Galerie Dohyang Lee » Clarissa Baumann http://www.galeriedohyanglee.com Galerie Dohyang Lee, Dohyang Lee Gallery, Bakary Diallo, Elisabeth S. Clark, Geamoon, Hayoun Kwon, Hoël Duret, Julien Creuzet, Magali Lefebvre, Marcos Avila Forero, Marie-Jeanne Hoffner, Paula Castro, Rohwajeong, Romain Vicari, Alice De Mont, Anthea Hamilton, Kristina Solomoukha, Eric Tabuchi, Pierre Leguillon Wed, 29 Apr 2026 13:56:28 +0000 en-US hourly 1 http://wordpress.org/?v=3.8.1 éco (…..) éco (…..) éco (…….) – part I http://www.galeriedohyanglee.com/en/eco-eco-eco-volet-i?utm_source=rss&utm_medium=rss&utm_campaign=eco-eco-eco-volet-i http://www.galeriedohyanglee.com/en/eco-eco-eco-volet-i#comments Fri, 30 Sep 2022 11:39:08 +0000 http://www.galeriedohyanglee.com/?p=19067 Collective exhibition part I October 15th – November 19th 2022 press release and pictures]]> Available artworks list.


éco (…..) éco (…..) éco (…….) part I


eco_1_0

15.10 – 19.11.2022


« Our home is burning and we are still looking somewhere else »1



The Dohyang Lee Gallery invites you to the first part of the collective exhibition eco (…..) eco (…..) eco (…….). For this title that approaches a trinity of notions, deliberately hidden to leave one’s imagination free, we propose an interpretation knowing that eco2 is a prefix which comes from the ancient Greek word oîkos3 (house).

We thus suggest an analogy with the house (in the meaning of architectural building), which is composed of three major elements, the structure, the skin and its environment.

éco (…..) or économie4 (economy). The economy frames and structures societies. In this sense, it allows their physical existence. Like architectural structures, they can be solidary with each other (community systems or communism), or on the contrary assert an ostentatious audacity of power (capitalism). Auguste Choisy (1841 – 1909) stresses the primordial importance of the structure in terms of architecture. The architectural form is conditioned, according him, by societal developments and not by a purely individual and arbitrary gesture.

éco (…..) or écologie5. (ecology). Ecology is assimilated to the skin of a house, and becomes the interface between interior and exterior. It organizes their respective relationships, and contributes to the well-being, psychological and physiological balance of each inhabitant through the created atmosphere. The German architect Gottfried Semper (1803 – 1879) emphasized the importance of enveloping materials, through his studies on polychromy, ornamentation, as a testimony of the arts and means of expression at a given time. As our present time at the beginning of the 21st century is concerned with ecological issues, the materiality of our coatings used would be a subject of study for later generations, as an attempt to safeguard natural resources.

éco (…….) or écosystème6 (ecosystem). We can see the ecosystem as a synthesis where the structure creates a skeleton, the skin wrapping around this skeleton. From this union is formed an interior environment, influenced by the flexibility or rigidity of the structure and the quality of the materials of this skin (visual, plastics…). This same skin is in contact with the outside, which influences the feeling of security or insecurity. We can quote the concepts and achievements of many pioneering architects like Richard Rogers (1933 – 2021) and his sustainable cities, as an attempt to achieve an urban ecosystem for the present and the future.

The works of the main hall make us think of an inner courtyard, like a Roman atrium, with the presence of works allusive to light, water, plant, while those of the lower level, try to integrate nature but with a more mineral aspect and focused on History and the relationships between human being and nature.







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Joon Yoo, Future, 2021, 3 quadrichromic photoetchings (cyan, yellow, magenta, fluorescent pink) on 100% cotton 300g Hahnemühle paper, paper dimensions 125 x 106cm each etching, printed image dimensions 110 x 80 cm each etching, edition of 5 + 1 AP
Amalia Laurent, Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece
Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece
Minjung Kim, Australian Paper, 2015, 16mm color film with Oxberry down shooter and digitally scanned, 2’20’’, edition of 5 + 2 AP
Emma Passera, The Hight Priestess, 2022, glass, mirrors, pole dance shoes, resin eggs with insects, 100cm x 45 cm x 30 cm, unique piece
Minja Gu, Boiled Potato, 2019 – 2020, installation, 32 pieces, boiled potatoes peels on cardboard,
24 x 18 cm each piece, unique pieces
Joon Yoo, Thinking about movement, 2019, 3 paper collages of architect paper on arche paper 300g, graphite coloring,
31 x 41 cm each collage, unique pieces
Namhee Kwon, Empty notes / Notes vierges, 2001 – 2022, sewing and drawing on fabric, 29,7 x 21 cm, series of unique pieces
A Portrait of a book / Portrait d’un livre, 2001 – 2022, photography, frame, glass, 21 x 30 cm, edition of 5 + 2 AP
Zohreh Zavareh, Je l’ai attendu devant un lac, il est arrivé avec des mots en main, 2021, printing on paper prototype, 147 x 15,5 cm,
edition of 10 + 2 AP
Yue Yuan, Map for your ears, 2021, foldable map of Paris, blue stickers, 25 x 11 cm, edition of 3



eco_1_2

Joon Yoo, Future, 2021, 3 quadrichromic photoetchings (cyan, yellow, magenta, fluorescent pink) on 100% cotton 300g Hahnemühle paper, paper dimensions 125 x 106cm each etching, printed image dimensions 110 x 80 cm each etching, edition of 5 + 1 AP
Amalia Laurent, Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece
Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece
Minjung Kim, Australian Paper, 2015, 16mm color film with Oxberry down shooter and digitally scanned, 2’20’’, edition of 5 + 2 AP
Emma Passera, The Hight Priestess, 2022, glass, mirrors, pole dance shoes, resin eggs with insects, 100cm x 45 cm x 30 cm, unique piece



eco_1_3

Joon Yoo, Future, 2021, 3 quadrichromic photoetchings (cyan, yellow, magenta, fluorescent pink) on 100% cotton 300g Hahnemühle paper, paper dimensions 125 x 106cm each etching, printed image dimensions 110 x 80 cm each etching, edition of 5 + 1 AP
Emma Passera, The Hight Priestess, 2022, glass, mirrors, pole dance shoes, resin eggs with insects, 100cm x 45 cm x 30 cm, unique piece



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Emma Passera, The Hight Priestess, 2022, glass, mirrors, pole dance shoes, resin eggs with insects, 100cm x 45 cm x 30 cm,
unique piece



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Yue Yuan, Jardin Anonyme, 2021, installation, 20 flyers printings, 30 x 45 cm each.
Several plants, variable dimensions , unique pieces
Laurent Fiévet, Whistle 14 – Johanna, 2015, loop video, sound, color, 4’05’’, edition of 5 + 2 AP
Clarissa Baumann, Era mar, notes pour un déplacement entre le Palais des Beaux-Arts et les bords de la Seine avec un coquillage porté près de l’oreille, 2015, archives of the performance plan d’évasion, plan d’invasion, plan d’appropriation ; Epson P20 000 pigment inkjet printing on Museum Etching Hahnemühle 350g, glued on Dibond, 20 x 30 cm, edition of 5 + 2 AP
Elisabeth S. Clark, Afterword, 2016, dry letter gloss transfer with silicone coated matt backing tissue, staples, fluorescent pink tape, 16 x 25 cm, edition of 5 + 2 AP. Colored postcards, unique pieces



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Laurent Fiévet, Whistle 14 – Johanna, 2015, loop video, sound, color, 4’05’’, edition of 5 + 2 AP



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Yue Yuan, Jardin Anonyme, 2021, installation, 20 flyers printings, 30 x 45 cm each.
Several plants, variable dimensions , unique pieces



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Clarissa Baumann, Era mar, notes pour un déplacement entre le Palais des Beaux-Arts et les bords de la Seine avec un coquillage porté près de l’oreille, 2015, archives of the performance plan d’évasion, plan d’invasion, plan d’appropriation ; Epson P20 000 pigment inkjet printing on Museum Etching Hahnemühle 350g, glued on Dibond, 20 x 30 cm, edition of 5 + 2 AP
Elisabeth S. Clark, Afterword, 2016, dry letter gloss transfer with silicone coated matt backing tissue, staples, fluorescent pink tape, 16 x 25 cm, edition of 5 + 2 AP. Colored postcards, unique pieces



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Emma Passera, The Hight Priestess, 2022, glass, mirrors, pole dance shoes, resin eggs with insects, 100cm x 45 cm x 30 cm, unique piece
Yue Yuan, Jardin Anonyme, 2021, installation, 20 flyers printings, 30 x 45 cm each.
Several plants, variable dimensions , unique pieces
Laurent Fiévet, Whistle 14 – Johanna, 2015, loop video, sound, color, 4’05’’, edition of 5 + 2 AP
Clarissa Baumann, Era mar, notes pour un déplacement entre le Palais des Beaux-Arts et les bords de la Seine avec un coquillage porté près de l’oreille, 2015, archives of the performance plan d’évasion, plan d’invasion, plan d’appropriation ; Epson P20 000 pigment inkjet printing on Museum Etching Hahnemühle 350g, glued on Dibond, 20 x 30 cm, edition of 5 + 2 AP
Elisabeth S. Clark, Afterword, 2016, dry letter gloss transfer with silicone coated matt backing tissue, staples, fluorescent pink tape, 16 x 25 cm, edition of 5 + 2 AP. Colored postcards, unique pieces
Joon Yoo, Future, 2021, 3 quadrichromic photoetchings (cyan, yellow, magenta, fluorescent pink) on 100% cotton 300g Hahnemühle paper, paper dimensions 125 x 106cm each etching, printed image dimensions 110 x 80 cm each etching, edition of 5 + 1 AP
Amalia Laurent, Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece
Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece



eco_1_9

Amalia Laurent, Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece
Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece



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Amalia Laurent, Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon, 50 x 70 cm, unique piece
Les Persiennes, 2019, cotton, pigment, batik, rotin, digital printing on nylon,
50 x 70 cm, unique piece
Minjung Kim, Australian Paper, 2015, 16mm color film with Oxberry down shooter and digitally scanned, 2’20’’, edition of 5 + 2 AP
Laure Tiberghien, Météores #3, 2021, unique printing chromogen, frame, glass,
50 x 60 cm, unique piece
Météores #5, 2021, unique printing chromogen, frame, glass,
50 x 60 cm, unique piece
Emma Passera, The Hight Priestess, 2022, glass, mirrors, pole dance shoes, resin eggs with insects, 100cm x 45 cm x 30 cm, unique piece



eco_1_11

Minjung Kim, Australian Paper, 2015, 16mm color film with Oxberry down shooter and digitally scanned, 2’20’’, edition of 5 + 2 AP



eco_1_12

Minjung Kim, Australian Paper, 2015, 16mm color film with Oxberry down shooter and digitally scanned, 2’20’’, edition of 5 + 2 AP



eco_1_13

Laure Tiberghien, Météores #3, 2021, unique printing chromogen, frame, glass, 50 x 60 cm, unique piece
Météores #5, 2021, unique printing chromogen, frame, glass, 50 x 60 cm, unique piece



eco_1_14

Minja Gu, Boiled Potato, 2019 – 2020, installation, 32 pieces, boiled potatoes peels on cardboard,
24 x 18 cm each piece, unique pieces
Joon Yoo, Thinking about movement, 2019, 3 paper collages of architect paper on arche paper 300g, graphite coloring,
31 x 41 cm each collage, unique pieces
Namhee Kwon, Empty notes / Notes vierges, 2001 – 2022, sewing and drawing on fabric, 29,7 x 21 cm, series of unique pieces
A Portrait of a book / Portrait d’un livre, 2001 – 2022, photography, frame, glass, 21 x 30 cm, edition of 5 + 2 AP
Zohreh Zavareh, Je l’ai attendu devant un lac, il est arrivé avec des mots en main, 2021, printing on paper prototype, 147 x 15,5 cm,
edition of 10 + 2 AP



eco_1_15

Joon Yoo, Thinking about movement, 2019, 3 paper collages of architect paper on arche paper 300g, graphite coloring,
31 x 41 cm each collage, unique pieces
Namhee Kwon, Empty notes / Notes vierges, 2001 – 2022, sewing and drawing on fabric, 29,7 x 21 cm, series of unique pieces
A Portrait of a book / Portrait d’un livre, 2001 – 2022, photography, frame, glass, 21 x 30 cm, edition of 5 + 2 AP
Zohreh Zavareh, Je l’ai attendu devant un lac, il est arrivé avec des mots en main, 2021, printing on paper prototype, 147 x 15,5 cm,
edition of 10 + 2 AP



eco_1_16

Yue Yuan, Map for your ears, 2021, foldable map of Paris, blue stickers, 25 x 11 cm, edition of 3



eco_1_17

Zohreh Zavareh, L’avenir dans l’oeuf, 2021, egg shell, silicone, variable dimensions , unique pieces



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Marcos Avila Forero, Arquitecturas de la memoria, 2013, photography glued on aluminium, wooden frame, American wooden box, 40 x 60 cm, edition of 30 + 3 AP. Tale, edition Les Amis du Palais de Tokyo / GDM… unique piece.
Collection Artothèque de Brest
Radouan Zeghidour, Dégradation, 2021, ceramics, ennamel, 30 x 26 cm around, unique piece



eco_1_19

Marcos Avila Forero, Arquitecturas de la memoria, 2013, photography glued on aluminium, wooden frame, American wooden box, 40 x 60 cm, edition of 30 + 3 AP. Tale, edition Les Amis du Palais de Tokyo / GDM… unique piece. Collection Artothèque de Brest
Radouan Zeghidour, Sans titre, 2022, latex, 68 x 27 cm around, unique piece



eco_1_20

Clarissa Baumann, Spiralooping, notes pour un mouvement inspiré d’une visite au Spiral Jetty de Robert Smithson,2017, Epson P20 000 pigment inkjet printing on Ultra Smooth Hahnemühle 305g, 35 x 55 cm, edition of 10 + 2 AP
Spiralooping, 2017, HD video, loop, color, sound, 3’30’’, edition of 5 + 2 AP
Emmanuel Tussore, Tas de béton, 2021, concrete sculpture installation, variable dimensions, unique pieces
Zohreh Zavareh, Costume d’intranquilité pour le personnage principal, 2021, fabric,
acrylic painting, wooden chair, variable dimensions, unique pieces
Emmanuel Tussore, Tas de béton, 2021, concrete sculpture, variable dimensions, unique piece



eco_1_21

Zohreh Zavareh, Costume d’intranquilité pour le personnage principal, 2021, fabric,
acrylic painting, wooden chair, variable dimensions, unique pieces



eco_1_22

Masahiro Suzuki, Fragments encadrés N° 1-2 : évolutifs, 2022 (2017 in Montrouge), woven flame cotton fabric (Chita in Aichi, Japan). Indigotier vegetable tincture (Indigo Design in Rudrapur, India]) with henna. Vegetable ink with sawdust of the pernambuco bow. Rope found at the Old Port and dyed. Marbles collected in Carrara during the bike trip in 2013, shell found on the Blue Coast and glued with stained glue, small branch and bauxite stones collected in Sommières (Gard), scraps of canvas collected in the workshop La Calade in Marseille, Small lichens gleaned from La Motte-Leyrat (Creuse), 17,9 x 17,3 x 6,9 cm, La Motte-Leyrat (Creuse), France.
Fragments encadrés N° 0 : évolutifs, 2022 (2017 in Marseille), friend Joppe’s pebble, collected paint residues, burnt plastic cork found on the Blue Coast and painted, broken glass, painted and recollected, wall debris collected in Alexandria (Egypt), scraps of canvas collected in the La Calade workshop in Marseille, brick debris found in the ruin of Notre-Dame de la Salette in Marseille, cardboard dyed at Quesnel-Aubry (Picardie). Industrial wood, 16,3 x 16,8 x 7 cm, La Motte-Leyrat (Creuse), France
Assemblage N° 4-1 : revisité, 22022 (2015 in Aix-en-Provence), twill and Canvas cotton fabric (Chita in Aichi [Japan]), Boesner cotton canvas, 1908 dated old sheets. Indigotier vegetable tincture (Indigo Design in Rudrapur [India]) with henna. Vegetable inks: roots of garance harvested and ground in Lauris (Luberon), petals of sophora japonica collected in Lourmarin (Luberon), cosmos harvested in the Convent – Juxtapoz workshops in Marseille, arched sawdust of the pernambuco, extract of Indian mulberry chlorophyll, Campfire wood, sappan wood. Chestnut box, 22 x 17 x 6 cm, La Motte-Leyrat (Creuse), France



eco_1_23

Emmanuel Tussore, Tas de béton, 2021, concrete sculpture installation, variable dimensions, unique pieces



eco_1_24

Emmanuel Tussore, Tas de béton, 2021, concrete sculpture, variable dimensions, unique piece



eco_1_25

Clarissa Baumann, Spiralooping, notes pour un mouvement inspiré d’une visite au Spiral Jetty de Robert Smithson,2017, Epson P20 000 pigment inkjet printing on Ultra Smooth Hahnemühle 305g, 35 x 55 cm, edition of 10 + 2 AP



eco_1_25a

Clarissa Baumann, Spiralooping, 2017, HD video, loop, color, sound, 3’30’’, edition of 5 + 2 AP



eco_1_26

Emmanuel Tussore, Tas de béton, 2021, concrete sculpture, variable dimensions, unique piece
Marcos Avila Forero, Arquitecturas de la memoria, 2013, photography glued on aluminium, wooden frame, American wooden box, 40 x 60 cm, edition of 30 + 3 AP. Tale, edition Les Amis du Palais de Tokyo / GDM… unique piece. Collection Artothèque de Brest
Radouan Zeghidour, Sans titre, 2022, latex, 68 x 27 cm around, unique piece
Jenny Feal, Frappez Fort, 2020, books detail, earthenware, sponge, 37 x 25 x 20 cm, unique pieces. Production Fondation d’entreprise Martell
Julia Gault, La goutte chargée de terre, 2022, raw earthware, thread, copper tubes, steel pipe clamp, variable dimensions (23 meters long necklace), unique piece
Guillaume Lépine,Pâtisserie (12 x 16) #2, 2022, acrylic painting on wood pannel, 40,6 x 25,4 cm, unique piece
Encres marbrées (24), 2022, digital printing on fabric (cotton gauze), 139 x 182 cm, unique pieces
Encres marbrées (12), 2022, digital printing on fabric (cotton canvas), 139 x 182 cm, unique pieces
Encres marbrées (2), 2022, digital printing on fabric (cotton gauze), 139 x 182 cm, unique pieces
Radouan Zeghidour, Dégradation, 2021, ceramics, ennamel, 30 x 26 cm around, unique piece



eco_1_27

Radouan Zeghidour, Sans titre, 2022, latex, 68 x 27 cm around, unique piece
Jenny Feal, Frappez Fort, 2020, books detail, earthenware, sponge, 37 x 25 x 20 cm, unique pieces. Production Fondation d’entreprise Martell
Radouan Zeghidour, Sabotage, 2022, ceramics, ennamel, 34 x 27 cm around,
unique piece
Namhee Kwon, I am safe / Je suis sauve, 2001 – 2022, photography, glued on Dibond, aluminium 2mm, 56,8 x 80 cm, edition of 5 + 2 AP
Julia Gault, La goutte chargée de terre, 2022, raw earthware, thread, copper tubes, steel pipe clamp, variable dimensions (23 meters long necklace), unique piece
Radouan Zeghidour, Dégradation, 2021, ceramics, ennamel, 30 x 26 cm around, unique piece



eco_1_28

Jenny Feal, Frappez Fort, 2020, books detail, earthenware, sponge, 37 x 25 x 20 cm, unique pieces. Production Fondation d’entreprise Martell
Radouan Zeghidour, Sabotage, 2022, ceramics, ennamel, 34 x 27 cm around,
unique piece
Namhee Kwon, I am safe / Je suis sauve, 2001 – 2022, photography, glued on Dibond, aluminium 2mm, 56,8 x 80 cm, edition of 5 + 2 AP
Julia Gault, La goutte chargée de terre, 2022, raw earthware, thread, copper tubes, steel pipe clamp, variable dimensions (23 meters long necklace), unique piece



eco_1_29

Jenny Feal, Frappez Fort, 2020, books detail, earthenware, sponge, 37 x 25 x 20 cm, unique pieces. Production Fondation d’entreprise Martell



eco_1_30

Radouan Zeghidour, Sabotage, 2022, ceramics, ennamel, 34 x 27 cm around,
unique piece



eco_1_31

Julia Gault, La goutte chargée de terre, 2022, raw earthware, thread, copper tubes, steel pipe clamp, variable dimensions (23 meters long necklace), unique piece



eco_1_32

Guillaume Lépine,Pâtisserie (12 x 16) #1, 2022, acrylic painting on wood pannel, 40,6 x 25,4 cm, unique piece
Pâtisserie (12 x 16) #2, 2022, acrylic painting on wood pannel, 40,6 x 25,4 cm, unique piece
Encres marbrées (24), 2022, digital printing on fabric (cotton gauze), 139 x 182 cm, unique pieces
Encres marbrées (12), 2022, digital printing on fabric (cotton canvas), 139 x 182 cm, unique pieces
Encres marbrées (2), 2022, digital printing on fabric (cotton gauze), 139 x 182 cm, unique pieces



eco_1_33

Guillaume Lépine,Pâtisserie (12 x 16) #1, 2022, acrylic painting on wood pannel, 40,6 x 25,4 cm, unique piece
Pâtisserie (12 x 16) #2, 2022, acrylic painting on wood pannel,
40,6 x 25,4 cm, unique piece
Encres marbrées (24), 2022, digital printing on fabric (cotton gauze),
139 x 182 cm, unique pieces
Encres marbrées (12), 2022, digital printing on fabric (cotton canvas),
139 x 182 cm, unique pieces
Encres marbrées (2), 2022, digital printing on fabric (cotton gauze),
139 x 182 cm, unique pieces



eco_1_34

Guillaume Lépine,Pâtisserie (12 x 16) #2, 2022, acrylic painting on wood pannel, 40,6 x 25,4 cm, unique piece
Encres marbrées (24), 2022, digital printing on fabric (cotton gauze),
139 x 182 cm, unique pieces
Encres marbrées (12), 2022, digital printing on fabric (cotton canvas),
139 x 182 cm, unique pieces
Encres marbrées (2), 2022, digital printing on fabric (cotton gauze),
139 x 182 cm, unique pieces
Clarissa Baumann, Spiralooping, 2017, HD video, loop, color, sound, 3’30’’, edition of 5 + 2 AP
Emmanuel Tussore, Tas de béton, 2021, concrete sculpture installation, variable dimensions, unique pieces
Zohreh Zavareh, Costume d’intranquilité pour le personnage principal, 2021, fabric,
acrylic painting, wooden chair, variable dimensions, unique pieces
Emmanuel Tussore, Tas de béton, 2021, concrete sculpture, variable dimensions, unique piece
Marcos Avila Forero, Arquitecturas de la memoria, 2013, photography glued on aluminium, wooden frame, American wooden box, 40 x 60 cm, edition of 30 + 3 AP. Tale, edition Les Amis du Palais de Tokyo / GDM… unique piece. Collection Artothèque de Brest



eco_1_35

Mijung Shin, Bam Island, 2020, unique channel video, color, sound, 19’41”, edition of 5 + 1 AP



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Mijung Shin, Bam Island, 2020, unique channel video, color, sound, 19’41”, edition of 5 + 1 AP



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Mijung Shin, Bam Island, 2020, unique channel video, color, sound, 19’41”, edition of 5 + 1 AP



eco_1_38

Mijung Shin, Bam Island, 2020, unique channel video, color, sound, 19’41”, edition of 5 + 1 AP


………………………………………………..

73-75 rue Quincampoix 75003 Paris France
Tuesday – Saturday 2 pm – 7 pm and with rendez vous
tel : +33 (0)1 42 77 05 97
www.galeriedohyanglee.com


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macau-cb

CLARISSA BAUMANN

ARTFEM II- Biennal of Macau
Collecti

…
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macau-cb

CLARISSA BAUMANN

ARTFEM II- Biennal of Macau
Collective exhibition curated by Leonor Veiga
30.09 – 13.12.2020
Macao Museum of Art, Macao


iac-cb

Passarada
Performance inside the collective exhibition Rituelles
10.2020 – 01.2021
Institut d’Art Contemporain Villeurbanne / Rhône Alpes, Villeurbanne, France






hamac-jf

JENNY FEAL

Places to be
Collective exhibition curated by Nathalie Viot
25.06.2020 – 02.01.2022
Fondation d’entreprise Martell, Cognac, France






modular-vl

VIOLAINE LOCHU

Modular K
Solo show and performance curated by Bettie Nin
01.10 – 22.11.20
CAC La Traverse, Alfortville, France






arson-vl

bruit-cs

CHARLOTTE SEIDEL

le bruit des choses
Solo show
10.10 – 14.11.2020
Galerie Dohyang Lee, Paris, France






fmac_rz

lyon-rz

Comme un parfum d’aventure
Collective exhibition curated by Matthieu Lelièvre and Marilou Laneuville
07.10.2020 – 03.01.2021
MAC Lyon, Lyon, France
















sam-art-rz

………………………………………………..

73-75 rue Quincampoix 75003 Paris France
Tuesday – Saturday 2 pm – 7 pm
tel : +33 (0)1 42 77 05 97
www.galeriedohyanglee.com

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]]> http://www.galeriedohyanglee.com/en/cuillere/feed 0 Madeleine http://www.galeriedohyanglee.com/en/madeleine?utm_source=rss&utm_medium=rss&utm_campaign=madeleine http://www.galeriedohyanglee.com/en/madeleine#comments Thu, 05 Mar 2020 14:26:02 +0000 http://www.galeriedohyanglee.com/?p=15863 Alexandra Riss, Clarissa Baumann, Doyeon Gwon, Elisabeth S. Clark, Jenny Feal, Yue Yuan, Emmanuel Tussore, Kihoon Jeong, Minja Gu, Namhee Kwon May 23rd – July 25th 2020 press release and pictures article by Maya Sachweh in Artaïs Contemporain article by Anne-Cécile Sanchez in Journal des Arts n° 548]]> ‘madeleine’

with
Alexandra Riss, Clarissa Baumann, Doyeon Gwon, Elisabeth S. Clark, Jenny Feal,
Yue Yuan, Emmanuel Tussore, Kihoon Jeong, Minja Gu, Namhee Kwon

madeleine_0


23.05 – 25.07.2020



article by Maya Sachweh in Artaïs Contemporain


“ And suddenly the memory returns. The taste was that of the little crumb of madeleine which on Sunday mornings at Combray, when I went to say good day to her in her bedroom, my aunt Léonie used to give me, dipping it first in her own cup of real or of lime-flower tea. The sight of the little madeleine had recalled nothing to my mind before I tasted it; perhaps because, … , that their image had dissociated itself from those Combray days to take its place among others more recent; perhaps because of those memories, so long abandoned and put out of mind, nothing now survived, everything was scattered… ”*
The exhibition entitled madeleine, approaches the notions of memory, past time, present time, future time, material and intangible. Each presented artist proposes his or her interpretation in his or her own way, from which we can draw certain encounters. Invocation of memories, which can be worked as frozen or continuous materials. Work on the memory of living and non-living beings, from an archaeological, essential or historical perspective. The effects of time, paradoxes on sensations, the materiality of the object are taken into account.

Alexandra Riss, born in 1992 in Clamart, lives in Paris and Tours. She graduated in 2016 from the Ecole Supérieure d’art et de design Tours – Angers – Le Mans. In 2019, In 2019, she exhibited at the 64th Salon de Montrouge where she won the Kristal Prize. The works of Alexandra Riss oscillate between observation of the real and construction of a fiction. She disposes of memories and objects that surround her in vibrant compositions, convinced that the best way to address others is from her own experience. In this dream space, all objects are facets of an intimate reality of the artist. Like the heroic deeds that founded a legend character, it is the staging evoked, narrated or just imagined that reveals the power of things. Far from being only props, objects become actors, witnesses, hoarders of silent stories. The work is ultimately all this: it is a history, it is of time and successive states, it is at the same time a material and immaterial presence.

Clarissa Baumann (1988) is an artist born in Rio de Janeiro. She posseses a double cursus as she graduated from the Escola Superior de Desenho Industrial da Universidade do Estado do Rio de Janeiro and the École nationale supérieure des Beaux-Arts of Paris. She was also trained in contemporary dance in the Angel Vianna Escola e Faculdade de Dança. Clarissa Baumann is the winner of the Beaux-Arts de Paris Prize and the Adagp Révélation des Arts Plastiques Prize in 2016 through the Salon de Montrouge. Passing in transit between technical drawing, plastic arts and dance, the research of Clarissa Baumann puts a question to the place of the body and daily actions in the middle of a constructivist and functional conception of the world. Taking the shape of a play between short-lived processes and various media that question the limits between visible and invisible, her work builds itself from actions occurring on contexts and already existing relations. Pushed until their surpassement or disappearance, the multiple dimensions of the gesture question our relationship with human scale in a contemporary world more complex than ever : What is the origin of an action? What are its temporal and spatial progresses? Until where could it be visible? How does it continue to exist?

Doyeon Gwon is a Korean artist, born in 1980, who lives and works in Seoul. He studied German Literature in Hanyang University and graduated in Photographic Arts in Sangmyung University of Seoul in 2016. In 2019 his work was rewarded with the ILWOO Photography Award. Gwon explores the relationships between knowledge, memory, visual and language through the medium of photography. The artist expresses the subjects that are transformed by losing their primary function as photographic objects. Leaving only the outer shell, this object comes into harmony with its temporality. Doyeon Gwon uses less the medium of photography to archive the time that consists of materiality, than to revisit the photographic object that served as archive.

Elisabeth S. Clark, born in 1983, lives and works in Londres and in France. She received her MA from the Slade School of Fine Art in 2008 and a BA from Goldsmiths University in 2005. Her participation in the 2017 Lyon Biennale “Les Mondes Flottants” was noticed. Elisabeth S. Clark’s art practice is engaged in translation processes, of both a physical and linguistic nature, encouraging a sensitive perception of our environment and the spaces we occupy. By transforming poetry into a visual, sensual and imaginative experience, she proposes to reconsider the materiality of language itself as well as the expression it elicits. In this way, language reaches beyond itself to see, to think and feel in stillness.

Jenny Feal (1991, Havana) obtained a Master from the Ecole Supérieure des Beaux-Arts de Lyon in 2016, where she currently lives. The same year, she won the Renaud Prize for the installation Te imaginas. Her works were exposed in the MAC Lyon during the Lyon Biennale “Là où les eaux se mêlent”, in 2019. For her, objects are part of our daily life and they testify not only a physical or functional trajectory, but also symbolic. Because of its reproduction or transformation, a distance and a feeling of strangeness are caused in the spectator’s experience. The thin line between personal and collective items is determined by the introduction of super cial and daily objects, loaded with symbolic, historical, social and political dimensions. Cuba is a reference and an endless source.

Yue Yuan was born in 1989 in China. He currently lives and works in Paris. In 2019, he graduated from the École nationale supérieure des Beaux-Arts of Paris. In 2019, the artist won the Agnès b. Prize for the Contemporary Art. He was selected for the 68th edition of Jeune Création (2018) and the 65th Salon de Montrouge (2020). Yue Yuan seeks to give special attention to trivial moments of daily life. It is in fact the notion of spatial perception that leads the whole work, deployed in installations, photographs, actions and sounds. In his career, the reconstruction of the urban experience is accentuated in his in-situ interventions, he weaves a strong link with his context. These stories, through his personal observations and conceptual commitment, depict everyday life in a universe of absurdity, magic, poetry and humour.

Emmanuel Tussore (1984) is interested in the notion of transit shaking up the very idea of borders. Drawing on history and current events, his multidisciplinary practice explores a tragic world in which the notion of disappearance is predominant.

Kihoon Jeong was born in 1980, and he is currently living and working in Seoul, South Korea. His work has been the object of many exhibitions in Art Sonje Center, Kumho Museum of Art and Seoul Museum of Art, Seoul (2015), Incheon Art Platform (2014), Art Space Pool and Songeun Art Space, Seoul (2011).
The world of Kihoon Jeong’s artwork is about unique attitude/action which resists against huge system, standardized groups, unified culture and forced regulation. His works poetically unveil stories of time and labor, but in a subtile way confront the competitive social frame that enforce speed and efficiency. Using construction tools with speed during labor hours, Kihoon Jeong, destroys, dissolves, disslocates, and grinds ordinary objects through repetitve gestures.br/>

Minja Gu , is an artist born in 1977 who lives in Seoul. Fristly she took courses of philosophy in the Yonsei University and later graduated from the Korean National University of Arts. She was part of the ISCP studio program residency (2011) and HISK Gent (2015). Minja Gu recieved the 10th Annual SongEun Art Award. In 2018, she was part of the selection of four artists for the Korea Artist Prize, an annual award with an exhibition organised by the MMCA ( National Museum of Modern and Contemporary Art, Korea) and the SBS Foundation.
Her work mainly consists of the performances and videos that revisit ideas related to the universal objects of human experience such as labor, time, and love. Her works defamiliarize our received ideas taken for granted as true. The artist’s experience of residency programs in various cities, especially the city where daylight saving time is practiced has led her to explore her interest in the artificiality of civilization that taints the natural element of time.

Namhee Kwon, born in 1971, is a Korean artist who lives and works in Paris. Graduated in 1997 from the Hongik University of Seoul, she later graduated from Goldsmiths College of London in 2002. She benefits a personnal exhibition A Writer’s Diary in the Cite Internationale des Arts, Paris (2015) and in 2019 at Tenderbooks, London. Namhee Kwon is a Korean conceptual artistj, interested in representing literary and poetic impressions of everyday life through a visual language, and using text and symbols to alter the visual perceptions of her surroundings.

* PROUST Marcel, Du côté de chez Swann, GF Flammarion, Paris, 1987, p. 140-145


madeleine_1

Doyeon Gwon, Flashsub Memory #Summer Break # 3, 2019, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 73 cm,
edition 2 of 5 + 1 A.P
Namhee Kwon, Rencontrons nous à la gare, 2020, white neon tubes, 140 x 11 x 7 cm, edition of 3 + 2 A.P
Kihoon Jeong, The origin of chair, 2015, wooden chair feet, variable dimensions, unique piece
Yue Yuan, Borrowed wish, 2019, installation, coin, water from Trevi fountain, plastic bottle, 17,8 x 5 x 5 cm (bottle), 21 x 29,7 cm (paper), unique piece
Photo © Aurélien Mole


madeleine_2

Clarissa Baumann,
Cuillère, 2016, book, photographies, copies, 27 pages, variable dimensions between 21 x 42 cm and 21 x 1500 cm, edition of 5 + 2 A.P. Production Fondation d’Entreprise Hermès
Cuillère, 2015, silver spoon of the model Virgule from the Puiforcat workshop, 21cm, silver thread 1 mm x 15 m coiled up on a 25 cm diameter x 41 cm wooden spool, black rubber, unique pieces. Production Fondation d’Entreprise Hermès
Cuillère, 2017, sound piece, stereo sound, 5’47’’, edition of 5 + 2 A.P. Clarissa Baumann (sound recording), Olavo Vianna, (composition and mixing), Louise Leverd (cello). Photo © Aurélien Mole


madeleine_3

Doyeon Gwon, Traveller Novice #1, 2011, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 55 cm, edition of 7 + 1 A.P
Author Annual Report #, 2015, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 55 cm, edition 4 of 5 + 1 A.P
Namhee Kwon, A Writer’s diary / book, 2019, printing on paper of the artist’s handwritten copy of Virginia Woolf’s diary, 295 pages each book, 14.8 x 21.2 x 2 cm each book, edition of 33 + 3 A.P
Jenny Feal, Diario (Journal), 2016, clay, ennamel, 30 – 35 cm diameter each piece, unique pieces
Elisabeth S. Clark, Billets doux, 2018, 2 shells, water, violet ink from two “billet doux” (love notes), paper, 20 x 11,5 cm the installation,
series of unique pieces
Prenons ce temps, 2011, handwritten letter, envelope, Encre de la Tête Noire ink (J. Herbin), 22 x 11 cm, unique piece
Namhee Kwon, When you cry … I will cry too…, 2019, installation, silk screen on fabric tissues, 46 x 46 cm (per tissue), series of unique pieces
Doyeon Gwon, Flashsub Memory #Summer Break # 3, 2019, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 73 cm,
edition 2 of 5 + 1 A.P
Namhee Kwon, Rencontrons nous à la gare, 2020, white neon tubes, 140 x 11 x 7 cm, edition of 3 + 2 A.P
Kihoon Jeong, The origin of chair, 2015, wooden chair feet, variable dimensions, unique piece
Yue Yuan, Borrowed wish, 2019, installation, coin, water from Trevi fountain, plastic bottle, 17,8 x 5 x 5 cm (bottle), 21 x 29,7 cm (paper), unique piece
Minja Gu, 2019 – 2020, series of 19 black and white photographic printings on 180 g special matte inkjet superior paper, 20 x 30 cm, edition of 5 + 1 A.P. Photo © Aurélien Mole


madeleine_4

Namhee Kwon, A Writer’s diary / book, 2019, printing on paper of the artist’s handwritten copy of Virginia Woolf’s diary, 295 pages each book,
14.8 x 21.2 x 2 cm each book, edition of 33 + 3 A.P
Jenny Feal, Diario (Journal), 2016, clay, ennamel, 30 – 35 cm diameter each piece, unique pieces. Photo © Aurélien Mole


madeleine_5

Doyeon Gwon, Traveller Novice #1, 2011, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 55 cm, edition of 7 + 1 A.P
Author Annual Report #, 2015, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 55 cm, edition 4 of 5 + 1 A.P
Namhee Kwon, A Writer’s diary / book, 2019, printing on paper of the artist’s handwritten copy of Virginia Woolf’s diary, 295 pages each book, 14.8 x 21.2 x 2 cm each book, edition of 33 + 3 A.P
Jenny Feal, Diario (Journal), 2016, clay, ennamel, 30 – 35 cm diameter each piece, unique pieces
Elisabeth S. Clark, Billets doux, 2018, 2 shells, water, violet ink from two “billet doux” (love notes), paper, 20 x 11,5 cm the installation,
series of unique pieces
Prenons ce temps, 2011, handwritten letter, envelope, Encre de la Tête Noire ink (J. Herbin), 22 x 11 cm, unique piece
Namhee Kwon, When you cry … I will cry too…, 2019, installation, silk screen on fabric tissues, 46 x 46 cm (per tissue), series of unique pieces.
Photo © Aurélien Mole


madeleine_6

Namhee Kwon, When you cry … I will cry too…, 2019, installation, silk screen on fabric tissues, 46 x 46 cm (per tissue), series of unique pieces
Doyeon Gwon, Flashsub Memory #Summer Break # 3, 2019, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 73 cm,
edition 2 of 5 + 1 A.P
Namhee Kwon, Rencontrons nous à la gare, 2020, white neon tubes, 140 x 11 x 7 cm, edition of 3 + 2 A.P
Kihoon Jeong, The origin of chair, 2015, wooden chair feet, variable dimensions, unique piece
Yue Yuan, Borrowed wish, 2019, installation, coin, water from Trevi fountain, plastic bottle, 17,8 x 5 x 5 cm (bottle), 21 x 29,7 cm (paper), unique piece
Minja Gu, 2019 – 2020, series of 19 black and white photographic printings on 180 g special matte inkjet superior paper, 20 x 30 cm,
edition of 5 + 1 A.P
Doyeon Gwon, Flashsub Memory #Summer Break # 5, 2019, inkjet printing on 310 g Hahnemühle paper, oak frame, glass, 55 x 73 cm,
edition 2 of 5 + 1 A.P. Photo © Aurélien Mole


madeleine_7

Minja Gu, 2019 – 2020, series of 19 black and white photographic printings on 180 g special matte inkjet superior paper, 20 x 30 cm,
edition of 5 + 1 A.P. Photo © Aurélien Mole


madeleine_8

Minja Gu, 2019 – 2020, series of 19 black and white photographic printings on 180 g special matte inkjet superior paper, 20 x 30 cm, edition of 5 + 1 A.P. Photo © Aurélien Mole


madeleine_9

Elisabeth S. Clark, After a long time or a short time, 2019, aluminium, variable dimensions, series of unique pieces
Alexandra Riss, Diaphragme, 2018, performative object, embroidery on fabric, 89 x 62 cm, unique piece. Loop recorded sound, 17’31’’, unique piece. Photo © Aurélien Mole


madeleine_10

Elisabeth S. Clark, After a long time or a short time, 2019, aluminium, variable dimensions, series of unique pieces


madeleine_11

Alexandra Riss, Diaphragme, 2018, performative object, embroidery on fabric, 89 x 62 cm, unique piece. Loop recorded sound, 17’31’’, unique piece
Kihoon Jeong, Time beyond the clock, 2015, powdered mirror, mirror, 60 x 50 cm, unique pieces
Yue Yuan, As far as you can touch, Antipode de Paris, 2020, text printed on white vinyl glued on the oor, around 100 x 100 cm, unique piece
Emmanuel Tussore, 2020, series of 13 pigmented ink inkjet printings, oak frame, glass, 20 x 20 cm (without frame), 24,5 x 24,5 cm (framed), edition of 7 + 2 A.P
Namhee Kwon, - 3-, 2011, white neon tube, 20 x 8 x 7 cm, edition of 3 + 2 A.P
Photo © Aurélien Mole


madeleine_12

Yue Yuan, As far as you can touch, Antipode de Paris, 2020, text printed on white vinyl glued on the floor, around 100 x 100 cm, unique piece
Emmanuel Tussore, 2020, series of 13 pigmented ink inkjet printings, oak frame, glass, 20 x 20 cm (without frame), 24,5 x 24,5 cm (framed), edition of 7 + 2 A.P. Photo © Aurélien Mole


madeleine_13

Emmanuel Tussore, 2020, series of 13 pigmented ink inkjet printings, oak frame, glass, 20 x 20 cm (without frame), 24,5 x 24,5 cm (framed),
edition of 7 + 2 A.P. Photo © Aurélien Mole


madeleine_14

Yue Yuan, As far as you can touch, Antipode de Paris, 2020, text printed on white vinyl glued on the oor, around 100 x 100 cm, unique piece
Kihoon Jeong, Time beyond the clock, 2015, powdered mirror, mirror, 60 x 50 cm, unique pieces


madeleine_15


Yue Yuan, As far as you can touch, Antipode de Paris, 2020, text printed on white vinyl glued on the oor, around 100 x 100 cm, unique piece
Kihoon Jeong, Time beyond the clock, 2015, powdered mirror, mirror, 60 x 50 cm, unique pieces
Emmanuel Tussore, Promenade de digestion, 2020, pigmented ink inkjet printing, oak frame, glass, 20 x 20 cm (without frame), 24,5 x 24,5 cm (framed), edition of 7 + 2 A.P
Namhee Kwon, - 3-, 2011, white neon tube, 20 x 8 x 7 cm, edition of 3 + 2 A.P


madeleine_16

Doyeon Gwon, The art of shovel, 2015, documentary video, black and white, sound, 5’05’’, edition of 5 + 1 A.P


madeleine_17

Doyeon Gwon, The art of shovel, 2015, documentary video, black and white, sound, 5’05’’, edition of 5 + 1 A.P


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Clarissa Baumann, Pôr do sol na sala de estar (Coucher du soleil dans la salle de séjour), 2018, HD video, sound, color, 40’. Edition of 5 + 2 AP.

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Clarissa Baumann, Étude pour la lumière en geste simple, 2018, HD video, sound, color, 5’27’. Edition of 5 + 2 AP.
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