ART
Summertime Love |
Written 30 January |
Wednesday 16 June, 11:00Galerie Michel Rein, 75003 [map]Summertime Love
Group show
Jean-Pierre Bertrand uses a variety of materials and textures to create both paintings and installations.
Delphine Coindet has found a formula for creating a sculpture or painting without the constraints of the workshop. She uses digital drawings and industrial manufacturers.
Didier Fiuza Faustino, co-founder of the "Bureau des Mésarchitectures", is involved in a variety of projects: from experimental research and the development of public spaces to installations and building houses. Working on a temporary construction in Paris or a basketball court for one single player in Porto, Didier Fiuza Faustino uses architecture with the intention of creating a strong yet, occasionally, disturbing work.
Since the beginning of the 1960s
Hans-Peter Feldmann has been creating and presenting his scrapbooks made up of found images, such as postcards, newspaper cuttings and posters. These images, which constitute part of his impressive "Image Archive" are classed according to an eminently personal system. By using the techniques of reproduction or of photography in particular, with the aim of exploring the mystery of everyday life, Feldmann gives credibility to oft-ignored artistic forms such as photo albums without underestimating the power of the most common of artistic activities.
Sylvie Fleury is known for her installations and sculptures. Playing with codes Fleury explores the feminine and the masculine, or the worlds of art and fashion, in which she explores the idea of prints and multiple editions. Her works generally include objects which are invested with a strong aesthetic value and a sentimental attachment within society, sometimes sexual or fetishistic. Jean-Charles Hue’s films, based somewhere between erotic heat and latent violence, evoke the troubled atmospheres of travelling communities.
Fragments of nature, everyday objects, architectural scale models, Didier Marcel's works trouble the viewer’s usual points of reference. The landscape, the central work, is taken away in pieces and is brought back in sculptures destined for interior spaces. First laureate of the Prix Paul Ricard (1999), he is today one of the most respected artists of his generation.
Historic artist,
ORLAN questions social and cultural pressures on the body and its media representations. Her photographic work began in 1964-1965. She also works with installations, video, performance, sculpture and new technologies. The artworks from the series Skaï and Sky and Vidéo, 1983, take their iconography from western art history. They demonstrate ORLAN's search for the feminine identity and are a critique on religious pressures.
Since the beginning of 2000, the figurative paintings of
Ida Tursic and
Wilfried Mille have questioned fantasy and reality, the visible and the representative, yet the subject is always the same: the image and its support. Their large canvases recycle pre-existing images, extracts from magazines, of films and other media, mixing glamour, pornography, fashion, luxury and death. For
Franck Scurti, an object questions the limits of its own shape, the essence of its use and the nature of its production methods.
Between 1999 and 2002,
Christian Ward studied at the prestigious Royal Academy of Arts in London. There, he began his series of paintings, which made his name on the London and international art scene. He depicts vast imaginary and truly psychedelic landscapes, on large horizontal canvases, which he renders from a successive layered construction of grounds openly referring to Sino-Japanese paintings.
Last but not least, Raphaël Zarka duplicates historical, artistic and practical objects as a way of displaying their relationship with the world and of insuring their permanence in case they’re ever forgotten.
