Art Paris 2019- Editions Dilecta
du 4 au 7 avril 2019
vernissage le 3 avril (sur invitation)
Dove Allouche, Christian Boltanski, Mircea Cantor,
Yves Klein, Yayoi Kusama, Bertrand Lavier,
Jean-Luc Moulène, Anne et Patrick Poirier,
ainsi qu'en focus
"Une scène française d'un autre genre"
le choix d'AWARE
"Étoile du Sud: une exploration de l'art de l'Amérique latine"
Alicia Paz, Courage Calls to Courage Everywhere, 2019. Mixed media and oil on canvas, 162 x 130 cm
Dellasposa Gallery is honoured to host a selection of international artists who, in their own aesthetic expression, dare greatly and lead boldly the new generation of women artists in the 21st Century.
The Future is Female presents new artworks by Alicia Paz, Tahnee Lonsdale, Ehryn Torrell, and Gail Olding. All artists have a powerful message conveyed through their work that is rooted in the experience of women’s place in the world.
The artists featured in the exhibition explore ideas of femininity and feminism. Investigating the role of women from the perspective of the past, present, and future, the artist's multi-disciplinary works draw inspiration from contemporary visual culture with a rich and layered tapestry of cultural references from history and different locations. While gender is not the only theme found in their work, there is a common thread of women’s personal freedom of expression that weaves together the narrative of the exhibition. Through the vision of the artist's work, we can see that the future is female.
International artist Alicia Paz's artwork explores female identity, focusing on the female figure. By creating large scale paintings, Paz demonstrates the way identity is experienced and presented as multiple, paradoxical and subject to constant change. Paz’s paintings draw on the Portuguese Azulejos tradition by way of technical trompe l’oeil rendering. The patterns of the Azulejos and their conflation with the female figures emphasises the universality of the female cultural experience; that women carry their traditions and aesthetic influences within themselves, wherever they go.
Tahnee Lonsdale’s paintings represent the newest direction in semi-abstract painting. Amorphous figures, architecture, and other objects populate vibrant fields of colour that suggest anything from domestic interiors to wild landscapes. Lonsdale’s paintings are true works of existentialism, dealing with universally relevant topics such as faith, feelings of loneliness, emotional instability and the female condition. She draws on her personal experience as a woman and a mother to create such poignant works, and is largely influenced by feminist theories and gender studies.
Gail Olding’s sculptures are layered with critiques masked as visual puns. She adopts a level of poeticism to demonstrate her socio-political position. Olding’s multi-disciplinary work exemplifies personal experiences with universal relatability, applying the individual to the many. The anthropomorphic shapes Olding creates are highly suggestive of women’s figures. Her sculptures are in equal parts cerebral and physical; compelling explorations of linguistics with a strong physical, female presence.
Ehrynn Torrell is a Canadian artist who juxtaposes her modern feminism and her portfolio by creating artworks akin to protofeminist, traditionally female mediums. In her latest series, her textile paintings aim to explore the act of making and looking at images today, with the seemingly endless contextual variations that online search engines, filters and hashtags provide. This new work in textiles is an extension of her established painting practice, and features the densely layered and explicitly visual compositions that are characteristic of Torrell’s work. Torrell's textile paintings are each based on an individual collage work that has been scanned, enlarged and printed onto linen, where the linen surfaces are manipulated further through cutting, layering, embroidery and quilting techniques. With shards of imagery torn from the pages of British Vogue magazine, she has assembled into a composition using an improvised technique, where fragmented images of female bodies, textiles and luxury goods and connected in a series of formal relationships. Vogue is one publication among many that has shaped ideals of female representation, carrying with it a long history of homogenous portrayals of race, gender, class and sexuality. Torrell is interested in the history of representation in women’s fashion magazines; the nature of constructed and deconstructed imagery in our media, and collage as a social-political practice that engages the matter of everyday life.
We understand the value of women’s role in the world and we appreciate the value of women’s art in our cultural history. Dellasposa is proud to support and encourage women artists, who for too long have been painted out of (art)history. We can see, through the dynamics of the art market and the public institutions and museums, that there a clear inequality and gender disparity between male and female artists. Art by women has been under-appreciated, under-represented, and undervalued for centuries. Now, time is up. With this exhibition, we hope to shift awareness to the forces at play, and honour the achievement of these women’s art(work).
DOWNLOAD PRESS RELEASE
Glynn Vivian Art Gallery
curated by Edward Chell
16th February - 26th May 2019 | Opening Friday 15th February 6.00pm - 8.00pm
Rasheed Araeen | Alois Auer | Karl Blossfeldt | Henry Bradbury
Edward Chell | Peter Fillingham | Ori Gersht | Joy Girvin | Fay Godwin
David Heinrich Hoppe | Derek Jarman | Paul de Monchaux | Rosa Nguyen
Pia Östlund | Alicia Paz | Siân Pile | Marc Quinn | Melanie Rose and Neeta Madahar
Hilary Rosen | Suzanne Treister | Yu-Chen Wang
with Flicker + Pulse a film by Brian McClave and Tom Wichelow
Glynn Vivian Museum and Art Gallery are delighted to invite you to the preview and launch of an exhibition exploring the diverse ways artists understand and interact with the environment of plants in contemporary art.
The visual idea of a Tree of Life is one that manifests itself in many cultures and traditions and is understood in a multitude of forms from the genealogical to evolutionary and from cultural and political hierarchies to growth forms. The exponential nature of branching structures and the diversity this represents is a metaphor for life itself. Phytopia harnesses the energies embedded in such structures and celebrates the influence plants and organic forms have on nearly every aspect of visual culture. Phytopia includes a range of artists not usually seen in the same context and a number of works exhibited for the first time, with sculptural pieces by Derek Jarman and Paul de Monchaux, drawings by Marc Quinn and Rasheed Araeen and some 19th century Nature Prints among these.
Yu-Chen Wang’s growth forms weave across wall or tables, emerging as part organic, part machine cyborg structures. Alicia Paz’ artificial flower mounds offer saccharine seduction laced with poison, while Derek Jarman’s films have layers of real and metaphoric seduction more sexual in nature. Jarman’s delicate garden drawings are a sensitive and private adjunct to these films. Peter Fillingham conversely examines the floral metaphor of death and memento in Poppy. Pia Östlund’s Nature Prints, inspired by the 19th century Austrian, Alois Auer, Counsellor and Director of the Imperial Printing Establishment in Vienna, add infinitely fine detail to botanical visuals.
This show is conceived as a Wunderkammer or cabinet of curiosities, and represents plant forms in a range of ways. Visceral but tight, the visual cues surrounding vegetable forms are multifarious, from growth progressions and mathematical curlicues to portrayals of gardens and botanical prints. Floral symbols abound as memento or reliquary and inform our aesthetic and ecological senses.
Karl Marx’ idea of ‘species being’ described the importance of meaningful work for people, emphasising the fundamental importance of proximity to nature:
Just as plants, animals, stones, air, light, etc., constitute theoretically a part of human consciousness, partly as objects of natural science, partly as objects of art – his spiritual inorganic nature, spiritual nourishment which he must first prepare to make palatable and digestible – so also in the realm of practice they constitute a part of human life and human activity. 1)
The notion of the tree with its different branches structures the idea for this exhibition. Phytopia explores the interconnectedness of diverse floral narratives and, like Marx’s ‘species being’, provides a platform for a range of individual approaches covering ideas from growth to gardens; memento to metabolism; commodity to collections.
The exhibition is accompanied by an illustrated publication.
1. Economical and Philosophical Manuscripts of 1844. Karl Marx. Manuscript XXIV Estranged Labour
Glynn Vivian Art Gallery
+44 (0)1792 516900
Open Tuesday - Sunday 10am - 5pm
Recent publication of my text Dans l’Atelier, un Jardin in Italian translation
Summer 2019- Residency and exhibition at Museo Leonora Carrington, San Lui Potosí, Mexico. In collaboration with sound artist Michael Szpakowski
Curated by Director Antonio Garcia Acosta
Summer 2019, Ostrale Biennale, Dresden, Germany
Insel der Puppen
Public sculpture commission, Kunstmuseum Magdeburg, Germany
This sculpture presents four-sided “tree” structure, (5.10 meters in height) inhabited by a assortment of female figures originating in different time periods. Ambivalent narratives play hide-and-seek among the branches. The women are not meant to be particular individuals, (although some are well-known) rather, they remain hinted at or anonymous within the sculpture. Through these portraits, certain archetypes can be explored. In the feminine landscape that emerges from the subconscious realm, psychological projections materialize and instinctively can take on grotesque, beautiful, humorous, or dramatic forms. Each character carries the potential for her own story, intertwining with those of other figures. The title came from a conversation with Mexican archeologist Elizabeth Baquedano; we discussed Mayan legends involving mythical heads in trees, and also the "island of dolls” in the canals of Xochimilco in Mexico, where a man has hung hundreds old, tired and dirty dolls on the trees of his little island. It is said that his young daughter drowned, and a doll was found in the water. This was the beginning of a kind of cumulative process for him, maybe a way of mourning. My own tree is not as macabre as this description, but I liked the sound of the phrase, as something more oblique. Other references are Julia Kristeva’s critical text on "Severed Heads”, analysing historically the head as symbol and metaphor, and Billie Holiday’s song “Strange Fruit”, against racism and oppression. But these elements that inspired me are combined with several others, and only whispered. The piece remains ambiguous.
There is a long history linking trees and foliage with female figures, from Greek mythology to medieval European Folklore, to Renaissance and Baroque Grotesque ornamentation. In my own practice, I often use this motif to symbolize an existential position: the Self as a complex, hybrid being, traversed by multiple narratives, multiple personae, evolving organically over time, as in the life-cycle.
This project was generously supported by Cemex Germany and the Mexican Embassy in Germany, SRE.
I'd like to thank Annegret Laabs, Uwe Gellner, and Judith Mader for making this project possible. I'd like to also thank Elizabeth Turrell, Jessica Turrell, Sebastian Anastasow, Klaus Pfeiffer, James Shearer (otherfabrications.com), as well as the staff at A.J. Wells, for their production and design assistance.
Edition of 25 signed and numbered prints, commissioned by Kunstmuseum Magdeburg, Germany
Silk-screen and digital print. Collaboration with Michael Hall, Invisible Print Studio, London.
https://www.invisibleprintstudio.co.uk www kunstmuseum-magdeburg.de/en/home.html
My piece The Super-Ego, the Id and their Ladies in Waiting (Mixed media on board,152 x122 cm, archival frame, 2013) has recently been acquired by the City of Paris Municipal Contemporary Art Fund, (FMAC).
Fonds municipal d'art contemporain de la Ville de Paris
1, rue Jean Mazet 94200 Ivry-sur-Seine – France Tél. : 01 46 71 20 53
Article published in Turps Banana Issue 18 pg. 18-23
Michael Szpakowski: Two visits to three different paintings by Alicia Paz
Exhibition catalogue for Tous, des sang-mêlés!
Essays (bilingual English and French) by Alexia Fabre, Frank Lamy and Julie Crenn
MACVAL - Musée d’art contemporain du Val de Marne
Place de la Libération, 94400 Vitry-sur-Seine, France
Cette exposition s’ancre dans l’actualité pour aborder la question de l’identité culturelle au travers de visions et d’expériences d’artistes : Qu’est-ce qui nous rassemble ? Comment se construit une culture commune malgré des origines toujours différentes / diverses ? Ces interrogations, en effet, agitent le monde.
Sous le patronage conjoint de l’historien français Lucien Febvre et de son ouvrage Nous sommes des sang-mêlés : Manuel d’histoire de la civilisation française (1950), ainsi que celui de Stuart Hall, père fondateur des Cultural Studies, cette exposition souligne la dimension fictionnelle de la notion d’identité culturelle. Le parcours imaginé par les commissaires est nourri de propositions soulevant des questionnements et apportant des éclairages sur ce qui nous réunit et nous distingue, sur la transmission et le devenir, sur le pouvoir et la résistance, sur l’individualité et le collectif… Par la voix d’une soixantaine d’artistes internationaux et d’une centaine d’œuvres, les identités culturelles, nationales, sexuelles… sont autant de thèmes ici questionnés. Si tous ont l’être pour sujet, certains sont perçus comme manifestes, d’autres soulèvent le débat — souvent passionnel, résolument politique, et d’autres encore font surgir de la mémoire les traces du passé, émerger le sensible, l’expérience, l’existence même, allant de l’instinct de survie au vivre ensemble.
Les œuvres réunies abordent ces thématiques à partir de situations vécues dans une optique d’échange et de dialogue. Si l’identité culturelle est une fiction, il s’agit de voir comment les artistes l’interprètent, l’interrogent, la remettent en question… en sortant de la perspective identitaire, trop souvent réductrice.
Comment se construit-on par rapport à la langue, au territoire, à la famille, à l’Histoire et sa narration, aux stéréotypes ? L’exposition met en espace des éléments d’un terrain du commun, où les altérités se déploient ensemble et en regard les unes des autres.
Chaque visiteur peut s’approprier, à travers l’histoire, la sensibilité, la parole et l’engagement d’artistes de tous horizons, âges et nationalités, des éléments de réflexion pouvant alimenter sa propre acception de la notion « d’Identité ».
Avec les œuvres de : Soufiane Ababri, Mathieu Kleyebe Abonnenc, Lawrence Abu Hamdan, Adam Adach, Nirveda Alleck, Francis Alÿs, Giulia Andreani, Fayçal Baghriche, Sammy Baloji, Raphaël Barontini, Taysir Batniji, Sylvie Blocher, Martin Bureau, Ali Cherri, Claire Fontaine, Steven Cohen, Bady Dalloul, Jonathas De Andrade, Morgane Denzler, Jimmie Durham, Ninar Esber, Esther Ferrer, Karim Ghelloussi, Marco Godinho, Mona Hatoum, Joana Hadjithomas et Khalil Joreige, Maryam Jafri, Katia Kameli, Jason Karaïndros, Bouchra Khalili, Kimsooja, Kapwani Kiwanga, Will Kwan, Lawrence Lemaoana, Mehryl Levisse, Violaine Lochu, Melanie Manchot, Lahouari Mohammed Bakir, Kent Monkman, Malik Nejmi, Nguyen Trinh Thi, Otobong Nkanga, Harold Offeh, Daniela Ortiz, Alicia Paz, Adrian Piper, Présence Panchounette, Pushpamala N, Athi-Patra Ruga, Zineb Sedira, Yinka Shonibare MBE, Société Réaliste, Tsuneko Taniuchi, Erwan Venn, James Webb, Sue Williamson, Chen Zhen