WYBÓR EKSPERTÓW
SELEKCJA DZIEŁ SZTUKI AUTORSTWA UZNANYCH EKSPERTÓW W DZIEDZINIE SZTUKI WSPÓŁCZESNEJ.
REVUE RADAR
QUESTS
Inherent to youth, the concept of quest runs through many works by emerging artists. Personal quests, identity quests, political quests, fantastical quests, quests for one’s own practice—these investigations, sometimes fragile, sometimes incisive, always intimate, outline the contours of the art of tomorrow.
These diverse explorations seem to hold the key to a world. Could it be that the still-young gaze is the most accurate and true? Through as many mediums as there are identities, these artists seem to open the door to their quests, some of which will appear in this selection.
In a single gesture, youth reveals itself, never fearing audacity, the power of assertion, or the deep desire to hope, dream, or fantasize about the world.
These diverse explorations seem to hold the key to a world. Could it be that the still-young gaze is the most accurate and true? Through as many mediums as there are identities, these artists seem to open the door to their quests, some of which will appear in this selection.
In a single gesture, youth reveals itself, never fearing audacity, the power of assertion, or the deep desire to hope, dream, or fantasize about the world.
Inherent to youth, the concept of quest runs through many works by emerging artists. Personal quests, identity quests, political quests, fantastical quests, quests for one’s own practice—these investigations, sometimes fragile, sometimes incisive, always intimate, outline the contours of the art of tomorrow. These diverse explorations seem to hold the key to a world. Could it be that the still-young gaze is the most accurate and true? Through as many mediums as there are identities, these artists seem to open the door to their quests, some of which will appear in this selection. In a single gesture, [...]
Inherent to youth, the concept of quest runs through many works by emerging artists. Personal quests, identity quests, political quests, fantastical quests, quests for one’s own practice—these investigations, sometimes fragile, sometimes incisive, always intimate, outline the contours of the art of tomorrow.
These diverse explorations seem to hold the key to a world. Could it be that the still-young gaze is the most accurate and true? Through as many mediums as there are identities, these artists seem to open the door to their quests, some of which will appear in this selection.
In a single gesture, youth reveals itself, never fearing audacity, the power of assertion, or the deep desire to hope, dream, or fantasize about the world.
JENNIFER FLAY
OUR ANIMAL FRIENDS
This selection of works depicting animals draws inspiration from the long tradition of animal painting, but even more from the tender and co-dependent relationships that connect us so strongly to the animal kingdom. Present since prehistoric times, the representation of animals in painting is particularly ancient. Over the centuries, animal painting has established itself as one of the principal genres of figurative art. Although the advent of photography in the 19th century diminished its prominence, wildlife photography quickly followed in its wake. Since then, the depiction of animals and the interactions between humans and animals has benefited from increasingly advanced photographic techniques. These allow for a detailed view of subjects, granting an almost scientific value to the images, while enabling observation of their behaviors, gestures, and movements. Nonetheless, pictorial representation does not disappear but gradually frees itself from the desire to imitate nature, seeking [...]
This selection of works depicting animals draws inspiration from the long tradition of animal painting, but even more from the tender and co-dependent relationships that connect us so strongly to the animal kingdom. Present since prehistoric times, the representation of animals in painting is particularly ancient. Over the centuries, animal painting has established itself as one of the principal genres of figurative art. Although the advent of photography in the 19th century diminished its prominence, wildlife photography quickly followed in its wake.
Since then, the depiction of animals and the interactions between humans and animals has benefited from increasingly advanced photographic techniques. These allow for a detailed view of subjects, granting an almost scientific value to the images, while enabling observation of their behaviors, gestures, and movements. Nonetheless, pictorial representation does not disappear but gradually frees itself from the desire to imitate nature, seeking instead to capture what eludes the eye. Far from any sentimentality, these tender glimpses into the animal world, imbued with empathy and even recognition, reflect our most deeply ingrained atavisms.
This selection of works depicting animals draws inspiration from the long tradition of animal painting, but even more from the tender and co-dependent relationships that connect us so strongly to the animal kingdom. Present since prehistoric times, the representation of animals in painting is particularly ancient. Over the centuries, animal painting has established itself as one of the principal genres of figurative art. Although the advent of photography in the 19th century diminished its prominence, wildlife photography quickly followed in its wake. Since then, the depiction of animals and the [...]
This selection of works depicting animals draws inspiration from the long tradition of animal painting, but even more from the tender and co-dependent relationships that connect us so strongly to the animal kingdom. Present since prehistoric times, the representation of animals in painting is particularly ancient. Over the centuries, animal painting has established itself as one of the principal genres of figurative art. Although the advent of photography in the 19th century diminished its prominence, wildlife photography quickly followed in its wake.
Since then, the depiction of animals and the interactions between humans and animals has benefited from increasingly advanced photographic techniques. These allow for a detailed view of subjects, granting an almost scientific value to the images, while enabling observation of their behaviors, gestures, and movements. Nonetheless, pictorial representation does not disappear but gradually frees itself from the desire to imitate nature, seeking instead to capture what eludes the eye. Far from any sentimentality, these tender glimpses into the animal world, imbued with empathy and even recognition, reflect our most deeply ingrained atavisms.
ANAËL PIGEAT
BESTIARY
In Orphée's procession, Apollinaire featured the cat, the tortoise, the fly, the flea and the octopus - "this inhuman monster is myself", he wrote of the latter. At a time when we are passionate about the unity of living things, would a modern-day bestiary be very different? For a start, it would have an Adam, Anne Roger-Lacan's L'homme Heureux, and an Eve, Marcel Miracle's Une dame très sélect, who would come to life like Elsa Sahal's Dancing Twins. In this bestiary, there would be melancholy animals, perhaps pedal swans like Erwin Olaf's, teddy bears like the one held in her arms by the young pregnant woman photographed by Sophie Bramly. There would be plastic dinosaurs pinned up like butterflies in Mark Dion's curiosity cabinet, and perhaps a slightly dented mickey, stranded on a beach, caught with his nose in the sand by Tami Notsani. Some animals are a bit like machines, like Zhenya Machneva's messy robot. And even broken-down machines, like Nelson Pernisco's Pour les choses qui restent [...]
In Orphée's procession, Apollinaire featured the cat, the tortoise, the fly, the flea and the octopus - "this inhuman monster is myself", he wrote of the latter. At a time when we are passionate about the unity of living things, would a modern-day bestiary be very different? For a start, it would have an Adam, Anne Roger-Lacan's L'homme Heureux, and an Eve, Marcel Miracle's Une dame très sélect, who would come to life like Elsa Sahal's Dancing Twins. In this bestiary, there would be melancholy animals, perhaps pedal swans like Erwin Olaf's, teddy bears like the one held in her arms by the young pregnant woman photographed by Sophie Bramly. There would be plastic dinosaurs pinned up like butterflies in Mark Dion's curiosity cabinet, and perhaps a slightly dented mickey, stranded on a beach, caught with his nose in the sand by Tami Notsani. Some animals are a bit like machines, like Zhenya Machneva's messy robot. And even broken-down machines, like Nelson Pernisco's Pour les choses qui restent brutes. All would be chimeras, each in their own way, like Françoise Vergier's La déesse de la lune verte, or Seb Janiak's Mimesis-Hibiscus Trinium. Some have wings, like Jean Messagier's oiseau-fleur, Maya Inès Touam's creatures, or James Rielly's poisson-vague.
In Orphée's procession, Apollinaire featured the cat, the tortoise, the fly, the flea and the octopus - "this inhuman monster is myself", he wrote of the latter. At a time when we are passionate about the unity of living things, would a modern-day bestiary be very different? For a start, it would have an Adam, Anne Roger-Lacan's L'homme Heureux, and an Eve, Marcel Miracle's Une dame très sélect, who would come to life like Elsa Sahal's Dancing Twins. In this bestiary, there would be melancholy animals, perhaps pedal swans like Erwin Olaf's, teddy bears like the one held in her arms by the young [...]
In Orphée's procession, Apollinaire featured the cat, the tortoise, the fly, the flea and the octopus - "this inhuman monster is myself", he wrote of the latter. At a time when we are passionate about the unity of living things, would a modern-day bestiary be very different? For a start, it would have an Adam, Anne Roger-Lacan's L'homme Heureux, and an Eve, Marcel Miracle's Une dame très sélect, who would come to life like Elsa Sahal's Dancing Twins. In this bestiary, there would be melancholy animals, perhaps pedal swans like Erwin Olaf's, teddy bears like the one held in her arms by the young pregnant woman photographed by Sophie Bramly. There would be plastic dinosaurs pinned up like butterflies in Mark Dion's curiosity cabinet, and perhaps a slightly dented mickey, stranded on a beach, caught with his nose in the sand by Tami Notsani. Some animals are a bit like machines, like Zhenya Machneva's messy robot. And even broken-down machines, like Nelson Pernisco's Pour les choses qui restent brutes. All would be chimeras, each in their own way, like Françoise Vergier's La déesse de la lune verte, or Seb Janiak's Mimesis-Hibiscus Trinium. Some have wings, like Jean Messagier's oiseau-fleur, Maya Inès Touam's creatures, or James Rielly's poisson-vague.
CULTUR FOUNDRY
THE CABIN
Perched on a tree or nestled at the back of the garden, set up on a beach, the cabin is a place of dreams and an escape into the imagination, where the child will build their own future without replicating the daily life of adults. The cabin first offers a space for play, but it is also a retreat, a refuge against prohibitions and parental authority, a place of initiation or transitional rituals between childhood and adulthood, as seen among the Bushmen. However, the cabin can also take on a more political dimension, serving as a social response to the rigidity of regulations or as a site of protest and refusal. In this context, the cabin does not inhabit; it occupies territory. For this theme, the choice was made to feature five contemporary artists from the French art scene, each with different backgrounds, representing the cabin according to their own universe and interpretation. Muriel Patarroni depicts it in various settings: deep in the woods for child builders, an enclosure for [...]
Perched on a tree or nestled at the back of the garden, set up on a beach, the cabin is a place of dreams and an escape into the imagination, where the child will build their own future without replicating the daily life of adults. The cabin first offers a space for play, but it is also a retreat, a refuge against prohibitions and parental authority, a place of initiation or transitional rituals between childhood and adulthood, as seen among the Bushmen.
However, the cabin can also take on a more political dimension, serving as a social response to the rigidity of regulations or as a site of protest and refusal. In this context, the cabin does not inhabit; it occupies territory.
For this theme, the choice was made to feature five contemporary artists from the French art scene, each with different backgrounds, representing the cabin according to their own universe and interpretation.
Muriel Patarroni depicts it in various settings: deep in the woods for child builders, an enclosure for livestock, or even a refuge for the homeless.
Isabelle Scotta captures beach cabins at dawn in Deauville or Royan, where the anticipation of the next summer is palpable.
Elina Huneman-Kulich's fantastic imagination leads us into constructions with distorted perspectives, creating a sense of vertigo and exhilaration. The artist oscillates between the Martiniquan refuge or the fig-leaf shelter.
Amélie Labourdette takes a sociological view of the cabin, presenting it as rubble marking the end of the colonial era or as a concrete skeleton.
Quentin Germain, in his paintings, explores architectural remnants, where the chemical reaction of rust on steel heightens a sense of ruin.
We are no longer on the surface but deep in the oceans. Let us not forget that the cabin can only be ephemeral—it will disappear.
Perched on a tree or nestled at the back of the garden, set up on a beach, the cabin is a place of dreams and an escape into the imagination, where the child will build their own future without replicating the daily life of adults. The cabin first offers a space for play, but it is also a retreat, a refuge against prohibitions and parental authority, a place of initiation or transitional rituals between childhood and adulthood, as seen among the Bushmen. However, the cabin can also take on a more political dimension, serving as a social response to the rigidity of regulations or as a site of protest [...]
Perched on a tree or nestled at the back of the garden, set up on a beach, the cabin is a place of dreams and an escape into the imagination, where the child will build their own future without replicating the daily life of adults. The cabin first offers a space for play, but it is also a retreat, a refuge against prohibitions and parental authority, a place of initiation or transitional rituals between childhood and adulthood, as seen among the Bushmen.
However, the cabin can also take on a more political dimension, serving as a social response to the rigidity of regulations or as a site of protest and refusal. In this context, the cabin does not inhabit; it occupies territory.
For this theme, the choice was made to feature five contemporary artists from the French art scene, each with different backgrounds, representing the cabin according to their own universe and interpretation.
Muriel Patarroni depicts it in various settings: deep in the woods for child builders, an enclosure for livestock, or even a refuge for the homeless.
Isabelle Scotta captures beach cabins at dawn in Deauville or Royan, where the anticipation of the next summer is palpable.
Elina Huneman-Kulich's fantastic imagination leads us into constructions with distorted perspectives, creating a sense of vertigo and exhilaration. The artist oscillates between the Martiniquan refuge or the fig-leaf shelter.
Amélie Labourdette takes a sociological view of the cabin, presenting it as rubble marking the end of the colonial era or as a concrete skeleton.
Quentin Germain, in his paintings, explores architectural remnants, where the chemical reaction of rust on steel heightens a sense of ruin.
We are no longer on the surface but deep in the oceans. Let us not forget that the cabin can only be ephemeral—it will disappear.
MARC DONNADIEU
SEE THE WORLD
n a few days, the Paris Photo 2025 fair will open its doors. One of its most famous icons, Henri Cartier-Bresson, once said that, in photography, "ultimately, it's an intense way of being present, of questioning, of contemplating." This photographic journey, presented by YourArt’s renowned, acclaimed, and amateur artists alike, seeks to contemplate the wonders and surprises of the world, to question certain striking or moving situations, and above all, to be present in a committed way through the power of images. As determined witnesses, Pascal Convert, Amélie Labourdette, and Manuella Morgaine focus on what endures from current conflicts, whether within landscapes or in the memories of affected peoples. With Benjamin Mouly and Hannah Archambault, the nearly spectral solitude of the few survivors becomes even more poignant. The inherent geometry in all construction is among photography’s favorite subjects. While Georges Rousse, Amélie Labourdette, and Tadzio push it to pure abstraction, [...]
n a few days, the Paris Photo 2025 fair will open its doors. One of its most famous icons, Henri Cartier-Bresson, once said that, in photography, "ultimately, it's an intense way of being present, of questioning, of contemplating."
This photographic journey, presented by YourArt’s renowned, acclaimed, and amateur artists alike, seeks to contemplate the wonders and surprises of the world, to question certain striking or moving situations, and above all, to be present in a committed way through the power of images.
As determined witnesses, Pascal Convert, Amélie Labourdette, and Manuella Morgaine focus on what endures from current conflicts, whether within landscapes or in the memories of affected peoples. With Benjamin Mouly and Hannah Archambault, the nearly spectral solitude of the few survivors becomes even more poignant.
The inherent geometry in all construction is among photography’s favorite subjects. While Georges Rousse, Amélie Labourdette, and Tadzio push it to pure abstraction, Giulio Di Sturco, Isabelle Scotta, and Alain Bublex capture in a single frame a suspended, almost cinematic narrative.
Acting as a whistleblower, Patrick Tosani concludes this selection with an enigmatic image.
Photography doesn’t just awaken our sight; it awakens our conscience as well!
n a few days, the Paris Photo 2025 fair will open its doors. One of its most famous icons, Henri Cartier-Bresson, once said that, in photography, "ultimately, it's an intense way of being present, of questioning, of contemplating." This photographic journey, presented by YourArt’s renowned, acclaimed, and amateur artists alike, seeks to contemplate the wonders and surprises of the world, to question certain striking or moving situations, and above all, to be present in a committed way through the power of images. As determined witnesses, Pascal Convert, Amélie Labourdette, and Manuella Morgaine [...]
n a few days, the Paris Photo 2025 fair will open its doors. One of its most famous icons, Henri Cartier-Bresson, once said that, in photography, "ultimately, it's an intense way of being present, of questioning, of contemplating."
This photographic journey, presented by YourArt’s renowned, acclaimed, and amateur artists alike, seeks to contemplate the wonders and surprises of the world, to question certain striking or moving situations, and above all, to be present in a committed way through the power of images.
As determined witnesses, Pascal Convert, Amélie Labourdette, and Manuella Morgaine focus on what endures from current conflicts, whether within landscapes or in the memories of affected peoples. With Benjamin Mouly and Hannah Archambault, the nearly spectral solitude of the few survivors becomes even more poignant.
The inherent geometry in all construction is among photography’s favorite subjects. While Georges Rousse, Amélie Labourdette, and Tadzio push it to pure abstraction, Giulio Di Sturco, Isabelle Scotta, and Alain Bublex capture in a single frame a suspended, almost cinematic narrative.
Acting as a whistleblower, Patrick Tosani concludes this selection with an enigmatic image.
Photography doesn’t just awaken our sight; it awakens our conscience as well!
DEALEUSE D'ART
NOSTALGIC IMPRINT
I wondered if one could feel nostalgic for a time they never experienced. Many words exist to describe this sentiment, like the German "Sehnsucht", echoing the Portuguese "saudade". This wistful longing often arises when reflecting on a bygone era. Personally, I feel this kind of nostalgia for the early 19th century, enchanted by the imagery associated with it. Though this era is far from historically accurate in my mind, I enjoy escaping into its idealized vision. The artists I’ve selected for this reflection would populate my dream gallery, starting with the vibrant yellows of Caroline Delétoille, whose work delves into memory and remembrance. Nostalgia can also have a darker edge, as seen in the charcoal drawings of Samuel Martin, portraying an anonymized Hollywood star whose glory has faded. Then there’s the unsettling allure of Laurence Ory’s painted photographs, such as her Birds Are Born to Fly series, where masks evoke a sinister, Ensorian carnival atmosphere. Through the “visual [...]
I wondered if one could feel nostalgic for a time they never experienced. Many words exist to describe this sentiment, like the German "Sehnsucht", echoing the Portuguese "saudade". This wistful longing often arises when reflecting on a bygone era. Personally, I feel this kind of nostalgia for the early 19th century, enchanted by the imagery associated with it. Though this era is far from historically accurate in my mind, I enjoy escaping into its idealized vision.
The artists I’ve selected for this reflection would populate my dream gallery, starting with the vibrant yellows of Caroline Delétoille, whose work delves into memory and remembrance. Nostalgia can also have a darker edge, as seen in the charcoal drawings of Samuel Martin, portraying an anonymized Hollywood star whose glory has faded. Then there’s the unsettling allure of Laurence Ory’s painted photographs, such as her Birds Are Born to Fly series, where masks evoke a sinister, Ensorian carnival atmosphere.
Through the “visual similarity” tool, I discovered the work of Christophe Avella Bagur, whose style strongly reminds me of Vicious Circle by Polish artist Jacek Malczewski. For me, nostalgia is also tied to the tactile quality of VHS images, with their distinctive grain evoking a bygone era, as seen in Adrien Couvrat’s Villa Madama #2.
Finally, nostalgia captures an ineffable longing to return to a place that no longer exists—or perhaps to a timeless elsewhere. This feeling resonates deeply in Elsa Broustet’s Insomnie, which connects to the mysterious world of artist Nicholas Kalmakoff.
I wondered if one could feel nostalgic for a time they never experienced. Many words exist to describe this sentiment, like the German "Sehnsucht", echoing the Portuguese "saudade". This wistful longing often arises when reflecting on a bygone era. Personally, I feel this kind of nostalgia for the early 19th century, enchanted by the imagery associated with it. Though this era is far from historically accurate in my mind, I enjoy escaping into its idealized vision. The artists I’ve selected for this reflection would populate my dream gallery, starting with the vibrant yellows of Caroline Delétoille, [...]
I wondered if one could feel nostalgic for a time they never experienced. Many words exist to describe this sentiment, like the German "Sehnsucht", echoing the Portuguese "saudade". This wistful longing often arises when reflecting on a bygone era. Personally, I feel this kind of nostalgia for the early 19th century, enchanted by the imagery associated with it. Though this era is far from historically accurate in my mind, I enjoy escaping into its idealized vision.
The artists I’ve selected for this reflection would populate my dream gallery, starting with the vibrant yellows of Caroline Delétoille, whose work delves into memory and remembrance. Nostalgia can also have a darker edge, as seen in the charcoal drawings of Samuel Martin, portraying an anonymized Hollywood star whose glory has faded. Then there’s the unsettling allure of Laurence Ory’s painted photographs, such as her Birds Are Born to Fly series, where masks evoke a sinister, Ensorian carnival atmosphere.
Through the “visual similarity” tool, I discovered the work of Christophe Avella Bagur, whose style strongly reminds me of Vicious Circle by Polish artist Jacek Malczewski. For me, nostalgia is also tied to the tactile quality of VHS images, with their distinctive grain evoking a bygone era, as seen in Adrien Couvrat’s Villa Madama #2.
Finally, nostalgia captures an ineffable longing to return to a place that no longer exists—or perhaps to a timeless elsewhere. This feeling resonates deeply in Elsa Broustet’s Insomnie, which connects to the mysterious world of artist Nicholas Kalmakoff.
STEVEN VANDEPORTA
DRAWING NOW!
Drawing Now Paris: The Must-Attend Event for Contemporary Drawing
From March 27 to 30, 2025, Drawing Now Paris brings together 71 international galleries, showcasing both established and emerging artists to offer a broad panorama of contemporary drawing practices.
Whether you're a collector, enthusiast, or simply curious, you’ll have the opportunity to discover unique works, engage with 300 artists and gallerists, and attend live performances and conferences.
More than just a fair, Drawing Now Paris is a place of discovery, where drawing unfolds in all its forms—from the most classical to the most experimental. Through this selection, you’ll explore a snapshot of today’s drawing scene, presented by galleries at the fair and on YourArt.
From March 27 to 30, 2025, Drawing Now Paris brings together 71 international galleries, showcasing both established and emerging artists to offer a broad panorama of contemporary drawing practices.
Whether you're a collector, enthusiast, or simply curious, you’ll have the opportunity to discover unique works, engage with 300 artists and gallerists, and attend live performances and conferences.
More than just a fair, Drawing Now Paris is a place of discovery, where drawing unfolds in all its forms—from the most classical to the most experimental. Through this selection, you’ll explore a snapshot of today’s drawing scene, presented by galleries at the fair and on YourArt.
Drawing Now Paris: The Must-Attend Event for Contemporary Drawing From March 27 to 30, 2025, Drawing Now Paris brings together 71 international galleries, showcasing both established and emerging artists to offer a broad panorama of contemporary drawing practices. Whether you're a collector, enthusiast, or simply curious, you’ll have the opportunity to discover unique works, engage with 300 artists and gallerists, and attend live performances and conferences. More than just a fair, Drawing Now Paris is a place of discovery, where drawing unfolds in all its forms—from the most classical to the [...]
Drawing Now Paris: The Must-Attend Event for Contemporary Drawing
From March 27 to 30, 2025, Drawing Now Paris brings together 71 international galleries, showcasing both established and emerging artists to offer a broad panorama of contemporary drawing practices.
Whether you're a collector, enthusiast, or simply curious, you’ll have the opportunity to discover unique works, engage with 300 artists and gallerists, and attend live performances and conferences.
More than just a fair, Drawing Now Paris is a place of discovery, where drawing unfolds in all its forms—from the most classical to the most experimental. Through this selection, you’ll explore a snapshot of today’s drawing scene, presented by galleries at the fair and on YourArt.
JENNIFER FLAY
BEYOND THE SUBJECT
The examination of the subconscious, the expression of ineffable emotions, a sense of wonder before the exuberance or romanticism of nature, the depiction of a world map reduced to its bare essence, the staging of a dysfunctional reality, a macro vision or an exploration of the infinitely small. Whether aiming to closely mirror the intimate inner world or the one surrounding us—to enrich, pare down, or explore the essence of a subject by depicting what it conceals—there are countless, persistent, and powerful points of entry into the language of abstraction. Hors Sujet (At the Edges of Reality) explores the interstitial spaces, those delicate borderlands, between dreamlike, poetic, phantasmagorical, esoteric, Cartesian or intuitive figuration, and its metamorphosis—through drift or rupture—into pure abstraction, be it lyrical, expressionist, geometric, or non-objective. This selection of works expresses my enduring fascination with that delicate, impermanent, and floating balance; a constant [...]
The examination of the subconscious, the expression of ineffable emotions, a sense of wonder before the exuberance or romanticism of nature, the depiction of a world map reduced to its bare essence, the staging of a dysfunctional reality, a macro vision or an exploration of the infinitely small... Whether aiming to closely mirror the intimate inner world or the one surrounding us—to enrich, pare down, or explore the essence of a subject by depicting what it conceals—there are countless, persistent, and powerful points of entry into the language of abstraction.
Hors Sujet (At the Edges of Reality) explores the interstitial spaces, those delicate borderlands, between dreamlike, poetic, phantasmagorical, esoteric, Cartesian or intuitive figuration, and its metamorphosis—through drift or rupture—into pure abstraction, be it lyrical, expressionist, geometric, or non-objective.
This selection of works expresses my enduring fascination with that delicate, impermanent, and floating balance; a constant back-and-forth between the motif and the elsewhere; the tangible and the imaginary; the identifiable and the unclassifiable; the subject and the Whole.
The examination of the subconscious, the expression of ineffable emotions, a sense of wonder before the exuberance or romanticism of nature, the depiction of a world map reduced to its bare essence, the staging of a dysfunctional reality, a macro vision or an exploration of the infinitely small. Whether aiming to closely mirror the intimate inner world or the one surrounding us—to enrich, pare down, or explore the essence of a subject by depicting what it conceals—there are countless, persistent, and powerful points of entry into the language of abstraction. Hors Sujet (At the Edges of Reality) [...]
The examination of the subconscious, the expression of ineffable emotions, a sense of wonder before the exuberance or romanticism of nature, the depiction of a world map reduced to its bare essence, the staging of a dysfunctional reality, a macro vision or an exploration of the infinitely small... Whether aiming to closely mirror the intimate inner world or the one surrounding us—to enrich, pare down, or explore the essence of a subject by depicting what it conceals—there are countless, persistent, and powerful points of entry into the language of abstraction.
Hors Sujet (At the Edges of Reality) explores the interstitial spaces, those delicate borderlands, between dreamlike, poetic, phantasmagorical, esoteric, Cartesian or intuitive figuration, and its metamorphosis—through drift or rupture—into pure abstraction, be it lyrical, expressionist, geometric, or non-objective.
This selection of works expresses my enduring fascination with that delicate, impermanent, and floating balance; a constant back-and-forth between the motif and the elsewhere; the tangible and the imaginary; the identifiable and the unclassifiable; the subject and the Whole.
LAURENCE DREYFUS
WYBÓR SZWAJCARSKICH ARTYSTÓW PRZEZ LAURENCE DREYFUS
Od 1970 r. Art Basel ugruntowało swoją pozycję jako jedne z najbardziej prestiżowych targów sztuki współczesnej na świecie. Przez tydzień miasto Bazylea staje się bijącym sercem międzynarodowej sceny artystycznej, przyciągając kolekcjonerów, profesjonalistów i ciekawskich z całego świata.
Główne targi oferują wyjątkowy wybór prac, obejmujący szeroki zakres okresów i mediów. Towarzyszą im targi satelitarne, takie jak Liste, Volta, Maze i Digital Art Mile, które znacznie wzbogacają doświadczenie, oferując szerszą i często bardziej eksperymentalną panoramę sztuki współczesnej.
Od 1970 r. Art Basel ugruntowało swoją pozycję jako jedne z najbardziej prestiżowych targów sztuki współczesnej na świecie. Przez tydzień miasto Bazylea staje się bijącym sercem międzynarodowej sceny artystycznej, przyciągając kolekcjonerów, profesjonalistów i ciekawskich z całego świata. Główne targi oferują wyjątkowy wybór prac, obejmujący szeroki zakres okresów i mediów. Towarzyszą im targi satelitarne, takie jak Liste, Volta, Maze i Digital Art Mile, które znacznie wzbogacają doświadczenie, oferując szerszą i często bardziej eksperymentalną [...]
Od 1970 r. Art Basel ugruntowało swoją pozycję jako jedne z najbardziej prestiżowych targów sztuki współczesnej na świecie. Przez tydzień miasto Bazylea staje się bijącym sercem międzynarodowej sceny artystycznej, przyciągając kolekcjonerów, profesjonalistów i ciekawskich z całego świata.
Główne targi oferują wyjątkowy wybór prac, obejmujący szeroki zakres okresów i mediów. Towarzyszą im targi satelitarne, takie jak Liste, Volta, Maze i Digital Art Mile, które znacznie wzbogacają doświadczenie, oferując szerszą i często bardziej eksperymentalną panoramę sztuki współczesnej.
SONIA PERRIN
UNOC 3: OCEAN EMERGENCY | KONFERENCJA OCEANICZNA ORGANIZACJI NARODÓW ZJEDNOCZONYCH
Współorganizowana przez rządy Francji i Kostaryki trzecia Konferencja Narodów Zjednoczonych nt. Oceanów (UNOC 3) odbędzie się w Nicei we Francji w dniach od 9 do 13 czerwca 2025 r. Wydarzenie, które odbyło się pod hasłem „Przyspieszenie działań i mobilizacja wszystkich aktorów do ochrony i zrównoważonego wykorzystania oceanu”, ma na celu ponowne umieszczenie oceanu w centrum globalnej agendy. Celem UNOC jest wzmocnienie wysiłków na rzecz Celu Zrównoważonego Rozwoju 14: „Ochrona i zrównoważone wykorzystanie oceanów, mórz i zasobów morskich”. W konferencji uczestniczą wszystkie zainteresowane strony, a wśród nich 193 Państwa Członkowskie ONZ, organizacje pozarządowe, instytucje międzynarodowe, podmioty społeczeństwa obywatelskiego, badacze, pracownicy naukowi, naukowcy i zaangażowani artyści. Podczas gdy oceany pokrywają ponad 70% powierzchni Ziemi, ich kluczowa rola w równowadze klimatycznej i bioróżnorodności nigdy nie była bardziej zagrożona. W obliczu tego zagrożenia środowiskowego wielu [...]
Współorganizowana przez rządy Francji i Kostaryki trzecia Konferencja Narodów Zjednoczonych nt. Oceanów (UNOC 3) odbędzie się w Nicei we Francji w dniach od 9 do 13 czerwca 2025 r.
Wydarzenie, które odbyło się pod hasłem „Przyspieszenie działań i mobilizacja wszystkich aktorów do ochrony i zrównoważonego wykorzystania oceanu”, ma na celu ponowne umieszczenie oceanu w centrum globalnej agendy. Celem UNOC jest wzmocnienie wysiłków na rzecz Celu Zrównoważonego Rozwoju 14: „Ochrona i zrównoważone wykorzystanie oceanów, mórz i zasobów morskich”.
W konferencji uczestniczą wszystkie zainteresowane strony, a wśród nich 193 Państwa Członkowskie ONZ, organizacje pozarządowe, instytucje międzynarodowe, podmioty społeczeństwa obywatelskiego, badacze, pracownicy naukowi, naukowcy i zaangażowani artyści.
Podczas gdy oceany pokrywają ponad 70% powierzchni Ziemi, ich kluczowa rola w równowadze klimatycznej i bioróżnorodności nigdy nie była bardziej zagrożona. W obliczu tego zagrożenia środowiskowego wielu artystów decyduje się podkreślać kruchość ekosystemów morskich. Ich prace zanurzają nas w głębinach morskich, potępiają rosnące poziomy mórz, zanieczyszczenie plastikiem lub zanikające gatunki. Podnoszą świadomość lub budzą podziw, oferując wgląd w świat, który jest równie tajemniczy, co wrażliwy.
Współorganizowana przez rządy Francji i Kostaryki trzecia Konferencja Narodów Zjednoczonych nt. Oceanów (UNOC 3) odbędzie się w Nicei we Francji w dniach od 9 do 13 czerwca 2025 r. Wydarzenie, które odbyło się pod hasłem „Przyspieszenie działań i mobilizacja wszystkich aktorów do ochrony i zrównoważonego wykorzystania oceanu”, ma na celu ponowne umieszczenie oceanu w centrum globalnej agendy. Celem UNOC jest wzmocnienie wysiłków na rzecz Celu Zrównoważonego Rozwoju 14: „Ochrona i zrównoważone wykorzystanie oceanów, mórz i zasobów morskich”. W konferencji uczestniczą wszystkie zainteresowane strony, [...]
Współorganizowana przez rządy Francji i Kostaryki trzecia Konferencja Narodów Zjednoczonych nt. Oceanów (UNOC 3) odbędzie się w Nicei we Francji w dniach od 9 do 13 czerwca 2025 r.
Wydarzenie, które odbyło się pod hasłem „Przyspieszenie działań i mobilizacja wszystkich aktorów do ochrony i zrównoważonego wykorzystania oceanu”, ma na celu ponowne umieszczenie oceanu w centrum globalnej agendy. Celem UNOC jest wzmocnienie wysiłków na rzecz Celu Zrównoważonego Rozwoju 14: „Ochrona i zrównoważone wykorzystanie oceanów, mórz i zasobów morskich”.
W konferencji uczestniczą wszystkie zainteresowane strony, a wśród nich 193 Państwa Członkowskie ONZ, organizacje pozarządowe, instytucje międzynarodowe, podmioty społeczeństwa obywatelskiego, badacze, pracownicy naukowi, naukowcy i zaangażowani artyści.
Podczas gdy oceany pokrywają ponad 70% powierzchni Ziemi, ich kluczowa rola w równowadze klimatycznej i bioróżnorodności nigdy nie była bardziej zagrożona. W obliczu tego zagrożenia środowiskowego wielu artystów decyduje się podkreślać kruchość ekosystemów morskich. Ich prace zanurzają nas w głębinach morskich, potępiają rosnące poziomy mórz, zanieczyszczenie plastikiem lub zanikające gatunki. Podnoszą świadomość lub budzą podziw, oferując wgląd w świat, który jest równie tajemniczy, co wrażliwy.
