LYDIE ARICKX

Written by Matthew Hong on 25 June 2019. Posted in artists.

Lydie Arickx

Lydie Arickx is a painter and a sculptor who was born in 1954 in France from Flemish parents.

After graduating in 1978 from the École Supérieure d’Arts Graphiques de Paris (ESAG), she had her first solo exhibition of pastels and oil paintings in 1979 at Jean Briance Gallery. Since the beginning of the 1980s, she has participated in international events such as Art Basel, FIAC, and Art Paris. In 1988, she presented her work in Belgium, Switzerland, Germany, the Netherlands, Spain and the United States with a group exhibition at Amaury Taittinger in New York in which her work was presented alongside pieces by Francis Bacon. In 1991, she moved to Landes and worked on large forms and pursued the creation of monumental sculptures. In 1999, for the 800th anniversary of the Jurade of Saint Émilion, Arickx presented a double personal exhibition in the cloister of the Monolithic Church. Arickx regularly organizes cultural events in theaters, such as the Art Sénat 2001, which meshes contemporary art and live performance, while also hosting creative workshops for schools and businesses.

Arickx’s pieces have been incorporated into major international public collections, including the Museum of Modern Art in Paris, the Pompidou Center, Palais de Tokyo, Fonds National d’Art Contemporain, as well as in public spaces such as the Paul-Brousse Hospital, the Intercommunal Hospital Center of Créteil, the IUFM of Mont-de-Marsan, the MACS Saint-Vincent-de-Tyronne, and a fresco for the commemoration of the centenary of the arenas of Dax in 2013. Arickx’s studio is a source for experimentation, where she likes to share with all audiences.

In 2014, she published her first book, Nous vivons, with Diabase editions. In May 2015, Arickx filled the city of Roubaix with four large exhibitions that paid homage to her family roots, one of which was at the Piscine, a museum for art and industry, with a monumental fresco that measured up to 200 meters long. The following year, filled with experience from Roubaix, Arickx was invited by the Center of National Monuments to create two monumental performances with one exhibition in the room for the Gens d’armes at the Conciergerie in Paris and one installation at the Expiatory Chapel. In 2017, for her first collaboration with Loo & Lou, she exposed her work during the exhibition “Gravité,” which took over the gallery’s three spaces. In 2018, she participated the exhibition, Tant qu’il y aura des Ogres, which included more than 500 works around the theme of the fairytale. Later, in 2019, she exhibited work alongside Niki de Saint Phalle and other female artists for « Créatrices – L’émancipation par l’art », which was held in the Museum of Fine Arts in Rennes.

Her exhibition Arborescences was on view at the National Domain of Chambord, another architectural and historical gem, in 2021. Arickx used different themed rooms to transform the architecture of this historic monument with a transfigured vision of living beings. For more information, please click here.

Cabinet of curiosity, Exhibition “Arborescences” | Château de Chambord
L’évolution (Oscar), 2020, Bone and resin bas relief on emery cloth, 213 x 305 cm
Série Chemin de croix, 2020, Bones, 43 x 31 x 20 cm
Série Chemin de croix, 2020, Magnetic ferrite, 39 x 39 x 18 cm
Série Chemin de croix, 2020, Resin and bones, 30 x 17,5 x 11 cm
“Oeuf solaire” | Exposition “Arborescences” 2021 | Château de Chambord
Exhibition view “Toiles Vivantes” 2019 | Loo & Lou Gallery Haut-Marais
Exhibition view “Toiles vivantes” 2019 | Loo & Lou Gallery Haut Marais
View of Lydie Arickx’s performance in the Loo & Lou Atelier
View of Lydie Arickx’s performance in the Loo & Lou Atelier
Detail from Lydie Arickx’s performance in the Loo & Lou Atelier
View of Lydie Arickx’s performance in the Loo & Lou Atelier
Exhibition view “Gravité” 2017 | Loo & Lou Gallery Haut-Marais
Exhibition view “Gravité” 2017 | Loo & Lou Gallery Haut-Marais
Exhibition view “Gravité” 2017 | Loo & Lou Gallery George V
Exhibition view “Gravité” 2017 | Loo & Lou Gallery George V

ARGHAËL

Written by Matthew Hong on 24 June 2019. Posted in artists.

ARGHAËL

Arghaël became fascinated by the human body while working as a film director, capturing life through the prism of cameras and editing rooms. In searching for a more personal mode of expression, he turned to charcoal and canvas to explore raw human intimacy. He studied charcoal drawing with live models at the Beaux-Arts University in Paris to develop his skills.

Arghaël’s work questions the mystery of the flesh, frontally probing the unconscious and ultimately giving birth on canvas with the stroke of his hand. His charcoal drawings capture flesh and bone in their bare essence. Drawing his men and women on the walls of what he calls his “mental cave,” or the canvas laying before his eyes like a second skin.

At times, his oversized subjects and their evanescent faces seem to be floating in space, evoking a kind of newfound freedom. Arghaël’s creatures rise to life before us and become metaphors for his creative process. His graphic approach, similar to compositing, allows telluric flashes that are amplified by warm pastels and oil paints. Arghaël uses charcoal to capture flesh in a primitive expression and gives in-temporal elegance to his larger-than-life creations. In 2016, Loo & Lou Gallery exhibited his very first solo show.

NELSON MAKAMO, Connaissance des Arts, July 2019

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NELSON MAKAMO, Beaux Arts Magazine, July 2019

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NELSON MAKAMO, Figaro Scope, July 2019

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NELSON MAKAMO, Elle Décoration, July 2019

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NELSON MAKAMO, RFI, June 2019

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NELSON MAKAMO, Arts in the City, June 2019

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NELSON MAKAMO, Vivre Paris, June 2019

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NELSON MAKAMO, Connaissance des Arts, June 2019

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NELSON MAKAMO, Arts in the city, June 2019

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NELSON MAKAMO, Que faire à Paris ?, June 2019

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NELSON MAKAMO, Télérama, June 2019

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NELSON MAKAMO, City Buzz, May 2019

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NELSON MAKAMO, Colossal, May 2019

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NELSON MAKAMO, France 24, May 2019

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NELSON MAKAMO
29.05.2019 – 27.07.2019

Written by Matthew Hong on 11 June 2019. Posted in exhibitions.

Nelson Makamo

Loo & Lou Gallery – Haut Marais
29.05 – 27.07.19

View of the exhibition of Nelson Makamo © Loo & Lou Gallery
View of the exhibition of Nelson Makamo © Loo & Lou Gallery
View of the exhibition of Nelson Makamo © Loo & Lou Gallery
To Paris with Love (detail) 2019, Charcoal, pastel and oil on Belgian linen canvas, 160 x 120 cm © Loo & Lou Gallery
View of the exhibition of Nelson Makamo © Loo & Lou Gallery
View of the exhibition of Nelson Makamo © Loo & Lou Gallery
Untitled (detail) 2019, Charcoal Adolf acrylic on paper, 76 x 58 cm © Loo & Lou Gallery
View of the exhibition of Nelson Makamo © Loo & Lou Gallery
We are Angels with Dirty Faces (2019) Charcoal, pastel and oil on Belgian linen canvas, 160 x 120 cm © Loo & Lou Gallery
View of the exhibition of Nelson Makamo © Loo & Lou Gallery
To Paris with Love (2019) Charcoal, pastel and oil on Belgian linen canvas, 160 x 120 cm © Loo & Lou Gallery
A Gaze in Inverse (2019) Charcoal, pastel and oil on canvas, 160 x 120 cm © Loo & Lou Gallery
Decoration of the Youth (2019) Charcoal, pastel and oil on Belgian linen canvas, 200 x 150 cm © Loo & Lou Gallery
Untitled (2019) Charcoal, acrylic and pastel on paper, 100 x 70 cm © Loo & Lou Gallery

Nelson Makamo is an artist based in Johannesburg. He was born in 1982 in a town called Modimolle, in South Africa’s Limpopo province. Gifted with an astounding artistic aptitude in drawing and painting, Makamo honed his craft at Artist Proof Studios in Johannesburg, where he studied printmaking for 3 years.

Makamo has exhibited his work in group and solo exhibitions in South Africa, Europe, England and the US. He has shown in group shows alongside other South African artists, including David Koloane, Colbert Mashile, Deborah Bell, and William Kentridge.

Nelson’s work is strongly influenced by the candid innocence of children, particularly those in rural South Africa. He believes that they embody the peace and harmony that we all strive for in life. For him, the search for eternal joy lies in the child within us all, we are just so consumed with worldly things that we forget the simplicity of life that can be found through their perspective.

Makamo’s work is included in many collections such as those of fashion icon Giorgio Armani, musician Annie Lennox, Hanzehof Zutphense Kunst Collectis, DJ Black Coffee, Swizz Beatz, Oprah Winfrey, Ava Duvernay, to name a few.

His most recent achievement is one of his artwork gracing TIME magazine’s cover for their Special Edition on optimism, which was guest edited by acclaimed film director Ava Duvernay.

TANC

Written by Matthew Hong on 24 June 2019. Posted in artists.

©Tanc

TANC

Tanc was born in 1979 in Paris, where he currently lives and works.

What characterizes him is the uniqueness of his style, which becomes more easily understandable when we learn that Tanc grew up with graffiti. He believes that street art is ephemeral and that the action can be more important than the result. For him “to be an artist is a way of life”, therefore there must be total investment and absolute integrity. At the beginning of the 2000s, he focused on studio work and immediately distinguished himself from traditional graffiti artists through his work based on the line, researching synthesis. First using his name, then tags in general, then people, music, and finally, his favorite subject: life.

Essentially based on the line, his work is not aiming to be perfect, but spontaneous. The state he is in defines his density and rigor. His heartbeat activates his arm like a metronome, though he doesn’t try to control this flow but just to understand the composition that he makes appear in balance between the conscious and unconscious. He composes his music and his paintings in a similar way.

He is dense or light, rigorous or unstructured, but Tanc does not play; he lives his art. He signs his paintings with “Tanc” as he has signed walls with tags since his teenage hood. This discipline is first and foremost an instinctive outlet of his need for expression: he reappropriates himself urban spaces by shouting his name to the city with force.

Soon, the letters disappear and Tanc engages in exploring abstraction. By concentrating his work on lines and colors, he renews the classical pictorial research by confronting it with the primary vivacity of street art: preponderance of action, perfection of gesture, acceptance of chance and expression of a strong singularity. Above all, his works strikes with their intensity, their musicality, and the vibration of lights and materials. The action, energy, and emotion of the artist touches the spectator in a sensual, intimate, and immediate way.

Tanc has numerous group and solo exhibitions, notably in Germany (Skatlizers Contemporary Art), New York (Catherine Ahnell Gallery), England (The French Art Studio) and Morocco (David Bloch Gallery). He also participated in the Mois de la Francophonie at the French Institute of Beirut in 2013.

Though it may seem subjective, could you describe your path?

It started during my childhood when I discovered painting through different ways… One of them spoke to me, it was graffiti, and I decided to work with it. I started by painting abstract shapes, lines, colors, and effects… until I earned my place in the milieu by writing my name.

During the 2000’s, I started to have shows, along with the newly found passion of public for Street Art. I had recently graduated with a master’s degree in artistic direction, and I had to make a choice between living by reason or living my dreams… I chose my dreams. After meeting Jean Faucheur and the group focused on poster collages Une nuit, I gathered my VAO friends to invest a workshop at la forge in Belleville. Exhibitions followed at a regular pace, with first trips, residencies… I didn’t earn much money, but it seemed so easily earned in the face of the life I lead. I painted and I partied, everywhere and all the time. I wanted to live it all! Seven years have gone by, and I left with Atlas in a new workshop in the Lilas. It was a new era. I became braver, more serious, and more professional. The dream came true, I had to consider new goals. It was six years ago. Nowadays, I follow my path in the art world through exhibitions and encounters. It’s funny how the closer I get to my goal, the longer the road seems to be. Life is a performance!

Your work shows a peculiar interest for gesture, what influences are hidden behind this interest?

Even though my heart belongs to several types of artistic representations, I feel closer to Action painting and lyric abstraction. In my opinion, the emotion that its practice provokes has no equal. Within it, gesture prevails and is singular. It is, even in a well-established scheme, the human touch, painter’s transmission to the viewer through the ages. Eternally frozen instants. It’s this intimacy I crave in the gesture.

For you, action mostly prevails on result, at which step of your creation do you chose to focus on one or another?

Action prevailing on result became a philosophy to me. It’s the beginning of my production. I think that too much knowledge and reflecting on Art history and too much thinking to find a new concept to get along the institutional art in France (contemporary art) parts in a reflection that is rarely constructive. I am a conceptual painter, but the relationship to material is primary to me. I do not agree that the idea is enough to be an artist and that production is solely craftsmanship. Action is concrete. It does not play, crumbles dreams and brings maturity.

Result is determined more like an adequacy between the idea I have of the used tool and its final production. I will still find enjoyment during the action in finding little hazards that will give the result’s prestige. Furthermore, it will be praised and hated, sometimes by the same people at the same time. The “beautiful” being bygone in contemporary art, tastes evolve through concepts and processes. Mine being to privilege unconscious in my creation. I prefer to think to the result before and after the action.

First lettering, you then went towards more abstraction, was it the logical follow-up of your approach?

My research, since I’ve been working in studio, goes towards abstraction, I find more emotion. In the street, it’s different. Letters impact has another meaning. But boarders remain blurry for me. When does a letter become an abstract form? This is where I play to find limits by integrating new inspirations from my travels. Going back on my traits, scraping the canvas, creating volume, deepness and pictural vibrance.

It is important to remember that my approach is to paint with my unconscious expressing itself. Kind of a state between trance and meditation, like a therapy to me (a bit like Sam Francis sometimes ago).

The more I give up to spontaneity, the more I let myself go, the more well-executed the painting will be (beautiful). Self-confidence is key. Like the calligrapher, I repeated my gesture, I must be sure, not think. Only appreciate hazards of the shapes appearing.

Does experience influences your work? how does it feed your creation and reflects in your works?

Experience influences my work through my being, intellectually today, physically tomorrow. I think about Hans Hartung that I love. Self-confidence comes with time. Sensations brought to me by life often had impacts on my painting. I think again of breaks up that were interesting and useful in a pictural point of view. I like my painting to reflect my life. My Variations serve is the perfect example. One trait with a single gesture summarizes my emotional state by filling the canvas. Like an electrocardiogram of the lived moment during the action.

Which artists have been of major importance to you in your artistic research or caught your eye recently?

I started to want to paint by discovering graffiti and artists like Dondi and Futura 200. Then, I got interested into Art History and Abstract Expressionism and New York School. From Franz Kline’s action painting to Mark Rothko’s fulness. It was done, my art would come out of these two movements. Following this, artists like Bernard Frise, Simon Hentaï, Henri Michaux or Christopher Wool inspired me. For the past 4 years, I’m also fond of Korean painting, Dansaekhwa with artists such as Park Seobo, Chung Chang Sup, Lee Seung Jim, Lee Bae…

I also have an eye on the future and follow a lot what my generation does. Artists like KR, Pablo Tomec, Erosi, Revok. There’s so many of them…

We often talk about your synthesis; can you tell us more about it?

I started working on tags synthesis, or rather their energy. I wanted to transcript without reproducing canvas already done in the 80’s.

Through this, I realized that I could synthesis lights, emotions, frequencies surrounding me with traits and colors.
Synthesis pushed me towards minimalism, then towards maximalism (reproduction of the same pattern on a whole format).

Do you think that collaboration between artists plays an important role in your practice? (You share your studio with Atlas, but also in the world of street art, crew, etc.)

Collaboration between artists is important on a morality pov. We often feel isolated, tormented to know if our art is raising and will raise enough enthusiasm for it to be conserved and restored. In this way, it is necessary to discuss on our thoughts and to celebrate our successes. Being recognized by our equals and colleagues is more important to me than a few sold paintings.

About creating artworks with others, I am quite skeptical…Except for some projects with Steph Cop for the 2016 Marrakech Biennial or Atlas with whom we share our reviews to create four-handed paintings. It is often difficult to share instead of competition. Artists have strong egos, it’s not always easy to deal with…

You are often linked with the Graffuturism movement, do you think you belong to it?

I really don’t consider myself in any movement, future will do its thing…

I believed in the beginning in Graffuturism because I thought that Street Art (that is originally a 20-persons group in the world) had become a niche where we put everything and anything.

Unfortunately, it quickly became the same. Basically, these movements which come from artists stemming from the graffiti having had a reflection to lead on a new form of art are polluted every time by pushy artists. No background.

Do you set limits for yourself in the use of mediums?

I have only their mastery as limits.
As an autodidact, I tested a lot of things. Often with success, sometimes with failures, often with time. That lead me to their utility. Nowadays, I still do research but do not hesitate to call a specialist to learn. It is important to know our abilities. Use’s orientation of a tool and the importance of being assisted or not. I started to paint with spray cans 20 years ago et it remains, by far, my tool of choice. It is an extension of me. Painting without touching the medium, it’s an unmatched feeling for me.

How do you see the institutionalization of artistic practices (or yours even more) in urban field?

I am in favor of artistic practices recognition by institutions, museums as much as in the public space. But I am also a defender of wild action, often illegal ones. The risks taken and the speed of execution give a more romantic touch, to my liking. You do not forget that I privilege action over result. In cities, people need to evade, art is a really good way to do so. I think of the happiness I have to walk past graffities since I’m a child. It changed my life.
Institutions follow today with the Art market. With the speculative rise provoked by Street art, we expect to see a lot more of it. It was already showed in the Grand Palais, at the Palais de Tokyo and at the Pompidou Center…

It’s the path of every practice and every artist. Then, it’s all cycles. There will always be young people who will emerge and break all the established boarders for art not to be institutional. Art is generational, everybody has theirs.

The idea of the vandal spraying a tag, is it still the case, or is it more of an imaginary attached to this practice?

You can’t cheat with paint and even less with tag. It’s easy to know who does what, you just have to get out on the street. So, no! There is nothing imaginary. I’m far from being an addict than some people or even younger people. Illegally writing your name brought me where I am, and I want to remain sincere with my approach (I’m not talking about the pleasure I have from doing it).

Truth is that it brings a strength to my studio work that I lose if I don’t come back.

You are also a musician, does all of this it has a common point in your creation, or can you tell us more about it?

I was always mesmerized by music! It’s the easiest art to appreciate, no need to intellectualize. We can feel it physically. Everybody will give you an opinion on a piece or on a musical genre…But, playing as an autodidact is quite difficult. I had to find the right instruments to practice by myself. During the early 2000’s, music was mainly produced by computer. Weary of having worked with it too much during graphism studies, I look for different options in the Pigalle music shops. I decided to buy a first machine (sequencer, drum machine, synthesizer). I am fascinated to work on live music. To feel the electricity becoming frequency, ripple, note…Without knowing it, this research is influencing my painting in my search for abstraction and completing my character. I will then not stop to work simultaneously on both subjects. I often say that my arm is actioned by my heart like a huge metronome transcribing my emotions. I paint my internal music.

What are your ongoing projects or collaborations, exhibitions, new works to come?

I am still working on several series of paintings, some will be visible soon, some others in a few years.

To see some, it is currently at the Loo & Lou Gallery in Paris, then starting from the 18^th of January with Atlas at the COX Gallery in Bordeaux. In February, at the Brugier Rigail Gallery for a collective exhibition and during spring in Germany for the Urban art Biennial.
For collaborations, the Olivade fabrics will drop three patterns of my creation and I have ongoing projects of parquet and carpet editions.
Several books, lithographs and serigraphs are also ongoing.

Do you have a place where you would like to exhibit/ work?

I feel really close to Asia even though I already exhibited and worked there, I think it is where my heart would guide me currently. Otherwise, New York and Paris remain the best places to catch up with trends and to try to insert yourself in the artistic world.

What is art for you (starting with: “to me, art is…)?

To me, art is the possibility to transform actions and materials in reflection. To question and federate people on the world that surrounds us. Art is a religion nowadays, and big shows are masses where everybody rushes to, looking for answers and mysticism.

But to me who’s in the action, it’s above all a balance and a therapy. My reason to live.

Sans titre, acrylique, encre et laque sur la toile, 195x135cm, 2013 © TANC
Sans titre, acrylic, ink and lasquer on canvas, 86×70 cm, 2019 © TANC
Sans titre, acrylic, ink et laquer on canvas, 47×95 cm © TANC
Sans titre, acrylique, encre et laque sur la toile, 150x132cm, 2015 © TANC
Sans titre, acrylique, encre et laque sur la toile, 140x200cm, 2015 © TANC
Sans titre, acrylique, encre et laque sur la toile, 136x115cm, 2015 © TANC
Sans titre, acrylique, encre et laque sur la toile © TANC
Sans titre, acrylique, encre et laque sur la toile, 140x200cm, 2015 © TANC
Sans titre, acrylic, ink and lacquer on canvas, 98×82 cm © TANC

ARGHAËL, « Métamorphe(s) », Where in Paris, May 2019

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ARGHAËL, « Métamorphe(s) », L’Oeil, April 2019

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« Art Paris 2019 », Connaissance des Arts, April 2019

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ARGHAËL, « Métamorphe(s) », Art in the City, April 2019

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ARGHAËL, « Métamorphe(s) », Art Magazine, March/April 2019

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FRED KLEINBERG, « Germination, peintures et pastels », Toute la culture, March 2019

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FRED KLEINBERG, « Germination, peintures et pastels », La Diagonale de l’art, Libération, March 2019

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FRED KLEINBERG, « Germination, peintures et pastels », Slash Paris, February 2019

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FRED KLEINBERG, « Germination, peintures et pastels », Figaroscope, February 2019

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FRED KLEINBERG, « Germination, peintures et pastels », Miroir de l’Art, February 2019

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FRED KLEINBERG, « Germination, peintures et pastels », Le Quotidien de l’Art, February 2019

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FRED KLEINBERG, « Germination, peintures et pastels », Art for breakfast, February 2019

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FRED KLEINBERG, « Germination, peintures et pastels », Que faire à Paris ?, January 2019

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OLIVIER DE SAGAZAN, « You and I are earth », Beaux Arts magazine, January 2019

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OLIVIER DE SAGAZAN, « You and I are earth », L’Oeil, December 2018

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OLIVIER DE SAGAZAN, « You and I are earth », Paris Capitale, December 2018

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OLIVIER DE SAGAZAN, « You and I are earth », Connaissance des arts, December 2018

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JEAN CHRISTOPHE BALLOT, « L’éternité et un jour », La Gazette Drouot, November 2018

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JEAN-CHRISTOPHE BALLOT, « L’éternité et un jour », Archistorm, November 2018

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OLIVIER DE SAGAZAN, « You and I are Earth », Que faire à Paris ?, November 2018

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JEAN-CHRISTOPHE BALLOT, « L’éternité et un jour », Arts Magazine, November 2018

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JEAN-CHRISTOPHE BALLOT, « L’éternité et un jour », Réponses Photo, November 2018

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JEAN-CHRISTOPHE BALLOT, « L’éternité et un jour », 20 minutes, November 2018

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JEAN-CHRISTOPHE BALLOT, « L’éternité et un jour », L’officiel des spectacles, November 2018

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JEAN-CHRISTOPHE BALLOT, « L’éternité et un jour », Itartbag, November 2018

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JEAN-CHRISTOPHE BALLOT, « L’éternité et un jour », L’oeil de la photographie, November 2018

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JEAN-CHRISTOPHE BALLOT, « L’éternité et un jour », TK 21, October 2018

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TONY SOULIE, « Florilèges », Artistes, October 2018

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TONY SOULIE, « Florilèges », Paris Capitale, October 2018

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TONY SOULIE, « Florilèges », 20 minutes, October 2018

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JEAN-CHRISTOPHE BALLOT, « L’éternité et un jour », 9 lives, October 2018

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TONY SOULIE, « Florilèges », Figaro Scope, October 2018

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TONY SOULIE, « Florilèges », Figaro Scope, September 2018

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TONY SOULIE, « Florilèges », L’officiel des spectacles, September 2018

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TONY SOULIE, « Florilèges », Connaissances des arts, September 2018

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TONY SOULIE, « Florilèges », Figaro Scope, September 2018

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TONY SOULIE, « Florilèges », Arts in the city, September 2018

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TONY SOULIE, « Florilèges », L’oeil, September 2018

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TONY SOULIE, « Florilèges », Connaissance des arts, September 2018

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CARTE BLANCHE (01) à CLARA DAQUIN, « Une légère oscillation », Newsletter Le Royal Monceau, July-August 2018

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CATHERINE WILKENING / JEAN-CHRISTOPHE BALLOT, « L’impermanence », Télérama, July 2018

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CATHERINE WILKENING, « L’impermanence », Libération, July 2018

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CATHERINE WILKENING / JEAN-CHRISTOPHE BALLOT, « L’impermanence », Mowwgli, July 2018

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CATHERINE WILKENING / JEAN-CHRISTOPHE BALLOT, « L’impermanence », Télérama, July 2018

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JEAN-CHRISTOPHE BALLOT, « L’impermanence », Mowwgli, July 2018

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CATHERINE WILKENING / JEAN-CHRISTOPHE BALLOT, « L’impermanence », Le Parisien, July 2018

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CATHERINE WILKENING, « L’Impermanence », Télérama, June 2018

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CATHERINE WILKENING, « L’Impermanence », Figaroscope, June 2018

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CATHERINE WILKENING, « L’impermanence », Connaissance des arts, June 2018

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CARTE BLANCHE (01) à CLARA DAQUIN, « Une légère oscillation », Connaissance des arts, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CARTE BLANCHE (01) à CLARA DAQUIN, « Une légère oscilltion », Point Contemporain Agenda, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CARTE BLANCHE (01) à Clara Daquin, « Une légère oscillation », Quotidien de l’art, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CATHERINE WILKENING, « L’impermanence », Expo in the city, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CARTE BLANCHE (01) à Clara Daquin, « Une légère oscillation », Mowwgli, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CARTE BLANCHE (01) à Clara Daquin, « Une légère oscillation », 20 Minutes, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

SEUM, Stéphanie Mercier et Véronique Augry, Le Parisien, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

SEUM, Stéphanie Mercier et Véronique Augry, Mowwgli, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

SEUM, Stéphanie Mercier et Véronique Augry, Que faire à Paris, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CHRISTOPHE MIRALLES – FLO ARNOLD, Artact.net, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

FLO ARNOLD, « Vertige du monde », MutualArt, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CHRISTOPHE MIRALLES, « Territoire Unique », MutualArt, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CHRISTOPHE MIRALLES – FLO ARNOLD, Expo in the City, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CHRISTOPHE MIRALLES, « Territoire unique », Connaissance des arts, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

FLO ARNOLD, « Vertiges du monde », Télérama, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

FLO ARNOLD, « Vertige du monde », 20 Minutes, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

FLO ARNOLD, « Vertige du monde », Art for breakfast, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CHRISTOPHE MIRALLES, « Territoire Unique », L’Oeil, May 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

FLO ARNOLD, « Vertige du Monde », 20 Minutes, May 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

FLO ARNOLD, « Vertige du monde », Figaro Scope, May 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

FLO ARNOLD, « Vertige du monde », Connaissance des arts, June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CHRISTOPHE MIRALLES, « Territoire Unique », Arts Magazine, May/June 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CHRISTOPHE MIRALLES, « Territoire Unique », Mowwgli, Aprill 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CHRISTOPHE MIRALLES – FLO ARNOLD, Arts Hebdo Médias, May 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CHRISTOPHE MIRALLES – FLO ARNOLD, Les Echos Week End, April 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

CHRISTOPHE MIRALLES – FLO ARNOLD, « Territoire Unique », EXPO IN THE CITY, April 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

DIDIER GENTY, « La folle qui ri t», Arts Magazine, May 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

DIDIER GENTY, « La folle qui rit », EXPO IN THE CITY, April 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

LYDIE ARICKX, Cimaises, Beaux-Arts Actuels, October 2017

Written by Matthew Hong on 9 July 2019. Posted in press.

CHRISTOPHE MIRALLES – FLO ARNOLD, Connaissance des arts, May 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

LOO & LOU GALLERY, Paris ZigZag, May 2017

Written by Matthew Hong on 9 July 2019. Posted in press.

DIDIER GENTY, « La folle qui rit », Connaissance des Arts, April 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

DIDIER GENTY, « La folle qui rit », ItArtBag, March 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

ART PARIS, Dominique Lacloche – Matthias Contzen, Kozzarte, April 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

DIDIER GENTY, « La folle qui rit », Art for Breakfast, March 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

ART PARIS, Dominique Lacloche – Matthias Contzen, Les Echos Week End, March 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

ART PARIS, Dominique Lacloche – Matthias Contzen, Connaissance des arts, April 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

MÉTAMORPHE(S)
ARGHAËL
20.03.2019 – 11.05.2019

Written by Matthew Hong on 25 June 2019. Posted in exhibitions.

Métamorphe(s)

Arghaël

Loo & Lou Gallery – Haut Marais
20.03 – 11.05.19

View of the exhibition “Métamorphe(s)” by Arghaël © Stéphane Cardinale
View of the exhibition “Métamorphe(s)” by Arghaël © Stéphane Cardinale
View of the exhibition “Métamorphe(s)” by Arghaël © Stéphane Cardinale
View of the exhibition “Métamorphe(s)” by Arghaël © Stéphane Cardinale
View of the exhibition “Métamorphe(s)” by Arghaël © Stéphane Cardinale
View of the exhibition “Métamorphe(s)” by Arghaël © Stéphane Cardinale
View of the exhibition “Métamorphe(s)” by Arghaël © Stéphane Cardinale
View of the exhibition “Métamorphe(s)” by Arghaël © Stéphane Cardinale
View of the exhibition “Métamorphe(s)” by Arghaël © Stéphane Cardinale

Anatomical walls

In Metamorphe(s), Arghaël has prolonged his relationship with the body and accentuated his floating figures. The artist, like an animal searching for the souls of beings and things, hovers over his canvas, unveiling twirling bodies that have a dialogue with the great artists who confronted the determined power of their models, from Egon Schiele to Francis Bacon, through the filiform bodies of Giacometti and the organic faces of Artaud. Arghaël is keen to travel elsewhere, to gallop with materials, to climb a stretched linen rock in order to restore strength, to assault, with an unpremeditated candor.

Living distortions

Flesh emerges… the canvas becomes a new skin where the meeting of the moving artist and the immobile model takes place. The artist is horizontal on all fours on top of the canvas to bring the skin to life, and the stoic model watches this vital agitation that turns their body into raw material. It is a transmutation of the body, a sort of passage and greeting. It is about reaching a moment, allowing accidents to occur, permitting the fine dust of charcoal and pastels to break under the pressure of the artist’s swift gestures. It is about distorting reality and giving birth to a madness of life, of language.

Body mutations

Another vision for Arghaël’s drawings is the transformation of bodies, a kind of metamorphosis. The complex figures tend to mix, evoking both ecstasy and pain in a paradoxical weaving of emotions. The body twists and levitates at the same time, causing suspense, creating an enigma to decipher. This alchemical dance is made by figures who appear genderless. When he draws the body of a woman, he removes certain aspects of her femininity to create an ambiguous intimate space. Arghaël provokes duels on his canvases, between the model and artist, violence and sweetness, man and woman, fauna and nymph, black charcoal and pastel colors, speed and patience, movement and stillness, sensual caresses and harsh wounds. His works are metamorphoses initiated by a “gaieté noire”, a living vision of the universe as bodies. The artist then invites the visitor to feel the canvas, to feel, as a ricochet, that this meeting has taken place. Thus, he offers us to see flesh anew, the fruit of this mutation of bodies.

— Lionel Dax, extract taken from Métamorphe(s), March 2019

JUSTLX
16.05.19 – 20.05.19

Written by Matthew Hong on 19 June 2019. Posted in fairs.

JUST LX

16.05.2019 – 20.05.2019

The Loo and Lou Gallery will be present on the 2019 Edition of Just LX in Lisbon, Portugal. On this occasion, four artist will be presented, Dominique Lacloche, Louise Frydman, Tana Chaney and TANC. The gallery will take place on the stand B2 from 16.05.19 until 20.05.19.

View of the stand at JustLX fair
View of the stand at JustLX fair
View of the stand at JustLX fair
View of the stand at JustLX fair
View of the stand at JustLX fair

DOMINIQUE LACLOCHE

Dominique Lacloche was born in 1960 in Rome (Italy). She lives between Paris and London. For over twenty years Lacloche has been creating works with the Jurassic monumental leaves of the Gunnera Manicata.

Inspired by its form and texture, her method is exploratory and empirical: an initial experiment of photographic revelation on a Gunnera leaf generated a first «image-leaf», the beginning of a series of mise en abyme visual operations in (sculpture , photography, painting) or summoning evolutionary and organic temporal systems (cinematographic editing, digital animation, sound design and electroacoustic music composition).

Her artistic work is enlightened by her vision in painting and architecture, disciplines she has studied and practiced for many years.
Lacloche’s work has been exhibited in Europe and South America and is present in several private collections.
Dominique Lacloche is represented by the Loo & Lou Gallery.

LOUISE FRYDMAN

Louise Frydman was born in 1989 in Paris. She graduated from the ESAG-Penninghen in 2012 and studied at the International Center of Photography of New-York in 2013. Louise is a multidisciplinary artist who turned into ceramics.

It’s the work on paper that leads her to the use of clay, and become her favorite material. Her sculptures, mirrors, or mobile installations in white earthenware play with light and movement. Her work is an exploration of the forms of nature. She seeks the encounter between strength and fragility by working her sculptures ethereally in their forms, and powerful by their often monumental dimensions.

Beyond forms and matter, it is the encounter between the work and its environment that interests Louise Frydman, the interaction between art and architecture. She wants to create a direct and intimate relationship with the public by offering them a poetic vision of the world, provoking the imagination both in places dedicated to art and in spaces accessible to all. It’s her emotion that she tries to show.

The artist collaborates today with luxury houses such as Hermes, Bonpoint or Yiqing Yin haute couture. She lives and works between Paris and Burgundy.

TANA CHANEY

Tana Chaney was born in 1978 in Sofia, Bulgaria, where she studied in the School of Fine Arts. She moved to Paris in 1997 to study at the Ecole Nationale Supérieure des Beaux-Arts. She graduated after studying in the atelier of Vladimir Velickovic and Dominique Gauthier.

In January 2014, she presented her first solo show, “Corps” [“Body”], in the gallery Myriam Bouagal in Paris. Tana Chaney seeks to express in her painting the body as we live it from the inside, its interactions with the outside, with the other, its metamorphoses, its movements and its contradictions. With her second solo show, “Ma place, mon corps” [“My place, my body”], the artist continues to question her relation to the body. In September 2017, she exhibited at the Galerie L’Arrivage, in Troyes, France. On this occasion, she published a text collection “Corps Traits” accompanied by inks, always exploring the same subject.

TANC

TANC (Tancrède Perrot) was born in Paris, where he lives and works. As a teenager, he started to blacken the pages of his school notebooks with indecipherable and beautiful writings. With the maturity of a visual and graffiti artist, he re-elaborates the theme of writing by deepening the research on gesture, material, line and graphology.

Influenced by many travels in North Africa and Asia, and by his contact with Arabic calligraphy and ideograms, his artistic project is focusing on the aesthetic of writing: condensed sentences reveal abstract compositions. The forms that allow us to communicate acquire an autonomous and mystical status, detached from the common expression of meaning. TANC establishes a direct link between gesture and writing, in a process of repetition of signs that approaches a state of trance. Guided by a quick gesture almost metronomic that spontaneously arises from his mind, the artist produces these signs as a plastic expression of rhythm, syntax, and the flow of the spurts of his unconscious. They punctuate the canvas and are part of a more global system, such as an imaginary cartography of a new territory of language, unreadable in a literal sense but opening a new field of understanding. His works have been exhibited around the world, from Paris to New Delhi, from New York to Shanghai.

ART PARIS ART FAIR
04.04.2019 – 07.04.2019

Written by Matthew Hong on 30 June 2019. Posted in fairs.

ART PARIS ART FAIR
2019

04.04.2019 – 07.04.2019

The Loo and Lou Gallery will be present on the 2019 Edition of Art Paris Art Fair. On this occasion, the artists that will be presented are Lydie Arickx, Flo Arnold and Catherine Wilkening. The gallery will take place on the booth A21 from 04.04.19 until 07.04.19.

Vue du stand © Loo & Lou Gallery
Vue du stand © Loo & Lou Gallery
Vue du stand © Loo & Lou Gallery
Catherine Wilkening, “La Fillette Rouge I”, porcelaine, 80 x 45 x 45 cm, 2018 © Loo & Lou Gallery
Vue du stand © Loo & Lou Gallery
Catherine Wilkening, “L’Impermanence II”, porcelaine, 110 x 60 cm, 2019 © Loo & Lou Gallery
Flo Arnold, “Histoire de Vie”, Installation, papier Wenzhou papier ciré, armature en laiton gainé, Led 200 x 290 cm, 2019 © Loo & Lou Gallery
Lydie Arickx, “La cage Thoracique”, technique mixte, bêton, acier, 250 x 270 x 230 cm, 2018 © Loo & Lou Gallery
Vue du stand © Loo & Lou Gallery
Lydie Arickx, Sans titre, céramique enfumée, 135 x 30 x 25 cm , 2018 © Loo & Lou Gallery

LYDIE ARICKX

Lydie Arickx is a painter and a sculptor born in France in 1954 from flanders parents. After studing at the École supérieure d’arts graphiques (ESAG) in Paris, represented by Roland Topor, she is having her first solo show in the gallery Jean Briance (pastels and oils).

Since the beginning of the 80’s, she has been participating in major international events, such as the art fair in Basel, FIAC and Art Paris. In 1988, she presents her work in Belgium, in Switzerland, in Germany, in Holland, and then in Spain and USA ( first exhibition organized by Amaury Taittinger in New-York along with Francis Bacon ).

The artist often organizes cultural events on the international stage, displaying visual art and performing arts (training workshop for schools, companies, hospital, cultural events, exhibitions… ).
Lydie Arickx’s artwork figures in the major international public collections ( Musée National d’Art moderne de Paris, Centre Pompidou, Palais de Tokyo, Fonds National d’Art Contemporain) and in public space, such as in the Hôpital Paul-Brousse in Villejuif, Centre Hospitalier Intercommunal in Créteil, MACS in Saint-Vincent-de-Tyrosse, among others.
In 2017 she presented the solo show «Gravité» in the Loo & Lou Gallery, where she will exhibit her work again in september 2019.
She is often invited to show her work in prestigious sites of french heritage, such as in the Conciergerie for the Nuit Blanche in 2017, or in the maginificent château de Biron in Dordogne, where she currently presents a dantesque exhibition «Tant qu’il y aura des Ogres». In 2020, Lydie Arickx will exhibit her work in the Château de Chambord.

In her studio, that she considers as a site of experimentation, Lydie Arickx researches et adapts supports and materials for her artwork
(concrete, emery clothe, wood, fabric, asphalt, resin and fibers… )

FLO ARNOLD

Her cultural crossbreeding, a key element of her work, has been forged by many trips and stays abroad, in Africa, Europe and the United States. Her installations show this existential nomadism: her artistic gestures are the result of her path.
She took part in the 2016 Biennial of Marrakesh, where she exhibited at the Musée de la Palmeraie, for the first time one of her installations of water-repellant paper on sheathed brass. Her creations are often backlit and sometimes supplemented with sound. The material used, japanese white paper, suggests the ephemeral and the fragile, but also a form of evanescence underlined by an apparent levitation.
Flo Arnold’s sculptures thus float in spaces inviting us to contemplation, spirituality, and to an inner journey.
As a world’s citizen, she metaphorically feeds her sculptures of her encounters.

Flo Arnold was born in France and grew up in Casablanca, Morocco. She had many solo shows in France and abroad, particularly at the Marrakesh Biennial (Morocco), in 2014 and 2016 ; and at the Atelier of the Loo & Lou Gallery, in Paris (France), in 2018. She also participated in several group shows, at the Fondation Pierre Berger and the Institut du Monde Arabe in Paris (France), in 2013; at the Musée de la Palmeraie in Marrakesh (Morocco), in 2014 ; and at the Institut Bernard Magrez, in Bordeaux (France), in 2017, among others.

CATHERINE WILKENING

Born in Dijon in 1963, Catherine Wilkening lives and works in Paris, where she is dedicated to sculpture since 2003. Whereas it’s only since 2015 when she accepts to exhibit her work in public.
Her reputation is also due to her career as an actress since the early 1980.

Her sculptures are inspired and nourrished by the female figure, with obsessive themes: birth, chaos, death – rebirth – and provides her with the enjoyment of eternally giving birth, from a sensation, a word, or an image that obsesses her or impose itself in the moment.
On the occasion of Art Paris, she chooses to retelling of the tale the «Little Red Riding Hood» by Perrault, who ends up becoming a she-wolf and eat the mother, the grandmother and all the wolves. An allegory of these giant and devouring mouths, who are called cannibals, feed on their fellow creatures.

Catherine Wilkening has participated in numerous group show, such as «Nature» at the Caroline Tresca Gallery, in Paris, France in 2016; at the Suspenso space, in Lisbon, Portugal, in 2017; at the HOMA gallery in Lisbon, Portugal, in 2018.
She also presented her works in solo shows, including at YenakArt Villa Gallery, Bangkok, Thailand, in 2015; at the Vivienne Art Gallery, in Paris, France, in 2017; at the Loo & Lou Gallery, Paris, France, in 2018; at the Ibugallery, in Paris, France, in 2018, among others.

La dernière période de l’œuvre de Matthias Contzen, s’inscrit dans la perspective d’un ensemble de quatre sculptures en basalte noir, choisies par l’artiste comme les expressions les plus abouties de ses recherches des années 2 000. Fusion, 2007, de même que Together We Are Strong, 2005, Slow Motion, 2010, et Family, 2011 – exposées dans l’espace du Haut Marais – explorent déjà l’intériorité de la matière. Entre matité et brillance, leurs formes organiques et sensuelles ondulent, se jouent de leurs interstices et tendent vers l’infini. Dans un langage abstrait à la fois personnel et universel, s’exprime une même aspiration : réunir, embrasser une harmonie aussi originelle que fragile.

JUST MAD
26.02.19 – 03.03.19

Written by Matthew Hong on 30 June 2019. Posted in fairs.

JUST MAD
2019

26.02.2019 – 03.03.2019

The Loo and Lou Gallery will be present on the 2019 Edition of Just Mad in Madrid, Spain. On this occasion, three artist will be presented, Flo Arnold, Christophe Miralles and Paul de Pignol. The gallery will take place on the stand C12 from 26.02.19 until 03.03.19.

Forme Nomade, Installation, papier Wenzhou, papier ciré, armature en laiton gainé, Led, 140 x 270 cm, 2019

FLO ARNOLD

Her cultural crossbreeding, a key element of her work, has been forged by many trips and stays abroad, in Africa, Europe and the United States. Her installations show this existential nomadism: her artistic gestures are the result of her path.
She took part in the 2016 Biennial of Marrakesh, where she exhibited at the Musée de la Palmeraie, for the first time one of her installations of water-repellant paper on curled brass.
Her creations are often backlit and sometimes supplemented with sound.
The material used, japanese white paper, suggests the ephemeral and the fragile, but also a form of evanescence underlined by their apparent levitation.
Flo Arnold’s sculptures thus float in spaces inviting us to contemplation, spirituality, and to an inner journey.
As a world’s citizen, she metaphorically feeds her sculptures of her encounters.

Flo Arnold was born in France and grew up in Casablanca, Morocoo. She had many solo shows in France and abroad, particularly at the Marrakesh Biennial in 2014 and 2016 ; and at the Loo & Lou Gallery, in Paris, in 2018. She also participated in several group shows, at the Fondation Pierre Berger and the Institut du Monde Arabe in Paris in 2013; at the Musée de la Palmeraie in Marrakesh in 2014 ; and at the Institut Bernard Magrez, in Bordeaux, in 2017, among others.

CHRISTOPHE MIRALLES

Christophe Miralles’ work is focused on a constant search for identity.
Represented alone or in pairs, his silhouettes are simple, timeless and universal figures, emblematic of the human presence. The artist offers us images that we can own and apply to our own story.
He has been exploring for twenty years now the same thematics, while digging his research and pictorial writing.

Christophe Miralles, a Franco-Spanish artist, lives and works between France and Morocco.
He presented his work in numerous solo shows, particularly at the Musée du Mémorial in Caen in 2008; at the Marrakesh Biennial in 2014 and 2016; and at the Loo & Lou Gallery, in Paris, in 2018.
He also participated in several group shows, at the Cachan Biennial in 2016, at the Marrakesh Biennial, with the Yakin&Boaz gallery in 2014 and at the Musée de la Palmeraie in Marrakesh in 2014, among others.

Plaisir, huile sur toile, 55 x 46 cm, 2019

PAUL DE PIGNOL

Paul de Pignol was born in France in 1965. He lives and works in Paris.
In 1984 he joined the Paris School of Arts (École Nationale Supérieure des Beaux Arts de Paris), at the Pierre Carron atelier. He exhibits in numerous solo shows, particularly at the Fred Lanzenberg gallery in Brussels (Belgium) in 2008 ; at the Koralewski gallery in Paris (France) in 2002; at the château de Nemours (France), in 2008 ; at the Loo & Lou Gallery, in Paris (France), in 2017.

He created his first sculpture “Fille au Ballon” in 1989, inspired by Lucas Cranach’s Venus. Progressively, the sculpture prevailed over other techniques in his work. Later, starting in 2010, drawing takes on particular relevance, as he decides to dedicate a specific workshop to it in Paris. Since then, those disciplines became undoubtedly related in his work. The artist’s drawings are an extension of his research on the volumes in which he perpetuates the sculptor’s gesture by placing light through erasing the substance in small strokes on a charcoal blackened paper. The bodies this revealed have a spectral presence.
Both in sculpture, painting and drawing, Paul de Pignol reveals a unique creation process, a dive into the intimate substance of being.
His work focuses mainly on the female figure around universal themes, birth, life and death.

Figure de roche V, bronze, 34 x 7,5 x 6,5 cm, 2008, Ed 4/4

GERMINATION
Paintings and pastels
FRED KLEINBERG
30.01.2019 – 09.03.2019

Written by Matthew Hong on 25 June 2019. Posted in exhibitions.

Germination

Fred Kleinberg

Loo & Lou Gallery and L’Atelier
30.01 – 09.03.19

View of the exhibition “Germination” by Fred Kleinberg © Loo & Lou Gallery
View of the exhibition “Germination” by Fred Kleinberg © Loo & Lou Gallery
View of the exhibition “Germination” by Fred Kleinberg © Loo & Lou Gallery
Recouvrement (2014) Huile sur toile 200 x 200 cm
View of the exhibition “Germination” by Fred Kleinberg © Loo & Lou Gallery
Instinct (2013) Oil on canvas, 200 x 200 cm © Loo & Lou Gallery
Fluidité II (2013) Oil on canvas, 200 x 200 cm © Loo & Lou Gallery
Fluidité (2013) Oil on canvas, 200 x 200 cm © Loo & Lou Gallery

This exhibition highlighted the correspondences between human beings and the dynamic principle of nature, inherent to each being. “The transformation of violence into beauty” says Fred Kleinberg leads to a wild nature, another organic face of the interiority. Referencing Cézanne, “The landscape is thought inside me and I am his conscience.” This invocation of nature places the human in a cosmogony that corresponds with the elements, the changing seasons, the cycles of the moon, and alternating tides.

In the large landscape paintings, the viewer discovers a forest, in another canvas, a waterfall. These places, born of Kleinberg’s imagination, are as much reminders of his travels as a desire for nature. They are mental landscapes, marked by the absence of any figure. Here, the landscape becomes a screen of the imagination, a projection space par excellence. For Kleinberg, it is his desire to immerse himself and disappear in the earth. A dialogue is then established on a canvas with the sensations of a landscape: the mist rises in the undergrowth, the lapping of the waves skirting the moss of rocks, the breathing of the humus. “How does one make the life of a leaf, a branch, a trunk palpable, when it becomes alive as in a glance,” says Kleinberg.

In Fred Kleinberg’s drawings/pastels, the human figure is perceived as a composite body, each part of it is connected to the universe, belonging as well to the kingdom of the plants, the mineral and animals. Understood in his relationship with his natural environment, the human becomes a living interface, suggesting a new alliance between nature and culture.

— Extract by Jeanette Zwingenberger.

YOU AND I ARE EARTH
OLIVIER DE SAGAZAN
07.11.2018 – 19.01.2019

Written by Matthew Hong on 26 June 2019. Posted in exhibitions.

You and I are earth

Olivier de Sagazan

Loo & Lou Gallery – Haut Marais
07.11.18 – 19.01.19

View of the exhibition “You and I are Earth” by Olivier de Sagazan © Loo & Lou Gallery
View of the exhibition “You and I are Earth” by Olivier de Sagazan © Loo & Lou Gallery
View of the exhibition “You and I are Earth” by Olivier de Sagazan © Loo & Lou Gallery
View of the exhibition “You and I are Earth” by Olivier de Sagazan © Loo & Lou Gallery
View of the exhibition “You and I are Earth” by Olivier de Sagazan © Loo & Lou Gallery
View of the exhibition “You and I are Earth” by Olivier de Sagazan © Loo & Lou Gallery
View of the exhibition “You and I are Earth” by Olivier de Sagazan © Loo & Lou Gallery
View of the exhibition “You and I are Earth” by Olivier de Sagazan © Loo & Lou Gallery
View of the exhibition “You and I are Earth” by Olivier de Sagazan © Loo & Lou Gallery

“From all phenomenons or outbreaks, proper to the living, the most admirable one is the apparition itself.” Thomas Hobbes, by this outstanding ellipsis summaries the mystery of the flesh: conspicuous and psychic.

Disfiguration in art is the Passage from the “Holy Face” to the “Head of Meat”; a cunning of the artist to try to unfold, to understand the mystery of the flesh, and finally to leave these collective hallucinations that lead to absurd beliefs. Paintings, sculptures, performances, remain for me attempts to seize the logic of the living and to discover its true face: how can the blind matter of the stone become more complex to become clairvoyant to the animal?

“Each living being is a sounding board, a unique “Place” from which a world for itself will open, even if it is a bacterium, a toad, or a human being. I would like to surprise and delight myself with the theater played in each organization.”

— Olivier de Sagazan

After the exhibition Êtres-Chairs at the Franciscan Chapel, Olivier de Sagazan carries on with his exploration of the theme of the living at the gallery Loo & Lou which takes for the occasion the appearance of a curiosity cabinet.

“I work mainly with clay and grass that form a kind of mud. Technique used for thousands of years to build walls, but which is also exciting to achieve the support of a painting or sculpture. I deeply love this material because it speaks to our origins. All my exhibitions could actually be called You and I are Earth. There is in each of us a link to the earth that has brought life. The Earth, our planet appears to me as a kind of great vital organism that we must protect.”

— Olivier de Sagazan

L’ÉTERNITÉ ET UN JOUR
JEAN-CHRISTOPHE BALLOT
09.11.2018 – 18.01.2019

Written by Matthew Hong on 26 June 2019. Posted in exhibitions.

L’ÉTERNITÉ ET UN JOUR

Jean-Christophe Ballot

Loo & Lou Gallery – George V
09.11.2018 – 18.01.2019

View of the exhibition “L’éternité et un jour” by Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’éternité et un jour” by Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’éternité et un jour” by Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’éternité et un jour” by Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’éternité et un jour” by Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’éternité et un jour” by Jean-Christophe Ballot © Loo & Lou Gallery

The title of the exhibition – L’éternité et un jour – meaning “The eternity and one day” is from the movie of Theo Angelopoulos, awarded in Cannes in 1998. By associating two relations with time, the title of the exhibition expresses the complexe relationship we have with the Vanity figure : permanency and finiteness.

This determination to capture and to make visible the work of time is orienting the work of the photographer and had to lead him one day to measure himself explicitly with the Vanities. Whether the rituals are Christian or animistic, we find the skull, reality as well as motive of the universal memento mori (remember that you will die).

On the occasion of an artist’s residency at the monastery of Saorge (residence managed by the Center of National Monuments) during the summer 2017, Jean-Christophe Ballot developed a body of work on the theme of the Vanities.
The artist took with him two resin skulls designed for medical students. He delicately burnished the white surface of the first and painted the second in gold.

For this work, the photographer took the shots with a digital camera. To suit the whims and fantasies of the subjects, he developed his pictures in black & white or in color, printing in formats ranging from 40x60cm to 100x150cm and on supports as varied as the prints black and white, on baryta paper, lambda impressions or pigmentary. He attached great importance choosing the paper, its qualities of restitution and the subject of the image.

Beyond the operating methode, each image offers a poetic, philosophical or spiritual reflection. Through his work, Jean Christophe Ballot invites spectators to meditation.

PAUL DE PIGNOL

Written by Matthew Hong on 25 June 2019. Posted in artists.

Paul de Pignol

Paul de Pignol was born in Toulouse in 1965. He currently lives and works between Paris and Montigny-sur-Loing.

In 1984, he entered the National School of Fine Arts in Paris, where he worked in Pierre Carron’s painting studio. He created his first sculpture, inspired by the Venus of Lucas Cranach, entitled “Fille au Ballon” in 1989. Little by little, sculpting was integrated into his practice.

In 2010, de Pignol decided to dedicate a specific workshop to drawing in Paris, establishing a link between the two disciplines a short time afterwards. Whether sculpting or drawing, de Pignol plunges into an intimate essence of the being. He focuses his work on feminine figures, linking them with universal themes of birth, life, and death. Throughout his study of the female figure, he began questioning its function, weight, and composition, as well as its deconstruction and presence both of the interior and exterior.

De Pignol’s paintings are an extension of his work and research as a sculptor. His gestures are similar, wherein he erases matter in order to add light, stroke by stroke, giving his unravelling bodies a spectral presence.

Since 2017, after years of failure, rejection, and wandering, de Pignol found pictorial language relative to his research. One of his recent exhibitions at Loo & Lou Gallery, Né du limon, is the result of this quest. With a fascination for landscapes, the artist is inspired by the Fontainebleau forest that surrounds his studio. The idea that any life can be birthed from decay fascinates him, and inspires him to create organic and living landscapes, where you can feel the turf and soil. We are close to Golem. This exhibition reunited for the first time drawings, sculptures, and canvases, in what represented for the artist a joyous and fertile renewal, thanks to both the subject matter and the use of multiple medias.

Sight of exhibition, Né du Limon, Paul de Pignol © Loo & Lou Gallery
Gaîa, bronze (1/4), 42 x 15 x 19 cm, 2009, presented in Né du Limon © Loo & Lou Gallery
Limon, wax, wood and colored oil, 136 x 45,3 cm, 2019, presented in Né du Limon © Loo & Lou Gallery
Détail Rive de Narcisse, original wax, 189 x 129 x 38 cm, 2018, presented in Né du Limon © Loo & Lou Gallery
Sight of exhibition, Né du Limon, Paul de Pignol © Loo & Lou Gallery
Sight of exhibition, Incanation, Paul de Pignol © Loo & Lou Gallery
Vénus ouvert VI, bronze (2/4), 120x15x15 cm, 2003, presented in Né du Limon © Loo&Lou Gallery
Rhizome IV, bronze, 50x40x44cm, 2009, presented in Incarnation © Loo & Lou Gallery
Petit Gisant III, original wax, 17x24x5cm, 2014, presented in incarnation © Loo & Lou Gallery
Figure de Roche, bronze, 30×7,5×6 cm, 2008, presented in Incarnation © Loo & Lou Gallery
Paysage, detail, huile sur toile, 200x50cm, 2018, presented in Né du Limon © Loo&Lou Gallery

FLORILEGES
TONY SOULIÉ
14.09.2018 – 27.10.2018

Written by Matthew Hong on 26 June 2019. Posted in exhibitions.

FLORILEGES

Tony Soulié

Loo & Lou Gallery – Haut Marais
14.09 – 27.10.18

Loo & Lou Gallery – George V
21.09 – 26.10.18

Bouton d’or (2018) Mixed technique, 180 x 125 cm © Loo & Lou Gallery
Nouvelles des étoiles (2018) Mixed technique, 180 x 125 cm © Loo & Lou Gallery
Noire ardente (2018) Mixed technique, 180 x 125 cm © Loo & Lou Gallery
Fleur de désert (2018) Mixed technique, 180 x 125 cm © Loo & Lou Gallery
Gypsi (2018) Mixed technique, 180 x 125 cm © Loo & Lou Gallery
Dahlia noir (2018) Mixed technique, 180 x 125 cm © Loo & Lou Gallery
Gueule de loup (2018) Mixed technique, 180 x 125 cm © Loo & Lou Gallery
Fleur savante (2018) Mixed technique, 180 x 125 cm © Loo & Lou Gallery
Shanghai (2018) Mixed technique, 180 x 125 cm © Loo & Lou Gallery

With FLORILEGES, Tony Soulié delivers his most accomplished pictorial act, the most rebellious, the freest, too, in the shape of a flamboyant and optimistic ode to the inventive strength of the man who can break all the shackles.

He begins by breaking the one of the image that he says “now too full of technology”, a saturation that makes him lose sense. No mistake! The artist does not create a dialogue between photography and painting, but questions the painting, the representation, the emergence of abstraction, the poetry of the in-between. In fact, he searches the wasteland of the image, its distancing, the form never made, the overspray of the painting to let it “shake its colored petals”.

Tony Soulié performs the image as a welcomed murder of the photography. He plays his thriller with scratches, colored drownings, cut-outs within the texture of the image like so many black holes of the matterial and the representation, like so many holes of memory and their beautiful break, a nod to Matisse too.

With his FLORILEGES, the artist slips even behind the image. He begins by tearing off the photographic film to reveal the flesh where he will grow his flowers. If we have known the artist seeking the shape of cities around the world, New York, Hong Kong, Tokyo, Shanghai, his new cartography is Botany, “a daily flowering”.

TONY SOULIÉ

Florilèges
Exposition du 14.09.18 au 27.10.18

VIDEO : Flowers

JOHAN VAN MULLEM

Written by Matthew Hong on 24 June 2019. Posted in artists.

JOHAN VAN MULLEM

Johan Van Mullem was born in Congo in 1959 to Belgian parents. He grew up moving around the world as a result of his parents various diplomatic postings, including a seven year stay in Tunisia. The artist has always been an autodidact. He started drawing at the age of five and never stopped, following in his father and grandfather’s footsteps. His family roots are in the city of Bruge, and from which he went on to study architecture in Brussels. Later on, Johan began exploring with etching and painting. Today he paints with etching ink, and is considered to be one of the only artists who uses this medium as a way to create paintings.

Since his youth, Van Mullem has persisted in his search for wrinkled faces, seeking the beauty that he recognized in the experience that is “engraved” on faces and in hands. Since then, the face remains the major subject of his work. The subjects appear rejuvenated, disappearing or emerging in a halo of light in an old-fashioned sfumato, offering an escape into a world of emotion. His work is an invitation to look inward and go on a journey of omnipresent emotional charge of which one cannot part ways indifferently, an effect of the bewildering depth of his paintings.

The superimposition and erasure of many smooth layers of diluted inks further accentuates the feeling of viewing a presence on the canvas that is difficult to describe. Van Mullem has mastered this specific and unique technique through self-learning, executing his pieces in etching ink as an extension of his experience as an engraver, giving his work an additional, exceptional character.

A multifaceted artist, designer, poet, musician, painter and sculptor, Van Mullem strives to create a diverse but absolutely coherent œuvre that builds bridges to link and awaken our senses. Though his pieces are contemporary, they can suggest references to historical masterpieces.

His paintings are in major private collections and Museum collections throughout Europe. He has held solo exhibitions in Art Galleries located in London, Paris, New York and Brussels. His work was exhibited in various European Museums.

Sans titre 1, 2017, Ink on canvas, 160 x 140 cm
Sans titre 10, Ink on canvas, 100 x 70 cm
Sans titre 18, Ink on canvas, 60 x 40 cm
Sans titre 3, 2018, Ink on canvas, 160 x 140 cm
Exhibition view Johan Van Mullem, Loo & Lou Gallery Espace Haut-Marais, 2016
Vue d’exposition Johan Van Mullem, Loo and Lou Gallery George V
Vue d’exposition Johan Van Mullem, Loo and Lou Gallery George V
Untitled , Ink on Kappa, 2 x 140 x 100cm, 2015
Vue d’exposition Johan Van Mullem, Loo and Lou Gallery George V

AVAILABLE WORKS

Johan Van Mullem
P18003 (2018)
Ink on canvas
170 x 120 cm

View Artwork >

Johan Van Mullem
P17033 (2017)
Ink on canvas
160 x 140 cm

View Artwork >

Johan Van Mullem
P18004 (2018)
Ink on canvas
160 x 160 cm

View Artwork >

Johan Van Mullem
P18010 (2018)
Ink on canvas
160 x 130 cm

View Artwork >

Johan Van Mullem
P20064 (2020)
Ink on canvas
100 x 70 cm

View Artwork >

Johan Van Mullem
P20065 (2020)
Ink on canvas
100 x 70 cm

View Artwork >

L’IMPERMANENCE
Catherine Wilkening – Jean-Christophe Ballot
22.06.2018 – 04.08.2018

Written by Matthew Hong on 26 June 2019. Posted in exhibitions.

L’IMPERMANENCE

Catherine Wilkening
porcelain sculptures

Jean-Christophe Ballot
photographs

Loo & Lou Gallery – Haut Marais
22.06.2018 – 04.08.2018

View of the exhibition “L’impermanence” by Catherine Wilkening and Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’impermanence” by Catherine Wilkening and Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’impermanence” by Catherine Wilkening and Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’impermanence” by Catherine Wilkening and Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’impermanence” by Catherine Wilkening and Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’impermanence” by Catherine Wilkening and Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’impermanence” by Catherine Wilkening and Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’impermanence” by Catherine Wilkening and Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’impermanence” by Catherine Wilkening and Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’impermanence” by Catherine Wilkening and Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’impermanence” by Catherine Wilkening and Jean-Christophe Ballot © Loo & Lou Gallery
View of the exhibition “L’impermanence” by Catherine Wilkening and Jean-Christophe Ballot © Loo & Lou Gallery

Catherine Wilkening

“Many years ago, I felt the need to put my hands in the soil, in this organic matter. This feeling imposed itself on me and became vital. Sniffing, kneading, crumpling, smashing, clawing the matter until the form comes out…

The clay is a living material dictating its own laws, which demands attention, a particular listening, it’s my guide in our union; just my fingers, no tools between her and I, a fight with bare hands, a fierce and wild battle creating a balance game, I look for the flaw, I flirt with the danger, I explore the junction point, the ultimate point of balance, the moment when everything changes, where the accident springs forth, when the encounter occurs, which gives life, when the clay asserts itself and imposes itself in the creation. Sculpture is born.

7 years ago, it is the meeting with the porcelain, the desire to reach more softness in my works attracts me. Leaving aside the monsters with tortured forms sprung from a fight with raw material, I decided to confront myself with the whiteness, this new medium, its purity and its extreme fineness. The magic happens, very quickly I understand that the only way for this clay to take shape is to give it love and patience. My appeasement will not pass by violence, but by tranquility.

My sculptures have always been inspired by the female figure, with the obsessional themes of : birth, chaos, death, then rebirth. Creating constantly, from a sensation, a word, an image that obsesses me or imposes itself in a given moment. Since life is Impermanence, since we never cease to be born, to be no longer, not yet to be…”

— Catherine Wilkening

Jean-Christophe Ballot

Architect D.P.L.G., Jean-Christophe Ballot graduated from the National School of Arts Decoratifs and from FEMIS. In 1991 he had a residency at the Villa Medicis. His work is about space, from urban and industrial landscapes to natural settings filled with spirits. The artist settles himself in places of memories.

His photographic work on the subject of vanities was presented for the first time at the Loo & Lou Gallery in June 2018 on the occasion of the exhibition Impermanence. They will come has another reflection around the crucifixes of Catherine Wilkening. He also exhibited his works during a solo exhibition at Loo & Lou Gallery in November 2018.

Jean-Christophe Ballot has built his body of work on a creed: that photography is, in the words of Roland Barthes, a “That-has-been”. This determination to grasp and make visible time’s work, which directed his work, lead the artist to measure himself explicitly with the Vanities. Whether the rituals are Christian or animist, we find the skull as a reality as well as a motif of the universal memento mori (a reminder that you will die).

“My photographs question memory, they relate to the history of these places and their transformations. What is essential is exercising a relationship with the void, which is at the center of all my photographic works, and my reflection. I am looking to suspend time and create photography that is contemplative.”

— Jean-Christophe Ballot

JEAN CLAUDE WOUTERS

Written by Matthew Hong on 24 June 2019. Posted in artists.

JEAN-CLAUDE WOUTERS

Jean Claude Wouters (b. 1956) is a Belgian artist who has lived and worked in Brussels, Paris, Tokyo, Italy, Dubai and Los Angeles. He studied drawing from an early age, and moved on to ballet, filmmaking and various performing arts.

Wouters shows an intense sensitivity to the nature of both the body and spirit. He works with three analog cameras: a 135, a polaroid, and a medium format 67, and uses 6×7 negatives in order to avoid photographic grain on his images. He asks his subjects to face a window, employing only natural light to illuminate them. After developing and printing this original image, he rephotographs it and uses strong light from the sky that reflects into his lens’ aperture. He repeats this process several times in order to layer it with light, which gradually erase the appearance of the person. The final negative is printed in the darkroom on 80 x 100 cm matte Baryta paper, a unique copy which is then treated using selenium for preservation purposes, a method similar to one used to preserve photographs taken in the 19th century. This negative used is then dipped in sand and placed into a small wooden box which accompanies the portrait.

In his earlier career, after studying and dancing with Maurice Béjart and Lindsay Kemp in the early eighties, Wouters began working as a performing artist and as an independent filmmaker. His films were selected by the British Film Institute, the Tsukuba University Japan, the Director Fortnight section (Quinzaine des réalisateurs) at the Cannes Film Festival in 1981 (Brian Eno – Music for Films), and he has received several awards in international film festivals, in New York, San Francisco, Paris, Praha, Teheran and Montreal. He worked for years in Paris as a filmmaker and fashion photographer, his speciality being a simple and natural expression of the beauty of women

He has worked with Lancôme, Chanel, Yves Saint Laurent and several luxury brands.), and has also collaborated with fashion designer Marc Jacobs for ARTREAGEOUS at Bloomingdale’s (New York, 2007). In 2011, he performed CRINOLINE MAN at the LACMA museum (Los Angeles), and SHADOW WALKER at the MOCA museum (Tucson, AZ). In 2012, he was awarded the POLLOCK-KRASNER Foundation Grant in NYC.

Paysage de village teotihuacan, 2021, Tirage argentique sur papier baryté, 125 x 155 cm
Masque noir 452-16, 2021, Tirage argentique sur papier baryté, 125 x 160 cm
Crâne de cristal 451-05, 2021, Silver print on matte Baryta paper, 127 x 158 cm
Eiko – Tokyo 427-01, tirage argentique sur papier baryte matt, traité au sélénium pour la conservation. Exemplaire unique, 78 x 98 cm, 2007 © Jean Claude Wouters
La femme de Paris 428-09, 2016, Silver print on matte Baryta paper, 78 x 98 cm
The Actress – L.A., 2010, Silver print on matte Baryta paper, 78 x 98 cm
Buddha de pierre, Musée Cernuschi Paris 423-15, tirage argentique sur papier baryte matt, traité au sélénium pour la conservation. Exemplaire unique, 78 x 98 cm, 2016 © Jean Claude Wouters
Agneau Mystique des frères Van Eyck – Coeur des Anges 417-07, tirage argentine sur papier baryte matt, traité au sélénium pour la conservation. Exemplaire unique, 82 x 102 cm, 2015 © Jean Claude Wouters
Agneau Mystique des frères Van Eyck – Adam 418-01, tirage argentine sur papier baryte matt, traité au sélénium pour la conservation. Exemplaire unique, 82 x 102 cm, 2015 © Jean Claude Wouters

CARTE BLANCHE (1)
Clara Daquin
21.06.2018 – 03.08.2018

Written by Matthew Hong on 26 June 2019. Posted in exhibitions.

UNE LÉGÈRE OSCILLATION

CARTE BLANCHE (1)
À CLARA DAQUIN

Chloé JULIEN
Florian MERMIN
NIDGÂTÉ
Inès PANIZZI
Julia PITAUD

Loo & Lou Gallery — George V
21.06 – 03.08.2018

View of the exhibition “Carte Blanche 01” to Clara Daquin © Émilie Mathé Nicolas
View of the exhibition “Carte Blanche 01” to Clara Daquin © Émilie Mathé Nicolas
View of the exhibition “Carte Blanche 01” to Clara Daquin © Émilie Mathé Nicolas
View of the exhibition “Carte Blanche 01” to Clara Daquin © Émilie Mathé Nicolas
View of the exhibition “Carte Blanche 01” to Clara Daquin © Émilie Mathé Nicolas
View of the exhibition “Carte Blanche 01” to Clara Daquin © Émilie Mathé Nicolas
Florian Mermin, Peaux (2015) Bronze, wood table, 10 x 40 x 50 cm and 60 x 150 cm. Collection privée © Emilie Mathé Nicolas
Chloé Julien, Sur ton dos (2008) Aquarelle, encre and salt on paper, 105 x 75 cm © Émilie Mathé Nicolas
Florian Mermin, Bouches d’égouts (2013) Plaster, wood base, variable dimensions © Émilie Mathé Nicolas
Florian Mermin, Bouches d’égouts (detail), plaster, wood base, variable dimensions, 2013 © Émilie Mathé Nicolas
Julia Pitaud, Paris-Alençon (detail) 2016, Second hand clothes, pictures, structure 198 x 125 x 10 cm © Émilie Mathé Nicolas
Inès Panizzi, Sans titre (2018) Ballpoint pen on paper, 21 x 29,7 cm © Émilie Mathé Nicolas

« Il est ici irréparablement, jamais ailleurs. Mon corps, c’est le contraire d’une utopie, ce qui n’est jamais sous un autre ciel, il est le lieu absolu, le petit fragment d’espace avec lequel, au sens strict, je fais corps » — Le corps utopique , Michel Foucault, 1966

A slight oscillation gathers the works of five artists, offering a glimpse on this curious partner called body. Michel Foucault, in his conference Le corps utopique (Utopian body) of 1966, describes it as a confinement, an “ugly shell of [his] head” in which utopias are born. The true utopia would be a place out of every place, where we would have a body without body, bright and clear. Here, in this dark place, the artists exhibit stranges objects revealing their own personal utopias. Hands, gloves, seconds skins, chair and cloak, shine in this ancient curiosity cabinet. The objects, organics and unusual, live in the same place and share among them.

The works of this exhibition tell the great gap between what happens within us and what happens in the vastness of the universe ; the power that emotions sometimes have, a shake almost imperceptible in the world. The body is a strange travel compartment and our relationships with others spread through it ; physical proximity is often the promise of emotional distance, and vice versa. Man escapes the body through dreams but it is the hands which make the artist. As Henry Focillon mentions in Eloge de la main (1934), a man dreaming cannot create for his hands are laying dormant “art is done by hands.”

In his book A slight oscillation, Sylvain Tesson describes the daily work of a diarist as a possibility of saving itself from internal and external chaos. It is the same mechanism for the artists of this exhibition : create in order to smooth the inner effervescence.

VERTIGE DU MONDE
Flo Arnold
26.04.2018 – 09.06.2018

Written by Matthew Hong on 26 June 2019. Posted in exhibitions.

VERTIGE DU MONDE

Flo Arnold

Loo & Lou Gallery – L’Atelier
26.04 – 09.06.2018

Flo Arnold, Installation, papier hydrofuge sur laiton gainé, led, 600 x 340 cm, 2018 © Flo Arnold

Vue de l’installation, Loo&Lou Gallery L’Atelier, ©Loo&Lou Gallery
Vue de l’installation, Loo&Lou Gallery L’Atelier, ©Loo&Lou Gallery
Vue de l’installation, Loo&Lou Gallery L’Atelier, ©Loo&Lou Gallery
Flo Arnold, Cartographie du Vide 1, mixed technics ans acrylic on plexiglass, 40,5 x 50 cm, 2018 © Flo Arnold
Flo Arnold, Cartographie du Vide 1, mixed technics and acrylic on plexiglass, 40,5 x 50 cm, 2018 © Flo Arnol2
Vue de l’installation, Loo&Lou Gallery L’Atelier, ©Loo&Lou Gallery

Flo Arnold creates for the Atelier an installation called “Vertige du Monde”. This germination of organic flows in backlit paper, with sound system, comes to devour the space like a luxuriant vegetation. The architecture of the place disappears under a spotless waterfall. The visual artist with this artwork emphasizes on the fact that each of us, in order to forget the dizziness of the world all around, must live in a borderless sphere, without limit in the search for an inner peace.

FLO ARNOLD

Vertige du Monde
Exposition du 26.04.18 au 09.06.18
VIDEO : Montage de l’exposition Vertige du Monde

FRED KLEINBERG

Written by Matthew Hong on 19 June 2019. Posted in artists.

FRED KLEINBERG

Fred Kleinberg was born in 1966 in Paris, France, where he currently lives and works. He graduated from the Ecole Nationale Supérieure des Beaux-Arts in Paris and has been exhibiting his work internationaly since 1983. His pieces are a part of numerous private collections and have been shown in galleries and public institutions. Kleinberg conceives his work as successive thematic projects ans intuitively creates new bodies of work that are inspired by his travels around the world.

Kleinberg is a globe-trotting artist who has been selected for a number of artist residencies, such as the Villa Medicis in Rome in 1996 in collaboration with the novelist Kits Hilaire, the Museum of Contemporary Art in Moscow in 2001, the Art Residency of Pondichéry in 2004 in India, in China in 2010 in collaboration with the Hong Merchant Gallery of Shanghai, and in India in 2018 at the University of Shantiniketan.

He has received several paintings awards: the Salon de Montrouge prize in 1998, the Coprim foundation prize in 2000, the Taylor foundation prize in 2008, the Charles Oulmont fondation prize in 2008 and the 1st contemporary art prize of Monaco in 2014.

His most notable exhibitions include : La mémoire au corps at the Coprim foundation in Paris in 1999 ; D’obscénité et de fureur at the Passage de Retz in Paris in 2002 ; Made in India at the Koehnline Museum of Art in Chicago, USA in 2006 ; Baroque Flesh at the Polad-Hardouin Gallery in Paris in 2011 ; Territoire d’héroïsme et de fureur, his first retrospective exhibition, at the Messine Gallery in Paris in 2012 ; Reborn Project at the Frank Pages Gallery in Geneva, Switzerland in 2015 ; Odyssey at the ART Elysées fair in Paris as guest of honor in 2017.

Relief 1, 2005, Gum Arabic pasted on canvas, 231x170cm
Monbay victoria terminus, 2004, oil on canvas and collage, 200 x 200cm
Parsi 2, 2006, Oil on paper, 40 x 30cm
La Fuite I, 2005, oil on canvas and collage, 130 x 197 cm
Wait and see II, 2006, Gum Arabic on paper, 56 x 76cm
Dog, 2006, Pastel and oil on paper, 76 x 57cm
Sadhou 2, 2005, Pastel on paper, 76 x 57cm
Indigo, 2010, Pastel on paper, 57 x 76cm
Sadhou 1, 2010, Pastel on paper, 76 x 57cm

TERRITOIRE UNIQUE
Christophe Miralles
26.04.2018 – 09.06.2018

Written by Matthew Hong on 28 June 2019. Posted in exhibitions.

TERRITOIRE UNIQUE

Christophe Miralles

Loo & Lou Gallery – Haut Marais
26.04.2018 – 09.06.2018

Vue d’exposition, Loo&Lou Gallery Haut-Marais, ©Loo&Lou Gallery
Christophe Miralles, Reste là, oil on canvas, 116 x 89 cm, 2018 © Christophe Miralles
Vue d’exposition, Loo&Lou Gallery Haut-Marais, ©Loo&Lou Gallery
Christophe Miralles, Songe d’une vie, oil on canvas, 146 x 114 cm, 2018 © Christophe Miralles
Vue d’exposition, Loo&Lou Gallery Haut-Marais, ©Loo&Lou Gallery
Christophe Miralles, Délice, oil on canvas, 162 x 130 cm, 2018 © Christophe Miralles
Vue d’exposition, Loo&Lou Gallery Haut-Marais, ©Loo&Lou Gallery
Christophe Miralles, Embarque Moi, oil on canvas, 120 x 160 cm, 2018 © Christophe Miralles
Vue d’exposition, Loo&Lou Gallery Haut-Marais, ©Loo&Lou Gallery
Christophe Miralles, Tout autour, oil on canvas, 100 x 67 cm, 2018 © Christophe Miralles
Christophe Miralles, Port de plaisance, oil on canvas, 162 x130 cm, 2018 © Christophe Miralles
Vue d’exposition, Loo&Lou Gallery Haut-Marais, ©Loo&Lou Gallery

Christophe Miralles propose series of oil paintings, papers and lacquers gathered under the title of Territoire Unique. He is addressing humanity, travels, tolerance. Colors are burning his paintings, ignite the space and ashes are dropping off on the big black sheets of paper. His paintings root in the very moment of our contemporary society. A territory that he wishes to be unique for all.

LA FOLLE QUI RIT
Didier Genty
16.02.2018 – 14.04.2018

Written by Matthew Hong on 28 June 2019. Posted in exhibitions.

LA FOLLE QUI RIT

Didier Genty

Loo & Lou Gallery – Haut Marais
14.02 – 14.04.2018

Loo & Lou Gallery – George V
08.03 – 09.06.2018

They make a head of them, the beings portrayed by Didier Genty! Torn apart, illuminated, they seem to be made up of incandescent neon lights, intertwined tunnels, networks of all kinds, all in action. Everything moves all the time … Says Françoise Monnin visiting her studio.

Thirty years ago, it was a wax work, on large photographic prints. Self-portraits, in fact. Then, came other doctored faces, exploiting the possibilities of the computer. Return to painting, finally, by need to entirely scaffold structures, to reconstruct… By pleasure, too: to find again sensations felt in front of some paintings of Velasquez, Rembrandt or Bacon, and even more in front of Artaud’s drawings. “He always haunted me”.

“I like the muscles, the blood circulation, the underside of the skin… Identity is DNA, invisible, inner. My portraits are more related to the deep being of an individual, beyond appearances. In the face, I prefer his imprint. I thus avoid the complacency inherent to the practice of portraiture and self-portraiture, for which I prefer to use a camera! (…) My painting like this Folfiri, my chemotherapy, flows in the features of these nauseous still lifes and in these bodies in jolts, slumped. From within things, flesh and moods swarm all over the surface and thickness, the scratches of color, the waxy, brutal and uncompromising features. A big tiredness, a bad taste in the mouth, the body is undoubtedly diminished but the painting remains very alive, question of survival”.

— Didier Genty, 2017

Loo & Lou Gallery – Haut Marais
14.02.2018 – 14.04.2018

Exhibition sight, La folle qui rit ©Loo&Lou Gallery
Exhibition sight, La folle qui rit ©Loo&Lou Gallery
Exhibition sight, La folle qui rit ©Loo&Lou Gallery
Exhibition sight, La folle qui rit ©Loo&Lou Gallery
Exhibition sight, La folle qui rit ©Loo&Lou Gallery
Exhibition sight, La folle qui rit ©Loo&Lou Gallery
Exhibition sight, La folle qui rit ©Loo&Lou Gallery
Exhibition sight, La folle qui rit ©Loo&Lou Gallery
Exhibition sight, La folle qui rit ©Loo&Lou Gallery

Loo & Lou Gallery – George V
08.03 – 09.06.2018

Vue de l’exposition à la Loo & Lou Gallery George V, ©Loo&Lou Gallery
Vue de l’exposition à la Loo & Lou Gallery George V, ©Loo&Lou Gallery
Vue de l’exposition à la Loo & Lou Gallery George V, ©Loo&Lou Gallery
Vue de l’exposition à la Loo & Lou Gallery George V, ©Loo&Lou Gallery
Vue de l’exposition à la Loo & Lou Gallery George V, ©Loo&Lou Gallery
Vue de l’exposition à la Loo & Lou Gallery George V, ©Loo&Lou Gallery
Vue de l’exposition à la Loo & Lou Gallery George V, ©Loo&Lou Gallery
Vue de l’exposition à la Loo & Lou Gallery George V, ©Loo&Lou Gallery
Vue de l’exposition à la Loo & Lou Gallery George V, ©Loo&Lou Gallery
Vue de l’exposition à la Loo & Lou Gallery George V, ©Loo&Lou Gallery
Vue de l’exposition à la Loo & Lou Gallery George V, ©Loo&Lou Gallery
Vue de l’exposition à la Loo & Lou Gallery George V, ©Loo&Lou Gallery

ART PARIS ART FAIR
05.04.2018 – 08.04.2018

Written by Matthew Hong on 30 June 2019. Posted in fairs.

ART PARIS ART FAIR
2018

05.04.2018 – 08.04.2018

The Loo and Lou Gallery will be present on the 2018 Edition of Art Paris Art Fair. On this occasion, the artists that will be presented are Dominique Lacloche and Matthias Contzen. The gallery will take place on the stand A21 from 05.04.18 until 08.04.18.

Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery

DOMINIQUE LACLOCHE

Born in Rome in 1960, Dominique Lacloche lives and works in Paris and London. In 1983 she was accepted to the School of Fine Arts, Paris, which lead in 1985 to her first artistic project in Afghanistan. In this country which was in the midst of war, she paints for months, fighting for the afghan refugees and then exhibits in London. This experiment indicates the beginning of a long series of trips to meet different populations, especially in Asia and Africa.

As a painter, Dominique Lacloche already holds dear the elements of nature and pursues long researches about the making of her paints, created from different organic extractions. During early 00’s, the artist discovers the Gunnera Manicata. She experiments using photography, video, installation and sculpture and starts to develop its notion of perception. In Paris she exhibits during the Nuit Blanche 2013, one of the most remarkable installations : « Un Degré Plus Haut ». A monumental installation composed of forty-two suspended sculptures in resin, (rising up to 55 meters high). Rising towards the top of the Saint-Paul-Saint-Louis Church, this giant mobile creates waves under the influence of the breeze : playing with juxtapositions and shadows.

Dominique Lacloche

MATTHIAS CONTZEN

Matthias Contzen was born in 1964 in Aschaffenbourg, Germany. He worked first as a musician, he played in different bands, and took multiplies trips to Europe and Africa. At the beginning of the 80’s, he started creating sculptures taking place over composing music (something that would still hold an important place in the artist’s work).

In 1987, he was accepted to the European Academy of Fine Arts in Trier, but graduates at the Sculpture Academy of Munich in 1991. He also obtains a diploma from the design department, at the Arts and Crafts Guild at the Fine Art school of Sarrebruck and won the third price at the international design contest « Cultures and materials ». Afterwards he continues his education with a bachelor in sculpture from Mayen. Matthias Contzen has been living near Lisbon, Portugal since 1998. In 2002 he was rewarded by the « City Desk », the most prestigious portuguese sculpture price, and nominated in 2003, for the Toyamura International Sculpture Biennale in Japan. In 2009 he co-funded the Sculpture Factory, Pero Pinhero in the north of Lisbon. An open space to visitors where he is currently works amongst ten artists.

His encounter with the actress Philippine Leroy – Beaulieu brought him new perspectives towards his work.From their desire to share experiments with sound, led them towards a project : « Planet » which was presented during the Nuit Blanche 2014, Paris. It was afterwards associated to the installation « For You », a witness of their common understanding about nature. Matthias Contzen sculptures are nowadays well integrated in the public spaces : In Portugal, (Caiscais, Cantanhede, Viseu, Mafra, Madere) but also in Germany, (Mayen), Spain (Corona), Canada (Toronto) and in the United Arab Emirates (Dubai, in the Burj Khalifat’s gardens). His sculptures are also in numerous art foundation collections as well as private collections in Europe, the United States, Brazil and India.

Matthias Contzen

DDESSIN
23.03.2018 – 25.03.2018

Written by Matthew Hong on 30 June 2019. Posted in fairs.

DDESSIN

23.03.2018 – 25.03.2018

The Loo and Lou Gallery will be present on the 2018 Edition of DDESSIN in Paris. On this occasion, the artist that will be presented is Arghaël. The gallery will take place on the stand B6 from 23.03.18 until 25.03.18.

Vue du stand
Détail
Détail
Détail
Détail
Vue du stand
Vu du stand

ARGHAËL

Arghaël, a director of commercials and other lms, is fascinated by the human body, which he long studied through the lens of the camera and in the editing room. Gradually, he turned to another mode of expression, initiating an intimate dialogue with the body through his raw, sensuous drawings in charcoal.
In the exhibition, a selection of 15 works from a series of drawings gives shape to and makes sense of his way of seeing, to what it means to be human and to the mystery of the flesh.

JUST MAD
20.02.18 – 25.02.18

Written by Matthew Hong on 30 June 2019. Posted in fairs.

JUST MAD

20.02.2018 – 25.02.2018

The Loo and Lou Gallery will be present on the 2018 Edition of Just Mad in Madrid, Spain. On this occasion, two artist will be presented, François Borie and Tanc. The gallery will take place on the stand 36 from 20.02.18 until 25.02.18.

Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery
Vue d’exposition © Loo & Lou Gallery

FRANÇOIS BORIE

François Borie is a French artist, specialized in paintings and drawings.
He was born in 1964 in Paris and grew up in France after a short stay in the United States. Since he is young, he is emerged in a multicultural universe, it gives him a taste for curiosity and discovering. Around the age of twelve, he starts creating his first drawings, highly influenced by Klee and Victor Brauner. These last few years, François Borie moved his work to a graphic exploration and automatics drawings, with surrealists inspirations.

Untitled, Posca on paper, 81x61cm, 2016

TANC

At an age when most young people are reciting the poems of Paul Éluard, Tanc sought to drown his boredom in high school by filling the pages of his school notebook with automatic writing, as beautiful as it was illegible.
Later, he was introduced to the visual arts through grafiti, which became the art form in which he excelled and which shaped his style: action painting, precise gestures, research on materials and the use of the accidental.
The repeated writing of his grafiti name, TANC, led him to abstract painting in the early 2000s. He concentrated on studio work and distinguished himself from other graf ti artists with artworks based essentially on the line, the result of his research on the synthesis of his name and his tags.
Inspired by his travels in North Africa, where he studied the forms of the Arabic language, and in Asia, where he took an interest in ideograms, he decided to devote several series of paintings to the automatic writing he had been doing since adolescence. He was greatly inspired by the pictorial work of Henri Michaux and his experiences on mescaline for this project.

Untitled, acrylic, ink et lacquer on canvas, 97 x 120 cm, 2016

GRAVITÉ
Lydie Arickx
13.09.2017 – 20.01.2018

Written by Matthew Hong on 28 June 2019. Posted in exhibitions.

GRAVITÉ

Lydie Arickx

Loo & Lou Gallery – George V
13.09.17 – 20.01.18

Loo & Lou Gallery – Haut Marais
15.09.17 – 20.01.18

Exhibition sight, Gravité, Lydie Arickx, Loo and Lou Gallery George V © Loo and Lou Gallery
Lydie Arickx, L’intérieur du monde, 415 x 292 cm, mixed technics, 2017 © Loo and Lou Gallery
Lydie Arickx, La tête philosophale, cristal 1/1, 2017 © Loo and Lou Gallery
Lydie Arickx, La mariée, 150cm high, burnished bronze 1/1 wax, 2017 © Loo and Lou Gallery
Exhibition sight Gravité, Lydie Arickx, Loo and Lou Gallery Haut-Marais © Loo and Lou Gallery
Exhibition sight, Gravité, Lydie Arickx, Loo and Lou Gallery Haut-Marais © Loo and Lou Gallery
Exhibition sight, Gravité, Lydie Arickx, Loo and Lou Gallery Haut-Marais © Loo and Lou Gallery
Lydie Arickx, Paroi, burnished bronze 1/1 and wax, 123x82x155 cm, 2017

Gravity in the proper sense is one of the four fundamental forces of the universe. The one that attracts the massive bodies between them, the one that creates us, structures and makes us turn around the stars of the cosmos. But not far from the inexorable falling bodies and laws of physics, Lydie Arickx is also interested in feelings, those who oscillate between gravity and careless weightlessness.

Painting becomes the incarnation of an energy given anew by the look. But when Arickx’s painting is made of flesh and bones, her sculpture is much more mystical, as id it was disintegrated from the world from the very hand that created it. Earth becomes concrete, concrete becomes bronze, bronze becomes crystal, crystal becomes spirit.

Gravity thus becomes a path, a heavenly way from earth to weightlessness, passing through all the states of a cataclysmic creation that explodes and implants at the rhythm of an incantatory pulsation. The initial gravity becomes lightness and gravity gives way to joy ; the very one that invades the artist completing his work, or tearing off the canvas that did not want to be painted.

Vernissage Haut Marais
Vernissage Georges V
Teaser

LYDIE ARICKX
GRAVITÉ

Exposition du 13.09.17 au 20.01.18

INCARNATIONS
Dessins et sculptures
Paul de Pignol
08.06.2017 – 29.07.2017

Written by Matthew Hong on 29 June 2019. Posted in exhibitions.

INCARNATIONS
Dessins et sculptures

Paul de Pignol

Loo & Lou Gallery – Haut Marais
08.06 – 29.07.17

Exhibition sight Incarnations, drawing and sculptures © Loo & Lou Gallery
Exhibition sight Incarnations, drawing and sculptures © Loo & Lou Gallery
Exhibition sight Incarnations, drawing and sculptures © Loo & Lou Gallery
Exhibition sight Incarnations, drawing and sculptures © Loo & Lou Gallery
Exhibition sight Incarnations, drawing and sculptures © Loo & Lou Gallery
Exhibition sight Incarnations, drawing and sculptures © Loo & Lou Gallery
Exhibition sight Incarnations, drawing and sculptures © Loo & Lou Gallery
Exhibition sight Incarnations, drawing and sculptures © Loo & Lou Gallery
Exhibition sight Incarnations, drawing and sculptures © Loo & Lou Gallery

The Loo & Lou Gallery exhibits a choosing of bronze and drawings from Paul de Pignol, combining old and new works. Wax and plaster figures and a new series of charcoal drawings entitled Figures de cendre will be presented for the first time.

In these two disciplines, Paul de Pignol’s work focuses on the feminine figure around universal themes (birth, life, death) through the exploration of the female body whose function, mass, composition, the decomposition and the presence in a back and forth between the inside and the outside.

Wax, a malleable material close to the flesh, allows him to search the entrails of a tortuous material, to explore the living being by giving its sculptures a very organic appearance.

PAUL DE PIGNOL

Teaser of the exhibition of Paul de Pignol “Dessins et Sculptures” at Loo & Lou Gallery

Johan Van Mullem
24.04.2017 – 19.05.2017

Written by Matthew Hong on 29 June 2019. Posted in exhibitions.

JOHAN VAN MULLEM

Loo & Lou Gallery — Haut Marais and L’Atelier
24.04 – 19.05.2017

Loo & Lou Gallery — George V
21.06 – 29.07.2017

Shaped by successive additions and subtractions, the faces emerge from the canvas, incarnating the many facets of humanity. This accumulation of transparent ink reinforces the effect of depth on the canvas, which seems to vibrate with an inner light, as if backlit.

Van Mullem captures light and expresses an invisible reality. His compositions open a window on an early memory that resonates intimately with our senses, sketching the cartography of our deepest being. Since the death of his father a few months ago, Van Mullem has been working in black and white. Through this mourning process, he explores new forms, and the human body occasionally makes an appearance.

From the 21th of June, there will be a new presentation of artworks in the George V gallery: this time, the spectator is facing this animated work through a set of color portraits, some of which were recently exhibited at the Ixelles Museum in Brussels. The Haut Marais gallery is showing the artist’s most recent works in black and white.

L’Atelier, a permanent exhibition space showing emblematic works by the gallery’s artists (located two doors away on the Rue Notre-Dame-de-Nazareth). A series of large-format drawings in which the subjects are sketched with a precise, nervous, continuous line will be showing there.

The exhibition exposes different facets of an artist with an unusual career and no attachment to a “school.” Wanting his work to mature before he showed it, he waited almost five decades before finally unveiling it to the public.

Loo & Lou Gallery – Haut Marais

Exhibition sight Johan Van Mullem, Loo & Lou Gallery – Haut Marais
Exhibition sight Johan Van Mullem, Loo & Lou Gallery – Haut Marais
Exhibition sight Johan Van Mullem, Loo & Lou Gallery – Haut Marais

Loo & Lou Gallery – George V

Exhibition sight Johan Van Mullem, Loo and Lou Gallery George V
Exhibition sight Johan Van Mullem, Loo and Lou Gallery George V
Exhibition sight Johan Van Mullem, Loo and Lou Gallery George V
Exhibition sight Johan Van Mullem, Loo and Lou Gallery George V © Loo & Lou Gallery
Exhibition sight Johan Van Mullem, Loo and Lou Gallery George V © Loo & Lou Gallery
Exhibition sight Johan Van Mullem, Loo and Lou Gallery George V © Loo & Lou Gallery

Loo & Lou Gallery – L’Atelier

Vue d’exposition Johan Van Mullem à l’Atelier
Vue d’exposition Johan Van Mullem à l’Atelier
Vue d’exposition Johan Van Mullem à l’Atelier

Teaser
Le Passeur
Le Passeur 2

NELSON MAKAMO

Written by Matthew Hong on 11 June 2019. Posted in artists.

Decoration of the Youth, charcoal, pastel, ink and oil on Belgian linen canvas, 200×250 cm, 2019, ©Andile Buka

NELSON MAKAMO

Nelson Makamo is an artist based in Johannesburg. He was born in 1982 in a town called Modimolle, in South Africa’s Limpopo province. Gifted with an astounding artistic aptitude in drawing and painting, Makamo honed his craft at Artist Proof Studios in Johannesburg, where he studied printmaking for 3 years.

Makamo has exhibited his work in group and solo exhibitions in South Africa, Europe, England and the US. He has shown in group shows alongside other South African artists, including David Koloane, Colbert Mashile, Deborah Bell, and William Kentridge.

Nelson’s work is strongly influenced by the candid innocence of children, particularly those in rural South Africa. He believes that they embody the peace and harmony that we all strive for in life. For him, the joy and simplicity in which children perceive life and human interactions still resides in each and everyone of us. Thus, he hopes to help the viewer relive these forgotten notions.

Makamo’s work is included in many collections such as those of fashion icon Giorgio Armani, musician Annie Lennox, Hanzehof Zutphense Kunst Collectis, DJ Black Coffee, Swizz Beatz, Oprah Winfrey, Ava Duvernay, to name a few.

His most recent achievement is one of his artwork gracing TIME magazine’s cover for their Special Edition on optimism, which was guest edited by acclaimed film director Ava Duvernay.

EXHIBITIONS

2018
FNB Joburg art fair, Stand Ll Editions, Johannesburg, South-Africa.
The Re-awakening, CIRCA Gallery, Le Cap, South-Africa.
1:54, exposition collective, Stand GAFRA Gallery, Londres, England.
2017
1:54, Stand GAFRA Gallery, Londres, England.
No Commission, Dean Collection, Berlin, Germany.
We are the souls of Azania, GAFRA Gallery, Londres, England.
Salon Zurcher Africa Art Fair, exposition collective, Zurcher Gallery, New York, United-States.
DDESSIN17, foire de dessin contemporain, exposition collective, Atelier Richelieu, Paris, France.
Fuir, exposition collective, Fondation Blachère, Apt, France.
Résidence, Fondation Blachère, Apt, France.
2016
Dipôlelo, Galerie Fatiha Selam, sous le commissariat Anna Reverdy, Paris, France.
Post It, exposition collective, Constitution Hill, Johannesburg, South-Africa.
Résidence, SAFFCA Fondation, Saint-Émilion, France.
2015
1:54, exposition collective, Stand CIRCA Gallery, Londres, England.
2014
Everard Read, Le Cap, South-Africa.
Everard Read, Johannesburg, South-Africa.
FNB Joburg art fair, exposition collective, Stand Everard Read Gallery, Johannesburg, South-Africa.
Winter, exposition collective, Everard Read Gallery, Le Cap, South-Africa.
2013
Salon 91, Le Cap, South-Africa.
2012
Figuring differences, exposition collective, Andrew Lamprecht commissaire d’exposition, salon 91, Le Cap, South-Africa.
Les 21 ans de Artist Proof Studio, exposition collective, Johannesburg Art Gallery, South-Africa.
2011
Museum of Africa, Johannesburg, South-Africa.
2010
Young Contemporaries, exposition collective, Galleria Nikki Diana Marquardt, Paris, France.
2009
Sharing Realities II, African Studies Centre, Leiden, Netherland.
Walking with Me, UTS Gallery, Edinburg, Scotland.
A Place I Call Home, Gallery on the Square, Johannesburg, South-Africa.
City Link, exposition collective, Gallery 23, Amsterdam, Netherland.
Gallery on the Square, exposition collective, Sandton, Johannesburg, South-Africa.
2008
Moving into Light, KZNSA Gallery, Durban, South-Africa.
Sharing Realities, Gallery Izarte, Zutphen, Netherland.
2007
Cultural and Business Art Exhibition, exposition collective, Somma Lombardo, Italy.
Making Identity, exposition collective, The Thompson Gallery, Johannesburg, South-Africa.
2006
Ten Years of Printmaking, exposition collective, David Krut Print Studios, Johannesburg, South-Africa.
2005
Walk with me, Obert Contemporary Art Gallery, Johannesburg, South-Africa.

We are Angels with Dirty Faces Charcoal, pastel and oil painting on Belgian Linen canvas 160 x 120 cm, 2019 ©Andile Buka
Women of Colour Charcoal, acrylic and pastel on paper 160 x 120 cm, 2019 ©Andile Buka
Untitled Charcoal, acrylic and pastel on paper 65,5 x 50 cm, 2019 ©Andile Buka
To Paris with Love Charcoal, pastel and oil painting on Belgian Linen canvas 160 x 120 cm, 2019 ©Andile Buka
Untitled Charcoal, acrylic and pastel on paper 100 x 70 cm, 2019 ©Andile Buka
Proud to be an African Charcoal, acrylic and pastel on paper 160 x 120 cm, 2019 ©Andile Buka
Untitled Charcoal, pastel and oil painting on Belgian Linen canvas 50 x 50 cm, 2019 ©Andile Buka
Untitled Charcoal, acrylic and pastel on paper 100 x 70 cm, 2019 ©Andile Buka
Precious Charcoal, pastel and oil painting on Belgian Linen canvas 160 x 120 cm, 2019 ©Andile Buka
Untitled Charcoal, pastel and oil painting on Belgian Linen canvas 200 x 150 cm, 2019 ©Andile Buka

JEAN-CHRISTOPHE BALLOT

Written by Matthew Hong on 19 June 2019. Posted in artists.

Le silence – de la série Vanités, tirage Lambda sur papier chromogène, 120 x 80 cm, photographie 2017, tirage 2018 © JC Ballot

JEAN-CHRISTOPHE BALLOT

Jean-Christophe Ballot is an Architect (D.P.L.G.), who graduated from the École Nationale Supérieure des Arts Décoratifs as well as FEMIS and completed a residency in 1991 at the Villa Medicis. His work concerns itself with space, from urban and industrial landscapes to natural settings filled with spirituality, he settles himself in places of memories.

“My photographs question memory in relation to the history of these places and their transformations. I use the void as an exercise, as it is at the center of my photographs and additionally within my reflection. I am looking to suspend time and create contemplative photographs.”

He has captured an important series of photographs while enjoying exceptional landscapes in the mountains, the village of Saorge, Roya Valley and its religious heritage, Mercantour National Park, and the Valley of Wonders. His work oscillates between still life and installation. On one side he develops a kind of narrative (he is also a film director) when creating his delicate compositions, by inventing a story which could have happened that he has “discovered” by coincidence. On the other, it affirms the gesture of the artist, an intervention in the space and thus, in the image, while assuming the presence of photographic props or baroque theatricality.

EXPOSITIONS

2018
L’impermanence, sculptures and pictures, with Catherine Wilkening, Loo&Lou Gallery, Paris, France.
L’esprit des lieux (exposition collective), Curator Susana Gallego-Cesta, Petit Palais, Paris, France.
La photographie française existe… je l’ai rencontrée, group exhibition, Curator Jean-Luc Monterosso, Maison Européenne de la photographie, Paris France.
2017
Vanités, rituels funéraires en pays Toraja, Abbaye du Thoronet, Le Thoronet, France.
Paysages français, Curators Héloïse Cornésa et Raphaël Bertho,National Library, Paris, France.
2016
Les dormeurs de Saint Denis, Forteresse Pierre et Paul, Saint Pétersbourg, Russia.
Les serres d’Auteuil,Library Marmottan, Boulogne-Billancourt, France.
2015
Paysages Australiens, Royal Academy of Fine-Arts, Domaine de Chaumont-sur-Loire, France.
Œuvre sur l’œuvre, Musée Le Grand Curtius, Liège, Belgium.
2012
Le Musée dans le musée, Musée d’art contemporain de Thessalonique, Thessalonique, Greece.
2011
Le Louvre transfiguré, Musée national de Damas, Syria.
2009
Paris-Chicago, Loyola University Museum of Art, Chicago, United-States.
2008
Urban Landscapes de Berlin à Shanghaï, Maison européenne de la photographie, Paris, France.
2007
Île Seguin, paysage avec figures absentes, space Landowski, Boulogne-Billancourt, France.
2003
La Métamorphose du Louvre, Musée du Louvre, Paris, France.
2001
Mont Athos, National Library, Paris, France.

ART PARIS ART FAIR
30.03.17 – 02.04.17

Written by Matthew Hong on 30 June 2019. Posted in fairs.

ART PARIS ART FAIR

30.03.17 – 02.04.17

The Loo and Lou Gallery will be present on the 2017 Edition of Art Paris Art Fair. On this occasion, two artist will be presented, Lydia Arickx and Johan Van Mullem. The gallery will take place on the stand A21 from 30.03.17 until 02.04.17.

Vue du stand de la galerie Loo and Lou, à l’occasion de la foire Art Paris Art Fair © Loo and Lou Gallery
Tête Brumée, bois, cendre et acier, 180cm, 2014 © Loo and Lou Gallery
Vue du stand de la galerie Loo and Lou, à l’occasion de la foire Art Paris Art Fair © Loo and Lou Gallery
Vue du stand de la galerie Loo and Lou, à l’occasion de la foire Art Paris Art Fair © Loo and Lou Gallery

JOHAN VAN MULLEM

Trained as an architect, Johan Van Mullem is a painter, illustrator and sculptor. His interest in art dates from his childhood, during which he tirelessly drew pictures of faces, a major theme in his work, going beyond portraiture.

Johan Van Mullem instinctively captures the essence of humanity hidden in timeless faces that are barely representative. Shaped by successive additions and subtractions, they emerge from the canvas, incarnating the many faces of humanity. A painter of movement and light, Johan Van Mullem works with highly diluted printer’s ink, which he builds up in layers.

LYDIE ARICKX

Lydie Arickx is a painter and a sculptor born in France in 1954. Since the beginning of the 80’s, she has been participating in major international events.

In 1988, she presented her work in Belgium, in Switzerland, in Germany, in Holland, and then in Spain and USA ( first exhibition organized by Amaury Taittinger in New- York along with Francis Bacon ). Lydie Arickx often organizes cultural events on the international stage, displaying visual art and performing arts such as training workshop for schools, companies, hospital, cultural events and exhibitions.

Ainsi Fond
Pierre Delavie
17.02.2017 – 18.03.2017

Written by Matthew Hong on 29 June 2019. Posted in exhibitions.

AINSI FOND

Pierre Delavie

Loo & Lou Gallery – George V
17.02.17 – 18.03.17

For 2016’s Nuit Blanche, the artwork Cote 15,28 l’amour deborde was erected on the façade of the Conciergerie in Paris, showing ribbed vaults turned upside down, sinking, announcing climate change. A recurring obsession of an artist preoccupied by ecological questions, global warming might have led Pierre Delavie to share his vision of a building deformed by heat, which took the form of a monumental installation in Paris at 39 avenue George V in 2007. His latest work can be found on the same avenue, at number 45, the current location of Gallery Loo & Lou, where the rest of the story is being written: an enduring reflection between an artist and his environment.

Sight from the exhibition “Ainsi Fond” from Pierre Delavie – Galerie Loo & Lou George V © Loo & Lou Gallery
Sight from the exhibition “Ainsi Fond” from Pierre Delavie – Galerie Loo & Lou George V © Loo & Lou Gallery
Sight from the exhibition “Ainsi Fond” from Pierre Delavie – Galerie Loo & Lou George V © Loo & Lou Gallery

DÉPEINDRE
Pierre Delavie
10.02.2017 – 18.03.2017

Written by Matthew Hong on 29 June 2019. Posted in exhibitions.

DÉPEINDRE

Pierre Delavie

Loo & Lou Gallery – Haut Marais
10.02 – 18.03.2017

Exhibition sight Dépeindre Pierre Delavie – Galerie Loo and Lou Haut-Marais © Loo and Lou Gallery
Exhibition sight Dépeindre Pierre Delavie – Galerie Loo and Lou Haut-Marais © Loo and Lou Gallery
Exhibition sight Dépeindre Pierre Delavie – Galerie Loo and Lou Haut-Marais © Loo and Lou Gallery
Pierre Delavie, medium photographique et peinture acrylique sur toile, 114x162cm, 2017 ©PierreDelavie
Exhibition sight Dépeindre Pierre Delavie – Galerie Loo and Lou Haut-Marais © Loo and Lou Gallery
Exhibition sight Dépeindre Pierre Delavie – Galerie Loo and Lou Haut-Marais © Loo and Lou Gallery

Pierre Delavie invests spaces from a contextual point of view, in order to reveal what he calls “ignored reality.” Though the gap he opens in “reality”, he offers us the chance to finally see what we look at every day (without really seeing it) in addition to what remains mysterious. Whether it’s through his monumental works in cities or in art galleries, he lends us his perspective in order to change our own.

Currently at Loo & Lou Gallery, next to the Place de la République, he tests urban memory. The artist paints and repaints traces, testimony of our past, present and future. His way of playing with what is “real” serves to spread awareness about various issues in the world today.

Photo canvas – linen canvas mounted on a locked frame, (…) able to reveal other possibilities as well. Traces of paint as unique testimony. Format 130 x 162 cm

CARTE BLANCHE (1)
CLARA DAQUIN
GROUP SHOW

Written by Matthew Hong on 25 June 2019. Posted in artists.

Vu de l’exposition “Carte Blanche 01” à Clara Daquin © Émilie Mathé Nicolas – Loo & Lou Gallery
Vu de l’exposition “Carte Blanche 01” à Clara Daquin © Émilie Mathé Nicolas – Loo & Lou Gallery
Vu de l’exposition “Carte Blanche 01” à Clara Daquin © Émilie Mathé Nicolas – Loo & Lou Gallery
Vu de l’exposition “Carte Blanche 01” à Clara Daquin © Émilie Mathé Nicolas – Loo & Lou Gallery
Vu de l’exposition “Carte Blanche 01” à Clara Daquin © Émilie Mathé Nicolas – Loo & Lou Gallery
Vu de l’exposition “Carte Blanche 01” à Clara Daquin © Émilie Mathé Nicolas – Loo & Lou Gallery
Florian Mermin, Peaux 2015 bronze, table en bois 10 x 40 x 50 cm et 60 x 150 cm collection privée
Chloé Julien, Sur ton dos 2008 aquarelle, encre et sel sur papier 105 x 75 cm
Florian Mermin, Bouches d’égouts 2013 plâtre, socles en bois dimensions variables
Florian Mermin, Bouches d’égouts (détail), 2013 plâtre, socles en bois dimensions variables
Julia Pitaud, Paris-Alençon (détail), 2016 vêtement de seconde main, photographies, structure 198 x 125 x 10 cm
Inès Panizzi, Sans titre, 2018, stylo à bille sur papier 21 x 29,7 cm

CLARA DAQUIN

Clara Daquin works in Paris as an art critic and independent curator. She graduated from ECAL, the École Cantonale d’Art de Lausanne with a degree in Visual Arts and from the Sorbonne in Art History. There, she studied how duos and artist collectives following multidisciplinary processes work together. Additionally, she holds a Master’s in Curatorial Studies from the Sorbonne University. She has been conducting exhibitions since 2015 with the “Mathilde Expose” collective, including Vertige en terrain plat at the Eva Meyer gallery and the Brownstone Foundation in 2016, as well as No man is an island at the Jardin Exotique in the Pavillon Bosio in 2017. She has worked with the Palais de Tokyo, Lafayette Anticipations, Fondation d’entreprises Galerie Lafayette, Semiose Gallery, and the association, La Source. She regularly writes articles and currently works with “The Community,” a collective, gallery, and multidisciplinary platform located in 10th arrondissement of Paris.

Julia PITAUD

Photography is Julia Pitaud’s primary medium, and she uses it as a form of material to create poetic constructions. The artist simultaneously thinks of the body through surrounding objects like clothes (“human’s second skin”) and through the theme of chairs as a kind of foundation, considered through the prism of movement. La Chaise (2015) is made out of recovered inner-tubes, and is decorated with pictures taken during the artist’s travels abroad. Two forms of motion can be read compositionally through the piece: an invisible one, as if strangers were riding bikes, and a personal one, in regards to the artists’ voyages. The piece displays a structure that cannot be static, as the object appears to be growing limp; the artwork is relaxed, and the visitor may be perturbed by this notion. Paris-Alençon (2016) references the gesture of taking off one’s coat when entering a home, and the title refers to the journey that the artist has made for months to meet her partner. Pictures taken in Paris are joined with ones from Alençon, while a tree trunk merges itself with a pant leg. In 2016, Pitaud became interested in the idea of collecting used clothes, thinking about how they came from people she never knew and never will know. She chose white clothes as a blank page where she could place her ideas and intentions.

© Coline Chalumeau – Loo & Lou Gallery

NIDGÂTÉ

For duo Nidgâté (Yuyan Wang + Qin Han), the concept of the body is already present in their name. Nidgâté is a word coming from ancient Asia, meaning “rough skinned hands, without skill nor expertise.” It is not by chance, then, that their film The Devil In The Details (2017) offers an anthology of gestures. Guided by a soundtrack of finger snaps, the film displays movements that can be assumed as genderless: a hand holds a butterfly, another one catches a strand of hair… Out of these “tireless partners,” Henri Focillon said, “The hand is action: it takes, creates, and we could say that, sometimes, it has thoughts.” In That Day (2017), the body is removed from the picture. Supported by an audio clip from a personal growth and relaxation session, the video presents movement through many indoor spaces. The artists have appropriated extracts from horror movies, where the bodies are absent, but the story remains. The suspense is steady, and plays on both mental and narrative constructions.

Chloé JULIEN

In her paintings, Chloé Julien, a bit dazed, sticks “Caramel dans les cheveux” (2010), or “Caramel in her hair.” She also perceives life as perpetual renewal, like the character Sisyphe (2008), cursed by endlessly pushing his rock to the top of a mountain. Sometimes the artist finds a partner with whom she can share her joys, such as in Sur ton dos (2008). Julien’s watercolors draw a contorted, corporal space that spreads, overflows, and melts. The artist sees chaos as a permanent state of being. What kind of chaos is it, then? Which type of tension? Is it one that exists between body and soul? The soul in her drawings inserts itself and invades her drawings with strong emotion. She views her own body without organs and that rather, it is inhabited only by the soul. Here, the body is represented by what fully composes it, with matter that is at once invisible and carnal.

© Émilie Mathé Nicolas – Loo & Lou Gallery

Florian MERMIN

Through two anthropomorphic sculptures, Florian Mermin invites us into a dreamlike world where we can find disturbing Freudian eccentricities. Bouche d’égouts (2013) appears to be made out of large, sugary meringue, but with a closer look, we can see that is is made out of plaster and contains teeth. Mermin associates an interest in the body with the integration of dreams that exist in a concrete reality. These mute mouths appear real enough to be able to eat or swallow, and the pink of their stand resembles the color of gums. The piece Peaux (2015) is made up of two bronze gloves placed on top of a wooden desk. We can only imagine the story behind the piece in this room, where time ceases to exist. Was it a monster who laid down his hands before entering? Or do these gloves help to hide rough and ugly hands?

© Émilie Mathé Nicolas – Loo & Lou Gallery

Inès PANIZZI

Inès Panizzi made this series of drawings while she was at Col d’Allos, which is located in the Southern Alps. Surrounded by mountains, the artist pursued a ritual where she woke up, made tea, and left her chalet to wander. Inspired by her morning hike, where she breathed in hundreds of micro-organisms, and saw insects and animals, she would go home afterwards and begin drawing. During these hikes, she created links between the stars, living beings, and the insects that surrounded her, and then drew these elements in a style rendering them almost identifiable. These drawings, like small studies of the universe, display the interactions between close and far, tiny and vast, macro and microscopic.

© Émilie Mathé Nicolas – Loo & Lou Gallery

SKIN(S)
Arghaël
25.11.2016 – 14.01.2017

Written by Matthew Hong on 29 June 2019. Posted in exhibitions.

SKIN(S)

Arghaël

Loo & Lou Gallery – Haut Marais
25.11.2016 – 14.01.2017

Loo & Lou Gallery – George V
07.12.2016 – 14.01.2017

Exhibition view at the Loo & Lou Gallery – Haut Marais, Skin(s), Arghaël
Exhibition view at the Loo & Lou Gallery – Haut Marais, Skin(s), Arghaël
Exhibition view at the Loo & Lou Gallery – Haut Marais, Skin(s), Arghaël
Exhibition view at the Loo & Lou Gallery – George V, Skin(s), Arghaël
Exhibition view at the Loo & Lou Gallery – George V, Skin(s), Arghaël
Exhibition view at the Loo & Lou Gallery – George V, Skin(s), Arghaël

On February 2016, the Loo & Lou Gallery welcomed Arghael’s first exhibition; Raw, a series of nudes drawings made with charcoal. We discovered his mineral compositions birthing from wide and nervous movements, his winding lines, consuming the paper, exploring the visible, highlighting the body’s folds, shown in all the roughness of their envelope, without compromise. We attended to the birth of a work which questions the flesh’s mystery, rubs the unconscious and gently welcomes the pictorial accident. A work that draws all its singularity and its vital tenseness from a hiatus between the representation of an archetypal body, its unusual stances and the vertical, aerial composition of the drawing.

The Loo & Lou gallery now welcomes the second exhibition of Arghael’s drawings. The artists gave birth to a series of figures at the scale 1/1, all coming from his mind. Some rough and original beings, born under the charcoal gesture, evoking giant articulated carcasses spreading out and rising up, no longer on paper, but on the canvas.

In his exploration of the body, the artist crossed a new step by giving us the chance to see our deep inside mind. As closed as possible to flesh, bones and blood vessels, he draws on the canvas what he imagines in his inner sanctum, as a second skin. Those giants, made of carbon, disproportionate extremities and evanescent faces seem to levitate under his free gesture.

L’Homme Debout
Ma Caverne
Action Dessinante

DIDIER GENTY, « La folle qui rit », Arts Magazine, March 2018

Written by Matthew Hong on 9 July 2019. Posted in press.

DDESSIN, Arghaël, Mowwgli, March 2018

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DIDIER GENTY, « La folle qui rit », EXPO IN THE CITY, March 2018

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DIDIER GENTY, « La folle qui rit », Paris Capitale, March 2018

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DIDIER GENTY, « La folle qui rit », Journal des Arts, February 2018

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DIDIER GENTY, « La folle qui rit », L’Oeil, March 2018

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JUSTMAD, Tanc – François Borie, Yahoo Noticias, February 2018

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JUSTMAD, Tanc – François Borie, La buena firma, February 2018

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JUSTMAD, Tanc – François Borie, ABC.es, February 2018

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JUSTMAD, Tanc – François Borie, La voz de Càdiz, February 2018

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PAUL DE PIGNOL, « Incarnation », ArtyBuzz, June 2017

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JUSTMAD, Tanc – François Borie, Wall Street International, February 2018

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JUSTMAD, Tanc – François Borie, El Confidencial, February 2018

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JUSTMAD, Tanc – François Borie, Brit Es Magazine, February 2018

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JUSTMAD, Tanc – François Borie, PAC, February 2018

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JUSTMAD, Tanc – François Borie, TimeOut, February 2018

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DIDIER GENTY, « La folle qui rit », Le Figaroscope, February 2018

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DIDIER GENTY, « La folle qui rit », Télérama, February 2018

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JUST MAD, Tanc – François Borie, Artribune, February 2018

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JUSTMAD, Tanc-François Borie, Arte a un click, February 2018

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DIDIER GENTY, « La folle qui rit », Mowwgli, February 2018

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DIDIER GENTY, « La folle qui rit », Mapado, February 2018

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DIDIER GENTY, « La folle qui rit », Le Parisien Etudiant, February 2018

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DIDIER GENTY, « La folle qui rit », Que faire à Paris, February 2018

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LYDIE ARICKX, « Gravité », Le Figaro, December 2017

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LYDIE ARICKX, « Gravité », Where, December 2017

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LYDIE ARICKX, « Gravité », Miroir de l’Art, November 2017

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LYDIE ARICKX, « Gravité », Paris Capital, November 2017

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LYDIE ARICKX, « Gravité », 20 Minutes, October 2017

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LYDIE ARICKX, « Gravité », Ouvretesyeux ARTV, October 2017

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LYDIE ARICKX, « Gravité », News Art Today TV, October 2017

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LYDIE ARICKX, « Gravité », Connaissance des arts, October 2017

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LYDIE ARICKX, « Gravité », Expo in the city, October 2017

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LYDIE ARICKX, « Gravité », Arts Magazine, October 2017

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LYDIE ARICKX, « Gravité », Artension n°145, September – October 2017

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LYDIE ARICKX, « Gravité », Art for Breakfast, September 2017

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LYDIE ARICKX, « Gravité », Le Parisien, September 2017

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LYDIE ARICKX, « Gravité », Que Faire à Paris, September 2017

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LYDIE ARICKX, « Gravité », Paris Art, September 2017

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LYDIE ARICKX, « Gravité », Expo In The City, September 2017

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LYDIE ARICKX, « Gravité », Beaux Arts, September 2017

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LYDIE ARICKX, « Gravité », 20 Minutes, September 2017

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LYDIE ARICKX, « Gravité », L’œil, September 2017

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PAUL DE PIGNOL, « Incarnations », Artension, July – August 2017

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LYDIE ARICKX, « Gravité », Mowwgli, August 2017

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PAUL DE PIGNOL, « Incarnations », La Gazette de Drouot, June 2017

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DOMINIQUE LACLOCHE, « Urpflanze », El Tiempo, May 2017

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DOMINIQUE LACLOCHE, « Urpflanze », Vice, May 2017

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DOMINIQUE LACLOCHE, « Urpflanze », Elespectador, May 2017

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DOMINIQUE LACLOCHE, « Urpflanze », Adn, May 2017

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DOMINIQUE LACLOCHE, « Urpflanze », Adn, April 2017

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JOHAN VAN MULLEM, Sortir Paris, March 2017

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JOHAN VAN MULLEM, Expo in the City, March 2017

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JOHAN VAN MULLEM, Paris Art, March 2017

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ARGHAËL, « Skin(s) », Art SixMix, December 2016

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ARGHAËL, « Skin(s) », Télérama, December 2016

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DIDIER GENTY

Written by Matthew Hong on 25 June 2019. Posted in artists.

Didier Genty

Born in 1956, Didier Genty lives and works near Paris. He studied art at the School of Fine Arts in Bordeaux.

“I like muscles, blood circulation, the underside of the skin… Our identity is our DNA, invisible, inside. For faces, I prefer their imprint; I avoid the complacency inherent in the practice of self-portraits. My painting like the Folfiri, my chemotherapy, flows in the features of these bodies in jolts, slumped. From within things, flesh and moods swarm all over the surface and in thickness, the scratches of colour, the waxy, brutal and uncompromising features. A great fatigue, a bad taste in the mouth, the body is undoubtedly diminished, but the painting remains very much alive. It is a question of survival.”

– Didier Genty

EXHIBITIONS

2017
Comme Un, exhibition, Aera (book publication), Paris, France.
Artcité, group exhibition Aulnay-sous-Bois, France.
Artalents, group exhibition, Guyancourt, France.
Art’fice, group exhibition, Montgeron, France.
4 éléments, group exhibition, Sèvres Espace Loisir, Sèvres, France.
2016
Figuration Critique Fair, Paris, France.
Minimenta, Paris, France.
Corps & Graphie, group exhibition.
Price of the Artension review, Sèvres Espace Loisir, Sèvres, France.
2015
À corps perdus la femme à Barbe, Point Rouge Gallery Paris, France.
2011
Ile été tant, collective exhibition, Carte blanche à Françoise Monnin, Samantha Sellem Gallery, Paris, France.
2010
Carmen épouvantée, Viry-Châtillon, France.
2009
Le modèle, Biennale of Issy-les-Moulineaux, France.
2008
Group exhibition, Nikki Maquard Gallery, Paris, France.
Images numériques « DUO », with Sophie Sainrapt, Gallery Anne Lettrée, Paris, France.
2007
COPART, exhibition, Barle-Duc, France.
2006
Hymanu scorp, space Atelier, Paris, France.
2003
Biennal d’Issy-les-Moulineaux, Issay-les-Moulineaux, France.
Exhibition, space Icare, Issy-lesMoulineaux, France.
2000
Exhibition, space Esselières, Villejuif, France.

Couple 2015 Autoportrait 2015 acrylique et cire sur papier marouflé sur toile 130×89 cm

PORTRAITS AND BUDDHAS
MYSTIC LAMB
Jean Claude Wouters
15.09.2016 – 29.10.2016

Written by Matthew Hong on 29 June 2019. Posted in exhibitions.

PORTRAITS AND BUDDHAS
MYSTIC LAMB

Jean Claude Wouters

Loo & Lou Gallery – Haut Marais & George V
15.09.16 – 29.10.16

All the works exhibited focus on 4 different series : portraits of men and women, Buddhas heads, Sanguines and paintings on existing details of the masterpiece by the Van Eyck brothers, The Adoration of the Mystic Lamb, achieved in 1432.

Loo & Lou Gallery – Haut-Marais
Portraits et Buddhas

Through his portraits, Jean Claude Wouters wants to reveal the light inside the humain being by producing acheiropoietos images (that means “not created by humain painter”), based on the unique use of the light on the sensitive surfaces of the negative and the photographic paper. The artist developed a personal and unique technique based on the silver photography process of the 19th Century. This technique consists of producing artworks by taking successively in photograph the same original image. He uncovers by successive layers the images of every superfluous, until he finally seizes their essence and reveals our deepest being.
Passionate by the primitive statuary and used to photograph wooden burned Buddhas of the 9th Century in monastery and Kyoto’s museums, Wouters shows for this new exhibition an original project about Buddhas heads exhibited at the Cernuschi Museum.

Vue de l’exposition “Portraits et Buddhas”, Jean Claude Wouters
Vue de l’exposition “Portraits et Buddhas”, Jean Claude Wouters
Vue de l’exposition “Portraits et Buddhas”, Jean Claude Wouters
Vue de l’exposition “Portraits et Buddhas”, Jean Claude Wouters
EIKO, tirage argentique unique sur papier baryte mat traité au sélénium, 78 x98 cm, 2007
L’inconnue de Paris 428-09, tirage argentique sur papier baryte matt, traité au sélénium pour la conservation. Exemplaire unique, 78 x 98 cm, 2015 © Jean Claude Wouters

Loo & Lou Gallery – George V
L’Agneau Mystique

At the edge of conceptual art and the opposite of Buddhas portraits, details of the The Adoration of the Mystic Lamb and the Sanguines reveal of the addition of material and the touch sense. Jean Claude Wouters has always painted on images, in particularly on reproduction of masterpieces from ancient books.
By covering details of the The Adoration of the Mystic Lamb of gesso, the simple material which is used to prepare the canvas, with his gingers and a Japanese paintbrush, he founds back the sensual contact with the paper. Impregnated by his dancer formation, he steps into materials, with rhythm and breathing. The energy of the the numerous characters of the polyptique is then resurrected par the gesso layers, sort of a Milky Way divided in a infinite possibilities.
The Sanguine serie reveals a similar approach. The addition of this glowing and sanguin material gives a second life to the imagery playing with the spectator’s memory.

Vue de l’exposition “l’Agneau Mystique”, Jean Claude Wouters, 2016
Vue de l’exposition “l’Agneau Mystique”, Jean Claude Wouters, 2016
L’AGNEAU MYSTIQUE – LES ANGES CHANTEURS, tirage argentique unique sur papier baryte mat traité au sélénium, 82 x 102 cm, 2015
L’AGNEAU MYSTIQUE
Agneau Mystique des frères Van Eyck – Cosmos 417-01, tirage argentine sur papier baryte matt, traité au sélénium pour la conservation. Exemplaire unique, 136 x 181 cm, 2015

JEAN CLAUDE WOUTERS, « Portraits et buddahs, l’agneau mistyque » , ParisArt, October 2016

Written by Matthew Hong on 5 July 2019. Posted in press.

JEAN CLAUDE WOUTERS, « Portraits et buddahs, l’agneau mistyque » , Arty-Buzz, October 2016

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JEAN CLAUDE WOUTERS, « Portraits et buddahs, l’agneau mistyque » , Actuphoto, September 2016

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JEAN CLAUDE WOUTERS, « Portraits et buddahs, l’agneau mistyque », Exponaute, September 2016

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TONY SOULIÉ

Written by Matthew Hong on 25 June 2019. Posted in artists.

TONY SOULIÉ

Tony Soulié was born in Paris in 1955, and is of Albigensian origin. As a multifaceted artist who creates paintings, performances, and photographs, Soulié could be regarded as one of the most important artists of his generation. Since 1977, he has exhibited his pieces in Paris and elsewhere in France, in Europe, and throughout the world, notably in Japan, the United States, Korea, and South America. He has been on a long journey, where questions are unearthed constantly about representation, spirituality of the image, and space versus time.

He has participated in over 300 solo exhibitions and his work is regularly shown at international events. His works have been a part of a multitude of private and public collections, including many French and international museums.

The artist has not forgotten the explorer, “Lapérouse,” from his childhood, nor the others who had gone out to hunt the unknown. They had come back with “Flowers and Florilèges,” a collection of unidentified plants and flowers. They did not stay nameless for long, however, as they began being colonized, circumscribed, and hindered. He creates art in a search for those flowers that have yet to be identified.

Awards and Recognition :

Winner in 1987 of the Villa Medicis “outdoors”, in Naples which brought him closer to Vesuvius, leading him to work on volcanoes Island, Hawaii, United States …
Salon de Montrouge prize in 1995.
Chevalier des Arts et des Lettres in 2004.

His works can be found in many public and private collections, foundations and museums around the world, including:
Peter Stuyvesant Foundation, Museum of the City of Paris, Belfort Museum, FRAC Ile de France, Arbus Foundation, Bob Wilson Foundation in Long Island-USA, Intermonde Center and Arto- thèque in La Rochelle, Museum of Industry in Charleroi, Belgium, The State Foundation on Culture and Art of Honolulu, National Fund of Contemporary Art in La Villette, City of Science and Industry, Spiegel Foundation in Beverly Hills USA, Colas Foundation, Axa Foundation of La Defense, Thomson-Franc Foundation, Rothschild Foundation in Paris, BNP Paribas, City of Paris, Duracel Art Industry in Miami, Toulon Museum, Shell-Japan in Tokyo, Palace of the Beaux- Arts of Brussels, French Institute of Thessaloniki-Greece, Clayarch Gimhae Museum in South Korea, Utsonomiya Arts Museum in Japan, Nantes Fine Arts Museum, National Museum of Lux- embourg, Arte Television in Strasbourg, Auvers sur Oise Museum, Japan Air Line Cie, Carré d’Art Foundation in Swiss, Marriot Hotel in Seoul, Chateauroux Museum, Forney Library in Paris …

TONY SOULIÉ

Florilèges
Exposition du 14.09.18 au 27.10.18
VIDEO : Flowers

OLIVIER DE SAGAZAN
17.06.2016 – 30.07.2016 / 12.08.2016

Written by Matthew Hong on 29 June 2019. Posted in exhibitions.

OLIVIER DE SAGAZAN

Haut Marais
17.06 – 30.07.2016

George V
17.06 – 12.08.2016

Loo & Lou is pleased to welcome in its two galleries (Rue Notre-Dame de Nazareth and Avenue George V) a new exhibition of the work of painter, sculptor and performer Olivier Sagazan. A selection of related paintings, sculptures and photographs will be on show in the two locations, most of them from a series recently created by the artist. In conjunction with the exhibition, Sagazan will also give a performance at the Théâtre Dejazet on June 15.

This new exhibition marks a turning point in Sagazan’s work, which for the past 25 years has focused on the human body. Recently, the artist has started a new series using a ‘‘sensitive material”, which he is keeping secret. It has inspired him to develop work that is more polymorphic than it used to be, with subjects that go beyond the human body to include the animal and vegetable worlds.

Loo & Lou Gallery – Haut Marais

Loo & Lou Gallery – George V

Reportage et performance

No. 1
No. 2
No. 3
No. 4
No. 5
No. 6
No. 7

No. 1 : Exhibition at Loo & Lou Gallery
No. 2 : Interview and Performance
No. 3 : Retour au Congo
No. 4 : Le règne du végétal
No. 5 : La leçon de biologie
No. 6 : Réveiller le spectateur
No. 7 : Transfiguration

PIERRE DELAVIE

Written by Matthew Hong on 24 June 2019. Posted in artists.

PIERRE DELAVIE

Deemed as “urban lies,” Pierre Delavie’s work questions reality and challenges our visual perception. Softening a Haussmannian building on Avenue George V in Paris, re-establishing the Chateau de Versailles’ strict architectural alignment, distorting La Canebière (the historic high street in the old quarter of Marseille, France) for the event “Marseille, European Capital of Culture,” are his way to change reality in order to better reveal it, all while soaking up the history of the chosen environment.

On January 11, 2017, he placed, without permission, a piece entitled “Radeau de Lampeduse” that sunk in the Seine. The monumental canvas unwound itself for hours in front of Hotel de Ville as a way to protest mistreatment towards refugees, while supporting the BAAM (a center for welcoming and aiding migrants), who sent their wishes to elected officials.

As such, his presence at the Loo & Lou Gallery felt natural. He said, “I found a new momentum from outdoor to indoor in relation to my research around contextual art, attempting something that is all-encompassing and holistic. The displacement of “Nuit Debout” and the movement against the work law is part of the Parisian reality. What’s been vibrating around the Place de la République since 1789, without being seen, is what we saw.”

And if the traces have disappeared, they will reappear as brushstrokes capable of definitively freezing the incessant film of daily life. Which only painting is capable, but can we trap the uncertainty?

LYRICS
Tanc
08.04.2016 – 04.06.2016

Written by Matthew Hong on 29 June 2019. Posted in exhibitions.

LYRICS

Tanc

Loo & Lou Gallery — George V
08.04 – 04.06.2016

For Tanc, the act of writing is like a performance during which he reaches what he calls ‘‘the state of the artist,” close to a meditative state. The gesture is so spontaneous that it becomes the oscillograph of his inner rhythm. ‘‘I paint with the beating of my heart”, he says. Since he creates his works on fresh paint, his time is limited, and each one must be nished in a single sitting. When painting, he looks like he is dancing or practicing a martial art in front of the canvas. This performance – at once meditative and energetic – pushes him to his physical limits. The works in the exhibition re ect the richness and diversity of his graphic palette. Tanc takes on the line like a second skin, a spectator of his own hand. This free gesture lets the form emerge without in uencing the result: alphabetical letters, ideograms, lines, loops and other ‘‘dancing bodies” cling together and are repeated, along with their embellishments, speeding up and slowing down in this ‘‘musical score.”

For some of the works, the artist painted by scraping at the first layer of paint, creating scribbles that evoke the inscriptions on stone of the rst scribes, giving the work an almost sacred air. After the first reading, during which the viewer reflexively tries in vain to decipher the “text”, the eye loses itself in the depths of the canvas and follows the meanderings of the lines.

Atelier TANC
Lyrics Opening
Lyrics Exposition

FRANÇOIS BORIE

Written by Matthew Hong on 24 June 2019. Posted in artists.

François Borie

François Borie is a French artist who specializes in painting and drawing. He was born in 1964 in Paris and grew up in France after a short stay in the United States. He has been submerged in a multicultural universe since he was young, which has pushed him to develop a certain curiosity for discovery. Around the age of twelve, he created his first drawings which are highly influenced by Paul Klee and Victor Brauner. In recent years, François Borie has changed his focus towards a more graphic exploration, creating automatic drawings that are inspired by the Surrealists.

Borie draws the repetitive forms of characters who link with and embrace each other. They are the same characters yet they are always different. It can be perceived that in his universe there is an obstinate desire to create variations around a similar theme, bringing about a feeling that is reinforced by the multiplicity of his figures and his artworks. The artist creates a proximity between a ballet of moving shadows and the spectator. Between opacity and lightness, severity and weightlessness, the viewer might find themselves engaged in a complex game of tension wherein that which is full or void appears to coexist within the framework of the piece and the exhibition space.

MON ENTROPIE
Camille Grandval
22.04.2016 – 4.06.2016

Written by Matthew Hong on 30 June 2019. Posted in exhibitions.

MON ENTROPIE

Camille Grandval

Loo & Lou Gallery — Haut Marais
02.04 – 04.06.2016

The Lou & Loo Gallery presents a selection of new works and drawings by Camille Grandval. A self-taught artist with a curious nature, Grandval is a “jane of all trades” who has had a variety of professional and artistic experiences.

No matter what the project – the micro-sidewalks she made in the 1990s for Radio Nova during what she calls her “Impressionist period”, for example, or Narcisse, a video installation shown at the Église Notre-Dame du Travail during Paris’s Nuit Blanche – she throws herself body and soul into each adventure, always eager to learn and discover new techniques. Using a repetitive gesture, Camille Grandval draws lines with a kind of tremor that creates the vibratory, exploratory movement of a microscopic world. This spider-like weaving of wavy lines, attached to the drawing with pins, forms a closure that gradually becomes an opening, a new eld for all possibilities:

“As if there were an opening, a opening which would be an assembling, which would be a world, which would be that something might happen, that many things might happen, that there is a crowd, a swarming of what is possible …”

— Henri Michaux, “Miserable Miracle”, The New York Review of Books, 2002, p. 9.

CAMILLE GRANDVAL

Written by Matthew Hong on 24 June 2019. Posted in artists.

CAMILLE GRANDVAL

Loo&Lou Gallery presents a selection of unpublished artwork from Camille Grandval.

Camille Grandval is a self-taught artist with a curious nature, who uses many different mediums and has had a variety of professional and artistic experiences. From the micro-sidewalks she made in the 1990s for Radio Nova during what she calls her “Impressionist period,” to Narcisse, a video installation shown at the Église Notre-Dame du Travail during Paris’s Nuit Blanche, Grandal throws her body and soul into each adventure, eager to learn and discover new techniques.

She is a seasoned traveler and sailor, and worked with the theme of water for a long time, making drawings with crashing waves formed by multitudes of undulating lines. A fervent admirer of the Venezuelan artist Gertrud Goldschmidt, or “Gego,” Grandval shares an obsession with lines, whether imaginary, drawn on paper or with threads. Grandval uses these lines to weave a metaphor of her own entropy through reflections on distortion, she is creating a new relationship with space, time, and matter.

HIDDEN WORLD
Olga Ityguilova
24.02.2016 – 02.04.2016

Written by Matthew Hong on 30 June 2019. Posted in exhibitions.

HIDDEN WORLD

Olga Ityguilova

Loo & Lou Gallery – George V
27.02 – 02.04.2016

In the series Hidden World, the artist’s studies of landscapes seek to break down the borders between photography and painting. They enable her to rediscover the sense of wonder she felt during childhood when contemplating nature, capturing during her rambles the reflections on the surface of a body of water, the curve of a shoreline or an eruption of sea spray. Photography offers her a way to seize the beauty of the world and reveal a hidden universe.

Olga never retouches her photographs but performs the same joyous ritual on each one: she cuts each photograph at a certain spot and then duplicates it to create a mirror image. This gesture establishes a connection between the real and spiritual worlds from which a vision springs forth. In the centre of each surprising and wondrous photos, the collision of the two images forms a totem teeming with details that evoke ancient civilizations. The image is gradually freed from its pictorial eld, offering a glimpse of a fantasy world populated with supernatural beings. Olga does not claim that these images offer proof of her beliefs; what they reveal is found in the margins of the image, mirroring our soul.

RAW
Arghaël
17.02.2016 – 02.04.2016

Written by Matthew Hong on 30 June 2019. Posted in exhibitions.

RAW

Arghaël

Loo & Lou Gallery – Haut Marais
17.02 – 02.04.2016

View of the exhibition RAW by Arghaël at the Loo & Lou Gallery Haut Marais
View of the exhibition RAW by Arghaël at the Loo & Lou Gallery Haut Marais
View of the exhibition RAW by Arghaël at the Loo & Lou Gallery Haut Marais
View of the exhibition RAW by Arghaël at the Loo & Lou Gallery Haut Marais
View of the exhibition RAW by Arghaël at the Loo & Lou Gallery Haut Marais
View of the exhibition RAW by Arghaël at the Loo & Lou Gallery Haut Marais

The artist’s explorations focus on the beauty of the human body stripped of all artifice. In his studio in Lilas, he draws models with charcoal, exploring the visible and revealing all the creases and folds on the rough surfaces of their bodies. Arghaël seeks to find the matrix through the graphic purity of his gesture. His nervous line, rich and jumpy, is ready to welcome movement and pictorial accidents. The figures, drawn in all their sculptural beauty, are shown in unconventional poses, offering their entwined, distorted, disproportionate shapes to the viewer. Everything is exposed in these images, which insinuate themselves into our imagination with powerful, archetypal bodies in airy compositions, drawn with almost evanescent lines.

OLIVIER DE SAGAZAN, Aralya n°43, July-August 2016

Written by Matthew Hong on 5 July 2019. Posted in press.

OLIVIER DE SAGAZAN, Exponaute, July 2016

Written by Matthew Hong on 5 July 2019. Posted in press.

OLIVIER DE SAGAZAN, Paris Art June 2016

Written by Matthew Hong on 5 July 2019. Posted in press.

OLIVIER DE SAGAZAN, Untitled Magazine, June 2016

Written by Matthew Hong on 9 July 2019. Posted in press.

OLIVIER DE SAGAZAN, JetSociety, June 2016

Written by Matthew Hong on 5 July 2019. Posted in press.

OLIVIER DE SAGAZAN, Art Absolument May-June 2016

Written by Matthew Hong on 5 July 2019. Posted in press.

OLIVIER DE SAGAZAN, Beaux Arts Magazine June 2016

Written by Matthew Hong on 5 July 2019. Posted in press.

IN THE LAND OF NOWHERE
Kayip
13.11.2015 – 06.02.2016

Written by Matthew Hong on 30 June 2019. Posted in exhibitions.

IN THE LAND OF NOWHERE

Kayip

Loo & Lou Gallery — George V
13.11.2015 – 06.02.2016

In The Land Of Nowhere, 2015, audio-video, installation, (6 ‘’) is Kayip’s first installation, exhibited outside the Korean territory. It has been recently presented in Seoul during the exhibition Into Thin Air, at the Kumho Museum and forms the third part of the audio video installation series Uncertain Landscape, started in 2013, and inspired by a journey through the Gobi Desert in 2012. This series projects us into a space and time relationship located at the opposite of what Seoul represents, a city of hyper modernity carried by a certain speed2.

Authentic mental reconstruction, In The Land Of Nowhere combines an auditive room with computer generated images, to re-establish, well after the artist has come back to Seoul, from his journey in this deserted landscapes of the north of China. Displayed on three video projections, is a huge black and white parnoramic, where the viewer renounces, like the artist, to any time and space ratio. Created ahead, the images are led to grow out of their memory zone, music defines itself as an infinite horizon, intensifying the perspective until the mind loses its senses. Woojun Lee takes his artist name from an article found in the turkish press, under the title Kayip, meaning « lost », the odyssey of a father in search of his daughter after Izmit’s earthquake in 1999.

TANC, « Lyrics », Artlimited, April 2016

Written by Matthew Hong on 5 July 2019. Posted in press.

TANC, « Lyrics », exponaute April 2016

Written by Matthew Hong on 4 July 2019. Posted in press.

CAMILLE GRANDVAL, « Mon Entropie », novaplanet.com, April 2016

Written by Matthew Hong on 5 July 2019. Posted in press.

CAMILLE GRANDVAL, « Mon entropie », arty-buzz.fr April 2016

Written by Matthew Hong on 5 July 2019. Posted in press.

OLGA ITYGUILOVA, « Hidden World », arty-buzz.fr March 2016

Written by Matthew Hong on 3 July 2019. Posted in press.

CAMILLE GRANDVAL, « Mon entropie », Le Vadrouilleur Urbain April 2016

Written by Matthew Hong on 5 July 2019. Posted in press.

CAMILLE GRANDVAL, « Mon entropie », Connaissance des Arts, April 2016

Written by Matthew Hong on 5 July 2019. Posted in press.

OLGA ITYGUILOVA

Written by Matthew Hong on 24 June 2019. Posted in artists.

« PENA », tirage numérique, 2015

OLGA ITYGUILOVA

Olga Ityguilova presented her work for the very first time with Loo & Lou in 2016. This exposition showed a selection of 15 photographs from the first part her series “Hidden World”, dedicated to water. These images collected throughout her journeys and strolls represent transfigured landscapes that give a glimpse to a supernatural world.

Ityguilova is a Russian artist who grew up in Siberia near Lake Baikal, the cradle of shamanism, surrounded by a wilderness harboring a hidden world. “I come from a country where the parallel world of spirits is very familiar” she says. “We live with them – they are a part of everyday life!” During her childhood in the great outdoors, Ityguilova explored nature in all its facets, especially in summer, when she would fly over the tundra and taiga in a helicopter with her parents. When she was 12, she began to take black-and-white photos (color prints were too expensive in the Soviet era). From her teacher, she learned to develop her own vision.

At 22, Ityguilova left her homeland and moved to Paris, where she worked in the fashion world while continuing her photographic research to show life’s instance through this dreamlike approach. Her present work sheds a light on the existing connection between the material and spiritual world. This reunification phenomenon brings us a profound connection with the world of the living.

ARGHAËL, « Raw », La Gazette Drouot, March 2016

Written by Matthew Hong on 3 July 2019. Posted in press.

OLGA ITYGUILOVA, « Hidden world », Le Vadrouilleur Urbain, March 2016

Written by Matthew Hong on 3 July 2019. Posted in press.

ARGHAËL, « Raw », Paris Update, March 2016

Written by Matthew Hong on 3 July 2019. Posted in press.

OLGA ITYGUILOVA, « Hidden world », L’Oeil de la Photographie, March 2016

Written by Matthew Hong on 3 July 2019. Posted in press.

OLGA ITYGUILOVA, « Hidden world », Exponaute, February 2016

Written by Matthew Hong on 3 July 2019. Posted in press.

OLGA ITYGUILOVA, « Hidden world », Jeunes Critiques d’Art, February 2016

Written by Matthew Hong on 3 July 2019. Posted in press.

ARGHAËL, « Raw » Exponaute, February 2016

Written by Matthew Hong on 3 July 2019. Posted in press.

AHN SUN MI, « Gong Zone », Actuphoto.com, January 2016

Written by Matthew Hong on 3 July 2019. Posted in press.

ARGHAËL, « Skin(s) », Télérama, January 2016

Written by Matthew Hong on 5 July 2019. Posted in press.

ARGHAËL, « Skin(s) », Time Out, January 2016

Written by Matthew Hong on 5 July 2019. Posted in press.

AHN SUN MI, « Gong Zone » / KAYIP, « In the land of nowhere », L’Officiel des Galeries & Musées, January 2016

Written by Matthew Hong on 3 July 2019. Posted in press.

AHN SUN MI, « Gong Zone », L’oeil de la Photographie, January 2016

Written by Matthew Hong on 3 July 2019. Posted in press.

AHN SUN MI, « Gong Zone », Robin des Arts, December 2015

Written by Matthew Hong on 3 July 2019. Posted in press.

AHN SUN MI, « Gong Zone », Catherine Ahnell Gallery, December 2015

Written by Matthew Hong on 3 July 2019. Posted in press.

AHN SUN MI, « Gong Zone » / KAYIP, « In the land of nowhere », L’Oeil # 684 , December 2015

Written by Matthew Hong on 3 July 2019. Posted in press.

GONG ZONE
Ahn Sun Mi
12.11.2015 – 06.02.2016

Written by Matthew Hong on 30 June 2019. Posted in exhibitions.

GONG ZONE

Ahn Sun Mi

Loo & Lou Gallery – Haut Marais
12.11.2015 – 06.02.2016

Ten years after Sun Mi’s first self-portraits, the exhibition Gong Zone provides a new perspective of her work. A selection of ten photographs from 2007 to 2015, most of them unknow to the public, will present the artist’s new energy. The idea of coexistence is translated in korean by the term Gong Zone, and come across Sun Mi’s whole work in a game of discordance in which, the artist stands between two worlds. The process keeps her in an almost childlike universe.

Furthermore, in features an oniric arrangement imprinted with melancholy, the exhibition reveals the intimate progression and maturity of her artwork.Nature is not only a thematic of renewing our vision of Sun Mi’s artwork . It remains the major topic of these photographs, a universal heritage. “When I settled in France, I felt very nostalgic about Korea, remembers Ahn Sun Mi, nature was my only familiar presence, it became my shelter, my refuge. With years, it never stopped to nourish me, and this is where I drew my strengths from. My work fully witnesses the indivisible character in Korean culture of the idea of nature and being.”

KAYIP

Written by Matthew Hong on 24 June 2019. Posted in artists.

KAYIP

Kayip (WooJun Lee) was born in Seoul, where he currently lives and works. After studying urban architecture, he began gravitating towards music. From 2003 to 2007, he studied music at the Birmingham Conservatory and the Royal College of Music, and released two albums, Kayip in 2005 and Slow Moves in 2007. The singularity of his experimental electro-universe involves slow, hypnotic rhythms and introspective melodies that explore the labyrinths of semi-consciousness through tremendous landscapes.

Kayip’s music was quickly met with success. In 2007, he was awarded a prize from the University of Music in Aberdeen which allowed him to create a piece for the Irish Symphonic Orchestra that was broadcasted by the BBC.

It did not take long for his career to take off. In 2009, Brian Eno chose him to recreate a new live version of his album Apollo (1983) at the Scientific Museum of London, which fell on the 40th anniversary of the Apollo 11 mission. Kayip’s concert during the 2010 Brighton Festival was remembered as the best performance. He is one of the most renowned figures of the Korean electronic music scene today.

Since 2012, Kayip has focused on the connection between sound and image through installations. He has presented several of his pieces in Seoul, including collective exhibitions at the Kumho Museum, at the Ansan Dawson Art Museum, at the Seoul Culture Station 284, and during the Royal Court Festival at the Changgyeonggung Palace. WooJun Lee found his artist name in a Turkish news article during the Izmit in 1999 under the title Kayip, meaning “Lost,” that spoke of the odyssey of a father who is looking for his daughter.

DOMINIQUE LACLOCHE, « Guru », Artistik Rezo, December 2015

Written by Matthew Hong on 3 July 2019. Posted in press.

MATTHIAS CONTZEN, « Universe », Ateliers d’Art de France, November 2015

Written by Matthew Hong on 30 June 2019. Posted in press.

DOMINIQUE LACLOCHE, « Guru », Le Journal des Arts, October 2015

Written by Matthew Hong on 3 July 2019. Posted in press.

DOMINIQUE LACLOCHE, « Guru », Supplément Télérama Sortir, October 2015

Written by Matthew Hong on 3 July 2019. Posted in press.

DOMINIQUE LACLOCHE, « Guru », AMA # 221, October 2015

Written by Matthew Hong on 3 July 2019. Posted in press.

DOMINIQUE LACLOCHE, « Guru », Télérama Sortir, October 2015

Written by Matthew Hong on 3 July 2019. Posted in press.

DOMINIQUE LACLOCHE, « Guru », Connaissance des Arts, October 2015

Written by Matthew Hong on 3 July 2019. Posted in press.

GURU
Dominique Lacloche
16.09.2015 – 31.10.2015

Written by Matthew Hong on 30 June 2019. Posted in exhibitions.

GURU

Dominique Lacloche

Loo & Lou Gallery – Haut Marais
16.09 – 31.10.2015

Dominique Lacloche, De la Gunnere, gelatine-bromine print on vegetal leaves (gunnera manicata), 250 x 220 cm, 2015, © Émilie Mathé Nicolas / Dominique Lacloche
Dominique Lacloche, Sans titre I, gelatine-bromine print on vegetal leaves (gunnera manicata), 230 x 210 cm, 2015, © Émilie Mathé Nicolas / Dominique Lacloche
Dominique Lacloche, Sans titre 1, gelatine-bromine print on vegetal leaves (gunnera manicata), 230 x 210 cm, 2015, © Émilie Mathé Nicolas / Dominique Lacloche
Dominique Lacloche, Sans titre 2, gelatine-bromine print on vegetal leaves (gunnera manicata), 253 x 220 cm, 2015, © Émilie Mathé Nicolas / Dominique Lacloche

From 15th of September until 31st of October, the Loo & Lou Gallery will be presenting in its two exhibition spaces, Dominique Lacloche’s newest artworks. A combination of silver photographs printed on giant leaves, known as Gunnera Manicata, and bronze sculptures inspired by this prehistoric plant will be shown in the Haut-Marais area. Simultaneously in the George V space, the artist will present a video for the first time, with a sound design in collaboration with Thomas Bottini.

Gunnera Manicata : Botanists call it “dinosaur food”. Since the Jurassic period, this perennial plant, naturally found in the mountainous swamps of Brazil, and whose spectacular foliage can reach more than two meters in height. This plant has been the main topic of Dominique Lacloche’s work for the past fifteen years. “It has gave a fresh start to my work, explains the artist, from photography to installations, with sculptures and videos, I am constantly experimenting. Our relationship is the most important one that counts in a lifetime, because it never stops evolving.” More than a simple object, Gunnera leaves are living entities to Dominique Lacloche. “The leaf is a silent associate that I want to hear. I do not impose my personal understanding of these plants, I collaborate with it. (…) My abstract arrangements, are an interpretation, an extension of the plants.” In her apartment located in the 15th district of Paris, we discover among many books by Albert Camus, Gilles Deleuze and Felix Guattari, dozens of silver negatives in large scale that the artist has cut up to isolate small details. On the floor an immense Gunnera Manica herbarium, face to face with an enlarged photo.These photographs are bound to be printed on the leafs in real scale, which demands a very complex and meticulous work, experimenting in different stages. The results of this operation stands between the “livings” and physical chemistry. Between art and nature. This “visual experiment” that is in Dominique Lacloche’s art work, is unsettling to the viewer. At the same time, intimate and poetic.

GURU
Draw This World
Dominique Lacloche
16.09.2015 – 31.10.2015

Written by Matthew Hong on 30 June 2019. Posted in exhibitions.

GURU
Draw This World

Dominique Lacloche

Loo & Lou Gallery – George V
18.09 – 31.10.2015

Dominique Lacloche, DRAW THIS WORLD, installation de Dominique Lacloche à la Loo & Lou Gallery, 2015, © Loo & Lou Gallery

The Loo & Lou Gallery George V, presents for the first time a video, Cinema Scale arranged in a room with a sound installation. (In collaboration with Thomas Bottini, composer, and who previously worked as a researcher at IRCAM). A video picturing an African river. The water has become red by the blood of fishes that fishermen are cutting and cleaning out in the water. Beautiful yet cruel, the camera seeks to references an unknown world. The sequence is about the relationship between time and scale, repetitions, and perpetual movement.Through the video, Dominique Lacloche also questions visual perceptions. The image is cut and worked, even going as far as in the visual grain texture. Almost comparable with the act of painting or sculpting. The gallery is displayed as a black box for this experiment and permits the audio video installation to evolve harmoniously.

Download Kate Ghyll’s poem >

AHN SUN MI

Written by Matthew Hong on 24 June 2019. Posted in artists.

Ahn Sun Mi

At the age of 21, Ahn Sun Mi left her native country as well as her photography classes at the Kyung Sung University to study in the School of Fine Arts in Paris. Photography escorted her from one country to the next. More than just a medium, it became a way to integrate herself, floating between two cultures and two time zones. The young artist stands in front of her camera. Associated with digital collage, her self-portraits refer to the poetry of coexistence and an infinite creativity.

AUTO PORTRAIT 2, 2012, tirage numérique sur diasec, 150 x 100 cm TIMIDITE, 2009, tirage numérique sur diasec, 100 x 100 cm ©Ahn Sun Mi
GONG ZONE 2, 2015, tirage numérique sur diasec, 100 x 100 cm TIMIDITE, 2009, tirage numérique sur diasec, 100 x 100 cm ©Ahn Sun Mi

UNIVERSE
Matthias Contzen
04.06.2015 – 04.09.2015

Written by Matthew Hong on 30 June 2019. Posted in exhibitions.

UNIVERSE

Matthias Contzen

Loo & Lou Gallery – Haut Marais
04.06 – 04.09.2015

“My planets appear in the infinitely big, a few seconds after the big bang. However their shapes were initially inspired by micro sea weed which appeared on earth more than 150 billion years ago.”

— Matthias Contzen

Universe, the word is inevitable to describe Matthias Contzen‘s artwork. The action of the artist is taken from a desire to retranscript the essential of the shape itself. Planet Bean (2009), Planet Alpha (2010), Planet Lucky (2015), and Star (2015) are referring to the principle creation of the universe.

The artist’s chose four of the most significant sculptures from his work of the 2000’s. Fusion (2007), as well as Together We Are Strong (2005), Slow Motion, 2010 and Family (2011). These sculptures, both with organic and sensual shapes creates a harmony. Three miniature sculptures in soapstone, from the 90’s, including the very first sculpture from the artist Dreiben (1982), are also shown for the first time to reveal the beauty of the universe.

Here, sound create shapes : each planet is composed in a unique way. “I have had since my first sculptures a very strong intuition to link shapes and sound, explains Matthias Contzen. (…) My first audio visual installation Planet, in collaboration with Philippine Leroy-Beaulieu, Sven Meyer and John Hassell (during the Nuit-Blanche of 2014), was performed live, materializing this idea of coexistence.” The sonorous installation creates its purpose when linked to the installation For You. “It’s with David Hykes, the pioneer of contemplative and cosmic contemporary music, that we chose to work with (…) His room filled with sound fully participates with the censorial experiment that installation proposes.”

UNIVERSE
For You
Matthias Contzen
04.06.2015 – 04.09.2015

Written by Matthew Hong on 30 June 2019. Posted in exhibitions.

UNIVERSE
For You

Matthias Contzen

Loo & Lou Gallery – George V
04.06 – 04.09.2015

Matthias Contzen, FOR YOU, installation in collaboration with Philippine Leroy-Beaulieu
Matthias Contzen, FOR YOU, installation in collaboration with Philippine Leroy-Beaulieu
Matthias Contzen, FOR YOU, installation in collaboration with Philippine Leroy-Beaulieu
Matthias Contzen, FOR YOU, installation in collaboration with Philippine Leroy-Beaulieu
Matthias Contzen, FOR YOU, installation in collaboration with Philippine Leroy-Beaulieu
Matthias Contzen, FOR YOU, installation in collaboration with Philippine Leroy-Beaulieu

The Loo & Lou Gallery reveals For You, a remarkable and unreleased piece , created in collaboration with Philippine Leroy-Beaulieu. A mandala with a diameter of 4 meters, is displayed as a circle of light made of 4000 marble cylinder rays. Reflecting from the ground through a lacquer mirror, the spectator is swathed in an image of infinity, in a room with sound installation.

For You finds its essence in Matthias Contzen’s end of the 2000’s , together with the piece Planets. Its 4000 cylinders were collected during the past five years, extracted from the artist’s previous art works. The installation witnesses the perpetual balance of a complementary universe.

DOMINIQUE LACLOCHE, « Guru », Télérama Sortir, October 2015

Written by Matthew Hong on 3 July 2019. Posted in press.

DOMINIQUE LACLOCHE, « Guru », Cahiers Fiac n°443 du Journal des Arts, September 2015

Written by Matthew Hong on 3 July 2019. Posted in press.

MATTHIAS CONTZEN, « Universe », Le journal des Arts n°437, September 2015

Written by Matthew Hong on 30 June 2019. Posted in press.

MATTHIAS CONTZEN, « Universe », Résidence Décoration, August 2015

Written by Matthew Hong on 30 June 2019. Posted in press.

MATTHIAS CONTZEN, « Universe », La Gazette Drouot, July 2015

Written by Matthew Hong on 30 June 2019. Posted in press.

MATTHIAS CONTZEN

Written by Matthew Hong on 24 June 2019. Posted in artists.

Matthias Contzen

Matthias Contzen was born in 1964 in Aschaffenbourg, Germany. He began creating sculptures at the beginning of the 1980s at the European Academy of Fine Arts in Trier, and continued at the Sculpture Academy in Munich where he received his diploma in 1991. In 1995, he graduated with a degree in design from the Arts and Crafts Guild at the School of Fine Arts in Sarrebruck and received the 3rd prize in the international competition for design, Cultures and Materials. He continued to Mayen, close to Coblence, where he completed his Master in sculpture. He was also a musician, playing in different bands and taking numerous trips around Europe and Africa. Though he did not end up pursuing music, it remains an important element in his work.

Since 1998, Contzen has been living close to Lisbon in Portugal. Traveling and meeting people are essential to him and his practice. For the last 15 years, he participated in a dozen international seminars dedicated to sculpture in Portugal, Germany, Canada, India and the United Emirate States. In 2002, he won the most prestigious prize for sculpture in Portugal, The City Desk, and was nominated in 2003 at the International Biennial of Sculpture in Toyamura, Japan. In 2009, he co-founded the Sculpture Factory, an open space for exchanges, where he currently works with ten artists.

His encounter with the actress Philippine Leroy-Beaulieu brought new perspective towards his work. They both share a desire to experiment with sound, leading to his visual and sound installation Planet, which was presented during Nuit Blanche in 2014 in Paris. He later created the installation For You as a testimony to their common journey in a reflection on the nature of reality, and of their deep understanding of one another. These were two important moments in the course of Contzen’s career, where what was imagined by Philippine Leroy-Beaulieu revealed a bigger understanding of his work as it succeeds in amplifying the eminently sensory experience it offers.

Most of his public works are located in Portugal, notably in Cascais, Cantanhede, Viseu, Mafra, and Madère. They are also found in Mayen, Germany; La Coruña, Spain; Toronto, Canada; and Dubai, United Arab Emirates in the Burj Khalifa gardens. His sculptures are a part of the Uttarayan Art Foundation in Baroda, India, in the Echo Research Institute in Toronto, d’Emaar in Dubai, and in numerous other collections in Europe, the United States, and Brazil.

For you, mandala de marbre, 400cm de diamètre, 2015 In The Land Of Nowhere, installation audio video (6′), 2015 © Matthias Contzen

Author: Matthew Hong

Untitled 6, 2022, Acrylic, grass, clay, and mixed media on canvas, 160 x 130 cm © Olivier de Sagazan

OLIVIER DE SAGAZAN

Exhibition View “Etre Chair”

Exhibition View “Etre Chair”

Untitled 13, 2021, Grass, clay, mixed media, 71 x 24 x 40 cm

Untitled 30, 2021, Grass, clay, mixed media, 35 x 10 x 19 cm

Exhibition View “Etre Chair”

Sans titre, argile, bois et matériaux organiques, 42x40x25cm, 2015 © Olivier de Sagazan

Sans titre, tirage numérique sur papier William Turner, acrylique, pastel, 83x111cm, 2016 © Olivier de Sagazan

Sans titre, tirage numérique sur papier William Turner, acrylique, pastel, 110x73cm, 2016 © Olivier de Sagazan

Exhibition View “You and I Are Earth”

Transfiguration, performance de l’artiste au théâtre Dejazet, 2016

Sans titre, argile, bois et matériaux organiques, 110x150x50 cm © Olivier de Sagazan

Sans titre, acrylique et matériaux organiques, 200x100cm, 2016 © Olivier de Sagazan

Metal and mortar, 40x15cm, 2018 © Olivier de Sagazan

Acrylic on paper, 130x100cm, 2024 © Olivier de Sagazan

Mixed technic, 200x130cm, 2025 © Olivier de Sagazan

Mixed technic, 240x200cm, 2025 © Olivier de Sagazan

Flo Arnold, Installation, papier hydrofuge sur laiton gainé, led, 600 x 340 cm, 2018 © Flo Arnold

FLO ARNOLD

Vue de l’installation, Loo&Lou Gallery L’Atelier, ©Loo&Lou Gallery

Vue de l’installation, Loo&Lou Gallery L’Atelier, ©Loo&Lou Gallery

Vue de l’installation, Loo&Lou Gallery L’Atelier, ©Loo&Lou Gallery

Cartographie du Vide 1, technique mixte et acrylique sur plexiglas, 40,5 x 50 cm, 2018 © Flo Arnold

Cartographie du Vide 1, technique mixte et acrylique sur plexiglas, 40,5 x 50 cm, 2018 © Flo Arnol2

Vue de l’installation, Loo&Lou Gallery L’Atelier, ©Loo&Lou Gallery

FLO ARNOLD

Collision, huile sur toile, 146 x 114 cm, 2018, © Christophe Miralles

Christophe Miralles

Vue d’exposition, Loo&Lou Gallery Haut-Marais, ©Loo&Lou Gallery

Reste là, huile sur toile, 116 x 89 cm, 2018 © Christophe Miralles

Vue d’exposition, Loo&Lou Gallery Haut-Marais, ©Loo&Lou Gallery

Songe d’une vie, huile sur toile, 146 x 114 cm, 2018 © Christophe Miralles

Vue d’exposition, Loo&Lou Gallery Haut-Marais, ©Loo&Lou Gallery

Délice, huile sur toile, 162 x 130 cm, 2018 © Christophe Miralles

Vue d’exposition, Loo&Lou Gallery Haut-Marais, ©Loo&Lou Gallery

Embarque Moi, huile sur papier, 120 x 160 cm, 2018 © Christophe Miralles

Vue d’exposition, Loo&Lou Gallery Haut-Marais, ©Loo&Lou Gallery

Tout autour, huile sur papier, 100 x 67 cm, 2018 © Christophe Miralles

Port de plaisance, huile sur toile, 162 x130 cm, 2018 © Christophe Miralles

Vue d’exposition, Loo&Lou Gallery Haut-Marais, ©Loo&Lou Gallery

Lydie Arickx

Cabinet of curiosity, Exhibition “Arborescences” | Château de Chambord

L’évolution (Oscar), 2020, Bone and resin bas relief on emery cloth, 213 x 305 cm

Série Chemin de croix, 2020, Bones, 43 x 31 x 20 cm

Série Chemin de croix, 2020, Magnetic ferrite, 39 x 39 x 18 cm

Série Chemin de croix, 2020, Resin and bones, 30 x 17,5 x 11 cm

“Oeuf solaire” | Exposition “Arborescences” 2021 | Château de Chambord

Exhibition view “Toiles Vivantes” 2019 | Loo & Lou Gallery Haut-Marais

Exhibition view “Toiles vivantes” 2019 | Loo & Lou Gallery Haut Marais

View of Lydie Arickx’s performance in the Loo & Lou Atelier

View of Lydie Arickx’s performance in the Loo & Lou Atelier

Detail from Lydie Arickx’s performance in the Loo & Lou Atelier

View of Lydie Arickx’s performance in the Loo & Lou Atelier

Exhibition view “Gravité” 2017 | Loo & Lou Gallery Haut-Marais

Exhibition view “Gravité” 2017 | Loo & Lou Gallery Haut-Marais

Exhibition view “Gravité” 2017 | Loo & Lou Gallery George V

Exhibition view “Gravité” 2017 | Loo & Lou Gallery George V

ARGHAËL

Loo & Lou Gallery – Haut Marais 29.05 – 27.07.19

View of the exhibition of Nelson Makamo © Loo & Lou Gallery

View of the exhibition of Nelson Makamo © Loo & Lou Gallery

View of the exhibition of Nelson Makamo © Loo & Lou Gallery

To Paris with Love (detail) 2019, Charcoal, pastel and oil on Belgian linen canvas, 160 x 120 cm © Loo & Lou Gallery

View of the exhibition of Nelson Makamo © Loo & Lou Gallery

View of the exhibition of Nelson Makamo © Loo & Lou Gallery

Untitled (detail) 2019, Charcoal Adolf acrylic on paper, 76 x 58 cm © Loo & Lou Gallery

View of the exhibition of Nelson Makamo © Loo & Lou Gallery

We are Angels with Dirty Faces (2019) Charcoal, pastel and oil on Belgian linen canvas, 160 x 120 cm © Loo & Lou Gallery

View of the exhibition of Nelson Makamo © Loo & Lou Gallery

To Paris with Love (2019) Charcoal, pastel and oil on Belgian linen canvas, 160 x 120 cm © Loo & Lou Gallery

A Gaze in Inverse (2019) Charcoal, pastel and oil on canvas, 160 x 120 cm © Loo & Lou Gallery

Decoration of the Youth (2019) Charcoal, pastel and oil on Belgian linen canvas, 200 x 150 cm © Loo & Lou Gallery

Untitled (2019) Charcoal, acrylic and pastel on paper, 100 x 70 cm © Loo & Lou Gallery

©Tanc

TANC

Sans titre, acrylique, encre et laque sur la toile, 195x135cm, 2013 © TANC

Sans titre, acrylic, ink and lasquer on canvas, 86×70 cm, 2019 © TANC

Sans titre, acrylic, ink et laquer on canvas, 47×95 cm © TANC

Loo & Lou Gallery – Haut Marais
29.05 – 27.07.19