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Stéphane Bordarier, 65 tableaux

Technical details 

: 16,5 x 22 cm, 128 pages, hardback.
Authors : interview and conversation between Stéphane Bordarier and Erik Verhagen.
November 2017.
Isbn : 978-2-35864-109-8.
Public price : 26€.

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The time it takes to make a painting is made up of the action of painting plus time spent in contemplation, which accompanies and follows it. I willingly allow myself – and I even actively seek – to be carried away in the momentum of a ‘series’ of paintings: this is the only way that unexpected, non-thought things can enter into it and push it forward. It happens when you get to the point where you no longer know you’re in the middle of making a painting, where the act breaks away and, in its relative autonomy, lets things happen. A familiar tune, whose transcendent aspect must not be trusted. Of course, this non-thought must then become thought! In this way it confronts its own era, the history of painting and philosophy, and the work of other artists. The more severe the confrontation, the more the position I have just described in paintings may be perceived for what it is. What is decidedly more interesting again is that it’s in the very act of painting-beyond-the-canvas that a part of this contemplation occurs, in a totally unconscious and certainly the sharpest manner, which brings a maximum of things into question. Stéphane Bordarier, interview with Erik Verhagen

Mise en page 1

Album, Françoise et Dominique Dupuy

Technical details 

: 20 x 26 cm, 192 pages, soft cover.
Authors : N+N Corsino, Eugenia Casini Ropa.
Published in October 2017.
Isbn : 978-2-35864-102-9.
Public price : 28€.

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Even in images, this is far from a life story.
There are dates, that’s true, but not in order.
A journey, true, but in fragments, the works coming together in a blinding overview of time.
A dislocation, giving rise to a kind of dance of images. Only the dancers, and their profound silence, shot in the moment as if caught in the act, or at moments of pause, like a studied portrait.
Words come, not to take the lead, but to follow; not an explanation but rather a record.
Perhaps they have nothing to impose, and it’s better this way.
Images and words which appear to say, simply:
“You were dancing – I’m so glad. Now, let’s dance.”

Françoise et Dominique Dupuy

 

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Paul Armand Gette [collection Maison Bernard, Fonds de dotation. N01]

Technical details 

: 15 x 21 cm, 92 pages, softback.
Authors : Lydie Rekow-Fond, conversation between Paul Armand Gette and Isabelle Bernard.
Published in September 2017.
Isbn : 978-2-35864-103-6.
Public price : 22€.

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«It was inevitable !». When he wrote this simple sentence, Paul Armand Gette summed up his involvement with Maison Bernard, a relationship which has flourished over many years. In 1990, he inaugurated gallerie Paul Bernard in Nice with an exhibition he had “long been dreaming of”,and then came to visit the house built by Antti Lovag at Théoule-sur-Mer. The years went by, Pierre Bernard and Antti Lovag passed away, and the house was passed on to the next generation and transformed with the addition of, among other things, an artist residency. Selecting Paul Armand Gette as the first artist to work in the house is but a continuation of the ethos of working with the spirit of the place. The three men shared a taste for freedom, this certainty that anything is possible which has pushed them to break free from norms and to transgress our biases, to explore new territory, asking how can one inhabit a domestic space? and what are we looking at? And Antti Lovag and Paul Armand Gette, who love to flirt with provocation, both claimed DIY as a method to play with architecture and art in their own way, and which allowed them to, “just like that”, create a body of work with a detachment which combines discretion and a lightness of touch. Both men have fought against arbitrary hierarchies. For them, there are no ‘dignified’ spaces, nor any which are ‘lowly’. Isabelle Bernard

JDenant

Exhibition : Jean Denant, Réminiscence, from January 27 to March 18, 2017

galerie quatre, 67, rue du quatre septembre, Arles
et galerie Cyrille Putman, 60, rue du quatre septembre, Arles

2016 : Le travail de Jean Denant est aimanté par certains penchants de la modernité, notamment ceux de la destruction et de la construction. Cela pousse l’artiste à explorer l’étroite relation de l’art à l’architecture, mais il n’y a là rien d’un formalisme : « J’ai toujours envisagé la réalité de mon propre corps à travers l’architecture. » dit-il. Extrait du texte « Géographie chantier inconscient : une traversée » d’Antonia Birnbaum, in Jean Denant, Analogues, maison d’édition pour l’art contemporain, 2016.

voir la liste des œuvres (pdf)

 

 

 

 

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Semaine 02.17

Guy Oberson, 
Je ne peux fermer les yeux
Galerie de l’Etrave, Espace d’art contemporain, Thonon-les-Bains

At first glance, Guy Oberson’s drawings can be seen as a graphic scramble, which makes them not immediately accessible. Something like an inside resistance causes the eyes to linger on them as if they were trying to encourage the person looking to experience the passage of time. Whether drawing the human figure or a mountain landscape, working from memory or photographs, the artist gives birth to an image that results from a hidden presence made visible in a fragmented framing that exceeds the strangeness of its emergence.

The town of Thonon-les-Bains has dedicated its second exhibition of the 2016-2017 season to Guy Oberson, whose work, shown at the Galerie de l’Etrave, continues to examine “le dessin dans tous ses états” or “drawing in all its forms.” Because the word drawing comes from “dessein” or purpose, no matter what materials are used, drawings are at the source of any intention to create a work of art. Long relegated to the margins, drawing has emerged in the last few years as a mode of expression on its own right. The idea of the exhibition is therefore to showcase what this practice has become in the field of fine art above and beyond a narrow definition of the word. Hailing from Switzerland, Guy Oberson was born in 1960 in Billens in the canton of Fribourg. He now lives and works between Lentigny and Paris.

Semaine n°409, revue hebdomadaire pour l’art contemporain
Author : Philippe Piguet
Published on Friday 13.01.2017

Paper edition, 16 pages, 4 € ORDER
Digital edition, 1,99 € oRDER
Also available in Semaine volume XXI, January-April 2017 (to be released in May 2017), 18€.

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Semaine vol. XX

Technical details : 17 x 24 cm, 6 issues in case.

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n° 403, Semaine 25.16
Micromégas,
Galerie de l’Etrave, Espace d’art contemporain, Thonon-les-Bains
Text. Philippe Piguet

n° 404, Semaine 27.16
Bertrand Gadenne, Fragments d’un paysage
Pile-Pont Expo, Espace d’art contemporain, Saint-Gervais-les-Bains
Text. Bertrand Gadenne

n° 405, Semaine 28.16
Marie-Anita Gaube, Out of Place
Esox Lucius
Text. Marion Delage de Luget

n° 406, Semaine 40.16
Ubiquité, Reconnaissance des formes
Laboratoire Prospectives de l’image, École nationale supérieure de la photographie
Text. Caroline Bernard, Jean-Louis Boissier, Matthieu Cherubini, Barnabé Moinard, Fanny Terno

n° 407, Semaine 41.16
Anne Laure Sacriste, Une vision première essayée dans la fleur
Galerie de l’Etrave, Espace d’art contemporain, Thonon-les-Bains
Text. Philippe Piguet

n° 408, Semaine 44.16
Variables Aléatoires,
Hôtel des arts, Toulon, École supérieure d’art et de design Toulon-Provence-Méditerranée
Text. Audrey Illouz

Published on December 2016.
Isbn : 9-78235864-100-5.
Public price : 18 €.
Subscription 1 year, 3 volumes : 62 €.

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Marc Johnson, Fecund Lacuna

Authors :  Éric Crubézy, Rozenn Colleter & Paul-Anthelme Adèle, Stefan Lorenz Sorgner, Valérie Knochel-Abecassis & Marc Johnson.
Technical details 

: 17 x 24,5 cm, 144 pages, softbound.
Languages : French – English.
Graphic design : Baldinger Vu-Huu
To be released in January 2017.
Isbn : 978-2-35864-098-5.
Public price : 28€.

Coedition La Maréchalerie – centre d’art contemporain, École Nationale Supérieure d’Architecture de Versailles. with the support of LVMH and private sponsors; and in partnership with Inrap.

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Art, archaeology, genetics : Is transhumanism the most dangerous idea in the world?

Marc Johnson, artist, architect and filmmaker is like the philosopher and the epistemologist, a researcher in constant search for knowledge and understanding of the world. Conceived as an art book, this publication demonstrates the working methods and the ambition of questioning what is fundamentally at stake in the world of today, and in the development and the future of humanity. More than a year of research dedicated to archeaology, during which the artist explored this discipline with the support of the Inrap. A science that, by crossing his research with the expertise of the most advanced disciplines, in particular genetics, sheds light on human history, questioning today and anticipating the future. This is precisely what the specialists, invited by Marc Johnson, highlight throughout their own experiences in this book. The anthropologists Rozenn Colleter — in collaboration with Paul-Anthelme Adèle, jurist — and Éric Crubézy, illustrate today’s impact on the analyses of relics of the past. Stefan Lorenz Sorgner, philosopher, reflects on the evolution of humankind. Having analysed the posthumanist and transhumanist movements, he argues for a “metahumanity”. By presenting these texts alongside a selection of archaeological excavation photographs, sampled from the iconographic collection of the Inrap and images from the site-specific installation, Marc Johnson performs an original layout elaborated in sequences, visually acquainted with a research project. He tells a story which can only concern us, the story of humanity. Making sense as he questions us about our final outcome. [Valérie Knochel-Abecassis]

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Crédit photo : Toan Vu-Huu

Note : The book is a metaphor for an archaeological dig under exploration. The blank of the page (lacuna) is the unexplored territory. The text blocks represents the archaeologists at work (the excavation). The unexplored (the blank of the page) changesas reading progresses. Finally, the excavation (reading) reveals a relic (a photograph) in place of the unexplored territory of departure. This movement in the stratigraphic depths of the earth (the volume of the book) is developing like a storyboard in which a double narrative appears (the text and the pictures). This artist’s book is a treasure hunt built with Stimmungen (moods of affective tonalities). It is composed of 5 parts (30 photographs from the digital library of the National Institute for Preventive Archaeological Research). This assemblage resonates near three essays and an interview that punctuate this proposal with polyglossia. [Marc Johnson]

Marc Johnson is a visual artist, filmmaker and license architect. He is the author of YúYú short-film with which he won the Best Short Film award at the International Film Festival, Las Palmas de Grand Canaria, Spain in 2016. Winner of the LVMH Young Artist award competition in 2009, he presented his works at Sundance, USA in 2016 at the Moscow Biennale for young art, Russia in 2016, at Arc en rêve architecture center, France in 2016, at Berlinale Shorts in 2015 and at Jeu de Paume, art center in Paris in 2014. He studied at the École nationale supérieure des beaux-arts de Paris, École nationale supérieure d’architecture de Paris-Malaquais at the Hunter College of Art, MFA program in New York and at the academy of Arts in Hangzhou, China.