SUMMER SHOW

 

 

Vivian Van BLERK / Nicola Lo CALZO / Roxane DAUMAS


Ninar ESBER / Itvan KEBADIAN / Emo de MEDEIROS

 


Vernissage jeudi 2 juillet

2 juillet - 31 juillet 2020

 

 

FR/


Vivian Van Blerk


Artiste Sud-Africain (1971) vivant à Paris et photographe de formation, Vivian Van Blerk a au début de ses recherches, construit de nombreuses maquettes, souvent de grandes dimensions et nécessitant l’utilisation de différents médium comme le plastique, le plâtre, le polystyrène ou la terre. Récemment la pratique de la céramique lui a permis de faire de ses maquettes des œuvres à part entière et non plus un support de travail photographique.


Par ailleurs cette matière, si concrète, si noble et si fragile en même temps, est un médium idéal pour exprimer ce qu’il en est de la beauté précaire de l’existence.

 

Ses derniers travaux sont des installations de grand format qui nous confrontent à un monde post-humain, encore hanté par les ruines architecturales de villes abandonnées, ultimes évocations de l’histoire de nos civilisations, encore encombré des déchets polluants de nos sociétés de consommation dévorante, mais où la nature animale comme végétale reprend ses droits. 

 

Une sorte de résurrection naturaliste apaisée mais aussi un avertissement inquiet sur l’avenir de notre société.

 

 

 

Nicola Lo Calzo


Issue du projet Cham, la série Tchamba de Nicola Lo Calzo,  est le fruit de deux voyages entre 2011 et 2017 au Togo et en Bénin, et explore la complexité du vaudou Tchamba, une pratique unique en son genre, qui incorpore les ambiguïtés propres à la mémoire de l’esclavage et ses multiples significations au sein de la société locale.

 

À travers l’enquête photographique Cham, Nicola Lo Calzo (1979) interroge l’héritage de l’esclavage colonial dans le monde atlantique au XXIe siècle et s’intéresse en particulier au patrimoine immatériel encore existant, c’est à dire aux multiples descendances et diverses manifestations des mémoires de l’esclavage colonial, des résistances à celui-ci, de ses abolitions.

 

 

 

Roxane Daumas


Les travaux de Roxane Daumas née en 1979 à Hyères interrogent les espaces en transition. De l’impact de la désindustrialisation sur l’ergonomie des villes Wallonnes, à l’abondance des architectures inachevées présentes sur de nombreux territoires dans le monde, chaque sujet développé par l’artiste relève l’empreinte de l’activité humaine sur nos paysages quotidiens.

 

La Base Martha est un site particulièrement édifiant et chargé, car il renvoie directement à un épisode noir et récent de notre histoire, la Seconde Guerre mondiale.
Aujourd’hui, sa requalification en DATA CENTER lui offre une nouvelle perspective fonctionnelle et architecturale. C’est cette transition qu’interroge Roxane Daumas dans ses travaux.

 

Chaque dessin s’appuie sur un travail photographique en amont et chaque zone de l’image est retravaillée, sculptée pour extraire l’essence sensible du sujet abordé. Une opposition constante entre attractivité et répulsion, lumière et obscurité.

 

 

 

 

Ninar Esber


Ninar Esber est née en 1971 à Beyrouth, elle vit et travaille à Paris. Artiste et écrivain, elle est diplômée de l’Ecole Nationale Supérieure d’Arts de Paris - Cergy.

Elle utilise son corps comme matériau dans une pratique tournée vers la performance, la vidéo, la photo et le dessin jouant des notions de répétitions, de simultanéité, parfois d’immobilité et de résistance.

L’Arlésienne est une série composée au total de 48 « autoportrait »  de 21x14,8 cm réalisé en réaction aux questions que les gens se posaient sur ses origines. L’artiste interroge la force de la projection que les gens ont les uns sur les autres, la mise à distance d’autrui, le nationalisme, le racisme et l’exotisme.

 

 

 

 

 

Itvan Kebadian


Né à Paris en 1985 Itvan Kebadian commence à graffer dès l’âge de 13 ans. De son enfance et du temps passé sur les toits de Paris d’où il observait les gens et la rue, il garde un attrait pour la vie urbaine et se souvient «d’aimer voir la ville comme un jeu video, un monde parallèle». Encore aujourd’hui il perçoit et traite la ville comme une jungle, et la foule comme une meute.

Il aime fondamentalement le graffiti, et garde cette vision d'un monde sans classes sociales, où les protagonistes restent anonymes en changeant de nom comme dans la Légion Etrangère, et s’affrontent sur des territoires, pour leur conquête, ou pour des luttes de pouvoir.

Son univers reste marqué aussi bien par les gravures de Dürer, les estampes japonaises que l’art médiéval, tandis que Kurosawa et Ridley Scott ne sont jamais très loin. Ces conquêtes de territoires et leurs frontières, renouvelées inlassablement, restent le sujet de toutes ses préoccupations et dessinent ici "Ses" Paysages. 

 

 

 

Emo de Medeiros


Emo de Medeiros est un artiste franc-béninois (1979) vivant et travaillant entre Cotonou et Paris. Son cursus universitaire s’est déroulé à l’ENS (Ulm) à Paris, à l’ENSBA Paris et au Massachusetts College of Art (Massart).


Son travail s’articule autour d’un concept unique qu’il nomme «contexture», une fusion entre le numérique et la matérialité, le tangible et l’intangible, explorant les hybridations, les interconnections et la circulation des formes, technologies, traditions, mythes et marchandisation.


Son travail repose également sur les nouvelles perspectives et échanges qui ouvrent un nouvel espace d’expression dans le contexte actuel du post-colonialisme mondialisé et digital à l’aube du XXI siècle.L’objet de ses recherches englobe des espaces transculturels et questionnent les traditionnelles notions de lieu, d’origine, d’identité et leurs mutations à travers une narration non-linéaire.


Une dimension conceptuelle saillante est perceptible dans ses oeuvres et se caractérise par une approche rythmique et participative qui fusionne traditions, technologies et éléments sémiologiques, le tout dans une forme trans-media.

 


EN/

 

 

Vivian Van Blerk
South African artist (1971) living in Paris and photographer by training, Vivian Van Blerk has at the beginning of his research, built many models, often of large dimensions and requiring the use of different mediums such as plastic, plaster, polystyrene or clay. Recently, the practice of ceramics has allowed her to make her models into works in their own right and no longer as a support for photographic work.
Moreover this material, so concrete, so noble and so fragile at the same time, is an ideal medium to express the precarious beauty of existence.
His latest works are large-format installations that confront us with a post-human world, still haunted by the architectural ruins of abandoned cities, the ultimate evocation of the history of our civilizations, still cluttered with the polluting waste of our devouring consumer societies, but where both animal and vegetable nature regains its rights. 
A kind of appeased naturalist resurrection but also a worried warning about the future of our society.
Nicola Lo Calzo
Nicola Lo Calzo's Tchamba series, the result of the Cham project, is the fruit of two trips between 2011 and 2017 to Togo and Benin, and explores the complexity of Tchamba voodoo, a unique practice that incorporates the ambiguities inherent in the memory of slavery and its multiple meanings within local society.
Through the Cham photographic survey, Nicola Lo Calzo (1979) questions the legacy of colonial slavery in the Atlantic world in the twenty-first century and focuses in particular on the intangible heritage that still exists, that is, the multiple descendants and various manifestations of the memories of colonial slavery, the resistance to it and its abolition.
Roxane Daumas
The work of Roxane Daumas, born in 1979 in Hyères, questions spaces in transition. From the impact of deindustrialization on the ergonomics of Walloon cities, to the abundance of unfinished architecture present in many parts of the world, each subject developed by the artist takes the imprint of human activity on our daily landscapes.
The Base Martha is a particularly edifying and charged site, as it refers directly to a dark and recent episode in our history, the Second World War.
Today, its requalification as a DATA CENTER gives it a new functional and architectural perspective. It is this transition that Roxane Daumas questions in her work.
Each drawing is based on a photographic work upstream and each area of the image is reworked, sculpted to extract the sensitive essence of the subject matter. A constant opposition between attraction and repulsion, light and darkness.
Ninar Esber
Ninar Esber was born in 1971 in Beirut, she lives and works in Paris. Artist and writer, she is a graduate of the Ecole Nationale Supérieure d'Arts de Paris - Cergy.
She uses her body as a material in a practice oriented towards performance, video, photography and drawing playing with notions of repetition, simultaneity, sometimes immobility and resistance.
L'Arlésienne is a series of 48 "self-portraits" measuring 21x14.8 cm, created in response to the questions people had about her origins. The artist questions the strength of the projection that people have on each other, the distance from others, nationalism, racism and exoticism.
Itvan Kebadian
Born in Paris in 1985, Itvan Kebadian started graffiti at the age of 13. From his childhood and the time he spent on the rooftops of Paris watching people and the street, he keeps an attraction for urban life and remembers "loving to see the city as a video game, a parallel world". Even today he still perceives and treats the city as a jungle, and the crowd as a pack.
He fundamentally loves graffiti, and keeps this vision of a world without social classes, where the protagonists remain anonymous by changing their names as in the Foreign Legion, and fight over territories, for their conquest, or for power struggles.
His world remains marked by Dürer's engravings, Japanese prints and medieval art, while Kurosawa and Ridley Scott are never far away. These conquests of territories and their borders, tirelessly renewed, remain the subject of all his preoccupations and draw here "His" Landscapes. 
Translated with www.DeepL.com/Translator (free version)

 

Vivian Van Blerk


 

South African artist (1971) living in Paris and photographer by training, Vivian Van Blerk has at the beginning of his research, built many models, often of large dimensions and requiring the use of different mediums such as plastic, plaster, polystyrene or clay. Recently, the practice of ceramics has allowed her to make her models into works in their own right and no longer as a support for photographic work.

 

 

Moreover this material, so concrete, so noble and so fragile at the same time, is an ideal medium to express the precarious beauty of existence.

 

 

His latest works are large-format installations that confront us with a post-human world, still haunted by the architectural ruins of abandoned cities, the ultimate evocation of the history of our civilizations, still cluttered with the polluting waste of our devouring consumer societies, but where both animal and vegetable nature regains its rights. 

 

 

A kind of appeased naturalist resurrection but also a worried warning about the future of our society.

 

Nicola Lo Calzo

Nicola Lo Calzo's Tchamba series, the result of the Cham project, is the fruit of two trips between 2011 and 2017 to Togo and Benin, and explores the complexity of Tchamba voodoo, a unique practice that incorporates the ambiguities inherent in the memory of slavery and its multiple meanings within local society.

 

 

Through the Cham photographic survey, Nicola Lo Calzo (1979) questions the legacy of colonial slavery in the Atlantic world in the twenty-first century and focuses in particular on the intangible heritage that still exists, that is, the multiple descendants and various manifestations of the memories of colonial slavery, the resistance to it and its abolition.

 

 

 

 

Roxane Daumas


 

The work of Roxane Daumas, born in 1979 in Hyères, questions spaces in transition. From the impact of deindustrialization on the ergonomics of Walloon cities, to the abundance of unfinished architecture present in many parts of the world, each subject developed by the artist takes the imprint of human activity on our daily landscapes.

 

 

The Base Martha is a particularly edifying and charged site, as it refers directly to a dark and recent episode in our history, the Second World War.

Today, its requalification as a DATA CENTER gives it a new functional and architectural perspective. It is this transition that Roxane Daumas questions in her work.

 

 

Each drawing is based on a photographic work upstream and each area of the image is reworked, sculpted to extract the sensitive essence of the subject matter. A constant opposition between attraction and repulsion, light and darkness.

 

 

 

Ninar Esber

Ninar Esber was born in 1971 in Beirut, she lives and works in Paris. Artist and writer, she is a graduate of the Ecole Nationale Supérieure d'Arts de Paris - Cergy.

She uses her body as a material in a practice oriented towards performance, video, photography and drawing playing with notions of repetition, simultaneity, sometimes immobility and resistance.

L'Arlésienne is a series of 48 "self-portraits" measuring 21x14.8 cm, created in response to the questions people had about her origins. The artist questions the strength of the projection that people have on each other, the distance from others, nationalism, racism and exoticism.

 

Itvan Kebadian

Born in Paris in 1985, Itvan Kebadian started graffiti at the age of 13. From his childhood and the time he spent on the rooftops of Paris watching people and the street, he keeps an attraction for urban life and remembers "loving to see the city as a video game, a parallel world". Even today he still perceives and treats the city as a jungle, and the crowd as a pack.

 

He fundamentally loves graffiti, and keeps this vision of a world without social classes, where the protagonists remain anonymous by changing their names as in the Foreign Legion, and fight over territories, for their conquest, or for power struggles.

 

His world remains marked by Dürer's engravings, Japanese prints and medieval art, while Kurosawa and Ridley Scott are never far away. These conquests of territories and their borders, tirelessly renewed, remain the subject of all his preoccupations and draw here "His" Landscapes. 

 

 


Emo de Medeiros

 

Emo de Medeiros is a French-Beninese artist (1979) living and working between Cotonou and Paris. His university studies took place at the ENS (Ulm) in Paris, at the ENSBA Paris and at the Massachusetts College of Art (Massart).

 

His work revolves around a unique concept that he calls "contexture", a fusion between digital and materiality, tangible and intangible, exploring hybridizations, interconnections and the circulation of forms, technologies, traditions, myths and commodification.

 

His work also draws on new perspectives and exchanges that open up a new space of expression in the current context of globalized and digital post-colonialism at the dawn of the 21st century, encompassing transcultural spaces and questioning traditional notions of place, origin, identity and their mutations through a non-linear narrative.

 

A salient conceptual dimension is perceptible in his works and is characterized by a rhythmic and participatory approach that fuses traditions, technologies and semiological elements, all in a trans-media form.

 


 

 

 

 

Vivian Van Blerk,
La Clairière, 2020 Exemple de photographie réalisée entre les trois phases de cuisson de la céramique. Peint en couleurs avec tempera, aquarelle et huile. Photographie argentique 100 x 100cm 

Nicola Lo Calzo,
Series Tchamba - Cham
Egoun, Fête National du Vodoun, Plage de Grand-Popo, Bénin, 2017Tirage Fine Art sur papier baryté Hahnemühle 125 x 100cm Ed 1/4 + 2EA -

Roxane Daumas,

Base Martha #2, 2019 Pierre noire sur papier 208 x 145 cm encadrée

Ninar Esber, L’Arlésienne, 2005 21 x 14,8 cm Edition 2/3

Itvan Kebadian,Sans titre #2, 2020 Crayon, encre de chine, aérosol, pastel 125,5 x 85 cm  

Emo de Medeiros,Vodunaut #003 (Hyperfeeler), 2015 Casque de moto, cauris, peinture aérosol, smartphone, video HD 50 x 40 x 30 cm