Galerie Dohyang Lee » Elisabeth S. Clark

Adventskalender

Dohyang Lee — Tue, 26 Nov 2024 22:30:01 +0000

Collective exhibition with

Anna Jaccoud, Carolina de la Roche, Charlotte Seidel, Darius Dolatyari-Dolatdoust & Sarah-Anaïs Desbenoit, Elisabeth S. Clark, Hugo Béhérégaray, Jade de Rooster, Jérémy Berton, Jot Fau,
Mackerel Safranski, Moongi Gim, Namhee Kwon, Natalia Villanueva Linares,
Radouan Zeghidour, Ronan Debosque, Sarah Illouz & Marius Escande, Sun Choi and Yeonjin Oh

Available artworks list

14.12 – 28.12.2024

It is a tradition to wait for Christmas and count the days on the Advent Calendar. This end of the year is a time for waiting, introspection and reflection, but also for hope in better days and joy.
Reading a book is a way to patiently wait. The Dohyang Lee Gallery invites visitors to its Adventskalender* (Advent Calendar) which forms a large library where everyone can find own’s « book » that will go with…

+ info

press article by Projets

Jérémy Berton, Welcome Stranger, 2021 – 2022, painted polyurethane resin, varnished plaster, steel rod, 25 x 10 x 22 cm, unique piece
Red Gold, 2021 – 2022, polyurethane resin, varnished plaster, steel rod, 21 x 10 x 21 cm, unique piece
Anna Jaccoud, Sans titre ou Calligramme (Pliés series), 2024, typographic drawing with machine on drawing paper, 53 x 47 cm, unique piece
Sans titre (Sondés series), 2024, typographic drawing with machine on drawing paper, 53 x 47 cm, unique piece
Coin 3, 2024, white painted MDF wastes, coating, squares, 135 x 38 x 48 cm, unique piece
Jade de Rooster, Bargello, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Hexagon, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Honeycomb, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece

Anna Jaccoud, Sans titre (Sondés series), 2024, typographic drawing with machine on drawing paper, 53 x 47 cm, unique piece
Coin 3, 2024, white painted MDF wastes, coating, squares, 135 x 38 x 48 cm, unique piece
Jade de Rooster, Bargello, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Hexagon, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Honeycomb, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Jérémy Berton, Camion 1, 2024, aluminium block, 21 x 10 x 8 cm, unique piece
Camion 2, 2024, aluminium block, 25 x 9,5 x 9,5 cm, unique piece
Camion 3, 2024, aluminium block, 25 x 8,5 x 8,5 cm, unique piece

Sarah Illouz & Marius Escande, Pistachier Térébinthe, 2024, series of 7 felts made of Brigasca sheeps wool, from botanic boards of the 16th century, dyes from Roya valley, 100 x 70 cm front/back, unique piece
Symplocos Paniculata, 2024, series of 7 felts made of Brigasca sheeps wool, from botanic boards of the 16th century, dyes from Roya valley, 100 x 70 cm front/back, unique piece
Mackerel Safranski, Feed the light, 2022, video animation, unique channel, colour, sound, 9’14’’, edition of 5 + 2 AP. Drawing and editing : Mackerel Safranski. Script : Mackerel Safranski. Sound and music : Kim Sung Chool. Sources : La Pesanteur et La Grace, Simon Weil, translated by Jin Yoon,
publication by Moonji Publishing Company
Sarah Illouz & Marius Escande, Aigremoine Eupatoire, 2024, series of 7 felts made of Brigasca sheeps wool, from botanic boards of the 16th century, dyes from Roya valley, 100 x 70 cm front/back, unique piece
Charlotte Seidel, Larmes, 2024, installation, shells, mermaid tears, variable dimensions, unique pieces
Kastanjeboom (Marronnier, Jardin Anne Frank, Paris), 2024, Latex printing on blue paper,
15 x 34 cm, 15 x 36,6 cm, edition of 3 + 1 AP.

Charlotte Seidel, Kastanjeboom (Marronnier, Jardin Anne Frank, Paris), 2024, Latex printing on blue paper, 15 x 34 cm, 15 x 36,6 cm,
edition of 3 + 1 AP.
Jot Fau, Charnellement Modèle, 2023, cardboard, foam covered with silk, rope, chestnut tree branch, cotton thread, 28 x 35 x 9 cm, unique piece
Things both great and small, 2023, wood covered with velvet, leather, plastic toy covered with leather, portrait embroidered on leather, 71 x 15 x 15 cm, unique piece
Namhee Kwon, Someone, 2002 remade in 2024, ccrylic on cotton, 8 x 9 x 2 cm, unique piece
An impression of a lecture, 2002 refait en 2024, cotton, 11 x 13,3 x 0,5 cm, unique piece
Elisabeth S. Clark, With, mere, near, together, 2020, china peas with pins, grey cardboard boxes, ribbon, 6 x 6 x 6 cm, edition of 25

Charlotte Seidel, Kastanjeboom (Marronnier, Jardin Anne Frank, Paris), 2024, Latex printing on blue paper, 15 x 34 cm,
15 x 36,6 cm, edition of 3 + 1 AP.

Charlotte Seidel, Kastanjeboom (Marronnier, Jardin Anne Frank, Paris), 2024, Latex printing on blue paper, 15 x 34 cm, 15 x 36,6 cm,
edition of 3 + 1 AP.
Jot Fau, Charnellement Modèle, 2023, cardboard, foam covered with silk, rope, chestnut tree branch, cotton thread, 28 x 35 x 9 cm, unique piece
Things both great and small, 2023, wood covered with velvet, leather, plastic toy covered with leather, portrait embroidered on leather, 71 x 15 x 15 cm, unique piece
Elisabeth S. Clark, With, mere, near, together, 2020, china peas with pins, grey cardboard boxes, ribbon, 6 x 6 x 6 cm, edition of 25
Natalia Villanueva Linares, Palette LOD11 (S1), 2024, silk paper bricks, with the performance Lands of Dual11, 60 x 50 cm, unique piece
Couleur LOD11 (S1), 2024, glass pots, colours extracted from Lands of Dual11, first session, 10 cm diameter x 8 cm per pot, unique piece
Poématique XL, LOD11, 2024, kraft paper, acrylic paint, 80 x 50 cm, unique piece

Namhee Kwon, Someone, 2002 remade in 2024, ccrylic on cotton, 8 x 9 x 2 cm, unique piece
An impression of a lecture, 2002 refait en 2024, cotton, 11 x 13,3 x 0,5 cm, unique piece

Elisabeth S. Clark, With, mere, near, together, 2020, china peas with pins, grey cardboard boxes, ribbon, 6 x 6 x 6 cm, edition of 25

Namhee Kwon, Someone, 2002 remade in 2024, ccrylic on cotton, 8 x 9 x 2 cm, unique piece
An impression of a lecture, 2002 refait en 2024, cotton, 11 x 13,3 x 0,5 cm, unique piece
Elisabeth S. Clark, With, mere, near, together, 2020, china peas with pins, grey cardboard boxes, ribbon, 6 x 6 x 6 cm, edition of 25
Natalia Villanueva Linares, Palette LOD11 (S1), 2024, silk paper bricks, with the performance Lands of Dual11, 60 x 50 cm, unique piece
Couleur LOD11 (S1), 2024, glass pots, colours extracted from Lands of Dual11, first session, 10 cm diameter x 8 cm per pot, unique piece

Elisabeth S. Clark, With, mere, near, together, 2020, china peas with pins, grey cardboard boxes, ribbon, 6 x 6 x 6 cm, edition of 25
Natalia Villanueva Linares, Palette LOD11 (S1), 2024, silk paper bricks, with the performance Lands of Dual11, 60 x 50 cm, unique piece
Couleur LOD11 (S1), 2024, glass pots, colours extracted from Lands of Dual11, first session, 10 cm diameter x 8 cm per pot, unique piece
Poématique XL, LOD11, 2024, kraft paper, acrylic paint, 80 x 50 cm, unique piece

Natalia Villanueva Linares, Lands of Dual11, performance

Namhee Kwon, Heo Nanseolheon Poetry Generator_Write Yours, 2024, Polaroid photo, 8,8 x 10,8cm, unique piece
Heo Nanseolheon Poetry Generator_Photo, 2024, Polaroid photo, 8,8 x 10,8cm, unique piece
Jérémy Berton, Sometimes I have bad days, 2021 – 2022, painted polyurethane resin, magnet, wood box, rope, 50 x 8 x 5 cm, edition of 10

Charlotte Seidel, Larmes, 2024, installation, shells, mermaid tears, variable dimensions,
unique pieces
Jérémy Berton, Camion 2, 2024, aluminium block, 25 x 9,5 x 9,5 cm, unique piece
Camion 1, 2024, luminium block, 21 x 10 x 8 cm, unique piece
Camion 3, 2024, aluminium block, 25 x 8,5 x 8,5 cm, unique piece
Welcome Stranger, 2021 – 2022, painted polyurethane resin, varnished plaster, steel rod,
25 x 10 x 22 cm, unique piece
Red Gold, 2021 – 2022, polyurethane resin, varnished plaster, steel rod, 21 x 10 x 21 cm, unique piece
Anna Jaccoud, Sans titre ou Calligramme (Pliés series), 2024, typographic drawing with machine on drawing paper, 53 x 47 cm, unique piece
Sans titre (Sondés series), 2024, typographic drawing with machine on drawing paper, 53 x 47 cm, unique piece
Coin 3, 2024, white painted MDF wastes, coating, squares, 135 x 38 x 48 cm, unique piece
Jade de Rooster, Bargello, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Hexagon, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Honeycomb, 2023, collage of silkprinted papers on wood board, 60 x 45 cm, unique piece
Sarah Illouz & Marius Escande, Pistachier Térébinthe, 2024, series of 7 felts made of Brigasca sheeps wool, from botanic boards of the 16th century, dyes from Roya valley, 100 x 70 cm front/back, unique piece

Hugo Béhérégaray, Les Oiseaux, 2023, ink and watercolour on paper, 32 x 24 cm, unique piece
Le Château, 2023, ink and watercolour on paper, 32 x 24 cm, unique piece
Le Traffic, 2023, ink and watercolour on paper, 32 x 24 cm, unique piece
Yeonjin Oh, Solitaire #56, 2021, oil on screen printing lm, 29,7 x 21 cm, unique piece
Solitaire #4, 2021, oil on screen printing lm, 29,7 x 21 cm, unique piece
Solitaire #51, 2021, oil on screen printing lm, 29,7 x 21 cm, unique piece
Solitaire #24, 2021, oil on screen printing lm, 29,7 x 21 cm, unique piece
Solitaire #3, 2021, oil on screen printing lm, 29,7 x 21 cm, unique piece
Pastry #16, 2022, chromogenic print, dark green frame, anti reflect glass, 34,5 x 45,5 cm (without frame),
37,5 x 48,5 cm (frame), unique piece
Pastry #17, 2022, chromogenic print, dark brown frame, anti reflect glass, 40,5 x 45 cm (without frame),
43 x 47,5 cm (frame), unique piece
Ronan Debosque, Diorama, 2024, metal, polymethacrylate, water, ionic fogger with ultrasounds, rubber, water pump, 130 x 90 cm (metal tray), 40 x 40 cm (polymethacrylate tray), unique piece

Yeonjin Oh, Solitaire #56, 2021, oil on screen printing film, 29,7 x 21 cm, unique piece
Solitaire #4, 2021, oil on screen printing film, 29,7 x 21 cm, unique piece
Solitaire #51, 2021, oil on screen printing film, 29,7 x 21 cm, unique piece
Solitaire #24, 2021, oil on screen printing film, 29,7 x 21 cm, unique piece
Solitaire #3, 2021, oil on screen printing film, 29,7 x 21 cm, unique piece
Pastry #16, 2022, chromogenic print, dark green frame, anti reflect glass, 34,5 x 45,5 cm (without frame),
37,5 x 48,5 cm (frame), unique piece
Pastry #17, 2022, chromogenic print, dark brown frame, anti reflect glass, 40,5 x 45 cm (without frame),
43 x 47,5 cm (frame), unique piece
Ronan Debosque, Diorama, 2024, metal, polymethacrylate, water, ionic fogger with ultrasounds, rubber, water pump, 130 x 90 cm (metal tray), 40 x 40 cm (polymethacrylate tray), unique piece
Sun Choi, Non Drawn Painting, 2022, oriental pigments and gelatin on duvet covers used by salt workers, 268 x 180 cm, unique pieces

Sun Choi, Non Drawn Painting, 2022, oriental pigments and gelatin on duvet covers used by salt workers,
268 x 180 cm, unique pieces
Carolina de la Roche, Blessure à vif, 2024, collage on paper, frame, 27 x 21 cm without frame, 30 x 24 cm
with frame, unique piece
Convulsion fébrile, 2024, oil on canvas, 41 x 33 cm, unique piece
Mise en abîme, 2024, collage on paper, frame, 26 x 16 cm without frame, 30 x 24 cm with frame, unique piece
Hugo Béhérégaray, La Ville, 2023, ink and acrylic on paper, 124 x 140 cm, unique piece
Moongi Gim, Vicky Cristina Barcelona, 2024, sculpture being part of the series Poor Piece, scotch tape on paper, 70 x 50 x 40 cm, unique piece

Carolina de la Roche, Blessure à vif, 2024, collage on paper, frame, 27 x 21 cm without frame, 30 x 24 cm
with frame, unique piece
Convulsion fébrile, 2024, oil on canvas, 41 x 33 cm, unique piece
Mise en abîme, 2024, collage on paper, frame, 26 x 16 cm without frame, 30 x 24 cm with frame, unique piece
Hugo Béhérégaray, Wheel of Fortune, 2022, watercolour on paper, 30 x 29,5 cm, unique piece
La Ville, 2023, ink and acrylic on paper, 124 x 140 cm, unique piece
Moongi Gim, Vicky Cristina Barcelona, 2024, sculpture being part of the series Poor Piece, scotch tape on paper, 70 x 50 x 40 cm, unique piece
Radouan Zeghidour

Hugo Béhérégaray, Wheel of Fortune, 2022, watercolour on paper, 30 x 29,5 cm, unique piece

Hugo Béhérégaray, La Ville, 2023, ink and acrylic on paper, 124 x 140 cm, unique piece
Moongi Gim, Vicky Cristina Barcelona, 2024, sculpture being part of the series Poor Piece, scotch tape on paper, 70 x 50 x 40 cm, unique piece
Radouan Zeghidour

Radouan Zeghidour

Darius Dolatyari-Dolatdoust & Sarah-Anaïs Desbenoit, Red Room, 2024, set, 4:3 video, 36’54’’, sound, colour, mixt techniques, edition of 5 + 2 AP. Performers artists : Darius Dolatyari-Dolatdoust and Anaïs Commaret. Variable dimensions. Sarah-Anaïs Desbenoit (Images, Lights), Darius Dolatyari-Dolatdoust (Ceramics, Textiles and Choreography), Mathilin Bernard (Chair), Faustine Benton, Asma Berrouachedi and Audrey Gambier (Set assistants), Paul Lajus (Sound), Quentin L’helgouac’h (Camera assistant)
Carafe, 2024, carafe in enameled ceramics, variable dimensions, unique piece
Pois vertical, 2024, candlestick in enameled ceramics, variable dimensions, unique piece
Tasses, 2024, cups in enameled ceramics, variable dimensions, unique pieces
Pois pyramide, 2024, candlestick in enameled ceramics, variable dimensions, unique piece
Carreaux, 2024, 20 tiles in enameled ceramics, variable dimensions, unique pieces

Darius Dolatyari-Dolatdoust & Sarah-Anaïs Desbenoit, Carafe, 2024, carafe in enameled ceramics, variable dimensions, unique piece
Pois vertical, 2024, candlestick in enameled ceramics, variable dimensions, unique piece
Tasses, 2024, cups in enameled ceramics, variable dimensions, unique pieces
Pois pyramide, 2024, candlestick in enameled ceramics, variable dimensions, unique piece
Carreaux, 2024, 20 tiles in enameled ceramics, variable dimensions, unique pieces

………………………………………………..

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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éco (…..) éco (…..) éco (…….) – part I

Dohyang Lee — Fri, 30 Sep 2022 11:39:08 +0000

Available artworks list.

éco (…..) éco (…..) éco (…….) part I

Collective exhibition with
Amalia Laurent, Clarissa Baumann, Elisabeth S. Clark, Emma Passera, Emmanuel Tussore, Guillaume Lépine, Jenny Feal, Joon Yoo, Julia Gault, Laure Tiberghien, Laurent Fiévet, Marcos Avila Forero, Masahiro Suzuki, Minja Gu, Minjung Kim, Mijung Shin, Namhee Kwon, Radouan Zeghidour, Yue Yuan, Zohreh Zavareh

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.

1. Jacques Chirac (1932 – 2019), Fourth Earth Summit, September 2th 2002, Johannesburg, South Africa
2. https://www.oxfordlearnersdictionaries.com/definition/english/eco?q=eco
3. https://en.wiktionary.org/wiki/eco
4. https://www.oxfordlearnersdictionaries.com/definition/english/economy?q=economy
5. https://www.oxfordlearnersdictionaries.com/definition/english/ecology?q=ecology
6. https://www.oxfordlearnersdictionaries.com/definition/english/ecosystem?q=ecosystem

Printable version of the press release

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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) #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

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

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

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

………………………………………………..

Protected: Rehearsal performance Book Concerto at the FRAC Franche Comté, Besançon, France

Dohyang Lee — Mon, 07 Sep 2020 13:20:30 +0000

Protected: Performance Book Concerto at the FRAC Franche Comté, Besançon, France

Dohyang Lee — Mon, 07 Sep 2020 13:17:18 +0000

Protected: Performance Book Concerto at Künstlerhaus Schloss Balmoral, Bad Ems, Germany

Dohyang Lee — Mon, 07 Sep 2020 13:09:51 +0000

Madeleine

Dohyang Lee — Thu, 05 Mar 2020 14:26:02 +0000

‘madeleine’

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

23.05 – 25.07.2020

article by Maya Sachweh in Artaïs Contemporain

article by Anne-Cécile Sanchez in Journal des Arts n° 548

“ 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

printable version of the press release

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

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

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

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

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

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

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

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

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
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

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

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

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

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

………………………………………………..

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

………………………………………………..

Protected: Conducting Conductors (Silent interpretations of a sonorous score)

Dohyang Lee — Wed, 23 May 2018 23:19:53 +0000

I never knew that sand had so many colours.

Dohyang Lee — Mon, 05 Mar 2018 10:49:01 +0000

I never knew that sand had so many colours.

ELISABETH S. CLARK

Opening on Saturday, April 07th from 6pm to 9pm
07.04 – 26.05.2018
_____________________

If you listen very carefully, you might hear an accordion breathing in and out. In this book, it is night and the whole story is recounted in only one breath.
Jump to another stack, and we find fragments, ‘tweets’ of popular classic stories re-told. Gushing orange. Bite-size. Twitterature. The best of Penguin Books all folded into one. A third rendition embodies the sonic temperature of a previous performance. A thermometer stands in for the conductor’s baton.

For ten years, Elisabeth S. Clark has been orchestrating what she calls ‘Book Concertos’ – a performance which explores the possibility for a whole novel to be read in under ten minutes, involving as many people as there are leaves in a chosen book.

In the gallery, only piles of books remain, murmuring memories of their previous function. For Clark however, they are not merely books but also musical instruments for her performances. And here in the space, these books, ‘Eleven Instruments, Eleven Variations’ (2018), have found new forms, new sculptural manifestations dictated by each previous performance. Her custom bookshelves are designed to encase but also resonate their performative potential. Each rendition encapsulates a more complex story. The custom bookshelves become like another page, another fold, an extension of the book itself.

Downstairs, her ‘Between Words’ score (2010-2013) has a new ‘Reading Machine’ (2018); also a protagonist for a new upcoming performance.
These ‘Reading Machines’ equally serve as both methods of display (viewing structures/ music stands) and tools (sonorous instruments/props) for her performances. The score of punctuation hanging from these objects was once a poem by Raymond Roussel (‘Les Nouvelles Impressions d’Afrique’). Elisabeth S. Clark appropriates this poem, isolating all the author’s punctuation and concealing all the words. She then re-translates this into a score for voice or orchestra or even dance.

The score of punctuation encapsulates both sound and silence, emotion and gesture. In fact, these intricate punctuation marks – translated here as notation, or musical notes, or conductors of expression – both encase and resonate sound in equal measures and explore possibilities of variation.
This is exemplified in her future performance propositions, ‘Conducting Conductors (Silent interpretations of a sonorous score)’ (2018) that she envisions for four performers (including a musical conductor, vocalist, dancer and musician). Four black folders present a vision for this event.

In the last room of her exhibition, Elisabeth S. Clark delicately fashions together grains of sand from more than a dozen places and countries around the world. The fragility of her gesture brings to mind the precariousness of a perfectly crafted snowball. Or could it be a hefty pile, a globe, a sphere of poetry for inexpressible language… One’s mind turns to Robert Smithson’s Heap of Language, as if she had crumpled together into a wad all the punctuation that had fallen from the pages next door. Though her gesture might seem light in touch, these grains of sand bridge places far and wide. This work, entitled ‘My World’ (2018), contains years of collecting: the artist’s own personal atlas of sand from all the places that have shaped her.

Unlike in the documentation of her installation ‘Enchanté’ (2017) presented in the gallery window upstairs, here she has chosen to gather rather than scatter particles. Both of these gestures nevertheless seem at the very heart of this exhibition.

All of the works in this exhibition span many years. And yet, like shifting sand none of them are fixed. Part installation, part performance, part sculpture, Elisabeth S. Clark’s works move freely between disciplines. Her sculptures evoke performances and her performances sculptures.

Her works become like a collection of interpretations (‘moments’) and yet her poetry is filled with a cadence that leaves you returning again and again. Under every layer is another layer, another moment.

Clark’s own words spring to mind, lifted from the page of her sketchbook:
‘I never knew that sand had so many colours…’

We are not quite sure if the artist is speaking of sand or of words or of an event or of the larger entity of language and expression.

printable version

Elisabeth S. Clark, Eleven Instruments, Eleven Variations, Book Concerto in One Act: for 75 Penguins, 2018, custom table-bookshelf in ash and steel, 75 books (Twitterature edition by Alexander Aciman & Emmett Rensin), 100 x 102 x 11 cm (table non removable). Performance presented in 2010 at Penguin Books’ Head Offices, London, UK, unique piece
Eleven Instruments, Eleven Variations, Book Concerto in One Act: for 20 Penguins, 2018, custom bookshelf in ash, 20 books (Die Schulzeit von Freddy Karpf by Manfred Goldfish), 18 x 12 x 13 cm. Performance presented in 2012 at Künstlerhaus Schloss Balmoral, Bad Ems, Germany,
unique piece
Eleven Instruments, Eleven Variations, Book Concerto in One Act: for 29 Penguins, 2018, custom table-bookshelf in ash and maple and steel, 29 books (A Room of One’s Own by Virginia Woolf), 84 x 120 x 25 cm (table), 120 x 25 cm (bookshelf with removable feet). Performance presented in 2008 at R O O M Gallery, London, UK, unique piece
Eleven Instruments, Eleven Variations, Book Concerto in One Act: for 90 Penguins, 2018, custom bookshelf in ash, 90 books (The Book of Sand by Jorge Luis Borges), 106,5 x 21,5 x 16 cm. Performance presented in 2008 at the Slade School of Fine Art, London, UK, unique piece
Eleven Instruments, Eleven Variations, Book Concerto in One Act: for 40 Penguins, 2018, custom bookshelf in ash, 40 books (Cahiers de Résidence of Fondation d’Entreprise Hermès), 29 x 41 x 22,5 cm. Performance presented in 2012 at the Magasin Hermès for the launch of the Cahiers de Résidence, Fondation d’Entreprise Hermès & Actes Sud, Paris, France, unique piece
Eleven Instruments, Eleven Variations, Book Concerto in One Act: for 17 Penguins, 2018, custom bookshelf in ash, 17 books (The Country of the Blind by H.G. Wells), 11 x 24 x 16,5 cm. Performance presented in 2009 at the 12th International Artist’s Book Fair, Leeds, UK, unique piece.
Photo © Aurélien Mole

Elisabeth S. Clark, Eleven Instruments, Eleven Variations, Book Concerto in One Act: for 40 Penguins, 2018, custom bookshelf in ash, 40 books (Cahiers de Résidence of Fondation d’Entreprise Hermès), 29 x 41 x 22,5 cm. Performance presented in 2012 at the Magasin Hermès for the launch of the Cahiers de Résidence, Fondation d’Entreprise Hermès & Actes Sud, Paris, France, unique piece. Photo © Aurélien Mole

Elisabeth S. Clark, Eleven Instruments, Eleven Variations, Book Concerto in One Act: for 20 Penguins, 2018, custom bookshelf in ash, 20 books (Die Schulzeit von Freddy Karpf by Manfred Goldfish), 18 x 12 x 13 cm. Performance presented in 2012 at Künstlerhaus Schloss Balmoral, Bad Ems, Germany, unique piece. Photo © Aurélien Mole

Elisabeth S. Clark, Eleven Instruments, Eleven Variations, Book Concerto in One Act: for 17 Penguins, 2018, custom bookshelf in ash, 17 books (The Country of the Blind by H.G. Wells), 11 x 24 x 16,5 cm. Performance presented in 2009 at the 12th International Artist’s Book Fair, Leeds, UK, unique piece. Photo © Aurélien Mole

Elisabeth S. Clark, Eleven Instruments, Eleven Variations, Book Concerto in One Act: for 29 Penguins, 2018, custom table-bookshelf in ash and maple and steel, 29 books (A Room of One’s Own by Virginia Woolf),
84 x 120 x 25 cm (table), 120 x 25 cm (bookshelf with removable feet). Performance presented in 2008 at R O O M Gallery, London, UK, unique piece. Photo © Aurélien Mole

Elisabeth S. Clark, Eleven Instruments, Eleven Variations, Book Concerto in One Act: for 212 Penguins, 2018, custom table-bookshelf in ash and steel, 8 books, 204 cardboard pages of black and white photocopies (Robert Smithson: The Collected Writings by Robert Smithson), 45 x 33 x 25 cm (table removable). Performance presented in 2017 at the London Contemporary Music Festival, Ambika P3, London, UK, unique piece. Photo © Aurélien Mole

Elisabeth S. Clark, Eleven Instruments, Eleven Variations, Book Concerto in One Act: for 106 Penguins, 2018, custom bookshelf in ash, 106 black and white photocopies (Robert Smithson: The Collected Writings by Robert Smithson), variable dimensions. Performance presented in 2017 at the London Contemporary Music Festival, Ambika P3, London, UK, unique piece. Photo © Aurélien Mole

Elisabeth S. Clark, Eleven Instruments, Eleven Variations, Book Concerto in One Act: for 18 Penguins, 2018, custom bookshelf in ash (and maple), 18 books (As the story was told by Samuel Beckett), variable dimensions. Performance presented in 2008 at UCL Library, London, UK, unique piece. Photo © Aurélien Mole

Elisabeth S. Clark, Eleven Instruments, Eleven Variations, Book Concerto in One Act: for 34 Penguins, 2018, custom table-bookshelf in ash and maple and steel, 34 books (La nuit juste avant les forêts by Bernard-Marie Koltès), 71 x 100 cm (table), bookshelf with non removable feet Performance presented in 2010 at the Palais de Tokyo, Paris, France, unique piece. Photo © Aurélien Mole

Elisabeth S. Clark, Reading Machine (for Between Words), 2018, structure in beech wood (12 branched wooden hanging rack with rotating top), paper and drawings (music scores), 160 x 54 x 54 x 130 diameter cm (tall version), 100 x 54 x 54 x 130 diamter cm (small version), edition of 4,
serie of unique pieces (music score)
Conducting Conductors (Silent interpretations of a sonorous score), 2018, documentary video of a performance,
working document for the artist’s project, color, sound, 06’40’’. Photo © Aurélien Mole

Elisabeth S. Clark, Reading Machine (for Between Words), 2018, structure in beech wood (12 branched wooden hanging rack with rotating top), paper and drawings (music scores), 160 x 54 x 54 x 130 diameter cm (tall version), 100 x 54 x 54 x 130 diamter cm (small version), edition of 4,
serie of unique pieces (music score)
Between Words, 2010-2013, unbound score – print on paper and artist’s and musician’s annotations in pencil
31 pages, 29.7 x 42 cm, unique oeuvre from performance at Site Gallery, Sheffield, UK (alongside the exhibition Sol LeWitt: Artist’s Books), 8 May 2010. Performed by the Edges Ensemble. Photo © Aurélien Mole

Elisabeth S. Clark, Conducting Conductors (Silent interpretations of a sonorous score), 2018, documentary video of a performance, working document for the artist’s project, color, sound, 06’40’’
Reading Machine (for Between Words), 2018, structure in beech wood (12 branched wooden hanging rack with rotating top), paper and drawings (music scores), 160 x 54 x 54 x 130 diameter cm (tall version), 100 x 54 x 54 x 130 diamter cm (small version), edition of 4, serie of unique pieces (music score). Photo © Aurélien Mole

Elisabeth S. Clark, My world, 2018, sand from 16 different locations/countries, binding agent, 55 x 55 x 2 cm (table) , variable dimensions (sphere), serie of unique pieces + 1 AP. Photo © Aurélien Mole

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Protected: Book Concerto – video

Dohyang Lee — Wed, 31 May 2017 00:35:27 +0000

En un clin d’oeil (01h 59m 60s)

Dohyang Lee — Mon, 20 Oct 2014 13:39:39 +0000

Elisabeth S. Clark, En un clin d’oeil (01h 59m 60s) , 2012, Bad Ems, Germany, video, format 16 : 9, color, mute, 29’ 09”,
218 street lamps flickering at the separating second, light Intervention, duration: 1 second. Edition of 3 + 2 AP