Galerie Dohyang Lee » Marcos Avila Forero

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

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

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

………………………………………………..

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

………………………………………………..

Protected: 73.031 – Muro Negro – video

Dohyang Lee — Sat, 13 Feb 2021 19:09:15 +0000

RICARD PRIZE 2019 PHOTOS

dohyang lee — Tue, 01 Oct 2019 09:59:20 +0000

RICARD PRIZE 2019

OFF SITE AUTUMN 2019

Dohyang Lee — Thu, 05 Sep 2019 09:46:09 +0000

OFF SITE – AUTUMN 2019

Nuit Blanche

CHARLOTTE SEIDEL

Videos projection

05.10.2019 // 11 pm – 12 pm

+ infos

The 6th Jonggeundang Artist Prize

SUN CHOI

nominated to 6th Jonggeundang Artist Prize

Opening 19.09.2019
Exhibition 19.09 – 30.09.2019

+ infos

Le Fil d’Alerte

MARCOS AVILA FORERO

nominated to the 21th Fondation d’Entreprise Ricard Prize

Opening 09.09.2019 // 18h30
Exhibition 10.09 – 26.10.2019

+ infos // + exhibition views

Signal Mouvement

VIOLAINE LOCHU

Solo show at Ateliers Vortex

06.09 – 05.10.19

+ infos

Là où les eaux se mèlent

JENNY FEAL

Participation in the 15th Biennal of Lyon

Opening 16.09 – 17.09.2019
Exhibition 18.09.2019 – 05.01.2020

+ infos // + exhibition views

………………………………………………..

73-75 rue Quincampoix 75003 Paris France
Tuesday – Saturday 11 am – 1 pm // 2 pm – 7 pm
tel : +33 (0)1 42 77 05 97
www.galeriedohyanglee.com

………………………………………………..

The time of apples

Dohyang Lee — Sun, 05 Aug 2018 22:05:11 +0000

Le temps des pommes

Collaboration between the Dohyang Lee and the contemporay art space ETE 78, Ixelles, Belgium

with Louis-Cyprien Rials, Marcos Avila Forero, Paula Castro, Jenny Feal,
Charlotte Seidel, RohwaJeong, Kihoon Jeong, Yangachi, Afour Rhizome, Sun Choi

Opening on Saturday, September 15th 2018 at the contemporary art space ETE 78, Ixelles, Belgium
15.09 – 06.10.2018
_____________________

Open on Saturdays 22.09, 29.09, 06.10 / 2pm – 6pm and on rendez vous

The title of the exhibition Le temps des pommes refers to the song The time of cherries *, written by Jean Baptiste Clement ( 1836 – 1903 ) in 1867. This song sings originally the summer, the beauty of the nature and the nostalgia for a lost time. It is then associated with the Paris Commune **, because of its author, who participated in.
“ Change the world, change the life for the happiness of all ”, such was the dream of the people who participated in. For the exhibition Le temps des pommes, the artists think over from past to present about the world and the social, political, economic, ideological history while having a visionary analysis.

Born in 1981 in Paris, Louis-Cyprien Rials attended theater lessons at the conservatory, in France, before discovering photography in Japan, where he lived for many years. He is the winner of the SAM PROJECTS 2017 Prize.
His work documents through photographs and videos a world devoid of humans. All that remains are the forms and terrains conducive to disorientation and contemplation. Through an exploration of the possible representations of landscapes from micrographics to satellite imagery, by changing the scale of these studies, he proposes to the viewer a space as free to the imagination as to pareidolia. In this universe of the retreated and forgotten being, this documentation of abandoned scenography, of monuments – natural or not – of ruins , traces recorded in geography, reveals a piece of humanity as seen through the prism of his absence.

Graduated in 2010, from the Ecole Nationale Supérieure des Beaux-Arts of Paris, Marcos Avila Forero (born in 1983, in Paris) is invited to the 57th Venice Biennal (2017) Viva Arte Viva by the curator Christine Macel.
The curator Daria de Beauvais, said : “ Videos, frescoes/murals, objects, sculptures, performances or installations, the work of Marco Avila Forero always seems to evoke an off-screen : a meeting, a story or a process it keeps track of. His micro-fictions made of bits and pieces seek to build up a colusion between times and places that seem at odds rather than demonstrate or document. The richness and poetry of this work come from the visit and the diversion of the boundaries… At times of increased and dematerialised flaws, Marcos Avila Forero broaches the duration and materiality of movings/shiftings and migrations, provides meaning and substance that are too often neglected… The human being is also central in his work. It is the one who paradoxically waits at the edges waiting forever “ the good moment ” to jump ahead/lead the way. ”

Jenny Feal is born in 1991 in Havana, Cuba, and obtained a Master from the Ecole Supérieure des Beaux-Arts de Lyon in 2016. The sale year, she won the Renaud prize for the installation Te imaginas.
For her, objects are part of our daily life and they testify not only a physical or functional trajectory, but also symbolic. Through her work, the artist takes existing objects with proper lives that belong to a specific context. 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.

Sun Choi, born in 1973, lives in Seoul, South Korea. He graduated from the Hongik University in Séoul in 2003. He won the grand prize of the SongEun Award in 2013.
For Sun Choi “ the artist had vague questions about art. And he made efforts to make those vague questions more clear and tried to put those efforts into practice. Leaving behind the past irrationality of contemporary Korean art, which overlaps with his time, he found it difficult to figure out what on earth art is and what we can call artistic. In front of the vagueness created by Western-oriented conventional wisdom about art, the misery of reality that you and I can clearly witness is paradoxically artistic enough. There are two conflicting factors existing at the same time in his “work” that is presented as art: visible and invisible, material and immaterial, clear and unclear, and artistic and inartistic. He is creating artworks in hope that “ art ” will vanish.”

RohwaJeong, made by Yun-hee Noh (Seoul, 1981) and Hyeon-seok Jeong (Seoul, 1981), is an visual artist couple from Seoul, South Korea. More than a duo, it an unique and unsplitable being. Their work observes and pays attention to relations changing in various times and spaces, and makes efforts to capture them effectively in their works. In particular, they try to probe into diverse relations among individuals and the individuals’ detailed conflicts arising from their roles in the relations. This is a movement to get away from the majority’s subjective and violent eyes that interpret all phenomena around in somewhat lazy and stereotyped judgment. Accordingly, it sometimes appears to be a situation or state that may induce various interpretations of a certain relation through works. In 2019, the duo participates in the 12th Gwangju Biennale, Imagined Borders, in South Korea.

Paula Castro, born in Buenos Aires in 1978) lives and works in the same city. She approaches the drawing through landscapes and imaginary concepts compound of points and lines. Representation of the realm of imagination and mind, the world is regarded as a “ body ” of infinite points on which the surface is in movement in the time and space. Things found everywhere (photos, words, places) are the origin of her works. Forms and thoughts constantly change and are transformed into an organic whole of lines and points, ideas and concepts, imaginary and real places. Her drawings are the result of a visual modification or a mysterious meeting between literature and line.

Charlotte Seidel, born in 1981, in Hamburg, Germany lives and works in Paris. According to Isaline Vuille, this artist harvests a sensitive art of the invisible, of the absence and ephemeral, often taking place in situ, poetically to magnify details. Creating small intensities emerging from the continuous stream of events and images surrounding us, Charlotte Seidel uses the reality as material, a sometimes banal everyday life, common histories, isolating familiar elements to which we do not necessarily pay attention. Encouraging people to take a closer look on our environment, the practice of Charlotte Seidel made, piece by piece, something that could be called poetry of everyday life.

Kihoon Jeong was born in 1980, and he is currently living and working in Seoul, South Korea. 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 work begins with the question that if we are not able to transform social structure and custom at the collective dimension, what would we do ? He goes counter to vanity, neglected things, irregular activity and the logic of market through attempting minute modification of microscopic units at a partial level and making a backward movement from the logic of power within social structure.

Yangachi was born in 1970 in Busan, South Korea and was graduated of a B.F.A in sculpture from the University of Suwon and a Master in media arts from the Yonsei University, in Seoul. He is interested in the screen, movie, surveillance. The artist accumulates episodes, collects information and transforms them into “ signs ” to edit them by sequence. He proceeds then in superimposing signs and puts them in a relationship of explanation. Yangachi spreads his reality and his experiences and reflects them in the contemporary Korean society to criticize it.

Afour Rhizome (or A4 Rhizome or A4rizm) is one of artist’s names chosen by Kyoo Seok Choi (born in Seoul, South Korea, in 1976), graduated from the Paris VIII University. This name rather neutral indicates his work and his project of a construction of the archives of knowledges, works of art and oneself. The choice of the name questions : “ what is an artist ? ”
One of his works is named Balls of Dictionnary in which a sheet of the “ recovered ” Petit Robert dictionary is transformed into a ball by keeping the visibility of the number of page, it is tidied up in a “collected” jewelry box and is presented. Some balls are sold in separately with a price fixed freely by the buyer to the flea market. The routes of these objects, the sale prices, the dates and the places of sale, the names, the email addresses of the buyer and the details of expenses are documented. This document is integrated into the process of construction of this work and is also exposed as an element of the work.

* NB : https://en.wikipedia.org/wiki/Le_Temps_des_cerises
** NB : https://en.wikipedia.org/wiki/Paris_Commune

printable version

press article PointCulture

press article Lupita

With the support of ÉTÉ 78, Ministry of Culture of the Republic of Korea and the Korea Arts Management Service

Charlotte Seidel, …, 2012 – 2016, book, impression, hand bookbinding, 25 x 18,5 x 7,5 cm, edition of 7 + 2 AP
Paula Castro, Embarcaciones indigenas sobre el lago, exposition internationale coloniale Paris 1931, 2011, ink on paper, frame, glass, 23 x 29 cm framed, unique piece
AFour Rhizome, Boules de dictionnaire, 2018, several materials, variable dimensions, unique pieces
Jenny Feal, Diario (Journal), 2016, clay, enamel, variable dimensions, unique pieces
Kihoon Jeong, The origin of chair, 2015, feet of a wooden chair, variables dimensions, unique piece
Louis-Cyprien Rials, Kanab, 2018, wallpaper, two oak frames, etching, postcard, anti reflective glass, variable dimensions,
edition of 5 + 2 AP
Louis-Cyprien Rials, Mene, Mene, Tekel, Upharsin – Bols, 2015, 3 ceramic bowls, black pigments, variable dimensions, unique pieces
Sun Choi, You Can Continue to Breathe at the Ending Point of My Breath, 2011, Japanese people’s breath, India ink on paper, variable dimensions, unique piece
Sun Choi, Interrupted voyage, 2018, ephemeral installation with sea salt from the sea of North Korea. Documentary video. Photo © Sun Choi

Sun Choi, Naked painting, 2015, canvas, 155 x 100 cm, unique piece
Charlotte Seidel, …, 2012 – 2016, book, impression, hand bookbinding, 25 x 18,5 x 7,5 cm, edition of 7 + 2 AP
Paula Castro, Embarcaciones indigenas sobre el lago, exposition internationale coloniale Paris 1931, 2011, ink on paper, frame, glass,
23 x 29 cm framed, unique piece. Photo © Sun Choi

Jenny Feal, Córtate la barba (Coupe-toi la barbe), 2016, bronze, newspapers, steel, mirror, variable dimensions, unique pieces. Photo © Sun Choi

Sun Choi, Interrupted voyage, 2018, ephemeral installation with sea salt from the sea of North Korea. Documentary video. Photo © Sun Choi

RohwaJeong, Three cornered, 2018, silk screen print on paper, 57 x 76 cm, unique piece. Acrylic on silk screen mesh, brass, variable dimensions, unique piece
5/4, 2018, silk screen print on paper, 57 x 76 cm, unique piece. Acrylic on silk screen mesh, brass, variable dimensions, unique piece. Photo © Sun Choi

Jenny Feal, Córtate la barba (Coupe-toi la barbe), 2016, bronze, newspapers, steel, mirror, variable dimensions, unique pieces
Jenny Feal, Diario (Journal), 2016, clay, enamel, variable dimensions, unique pieces
AFour Rhizome, Boules de dictionnaire, 2018, several materials, variable dimensions, unique pieces
Marcos Avila Forero, Archive – Casa perdida 1, 2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP
Marcos Avila Forero, Archive – Casa perdida 2, 2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP
Marcos Avila Forero, Archive – El guia – Cesitar, 2017, digital color photography on baryta paper, 80 x 60 cm, edition of 15 + 3 AP
Marcos Avila Forero, Archive – Raspachin, 2017, digital color photography on baryta paper, 80 x 60 cm, edition of 15 + 3 AP
Paula Castro, Embarcaciones indigenas sobre el lago, exposition internationale coloniale Paris 1931, 2011, ink on paper, frame, glass,
23 x 29 cm framed, unique piece
Charlotte Seidel, …, 2012 – 2016, book, impression, hand bookbinding, 25 x 18,5 x 7,5 cm, edition of 7 + 2 AP
Sun Choi, Naked painting, 2015, canvas, 155 x 100 cm, unique piece. Photo © Sun Choi

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73-75 rue Quincampoix 75003 Paris France
Tuesday – Saturday 11 am – 1 pm // 2 pm – 7 pm
tel : +33 (0)1 42 77 05 97
www.galeriedohyanglee.com

………………………………………………..

Protected: Another version of “The Persians” by Aeschylus 2

Dohyang Lee — Wed, 11 Jul 2018 13:07:24 +0000

Protected: Another version of “The Persians” by Aeschylus 1

Dohyang Lee — Wed, 11 Jul 2018 13:02:38 +0000

Palenqueros – Un Pechiche para Benkos

Dohyang Lee — Sun, 19 Nov 2017 17:14:28 +0000

Marcos Avila Forero, Palenqueros – Un Pechiche para Benkos, 2017, HD video 16 : 9, color, sound, 5’16’’. Edition of 5 + 2 AP.

Les choses qui échappent

Dohyang Lee — Thu, 20 Jul 2017 11:03:02 +0000

Les choses qui échappent

MARCOS AVILA FORERO

Opening on Tuesday, October 17th from 6pm to 9pm
17.10 – 25.11.2017
_____________________

The Dohyang Lee Gallery welcomes you to the Nocturne des Galeries FIAC (Gallery Night)
on THURSDAY, OCTOBER 19TH from 6pm to 10pm.

Les choses qui échappent (The things that slip away) imbue as much importance as those we understand or join together.

In Marcos Avila Forero’s work, the artwork does not dwell only inside the « print » he decides to show, whether it is a film, a photography or a sculpture. For the artist, the site, the times of detection, observation, and dialogue, with the search for archives, make an intimate preliminary and necessary documentary.

« My work exists first and foremost where I do it. »

The photographies selection that constitute the third individual exhibition of Marcos Avila Forero at the Dohyang Lee Gallery impersonates the sketchbook or notebook that often comes along with his artworks in his exhibitions. These are the material of the off – camera and mark it. For documentary or journalistic purposes, if the exposed portraits also tell about the backstage of their creation, they are, above all, a tool to understand and grasp the context the artist made Estenopeícas rurales, restitution of the memory (2015) in: the Colombian countryside and the homecoming after a long exile of the inhabitants engaged in an organised fight – armed or not – to defend their rights of land.

In this work, the artist examines a question the peace treaty signature with the FARC addresses with more acuity, nowadays. Thus, he displays artworks that match each other about Colombian farmers and their armed struggle as part of individual exhibitions like Les Choses qui vibrent at Grand Café in Saint Nazaire or collective exhibitions like Medellín, une histoire colombienne des années 1950 à aujourd’hui, in Abattoirs de Toulouse where he notably shows, a triptych of Estenopeícas rurales.

The snapshots of Les Choses qui Echappent mark the time of reunions, after the exile, between housings, their surroundings and those who make them live. The intimate time fixed on the film will become the object of a perspective reversal, and the creation of historical depth inside the series Estenopeícas rurales. The houses themselves certify the existence of those exiles that became like ghosts. The portraits exposed here testify of a retrieved presence for what the series tries to render the sporadic character. How to create and summon the history of an absence from the presence…

The eyes of time.

Marcos Avila Forero freezes here a moment to prepare an artwork that plays with different temporalities : that of the passed time and that which saw those abandoned places, that of the time of the absence, thus the time of reunions, and more the time of life and the time of death which saw times deteriorate, spoil themselves, and finally the temporality that gives birth again. The material of those analog shots itself – light and time – are also the subject they reveal. From the photography set presented in the Dohyang Lee Gallery, the artist turned the clocks back to see where the peasants came from, to tell them their stories he testifies for.

Claire Luna
collaboration with François Couder

printable version

Marcos Avila Forero, Archive – Dignidad agraria,  2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP
 Archive – Don José escucha noticias en la radio, 2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP
 Archive – Don Ramiro cultivando papa, 2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP
Archive – Las herramientas,  2017, analog photography black and white on baryta paper, 60 x 50 cm, edition of 15 + 3 AP
 Archive – Parcelita futura, 2017, analog photography black and white on baryta paper, 60 x 50 cm, edition of 15 + 3 AP
Archive – Pa’ donde vamos con la leche,  2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP
 Archive – Manos sobre la mesa, 2017, analog photography black and white on baryta paper, 60 x 50 cm, edition of 15 + 3 AP
Archive – Rasgando musgo – casa recuperada,  2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP. Photo © Aurélien Mole

Marcos Avila Forero, Archive – Rasgando musgo – casa recuperada , 2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP
Archive – Casa perdida 1 , 2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP, edition de 15 + 3 EA
Archive – Casa perdida 2,  2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP
Archive – El guia – Cesitar , 2017, digital color photography on baryta paper, 60 x 80 cm, edition of 15 + 3 AP
Archive – Doña Emérita cocinando , 2017, analog photography black and white on baryta paper, 60 x 50 cm, edition of 15 + 3 AP
Archive – Don Obdulio se va , 2017, analog photography black and white on baryta paper, 60 x 50 cm, edition of 15 + 3 AP. Photo © Aurélien Mole

Marcos Avila Forero, Archive – Casa perdida 1 , 2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP
Archive – Casa perdida 2,  2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP
Archive – El guia – Cesitar , 2017, digital color photography on baryta paper, 60 x 80 cm, edition of 15 + 3 AP
Archive – Càrcel Sumapaz , 2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP. Photo © Aurélien Mole

Marcos Avila Forero, Archive – Raspachin , 2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP.
Photo © Aurélien Mole

Marcos Avila Forero, Archive – Pa’ donde vamos con la leche,  2017, analog photography black and white on baryta paper, 50 x 60 cm,
edition of 15 + 3 AP
 Archive – Manos sobre la mesa, 2017, analog photography black and white on baryta paper, 60 x 50 cm, edition of 15 + 3 AP
Archive – Rasgando musgo – casa recuperada , 2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP.
Photo © Aurélien Mole

Marcos Avila Forero, Archive – Rasgando musgo – casa recuperada , 2017, analog photography black and white on baryta paper, 50 x 60 cm, edition of 15 + 3 AP. Photo © Aurélien Mole

………………………………………………..

73-75 rue Quincampoix 75003 Paris France
Tuesday – Saturday 11 am – 1 pm // 2 pm – 7 pm
tel : +33 (0)1 42 77 05 97
www.galeriedohyanglee.com

………………………………………………..

YIA ART FAIR BASEL 2017 PHOTOS

Dohyang Lee — Sat, 24 Jun 2017 16:10:34 +0000