Galerie Dohyang Lee » EXHITIONS PASTS

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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Les paysages multipliants de Dual

Dohyang Lee — Thu, 27 Mar 2025 12:33:05 +0000

Les paysages multipliants de Dual

Available artworks list

Solo show with NATALIA VILLANUEVA LINARES

03.05 – 07.06.2025

How to talk about the work of Natalia Villanueva Linares ? Where to begin, when everything seems to be in constant evolution, when pieces exist as both traces and becomings?

Five thousand words would not be enough. The works’ structures and themes span across the numbers, repetitions, scores, the infinitely large and the infinitely small, gestures, transformations, libraries, sharing, generosity, colors, construction and, deconstruction, performances, guided by a desire to bring together multiples to become one, and ones into the many.
I vividly remember one of her first gestures in art school: she asked other students to draw with charcoal on kraft paper for ten minutes. Next each drawing was burned together in the same container. To each participant collected a small portion of the remaining ashes and stored them in small glass jars.
This gesture, both in its symbolic and material forms, revelas Natalia’s questioning of the transformation of effort. It explored how, through a single ritual, individual expression could merge into a collective work and become a “ we ,” a whole.

With this first act, Natalia sketched the foundations of her visual language.
Generosity is never one-sided: it lies both within the act of giving, and through the capacity to receive. It is a relationship, a two-way exchange, a silent duel. It is in this tension, this reciprocity, that her piece Dual was born. It was in her Peoria (Illinois) apartment that Natalia began to ask herself this question: “ How can we talk about the continuity of an Artwork ? ”

After her piece Devota, she focused on a seemingly fragile material: tissue paper. She explored its myriad forms, its possible metamorphoses. She discovered that, when the pages are crumpled and creased, the fibers break, and this delicate paper can paradoxically become more resistant. It can be patched, reinforced, assembled by sewing. The gesture transforms the material, and the material becomes an extension of the gesture.

When she creates, Natalia maintains an intimate and absorbed, almost “ hermetic,” relationship with her work. Time, repetition, and the labor of her gestures are an integral part of her approach. She is immersed within the materials, the space, and the realm of sensations. For Natalia, the materials speak for themselves. “All my pieces speak of the beginning,” she says — of the beginning, of the origin. Each stage of the material’s transformation becomes a work in its own right. Each fragment bears traces of the past, intimate memory, and the potential for metamorphosis.

The works gathered in this exhibition are part of this continuity. Each color is a spatio-temporal unit, a measure of gesture and duration. Over time, these colors fade, revealing the pure memory of movement, like an archaeology of work: the scars of matter.

Palette of Dual and Palette of Dual ⁸ play a central role in the exhibition. These works condensed matter, gesture, color, and memory into a compact, almost intimate format, extending the gestures of the larger installations. Each is accompanied by a photograph of the original fabric, revealing the initial layers of color.

Each Palette of Dual is composed of bricks extracted from the transformed fabrics, reassembled by shades of color, and activated by the water of a site. The water becomes fluid memory, linking past gestures to the present, marking a temporal and geographical anchor. These palettes are sensitive cartographies of time and space. They bear witness to an effort, a collective memory, a physical engagement with matter.

In Poématiques XL, Natalia composes scores — not musical in the traditional sense, but like recipes, sensitive cartographies, transformations of matter.
These scores will one day become a polyphone for a giant imaginary music box. She uses paint to trace symbols, but her approach remains far removed from the traditional codes of painting.
She even removes color from her gesture, “scalping” it, leaving only traces, ghost lines, the scars of a movement.
Each score is then designed to become a sound piece, where each symbol corresponds to a sound. Like a form of sensitive mathematics.

With Nova Dual ^Lima.1, the performance unfolds on a Lima beach: the gesture takes shape, becomes part of the space, and transforms the landscape. The material is moved, shared, and activated by a collective ritual. A photograph accompanies the work, capturing the moment of the gesture and its resonance.

Dual ICE ^Storm.2 condenses this dynamic into a sculptural piece composed of 26 glass jars containing melted snow. Each jar is the residue of a colored snowball collected during a recent performance. These liquid fragments become witnesses to an ephemeral and poetic activation of gesture in a winter environment.

Natalia transforms materials as much as human relationships — she weaves sensitive, lasting connections through art. Natalia leaves a lasting mark on people.
Her work is a constant weaving of the intimate and the universal, the invisible and the embodied.

Natalia Villanueva Linares’s work questions memory, transformation, and the relationship between the origin and the infinite. Pieces like Sisters 1-10, where spools of metal thread symbolize gestures bound by memory, and the film Breathing, which documents the creation of Sister No.0, testify to the importance of repetition and gesture. Through works like Dual ICE ^Storm.2, she transforms matter and time, inviting us to rethink what we preserve, what we share, and what we let disappear.
Through this exhibition, Natalia invites us to explore her multiple landscapes: fragments of gestures, time, and memory in constant transformation.

I’ve known Natalia for 22 years. We first met when I was 16. We were in pre-art school before we started at the Beaux-Arts de Paris. I’ve had the chance to be a participant and active witness to her life and practice. As a performer and gesture maker, I’ve been a confidant of her work since our first encounter, which occurred over a cigarette in the courtyard of the pre-art school at the Glacière Ateliers. And I don’t think I’ve ever missed a single one of her pieces.
Today, she asked me to write the text for her exhibition: “ The multiplying landscapes of Dual ” And it was with great emotion that I accepted, without hesitation.
So, I try, as best I can, to convey a fragment of her colors through my words.

Sophie Monjaret
Artist / Curator / Friend
Translation in English by Earl Power Murphy

Printable version of the press release

Nova Dual Lima.1, photography of the performance Nova Dual Lima.1, 51,5 x 91,5 cm, edition of 5 + 2 AP.
Performance Nova Dual Lima.1 in Redondo beach in Lima, Peru, 2024
Palette of Dual 11.2, 2023 – 2025, 675 coloured wrapping tissue bricks, 89 x 130 cm, unique piece.
Performance Lands of Dual 11.2 in Heaven Gallery, Chicago, Illinois, USA, 2024

Palette of Dual 11.2, 2023 – 2025, 675 coloured wrapping tissue bricks, 89 x 130 cm, unique piece.
Performance Lands of Dual 11.2 in Heaven Gallery, Chicago, Illinois, USA, 2024

Palette of Dual 11.2, 2023 – 2025, 675 coloured wrapping tissue bricks, 89 x 130 cm, unique piece.
Performance Lands of Dual 11.2 in Heaven Gallery, Chicago, Illinois, USA, 2024
Lands of Dual 11.2, 2024 – 2025, architectural landscape made with hand fold wrapping tissue on a wooden structure, 3,5 x 1,8 x 1 m, unique piece. Performance Lands of Dual 11.2 in Heaven Gallery, Chicago, Illinois, USA, 2024
Lands of Dual 11.2, 2024, documentary video, colour, sound, 7’39’’, edition of 5 + 2 AP. Film by Phil Aronson. Editing by Derek Schleelein. Performance Lands of Dual 11.2 in Heaven Gallery, Chicago, Illinois, USA, 2024

Lands of Dual 11.2, 2024 – 2025, architectural landscape made with hand fold wrapping tissue on a wooden structure, 3,5 x 1,8 x 1 m, unique piece.
Performance Lands of Dual 11.2 in Heaven Gallery, Chicago, Illinois, USA, 2024
Palette of Dual 11.2, 2023 – 2025, 675 coloured wrapping tissue bricks, 89 x 130 cm, unique piece.
Performance Lands of Dual 11.2 in Heaven Gallery, Chicago, Illinois, USA, 2024

Nova Dual Lima.1, photography of the performance Nova Dual Lima.1, 51,5 x 91,5 cm, edition of 5 + 2 AP.
Performance Nova Dual Lima.1 in Redondo beach in Lima, Peru, 2024

Nova Dual Lima.1, 54 coloured wrapping tissue bricks, 27 x 14 x 5 cm, unique piece.
Performance Nova Dual Lima.1 in Redondo beach in Lima, Peru, 2024

Poématique XL8, 2024, kraft paper, acrylic paint, 122 x 71,5 cm, unique piece

Sisters, 2014, installation, 1 metal box, thread spools, variable dimensions, unique piece
Poématique Nova Dual, 2021, sand coloured paper, coloured metal ink, 28 x 21,5 cm, unique piece
Palette of Dual 8, 2022, 100 coloured wrapping tissue bricks, 33 x 51 cm, unique pieces. Photography of the performance Poemáticas de Dual 8, 11 x 15,2 cm, edition of 5 + 2 AP. Presentation and performance Poemáticas de Dual 8 in the exhibition pARTages organised by Artaïs Art Contemporain, Paris, France, 2022
Poématique XL8, 2024, kraft paper, acrylic paint, 122 x 71,5 cm, unique piece

Sisters, 2014, installation, 1 metal box, thread spools, variable dimensions, unique piece

Poématique Nova Dual, 2021, sand coloured paper, coloured metal ink, 28 x 21,5 cm, unique piece
Palette of Dual 8, 2022, 100 coloured wrapping tissue bricks, 33 x 51 cm, unique pieces. Photography of the performance Poemáticas de Dual 8, 11 x 15,2 cm, edition of 5 + 2 AP. Presentation and performance Poemáticas de Dual 8 in the exhibition pARTages organised by Artaïs Art Contemporain, Paris, France, 2022

Poématique Nova Dual, 2021, papier couleur sable, encre couleur métallique, 28 x 21,5 cm, pièce unique

Palette of Dual 6, 2020 – 2023, 90 coloured wrapping tissue bricks, 53,34 x 30,48 cm, unique pieces. Photography of the performance Poemáticas de Dual 6, 15,2 x 9,7 cm, edition of 5 + 2 AP. Presentation in the Thaddhaeus Ropac Gallery, Pantin, France, 2020. Performance Poemáticas de Dual 6, Fortuna, Chicago, Illinois, USA, 2020. Participative performance Poemáticas de Dual 6 in the Cité Internationale des Arts, Paris, France, 2021. Transformation in gesture pallets in Loghaven, Knoxville, Tennessee, USA, 2023
Poématique XL6, 2024, kraft paper, acrylic paint, 109 x 67 cm, unique piece
Dual Ice Storm.2.1, 2022, installation, 15 glass jars filled with melted snowballs colored during a performance, variable dimensions, unique pieces. Performance in Chicago, Illinois, USA, 2025
Poématique Dual Ice, 2021, kraft paper, coloured metal ink, 26 x 20 cm, unique piece

Poématique XL6, 2024, papier kraft, peinture acrylique, 109 x 67 cm, pièce unique

Palette of Dual 8, 2022, 100 coloured wrapping tissue bricks, 33 x 51 cm, unique pieces. Photography of the performance Poemáticas de Dual 8, 11 x 15,2 cm, edition of 5 + 2 AP. Presentation and performance Poemáticas de Dual 8 in the exhibition pARTages organised by Artaïs Art Contemporain, Paris, France, 2022
Poématique XL8, 2024, kraft paper, acrylic paint, 122 x 71,5 cm, unique piece
Palette of Dual 6, 2020 – 2023, 90 coloured wrapping tissue bricks, 53,34 x 30,48 cm, unique pieces. Photography of the performance Poemáticas de Dual 6, 15,2 x 9,7 cm, edition of 5 + 2 AP. Presentation in the Thaddhaeus Ropac Gallery, Pantin, France, 2020. Performance Poemáticas de Dual 6, Fortuna, Chicago, Illinois, USA, 2020. Participative performance Poemáticas de Dual 6 in the Cité Internationale des Arts, Paris, France, 2021. Transformation in gesture pallets in Loghaven, Knoxville, Tennessee, USA, 2023

Dual Ice Storm.2.1, 2022, installation, 15 glass jars filled with melted snowballs colored during a performance, variable dimensions, unique pieces. Performance in Chicago, Illinois, USA, 2025
Poématique Dual Ice, 2021, kraft paper, coloured metal ink, 26 x 20 cm, unique piece
Poématique Nova Dual, 2021, sand coloured paper, coloured metal ink, 28 x 21,5 cm, unique piece
Palette of Dual 8, 2022, 100 coloured wrapping tissue bricks, 33 x 51 cm, unique pieces. Photography of the performance Poemáticas de Dual 8, 11 x 15,2 cm, edition of 5 + 2 AP. Presentation and performance Poemáticas de Dual 8 in the exhibition pARTages organised by Artaïs Art Contemporain, Paris, France, 2022
Poématique XL8, 2024, kraft paper, acrylic paint, 122 x 71,5 cm, unique piece

Nova Dual Lima.1, 2024, video, colour, mute, 04’56’’, edition of 5 + 2 AP. Film by Alan Poma.
Performance Nova Dual Lima.1 in Redondo beach in Lima, Peru, 2024

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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…

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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

………………………………………………..

La Forêt Pensante

Dohyang Lee — Sun, 15 Sep 2024 18:31:24 +0000

LA FORÊT PENSANTE

LAURENT MARESCHAL

Available artworks list

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

Opening on Saturday 12.10.2024 from 6 pm to 9 pm.
12.10 – 16.11.2024

Porte de Vincennes
Le 23 septembre 2024

La Forêt Pensante (The Thinking Forest) was the nickname given to the University of Vincennes, located in the heart of the wood of the same name in eastern Paris, from 1968 to 1980. In the aftermath of May 68, in order to keep the revolutionaries away from the historic centre of Paris and the Sorbonne, the De Gaulle government decided to build a new university that was both experimental and revolutionary in its operation, but also in its aims.
A popular university open to non-graduates, workers and foreigners, with no age limit. A university where lectures are replaced by debate, criticism, exchange and conversation, and which includes a crèche (nursery) so that parents can continue to attend classes.
This university, new in its experimentation, was characterized by the freedom given to students and to the left-wing political movements of the post-May 1968 period, as well as a great deal of political effervescence.
In 1980, President Giscard d’Estaing ordered that the university centre be demolished. Muzzled and then destroyed by public opinion, the revolutionary left-wing university created by a run-down right-wing government was closed by order of the Ministry against the wishes of those working there and the students. Not a trace of the site remains today. The revolutionary symbol inherited from My 68 has disappeared. It is still known today as the lost university.

This political, historical reminder is important, and it’s not for nothing that Laurent Mareschal has chosen the nickname given to the University of Vincennes as the title for his new exhibition. What we need to remember above all is the speed with which the political power in place acted to displace and/or silence the revolutionary voices that rose up, too many and too loud, against it.

At the entrance to the gallery, behind a window, like an acronym announcing what is to come, hangs an eponymous work made of green neon letters : Bureau d’Échange. We are invited to share our ideas and understand what’s going on within these walls.
Not far away, on the floor behind the illuminated lettering at the back of the gallery, a charcoal-coloured cloth is spread out with wooden pegs on top. This is not a game board, but a message in Braille. Arranged like the raised signs of writing for the blind, their composition translates Fénelon’s famous letter to King Louis XIV in 1694, urging him to listen to his people and hear their troubles, or risk succumbing to a ” revolution” himself.
If the message of this Letter to the Blind is deaf to those who look at the work without understanding Braille, as deaf as Louis XIV in his time, it was no less a harbinger at the time of the upheavals to come in 1789. And while Fénelon’s words may have been prophetic for France, the work is at least as much a harbinger of the rest of the exhibition.

Just before descending the stairs to the rest of the exhibition, a black-and-white photographic montage appears. A large, walled university building, with a sheet hanging from one of the windows, tagged ” No to closure. ” While this is of course a view of the University of Vincennes, we see it here as if it had survived and we were observing it through the prism of our times, when France is led, as it was then, by a particularly right-wing and conservative, not to say refractory, government.
It is hard not to draw a parallel between monarchical France, overthrown by revolution, and an authoritarian government that has no regard for the results of the ballot box, as if, like Fénelon’s letter to the king, popular demands that go unheeded by the government can only end up in revolution. All the more so when the video piece in the same room, United AI, mounted as a communication object, urges the publishers of artificial intelligence to take responsibility for and stop systematically exploiting the sentimental misery of their customers.

Even more than with Braille, the following works use coded languages. And while these signs are silent until we play them, they carry messages that are much stronger than they appear to be..

Alabama, based on John Coltrane’s piece of the same name, composed in 1963 after a racist attack by the Ku Klux Klan on a church in Alabama, which killed four girls, as a work made of hair. This piece uses the score of the song that served the cause and the conquest of African-American civil rights in the United States. White nails act as notes on the score, and the braided strands of hair link them together as if the piece were being played by an instrument of silent memory, in which the melancholy and the pent-up anger that preside over it are particularly moving.

At the back of the room, a long bar code made up of the lead of pencils, entitled ‘Mine de rien,’ is another graphic code, this time referring to a phrase by the author Henry David Thoreau and his seminal book Civil Disobedience.
Next to it sits a large, colourful, abstract calendar for the year 2023, entirely handmade in felt-tip pen, tracing the timetable of a mid-career visual artist. The lack of free time is glaringly obvious. It’s a real-life experience…
Further on, three music boxes entitled You’d Better Start Early play jingles from Windows, McDonalds and Apple. Irony is never far off.

From the next room comes the sound of the video work Des Nouilles Encore (More Noodles). A unionist operetta for two female opera singers and a harpist, set to Offenbach’s Barcarole. The lyrics openly criticize the pension reform that was recently rammed through the National Assembly by using the 49.3 Article.
However, the least ambiguous piece of work in this entire Thinking Forest will surely remain the megaphone turned against the wall. A vehicle for inaudible and incomprehensible demands, it lives up to its name : Parler aux murs (Talking to Walls).

Everything could be summed up here. No matter how hard the voices of the people try to be heard, no one listens. Worse still, these voices are silenced by radical political action, sometimes more than authoritarian. The demand then becomes a fight.
The struggle of an artist who, in graphic codes normally reserved for sales and efficiency, transmits voices of defiance and ideas of civil disobedience.

Leo Marin
Translated by Emmelene Landon

Printable version of the press release

Blind Test, 2008, cuts on foamcore board, 27 cuts, frame, glass, 35 x 52 cm each, unique pieces
United AI, 2023-2024n 4K video, 16 : 9 format, color, stereo sound in English subtitled in French, 2’18’’, edition of 3 + 1 AP
Letter to the blind, 2021, 2024 pocket reedition, installation, 402 wood marbles, acrylic sheet, 190 x 140 cm, edition of 3 + 1 AP
La forêt pensante, 2024, digital photo, black and white, bright oak frame, anti UV and anti reflect glass,
31 x 41 cm with frame, 29 x 39 cm without frame, edition of 5 + 1 AP
Thanks to Pascal Chour for his photo of the Université de Vincennes, Marta Skoczen for her thoughtfulness.
De mèche, 2023, two pieces composed of glued natural hairs on framed embroidered fabrics, bright oak frame, anti UV and anti reflect glass,
31,5 x 31,5 cm with frame, 29,5 x 29,5 cm without frame each piece, unique pieces
Thanks to Sabine Guédamour for her beautiful frames.

Blind Test, 2008, cuts on foamcore board, 27 cuts, frame, glass, 35 x 52 cm each, unique pieces
United AI, 2023-2024 4K video, 16 : 9 format, color, stereo sound in English subtitled in French, 2’18’’, edition of 3 + 1 AP
Letter to the blind, 2021, 2024 pocket reedition, installation, 402 wood marbles, acrylic sheet, 190 x 140 cm, edition of 3 + 1 AP

Letter to the blind, 2021, 2024 pocket reedition, installation, 402 wood marbles, acrylic sheet, 190 x 140 cm, edition of 3 + 1 AP

Letter to the blind, 2021, 2024 pocket reedition, installation, 402 wood marbles, acrylic sheet, 190 x 140 cm, edition of 3 + 1 AP
La forêt pensante, 2024, digital photo, black and white, bright oak frame, anti UV and anti reflect glass,
31 x 41 cm with frame, 29 x 39 cm without frame, edition of 5 + 1 AP
Thanks to Pascal Chour for his photo of the Université de Vincennes, Marta Skoczen for her thoughtfulness.
De mèche, 2023, two pieces composed of glued natural hairs on framed embroidered fabrics, bright oak frame, anti UV and anti reflect glass,
31,5 x 31,5 cm with frame, 29,5 x 29,5 cm without frame each piece, unique pieces
Thanks to Sabine Guédamour for her beautiful frames.

La forêt pensante, 2024, digital photo, black and white, bright oak frame, anti UV and anti reflect glass,
31 x 41 cm with frame, 29 x 39 cm without frame, edition of 5 + 1 AP
Thanks to Pascal Chour for his photo of the Université de Vincennes, Marta Skoczen for her thoughtfulness.

De mèche, 2023, two pieces composed of glued natural hairs on framed embroidered fabrics, bright oak frame, anti UV and anti reflect glass,
31,5 x 31,5 cm with frame, 29,5 x 29,5 cm without frame each piece, unique pieces
Thanks to Sabine Guédamour for her beautiful frames.

United AI, 2023-2024n 4K video, 16 : 9 format, color, stereo sound in English subtitled in French, 2’18’’, edition of 3 + 1 AP
Blind Test, 2008, cuts on foamcore board, 27 cuts, frame, glass, 35 x 52 cm each, unique pieces
Bureau d’échange, 2012, green neon, plexiglas, 150 x 58 x 10 cm, unique piece
Thanks to Alexis Dandreis from Alexisnéons for his beautiful neon.

Bureau d’échange, 2012, green neon, plexiglas, 150 x 58 x 10 cm, unique piece
Thanks to Alexis Dandreis from Alexisnéons for his beautiful neon.

Mine de rien, 2023 – 2024, Graphite mines glued on Arches 250 gr paper, black painted aluminium frame,
anti UV and anti reflect glass, 20,5 x 83,5 cm with frame, 19,5 x 82,5 cm without frame, unique piece
Thanks to Sabine Guédamour for her beautiful frames.

Mine de rien, 2023 – 2024, Graphite mines glued on Arches 250 gr paper, black painted aluminium frame, anti UV and anti reflect glass,
20,5 x 83,5 cm with frame, 19,5 x 82,5 cm without frame, unique piece
Thanks to Sabine Guédamour for her beautiful frames.

Alabama, 2022, installation, triptych, 3 pinewood pannels 60 x 50 cm each, white painted nails, hairs, unique pieces
Thanks to Violette Palasi for her art of dread.

Parler aux murs, 2013, wall hanged megaphone, recorded messages, 25 cm x 16 cm diameter, unique piece

You’d better start early, 2023 – 2024, 3 music boxes, 14,5 x 9,5 x 5,5 cm each, edition of 3 + 1 AP
Thanks to Robert Rudolf, professor of computer assisted music at the conservatory and also Gérard Dabonot du Turlutain for their art of band music.
Nuancier de la servitude volontaire, 2023 – 2024, felt pen coloring printed on Arches 250 gr paper, oak frame, anti UV and anti reflect glass, 127 x 67 cm awith frame, 64 x 124 cm without frame, edition of 3 + 1 AP
Thanks to the team of l’Image collée for their framing.

Nuancier de la servitude volontaire, 2023 – 2024, felt pen coloring printed on Arches 250 gr paper, oak frame, anti UV and anti reflect glass, 127 x 67 cm awith frame, 64 x 124 cm without frame, edition of 3 + 1 AP
Thanks to the team of l’Image collée for their framing.

Parler aux murs, 2013, wall hanged megaphone, recorded messages, 25 cm x 16 cm diameter, unique piece
Alabama, 2022, installation, triptych, 3 pinewood pannels 60 x 50 cm each, white painted nails, hairs, unique pieces
Thanks to Violette Palasi for her art of dread.
You’d better start early, 2023 – 2024, 3 music boxes, 14,5 x 9,5 x 5,5 cm each, edition of 3 + 1 AP
Thanks to Robert Rudolf, professor of computer assisted music at the conservatory and also Gérard Dabonot du Turlutain for their art of band music.

Des nouilles encore, 2023 – 2024, 4K video, 16 : 9 format, loop, color, stereo sound subtitled in French, 3’26’’, edition of 3 + 1 AP
Grant from ADAGP for the video documentation of a performance.
Harpist : Selma Vauclin Hadj-Moussa
Solists : Agathe Hermann (mezzo – soprano) and Marielle Boutelier (soprano)
Edition and image : Yaël Bitton
Sound : Fred Dabo
Thanks to the Conservatoire Lili et Nadia Boulanger, Noisy le Sec, France, Julien Jugand, Noémie Martin, Mohamed Charef, Robert Rudolf, Jérémy Wagner, Murielle Boutelier and Agathe Hermann for their magnificent voices, Selma Vauclin Hadj-Moussa for her magic fingers of harpist, Yaël Bitton for her knowledge of image and edition, Tami Notsani for her precious help, Fred Dabo for his marvelous sound, Mathieu Farnarier for his attentive ear, Aurélie Saraf for the rental of her precious harp, Nadège Vauclin for her welcoming,
the ADAGP for the grant for the video documentation of a performance.

………………………………………………..

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

………………………………………………..

The world in my mouth

Dohyang Lee — Mon, 02 Oct 2023 20:17:09 +0000

THE WORLD IN MY MOUTH

Available artworks list

Solo show with NEFELI PAPADIMOULI
Curated by Violette Morisseau

21.10 – 18.11.2023

The result of a gentle observation, The World in My Mouth unfolds along two intrinsically linked axes: the vision of Orion, your child, and your own vision. On the ground floor, you explore the changes brought about by motherhood, an inexorable experience of fusion. You talk about the ability to open up a part of yourself to your child, and by extension, to other forms of life. In the lower level, you lead us into an intimate reversal in which Orion introduces us to the world through his eyes, the sounds he transmits and the gestures he teaches us.

The ‘cocoon’ sculptures on which the exhibition opens, suspended or hung, seem like outgrowths of the walls. They have the dual effect of being able to carry and protect a body –either human, mineral or plant – against itself. Skin-to-skin contact creates a symbiotic relationship: the wearer’s body is instinctively covered in scales, adorned with coppery and undulating exoskeletons. In a form of transference, through the contact of the skins, a little of one passes into the body of the other.

As we descend the stairs, Orion’s babbling begins to be heard. At his age, he has the ability to identify and memorise an infinite number of sounds, from every mouth and every culture. Although this skill fades with time and situated learning, these vocalisations are those of a universal song, potentially containing all the languages of the world.

With new-borns, the integration of knowledge is inseparable from moments of sleep: it is during the first phase of sleep, which is often agitated, that the new information gathered during the periods of wakefulness is processed and memorised. This is when a universal phenomenon occurs: the infant’s face displays a succession of innate emotions: joy, surprise, fear, disgust, sadness and anger. Its body moves in sudden, jerky movements, with limbs twitching and relaxing. You observed this sort of spasmodic dance in Orion, and asked the choreographer Theo Pendle to interpret it. Lying on his back, an unsuspended horizon of movement opens up to the dancer: from micro-gestures to convulsions, this is the dance of a body that memorises the world.

In the adjoining room, a soft space where bodies can move without injury, you’ve hung a number of sculptures, remarkable for their haptic qualities. These are works to be looked at lying on your back, to be touched, sculptures to be bitten. Here you return to your lifelong obsession with transitional objects, defined by Winnicott as essential supports for the child’s emotional projections. These objects help them to become aware of their individuality and to see others as the outside world rather than parts of themselves.

You, whose practice constantly tests the elasticity of the distances between individuals in order to reposition them in the world, have decided to put us in the place of a new-born baby. A soft, cuddly world, where things are understood with the mouth. Orion tenderly shows us the way to swallowing the world and assimilating it.

Violette Morisseau
Translated by Emmelene Landon

Printable version of the press release

Cocoon (Dragonfly), 2023, sculpture, recycled leather silver color, fabric, 180 x 70 x 30 cm around, unique piece
Cocoon (Sardine), 2023, sculpture, recycled leather turquoise color, fabric,
125 x 60 x 100 cm around, unique piece
Cocoon (Ornithorynque), 2023, sculpture, recycled leather beige color, fabric,
105 x 60 x 15 cm around, unique piece
Cocoon (Ladybug), 2023, sculpture, recycled leather red color, fabric, 85 x 50 x 35 cm around, unique piece

Cocoon (Dragonfly), 2023, sculpture, recycled leather silver color, fabric, 180 x 70 x 30 cm around, unique piece

Cocoon (Dragonfly), 2023, sculpture, recycled leather silver color, fabric, 180 x 70 x 30 cm around, unique piece
The World in My Mouth (Ear), 2023, Digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium, oak floater frame, 15 x 10 cm (without frame),
19 x 14 cm (with frame), edition of 3 + 2 AP

The World in My Mouth (Ear), 2023, Digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium, oak floater frame, 15 x 10 cm (without frame),
19 x 14 cm (with frame), edition of 3 + 2 AP

Cocoon (Sardine), 2023, sculpture, recycled leather turquoise color, fabric,
125 x 60 x 100 cm around, unique piece
Cocoon (Ornithorynque), 2023, sculpture, recycled leather beige color, fabric,
105 x 60 x 15 cm around, unique piece
The World in My Mouth (Crouching Caryatid), 2023, digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium, oak floater frame, 15 x 10 cm (without frame),
19 x 14 cm (with frame), edition of 3 + 2 AP
Cocon (Ladybug), 2023, sculpture, recycled leather red color, fabric, 85 x 50 x 35 cm around, unique piece

Cocoon (Ornithorynque), 2023, sculpture, recycled leather beige color, fabric,
105 x 60 x 15 cm around, unique piece
The World in My Mouth (Crouching Caryatid), 2023, digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium, oak floater frame, 15 x 10 cm (without frame),
19 x 14 cm (with frame), edition of 3 + 2 AP
Cocoon (Ladybug), 2023, sculpture, recycled leather red color, fabric, 85 x 50 x 35 cm around, unique piece

Cocoon (Ornithorynque), 2023, sculpture, recycled leather beige color, fabric, 105 x 60 x 15 cm around, unique piece
The World in My Mouth (Crouching Caryatid), 2023, digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium, oak floater frame, 15 x 10 cm (without frame), 19 x 14 cm (with frame), edition of 3 + 2 AP

The World in My Mouth (Crouching Caryatid), 2023, digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium, oak floater frame, 15 x 10 cm (without frame),
19 x 14 cm (with frame), edition of 3 + 2 AP

Cocon (Ladybug), 2023, sculpture, recycled leather red color, fabric, 85 x 50 x 35 cm around, unique piece

The World in My Mouth (Finger), 2023, digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium, oak oater frame, 10 x 15 cm (without frame),
14 x 19 cm (with frame), edition of 3 + 2 AP
Cocoon (Dragonfly), 2023, sculpture, recycled leather silver color, fabric, 180 x 70 x 30 cm around, unique piece
The World in My Mouth (Ear), 2023, digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium, oak floater frame, 15 x 10 cm (without frame),
19 x 14 cm (with frame), edition of 3 + 2 AP
Cocoon (Sardine), 2023, sculpture, recycled leather turquoise color, fabric,
125 x 60 x 100 cm around, unique piece

The World in My Mouth (Finger), 2023, digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium, oak floater frame, 10 x 15 cm (without frame),
14 x 19 cm (with frame), edition of 3 + 2 AP

Cocon (Ladybug), 2023, sculpture, recycled leather red color, fabric, 85 x 50 x 35 cm around, unique piece
Cocoon (Beetle), 2023, sculpture, recycled leather kaki color, fabric, 190 x 80 x 25 cm around, unique piece
The World in My Mouth (House), 2023, digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium,
oak floater frame, 10 x 15 cm (without frame), 14 x 19 cm (with frame), edition of 3 + 2 AP
The World in My Mouth (Venus), 2023, digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium,
oak floater frame, 25 x 16,5 cm (without frame), 29 x 20,5 cm (with frame), edition of 3 + 2 AP

Cocoon (Beetle), 2023, sculpture, recycled leather kaki color, fabric, 190 x 80 x 25 cm around, unique piece
The World in My Mouth (House), 2023, digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium, oak floater frame, 10 x 15 cm (without frame),
14 x 19 cm (with frame), edition of 3 + 2 AP

The World in My Mouth (House), 2023, digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium,
oak floater frame, 10 x 15 cm (without frame), 14 x 19 cm (with frame), edition of 3 + 2 AP

The World in My Mouth (Venus), 2023, digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium, oak floater frame, 25 x 16,5 cm (without frame),
29 x 20,5 cm (with frame), edition of 3 + 2 AP

The World in My Mouth (Eye), 2023, digital color, photography couleur inkjet printed on Epson Baryta paper, glued on 1mm aluminium, oak floater frame, 15 x 10 cm (without frame),
19 x 14 cm (with frame), edition of 3 + 2 AP

Teethers, 2023, 62 polymer clay sculptures, plaster, varnish, threads, fabric cushions, variable dimensions, unique pieces. Red light installation. Soundtrack installation, loop, 11’26’, edition of 3 + 2 AP

Orion’s first dance, 2023, HD video, black and white, sound, 10’37’’, edition of 5 + 2 AP. With the participation of the choreographer Théo Pendle.
Thanks to Violette Morisseau, Galerie Dohyang Lee, Orion Ceraudo Papadimouli, Vincent Ceraudo, Victoria Frenak

View of the exhibition The World in My Mouth

………………………………………………..

Eternity Shop

Dohyang Lee — Fri, 09 Jun 2023 17:01:48 +0000

Available artworks list

Solo show with NAMHEE KWON

08.07 – 05.08.2023

I feel I discovered the past of the artist Namhee Kwon on the day of my visit to her exhibition “ A Writer’s Diary ” at the Cité des Arts in Paris in 2015. I had noticed her project “ A Writer’s Diary ”, which is a 295-page manuscript, in which she reproduced Virginia Woolf’s (1882 – 1941) first diary. Indeed, Namhee Kwon read many works, lived close to where Wolf lived, and through her readings, she found similarities in the appreciation of life and in thoughts, despite the temporal and physical distance between her and the writer. Kwon had thought of reliving her life, from 100 years ago, and so began to follow her way of writing her diary. It took her 8 months to complete it. Later in 2019, she published the book – diary with a purple ink writing on white paper with a publishing house.

DHLEE

An interview was held with Namhee Kwon on her solo show “ Eternity Shop ”

DHLEE : What are the intentions of the exhibition title “ Eternity Shop ” ?

NH KWON : As an artist, I find the theme of time and eternity a challenging one to translate into something tangible. We might venture to the edge, but penetrating through the membrane that’s piled up like soap bubbles, and extracting something touchable, requires substantial experience and contemplation. I wanted to materialize time into something that could be physically felt. A significant part of this exhibition is akin to a store displaying fragments of time and eternity that have been transformed in this manner. Visitors can touch them, peel them away, and if they find a piece compelling, they even have the option to purchase and keep a slice of that time and eternity.

DHLEE : Your practice is in line with conceptual artists doing minimalist works from the 60’s and 70’s or surrealists of the 30’s. So what does time mean for you ?

NH KWON : To me personally, time is something that exists unchanging and undisturbed in its place. Time just is. It stands still, with no sound or scent. If you rest your thoughts, still your body, and simply gaze at the space in front of you, you can sense this unmoving time. The subtle sensation of time that does not flow as if it were flowing, seems to pass through me and also seems to go around me. I once had an international residency in Riyadh, Saudi Arabia, in 2021, where the theme was “ Home: Being and Belonging ”. At that time, I treated time and eternity as a home in the broader sense in my work. In a profound sense, time is our eternal homeland, where we can find comfort, our home.

DHLEE : You are a conceptual artist and what is your involvement in public artworks ?

NH KWON : I have never consciously considered that I was walking the path of public art. As an artist, I don’t deliberately work with the public message in mind. Rather, I choose the best materials, methods, and mediums that can deliver the message I want to convey. In fact, my work starts from very mundane, personal places, yet these messages often bear universal characteristics, leading them to be perceived as public messages that speak to everyone.

DHLEE : Concerning the artworks “ Days and Days ” (100 issues, 2023 ) and “ Empty Notes ” ( Sewing and drawing on fabric, 50 pieces, 2001-2023 ) could you please describe them ?

NH KWON : Starting with my work “ Empty Notes ”, this piece was first created in 2001 for my Master’s degree graduation exhibition at Goldsmiths College. Because I began art with a major in fiber arts as a beginner artist, I am sensitive to the emotions that fabric materials convey. I wanted to express the emotions emitted by the paper notes we use, and how the act of writing on them opens up the possibility of human thought interaction into eternity. “ Days and Days ”, on the other hand, is a recent work, a result of 20 years since then, presenting another impression of mine
on eternity. As I mentioned before, time, to me, seems to flow but is actually something that remains unchanged in its place. As can be seen in these two pieces, my personal time over the past 20 years converges here, and they all become the present again.

DHLEE : What are your main areas of interest for now and could we know more about them ?

NH KWON : A theme that continues to attract my interest, including recent times, is something beyond the phenomena presented to us by the ever-changing and moving material world. That could be eternity, time, or inherent nature when it comes to humans or nature.

Namhee Kwon, born in 1971, is a Korean conceptual artist who lives and works in Paris. She graduated in 1997 from Hongik University in Seoul and then graduated from Goldsmiths College in London in 2002. She has exhibited at the Cité Internationale des Arts, Paris for the exhibition “ A Writer’s Diary ”, in 2015 and 2019 at the Tenderbooks in London and as well as at the inaugural exhibition “ Rencontrons nous à la gare ” at the MUDAC PLATEFORME 10 in Lausanne, Switzerland in 2022. Namhee Kwon is interested in the literary representation and poetic impressions of everyday life through a visual language, and using text and symbols to alter the visual perceptions of her environment.

This exhibition has been realized with the sponsorship of Gangwon State and Gangwon Art & Culture Foundation in South Korea.

Printable version of the press release

Days Paintings, 2021, 100 canvases, acrylic on canvas, hand painting, 16 x 22 cm per canvas, series of unique pieces
Notes Vierges, 2001 – 2022, 45 pieces, sewing and drawing on fabric, coloured pencil, pencil, 28,5 x 20,5 cm each piece, series of unique pieces
Photo © Aurélien Mole

Notes Vierges, 2001 – 2022, 45 pieces, sewing and drawing on fabric, coloured pencil, pencil, 28,5 x 20,5 cm each piece, series of unique pieces
Photo © Aurélien Mole

Days and days, 2023, 100 livres, 752 pages par livre, 20,3 x 14,8 x 3,2 cm par livre, série de pièces uniques. Edition : Namhee Kwon
Photo © Aurélien Mole

Days Paintings, 2021, 100 canvases, acrylic on canvas, hand painting, 16 x 22 cm per canvas, series of unique pieces
Days and days, 2023, 100 books, 752 pages per book, 20,3 x 14,8 x 3,2 cm per book,
series of unique pieces. Edition : Namhee Kwon
Photo © Aurélien Mole

Days and days, 2023, 100 books, 752 pages per book, 20,3 x 14,8 x 3,2 cm per book, series of unique pieces. Edition : Namhee Kwon
em>Days Paintings, 2021, 100 canvases, acrylic on canvas, hand painting, 16 x 22 cm per canvas, series of unique pieces
Photo © Aurélien Mole

Days and days, 2023, 100 books, 752 pages per book, 20,3 x 14,8 x 3,2 cm per book, series of unique pieces. Edition : Namhee Kwon
Photo © Aurélien Mole

Days and days, 2023, 100 books, 752 pages per book, 20,3 x 14,8 x 3,2 cm per book,
series of unique pieces. Edition : Namhee Kwon
Photo © Aurélien Mole

Morceaux de sucre, 2023, installation, 500 sugar pieces, stickers, variable dimensions, series of unique pieces
Photo © Aurélien Mole

For Eternities, 2023, page n° 127 (poem Parzival) from the book Scripts by Victor Burgin. Edition : Musée d’art moderne et contemporain, Geneva.
286 pages, 22 x 23,8 x 2,6 cm, 2016
Morceaux de sucre, 2023, installation, 500 sugar pieces, stickers, variable dimensions,
series of unique pieces
Photo © Aurélien Mole

What time is it there ?, 2011, photography from a scan, digital printing,
66 x 125,5 cm, series of unique pieces. Edition of 5 + 2 AP
Ten, 2011, photography from a scan, digital printing, 66 x 125,5 cm,
series of unique pieces. Edition of 5 + 2 AP
Photo © Aurélien Mole

Ten, 2011, photography from a scan, digital printing, 66 x 125,5 cm, series of unique pieces. Edition of 5 + 2 AP
Photo © Aurélien Mole

What time is it there ?, 2011, photography from a scan, digital printing, 66 x 125,5 cm, series of unique pieces. Edition of 5 + 2 AP
Photo © Aurélien Mole

………………………………………………..

Dorian Gray

Dohyang Lee — Fri, 21 Apr 2023 10:40:30 +0000

Collective exhibition with

Sixtine De Thé, Apolline Lamoril, Laurent Mareschal, Lina Benzerti,
Jérémy Chabaud, Yezoi Hwang, Eva Giolo & Alessandro De Marinis

Available artworks list

29.04 – 27.05.2023

Under the pen of Oscar Wilde, Dorian Gray* is a metaphor for our perennial and vain quest for eternal youth, but above all a portrait and finally a self-portrait of our profound nature, a duel between good and evil, youth and old, material and immaterial, moral and immorality. Not limited to the classic vision of the portrait, the artists propose their multidisciplinary visions of the exercise of the portrait, which also include incomplete bodies, mutilated, sick, suffering or bodies of power, which reflect a reality of the human condition.

Born in 1991, Sixtine De Thé lives and works in Paris (France). She graduated in 2021 from the Ecole nationale supérieure des Beaux-Arts de Paris, after studying art history at the École Normale Supérieure and the École du Louvre. Her multidisciplinary approach revolves around photography but also around writing, sculpture, video and sound. Her research is expressed as a sensory mapping of the visible and the invisible, where themes such as body, face and territory are predominant. Often on the verge of disappearance or destruction, her images attempt to answer the question : what remains of it ? Her work has been displayed in Private Choice, Galerie Bubenberg, Festival Photo Saint-Germain (Paris, France), Luma Foundation (Arles, France), Deir el Qamar (Lebanon) and New York (United States). In 2021, her collaborative photography project Pellicules Aveugles with visually impaired persons, received the mention of the jury of the Dior Prize for Photography and Visual Arts for Young Talents.

Apolline Lamoril, born in 1993, lives and works in Marseille (France). She graduated from the Ecole Nationale Supérieure de la Photographie d’Arles in 2017. In her artistic practice, she is interested in the images and discourses that accompany them, as well as the memorial strategies of our societies. She has exhibited her work at the Rencontres d’Arles, at Agnès b., at the Marseille Photographic Centre, in Paos Guadalajara, Mexico. She is currently preparing an exhibition at the CRP/ Douchy-les-Mines (France) for the summer of 2023.

Laurent Mareschal, born in Dijon (France) in 1975, lives and works in Paris (France). He produces relational works that are often ephemeral, always lively and interactive, that question our identity, our relationship to language and our political commitment. Mareschal uses a very undeveloped element in the field of visual arts : smell and taste. He uses smell for his ability to interfere with the visitor without a filter and to awaken emotional memories related to smells. In his recent pieces the process of appearance/disappearance of the text is reversible. The piece remains ephemeral, constantly subject to changes. It is a constant concern for Mareschal : keep the works alive, let them live their lives, let them change. His projects have been shown at the Victoria & Albert Museum (London, United Kingdom), Van Abbe Museum (Eindhoven, The Netherlands), CAPC Museum (Bordeaux, France), Grand Palais (Paris, France), New Manege (Moscow, Russia), Le Fresnoy (Tourcoing, France), CEAAC (Strasbourg, France), Institute for Islamic Cultures (Paris, France), Ashdod Art Museum (Ashdod, Israel) and La Maréchalerie art centre (Versailles, France).

Born in 1996 in Montreuil (France), Lina Benzerti grew up in Paris (France). In 2016, she began her studies at the Ecole nationale supérieure des Beaux-Arts de Paris. Her work explores analog processes in order to mix them with digital photography. Her images lie between self-portrait and portrait, where she probes the ghosts of female nightmares in the societal and intimate context and is interested in family traumas through the transgenerational and the symptoms or diseases they cause. She has a very manual relationship to her images, which she takes care of and shows patience in their treatment. This dimension of “care” and the Art that takes care of the World is very important in her practice.

Born in 1971, Jérémy Chabaud, expresses himself and acts in the artistic and social field. He participates in many collectives and associations. His artistic work has been listed since 1988. He has participated in numerous solo and group exhibitions and creative residencies (Josef and Anni Albers Foundation, USA / La Cave, Perpignan, etc.) and has just received the Arthur Luiz Piza Prize for an artistic residency in Brazil in 2023.

The 1993 born South Korean, Yezoi Hwang’s interest in photography started organically, spurred by her parents who habitually and almost obsessively engaged in collecting and archiving. Hwang started taking pictures at the age of 16 with a camera her father gave her. Photography has become a gateway to the world as she started gazing through the camera to understand the world. These photos can be said to be a by-product of her gaze to convey emotions to others. Those who appear in her photos are mainly family and women, whom she wants to comfort. Resonating stronger with personal history than grand discourse, Hwang tells her story through family and personal portraits.

Born is Brussels (Belgium) in 1991, Eva Giolo is an artist working in film, video, and installation. Her work places particular focus on the female experience, employing experimental and documentary strategies to explore themes of intimacy, permanence and memory, along with the analysis of language and semiotics. Her work has been exhibited at Sadie Coles HQ, Harlan Levey Project (London, United Kingdom), WIELS centre for Contemporary Art, BOZAR Centre for Fine Arts (Brussels, Belgium), MAXXI–National Museum of 21st Century Art (Roma, Italy), Kunstmuseum Den Haag (The Hague, The Netherlands), Palazzo Strozzi (Florence, Italy), Museum of Contemporary Art Antwerp (Antwerp, Belgium), Kunsthalle Wien (Vienna, Austria), and major film festivals like the International Film Festival Rotterdam, Viennale, FIDMarseille, Cinéma du Réel among others. She is a founding member of the production and distribution platform elephy.

Born in 1995 in Bari, Puglia, in Italy, Alessandro De Marinis is an artist, photographer and writer graduated from the École Nationale Supérieure des Arts décoratifs de Paris. After spending many years in Italy, in symbiosis with his family, his twin brother and his mother, and after graduating from the Academy of Fine Arts in Bari, he decided to go to Paris where he attended the École Nationale Supérieure des Arts décoratifs. His work is thus built on the experiences that have marked his life in southern Italy. His artistic universe is populated by twins, myths, angelic figures, religious and androgynous images. Between poetry and fiction, his projects are crossed by the theme of the couple in the broad sense: the twin couple, the relationship mother-son, sedentary and nomads, angels and servants.

* To know more about The Picture of Dorian Gray, novel by Oscar Wilde (1854 – 1900)
https://en.wikipedia.org/wiki/The_Picture_of_Dorian_Gray

Press release printable version

Sixtine De Thé, Mannequinage, 2017, series of 21 inkjet printings (mate ultrasmooth paper) glued on 2 mm expanded PVC, 60 x 40 cm, edition of 5 + 2 EA

Sixtine De Thé, Mannequinage, 2017, series of 21 inkjet printings (mate ultrasmooth paper) glued on 2 mm expanded PVC, 60 x 40 cm, edition of 5 + 2 EA
Lina Benzerti, Mouton noir, 2023, analog printing on plastic paper, 22,5 x 17 cm (without frame), unique piece
Sixtine De Thé, Untitled 22 (Series Mannequinage), 2017, inkjet printing (mate ultrasmooth paper) glued on dibond, 120 x 80 cm, edition of 5 + 2 EA
Laurent Mareschal, Wrapped Around My Fingers, 2021, digital prints with black ink on 120 g coated paper, 119 x 84 cm, unique piece
Apolline Lamoril, Los manos, 2023, series of anthotypes on paper, 28 x 20 cm, edition of 3 + 2 AP

Lina Benzerti, Mouton noir, 2023, analog printing on plastic paper, 22,5 x 17 cm (without frame), unique piece
Sixtine De Thé, Untitled 22 (Series Mannequinage), 2017, inkjet printing (mate ultrasmooth paper) glued on dibond, 120 x 80 cm, edition of 5 + 2 EA
Apolline Lamoril, Los manos, 2023, series of anthotypes on paper, 28 x 20 cm, edition of 3 + 2 AP

Lina Benzerti, Mouton noir, 2023, analog printing on plastic paper, 22,5 x 17 cm (without frame), unique piece

Lina Benzerti, Mouton noir, 2023, analog printing on plastic paper, 22,5 x 17 cm (without frame), unique piece
Sixtine De Thé, Untitled 22 (Series Mannequinage), 2017, inkjet printing (mate ultrasmooth paper) glued on dibond, 120 x 80 cm, edition of 5 + 2 EA
Laurent Mareschal, Wrapped Around My Fingers, 2021, digital prints with black ink on 120 g coated paper, 119 x 84 cm, unique piece

Laurent Mareschal, Wrapped Around My Fingers, 2021, digital prints with black ink on 120 g coated paper, 119 x 84 cm, unique piece

Lina Benzerti, Mouton noir, 2023, analog printing on plastic paper, 22,5 x 17 cm (without frame), unique piece
Apolline Lamoril, Los manos, 2023, series of anthotypes on paper, 28 x 20 cm, edition of 3 + 2 AP

Apolline Lamoril, Los manos, 2023, series of anthotypes on paper, 28 x 20 cm, edition of 3 + 2 AP
Sixtine de Thé, Tiède sans toi, 2019, inkjet printing (mate ultrasmooth paper) glued on dibond, 50 x 50 cm, edition of 5 + 2 EA

Sixtine de Thé, Tiède sans toi, 2019, inkjet printing (mate ultrasmooth paper) glued on dibond, 50 x 50 cm, edition of 5 + 2 EA

Lina Benzerti, Pertes, 2023, tainted cyanotype, 50 x 65 cm, unique piece
Kyste, 2023, tainted cyanotype and sewn leaf, 50 x 65 cm, unique piece
Le coeur du rein, 2023, tainted cyanotype and gold, 14,8 x 21 cm, unique piece
Colère de la nature, 2021, photograph printing on rhodoïd and light box, 48,5 x 13,2 x 81,2 cm (light box), 70,8 x 42,5 cm (rhodoïd), unique pieces
Alessandro De Marinis, Autobiographie familiale, essai de construction de soi, 2019 – 2020 – artist book, thesis directed by Judith Abensour, ENSAD, 462 pages, 20 x 24,5 x 3 cm
Giango e Poncho, 2021, photography glued on wood, 120 x 80 cm, edition of 3 + 2 AP

Lina Benzerti, Pharmacie, 2023, mini cyanotype printings in a medicine organizer, 14,8 x 21 cm, unique piece
Pertes, 2023, tainted cyanotype, 50 x 65 cm, unique piece
Kyste, 2023, tainted cyanotype and sewn leaf, 50 x 65 cm, unique piece
Le coeur du rein, 2023, tainted cyanotype and gold, 14,8 x 21 cm, unique piece
Colère de la nature, 2021, photograph printing on rhodoïd and light box, 48,5 x 13,2 x 81,2 cm (light box), 70,8 x 42,5 cm (rhodoïd), unique pieces

Lina Benzerti, Pharmacie, 2023, mini cyanotype printings in a medicine organizer, 14,8 x 21 cm, unique piece

Alessandro De Marinis, Autobiographie familiale, essai de construction de soi, 2019 – 2020 – artist book, thesis directed by Judith Abensour, ENSAD, 462 pages, 20 x 24,5 x 3 cm
Giango e Poncho, 2021, photography glued on wood, 120 x 80 cm, edition of 3 + 2 AP
Jérérmy Chabaud, Numéro 03 – Quand mon doigt par mégarde, since 2010, photography printing on 308 g Fige Art RAG paper, 40 x 30 cm (without frame), edition of 8 + 2 AP
Numéro 07 – Nul n’a vu de pouvoir sur terre…, since 2010, photography printing on 308 g Fige Art RAG paper, 40 x 30 cm (without frame), edition of 8 + 2 AP
Numéro 12 – Dans la rue, since 2010, photography printing on 308 g Fige Art RAG paper, 40 x 30 cm (without frame), edition of 8 + 2 AP
Numéro 15 – Délices et rages (autoportrait aux plumes et mélasse de sucre brulé), since 2010, photography printing on 308 g Fige Art RAG paper, 40 x 30 cm (without frame), edition of 8 + 2 AP
Numéro 23 – What blurt is… (autoportrait à la mélasse de sucre brulé), since 2010, photography printing on 308 g Fige Art RAG paper, 40 x 30 cm (without frame), edition of 8 + 2 AP
Numéro 38 – Dès lors qu’à tout prix…, since 2010, photography printing on 308 g Fige Art RAG paper, 40 x 30 cm (without frame), edition of 8 + 2 AP
Yezoi Hwang, Hugging, 2016, inkjet print on ILFORD GALERIE Gold Fiber Gloss 310 g paper, 30 x 50 cm, edition of 20
Eye, 2019, inkjet print on ILFORD GALERIE Gold Fiber Gloss 310 g paper, 44 x 30 cm, edition of 20
White, 2020, inkjet print on ILFORD GALERIE Gold Fiber Gloss 310 g paper, 70 x 48 cm, edition of 10 + 3 AP
Dad, 2016, inkjet print on ILFORD GALERIE Gold Fiber Gloss 310 g paper, 33 x 50 cm, edition of 5 + 3 AP
Stone, 2020, inkjet print on ILFORD GALERIE Gold Fiber Gloss 310 g paper, 70 x 48 cm, edition of 10 + 3 AP
Circle, 2018, inkjet printing on paper, frame, glass, 24 x 18 cm (without frame), unique piece

Jérérmy Chabaud, Numéro 03 – Quand mon doigt par mégarde, since 2010, photography printing on 308 g Fige Art RAG paper, 40 x 30 cm (without frame), edition of 8 + 2 AP
Numéro 07 – Nul n’a vu de pouvoir sur terre…, since 2010, photography printing on 308 g Fige Art RAG paper, 40 x 30 cm (without frame),
edition of 8 + 2 AP
Numéro 12 – Dans la rue, since 2010, photography printing on 308 g Fige Art RAG paper, 40 x 30 cm (without frame), edition of 8 + 2 AP
Numéro 15 – Délices et rages (autoportrait aux plumes et mélasse de sucre brulé), since 2010, photography printing on 308 g Fige Art RAG paper, 40 x 30 cm (without frame), edition of 8 + 2 AP
Numéro 23 – What blurt is… (autoportrait à la mélasse de sucre brulé), since 2010, photography printing on 308 g Fige Art RAG paper, 40 x 30 cm (without frame), edition of 8 + 2 AP
Numéro 38 – Dès lors qu’à tout prix…, since 2010, photography printing on 308 g Fige Art RAG paper, 40 x 30 cm (without frame), edition of 8 + 2 AP
Yezoi Hwang, Hugging, 2016, inkjet print on ILFORD GALERIE Gold Fiber Gloss 310 g paper, 30 x 50 cm, edition of 20
Eye, 2019, inkjet print on ILFORD GALERIE Gold Fiber Gloss 310 g paper, 44 x 30 cm, edition of 20
White, 2020, inkjet print on ILFORD GALERIE Gold Fiber Gloss 310 g paper, 70 x 48 cm, edition of 10 + 3 AP
Dad, 2016, inkjet print on ILFORD GALERIE Gold Fiber Gloss 310 g paper, 33 x 50 cm, edition of 5 + 3 AP
Stone, 2020, inkjet print on ILFORD GALERIE Gold Fiber Gloss 310 g paper, 70 x 48 cm, edition of 10 + 3 AP
Circle, 2018, inkjet printing on paper, frame, glass, 24 x 18 cm (without frame), unique piece

Yezoi Hwang, White, 2020, inkjet print on ILFORD GALERIE Gold Fiber Gloss 310 g paper, 70 x 48 cm, edition of 10 + 3 AP
Dad, 2016, inkjet print on ILFORD GALERIE Gold Fiber Gloss 310 g paper, 33 x 50 cm, edition of 5 + 3 AP
Stone, 2020, inkjet print on ILFORD GALERIE Gold Fiber Gloss 310 g paper, 70 x 48 cm, edition of 10 + 3 AP
Circle, 2018, inkjet printing on paper, frame, glass, 24 x 18 cm (without frame), unique piece

Yezoi Hwang, Circle, 2018, inkjet printing on paper, frame, glass, 24 x 18 cm (without frame), unique piece

Eva Giolo, Flowers blooming in our throats, 2020, 16mm scanned to digital file, colour, sound, 8’37’’, edition of 5 + 2 AP. Directed, filmed and edited by Eva Giolo. Commissioned and produced by Fondazione in between art film. Co-produced by elephy. Executive producer Leonardo Bigazzi.
Sound design by Simonluca Laitempergher. Colourist Lennert de Taeye

………………………………………………..

1987

Dohyang Lee — Wed, 22 Feb 2023 01:42:36 +0000

VIOLAINE LOCHU

Available artworks list

11.03 – 15.04.2023

Performance O Child at 6 pm 30

article by Guillaume Benoit on Slash Paris

There is no love story that isn’t political, neither is there a struggle that isn’t intimate. Five years after Hinterland at the Dohyang Lee Gallery, Violaine Lochu shares her personal story once again to reflect upon the metamorphoses initiated by traumas and the forms of care that respond to them. There is a calendar coincidence in this new exhibition, entitled “1987”, the year she was born, and which starts on her birthday, as if to echo the regeneration she places at the horizon. But where her first solo exhibition implemented an introspective vision, supported by her body and the cancer inside it, 1987 puts on stage a relationship with others, tested from her own suffering and its painful memory. The three projects presented here (O Child, Battle and Xóvíví) share the articulation of autobiographical elements with an aesthetics of care or the catharsis laid down in response to this “hollow” presence, whether a lover in a faraway country, the child one will never have or the phantoms of colonial past. To elude the violence of absence and lack, to fill in the cavities that haunt beings down to the bone, Violaine Lochu gives floor to the understated voices that resonate with their tales of life in the form of collected words translated into sound poetry, love letters transformed into drawings, and a decolonial post-memorial ritual. Those who have not been listened to find here, in art, the means of escaping, which applies for the reinvention of self, a way of surmounting their traumatic feelings.

Florian Gaité
Translated in English by Emmelene Landon

Violaine Lochu wishes to thank all the participants for her projects O Child and Battle

Her collaborators ;
Christophe Hamery — graphism, title, writing, flyer photo
Baptiste Joxe — sound engineering
Rachael Woodson — exhibition photos
Spero Djivo — technical assistance
Atelier Hervé/ Cotonou — sewing assistance
Makoto C. Friedmann — video
Céline Régnard — make up
Jean Fürst, Cathy Gringelli, Nicolas Iarossi — performers

The team of the Musée National Pablo Picasso de Vallauris, Gaïdig Lemarié, Anne Dopffer, Carine Bouey, Florian Gaité, Julie Crenn, Jean Fürst, Francesco Pastacaldi, Valérie Vivancos, Mélanie Gourarier, Gheorghe Ciumasu, Claire Luna, Chloé Breillot, Aurélie Denis, Pascal Lièvre, Valérie Sonnier, Marie M, Myriam Jacquey, Inès Yabo Feliho, Sénami Donoumassou and Caroline Renson

O Child, 2023, in situ installation. Sound piece, 25’04’’, edition of 5 + 2 AP. Series of 9 unique textile objects, wax cotton fabric, velvet, wicker, variable dimensions, unique pieces. Assistance from the Hervé workshop, Cotonou, Benin. Photography poster, image Rachael Woodson, dimensions according to the location, edition of 5 + 2 AP. Performance, 1 hour. Production Dohyang Lee Gallery, Paris, France

Xóvíví, 2023, series of 36 collage drawings, frame, glass, 29,7 x 21 cm (framed and without frame), unique pieces.
Production Dohyang Lee Gallery, Paris, France

Battle (in situ performance video), 2021, in situ performance video, sound, colour, subtitles in English, 25’12”, edition of 5 + 2 AP. With Violaine Lochu, Jean Fürst, Catherine Gringelli, Nicolas Iarossi (performers), Céline Régnard assisted by Thai Knight (make up), Arnaud Arini (assistant), Makoto C. Friedmann (video). Production Musée National Pablo Picasso La Guerre et la Paix, Vallauris, France

………………………………………………..

éco (…..) éco (…..) éco (…….) – part II

Dohyang Lee — Fri, 30 Sep 2022 12:06:49 +0000

Available artworks list.

éco (…..) éco (…..) éco (…….) part II

Collective exhibition with
Alexis Foiny, Anna Tomaszewski, Boris Kurdi, Carolina De La Roche, Charlotte Delval, Charlotte Seidel, Gabriel Moraes Aquino, Jade De Rooster, Joongho Yum, Kyunglynn Chang, Laurent Mareschal, Léa Barbazanges, Léo-Paul Barbaut, Loïs Szymczak, Maëlle Poirier, Max Blotas, Minsook Kang, Moongi Gim, Morgane Porcheron, Natalia Villanueva Linares, Nefeli Papadimouli, Paula Castro, Sun Choi, Thomas Garnier, Violaine Lochu

03.12 – 30.12.2022

The Dohyang Lee Gallery invites you to the second part of its collective exhibition éco (…..) éco (…..) éco (…….). éco 1 is a prefix that comes from the ancient Greek oîkos 2 (house). Unlike the first part, where we dealt with material and social notions, this time we want to ponder upon spiritual notions.

What does HOME mean?

- Legend says that Christmas Day was set for December 25th, in the year 354 AD by Pope Liberius. Indeed, this day corresponded to a pagan feast of the sun’s (rebirt)H, following the winter solstice, theoretical day where the night is the longest. Most people celebrate Christmas with their families and gather home to share memories, look to the future and prepare the new year (as the new sun was expected in this Roman feast).

- In most households there is a profound feeling of l(O)ve among all the members. It is the bond that allows cohesion, solidity and durability between them and to endure the troubles of life. We note a great difference between the atmosphere of Mme de Fleurville’s house and that of the Fichini’s, as described by the Countess de Ségur in her famous trilogy of the Petites Filles Modèles (Good Little Girls). 3

- Let’s imagine someone who lost everything and ended up on the streets. He lives for a while without a home in complete insecurity, sometimes in winter’s cold. Activists and social workers tell that when these people find a home, they can begin a process of personal (rec)O(very), regain dignity, security, rebuild a future and health.

- Some may think of a (com)M(union). Without invoking religion, we think of a communion of people who found a community or a family. This family could be extended like in ancient times, or nuclear like in our present times, but remains a base that allows each person to come into blossom, to build itself.

- Florence Nightingale theorized the practice of nursing after her experience of the Crimean War in the mid 19th century. For her, the need to professionalize a profession, to educate through exercises, to change the condition of housing patients, was the key to reduce diseases. Inside a family, C(are) is one of the essential acts, which is entrusted to parents towards their children in childhood and in return to children towards parents in their old age. This care is often done at home.

- Why not mention the (r)E(turn) of the prodigal son of the parable. Parents falling out with their children, brothers and sisters who no longer speak to each other, friends who separate. Couples who tear themselves apart. Yet the parable tells us of forgiveness, of an unexpected return home of the lost son, which causes the father an infinite joy, but also the jealousy and anger of the eldest son. The return of a lost and found happiness.

1. https://www.oxfordlearnersdictionaries.com/definition/english/eco?q=eco
2. https://en.wiktionary.org/wiki/%CE%BF%E1%BC%B6%CE%BA%CE%BF%CF%82#Ancient_Greek
3. The trilogy includes the Countess of Segur’s novels, Les Malheurs de Sophie, Les Petites Filles Modèles, Les Vacances

Version imprimable du communiqué de presse

Léa Barbazanges, Optiques, 2015, 12 digital printings, printing on baryta Hahnemühle paper, anti reflects glass, lead, 19,5 x 14,5 cm each,
edition of 7 + 2 AP
Natalia Villanueva Linares, Desmedida (extraits) Briques 1 – 9, 2018 – 2022, 8 bricks of hundreds second hand clothing patterns, tied together with thread, 23 cm x 9 cm x 6 cm each brick (approximative size), 1 brick of hundreds of hundreds second hand clothing patterns, tied together with thread, transparent vinyl sewn with golden thread, 23 cm x 9 cm x 6 cm (approximative size), unique pieces
Joongho Yum, Sous la peau, 2021, archival pigment printing on Ivory Mat paper, 70 x 105 cm, edition of 5 + 1 AP
Charlotte Delval, Hors Saison – Honorine, 2022, graphite on speckled blue canson paper, glass, 50 x 65 cm, unique piece
Hors Saison – Herbe, 2022, graphite on speckled pink canson paper, glass, 50 x 65 cm, unique piece
Hors Saison – Humus, 2022, graphite on aneth green canson paper, glass, 50 x 65 cm, unique piece
Laurent Mareschal, Et le douzième mois (2009), 2009, Christmas Tree with cut branches covered with plaster, 127 x 36 x 25 cm, unique piece
Minsook Kang, Plant Human, 2022, single channel video, color + black and white, sound, 14’, edition of 3 + 1 AP
Loïs Szymczak, Les marches de la honte, 2021, collage on wood, paper, walnut ink, acrylic, wood frame, 122 x 122 cm, unique piece
Jade De Rooster, Kaléidoscope, 2022, silk screened papers glued on a wood pannel, 120 x 69,8 cm, unique piece
Alexis Foiny, Solastalgia Medeor, 2022, nylon thread based 3D printed ower, pigments, ceramics piece, glass basements, fragrance glass bottle realised in collaboration with Domitille Michalon- Bertier et IFF, variable dimensions, unique piece
Morgane Porcheron, Plante Sauvage #1 – 12, 2021, installation, ennameld ceramics, dimensions variables, unique pieces
Nefeli Papadimouli, Eventail (une couleur de nous-mêmes pour la dernière fois), 2017 – 2021, color catcher paper, oak wood, golden threads,
brass + associated suit, folded fan : 167 cm high, unfolded fan : 280 cm diameter, unique pieces
La Parade (Trois n°2), 2021, three colored photographs, inkjet printing on Epson Fine Art paper, frame, 21,5 x 16 cm (without frame), 25 x 19,5 cm (with frame), edition of 5 + 1 AP
Skinscapes, 2022, drawing on technical paper, graphite, white wood frame, 3 mm PVC gluing, 2mm anti – reflect glass, 25 x 40 cm (without frame), 44,5 x 62 cm (with frame), unique piece
Vessels, 2022, drawing on technical paper, graphite, oak wood frame, Marie Louise, glass, 27 x 39,5 (without frame), 37,5 x 49,5 cm (with frame), unique piece

Léa Barbazanges, Optiques, 2015, 12 digital printings, printing on baryta Hahnemühle paper, anti reflects glass, lead, 19,5 x 14,5 cm each,
edition of 7 + 2 AP
Morgane Porcheron, Plante Sauvage #1 – 12, 2021, installation, ennameld ceramics, dimensions variables, unique pieces
Natalia Villanueva Linares, Desmedida (extraits) Briques 1 – 9, 2018 – 2022, 8 bricks of hundreds second hand clothing patterns, tied together with thread, 23 cm x 9 cm x 6 cm each brick (approximative size), 1 brick of hundreds of hundreds second hand clothing patterns, tied together with thread, transparent vinyl sewn with golden thread, 23 cm x 9 cm x 6 cm (approximative size), unique pieces
Joongho Yum, Sous la peau, 2021, archival pigment printing on Ivory Mat paper, 70 x 105 cm, edition of 5 + 1 AP

Morgane Porcheron, Plante Sauvage #1 – 12, 2021, installation, ennameld ceramics, dimensions variables, unique pieces

Léa Barbazanges, Optiques, 2015, 12 digital printings, printing on baryta Hahnemühle paper, anti reflects glass, lead, 19,5 x 14,5 cm each,
edition of 7 + 2 AP

Natalia Villanueva Linares, Desmedida (extraits) Briques 1 – 9, 2018 – 2022, 8 bricks of hundreds second hand clothing patterns, tied together with thread, 23 cm x 9 cm x 6 cm each brick (approximative size), 1 brick of hundreds of hundreds second hand clothing patterns, tied together with thread, transparent vinyl sewn with golden thread, 23 cm x 9 cm x 6 cm (approximative size), unique pieces
Joongho Yum, Sous la peau, 2021, archival pigment printing on Ivory Mat paper, 70 x 105 cm, edition of 5 + 1 AP
Alexis Foiny, Solastalgia Medeor, 2022, nylon thread based 3D printed ower, pigments, ceramics piece, glass basements, fragrance glass bottle realised in collaboration with Domitille Michalon- Bertier et IFF, variable dimensions, unique piece
Charlotte Delval, Hors Saison – Honorine, 2022, graphite on speckled blue canson paper, glass, 50 x 65 cm, unique piece

Joongho Yum, Sous la peau, 2021, archival pigment printing on Ivory Mat paper, 70 x 105 cm, edition of 5 + 1 AP
Charlotte Delval, Hors Saison – Honorine, 2022, graphite on speckled blue canson paper, glass, 50 x 65 cm, unique piece
Hors Saison – Herbe, 2022, graphite on speckled pink canson paper,
glass, 50 x 65 cm, unique piece
Hors Saison – Humus, 2022, graphite on aneth green canson paper,
glass, 50 x 65 cm, unique piece
Laurent Mareschal, Et le douzième mois (2009), 2009, Christmas Tree with cut branches covered with plaster, 127 x 36 x 25 cm, unique piece
Minsook Kang, Plant Human, 2022, single channel video,
color + black and white, sound, 14’, edition of 3 + 1 AP
Loïs Szymczak, Les marches de la honte, 2021, collage on wood, paper, walnut ink, acrylic, wood frame, 122 x 122 cm, unique piece
Jade De Rooster, Kaléidoscope, 2022, silk screened papers
glued on a wood pannel, 120 x 69,8 cm, unique piece
Alexis Foiny, Solastalgia Medeor, 2022, nylon thread based 3D printed ower, pigments, ceramics piece, glass basements, fragrance glass bottle realised in collaboration with Domitille Michalon- Bertier et IFF, variable dimensions,
unique piece

Charlotte Delval, Hors Saison – Honorine, 2022, graphite on speckled blue canson paper, glass, 50 x 65 cm, unique piece
Hors Saison – Herbe, 2022, graphite on speckled pink canson paper,
glass, 50 x 65 cm, unique piece
Hors Saison – Humus, 2022, graphite on aneth green canson paper,
glass, 50 x 65 cm, unique piece
Laurent Mareschal, Et le douzième mois (2009), 2009, Christmas Tree with cut branches covered with plaster, 127 x 36 x 25 cm, unique piece
Minsook Kang, Plant Human, 2022, single channel video,
color + black and white, sound, 14’, edition of 3 + 1 AP
Alexis Foiny, Solastalgia Medeor, 2022, nylon thread based 3D printed ower, pigments, ceramics piece, glass basements, fragrance glass bottle realised in collaboration with Domitille Michalon- Bertier et IFF, variable dimensions,
unique piece

Loïs Szymczak, Les marches de la honte, 2021, collage on wood, paper, walnut ink, acrylic, wood frame, 122 x 122 cm, unique piece
Jade De Rooster, Kaléidoscope, 2022, silk screened papers glued on a wood pannel, 120 x 69,8 cm, unique piece

Nefeli Papadimouli, Eventail (une couleur de nous-mêmes pour la dernière fois), 2017 – 2021, color catcher paper, oak wood, golden threads, brass + associated suit, folded fan : 167 cm high, unfolded fan : 280 cm diameter, unique pieces
La Parade (Trois n°2), 2021, three colored photographs, inkjet printing on Epson Fine Art paper, frame, 21,5 x 16 cm (without frame), 25 x 19,5 cm (with frame), edition of 5 + 1 AP
Skinscapes, 2022, drawing on technical paper, graphite, white wood frame, 3 mm PVC gluing, 2mm anti – reflect glass, 25 x 40 cm (without frame), 44,5 x 62 cm (with frame), unique piece
Vessels, 2022, drawing on technical paper, graphite, oak wood frame, Marie Louise, glass, 27 x 39,5 (without frame), 37,5 x 49,5 cm (with frame), unique piece
Carolina De La Roche,Sans titre, 2022, collage, frame, glass, 18 x 13 cm (without frame), 31 x 25 cm (with frame), unique piece
Cartographie des souvenirs, 2020, fabric collage, frame, glass, 20 x 20 cm (without frame), 23 x 23 cm (with frame), unique piece
Ver de cerca, 2018, collage, frame, glass, 11,5 x 9 cm (without frame),
15 x 20 cm (with frame), unique piece
Trémula, 2021, collage, frame, glass, 21 x 15 cm (without frame),
32,5 x 26 cm (with frame), unique piece
Vagabundos Buscando significacion, 2019, collage, frame, glass, 22 x 14 cm (without frame), 37 x 28 cm (with frame), unique piece
Los Tortolitos, 2021, collage, frame, glass, 35 x 25 cm (without frame), 56 x 40,5 cm (with frame), unique piece
Sans titre, 2022, pencil drawing, frame, glass, 14 x 9 cm (without frame), 27 x 21 cm (with frame), unique piece
Sans titre, 2022, collage, frame, glass, 23 x 17 cm (without frame), 26 x 20 cm (with frame), unique piece

Nefeli Papadimouli, La Parade (Trois n°2), 2021, three colored photographs, inkjet printing on Epson Fine Art paper, frame,
21,5 x 16 cm (without frame), 25 x 19,5 cm (with frame), edition of 5 + 1 AP

Charlotte Seidel, Feuille (Robinier, Square Viviani), 2022, robinia leaves, 23kt gold leaf, 25 x 7,5 x 3,5 cm, unique piece
Boris Kurdi, Sans titre, 2022, graphite and color pencils on green paper, cardboard, 11,9 x 17,6 cm (drawing), 12,7 x 18,4 cm (cardboard),
unique piece
DRDR, 2022, graphite and color pencils on paper, cardboard, 12,2 x 19,4 cm (drawing), 13 x 20,1 cm (cardboard), unique piece
Sans titre, 2022, graphite and color pencils on paper, cardboard, 8,9 x 13,6 cm (drawing), 9,6 x 14,6 cm (cardboard, unique piece

Charlotte Seidel, Feuille (Robinier, Square Viviani), 2022, robinia leaves, 23kt gold leaf, 25 x 7,5 x 3,5 cm, unique piece

Kyunglynn Chang, Not so functional objects (Grey), 2022, digital printing on poster, 42 x 29,7 cm, edition of 50
Not so functional objects (Navy), 2022, digital printing on poster,
42 x 29,7 cm, edition of 50
Morgane Porcheron, Plante Sauvage #1 – 12, 2021, installation,
ennameld ceramics, dimensions variables, unique pieces
Moongi Gim, Poor Piece, 2022, scultpures series, scotch tape on paper
, variable dimensions, unique pieces
Léa Barbazanges, Optiques, 2015, 12 digital printings, printing on baryta Hahnemühle paper, anti re ects glass, lead, 19,5 x 14,5 cm each,
edition of 7 + 2 AP
Natalia Villanueva Linares, Desmedida (extraits) Briques 1 – 9, 2018 – 2022, 8 bricks of hundreds second hand clothing patterns, tied together with thread, 23 cm x 9 cm x 6 cm each brick (approximative size), 1 brick of hundreds of hundreds second hand clothing patterns, tied together with thread, transparent vinyl sewn with golden thread, 23 cm x 9 cm x 6 cm (approximative size), unique pieces
Joongho Yum, Sous la peau, 2021, archival pigment printing on Ivory Mat paper, 70 x 105 cm, edition of 5 + 1 AP
Charlotte Delval, Hors Saison – Honorine, 2022, graphite on speckled blue canson paper, glass, 50 x 65 cm, unique piece
Hors Saison – Herbe, 2022, graphite on speckled pink canson paper,
glass, 50 x 65 cm, unique piece
Hors Saison – Humus, 2022, graphite on aneth green canson paper,
glass, 50 x 65 cm, unique piece

Moongi Gim, Poor Piece, 2022, scultpures series, scotch tape on paper, variable dimensions, unique pieces

Kyunglynn Chang, Dasik Incense Holder (Light Blue), 2022, jesmonite, pigments, epoxy glue, 13 x 13 x 3 cm, edition of 5
Dasik Incense Holder (Purple), 2022, jesmonite, pigments, epoxy glue, 13 x 13 x 3 cm, edition of 5

Kyunglynn Chang, Not so functional objects (Grey), 2022, digital printing on poster, 42 x 29,7 cm, edition of 50
Not so functional objects (Navy), 2022, digital printing on poster,
42 x 29,7 cm, edition of 50
Dasik Incense Holder (Light Blue), 2022, jesmonite, pigments, epoxy glue,
13 x 13 x 3 cm, edition of 5
Dasik Incense Holder (Purple), 2022, jesmonite, pigments, epoxy glue,
13 x 13 x 3 cm, edition of 5
Moongi Gim, Poor Piece, 2022, scultpures series, scotch tape on paper, variable dimensions, unique pieces

Nefeli Papadimouli, Espacentres, 2019, artist’s book, canvas, cardboard, laser print on cotton paper, thread,
47,5 x 33 x 2,5 cm (folded book), 47,5 x 65,5 x 2,5 cm (unfolded book), edition of 5 + 2 AP
Thomas Garnier, Chimera, 2021, concrete block, light bar, multiple dimensions, series of 20 unique pieces
Strates, Acropolis, Sumer, Arches, Prismes, 2021, photocarving on Hahnemüle paper 1584 300g/m2, frame, glass, 100 x 150 cm, edition of 2 + AP
Gabriel Moraes Aquino, Jimmy, 2022, ennameld ceramics, 14 x 9,5 cm, unique piece. Production Fondation Fiminco
Sakuras, 2022, ennameld ceramics, 19,5 x 14,5 cm, unique piece. Production Fondation Fiminco
Sapinière, 2022, ennameld ceramics, 11 x 8 cm, unique piece. Production Fondation Fiminco
Canal, 2022, ennameld ceramics, 10 x 13 cm, unique piece. Production Fondation Fiminco

Anna Tomaszewski, Apokalupto, 2021, ceramics, ennamel, 42 x 21 x 7 cm,
unique piece
Sun Choi, Roke Hon – Mono, 2011, books, stones, action of the Roke typhoon, variable dimensions, unique pieces
Gabriel Moraes Aquino, Pelouse, 2022, ennameld ceramics, 8 x 14 cm,
unique piece. Production Fondation Fiminco
Monnaie, 2022, ennameld ceramics, 19,5 x 14,5 cm, unique piece.
Production Fondation Fiminco
Paddock, 2022, ennameld ceramics, 13 x 13,5 cm, unique piece.
Production Fondation Fiminco
Usine, 2022, ennameld ceramics, 14 x 10 cm, unique piece.
Production Fondation Fiminco
Flor Metal, 2022, ennameld ceramics, 6,5 x 10 cm, unique piece.
Production Fondation Fiminco
Squat, 2022, ennameld ceramics, 7 x8 cm, unique piece.
Production Fondation Fiminco
Tank, 2022, ennameld ceramics, 10 x 7,5 cm, unique piece.
Production Fondation Fiminco
Chantier, 2022, ennameld ceramics, 7 x 6 cm, unique piece.
Production Fondation Fiminco
Jimmy, 2022, ennameld ceramics, 14 x 9,5 cm, unique piece.
Production Fondation Fiminco
Sakuras, 2022, ennameld ceramics, 19,5 x 14,5 cm, unique piece.
Production Fondation Fiminco
Sapinière, 2022, ennameld ceramics, 11 x 8 cm, unique piece.
Production Fondation Fiminco
Canal, 2022, ennameld ceramics, 10 x 13 cm, unique piece.
Production Fondation Fiminco
Nefeli Papadimouli, Espacentres, 2019, artist’s book, canvas, cardboard, laser print on cotton paper, thread, 47,5 x 33 x 2,5 cm (folded book), 47,5 x 65,5 x 2,5 cm (unfolded book), edition of 5 + 2 AP

Sun Choi, Roke Hon – Mono, 2011, books, stones, action of the Roke typhoon, variable dimensions, unique pieces

Paula Castro, Juntos y Tensos, 2014, nails, elastic band, variable dimensions, unique piece
Violaine Lochu, Hòxó #vossakpé, 2021, video diptych in collaboration with Marcel Gbeffa, 2 flat screens, color, sound, 9’36’’, edition of 5 + 2 AP. Video images : Cécile Friedmann. Production FRAC MECA Nouvelle Aquitaine, Bordeaux, France
Charlotte Seidel, Les Oeillets, 2022, cotton, carnations, 73,5 x 44 cm, unique piece
Anna Tomaszewski, Apokalupto, 2021, laser photography, 150 x 125 cm,
edition of 5 + 2 AP
Apokalupto, 2021, ceramics, ennamel, 42 x 21 x 7 cm, unique piece
Sun Choi, Roke Hon – Mono, 2011, books, stones, action of the Roke typhoon, variable dimensions, unique pieces
Nefeli Papadimouli, Espacentres, 2019, artist’s book, canvas, cardboard, laser print on cotton paper, thread, 47,5 x 33 x 2,5 cm (folded book), 47,5 x 65,5 x 2,5 cm (unfolded book), edition of 5 + 2 AP
Thomas Garnier, Chimera, 2021, concrete block, light bar, multiple dimensions, series of 20 unique pieces
Strates, Acropolis, Sumer, Arches, Prismes, 2021, photocarving on Hahnemüle paper 1584 300g/m2, frame, glass, 100 x 150 cm, edition of 2 + AP

Charlotte Seidel, Les Oeillets, 2022, cotton, carnations, 73,5 x 44 cm, unique piece

Nefeli Papadimouli, Espacentres, 2019, artist’s book, canvas, cardboard, laser print on cotton paper, thread, 47,5 x 33 x 2,5 cm (folded book), 47,5 x 65,5 x 2,5 cm (unfolded book), edition of 5 + 2 AP
Thomas Garnier, Chimera, 2021, concrete block, light bar, multiple dimensions, series of 20 unique pieces
Strates, Acropolis, Sumer, Arches, Prismes, 2021, photocarving on Hahnemüle paper 1584 300g/m2, frame, glass, 100 x 150 cm, edition of 2 + AP
Léo-Paul Barbaut, Parimaginaire, 2020, etching carving, precut copper pannel, frame, glass, 29 x 39 cm (without frame), 31 x 41 cm (with frame), unique piece
Joongho Yum, Sous la peau, 2018, archival pigment printing on Ivory Mat paper,
70 x 105 cm, edition of 5 + 1 AP
Max Blotas, Lovers are like bees, in that they live a honeyed life (Amantes ut apis vitam mellitam exigunt), 2021, time capsule, chewing-gum, blu tack, thorns, motor, infrared camera, LED, electrical wire, microcontroller, 45 x 35 x 170 cm,
unique piece
Charlotte Delval, Sans Laisse, 2020, brads, plaster, golden ring, 14 x 8,5 x 4 cm, unique piece

Léo-Paul Barbaut, Parimaginaire, 2020, etching carving, precut copper pannel,
frame, glass, 29 x 39 cm (without frame), 31 x 41 cm (with frame), unique piece
Cloudboy, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 17 x 19 x 2,5 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
Cahute, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 26 x 19 x 8 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
Polyhouse, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 33 x 19 x 7 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
19Inside, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 21 x 21 x 6 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
Joongho Yum, Sous la peau, 2018, archival pigment printing on Ivory Mat paper, 70 x 105 cm, edition of 5 + 1 AP
Max Blotas, Lovers are like bees, in that they live a honeyed life (Amantes ut apis vitam mellitam exigunt), 2021, time capsule, chewing-gum, blu tack, thorns, motor, infrared camera, LED, electrical wire, microcontroller, 45 x 35 x 170 cm, unique piece
Thopter (R), 2019, miniature car (1/64), parts of bees (apis mellifera), centipedes (scolopendra cingulata), cicadae (neotibicen linnei), foies (sarcophaga carnaria), mantes (mantis religiosa) and spiders (hogna radiata), 3,5 x 2,5 x 3 cm, unique piece
Thopter (B), 2019, miniature car (1/64), parts of bees (apis mellifera), centipedes (scolopendra cingulata), cicadae (neotibicien linnei), mantes (mantis religiosa), moths (saturnia pyri), scorpions (tetratrichobothrius avicaudis), 4,5 x 3,5 x 4 cm, unique piece
Thopter (G), 2019, miniature car (1/64), parts of ants (lasius Niger), bee (apis mellifera), centipedes (scolopendra cingulata), flies (musca domestica), mantes (mantis religiosa), scarab (copris lunaris), scorpions (tetratrichobothrius avicaudis), wasps (vespula vulgaris), 4,5 x 3,5 x 4 cm, unique piece

Thomas Garnier, Chimera, 2021, concrete block, light bar, multiple dimensions, series of 20 unique pieces
Strates, Acropolis, Sumer, Arches, Prismes, 2021, photocarving on Hahnemüle paper 1584 300g/m2,
frame, glass, 100 x 150 cm, edition of 2 + AP
Léo-Paul Barbaut, Parimaginaire, 2020, etching carving, precut copper pannel,
frame, glass, 29 x 39 cm (without frame), 31 x 41 cm (with frame), unique piece
Cloudboy, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 17 x 19 x 2,5 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
Cahute, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 26 x 19 x 8 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
Polyhouse, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 33 x 19 x 7 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
19Inside, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 21 x 21 x 6 cm,
brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces

Léo-Paul Barbaut, Cahute, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 26 x 19 x 8 cm, brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces
Polyhouse, 2022, paper clay porcelain ceramics dyed with color oxides, glaze, glaze, 33 x 19 x 7 cm, brass and bronze metallic shapes, mechanical pencil drawn fresco, unique pieces

Max Blotas, Thopter (R), 2019, miniature car (1/64), parts of bees (apis mellifera), centipedes (scolopendra cingulata), cicadae (neotibicen linnei), foies (sarcophaga carnaria), mantes (mantis religiosa) and spiders (hogna radiata), 3,5 x 2,5 x 3 cm, unique piece
Thopter (B), 2019, miniature car (1/64), parts of bees (apis mellifera), centipedes (scolopendra cingulata), cicadae (neotibicien linnei), mantes (mantis religiosa), moths (saturnia pyri), scorpions (tetratrichobothrius avicaudis), 4,5 x 3,5 x 4 cm, unique piece
Thopter (G), 2019, miniature car (1/64), parts of ants (lasius Niger), bee (apis mellifera), centipedes (scolopendra cingulata), flies (musca domestica), mantes (mantis religiosa), scarab (copris lunaris), scorpions (tetratrichobothrius avicaudis), wasps (vespula vulgaris), 4,5 x 3,5 x 4 cm, unique piece

Maëlle Poirier, Rose Shape Device, 2022, plastic, resin, mini screens, blackberry touches, led, arduino, around 13 x 12 cm, unique piece
Pseudo, 2020, vidéo from a website page, loop, color mute, 1 h, edition of 5 + 2 AP
Bubble Shape Device, 2022, plastic, resin, mini screens, blackberry touches, led, arduino, around 13 x 12 cm, unique piece
Symbiose, 2022, ideo (repetitive programme) on screen (16 x 10 cm), plastic box/aquarium (21 x 12,5 x 13,5 cm), mineral oil, pearls, threads
Apple Shape Device, 2022, plastic, resin, mini screens, blackberry touches, led, arduino, around 13 x 12 cm, unique piece

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