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

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

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Opening on Saturday June 30th 2018 from 6 pm to 9 pm
30.06 – 04.08.2018
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The theorist and painter of Symbolism Maurice Denis told that three apples changed the face of the world ; Eve’s Apple, Newton’s Apple and finally Cézanne’s Apple. We could add the Apple of the Judgment of Paris or Steeve Jobs’s Apple.
The contribution of Cézanne and his still lives is decisive in the evolution of art and after him, the notion of object adapts to the modernity of the time as well as to the technical possibilities available. Today, photography, performance, new media, conceptual art are the privileged modes of expression, in a society dominated by consumerism and finally the objects.

Born in 1987, Julie Savoye lives and works in Paris. In 2010, she is awarded a diploma by the Regional School of Fine arts of Rouen with the congratulations of the jury. In 2012, she integrates the association La Couleuvre and then the association Jeune Création 2 years later. She regularly exposes in Paris and its neighbourhood. Her work is centred on the sensibility contained in geometry. She makes series on various supports and tries to highlight all the possible line movements, as literally than figuratively through paints, volumes, drawings and videos. The video Still Life, realized in 2011, gathers the corpus around the orthonormal and the sensitive line.

Laurent Fiévet lives and works in Paris. He creates montages and video installations using images, mainly extracted from the great classics of the cinema. He confronts, works them rhythmically and redeploys them for his exhibitions. Organized in thematic series, his works propose various types of reflections upon the Image and its ways of perception. Fundamentally ambivalent and giving to many registers of interpretation, they contain numerous aspects of historic, sociological and political critics, while moving our view on daily life, question the dysfunctions of our individual and collective memory.
The series Whistle (2012-2015) and New Whistle (2017-2018) gather more than a hundred and twenty loop videos. They constitute so many variations around a common motive, extracted from the film pantheon of the twentieth and of twenty-first century : a woman in the presence of a bird in a cage. If the works, can be shown, individually or in sets, approach frontally the questions of gender and representation of the feminine in the contemporary society, they also lift those of the sight of the spectator and his attitude in front of the artwork.

RohwaJeong, constituted by Yun-hee Noh (Seoul, 1981) and Hyeon-seok Jeong (Seoul, 1981), is a duo of visual artists from Seoul, South Korea. More than a duo, it is a unique and inseparable being. Their work observes and pays attention to relations changing in various times and spaces, and makes efforts to capture them effectively. In particular, they try to probe into diverse relations among individuals and the individuals’ conflicts arising between them. 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. The duo will participate in the Biennial of Gwangju 2019, in South Korea.
The word still life is as weaved by a thread of white cotton on a mosquito net. It tells a different story whether we are in daytime or night, and between two different hours. In daytime, it is the story of a person beyond the mosquito net, but at night without any luminosity, it is the story of you who are looking at this word.

Born in 1988, Ronan Le Creurer lives and works in Paris. He graduated from the School of Fine Arts of Angers in 2012. He joins during one year the cooperative and research program of the ESACM, Clermont-Ferrand and has been an artist in residence in the CAC of the synagogue of Delme in 2015. He then created the exhibition space of L’Agence in Paris. Since then, he joined the collective workshops/Artist-run space ChezKit in Pantin. In 2018, he takes part in the 63rd Salon of Montrouge, where he receives a production grant from the Foundation Françoise for the contemporary art.
Marie Cozette, director of the CRAC OCCITANIE says that ” Ronan Le Creurer practises the sculpture as a science of assembling : the secret mechanics that oversee the elaboration of his works testify of this art of collage and montage, where the elective affinities between images, objects, tales, gestures and techniques distil a latent confusion”.

Born in Tehran, in 1985 and after studies at the Azad University of Tehran, Zohreh Zavareh decides to continue her formation in France. Sharing her time between France and Iran, she is now resident of the workshops of Grand Large in Décines-Charpieux (workshops of the ADERA). What she pursues through installations, drawings, videos and sculptures, is the invisible. The constant appeal to words and to its play comes from there : to have a chance to seize things in their fragility. Sowing the silence of interrogation marks, the floating, the indecision which is their – to be this and not be it – can occur then freely.
The sound installation, called Nâkojâ, (that we translate into French by non-where, non place) questions the relationships between a thing and its world, the background from which it comes off, by means of a fictitious story. The question remains unanswered and turns in a loop.

Timothée Chalazonitis was born in 1989, in Paris. He studied Art History and Archaeology, and then was graduated from the National School of Applied Arts of Paris and from the National Superior School of Fine Arts of Paris. He is the winner of the Pierre Gautier-Delaye Prize (Cité des Arts), in 2017, he participates in collective exhibitions in the Ricard Foundation, the Georges Pompidou Centre, the Episodique gallery, in Mons, once European Capital of Culture, in the Foundation Spinola Banna per l’arte, in the Vis à Vis Festival of contemporary art in Paris, in the Hippocrène Foundation (Villa Mallet-Stevens), in the Bazaar Compatible Program in Shanghai, *c.
He is interested in the tracks left by man and in his desire to keep memories of stories. His practice is literally often connected, to the act of writing, as a need to have a dialogue with a space, architecture and the city-dwellers. The wandering in public space is deeply present in his work. This is when Timothée Chalazonitis analyses and collects some involuntary art (Gilles Clément) and when he operates as an urban archaeologist. He catches the poetry of the moment, of a tension, of an exchange, which is going to be the trigger of a plastic creation.

Born in Dieppe in 1990, Thomas Wattebled lives and works in Orléans. With a Master’s degree in theory and artistic practice at the University of Amiens and a National Superior Diploma of Plastic Studies in the School of Fine Arts of Angers, his work was exposed in several collective exhibitions, in the art centre of L’ONDE (Vélizy), in the gallery Vasistas (Montpellier) and as well in the Cac Meymac. He also took part in the Salon of Montrouge, in 2018.
Thomas Wattebled seizes the emblems of our society of the sport and leisure to highlight the unproductive gestures, the figure of the loser and the forms at rest. Through drawings, installations, videos, the artist lingers over details, questions objects, gestures, and rickety things we do not notice. He humorously, fills in the cracks of a society where the word that prevails is PERFORMANCE.

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