Artwork Paris has been a growing success, blending trendy, modern, and emerging art into a most considerable stability. After a stupendous 23rd version that inaugurated the Grand Palais Ephémère last September, the truthful returned from April 7 to 10 with 130 regional and worldwide galleries of top of the range, providing, particularly to younger galleries and emerging creation, a sector, “Promises,” which we've surveyed with happiness to deliver you some nuggets.
HUGO DEVERCHÈRE at Dumonteil Modern (Paris)
Dumonteil Modern is a brand new gallery situated within the booming rue du Louvre district, the third of the Dumonteil brand (after the opening of a gallery in Shanghai in 2008 that targeted on the Chinese language artwork scene). It's dedicated to selling younger artists on the international scene and supporting their most formidable tasks, not only in its personal exhibition areas, but outdoors the gallery partitions in collaboration with public or personal establishments and during festivals (West Bund Artwork & Design, Artwork 021, Asia Now…).
At Art Paris, Dumonteil Modern introduced the fascinating work of Hugo Deverchère (born in 1988, graduate of the École Nationale Supérieure des Arts Décoratifs de Paris and Le Fresnoy – Studio nationwide des arts contemporains). Mixing art and science, aesthetic analysis and exploration of the dwelling, fiction and actuality, his proliferating sculptures, work in progress, and different protean works emerge from a hypothesis on the metamorphoses of the natural matter, but in addition of the image (micro and macrocosmic), and constitute “an experiment of perception.”
Thus, his collection of photographs, elaborated from photogravure plates coated with oxides, revealing the just about imperceptible drawing of the micro-reliefs of Mars, taken from NASA databases, confronts us with the vertigo of digital photographic extrapolation… An actual “alchemical gadget,” a dwelling work, his installation, Artefact,displaying a rock within the strategy of crystallization, re-enacts, in accelerated type in the course of the exhibition, an extended geologic process. Fascinating…
8, rue d’Aboukir, Paris 2e
MIHO KAJIOKA and CASPER FAASSEN at Ibasho (Antwerp)
“A place the place you might be yourself”: that is the which means of the Japanese phrase ibasho,chosen because the identify by Anne-Marie Zethof and Martijn van Pieterson for their Antwerp gallery dedicated to young Japanese images and Western photographers impressed by Japan – the one one on the earth! A name that says lots about the best way these two aesthetes contemplate the gallery area as a place of revelation by way of contemplation…
A wonderful promise stored on their stand where we found the works of mystery and poetry of two artists: Miho Kajioka, a Japanese (born in 1973), lately settled in Paris, and Casper Faassen, born in 1975 in the Netherlands.
Educated as a painter, Miho Kajioka creates a very graphic and pictorial photographic work, via a sluggish means of revelation of shadows and lights carried out within the darkroom, tea colorations carried out in the course of the prints, and above all, reframing, conferring to her cropped footage an virtually surrealist strangeness… “Snapshots” of eternity just like haikus, photographs stolen from time, of which they appear to spin, from one work to the subsequent, an extended metaphor.
Casper Faassen, for his half, creates a work – additionally on the border between portray and images – on transparency and opacity by interposing tracing paper between his lens and his fashions (ladies in kimonos or Japanese vases), then applying a double layer of cracked varnish to his prints. In his Kasumi, a big seascape drowned in fog, he uses not tracing paper but a double decoy to create this disturbance of the image floating between look and disappearance: the photograph printed on a Plexiglas plate is covered with the identical opacifying varnish, whereas a mirror hidden underneath the image reflects the encompassing mild…
tolstraat 67, Antwerp (Belgium)
COSTANZA GASTALDI and MARTINE SCHILDGE at Sit Down (Paris)
Black ink, gouache, and stenciling on photograph prints (Martine Schildge), superimposed photographs making the photograph a visual palimpsest, an ode to the transitory landscape (Florian Ruiz), pigment prints enhanced with white pencil and porcelain powder (Catherine Noury)… the Sit Down gallery, established in 2005 in the Marais, celebrates the range of the medium, exploiting the capacities of up to date images to create an effect more expressive and suggestive than mimetic…
Amongst its virtuoso practitioners, we now have set our sights on an artist from Turin, born in 1993 and dwelling for ten years in Paris: Costanza Gastaldi. Utilizing the traditional strategy of heliogravure (“drawing by the solar” on the origin of the invention of images) for its plastic qualities and, particularly, the subtlety of the rendering of the shades of grey or the depth, virtually tactile, of the blacks, she multiplies tenfold the graphic prospects by imperceptibly metamorphosing (by digital retouching) the image. Cultivating the formal ambiguity between images and drawing, her landscapes instill a feeling of strangeness, even unreality.
Retouching, shading, with a stylus, on a display, each bit of the engraved image, she recreates one other one, dreamlike, fantasized. Thus, her magical mountains, the mythical Huang Mountains piercing the sky in japanese China (climbed by the photographer with 18 kg of kit on her back in the course of the sacred hours before dawn in 2018), or her miniature landscapes in tondo, as if seen by means of a door peephole or a keyhole, from her irresistible collection entitled Landscape Voyeurism.
Sit Down Gallery
four, rue Sainte-Anastase, Paris 3e
THIBAULT BRUNET, LISA SARTORIO and DOUGLAS MANDRY on the Binome Gallery (Paris)
One other gallery devoted to modern images and its hybridizations, opened in 2010 in the Marais, the Binome Gallery, is considering new practices, conceptual or plastic, exploring the boundaries of a medium that has turn into central to a lot visible and fictional research on the borders of all genres (graphic, performative, or multimedia). She is particularly fascinated with emerging artists who reappropriate previous processes or materials.
In a disturbing mise en abyme of the panorama, Douglas Mandry (born in 1989 in Geneva) prints, by the method of lithography, previous pictures of mountains on used glacier covers…
In his Territoires circonscrits, Thibault Brunet questions our relationship to virtuality by way of the digitization, by way of a 3D scanner, of an actual world on borrowed time… In his Black Field collection, the 3D modeling of the ruins of Damascus and Aleppo de-realized by the gaps in the floating picture is hanging.
Lisa Sartorio’s tattered photographs (which we've got already discussed in Acumen) emerge from revolutionary sculptural work in the thickness of paper, deteriorated by gumming, folding, peeling off, crumbling… These disfigured photographic archives of cities ravaged by the bombardments appear to blow up beneath our eyes. Poignant.
19, rue Charlemagne, Paris foure
DARIA DMYTRENKO at Eduardo Secci
We have been also caught by the highly effective paintings of Daria Dmytrenko introduced by a young Florentine gallery. A Ukrainian artist dwelling in Venice, the place we'll meet her quickly…