Galerie Dohyang Lee

Retroperspectief

digibit — Thu, 13 Jun 2013 14:23:09 +0000

RETROPERSPECTIEF

ALICE DE MONT

Opening: Saturday, June 22, 18h – 21h
June 22 – August 3, 2013

Curator of the exhibition : Florence Ostende

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For the first monographic presentation of her work outside her native Belgium, Alice De Mont filmed her exhibition in the process of being laid out at Galerie Dohyang Lee several months before the show was in fact set up. In this new film, the artist places two characters in the situation of mounting a show, with a piece of sculpture and several layout plans. By playing off the possible correspondences between “mounting,” i.e. editing, a film and mounting a show, Retroperspectief (2013) reveals to the viewer the preparatory exercises of “display,” which is like a stage rehearsal, a casting session, or a score played on the piano. Viewers experience the exhibition in the present while retroactively watching the process that predetermines their visit.

Rather than imagining the display phase as a frozen, lifeless depiction of the work, De Mont treats the exhibition in its entirety as a work of art in itself—a palimpsest of hypotheses and variations in the tradition of Michael Asher’s architectural modifications, Joëlle Tuerlinckx’s fluid archives, Franz Erhard Walther’s retrospective drawings, and Philippe Parreno’s cinematographic exhibitions. If the art of exhibition-making developed neither a specific terminology nor a specific methodology over the course of the 20th century, it is probably because it remained an impure medium which artists inhabited like the misbegotten room of modernism. To this new production, De Mont has added a large group of works created between 2008 and 2013 that attempts to define “the right place” for an object in space, imagined simultaneously on the scale of a geographical map, the installation of an exhibition, and a basement archive.

De Mont sees her artworks as characters to be staged in different drill situations. In 2008, she created her first character, Badpakman Straatkast [Swimsuit Man of Cupboard Street], a digital black rectangle which she orchestrated on photographs shot with her webcam, often in household scenes and in connection with other objects. The character called Objet 1 (2010) is a sculpture made up of a geometric shape connected by a line to a second organic shape. A series of photographs accompanying it places the work in a multitude of poses, right up to its dismemberment. In the film entitled 12poot (2012), with extreme care a young man manipulates a piece of sculpture created solely for the shooting. His body moves through the room step by step, but the fragile structure, made up of twelve feet, comes apart once it has reached its destination on a table—its so-called “right place.”

Florence Ostende

Alice De Mont

digibit — Wed, 15 May 2013 11:42:35 +0000

Alice De Mont

bio

ALICE DE MONT

digibit — Wed, 15 May 2013 11:32:33 +0000

NOUVELLES VAGUES
Galerie DOHYANG LEE – ALICE DE MONT
By curator Florence Ostende
June 22 to August 3, 2013
Galerie DOHYANG LEE and PALAIS DE TOKYO

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NOUVELLES VAGUES
Opening : Thursday, June 20, 2013, from 18h to 20h : Cocktail
PALAIS DE TOKYO

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Quelque chose de plus qu’une succession de notes
Collective exhibition
From May 22 to July 20, 2013
Opening : Tuesday, May 21, 2013 from 18h to 21h
20h : Performance Andrew Norman Wilson, Movement Materials and What We Can Do, 25’
Curator : Melanie Bouteloup
bétonsalon

LOOP 2013 ARTFAIR

digibit — Mon, 13 May 2013 10:34:57 +0000

LOOP 2013 ARTFAIR Barcelona
May 23 – 25, 2013
Galerie Dohyang Lee / Hayoun Kwon

LOOP 2013 STUDIES

digibit — Sun, 12 May 2013 22:11:30 +0000

LOOP STUDIES 2013
22 – 25 mai 2013
Galerie Dohyang Lee / Hayoun Kwon

LOOP 2013 PREVIEW

digibit — Thu, 02 May 2013 22:22:14 +0000

LOOP 2013 PREVIEW
May 2, 2013
Les Abattoirs
Galerie Dohyang Lee / Hayoun Kwon

MAGALI LEFEBVRE

digibit — Mon, 15 Apr 2013 19:33:03 +0000

Moduli, und so weiter, usw, Komposition, Part II
Opening : Thursday, May 23, 18h 21h
Exhibition : May 24 – June 29, 2013
Maison d’Art Actuel des Chartreux (MAAC)
rue des chartreux, 26-28, 1000 Bruxelles, Belgique

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Moduli
2012
Theatre Aan het Vrijthof, Maastricht, Holland

Marcos Avila Forero – text

digibit — Sun, 14 Apr 2013 23:57:05 +0000

Marcos Avila Forero

Marcos avila Forero, Zuratoque, Prix découverte des Amis du Palais de Tokyo 2012 par Daria de Beauvais (Fr)

Marcos avila Forero, Zuratoque, Prix découverte des Amis du Palais de Tokyo 2012 (Fr)

MODULI, UND SO WEITER, USW, KOMPOSITION

digibit — Sun, 14 Apr 2013 23:41:34 +0000

MODULI,UND SO WEITER, USW,

KOMPOSITION

Magali Lefebvre

Moduli 2013, 12 tirages barytés, 30 x 40 cm, Sous-verres avec socle en bois vernis, Pièces uniques

Opening May the 4th, 18h – 21h

May 4th – June 8th 2013

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In order to grasp new elements that have come to compose a body of work and make it more dense and yet refined at the same time, it is sometimes necessary to backtrack in order to better apprehend the layered thicknesses that make the whole.

Such an exercise is suggested in the work itself, since Moduli reads like a logical continuation for the artist; particularly because she has subtly orchestrated prospective/retrospective movements. Moduli makes bold statements and allows things to transpire: its specificity reveals itself through a playful vis-à-vis with all the work that Magali Lefebvre has deployed since she distinguished herself through her photographic practice. Indeed she has since learnt to draw on the straightforward and strict properties imposed by the medium and its specificities, in order to explore other symbolic spaces: freeing herself as much as possible from literalness and contingencies, to then transgress any usual iconic principles.

In the last few years, Magali Lefebvre has made various volumes and installations and one of her specificities is the way she relates them and creates a dialogue with representational elements (traced drawings, plans, photographs), sometimes to better transgress their effects. En route, she still toys as much with the registers of objectivisation and abstraction. As such, Lefebvre weaves physical and semantic tensions which are the core of the underlying balance between plan and volume in Moduli.

For her first solo exhibition at the galerie Dohyang Lee, the artist first of all presents a series of 12 black and white silver gelatin prints, with geometric motifs that ostensibly evoke 3D digital modelling. Her formal language borrows stylistically from Bauhaus or Russian Constructivism, Oskar Schlemmer or the Sternberg Brothers (which she herself states as legitimate references).

These photographs are placed on the same level and displayed on small bases that provoke reflections on the glazing of the frames: small cones, spheres, cubes and other forms thus project the spectre of a double on the surface of an original image which is placed opposite. The effect of repetition reinforces the blur between model and copy which is already suggested in the biased use of techniques and their mode of representation. Moreover, it is important to note that, the represented forms result from plaster objets which have actually been made and are shown in the same gallery space, thus revealing the process of fabrication of Moduli and its accompanying illusion.

On another level, the exhibition is composed of drawings with flat areas in primary watercolour which pick up on the plaster works. With open or deconstructed planes, with perspectives and free assemblages, a certain formal realism bursts out and opens representational potentials which are made possible by drawing.

Like a new chapter, Moduli manifests the research that blends the formal finesse and conceptual discretion at work in Magali Lefebvre’s practice.

In this accompanying text, we tentatively risk some interpretations: firstly, since the spectator is at the centre of the work, Moduli, despite appearances, contradicts the modernist conception of a shared realism. In fact, the notion of autonomy of the artwork as existing objectively and universally is contradicted by a system of perception and interpretation which is intrinsic to Magali Lefebvre’s work. By a subtle play on contrasts which is not limited to the fetishisation of a modernist aesthetic and principles, Magali Lefebvre always eludes formal givens, on different planes.

Estelle Nabeyrat

Moduli 2013, 12 tirages barytés, 30 x 40 cm, Sous-verres avec socle en bois vernis, Pièces uniques

Moduli 2013, Série de plâtres aquarellés, Dimensions variables, Pièces uniques

Moduli 2013, Série de plâtres aquarellés Dimensions variables Pièces uniques

Moduli 2013, Série de plâtres aquarellés, Dimensions variables, Pièces uniques

Moduli 2013, 10 aquarelles, 10 x 15 cm, Sous-verres, Pièces uniques

ANW BARA KOW

digibit — Fri, 22 Mar 2013 15:49:20 +0000

ANW BARA KOW

Les choses de chez nous

Bakary Diallo invites Julien Creuzet

View of the exhibition, ANW BARA KOW, (Les choses de chez nous) Bakary Diallo & Julien Creuzet, galerie Dohyang Lee, photo © Aurélien Mole Bakary Diallo, Les Feuilles d’un temps, 2010 - Video, coulor and sound, 4

Opening : March the 16th 2013 – 18h to 21h
16 March – 27 April 2013

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Bakary Dialo is an artist of the world,
the wave moreover.

Mali of the conflicts of today,
the internal source
Feed his work.

In the pain,
there is a will to be.
Works of Bakary,
shows an African reality,
The inner self of the people
populating these lands of the South.

Beyond the reason,
there is this world wave,
in the animistic forms.

World of projection.

This work is attentive,
in the small gestures, the rites,
the rhythm of the life of Kati

These small gestures,
which we do not know,
are things from our home,
which it is really necessary to show.

From screen to screen.

Along walls,
the video works of Bakary show,
the gods,
the ground,
the habits,
the life,
the dance,
the wisdom,
that my torn away ancestors,
had lost.

Julien Creuzet,
pome punctuation,
echos of Césaire

View of the exhibition, ANW BARA KOW, (Les choses de chez nous) Bakary Diallo & Julien Creuzet, galerie Dohyang Lee, photo © Aurélien Mole

View of the exhibition, ANW BARA KOW, (Les choses de chez nous) Bakary Diallo & Julien Creuzet, galerie Dohyang Lee, photo © Aurélien MoleJulien Creuzet, Standard and poor’s, reste de manducation, 2013, Conque de Lambis, sac plastique, dessin au stylo bille rouge, Dimension variable

Julien Creuzet, Standard and poor’s, monotype, monochrome au café, étoilé, 2012, Lithographie au café, pièce unique, photo © Aurélien Mole

Julien Creuzet, Coutelas, 2010, Objet avec des découpes de scolopendres de Cayenne issus d’une gravure, Pièce unique, photo © Aurélien Mole

Bakary Diallo,Taa bolo, 2013 - Vidéo, couleur et son, 5

Bakary Diallo, Tomo, 2012 - Vidéo, couleur et son ,6

Bakary Diallo, The Light, 2010 - Vidéo, couleur et son 2

View of the exhibition, ANW BARA KOW, (Les choses de chez nous), galerie Dohyang Lee, photo © Aurélien MoleBakary Diallo, Tomo, 2012 vidéo, couleur & son, 6

Bakary Diallo, Dankumba, 2011 - Vidéo, couleur et son,12