Barely suggested, and sometimes evanescent as a thought, in a movement generated by warm kisses, ruby color, pink or sunny, symbol of lightness and carelessness, like a breath which would cross the seasons, straight out of the matrix of the world, are reborn in this magical Provence, the time of a dance announcing the torrid heat, my timeless efflorescences.
I am very happy to share with you this new series, exhibited by CORRIDOR ÉLÉPHANT. I invite you to discover the continuation of this photographic work in the Exhibition Gallery.
1946-47: the association called “Salon des Réalités Nouvelles” replaces the association “Abstraction-Création” (1931). This is the Salon de l’Abstraction, animated by the artists. 1956, then 1980: all the tendencies of abstraction are represented at the Salon, and right up to the margins of abstraction.
Text by Erik Levesque, from the 2022 Tribune of New Realities
The first “Réalités Nouvelles” exhibition took place in 1939 in Paris. It consisted of two successive exhibitions, each split into two series. First exhibition and first series from June 15 to 28, “Works by French artists”, with the participation of the Duchamp brothers and the Delaunay couple. The second series from June 30 to July 15 was devoted to “foreign artists” including Kandinsky, Kupka, Malevitch, etc. accompanied by Le Corbusier and Jeanneret’s project for a modern art museum. The second exhibition, from July 17 to 31, was devoted to “works by artists whose inobjective tendency voluntarily stopped before 1920” (with Jean Crotti, brother-in-law of Marcel Duchamp) and “works by artists after 1920” including Barbara Hepworth, Jeanne Kosnick-Kloss, Sophie Taeuber-Arp… The suite, made up of artists “who worked after 1920 in this direction”, was to take place on October 1. The declaration of war on September 1 caused him to fizzle out. Suzanne Duchamp, the sister of the brothers of the same name and wife of Jean Crotti, took part in the birth of the Salon des Réalités Nouvelles in 1946, and the Duchamp clan was finally complete!…Read more from the Tribune
Please click on each of the images to download them 👇
I am happy to tell you that I will participate in the DF Art Project exhibition which will be held at Pavilion 18 of the Parc Floral de Paris 12th district from 01.10 to 10.10.2022.
I will present five photographic compositions from a recent work on my “Metamorphoses”.
The highlights of this exhibition will be:
> The VERNISSAGE: Saturday October 1st from 6 p.m. with a Performance by Symphorien Demares & Catarina Melim and presentations of the Batik Workshop by the Collectif Seni7+ and that of the Collectif NY Collage Ensemble.
> The FINISSAGE: Sunday October 9 from 6 p.m. with a Performance by Anne Sophie Lancelin.
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DF Art Project, makes beat the green lung of the 12th district of the capital!
The emerging collective of Figurative Destructuralism returns from October 1st to 10th, 2022 at the Parc Floral de Paris with a breathtaking program of contemporary artists.
After three years of experience based on the recruitment of artists across the planet, DF Art Project is mobilizing to present for the third time its international collective within the 360 m2 of Pavilion 18.
In this setting of the Floral Park, a real green lung of the capital that enchants 1 million visitors every year, more than 60 artists will exhibit their common vision of their art around the Figurative Destructuralism.
The Figurative Destructuralism is a societal reflection where the possibilities of emancipation of the man as the autonomy of his imagination are redefined. This conceptualization of artistic practices around the fragmentation of the figure brings together painting, sculpture, photography, drawing, collage, digital art, performance and installation.
The exhibition at Pavilion 18 is now the major annual meeting of the DF Art Project which since 2019 maintains a strong artistic line. See you from October 1st to 10th, 2022 to enjoy this real artistic walk in a natural environment to discover artists witness of our time.
Free entrance by presenting this invitation at the gatehouse at the main entrance of the Parc Floral.
I am very happy to know that my photographic story 「地電流」has been featured on CORRIDOR ÉLÉPHANT photography exhibitions!
地電流, in Japanese, means telluric current.
This photographic work highlights the perceived feeling, when one lives in Japan, of these enigmatic forces which make the identity of Japanese culture. I relate this dull telluric energy to images that respond to some of these vibrations as if it were, in a way, a topological ultrasound.
The Salon of Abstraction has been held every year since 1946 in Paris. Its objective is to promote works of art “commonly called concrete art, non-figurative art or abstract art”. The Salon was founded in 1946 by the artists Sonia Delaunay, Auguste Herbin, Jean Arp, Jean Gorin, Pevsner… as a continuation of the “Abstraction-Création” association (1931). The expression “Réalités Nouvelles” was born from the pen of the poet Guillaume Apollinaire in 1912 to designate abstraction as the form that best expresses Modern Reality.
9 artists are exhibited Adèle Bessy / Adrien Conrad / Brno Del Zou / Eric Petr / Gregory Dreyfus / Juliette Frescaline / Marie-Christine Palombit / Suzanne Larrieu / Yohan Blanco
Mémoire de l’Avenir invites, for two consecutive exhibitions, the international artistic collective of DF Art Project, which brings together artists sharing a common plastic research, around the fragmentation of reality, its perspective, its distortion and/or its dynamic transformation. The artists of the collective question the subject as much as the medium, through plastic, photographic, sculptural, performative, or video projects. Text: Mémoir de l’Avenir
My exhibited photographs are from my theme “Métamorphoses”.
Métamorphoses are bodies in expansion like floating ethers, which take shape in complex and unstructured volumes that the image restores to the gaze as a possible reality. Bodies which belong neither to time, nor to space, nor to our world but which are only aggregates of matter, waves and elementary particles in perpetual motion, to freeze at a moment T on my negative or my sensor. Métamorphoses would be a photograph of the expansion of the universe, at a precise point in its trajectory, where spectra would take on random and recognizable forms containing the mnemic of the cosmos. My photographic writing is direct; it is born from the encounter of a moment fixed on the thread of timelessness between man and the universe.
La Cité Radieuse | Marseille Vernissage, Monday June 14 at 5 p.m.
“I wanted to talk about my city; Marseille, a city unloved and yet so beautiful, split by its stigmata, its urban wounds, which only offers its divine protection from the Bonne Mère to those who marvel at it.”
The title “Nuit Radieuse” means “Radiant Night” and rhymes with the name of the place “La Cité Radieuse” given by the architect Le Corbusier and which means “The Radiant City”.
“Radiant night” is a photographic story realized in December 2020 for the second confinement by Éric Petr during a short stay in a room located on the 8th floor of the La Cité Radieuse’s hôtel.
About this photographic work
Le Corbusier’s “La Cité Radieuse” is not only a masterpiece of contemporary architecture but also one of the strong emblems of the Phocaean City and it is from this Unité d’Habitation which dominates the city that I had the desire to photograph the soul of my city, Marseille. From this urban portrait emerges a photographic story made up of 32 photographs.
I invite you to read the very beautiful text published in the contemporary art magazine Canoline Critiks which admirably sheds light on this work which is based on the idea that cities are only energy and that they vibrate with waves that cross them.
from January 2 to January 20, 2018 Opening on Saturday, January 6, 2018 at 7 pm
THE PLACE
The Associative Gallery les Ateliers Agora ateliers-agora.fr
2 Place Thiers – 13430 Eyguières, in partnership with ESDAC (School of Design, Applied Arts, Communication of Aix-en-Provence) dedicates its places of welcome to an exhibition dedicated to photography on the theme “In the manner of …”
PREAMBLE
Consciously or unconsciously our photographic activity, whether we are amateur, knowledgeable or professional, always finds its inspiration in the work of a master, a guide, a muse. Somewhere we become the continuity of his thought, of his work. It is this point that interests us. It is this point which is the object of our subject.
IN THE MANNER OF… ?
Whether he is a writer, poet, filmmaker, photographer, sculptor, painter, this artist has been, perhaps, is still a guide in your photographic work. Why not become an extension of his work. Why not express your feelings about a part of his work. It is not a matter of plagiarizing, copying, imitating or reproducing. It is a question of drawing inspiration from at least one part of your work, of extending in your own way the way you see and put in image, to give a new approach, a new dimension, a new staging of a subject. To copy is to be a slave. To borrow, is more interesting because the idea grows. Inspiration and evolution is rewarding.
THE AUTHOR’S WORD
“IN THE MANNER OF …「 Pierre Soulages 」”
#bootstrap_2o17 is a project, which originates in the footsteps of Pierre Soulages light and on a first reflection in 2004 which leads to a netArt project realized on a html page “TrAVerSéE2nUiT 2oo4”, a work of 36 x 1024 pixels (36.864 pixels) which refers to the breakage of silver for digital.
#bootstrap is first and foremost a tribute to Pierre Soulages but also to Edgard Gunzig because they led, without being aware of it, the orientation and the research of my photographic work until recently, when I establish the obvious correlations between Pierre Soulages on the one hand, for my questioning on light as matter and on the other hand, between Edgard Gunzig who, in a second time, made me think about the essence of this luminous material and its timelessness.
The choice of a highly textured Japanese paper, for this series of five non-dissociable elements, is essential insofar as its structure comes, as an echo, recall the physical matter of the “black-light” paintings of Pierre Soulages.
Note: Bootstrap is an explanatory theory of the origin of the universe developed by Edgard Gunzig.
EXPOSED ARTWORK
#boostrap_2o17 | pentaptyk #1/3 copies + 1 AP
This Photographic artwork is a series of 5 images (8×12 cm) on a horizontal line of 140 cm. The photographs are printed on a Washi Fine Art paper 260g fringed and very textured (10×15 cm) and they are frame-mounted without glass with a floating fixation of the image and each frame measures 15×20 cm.
