Souscription Brigitte Bauer, Haus Hof Land

Trois photographies de Brigitte Bauer disponibles en souscription pour l’édition de son livre Haus Hof Land.

72 pages, 21 x 21 cm, broché rabats, à paraître en juillet 2017.

Il y a trente ans, j’ai quitté mon premier pays pour venir vivre en France. Une ou deux fois par an je retourne en Allemagne, en Bavière ou ailleurs dans le pays.
Les lieux de mon enfance et adolescence changent, ou changent peu, les liens avec mes proches tantôt se distendent tantôt se resserrent. Le livre D’Allemagne, paru en 2003, témoigne déjà de cette double appartenance, d’une proximité dans l’éloignement aussi.
À chaque voyage retour, je photographie un quotidien qui n’est plus le mien, et des lieux, maisons, paysages, animaux, sans idée arrêtée ou projet bien précis. À travers les années, dans ces basculements entre familiarité et distance, s’est installé un rapport très particulier au temps, aux lieux et aux personnes.
Avec Haus Hof Land, je pense à un jeu d’enfant, Stadt Land Fluss (« le petit bac » en français), dont j’ai repris l’idée en proposant un abécédaire libre et incomplet où les mots sont remplacés par des photographies qui s’assemblent et se répondent dans une infinie variété de lectures possibles. Brigitte Bauer


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Format 30 x 30 cm, cadre chêne clair avec rehausse
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Un exemplaire du livre dédicacé par Brigitte Bauer sera également offert aux souscripteurs à parution en juillet 2017.


Semaine 41.16

Anne Laure Sacriste,
Une vision première essayée dans la fleur
Galerie de l’Etrave, Espace d’art contemporain, Thonon-les-Bains

Taken from the title of the work by Odilon Redon, Il y eut peut-être une vision première essayée dans la fleur [There was perhaps a first vision attempted in the flower], a lithography from the collection Les Origines (1883), the title of Anne Laure Sacriste’s exhibition was chosen for several reasons. Her art is required by drawing and, at the very heart of this practice, by the stroke and by the color black. The major use of this color echoes what her elder says, “Black is the most essential color”, adding that it is “the spirit’s agent much more than it is a beautiful color taken from the palette or the prism”. While Redon’s position goes against the flow of his contemporaries, taking all artistic tendencies into account, Sacriste’s choice works in dissent of a period obsessed with quick, easy and flattering images.

The premiere of the 2016-2017 season, the exhibition that the town of Thonon-les-Bains is devoting to Anne Laure Sacriste at the Galerie de l’Etrave is the inauguration of a new cycle articulated around a reflection on “drawing in all its forms”. Due to the fact that it takes its origin from that of design, and no matter what materials it uses, drawing is at the source of all intention to create a work. Having been kept on the fringe for a long time, over the last few years, it has come to the fore as a form of expression in its own right. Over the year, the idea is therefore to highlight the position of drawing within the field of art, over and above the restrictive definition of the word.

Semaine n°407, revue hebdomadaire pour l’art contemporain
Auteur : Philippe Piguet
Published on Friday 14.10.2016

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Parages, Guillaume Robert

Authors : collective.
Technical details 

: 20,4 x 24 cm, 336 pages, softback.
Language : French-English.
September 2016.
Isbn : 978-2-35864-093-0.
Public price : 32€.


In French, a parage initially refers to the waters alongside the coast across which one makes one’s way up to the dock. With no beacons around, an unpredictable route remains to be opened. The parage is illegible. No cartographic marking has ever traced it. One should grope so as to get closer; the shore does exist. Yet, generally speaking, the parage is within reach. Parages devise a circle of vicinity, they stand all around, as close horizons. In Parages, designed to be an artist’s monograph as well as an artist’s book, I unveil my practice as a video maker and a visual artist throughout seven chapters. Seven chapters, seven different forms that keep the back and forth movement between proximity and distance alive and persistent, instilling strangeness into what is close, and making familiar what is in the distance. Each chapter takes an area as its own, lands on a context, reaches another one, and initiates a specific process of exploration. These processes take the shape of scripts in action and in movement, scripts that allow us to sail on sight, to seize the chance. So the singularity of my practice is not so much characterised by the media I use, as by my specific relationship, an almost narrative one, to the production process. As a result, some reflective, poetic and sometimes purely sensitive experiences build up territories at the junction of different fields (literature, cinema, science, geopolitics, art history…). As regards four of these chapters, I call on different artists whose artworks neighbour my parages. With their own practices, Louise Hervé & Chloé Maillet, Rémy Héritier, Marceline Delbecq and Jean-Xavier Renaud contribute to shedding light on one of the projects presented in this publication. Such invitations are helpful to understanding the part my work plays in the field of contemporary creation. They also echo my methodology, which consists in initiating collaborative spaces. A mechanic, a geophysicist, a dancer, a blacksmith, an electrician, a musician, a brother, an actress, a beekeeper, a shepherd. As many figures, encounters and savoir-faires that inspire the areas I travel through and give shape to. [Guillaume Robert, preface]

Coedition galerie Françoise Besson with the support of Centre national des arts plastiques, Région Limousin, association Mamie Küsters, Centre d’art contemporain MAGP, Centre international de l’art et du paysage de l’île de Vassivière, Maison Salvan, Centre de la photographie d’Île-de-France.


Jean Denant

Authors : Manuel Pomar (preface), Antonia Birnbaum.
Technical details 

: 17 x 24 cm, 184 pages, hardback.
Language : French-English.
September 2016.
Isbn : 978-2-35864-099-2.
Public price : 28€.


an-jdenant-int3 an-jdenant-int2 an-jdenant-int1

Jean Denant addresses the world. He considers the context of his work on a geopolitical scale. It is by connecting the most trivial everyday life to the major upheavals of History that he is able to reach this universal dimension. His pieces are tautological, the shape, materials, gesture and context build an open approach where criticism is always present. Although he creates objects that have the ability to circulate, he also pays just as much attention to their spatial installation. His exhibitions always have a dimension of immersion. He orchestrates paintings and sculptures in order to completely immerse the onlooker. The scale of his works responds to this desire but also intimately conjures up the artist’s relation to his own work. Jean Denant is particularly fond of his workshop experience and this is where he builds his works to scale. He still demonstrates an economy of action and materials. Extracting matter from plaster board and wood in order to design furniture, carving supporting wood to draw forests, agglomerating debris to build pots, for each action there is a material. This formal simplicity contrasts with the complexity of the words. A work of scale, from the human to the world, the town to the individual, geological to memory, intimate to universal, Jean Denant expresses the forces of the world and their contradictions. [Manuel Pomar, excerpt from the preface]

With the support of iKone, Genève, galerie Anne de Villepoix, Paris, Site archéologique Lattara – Musée Henri-Prades, Lattes, Fonds régional d’art contemporain Languedoc-Roussillon, Montpellier, Lieu-Commun, Artist Run Space, Toulouse, Ville de Sète, Thau Agglo.


Semaine 28.16

Marie Anita Gaube, Out of Place
Esox Lucius, Château de Grandvaux, Varennes sous Dun

Placed on the desk of Patrice Ferrari in Esox Lucius office, the card advertising Marie-Anita Gaube’s first exhibition appeared totally clear: exhibit her work. The current exhibition focuses on an ensemble of six paintings, each of which considers, in its own way, a new relation to the subjects. The image, due to its format and its visual presence, must be seen. The call is unique, it is an invitation: we thus open up the painting, we search, we wander. The indefinite which sometimes characterized the portrayal has disappeared. The elements are placed there, before our eyes, we can almost touch them. But we do not fully understand the sense and direction. Our gaze is drawn into continually renewed spaces. It is in this frequently contrasting closeness of “situations” that moments of waiting, escape and the unknown occur. The stakes are double: take the spectator, submit him to the landscape and make sensitive and aesthetic experiences coincide.

Semaine n°405, revue hebdomadaire pour l’art contemporain
Author : Marion Delage de Luget
Published on Friday 15.07.2016

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Semaine 27.16

Bertrand Gadenne, Fragments d’un paysage,
Pile Pont Expo – Espace d’art contemporain, Saint-Gervais les Bains

In the work Bertrand Gadenne has developed since the end of the 1970s, this artist presents photographic and video devices, inviting the visitor to confront luminous paintings, which are both strange and yet still very poetic. The patterns, which are often reminiscent of an animal and vegetal bestiary, are projected onto varied supports – empty shop windows, a monumental building façade, a simple sheet moved by a fan – and they call on the spectator through their mysterious presence, their almost unnoticeable movement, but also their often unreasonable scale. For Saint-Gervais, the artist has captured the geographic framework of the place, situated at the foot of Mont-Blanc and he has created “Fragments d’un paysage”. In this installation, made up of four projections accompanied by an environment of sound, the artist calls on elements taken from the landscape, and relevant to mountain territory – the mountain, forest, animal and waterfall. The visitor, plunged into darkness, is invited to (re)discover to a marked degree, the atypical space that is Pile-Pont Expo. Like an extra, he will more or less participate in the staging that Bertrand Gadenne is trying to set up. Since it is only about projections, nothing exists in this totally immaterial space; but, watched by a majestic stag, perhaps he will nevertheless catch a glimpse of Mont-Blanc? Unless a storm stops him…

Semaine n°404, revue hebdomadaire pour l’art contemporain
Author : Bertrand Gadenne
Published on Friday08.07.2016

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Semaine 25.16

Boch, Callot, Favier, Limone, Mazabraud, Moninot, Pincemin, Rousseau, Soulhiol, Torres
Galerie de l’Etrave, Espace d’art contemporain, Thonon-les-Bains

The Chapelle de la Visitation’s contemporary art activity has been transfered in the Galerie de l’Etrave, which is located in the Maurice Novarina Theatre. This relocation, which will last for two years, is the consequence of the building work undertaken by the cultural branch of the Visitation, which will have an impact on all the activities that take place there. The town of Thonon therefore asked Philippe Piguet, who has been exhibition curator at the Chapelle de la Visitation since 2008, to imagine a cycle of 4 exhibitions based on a general theme which would act as an echo to the Theatre, a place dedicated to performing arts. Represented by the expression “worlds apart” and illustrated by an ensemble of three monographic exhibitions and one group exhibition, the choice of this theme stems from the feeling that the place evokes with regards to a different space, away from all exterior circulation, hidden within the Theatre. A separate space.

Semaine n°403, revue hebdomadaire pour l’art contemporain
Author : Philippe Piguet.
Published on Friday 24.06.2016

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Glenn Brown

Co-edition with Fondation Vincent van Gogh Arles.
Authors : Glenn Brown, Bice Curiger, Judicaël Lavrador.
Technical details 

: 24,5 x 31 cm, 96 pages.
Language : français-anglais.
Published on 2016.
Isbn : 978-2-35864-092-3.
Public price : 26€.


One of the most singular British artists working today, Glenn Brown draws his inspiration from art history, which he revisits and reinterprets in a unique manner. This catalogue, dedicated not only to his paintings but also to his sculptures and drawings, aims to convey the full creative scope of Glenn Brown’s oeuvre and his leading role in the renewal of contemporary painting.

After completing his MA in 1992 at London’s distinguished Goldsmiths College, Glenn Brown, born in 1966, struck out against the prevailing artistic current. At this epoch painting – and figurative painting even more so – was viewed as the poor relation among the media available to modern art. While his contemporaries were asking themselves the question “Why bother painting?”, Glenn Brown chose to make the brushmarks of earlier masters, such as Vincent van Gogh, the subject of his paintings.
The Fondation Vincent van Gogh Arles pays tribute to Glenn Brown with a major retrospective bringing together some thirty works. This event marks an important milestone, not only because it has been 16 years since the last retrospective of the artist’s oeuvre was held in France in 2000, but also because the exhibition unites all three media in which Glenn Brown is today active: painting, sculpture and drawing.
Since 2013 Glenn Brown has pursued drawing as an autonomous means of artistic expression, in graphic works whose surfaces are covered with an ensemble of marks and sinuous lines that interweave and reply to each other. His drawings also maintain a thematic and visceral relationship with his paintings and sculptures. These latter deploy brush strokes that have been liberated from the flat surface of his paintings and which now constitute condensed agglomerates in a medley of hues laid down on top of a base of bronze. The three new sculptures created by the artist for the exhibition Suffer Well may be read as 3D translations of the brushmarks of Frank Auerbach and of the misleading and dated colours of reproductions of works by Vincent van Gogh. One such reproduction, showing Field with Irises near Arles (of which the original painted by Van Gogh in 1888 can be seen in our other exhibition), provided the palette of Glenn Brown’s 2016 sculpture The Flowers of Arles. This profusion of tactile matter dialogues with the artist’s canvases which, although entirely smooth, likewise give the impression of an interplay of textures and feverish visual masses.
It is thus that Glenn Brown’s art reveals the subjective force of his translations of reproductions of works by earlier masters, his atomization of painting, and the inexhaustible inventiveness of his practice, which appropriates the styles and colours of drawings and classical paintings. Emanating from his works – whether drawings or paintings – is a plural, blurred and fluid reality, whose visual ambiguity evokes that peculiar to our own digital epoch.
The exhibition borrows its title Suffer Well from a song by the group Depeche Mode, as well as from one of the paintings on show, whose motif is constructed from the famous Head of a Skeleton with Burning Cigarette (1885/86) by Van Gogh. Glenn Brown’s practice is fuelled by this same interweaving of “dissonant” references, ranging from the Baroque to German realism, from new wave music to the genre of horror – and passing, of course, via the works of Van Gogh, which the artist examines with the keen eye of a goldsmith.
[Bice Curiger, curator of the exhibition]

Exhibition Glenn Brown, « Suffer Well », Fondation Vincent van Gogh Arles, from 14 May to 11 September 2016.


La cellule

Author : Marie de Brugerolle.
Technical details 

: 19 x 26 cm, 100 pages, softback + leporello.
Languages : French – English.
Graphc design : Fanette Mellier.
March 2016.
Isbn : 978-2-35864-086-2.
Public price : 22€.


La cellule (Becquemin&Sagot) is an entity formed by two individuals. Two artists, Stéphanie Sagot et Emmanuelle Becquemin explore desire in the context of our post industrial, post human society, between globalisation and sustainable development, in this “glocalisation” that produces new objects, new temptations and new perversions. Infiltrating a number of territories, Stéphanie Sagot et Emmanuelle Becquemin “re-enchant” a world that, for them, is only the decor for a party on infinite loop.
La cellule (Becquemin & Sagot), a false couple of fraternal twins that play at being copies of the real, stringing along the shams and the frauds. They use the operating modes of art and its tiny world to travel, hijacking the usual codes and making art there where we would never expect to find it. Making us see something from a new angle, which is what seduction really means. Veering away from, and changing the route that has been planned, sidestepping it to consider at the world in a critical manner. Beyond jouissance, far from instant gratification, their artworks are bones coated in marshmallow.
[Marie de Brugerolle, excerpt]

With the support of Région Languedoc-Roussillon-Midi-Pyérénées, Chapelle Saint-Jacques centre d’art contemporain, Caza d’Oro, musée Calbet, Alliance française de Rio, Alexander and Olga Kamenets – Cultural fund of Alexander and Olga Kamenets –, Philippe Faur.


Giorgio Griffa

Authors : Bice Curiger, Giorgio Griffa, Francesco Manacorda
Technical details 

: 24,5 x 31 cm, 72 pages.
Languages : French-English.
February 2016.
Isbn : 978-2-35864-085-5.
Public price : 24€.


The art of the italian artist Giorgio Griffa developed quietly and with impressive coherence outside the latest movements broadly outlined on the contemporary scene. At the beginning of his career Griffa nonetheless associated himself with the representatives of Arte Povera, with whom he exhibited on numerous occasions in the 1960s and 1970s. His simultaneously “minimalist” painting also displayed an affinity in particular with the group Supports / Surfaces in France.
Elegant, unprimed and unstretched, the canvases by Italian artist Giorgio Griffa offer constellations of horizontal lines and the numerals of the golden mean in a graceful and warm minimalism. Like a melody, a rhythm or a line of poetry, these painted signs in half-tones convey a certain lyricism, one that is also found in the artist’s poems.
Griffa’s raw canvases are covered with marks in pastel shades of acrylic paint, which he says “are performed by the brush, by my hand, the paint, my concentration, etc.” They attest to his admiration for the artists of ancient times, and his “feeling for the centuries-old memory of painting”. His solo show at the Fondation presents earlier as well as very recent works, including Canone aureo 705 (VVG) (2015), a breath-taking homage to Vincent van Gogh’s Starry Night of 1889.

Exhibition Giorgio Griffa, Fondation Vincent van Gogh Arles, from February 13 to April 24, 2016.