Galerie Dohyang Lee » Marta Skoczen

Zoom Projection IV ” the fauna and the flora “

Dohyang Lee — Sun, 29 Jun 2025 17:43:12 +0000

ZOOM – Projection IV

‘the fauna and the flora’

Collection projection of videos by the artists Clarisse Pillard, Eugénie Touzé, Laurent Fiévet, Leïla Pile et Marta Skoczeń

Collective projection, ZOOM Projection IV – ‘‘ the fauna and flora ’’ show a diversity in the approach to life. The fragility of flowers, symbol of beauty and metaphor for ephemeral human relationships for Clarisse Pillard. The contemplation of nature and wild as well as domesticated animals for Eugénie Touzé who records natural staging that will never return. The social animal concept of Aristotle seen through a plan on a family cell and put in parallel with a spiritual family; that of Jesus and his apostles, for Laurent Fiévet. The body as a geometric and measuring instrument of a vanished world with the invention of the metric system by Leïla Pile. The isolation and liberation of women from a solitary interior to a natural exterior buzzing with bees for Marta Skoczeń…

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Marta Skoczeń, Sunfower at Jourdain, 2022, inkjet printing on Hahnemühle Photo Rag Ultrasmooth 305g paper, glued on 1mm aluminium,
12 x 19 cm or 26 x 40 cm without frame, edition of 5 + 2 AP
Laurent Fiévet, L’Arrestation, 2019, video loop, colour, sound, 21’, edition of 5 + 2 AP

Marta Skoczeń, The Nest, 2019, video, DV PAL, sound, colour, 5’, edition of 5 + 2 AP

Laurent Fiévet, L’Arrestation, 2019, video loop, colour, sound, 21’, edition of 5 + 2 AP

Marta Skoczeń, The Nest, 2019, video, DV PAL, sound, colour, 5’, edition of 5 + 2 AP

Clarisse Pillard, thank you, they are beautiful, 2025, 2 HD videos 1920 x 1080 synchronized on 2 horizontal screens,
colour, stereo sound, 8’45’’, edition of 5 + 2 AP

Clarisse Pillard, thank you, they are beautiful, 2025, 2 HD videos 1920 x 1080 synchronized on 2 horizontal screens,
colour, stereo sound, 8’45’’, edition of 5 + 2 AP
I heard that without pain there ain’t no gain, 2022, photo book, 80 pages, mate inkjet printing on Novalith Classic Mat 160gr paper (from the installation if only flowers could talk, 23 x 30 cm, graphism Adèle Pavia, edition of 20 + 3 AP
I heard that without pain there ain’t no gain n°17, 2022, photographic printing, mate inkjet printing on Novalith Classic Mat 160gr paper, frame,
26 x 40 cm without frame, edition of 5 + 2 AP
I heard that without pain there ain’t no gain n°13, 2022, photographic printing, mate inkjet printing on Novalith Classic Mat 160gr paper, frame,
26 x 40 cm without frame, edition of 5 + 2 AP
I heard that without pain there ain’t no gain n°14, 2022, photographic printing, mate inkjet printing on Novalith Classic Mat 160gr paper, frame,
26 x 40 cm without frame, edition of 5 + 2 AP
I heard that without pain there ain’t no gain n°19, 2022, photographic printing, mate inkjet printing on Novalith Classic Mat 160gr paper, frame,
26 x 40 cm without frame, edition of 5 + 2 AP

Clarisse Pillard, I heard that without pain there ain’t no gain, 2022, photo book, 80 pages, mate inkjet printing on Novalith Classic Mat 160gr paper (from the installation if only flowers could talk, 23 x 30 cm, graphism Adèle Pavia, edition of 20 + 3 AP
I heard that without pain there ain’t no gain n°17, 2022, photographic printing, mate inkjet printing on Novalith Classic Mat 160gr paper, frame,
26 x 40 cm without frame, edition of 5 + 2 AP
I heard that without pain there ain’t no gain n°13, 2022, photographic printing, mate inkjet printing on Novalith Classic Mat 160gr paper, frame,
26 x 40 cm without frame, edition of 5 + 2 AP
I heard that without pain there ain’t no gain n°14, 2022, photographic printing, mate inkjet printing on Novalith Classic Mat 160gr paper, frame,
26 x 40 cm without frame, edition of 5 + 2 AP
I heard that without pain there ain’t no gain n°19, 2022, photographic printing, mate inkjet printing on Novalith Classic Mat 160gr paper, frame,
26 x 40 cm without frame, edition of 5 + 2 AP

Clarisse Pillard, I heard that without pain there ain’t no gain n°17, 2022, photographic printing,
mate inkjet printing on Novalith Classic Mat 160gr paper, frame, 26 x 40 cm without frame, edition of 5 + 2 AP
I heard that without pain there ain’t no gain n°13, 2022, photographic printing, mate inkjet printing on Novalith Classic Mat 160gr paper, frame,
26 x 40 cm without frame, edition of 5 + 2 AP

Clarisse Pillard, I heard that without pain there ain’t no gain n°14, 2022, photographic printing,
mate inkjet printing on Novalith Classic Mat 160gr paper, frame, 26 x 40 cm without frame, edition of 5 + 2 AP
I heard that without pain there ain’t no gain n°19, 2022, photographic printing, mate inkjet printing on Novalith Classic Mat 160gr paper, frame,
26 x 40 cm without frame, edition of 5 + 2 AP

Leïla Pile, Corder, 2023, video performance, colour, mute, 35’, edition of 5 + 2 AP. Skeins, variable dimensions
Clarisse Pillard, thank you, they are beautiful, 2025, 2 HD videos 1920 x 1080 synchronized on 2 horizontal screens, colour, stereo sound, 8’45’’, edition of 5 + 2 AP

Leïla Pile, Corder, 2023, video performance, colour, mute, 35’, edition of 5 + 2 AP. Skeins, variable dimensions

Eugénie Touzé, Des bêtes effleurées, 2023, HD video, colour, stereo sound, 36’, edition of 3 + 1 AP

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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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Protected: Attachments – video

Dohyang Lee — Sat, 13 Apr 2024 17:53:48 +0000

Protected: Housework and around – video

Dohyang Lee — Sat, 13 Apr 2024 17:51:42 +0000

Attachements – exhibition

Dohyang Lee — Fri, 08 Mar 2024 14:36:34 +0000

MARTA SKOCZEŃ

Curated by Marilou Thirache

Available artworks list

With the support for the galleries / exhibition of Centre national des arts plastiques (National Centre for Visual Arts).

13.04 – 11.05.2024

For Marta Skoczeń’s first solo exhibition, Galerie Dohyang Lee presents a selection of works by the artist, from her earliest creations to her most recent, synthesising her work around the notion of attachment.

Attachment refers to a deep emotional and affective bond between one person and another, or between a person and a thing. It is a fundamental process in human development and plays a crucial role in shaping human relationships. Widely studied in psychology, it is associated with family ties and the cultural heritages that stem from them.

Attachements (Attachments) is the title of the artist’s latest video production, and is the centrepiece of the exhibition. Two women are portrayed: one evoking a maternal figure, the other evoking adolescence. They are shown in turn, one then the other, without ever being together. They each seem to be experiencing a form of solitude, locked away in enclosed domestic spaces. Are they in different places? In separate spaces? Are they far apart? The distance between them, whether physical or emotional, is elusive. Devoid of words, this film poetically illustrates the notion of attachment and generational transmission, from woman to woman, mother to daughter. It depicts the unspoken wounds inherited and passed down from generation to generation in a non-verbal way. The work captures the passage of time, interweaving the cycles of these women’s lives with those of nature: animal rhythms, meteorological metamorphoses, and the flow of water.

Marta Skoczeń instinctively makes women her favourite subject. She depicts them at every stage of life, from childhood to old age, through adolescence and motherhood. This cyclical representation illustrates the different seasons of life. In the culture and history of Marta Skoczeń’s native Poland, femininity is synonymous with power, but also with suffering. Marta Skoczeń’s photographs and videos depict these women as sunken in their own world, as if disenchanted, their gaze frontal but elusive. Psychological and transgressive, these portraits of women isolated indoors, in domestic spaces, evoke a physical and emotional power. The attachment these women have to the home refers to the emotional and affective bond they can develop with their home, through the security, comfort and familiarity it can evoke. Experiences in these spaces, whether positive or negative, influence this attachment and strengthen the emotional bond with the space, which becomes a shelter, a refuge. It offers a feeling of protection from the outside world. Yet it remains a space of isolation and confinement, unfortunately often assigned to the social role of women.

The artist juxtaposes these interiors with moments of contemplation of natural outdoor spaces, creating a striking contrast but also establishing a deep connection with the female characters she depicts. Les filles qui se baignent (Bathers) depicts two young girls on the edge between childhood and adolescence, navigating a delicate period of transition. L’eau et la lumière (Water and Light) is an instantaneous illustration of the different temporalities of nature, the fragility of the passage between the seasons and the stages of life. On the other hand, Regina offers us a portrait of an elderly woman at the top of a vast hill. Despite her apparent solitude, she bears a serene smile. These natural outdoor spaces sound therapeutic and liberating, seeming to fill a void. They symbolise risk and freedom. They evoke peace and escape.

Ménage et alentours (Housework and around) changes the scene. This video transcribes a narrative of a female character who emerges from her domestic space. Like a journal, the video illustrates fragments of life, snapshots of urban and natural landscapes filmed with a telephone, which the artist combines with original poems. In this approach, she questions codes of beauty, the position of women in the city, and social conventions.

Marta Skoczeń (born 1994 in Poland) is an artist working with video, photography and drawing. She is a graduate of the École Nationale Supérieure des Beaux-Arts in Paris (DNSAP 2020, Clément Cogitore studio) and the Academy of Fine Arts in Warsaw (MA 2019, Graphic Art). In her work, she talks about femininity, memory and the encounter between the past and the present, navigating between the fields of art and cinema. In 2022, she won the LOOP Fair Acquisition Award for her film Maison sans clé (House Without a Key), presented by Galerie Dohyang Lee, Paris.

Marilou Thirache
Translated in English by Emmelene Landon

Printable version of the press release

Attachments, 2024, HDV video, 16:9 format, color and white and black, stereo, 11’, edition of 5 + 2 AP. Production Dohyang Lee Gallery, Paris.
With the participation of Émilie Favre-Bertin and Aleksandra Rykowska. Thanks to : Aleksandra Golenda, Martha Kubiniec, Association Non-étoile,
Wojtek Szczerbetka, Marilou Thirache
2 notebooks with printings of preparatory drawings, Cocoa shell 250 g paper, folding and stapling, 1st notebook of 24 pages (10 double sided sheets and cover), 21 x 14,8 cm, 2nd notebook of 24 pages (10 double sided sheets and cover), 29,7 x 21 cm, edition of 5 + 2 AP

Attachments, 2024, 2 notebooks with printings of preparatory drawings, Cocoa shell 250 g paper, folding and stapling, 1st notebook of 24 pages (10 double sided sheets and cover), 21 x 14,8 cm, 2nd notebook of 24 pages (10 double sided sheets and cover), 29,7 x 21 cm, edition of 5 + 2 AP

Attachments, 2024, HDV video, 16:9 format, color and white and black, stereo, 11’, edition of 5 + 2 AP. Production Dohyang Lee Gallery, Paris.
With the participation of Émilie Favre-Bertin and Aleksandra Rykowska. Thanks to : Aleksandra Golenda, Martha Kubiniec,
Association Non-étoile, Wojtek Szczerbetka, Marilou Thirache
2 notebooks with printings of preparatory drawings, Cocoa shell 250 g paper, folding and stapling, 1st notebook of 24 pages (10 double sided sheets and cover), 21 x 14,8 cm, 2nd notebook of 24 pages (10 double sided sheets and cover), 29,7 x 21 cm, edition of 5 + 2 AP

Water and light, 2023, 36 instant films, inkjet printing on Kozo Thick White 110g Awagami paper, 4,5 x 6,2 cm each printing. 6 frames of 6 printings each, glued on 1mm aluminium, 30/10ème Digital passe partout, dark wenge Nielsen Alu 34 Natura wood frame profile, anti reflect glass, 15,5 x 65,7 cm each frame, edition of 9 + 2 AP. Production Dohyang Lee Gallery, Paris

Hanna (Indoors) (Series Presence), 2018 (2019 series Presence), analog photography, inkjet printing on Rag Photographique Infinity Canson 310g paper, glued on 1 mm aluminium, slate gray Nielsen Alu 34 Natura wood frame profile, without glass, 50 x 50 cm, edition of 9 + 2 AP.
Production Dohyang Lee Gallery, Paris
Regina, 2012, analog photography, inkjet printing on Rag Photographique Infinity Canson 310g paper, glued on 1mm aluminium, slate gray Nielsen Alu 34 Natura wood frame profile, without glass, 100 x 73 cm, edition of 5 + 2 AP. Production Dohyang Lee Gallery, Paris
Bathers, 2012, 2 inkjet printings on Bamboo Hahnemühle Natural Line 290g paper, 5,4 x 7,2 cm each printing, glued on 1mm aluminium, 30/10ème Digital passe partout, bright wenge Nielsen Alu 34 Natura wood frame profile, anti reflect glass, 18 x 24 cm the unique frame, edition of 5 + 2 AP. Production Dohyang Lee Gallery, Paris

Regina, 2012, analog photography, inkjet printing on Rag Photographique Infinity Canson 310g paper, glued on 1mm aluminium, slate gray Nielsen Alu 34 Natura wood frame profile, without glass, 100 x 73 cm, edition of 5 + 2 AP. Production Dohyang Lee Gallery, Paris
Bathers, 2012, 2 inkjet printings on Bamboo Hahnemühle Natural Line 290g paper, 5,4 x 7,2 cm each printing, glued on 1mm aluminium, 30/10ème Digital passe partout, bright wenge Nielsen Alu 34 Natura wood frame profile, anti reflect glass, 18 x 24 cm the unique frame, edition of 5 + 2 AP. Production Dohyang Lee Gallery, Paris

Bathers, 2012, 2 inkjet printings on Bamboo Hahnemühle Natural Line 290g paper, 5,4 x 7,2 cm each printing, glued on 1mm aluminium, 30/10ème Digital passe partout, bright wenge Nielsen Alu 34 Natura wood frame profile, anti reflect glass, 18 x 24 cm the unique frame, edition of 5 + 2 AP. Production Dohyang Lee Gallery, Paris
Water and light, 2023, 36 instant films, inkjet printing on Kozo Thick White 110g Awagami paper, 4,5 x 6,2 cm each printing. 6 frames of 6 printings each, glued on 1mm aluminium, 30/10ème Digital passe partout, dark wenge Nielsen Alu 34 Natura wood frame profile, anti reflect glass, 15,5 x 65,7 cm each frame, edition of 9 + 2 AP. Production Dohyang Lee Gallery, Paris
Hanna (Indoors) (Series Presence), 2018 (2019 series Presence), analog photography, inkjet printing on Rag Photographique Infinity Canson 310g paper, glued on 1 mm aluminium, slate gray Nielsen Alu 34 Natura wood frame profile, without glass, 50 x 50 cm, edition of 9 + 2 AP.
Production Dohyang Lee Gallery, Paris

Housework and around, 2024, video, 16 : 9 format, color, mute, 6’18’’, edition of 5 + 2 AP. Poems written by the artist

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Protected: House without a key – video

Dohyang Lee — Mon, 12 Feb 2024 12:25:57 +0000

Y – You

Dohyang Lee — Fri, 09 Feb 2024 23:39:37 +0000

Marta Skoczeń, Y – You, 2023, video, black and white, sound, 2′, French, subtitles in English, edition of 5 + 2 AP

Video made for the project The Voice of the Artist
Thanks to Nikodem Biegowski, Olga Vishnevetskaya.
Text review by Céline Shen, Wojtek Szczerbetka

Viewing upon request

Housework and around

Dohyang Lee — Fri, 09 Feb 2024 23:39:36 +0000

Marta Skoczeń, Housework and around, 2024, video, 16 : 9 format, color, mute, 6’18”, edition of 5 + 2 AP. Poems wrtitten by the artist

Viewing upon request

Attachements

Dohyang Lee — Fri, 09 Feb 2024 23:39:34 +0000

Marta Skoczeń, The Nest, 2024, HDV video,16 : 9 format, color, black and white, stereo, 11′, edition of 5 + 2 AP

Production Dohyang Lee Gallery, Paris. With the participation of Émilie Favre-Bertin and Aleksandra Rykowska.
Thanks to : Aleksandra Golenda, Martha Kubiniec, Association Non-étoile, Wojtek Szczerbetka

Viewing upon request

Protected: Attachements – teaser

Dohyang Lee — Sun, 09 Jul 2023 22:12:50 +0000

Protected:  Housework and around – teaser

Dohyang Lee — Sun, 09 Jul 2023 22:12:34 +0000