-chemins-des-delices-2020-21-1
catherine-wilkening-envole-moi-les-chemins-des-delices-2020-21-1
Catherine Wilkening
Envole-Moi, 2019
Enameled porcelain
130 x 90 cm
POUR PLUS D'INFOS >
“One day in 2002, during my career as an actress, the need to put my hands in matter imposed itself on me; the earth became vital to me at once. I launched into sculpture with a primal, animal instinct, guided by a deep and irreproachable impulse. My exploration is underground and organic, my work is physical, sensual, enjoyable. There is no conceptual plan, I let go of what is in my head and become one with living matter. I take a leap into the void.
My work has always been nourished by the feminine figure, with obsessive themes – birth, chaos, death, rebirth, impermanence, devotion, cannibalism – subjects that I explored through porcelain sculptures in 2019 during Art Paris at the Grand Palais with Loo & Lou Gallery. Today, going through these long periods of confinement in an anxiety-provoking climate, I feel the need to connect to the luminous, the spiritual, the elevated, the transcendental… to work on repetition, the multiple, the swarming, the infinite, the infinitely monumental in the infinitely tiny, like mantras that soothe and numb cerebral agitation, like broad breaths – to build from chaos, from fragments of aborted or abandoned sculptures, and give them a new breath of life… These long months of gestation birthed immense, immaculate, porcelain Madonnas, adorned with gold, Murano glass, crowned with roses, thorns, roots.”
– Catherine Wilkening
Catherine-Wilkening-Vertiges-2020-Les-Chemins-Des-Delices-2021
Catherine-Wilkening-Vertiges-2020-Les-Chemins-Des-Delices-2021
Catherine-Wilkening-Vertiges-2020-Les-Chemins-Des-Delices-2021
Catherine Wilkening
Vertiges
Porcelain, Murano glass
98 x 55 x 52 cm
POUR PLUS D'INFOS >
“One day in 2002, during my career as an actress, the need to put my hands in matter imposed itself on me; the earth became vital to me at once. I launched into sculpture with a primal, animal instinct, guided by a deep and irreproachable impulse. My exploration is underground and organic, my work is physical, sensual, enjoyable. There is no conceptual plan, I let go of what is in my head and become one with living matter. I take a leap into the void.
My work has always been nourished by the feminine figure, with obsessive themes – birth, chaos, death, rebirth, impermanence, devotion, cannibalism – subjects that I explored through porcelain sculptures in 2019 during Art Paris at the Grand Palais with Loo & Lou Gallery. Today, going through these long periods of confinement in an anxiety-provoking climate, I feel the need to connect to the luminous, the spiritual, the elevated, the transcendental… to work on repetition, the multiple, the swarming, the infinite, the infinitely monumental in the infinitely tiny, like mantras that soothe and numb cerebral agitation, like broad breaths – to build from chaos, from fragments of aborted or abandoned sculptures, and give them a new breath of life… These long months of gestation birthed immense, immaculate, porcelain Madonnas, adorned with gold, Murano glass, crowned with roses, thorns, roots.”
– Catherine Wilkening
Catherine-Wilkening-La-Madonna-Animale-Les-Chemins-des-Délices-2020
Detail-Wilkening-Catherine-La-Madonna-Animale-Les-Chemins-des-Délices-2020-2
Detail-Wilkening-Catherine-La-Madonna-Animale-Les-Chemins-des-Délices-2020
Detail-Wilkening-Catherine-La-Madonna-Animale-Les-Chemins-des-Délices-2020
Catherine Wilkening
La Madonna Animale
Porcelain, gold leaf, copper, plaster
187 x 43 x 42 cm
POUR PLUS D'INFOS >
“One day in 2002, during my career as an actress, the need to put my hands in matter imposed itself on me; the earth became vital to me at once. I launched into sculpture with a primal, animal instinct, guided by a deep and irreproachable impulse. My exploration is underground and organic, my work is physical, sensual, enjoyable. There is no conceptual plan, I let go of what is in my head and become one with living matter. I take a leap into the void.
My work has always been nourished by the feminine figure, with obsessive themes – birth, chaos, death, rebirth, impermanence, devotion, cannibalism – subjects that I explored through porcelain sculptures in 2019 during Art Paris at the Grand Palais with Loo & Lou Gallery. Today, going through these long periods of confinement in an anxiety-provoking climate, I feel the need to connect to the luminous, the spiritual, the elevated, the transcendental… to work on repetition, the multiple, the swarming, the infinite, the infinitely monumental in the infinitely tiny, like mantras that soothe and numb cerebral agitation, like broad breaths – to build from chaos, from fragments of aborted or abandoned sculptures, and give them a new breath of life… These long months of gestation birthed immense, immaculate, porcelain Madonnas, adorned with gold, Murano glass, crowned with roses, thorns, roots.”
– Catherine Wilkening
Mark Powell
The wise ones (2023)
Ballpoint pen drawing on an antique collection of postcards
28 x 35,5 cm
700 euros
INQUIRE >
Image: Mark Powell
With the humble Bic Biro as his tool of choice, London-based Powell creates intricate portraits on antique documents. His favoured subjects are elderly, a natural fit for the paper he uses and his detailed style: post marks and typography merge with pen strokes to create a captivating whole.
Mark Powell
Vogue (2023)
Ballpoint pen drawing on a 1908 French magazine cover
45 x 31,5 cm
900 euros
INQUIRE >
Image: Mark Powell
With the humble Bic Biro as his tool of choice, London-based Powell creates intricate portraits on antique documents. His favoured subjects are elderly, a natural fit for the paper he uses and his detailed style: post marks and typography merge with pen strokes to create a captivating whole.
Mark Powell
Open with care (2022)
Ballpoint pen drawing on an antique 1904 envelope
33 x 44,5 cm
900 euros
INQUIRE >
Image: Mark Powell
With the humble Bic Biro as his tool of choice, London-based Powell creates intricate portraits on antique documents. His favoured subjects are elderly, a natural fit for the paper he uses and his detailed style: post marks and typography merge with pen strokes to create a captivating whole.
Mark Powell
Beauty and hard work (2023)
Ballpoint pen drawing on an antique map of Paris
31 x 41 cm
850 euros
INQUIRE >
Image: Mark Powell
With the humble Bic Biro as his tool of choice, London-based Powell creates intricate portraits on antique documents. His favoured subjects are elderly, a natural fit for the paper he uses and his detailed style: post marks and typography merge with pen strokes to create a captivating whole.
Anna De Leidi
A constant state of poisoning (2020)
Collage and mixed media
35 x 25 cm
900 euros
INQUIRE >
Image: Anna De Leidi
For this first collaboration between Anna De Leidi and the Loo & Lou, the Italian artist is invited to invest the walls of the Atelier with a set of collages started during the isolation of the first confinements.
Starting from an intuition, Anna De Leidi draws from a stock of various clippings, archival images and magazines to assemble them according to an artistic and personal development nourished by references to the history of art and political life – in particular the artistic avant-garde and the protest movements. The superimposed archival images accumulate layers of meaning, without denying the abstraction due to the fortuitous harmony of colors and shapes of the torn papers. Without any pre-determination, apart from that of this first intuition, the collage unfolds and composes itself to form a work embellished with an evocative title, sometimes on the borders of poetry.
The artist summarizes her research as follows: “Narrative, composition, color”.
Cedric Le Corf
Stein Studie 13 (2023)
Oiled pastel on paper
39 x 29 cm
800 euros
INQUIRE >
Image: Despatin & Gobell
Cedric Le Corf was born in 1985 in Bühl (Germany). He graduated with honors from the École Européenne Supérieure d’Art de Bretagne in Lorient (France) in 2009. Today, he lives and works in Brittany.
The subject of his work lends itself to anatomical landscapes inspired by Jacques Fabien Gautier d’Agoty’s boards, where little by little, a dismembered man is transformed into a landscape of a man. Humans, trees, and the earth all possess in common a kind “skin” and with it the ability to be flayed. Is it untrue to think that a dissected body is merely a wide range of landscapes, full of mishaps, folds, and crevices? The coarseness of bone is reminiscent to the rocky landscapes of Patinir; the venous, arterial, or nervous network irrigates like rivers, plains, and estuaries; the muscles, the clay of Genesis, model gorges and mounds.
Following this metaphor, he uses plant roots as a landscape element to interlock bones, vertebrae, or joints made of porcelain. The root, in its etymological sense, is one element implanted inside another, much like the root of a tooth, a hair, or the dorsal root of a spinal nerve. It therefore juxtaposes a raw element of chaos with the mastery of creation; from roughness to polish, from decomposition to the inalterable, from the durability of art to the ephemeral man. Imbued with the Rhineland and Armorican heritage, confronted with the pathos of Grünewald (Baldung Grien), the hanged men within “Des misères de la guerre” by Jacques Callot at “l’Ankou”, along with the macabre dances of Kernascléden where the animate and the inanimate are mixed, to the horror of the mass graves of Sobibor, Le Corf tries, by attaching himself to these motifs, to deafen the subject that his work contains.
Cedric Le Corf
Stein Studie (2023)
Oiled pastels on paper
39 x 29 cm
990 euros
INQUIRE >
Image: Despatin & Gobell
Cedric Le Corf was born in 1985 in Bühl (Germany). He graduated with honors from the École Européenne Supérieure d’Art de Bretagne in Lorient (France) in 2009. Today, he lives and works in Brittany.
The subject of his work lends itself to anatomical landscapes inspired by Jacques Fabien Gautier d’Agoty’s boards, where little by little, a dismembered man is transformed into a landscape of a man. Humans, trees, and the earth all possess in common a kind “skin” and with it the ability to be flayed. Is it untrue to think that a dissected body is merely a wide range of landscapes, full of mishaps, folds, and crevices? The coarseness of bone is reminiscent to the rocky landscapes of Patinir; the venous, arterial, or nervous network irrigates like rivers, plains, and estuaries; the muscles, the clay of Genesis, model gorges and mounds.
Following this metaphor, he uses plant roots as a landscape element to interlock bones, vertebrae, or joints made of porcelain. The root, in its etymological sense, is one element implanted inside another, much like the root of a tooth, a hair, or the dorsal root of a spinal nerve. It therefore juxtaposes a raw element of chaos with the mastery of creation; from roughness to polish, from decomposition to the inalterable, from the durability of art to the ephemeral man. Imbued with the Rhineland and Armorican heritage, confronted with the pathos of Grünewald (Baldung Grien), the hanged men within “Des misères de la guerre” by Jacques Callot at “l’Ankou”, along with the macabre dances of Kernascléden where the animate and the inanimate are mixed, to the horror of the mass graves of Sobibor, Le Corf tries, by attaching himself to these motifs, to deafen the subject that his work contains.
Cedric Le Corf
Série Stein Studie (2023)
Oiled pastels on paper
39 x 29 cm
800 euros each
INQUIRE >
Image: Despatin & Gobell
Cedric Le Corf was born in 1985 in Bühl (Germany). He graduated with honors from the École Européenne Supérieure d’Art de Bretagne in Lorient (France) in 2009. Today, he lives and works in Brittany.
The subject of his work lends itself to anatomical landscapes inspired by Jacques Fabien Gautier d’Agoty’s boards, where little by little, a dismembered man is transformed into a landscape of a man. Humans, trees, and the earth all possess in common a kind “skin” and with it the ability to be flayed. Is it untrue to think that a dissected body is merely a wide range of landscapes, full of mishaps, folds, and crevices? The coarseness of bone is reminiscent to the rocky landscapes of Patinir; the venous, arterial, or nervous network irrigates like rivers, plains, and estuaries; the muscles, the clay of Genesis, model gorges and mounds.
Following this metaphor, he uses plant roots as a landscape element to interlock bones, vertebrae, or joints made of porcelain. The root, in its etymological sense, is one element implanted inside another, much like the root of a tooth, a hair, or the dorsal root of a spinal nerve. It therefore juxtaposes a raw element of chaos with the mastery of creation; from roughness to polish, from decomposition to the inalterable, from the durability of art to the ephemeral man. Imbued with the Rhineland and Armorican heritage, confronted with the pathos of Grünewald (Baldung Grien), the hanged men within “Des misères de la guerre” by Jacques Callot at “l’Ankou”, along with the macabre dances of Kernascléden where the animate and the inanimate are mixed, to the horror of the mass graves of Sobibor, Le Corf tries, by attaching himself to these motifs, to deafen the subject that his work contains.
Anna De Leidi
You snooze you lose (me) (2021)
Collage
28,8 x 21 cm
760 euros
INQUIRE >
Image: Anna De Leidi
For this first collaboration between Anna De Leidi and the Loo & Lou, the Italian artist is invited to invest the walls of the Atelier with a set of collages started during the isolation of the first confinements.
Starting from an intuition, Anna De Leidi draws from a stock of various clippings, archival images and magazines to assemble them according to an artistic and personal development nourished by references to the history of art and political life – in particular the artistic avant-garde and the protest movements. The superimposed archival images accumulate layers of meaning, without denying the abstraction due to the fortuitous harmony of colors and shapes of the torn papers. Without any pre-determination, apart from that of this first intuition, the collage unfolds and composes itself to form a work embellished with an evocative title, sometimes on the borders of poetry.
The artist summarizes her research as follows: “Narrative, composition, color”.