Featured Events in Paris in March, 2024 (May Updated)

Au printemps 2024, l'Institut suédois présente « Suivre les ondes », une sélection d’œuvres de Lars Fredrikson, en dialogue avec deux artistes contemporaines, Anastasia Ax et Christine Ödlund. Dans cette exposition, présentée du 8 mars au 16 juin, se mêlent images et sculptures, poésie et lectures, mais aussi objets animés, mouvement et son. Au milieu des années 1940, Lars Fredrikson, jeune ingénieur radio, tente avec un ami de réaliser des sculptures à l’explosif sur une plage en Suède. La démarche artistique est pour le moins sensationnelle pour son temps et ouvre la voie à une œuvre singulière et variée. Bientôt, Lars Fredrikson se rend à Paris pour étudier l’art et restera en France jusqu’à la fin de sa vie. Principalement installé dans le sud, il crée une œuvre que l’on peut qualifier de révolutionnaire dans les domaines de la sculpture cinétique, de l’image, du son et des nouvelles technologies. Une œuvre qui implique de nombreuses collaborations novatrices à la croisée du son et de la poésie, de la sculpture et du mouvement, ainsi que d’importantes avancées technologiques au service de l’art. Devenu professeur à la Villa Arson de Nice, il consacre également une grande partie de sa vie à la pédagogie innovante, en tant que fondateur et directeur du premier département de son et de recherches électro-acoustiques et visuelles. Malgré ces percées importantes, Lars Fredrikson est pratiquement inconnu en Suède et guère plus connu en France, à l’exception d’un petit cercle d’historiens de l’art, de conservateurs et d’artistes. Au printemps 2024, l’Institut suédois présente une sélection d’œuvres de Lars Fredrikson, en dialogue avec deux artistes contemporaines, Anastasia Ax et Christine Ödlund. Toutes deux ont une pratique polyvalente qui évolue librement dans un large et riche champ d’expressions : la sculpture et diverses formes d’images, la performance, le mouvement et le son. Elles partagent aussi avec Lars Fredrikson une grande fascination pour la façon dont l’énergie circule et se transforme à travers différents matériaux et pour la manière dont la communication opère entre diverses formes de vie et d’états. Ainsi, dans l’exposition se côtoient les larges feuilles en inox martelé et plié, sculptures électro-mécaniques, toiles motorisées, pièces sonores et « écritures subversives » de Lars Fredrikson, les aquarelles ésotériques et installations électro-acoustiques de plantes de Christine Ödlund, et les plâtres lacérés et installations performatives d’Anastasia Ax. L’exposition est activée par un riche programme de performances, concerts, rencontres et lectures dans l’esprit de Lars Fredrikson. Deux concerts sont organisés avec les compositeurs Tarek Atoui et Hampus Lindwall et en collaboration avec l’EMS (Elektronmusikstudion, ou Studio de musique électronique) à Stockholm qui, depuis soixante ans, constitue un important point de rencontre entre musique électronique contemporaine et art sonore. Il y aura aussi des événements autour de la poésie sonore, une forme d’art que Lars Fredrikson, ami et collaborateur de nombreux poètes, affectionnait particulièrement. Suivre les ondes est la première d’une série d’expositions de l’Institut suédois qui se propose de mettre en dialogue des artistes historiquement importants et des artistes contemporains, afin de faire valoir l’impact des premiers sur les seconds, de même que leur pertinence actuelle.

Au printemps 2024, l'Institut suédois présente « Suivre les ondes », une sélection d’œuvres de Lars Fredrikson, en dialogue avec deux artistes contemporaines, Anastasia Ax et Christine Ödlund. Dans cette exposition, présentée du 8 mars au 16 juin, se mêlent images et sculptures, poésie et lectures, mais aussi objets animés, mouvement et son. Au milieu des années 1940, Lars Fredrikson, jeune ingénieur radio, tente avec un ami de réaliser des sculptures à l’explosif sur une plage en Suède. La démarche artistique est pour le moins sensationnelle pour son temps et ouvre la voie à une œuvre singulière et variée. Bientôt, Lars Fredrikson se rend à Paris pour étudier l’art et restera en France jusqu’à la fin de sa vie. Principalement installé dans le sud, il crée une œuvre que l’on peut qualifier de révolutionnaire dans les domaines de la sculpture cinétique, de l’image, du son et des nouvelles technologies. Une œuvre qui implique de nombreuses collaborations novatrices à la croisée du son et de la poésie, de la sculpture et du mouvement, ainsi que d’importantes avancées technologiques au service de l’art. Devenu professeur à la Villa Arson de Nice, il consacre également une grande partie de sa vie à la pédagogie innovante, en tant que fondateur et directeur du premier département de son et de recherches électro-acoustiques et visuelles. Malgré ces percées importantes, Lars Fredrikson est pratiquement inconnu en Suède et guère plus connu en France, à l’exception d’un petit cercle d’historiens de l’art, de conservateurs et d’artistes. Au printemps 2024, l’Institut suédois présente une sélection d’œuvres de Lars Fredrikson, en dialogue avec deux artistes contemporaines, Anastasia Ax et Christine Ödlund. Toutes deux ont une pratique polyvalente qui évolue librement dans un large et riche champ d’expressions : la sculpture et diverses formes d’images, la performance, le mouvement et le son. Elles partagent aussi avec Lars Fredrikson une grande fascination pour la façon dont l’énergie circule et se transforme à travers différents matériaux et pour la manière dont la communication opère entre diverses formes de vie et d’états. Ainsi, dans l’exposition se côtoient les larges feuilles en inox martelé et plié, sculptures électro-mécaniques, toiles motorisées, pièces sonores et « écritures subversives » de Lars Fredrikson, les aquarelles ésotériques et installations électro-acoustiques de plantes de Christine Ödlund, et les plâtres lacérés et installations performatives d’Anastasia Ax. L’exposition est activée par un riche programme de performances, concerts, rencontres et lectures dans l’esprit de Lars Fredrikson. Deux concerts sont organisés avec les compositeurs Tarek Atoui et Hampus Lindwall et en collaboration avec l’EMS (Elektronmusikstudion, ou Studio de musique électronique) à Stockholm qui, depuis soixante ans, constitue un important point de rencontre entre musique électronique contemporaine et art sonore. Il y aura aussi des événements autour de la poésie sonore, une forme d’art que Lars Fredrikson, ami et collaborateur de nombreux poètes, affectionnait particulièrement. Suivre les ondes est la première d’une série d’expositions de l’Institut suédois qui se propose de mettre en dialogue des artistes historiquement importants et des artistes contemporains, afin de faire valoir l’impact des premiers sur les seconds, de même que leur pertinence actuelle.

Dans la continuité de la thématique qu’il privilégie et qu’il nomme la fin du banal, il présentera un ensemble de peintures et de dessins, sur notre monde contemporain. « Après L’asphyxie, il y a quatre ans, je propose ma deuxième exposition personnelle à la galerie Les Filles du Calvaire dans leur nouvel espace : L’impuissance, à la recherche d’une esthétique adaptée au temps de la dérive climatique, désanthropocentré et sensible à la perte tragique de ce qui est encore là. Dans le cadre de la fin du banal, il s’agira d’une exposition aux thématiques éclatées, en lambeau, avec un titre faisant office de parfum. Celui-ci renvoie, encore aujourd’hui, de manière symptomatique, à une problématique sexuelle alors qu’il sera ici question d’impuissance politique et existentielle ainsi que de peinture, par des expériences limitées. Mais aussi d’une impuissance désirée : moins de puissance dans la dévastation, dans l’accaparement, dans l’emprise, plus de soin, plus de douceur, plus d’attention humble et de dignité au trésor quotidien qu’est le monde des apparences. On retrouvera ainsi des policiers allemands virilistes embourbés dans la gadoue, un coucher de soleil sur la mer que contemple une poubelle plastique, la plage d’Ostende ultra urbanisée rendue caduque par une montée des eaux, un mur frontal de briques couvertes de tags amoureux comme autant de traces publiques d’une existence étroite. « Dans la serre », une peinture qui m’a pris deux ans à élaborer, représente une foule faisant la queue dans un jardin artificiel. En pleine contre-productivité humaine et disharmonie du biotope, le traitement pictural du fourmillement des plantes est aussi précis que celui des humains. La multitude des sujets et la variété des vitesses d’exécution permettent également un déploiement de texture : peau, poil, gluant, visqueux, poisseux, ; il ne s’agit pas d’abandonner la joie de peindre. En témoigne un bestiaire comme un cul de vache, une coccinelle, un coq, un autoportrait ou un chat assoupi. L’exposition sera de plus ponctuée de petits formats à échelle de plantes saxicoles, cette verdure sans nom, trésor de vitalité, qui pousse vaillamment dans les interstices minéraux de nos villes et les rafraîchit. Encore prenant la forme d’une technique inventée : des gravures tirées à partir de dessin numérique sur iPad, permettant une finesse de trait inédite. On retrouvera, par ailleurs, ma série des « Distanciels » : des portraits au fusain exécutés par zoom pendant la pandémie, des visages rétro-éclairés par leur écran d’ordinateur dans l’ambiance et la qualité de connexion de leur confinement. Au sous-sol, une vidéo conceptuelle anxiogène « Vous êtes ici » contaminera l’ensemble de l’accrochage. Une réflexion frontale sur notre mode de vie présent, la part de violence et de poison qu’elle nécessite. Enfin dans l’attitude qui est la mienne depuis trois ans, chaque samedi de l’exposition à 17h, j’animerai en public un épisode des « Apparences », une chaîne YouTube et Twitch autour de la vitalité de la peinture contemporaine sur la scène française. » Thomas Lévy-Lasne

The sculptor, who used to say, “painting doesn't exist for me”, has nevertheless always been strongly atached to the engraved or drawn image. She recorded in her diaries the visual ideas that appeared to her and which, in her own words, she caught . Like her sculptures, with their shapeless, organic materials, her engraved work explores the ambiguity of the forms issuing from her fantasy-laced memories. She collects, skins, deconstructs, models and assembles. This interplay of back and forth, conducive to the engraver's art, is particularly evident in her , a feminine reinterpretation of the figure of the famous martyr pierced by arrows. In 1990, Bourgeois began the first version and would return to it several times, cropping the image, even using photocopying to develop her composition and/or transfer it to a copper plate. Born in France in 1911 and deceased in 2010, Louise Bourgeois is one of the major artists of the second half of the 20th century and the beginning of the 21st. Discovered late, her work, which eludes any artistic classification, has been the subject of major exhibitions and retrospectives around the world over the last 30 years. Her work was first presented in France in 1985 by Galerie Lelong. In 2000, Galerie Lelong & Co. published a volume of writings and interviews by Louise Bourgeois entitled, .

Jan Voss himself presents the new exhibition: Duo sur scène (Duo on Stage) “Monsieur Carton Plume (“Feather Board”) is a character who is entirely devoid of feathers, yet without having been plucked. He has a soft foam heart and a white skin that protects his heart. Lightweight, he presents himself well, despite his stiffness. And everyone knows Monsieur Papier, so he needs no introduction. I chose these two actors to appear on stage at 38, avenue Matignon because of their strong personalities, their distinction and their presence. They don't speak or write to us (although Monsieur Papier learnt this a long time ago), but through their poses, their way of being, of appearing, and, of course, through the colours of their appearance. A silent show, but not necessarily a mute one. The colours are bold, robust and contained within limits that Monsieur Plume has carefully controlled; he balances them on relatively stable grid-based scaffolding. We suspect that he’s got a thing for architecture. Monsieur Papier, on the other hand, prefers the same intense accoutrement of colours, sometimes exclusive, but with multiple tonal interferences. In his case, the contours are less clear-cut, the boundaries between different territories less controlled, with intrusions allowed. We suspect that he’s got a libertarian streak. Architects, libertarians, immigrants from who knows where, welcome all of you. Your residence permit on these walls is valid.” Jan Voss was born in Hamburg (Germany) in 1936. He lives and works between Paris and Berlin. After studying at the Academy of Fine Arts in Munich between 1956 and 1960, the artist permanently settled in Paris. He was a professor at the École nationale supérieure des Beaux-Arts in Paris, where he taught from 1987 to 1992. He has been the subject of major exhibitions, including at the Musée des Beaux-Arts in Dunkirk in 2002, the Palais Synodal in Sens, France in 2008, the Museum Arnhem in the Netherlands in 2010, the Espace d'art contemporain André Malraux in Colmar, France in 2021, and Château Lynch-Bages in Pauillac, France in 2022. His works now feature in the collections of many museums: Musée d'Art Moderne de la Ville de Paris, Moderna Musset in Stockholm, Musée des Beaux-Arts de Dunkerque, Centre Pompidou in Paris. From now until 2025, the Musée d'art moderne de Céret will be presenting major works on paper as part of a group exhibition marking the reopening of the museum. A monograph on Voss by Yves Michaud was published in 2001 and a second by Anne Tronche in 2015.

Since the 1980s, Galerie Lelong has regularly presented Richard Serra's etchings in its Paris space, building up a remarkable body of work over the years. (2022) is a suite of six graphic works produced in close collaboration with master printer Xavier Fumat at the Gemini G.E.L. workshop in Los Angeles. These prints are spectacular in their size and sculptural quality, which can only be appreciated by seeing them in person. The artist and the workshop have pushed the limits of what a large, thick sheet of paper, almost entirely covered in black matter, can bear. Playing with the idea of weight and balance on paper, these monumental etchings are presented in a frame designed by the artist, without glass or plexiglass; the first five of them measure 153 x 168 cm (roughly 5’ x 6’), and the sixth 183 x 213 cm (roughly 6’ x 7’). More than their size, it is their exceptional material that impresses and even fascinates. Highly textured, made with a mixture of hand-applied oil-based ink, etching ink and silica, they are, from a sculptor’s perspective, another facet of the (“beyond black”) experiment conducted by the painter Pierre Soulages. Serra began work on this project in early 2020, just before the first pandemic-induced lockdown, which seriously disrupted the workshop's activity. As the work was carried out intermittently, the trial prints were sent back and forth to the artist in New York until the final proof of each print was signed. Obtaining the quantities of ink and paper required for the project presented its own challenges. Consequently, from start to finish, this project took almost three years to complete. Here it is, shown in Paris for the first time. Richard Serra (born 1939 in San Francisco) is one of the most important sculptors of the 21st century. He has exhibited in major museums and created site-specific works for public and private spaces around the world. His work has been the subject of two retrospectives at MoMA, in 1986 and 2007. Other major recent exhibitions have been held at the Guggenheim in Bilbao (1999), the Museum of Art in Saint-Louis, Missouri (2003, 2014) and the National Archaeological Museum of Naples (2004). His drawings have been exhibited at the Kunsthaus Bregenz (2008), the Metropolitan Museum of Art, and the San Francisco Museum of Modern Art (2011-12). Those familiar with his work will remember the spectacular , as part of Monumenta at the Grand Palais, Paris (2008); his work was permanently installed in 2014 in the desert, 70 km from Doha in Qatar. Serra has participated in Documenta four times (1972, 1977, 1982 and 1987), and in the Venice Biennale (1980, 1984, 2001, 2013). The artist lives and works in New York.

Reconnue d’utilité publique par décret en Conseil d’État le 22 novembre 1974, la Fondation est l’une des rares institutions en France dont le fondateur fut l’artiste lui-même. Si l’histoire des dix premières années était étroitement liée aux activités de l’artiste, elle demeure, depuis le décès de Jean Dubuffet, très vivante et active. Les années « anniversaires » sont autant d’occasions de faire le point sur les activités passées que sur l’avenir d’une institution. En 1994, les vingt ans avaient donné lieu à des expositions axées sur les collections de la Fondation. En 2004, les trente ans avaient été marqués par l’exposition de l’important legs de la fille de l’artiste, Isalmina Dubuffet et par l’achèvement de la restauration de la Closerie Falbala, classée monument historique en 1998. Enfin, en 2014, les quarante ans avaient été l’occasion de présenter les acquisitions de la Fondation depuis le décès de Jean Dubuffet. En 2024, la Fondation organise une exposition scénographiée en trois temps. Une salle est consacrée à une chronologie visuelle (timeline) chroniquant les 50 ans d’activités de la fondation. Deux salles sont dédiées à des œuvres majeures de la collection, axées sur le portrait et la figure : dons de l’artiste, legs de sa fille et acquisitions plus récentes. Une dernière salle évoquant l’atelier de la Cartoucherie de Vincennes met un coup de projecteur sur la dotation initiale, apport essentiel lors de la constitution de la Fondation. En effet, l’un des principes permettant la reconnaissance d’utilité publique d’une fondation est l’apport d’une dotation initiale devant permettre le financement de l’objet social de celle-ci. Quand Jean Dubuffet crée sa fondation, il a d’abord dans l’esprit de préserver deux de ses réalisations terminées dans l’année : la Closerie Falbala à Périgny-sur-Yerres et les éléments de son spectacle Coucou Bazar, produit récemment à New York et Paris. Si ces deux œuvres uniques font naturellement partie de la dotation initiale, Dubuffet, soucieux de l’avenir de sa fondation, va la doter de toutes ses maquettes d’architecture et projets de monuments afin de lui permettre de réaliser des sculptures pour des collections privées, des institutions ou des lieux publics. Les droits qui en découlent constituent donc l’une de ses principales ressources. L’objectif de Dubuffet était que ces projets, puissent, après son décès et dans le respect de son œuvre, devenir réalité. Les agrandissements ne sont plus réalisés dans les ateliers de Périgny-sur-Yerres, transformés en salles d’exposition, mais sont toujours réalisés sous le contrôle de la Fondation qui supervise chaque étape, du moulage de la maquette à l’installation finale sur le site. La Fondation conserve aujourd’hui plus de 2500 œuvres, peintures, sculptures, maquettes d’architecture et projets de monuments, gouaches, dessins et estampes. Rares aussi sont les artistes qui ont, de leur vivant, entrepris d’organiser leurs propres archives. La richesse de la Fondation n’est pas uniquement constituée de son patrimoine artistique mais également de cet extraordinaire fonds de documentation, source inépuisable pour la connaissance de l’homme, de sa pensée et de son œuvre artistique, littéraire et musicale. Toutes les activités de la Fondation se développent à partir de cet inestimable fonds patrimonial.

Reconnue d’utilité publique par décret en Conseil d’État le 22 novembre 1974, la Fondation est l’une des rares institutions en France dont le fondateur fut l’artiste lui-même. Si l’histoire des dix premières années était étroitement liée aux activités de l’artiste, elle demeure, depuis le décès de Jean Dubuffet, très vivante et active. Les années « anniversaires » sont autant d’occasions de faire le point sur les activités passées que sur l’avenir d’une institution. En 1994, les vingt ans avaient donné lieu à des expositions axées sur les collections de la Fondation. En 2004, les trente ans avaient été marqués par l’exposition de l’important legs de la fille de l’artiste, Isalmina Dubuffet et par l’achèvement de la restauration de la Closerie Falbala, classée monument historique en 1998. Enfin, en 2014, les quarante ans avaient été l’occasion de présenter les acquisitions de la Fondation depuis le décès de Jean Dubuffet. En 2024, la Fondation organise une exposition scénographiée en trois temps. Une salle est consacrée à une chronologie visuelle (timeline) chroniquant les 50 ans d’activités de la fondation. Deux salles sont dédiées à des œuvres majeures de la collection, axées sur le portrait et la figure : dons de l’artiste, legs de sa fille et acquisitions plus récentes. Une dernière salle évoquant l’atelier de la Cartoucherie de Vincennes met un coup de projecteur sur la dotation initiale, apport essentiel lors de la constitution de la Fondation. En effet, l’un des principes permettant la reconnaissance d’utilité publique d’une fondation est l’apport d’une dotation initiale devant permettre le financement de l’objet social de celle-ci. Quand Jean Dubuffet crée sa fondation, il a d’abord dans l’esprit de préserver deux de ses réalisations terminées dans l’année : la Closerie Falbala à Périgny-sur-Yerres et les éléments de son spectacle Coucou Bazar, produit récemment à New York et Paris. Si ces deux œuvres uniques font naturellement partie de la dotation initiale, Dubuffet, soucieux de l’avenir de sa fondation, va la doter de toutes ses maquettes d’architecture et projets de monuments afin de lui permettre de réaliser des sculptures pour des collections privées, des institutions ou des lieux publics. Les droits qui en découlent constituent donc l’une de ses principales ressources. L’objectif de Dubuffet était que ces projets, puissent, après son décès et dans le respect de son œuvre, devenir réalité. Les agrandissements ne sont plus réalisés dans les ateliers de Périgny-sur-Yerres, transformés en salles d’exposition, mais sont toujours réalisés sous le contrôle de la Fondation qui supervise chaque étape, du moulage de la maquette à l’installation finale sur le site. La Fondation conserve aujourd’hui plus de 2500 œuvres, peintures, sculptures, maquettes d’architecture et projets de monuments, gouaches, dessins et estampes. Rares aussi sont les artistes qui ont, de leur vivant, entrepris d’organiser leurs propres archives. La richesse de la Fondation n’est pas uniquement constituée de son patrimoine artistique mais également de cet extraordinaire fonds de documentation, source inépuisable pour la connaissance de l’homme, de sa pensée et de son œuvre artistique, littéraire et musicale. Toutes les activités de la Fondation se développent à partir de cet inestimable fonds patrimonial.

Reconnue d’utilité publique par décret en Conseil d’État le 22 novembre 1974, la Fondation est l’une des rares institutions en France dont le fondateur fut l’artiste lui-même. Si l’histoire des dix premières années était étroitement liée aux activités de l’artiste, elle demeure, depuis le décès de Jean Dubuffet, très vivante et active. Les années « anniversaires » sont autant d’occasions de faire le point sur les activités passées que sur l’avenir d’une institution. En 1994, les vingt ans avaient donné lieu à des expositions axées sur les collections de la Fondation. En 2004, les trente ans avaient été marqués par l’exposition de l’important legs de la fille de l’artiste, Isalmina Dubuffet et par l’achèvement de la restauration de la Closerie Falbala, classée monument historique en 1998. Enfin, en 2014, les quarante ans avaient été l’occasion de présenter les acquisitions de la Fondation depuis le décès de Jean Dubuffet. En 2024, la Fondation organise une exposition scénographiée en trois temps. Une salle est consacrée à une chronologie visuelle (timeline) chroniquant les 50 ans d’activités de la fondation. Deux salles sont dédiées à des œuvres majeures de la collection, axées sur le portrait et la figure : dons de l’artiste, legs de sa fille et acquisitions plus récentes. Une dernière salle évoquant l’atelier de la Cartoucherie de Vincennes met un coup de projecteur sur la dotation initiale, apport essentiel lors de la constitution de la Fondation. En effet, l’un des principes permettant la reconnaissance d’utilité publique d’une fondation est l’apport d’une dotation initiale devant permettre le financement de l’objet social de celle-ci. Quand Jean Dubuffet crée sa fondation, il a d’abord dans l’esprit de préserver deux de ses réalisations terminées dans l’année : la Closerie Falbala à Périgny-sur-Yerres et les éléments de son spectacle Coucou Bazar, produit récemment à New York et Paris. Si ces deux œuvres uniques font naturellement partie de la dotation initiale, Dubuffet, soucieux de l’avenir de sa fondation, va la doter de toutes ses maquettes d’architecture et projets de monuments afin de lui permettre de réaliser des sculptures pour des collections privées, des institutions ou des lieux publics. Les droits qui en découlent constituent donc l’une de ses principales ressources. L’objectif de Dubuffet était que ces projets, puissent, après son décès et dans le respect de son œuvre, devenir réalité. Les agrandissements ne sont plus réalisés dans les ateliers de Périgny-sur-Yerres, transformés en salles d’exposition, mais sont toujours réalisés sous le contrôle de la Fondation qui supervise chaque étape, du moulage de la maquette à l’installation finale sur le site. La Fondation conserve aujourd’hui plus de 2500 œuvres, peintures, sculptures, maquettes d’architecture et projets de monuments, gouaches, dessins et estampes. Rares aussi sont les artistes qui ont, de leur vivant, entrepris d’organiser leurs propres archives. La richesse de la Fondation n’est pas uniquement constituée de son patrimoine artistique mais également de cet extraordinaire fonds de documentation, source inépuisable pour la connaissance de l’homme, de sa pensée et de son œuvre artistique, littéraire et musicale. Toutes les activités de la Fondation se développent à partir de cet inestimable fonds patrimonial.

The Shigaraki ceramic artist Yasuhisa Kohyama mines clay’s potential. He pulls apart mounds of earth, builds it up, sculpts it, cuts it, incises it, and ultimately fires it. His highly refined approach to creating unglazed, sensual forms is about extending traditions rather than a radical departure. The work’s final transformation is determined by placement of the vessels inside the kiln and the intense heat of the wood-burning process. These elements of chance are collaborators in Kohyama’s perpetual honing of his craft in search for ever more powerful, elegant sculpture. Paintings by Robert Storr are intimate inquiries into shape, color and grid templates. Experimenting with the qualities of different paints, he investigates subtle fluctuations in placement and execution of similar images and layering of blocks of color. Hard-edge boundaries and marks soften into textured, painterly statements with rapid improvisations using looser brushstrokes and fast-drying paint. He chooses not to title his works to avoid influencing the viewer’s perception. Sheila Hicks leverages the inexhaustible possibilities of fiber and color. Her constant explorations with pliable lines and linear thinking surprise and delight. How do you negotiate and connect lines? Oftentimes, the investigations involve taking the material into space or sculpting soft masses of fiber before it is turned into a linear, weavable element. The seductive physicality and familiarity of humble threads beckon one to get closer much like a welcoming hand. Stéphane Henry creates evocative universes of material transformations. Establishing rigorous parameters, he layers mixtures of minerals, colors, chemicals and other materials that interact and morph into sculptural records of movement. These compressed fragments of alchemy appear simultaneously microscopic and cosmic. Despite the artist’s experiments with his capacity to control the process, he benefits from the inevitable accidents that occur along the way enabling new environments to emerge. When showing these four artists’ work in proximity, the gallery opens the door to discovery. Their art are provocations, invitations to look, compare and to see. As with most abstraction, interpretations are open ended, one suggestion leading to something else. Sometimes, we must lose ourselves (to find ourselves). Cara McCarty Paris, March 2024

Around the table to which Amy Bravo invites us, we are confronted with the large, somewhat hieratic figures, more or less avatars of the artist, who inhabit her works. These figures, whose bodies are sparsely sketched out, and which the artist describes as female, do not correspond to anything definite, neither in terms of gender, species or status: they wear braids, have nipples yet no breasts or are almost flat-chested; they have no genitals, their eyes are mask-like and their faces are sometimes hybridized with roosters. These bodies are in a state of metamorphosis, imposing figures like trees or monuments, sometimes endowed with multiple arms or wings; body-figures that navigate an indeterminate space, where the landscapes are reduced to signs and symbols. The works, in the same manner as these mute bodies with their pupil-less eyes, are not very talkative, yet they brim over with meaning, encompassing intimacy, myth and family history, set somewhere between reconstruction and fiction. The artist embraces a certain vagueness in the story of her Cuban roots, transmitted orally for the most part, and which she makes no attempt to explore in depth: memory and intimacy are conjured through objects, often personal in nature, while any archive material is either absent, dreamt up or fabricated. The archive feeds the narratives that unfold within her works and from one work to another in a subterranean manner. This willful vagueness, like her use of myths and archetypes (the figure of the ferryman transporting souls to the underworld, or the rooster as an archetype of dominant power) allows the individual to connect with the collective, the community of “”: “”, as in Monique Wittig’s [Warrior-Women] (1969), but also “” for all the lesbians, the gays, the transgender community, the Latinos, the Afros, the roosters, the bitches or the palm trees. For here, it’s about collectives and communities, genetic family and chosen siblinghood, love and fury, the unspoken and the shared obvious, living in the here and now, while also existing elsewhere, where magic takes place, where art is invented / created, and where the voices of the disappeared are heard. Around the table to which Amy Bravo invites us, we are confronted with large-format, assembled, mounted canvasses, adorned with scraps of fabric, lace, hair, structures made of plaster, alters-installations-assemblages of found objects. Assemblages? The term is employed by the artist herself and is worthy of further attention. She cites the artist Betye Saar (b. 1926) as an ally, which opens up a whole chapter of Californian assemblage. It is perhaps less heroic than the East Coast version, but is clearly more political, connected to the African-American, feminist and anti-racist militancy of LA’s Black Art Movement, which in addition to Betye Saar, includes artists such as John Outterbridge (1933-2020), Noah Purifoy (1917-2004), David Hammons (b. 1943), Senga Nengudi (b. 1943) etc. Furthermore, if we look closely, Robert Rauschenberg’s (1925-2008) Combines might come to mind, or certain of Jasper John’s (b. 1930) canvases. Not in terms of perceiving a direct line of descent—that would amount to teleological art history and would invoke models that have never been part of Amy Bravo’s thinking—but in looking at them through the prism of inversion. Amy Bravo plays with the heroization and a certain masculinization of some of her figures: a superheroine pulled by (flaming) roosters, warrior women planting their flag in virgin territory, mimicking an act of conquest seen so many times before, a woman becoming a rooster to decline / ward off in the same act the male ego. Appropriating the ego in order to better crush it. In (2024), the artist’s grandfather’s moustache, shaved off following his death, serves to expose, in a deeply erotic manner, the construction of gender and sexuality in the family’s unconscious. Faced with this self-portrait with moustache—in which the artist has included her own razor and scattered body hair—one cannot help thinking of Ana Mendieta transplanting a friend’s moustache, hair by hair, onto her own face in the 1972 performance , in response to Marcel Duchamp (1887-1968) “sticking” a moustache on the face of the Mona Lisa in (1919), playing on the androgyny of Leonardo da Vinci’s model. Through the incorporation of the great narratives of domineering, white, male art history, the grand narratives of her own family history and of those from the margins of society, of American and Afro-Latin American gay and lesbian cultures, through her attempts to bring her ancestors and her own community of guerilla women onto dialog, by trying to make the and coincide and finally, by attempting to depict possible bodies that are by no means incarnations of normalized social bodies, Amy Bravo has produced a body of radical art (1). Around the table to which Amy Bravo invites us, love and family ties coalesce alongside acts of nurturing, consoling and caring; but also, unspoken conflicts and occasionally, even the settling of scores. : the territories through which the artist leads us are those on the margins, those of hybridity and of contagion, of crossroads and lands watched over by spirits, goddesses and virgins—, Our Lady of Charity of El Cobre, protector of Cuba is, in the Santeria religion of the Caribbean, syncretized with Oshun, a Yoruba deity. Territories haunted by black dogs, symbols in certain Celtic and Anglo-Saxon legends of depression and vulnerability, but which also have the capacity to connect with the beyond and with the invisible. “Cradled in one culture, sandwiched between two cultures, straddling all three cultures and their value systems (2)” Amy Bravo’s works are daughters of , the “new consciousness” described by the Latino American author Gloria Anzaldúa: “ undergoes a struggle of flesh, a struggle of borders, an inner war. […] As a I have no country, my homeland has cast me out; yet all countries are mine because I’m every woman’s sister or potential lover. […] I am all races because there is the queer of me in all races. I am cultureless because, as a feminist, I challenge the collective cultural / religious male-derived beliefs of Indo-Hispanics and Anglos; […] I am an act of kneading, of uniting and joining that has not only produced both a creature of darkness and a creature of light, but also a creature that questions the definitions of light and dark and gives them new meanings.”(3) Amélie Lavin (1) In reference to Renate Lorenz, who contrasts recognition—the identification and perpetuation of normative systems—with contagion, where reproduction, engenders deviation and difference. She theorizes this difference in the form of what she terms : “drag can refer to the productive relationship between the natural and the artificial, the animate and the inanimate, as well as to clothing, hair or legs, and to anything that has a tendency to create relationships with others and with other things rather than just represent them.” These processes of “drag contagion” do not lend visibility to “people, individuals subjects or identities, but rather to assemblages—assemblages that don’t strive to categorize gender, sexuality and race, but rather to “undo” these categories.” , éditions B42, Paris, 2018. (2) Gloria Anzaldúa, , Aunt Lute Books, San Francisco, 1987, p. 78-81. (3) Ibid.

Going under a pseudonym borrowed from a comic character in a US TV show, Ernest T. is a French artist whose work follows on in the tradition of Dadaism and the Incoherents. His sparse biography tells us that he worked in advertising before fully devoting himself to art in the 1980s. His provocative oeuvre takes a swipe at the overwhelmingly coded and serious world of contemporary art, in a subversive and ironic conceptual manner. Through the use of hoaxes, misappropriation, image manipulation and even plagiarism, enhanced by linguistic games and caricatured drawings, the artist examines the world of art from the perspective of its moral turpitude, greed and other pretentions. He ridicules the obsessive attachment to signatures and authenticity, the hidden meaning and artistic trends etc., by putting his faith in the critical power of humor rather than taking a self-righteous, moralizing stance. Ernest T. began his artistic experimentation in the 1960s with a collection of small, comic calendars, which eventually ended up as a series under the name . During the 1980s, he created his pseudonym and began to work on his well-known series that followed the narcissistic principal of depicting his repeated signature on canvas using interlocking Ts painted in primary colors. In reaction to the phenomenon of the idolization of the artist, where the signature is valued more than the work itself, Ernest T. produced offbeat sketches, such as (1990) or (1989). The written press was a medium of choice for Ernest T., whose interventions included both hijacking already printed pieces or publishing his own. Between December 1985 and January 1988, for example, he published texts from irreverent pamphlets and reviews taken from early 20th century newspapers in the advertising sections of art magazines such as and (1). The exhibition in Semiose’s Project Room brings together works based on engravings and press cuttings. (1990) is a large format photographic print of an engraving depicting the tempestuous courtesan Marie-Catherine Lescombat (1728-1755), set in her Louis XIV salon, where one of Ernest T.’s well-known, abstract, geometrical canvases made up of interlocking Ts is on display. The other works shown in the Project Room pay homage to Suprematism, with their smooth, monochrome colors emerging from the ruins left by a bombing raid on the 6 June 1944 and scenes of looting during the Watts riots in Los Angeles in August 1965. Other pieces on display include hints of grandiose canvases replaced by modernist monochromes. These oeuvres are truly a celebration of painting, its capacity to withstand any given catastrophe and the fact that it is worth defending at all costs. When all is said and done, this series of repaints is a sincere declaration of love for modern painting. __ (1) Going under the name of , these articles were collected and published by Semiose in 2015 (FILAF prize for the best art book published by a gallery, awarded at the Galeristes salon in 2016).

Over the last few years, the art of Salifou Lindou focussed on the topics of exile and politics, praising the resilience of families in the context of financial embezzlement and the decay of community infrastructures. To answer to the recurring electricity and water cuts and the malfunctioning of phone lines in Cameroon, Lindou draws the prospect of a sweeter and carefree life in which these issues would only be a distant memory. Les collines de l’espoir presents a poetic space imbued with change. Between the dancing lines of urban disorder and the ochre notes of sunflowers - harbingers of happy horizons - birds fly off in pursuit of a renewed freedom.

Halsey’s work proposes visionary new possibilities for art and architecture that convey the vitality, pride, and resilience of her community in South Central Los Angeles, an area that has long played an important role in defining Black culture. The exhibition in Paris features two related series: (2011–) and (2022–). In both bodies of work, Halsey collects and repurposes imagery unique to her community as means of commemoration, celebration, and transcendence. The eight-foot-tall wall-mounted are mixed-media assemblages on foil-insulated foam, a support that reflects Halsey’s interest in architectural materials. Combining found objects and collaged images, she produces dense, colorful compositions with an energy that echoes that of the community that inspires them. The works incorporate a wide range of vernacular iconography and slogans, commercial signs and products, fliers, and graffiti that promote local businesses, institutions, and activism. In her collective representations of those who live in South Central LA, Halsey voices support for efforts against forces of gentrification, displacement, and disenfranchisement. Also pictured within the densely montaged compositions are Black and queer icons including musicians such as Joan Armatrading, Aretha Franklin, Curtis Mayfield, Luther Vandross, and Stevie Wonder. Halsey produces using a dense, durable form of polymer-modified gypsum, carved into wall-mounted reliefs with an applied patina. They feature words and symbols inspired by the lived experience and visual culture of South Central residents, remixed with ancient Egyptian iconography and Afrofuturist utopian visions. Espousing an optimistic understanding of communal identity, these works use imagery related to (2023), Halsey’s monumental site-specific commission for the roof garden at the Metropolitan Museum of Art, New York. Halsey will participate this year in , curated by Adriano Pedrosa for the 60th Biennale di Venezia, on view from April 20 through November 24, 2024. In addition, Serpentine, London, will organize the first solo exhibition of Halsey’s work in the United Kingdom, open from October 4, 2024, through January 5, 2025.

Muñoz believed that a sculpture is activated by its relationship to the viewer and the surrounding architecture. Understanding that sculpture only makes sense in human terms, his figures function as mini narratives that playfully, almost mischievously, speak to the lives we lead, our relationship to the world around us, and the enigma of the smallest human gesture. This holds true even when presented with a single figure, as seen in many of the works on view in the exhibition. Rooted in notions of spectatorship espoused by minimalist artists such as Donald Judd, to look at a Muñoz sculpture is to enter a theatrical world in which all is not what it seems. This is perhaps most evident in pieces that utilize the wall or the ceiling, involving the entire space as part of the work. Albuquerque Balcony (1993), for instance, reveals two characteristically gray figures seated across from each other on a cramped balcony positioned over the viewer’s head. One of the earliest motifs to enter the artist’s lexicon, the balcony manipulates the surrounding architecture in a theatrical manner, shifting the relationship between work and viewer. By forcing the viewer to come closer than is natural, and to crane their neck to see the piece in full, Muñoz’s trickster side comes out—a description he welcomed and cultivated. Tricks of scale and slights of hand continue in Three Laughing at One (2000), which is rendered at slightly smaller than life-size and positioned just high enough on the wall that the three men appear not only in a fit of raucous laughter, but higher up and farther away than they really are, which draws the viewer in closer. Once the viewer arrives at the proper point of engagement, it becomes clear that they are the “one” in the work’s title—the one being laughed at, the one who fell into their trap. Suspended from the ceiling Hanging Figure (1997), inspired by the acrobat in Edgar Degas’ 1879 painting Miss La La at the Cirque Fernando, is simultaneously intriguing and unsettling, a viscerally felt piece as well as a visually seen one. The viewer is here forced to crane their neck to take in the full scope of the work, creating a new rapport and verticality. Space takes on an existential quality in Walking with a pointing stick (2001). Part of a series of Chinese figures Muñoz started in the 1990s, the man’s face elicits a self-awareness in the viewer as they contemplate his tenderly frozen expression. Stuck in mid-laugh, as many of his figures are, this man distances himself from the viewer instead of drawing them in closer. Muñoz consciously evokes a feeling of “otherness” throughout this series, to, in his words, “behave as a mirror that cannot reflect.”[1] In presenting an archetype more than an individualized figure, Man with a pointing stick allows the audience to look, but not see. Futhermore, he is imbued with a tension between movement and stasis: the man is walking, and yet he has no feet. Likewise, Untitled (1991), with its voluminous round bottom, feels like it could topple over at any minute, and yet he remains firmly upright, while Blotter Figures: Coming Towards (1999) can move forward with ease, and yet cannot see where he is going. These choices not only remove any sense of naturalism from the figures, but their singularity as figures investigate solitude and the failures of communication, balancing conviction and a lack of conviction. Muñoz belongs to an important group of sculptors from the 1980s and 1990s such as Robert Gober, Charles Ray, and Thomas Schütte who reinvigorated the human form in three dimensions, ushering in a new era of the medium—a trend seen throughout those decades across all media by painters including Eric Fischl, David Salle, George Condo, and Jeff Koons. Taking the interest in space and formal discipline of minimalism, coupling it with the intellectual restraint of conceptual art, and transferring it to figuration, Muñoz’s figures are at once humorous and fraught, unsettling and inviting, alive and frozen. They reveal his deep understanding of art history and the human condition, yet deny the viewer the satisfaction of teaching us some sort of universal truth. Instead, Muñoz’s leaves his viewer with allegories, speaking in three-dimensions what we cannot in words. [1] Juan Muñoz quoted in Paul Schimmel, “An Interview with Juan Muñoz,” in Juan Muñoz (Washington D.C.: Hirshhorn Museum and Sculpture Garden, 2001), 150.

Depicting faces with a stress expression and a piercing gaze, Matthew Eguavoen portrays Nigerian society. Staged in a familiar interior, his models mirror social issues. This new body of work, gathered under the title Ukhurhę, centres around depression and regrets that mental health has been for a long time - and still is - neglected, stigmatised and made invisible on the African continent. Each image carries an intimate story and emphasises the complexity of personal internal conflicts. The artist's experience hides behind these portraits, himself being involved as a witness of the global malaise spreading among the youth. The exhibition Ukhurhę underlines the importance of a listening and support system – physical and spiritual – to cope with depression. Eguavoen’s painting insists on the strong relationships between individuals and stresses how these spiritual and human bonds - family and friends - lead to healing through a freedom of speech and breaking away from taboos and stereotypes surrounding mental health.

Absorbed in our own daily routine, we seem to leave the fundamental issues of life in the background, until we eventually have to face them and their questions of meaning, utility, and demands. Yoon Ji-Eun’s new collection of wooden reliefs and drawings, Unanswered Questions, borrows its title from composer Tristan Murail and acts as a way of materialising the artist’s reaction to existential questioning. In a time of ever-present violence of all kind, the artist wished to offer her works as a source of comfort and relief. Her introduction to new musical genres opened Yoon Ji-Eun in turn to new perspectives. By immersing herself in a specific sound world while at work, she can capture and translate the feelings awakened by pending phrases or slowly-dying sounds, beyond the human perception... Through these experiences of intense doubt and equally intense presence, lived on the physical state that only music induces, she breathes into her works a renewed poetry and energy. From attempting to foresee and control her existence, she seems to have led way to embracing the movement of life, and to embedding herself in it. From the start, the term “landscape” comes to mind when referring to Yoon Ji-Eun’s world. In her recent works, her landscape is now found transformed: on her juxtaposed vignettes and figurative fragments, she overlapped other layers. Space is no longer relative and linear, but deep and full of shapes twirling to the surface. Here and there, gathered shapes rise, some in a supple movement, others in angles, without any patent link. Thus forms an aethereal dialogue between independent configurations in an ever-changing world. The drawn areas, reminiscent of collages, create a slight and subtle tension through their fluid, sensual shapes in bright colours. Like notes of a spatial music, they create an invisible flow for suns and planets to cross. In some places, gates and the simplest architectures in watercolour create a shadow theatre in the background. In other drawings, floating circles overlook the composition, like portals to parallel dimensions. Time is an ever-present concept, both through the rhythm of the artist’s compositions and through their physicality, in particular her layered wooden reliefs. Yoon Ji-Eun likes to go along the grain of the wood to bring about organic outlines. By carving it, she reveals its layers and further conveys the idea of temporality. Yoon Ji-Eun’s subtle work as a colourist alternates tensions through contrasts and a shrewd leverage of values within the same range. She introduces a new light through more vibrant colours, taking over in a sophisticated balance of earthly tones and soft pastels. As warm colours prevail, darkness and melancholia infiltrate the compositions with bleaker shades of blue. The material itself of her colours brings about unique textures and luminosity, be it the matte density of acrylic paint, the soft or strong stroke of pencils, or the transparency of watercolour. With Unanswered Questions, Yoon Ji-Eun reaches a new milestone in her search. Intimacy and experience are now expressed in an abstract, more universal language, made of snatches and snippets. The world is

Experience the grandest afterwork dance event in Paris at Montparnasse - Move that Gallery! Transforming the former Galeries Lafayette into a massive dance floor, this event offers 3300m² of pristine dance space. Join Rock 4 You dance school for two simultaneous dance classes - Rock and West Coast Swing. Doors open at 6 pm, classes start at 7:30 pm, followed by the party at 8:30 pm until 2 am. Enjoy a stunning venue at regular prices - Student rate: 13€, Full price: 15€. Mark your calendars for upcoming dates: March 22, April 26, May 24, July 19. Whether it's your first time or you're a seasoned dancer, savor your favorite tunes in this incredible setting! The event takes place at Les Galeries Montparnasse, 22 Rue du Départ, 75015 Paris. Access through the LEGO exhibition entrance. Don't forget to bring your ID as entry is subject to the venue's discretion.

Experience the ultimate blend of island vibes and Afrobeat at Islands & Afro Xoxo event happening on March 22nd at 911 Paris. Immerse yourself in a unique musical journey that you won't find anywhere else. Indulge in the premium Cheech service offering a selection of refreshing flavors like Sweet Mint, Love 66, and Hawaii. This tropical night promises to be unforgettable, featuring a strict entry policy for adults only. To enjoy special rates and offers, gentlemen must be accompanied by a partner. Make sure to reserve your spot in advance as group and couple bookings are required to be made together. Hygiene is a top priority with hand sanitizers and 100% biodegradable disposable cutlery provided throughout the venue. For group reservations, all guests must arrive together before midnight to validate the booking. Late arrivals may result in cancellation without refunds. Secure your table or spot on the guest list by contacting 06-30-83-62-92 // 07-85-16-32-12. Don't miss out on this exclusive event at 911 Paris, located at 18 Rue Paul Klee, 75013 Paris. Admission is free, so mark your calendars for an unforgettable evening of music and entertainment.

Evoking Nick Mauss’ practice could take the shape of a fine uninterrupted line, like a gesture, a breath, extending endlessly over the course of the artist’s encounters. He makes wander the drawing, a medium used for recording ideas, over various supports and spaces. He traces it between events, artistic practices, personal histories that have fallen into oblivion. The artist looks for them in archives, links them in exhibition spaces, and creates a place where elective affinities between works and people are revealed. Slipping into an exhibition by Nick Mauss, one is struck by superimposed images, interlacing connections in a kind of evanescent simultaneity. It might be like seeing bodies moving about a space, on a stage, inspiring and looking at each other, getting tangled up, yet not merging. For his first exhibition at Galerie Chantal Crousel, Nick Mauss pursues his formal inquiries. He plays with the effects and meanings of materials, with the reflection of his mirrored reverse-painted glass, reflecting the movement of bodies and architecture, with the sensorial quality of the draperies, or even with the unexpected, heightened, malleable materiality of ceramics. The images he makes appear or disappear during the production process, once the shimmering film has been applied, the clay has been fired, the fabric . The first space the artist has occupied is the page, the sketchbook. An intimate space that has expanded into larger spaces, to implicate the visitor’s body. Here, the frame of the sheet can be found with its drawings on paper. The pages are joined, sketches of images placed side by side, lines traced. Shapes, abstract figures intermingle with body fragments. As the art historian Emmelyn Butterfield-Rosen has written of the tension between memory and the act of drawing in Mauss' work: “Invariably his drawings register the fact that they are made in series of discrete and disconnected sittings, often separated by intervals of weeks or months. This method of temporal distancing has the effect of leveling, and produces new and imminent relationships—spontaneous marks and motifs derived from a “source” become equal options within a spectrum of possibilites, almost like dealing cards from a shuffled deck. These intervals of oblivion obviously somehow condition the way in which his drawings approximate mnemonic rendering. The mnemonic structure of Nick's work is precisely not that of the Rauschenbergian “flat-bed,” representing memory as the random order of raw data in the mind's filing cabinet. The visual information that appears has been processed, and it's therefore closer in quality to dream-pictures, because what is preserved and represented is something selectively self-constructed and edited” (1). Nick Mauss has taken an interest in practices that have long been confined to the minor arts, craft, or even the decorative arts. For over a decade, he has been interested in ceramics, an unpredictable material. Working the clay and its glaze means imagining the future potential of a line, the interactions of color, the play of transparencies. The artist has developed new techniques in collaboration with the Bottega Gatti ceramics studio in Faenza, known for its secular history of work with artists. The materiality of his ceramics has become more pronounced over time, more sculptural and architectural, with a whole repertoire of traces, whether painted, printed, or inscribed, blending various states of “raw” and “cooked.” The two mural panels on view, in stoneware and terracotta, were made in a quasi-blind process; the white and red clays used have the same color when raw; only after the first firing are the colors revealed. Another series of drawings was made by applying wax to the white stoneware. The image only appears once it is covered with black glaze, the wax serving to repel and prevent the material from being absorbed. The drawing is thus revealed in the negative. The idea of an under-drawing as an initial, momentary state of a performance that is lost recurs in the artist’s work. He prioritizes the study, the sketch, the emerging image at the limit of the decipherable, over the “finished” work. The series of reliefs in textured and heavily worked clay are carriers for drawings overwhelmed by a form of physicality, for images remembered and remodeled by the body. Others are unglazed but are sprayed with manganese oxide, a pigment used for the paintings and drawings in prehistoric caves, also reminiscent of the patina on statues and sooty urban facades. The light, voluptuous satin and velvet hanging drapery suggests a more delicate, intimate connection to the body, unlike the fixity and gravity of stoneware. These hangings move with breath. They were made using the process borrowed from couture, which entails a chemical reaction that etch some elements of the fabric according to a pattern, which then appears imprinted, in transparency. Nick Mauss implements what he calls “acts of translation,” like a drawing on paper made of collapsing memories, photographs, and observations that can reappear modified on another material. In the manner of on wet clay, the wax on ceramic, paintings on the reverse side of mirrors, or satin. The works made using the process of reverse-painting on mirrored glass address this very directly, entangling the viewer and the exhibition space with the work. Nick Mauss’ mirrored works are the result of an elaborate process extending over time and creating a distance in the process of conceiving, making, and perceiving the work, while also maintaining a form of immediacy. Although paint seems to have been applied to the surface of the mirror, it is underneath the glass, executed on reverse. The paint is then covered in a mirrored surface revealing the image and provoking unexpected reactions, burnt effects, and solarization. With , Nick Mauss brings together for the first time in the same space the full array of those formal languages, developing the sensation of an almost fleeting elusive materiality. The artist seeks to capture the experience of seeing something for the first time. He invents, borrows from surfaces, materials, techniques to elicit the strange feeling of encounter, made visible in the exhibition through a form of drawing, writing suspended in the field of vision and the movement of body. Born in 1980 in New York, United States. Lives and works in New York, United States. Nick Mauss has exhibited his work in various internationally renowned institutions such as the Nouveau Musée National de Monaco, Monaco (2022; 2016; 2014); Musée d'Art Moderne de Paris, Paris (2021; 2017); Kunsthalle Basel, Basel (2020); Whitney Museum of American Art, New York (2020; 2018; 2013; 2012); Fondation Louis Vuitton, Paris (2019); Museum Ludwig, Köln (2019); Serralves Museum, Porto (2017); Walker Art Center, Minneapolis (2016; 2012; 2011); Kunsthaus Bregenz, Bregenz (2013); Bergen Kunsthall, Bergen (2013); FRAC Champagne-Ardenne, Reims (2011); Martin Gropius Bau, Berlin (2011), Museum of Modern Art, New York (2010); Kunsthalle Zürich, Zürich (2010). His works have joined the collections of the The Museum of Modern Art, New York; The Whitney Museum of American Art, New York; Serralves Museum, Porto ; Lenbachhaus, Munich; Fondation Louis Vuitton, Paris; KADIST Art Foundation Paris; Long Museum, Shanghai; Mead Art Museum at Amherst College, Amherst; Museum of Contemporary Art, Los Angeles; Nouveau Musée National de Monaco, Monaco; Princeton University Art Museum, Princeton; The Walker Art Center, Minneapolis; FRAC Champagne-Ardenne, Reims; M+ Museum, Hong Kong; Hood Museum of Art, Dartmouth. (1) Nick Mauss, , with essays by Kirsty Bell and Emmelyn Butterfield-Rosen, 2010, Koenig Books London, United Kingdom, p.136.

Ecoalf, a sustainable fashion brand, is hosting the Ecoalf Sports Running Club powered by Tom Queguiner in preparation for the Marathon de Paris. This event will take place on March 23, 2024, at Ecoalf located at 14 Rue du Temple, 75004 Paris. Participants will have the opportunity to train for the marathon with a running session led by coach Tom Queguiner. The course will cover a distance of 10 km, followed by a post-run breakfast at the store. Each participant will receive a special gift from the brand and will be added to the VIP list. This event is free of charge and aims to promote a healthy and sustainable lifestyle through running.

Join the Improv Comedy Jam In English taking place at Kibele in Paris. This casual workshop welcomes newbies to experience the art of improv comedy in the cellar theatre of a Turkish restaurant. No prior experience is required, making it an ideal opportunity to connect with participants from various parts of the world. The event is scheduled for March 23, 2024, offering a fun and inclusive atmosphere for all attendees. While admission is free, guests are encouraged to support the venue with a one-item minimum purchase at the bar. To show extra appreciation, feel free to leave a tip at the end of the workshop. Come and enjoy a night of laughter and creativity at this exciting improv comedy event.

The event "Formation IPSEN aux gestes de premier secours pour les parents du 9e" will take place in Paris on March 23, 2024, at the Croix-Rouge française - Unité Locale Paris IX located at 14, rue Pierre Semard, 75009 Paris. This training session is organized in collaboration with the French Red Cross - Local Unit Paris 9th, aiming to equip parents in the 9th district with essential first aid skills. The event provides a valuable opportunity for parents to learn how to respond effectively in emergency situations and potentially save lives. Please note that ticket availability is currently full for this event. Thank you for your interest in enhancing your knowledge and readiness in first aid.

Discover the highly-anticipated event, sfdfdfdf, taking place in the heart of Paris at the prestigious venue located in 75000. Mark your calendars for March 23, 2024, to immerse yourself in an unforgettable experience. Admission to this event is completely free of charge, allowing everyone the opportunity to participate and enjoy. Don't miss out on this unique occasion to engage with like-minded individuals and be part of a memorable gathering in the vibrant city of Paris. Secure your spot and prepare to be inspired by the diverse offerings at sfdfdfdf.

Experience Vega in his one-man show "Ça dépend pas de moi" every Saturday night at 9 pm at La Petite Loge in Paris 9. Vega, a character known for being grumpy and stubborn, reluctantly opens up to share anecdotes about his Franco-Spanish upbringing, exploring themes of tradition, love, honesty, and fatherhood. Despite his flaws, Vega also brings a childish charm to his performance. Delve into Vega's world as he navigates through his family's chatty yet disconnected history, offering a unique perspective on life. Don't miss this opportunity to witness Vega's introspective and comedic journey. Admission is free.

Don't miss the amazing performance by the Hélios Orchestra at a prestigious Parisian church. The Hélios Orchestra, led by Director Paul Savalle, showcases a diverse program featuring well-known classical pieces such as Vivaldi's "Four Seasons," Sarasate's "Bohemian Airs," and Pachelbel's "Canon." Established in 2014, the orchestra combines young graduates with experienced musicians, conductors, and soloists to create a dynamic musical ensemble. From baroque to contemporary music, the orchestra collaborates with various choirs to present symphonic and choral works. With members hailing from top French conservatories and national orchestras, the Hélios Orchestra performs in iconic Parisian churches, offering audiences a unique blend of music and architectural heritage. Experience a wide range of musical styles, from string quartets to symphonic orchestras, as the Hélios Orchestra continues to expand its repertoire and attract new listeners. Immerse yourself in the magic of classical music with this exceptional concert.

The renowned Saint-Georges Balalaïka Orchestra, under the direction of Pétia Jacquet Pritkoff, embarked on its musical journey in 1993. The ensemble, originally known as the orchestra of students from the Saint-Georges Institute located at Potager du Dauphin in Meudon, France, has deep roots in Russian heritage. Inspired by traditional melodies, Pétia Jacquet-Pritkoff, a former student of the institute, leads the orchestra, creating unique arrangements showcasing the diverse tones of the instruments. The orchestra's aim is to revive the spirit of the original balalaïka orchestra established over a century ago by Vassili Vassilievitch Andreev in Russia. Through their performances, they honor the cultural contributions of Russian emigres in France, who played a significant role in shaping the French music scene. The Saint-Georges Orchestra continues to pay homage to the rich history of the balalaïka, drawing inspiration from esteemed Russian masters and composers. Join them for an enchanting evening featuring a repertoire of classic pieces such as "Valse triste," "Chanson moldave," and "Polka sibérienne." Experience the magic of balalaïka music at the upcoming event at Conservatoire Serge Rachmaninoff de Paris on March 24, 2024. Ticket prices range from 11.85 € to 27.84 €.

Don't miss out on the must-see event of improvised singing, FMR ACADÉMIE- LE PRIME, taking place in Paris at 3 Rue Geoffroy l'Angevin on March 24, 2024. Following a rigorous selection process across France, over 1000 candidates have been narrowed down to 4 finalists competing for a spot in the grand finale. Witness the students take the stage alongside guest artists to deliver spontaneous performances of songs from various genres. Who will win your vote for the ultimate showdown? The decision is in your hands. Admission is free, so be sure to mark your calendars for this unforgettable evening filled with incredible talent and excitement.

Discover how women can embrace their inner light and thrive in their identity. The workshop "Femme, quelle est la révélation de ta lumière?" delves into the female identity and the unique inner light every woman possesses. Join this in-person event on Sunday, March 24, 2024, at 4:00 PM, located at 7 Rue de Louvois, Paris. Together, let's explore how our light as women has the power to transform lives. Secure your spot now for an unforgettable afternoon of reflection and connection. As we celebrate women in this beautiful month of March, all participants will receive a complimentary photoshoot. Don't miss this opportunity to deepen your understanding of your true essence. Ticket Price: €5.