Expo: Cleon Peterson – The Shadow of Men @ MCA Denver
Fév 2 @ 18 h 31 min – Mai 27 @ 17 h 00 min

This winter, MCA Denver will dedicate its second floor to the work of Cleon Peterson. The installations will introduce Peterson’s murals, paintings, and sculptures to a new audience and will transform the museum inside and out.

With his boldly graphic style, Peterson’s work is newly meaningful in the current political climate, given its frequent depiction of violence. The exhibition, titledCleon Peterson: Shadow of Men, focuses on this current in Peterson’s work and showcases the artist’s aesthetic mastery, long under-recognized by the museum field. This solo presentation also demonstrates the importance of representing violence to highlight a disturbing though fundamental element of society. The exhibition squarely addresses the nature of violence at a time when this subject seems increasingly uncomfortable, yet urgent.

Expo: Fauna & Flora, l’univers de Julien Colombier @ Galerie de Sèvres
Fév 15 @ 16 h 01 min – Mai 5 @ 19 h 00 min

Dessin de Julien Colombier, 2017. Biscuit de porcelaine de J. Hébert-Coëffin, Toucan, 1935. (c) Sèvres/G. Jonca

Fauna & Flora, l’univers de Julien Colombier

Sèvres présente dans sa galerie parisienne ses créations animalières sublimées par une mise en scène de l’artiste Julien Colombier.

L’artiste crée un univers végétal luxuriant, coloré, onirique et fantasque, un environnement quasi-hypnotique avec un traitement plastique des motifs parfaitement maîtrisé jusque dans ses apparentes mais trompeuses, imperfections.

Pour cette exposition, en collaboration avec Audrey Guimard, scénographe, Julien Colombier met en scène une faune en porcelaine et grès de Sèvres faussement sage, parfois mutine surgissant de cette végétation stimulante, aux côtés de vases peints par l’artiste, sur trois formes classiques du répertoire de Sèvres y sont présentés.

La sculpture animalière est l’un des domaines privilégiés de la Manufacture, dès sa création en 1740. Éditée en biscuit, en grès ou même en faïence émaillée, on y trouve toutes sortes d’animaux domestiques ou familiers – chiens, chats, dindons, coqs, paons, crapauds, ours – aussi bien que des espèces exotiques – lions, éléphants, toucans ou perroquets. Tantôt petits sujets, tantôt plus grandes créations, ces animaux passent du réalisme naturaliste à une stylisation prononcée. Ils sont signés : François PomponYtiga NoumataEdouard-Maurice SandozGeorges-Lucien Guyot,Thierry Lebon, etc.

Fauna & Flora, l’univers de Julien Colombier,exposition du 16 février au 5 mai 2018, Galerie de Sèvres à Paris (entrée libre)

4, place André Malraux, 75001 Paris
Métro : Palais Royal

Espaces ouverts du lundi au samedi de 14h à 19h.
La galerie de Paris sera fermée le 1er mai 2018


Expo: Nano4814 – Turno de Noche @ Delimbo Gallery (Madrid)
Fév 17 @ 13 h 01 min – Avr 28 @ 14 h 00 min

Nano4814 – Turno de Noche

Attempting to go through any work by Nano 4814 (Vigo, 1978) involves delving into a hole-like shape––a space appearing laconically before us and dragging us toward the joys of synesthesia, where we know full well that one or another of our senses may undergo a fracturing, a transmutation, or some kind of quiet upheaval. Once inside, enticed by the journey through the work’s transparent traps, there appears a sort of twinkle, heavy with a routineness we believe we digest every day but will positively rethink on the way out.

This twinkle mutates suddenly into a squad of tough-guy ghosts offering an array of experiences: experiencing for the first time the smell of broken bones, hearing the explosion of a bunch of concrete balloons, or kissing a knife’s edge as sharp as a rainbow.

After this momentary lapse, everything becomes blurred—balance becomes gas; skeletons become walls; and colours become fate. As John Berger wrote in Steps toward a Small Theory of the Visible: “When a colour acquires substance and becomes a thing, it ceases to be a colour. It loses its innocence, and describing it is no longer such a simple matter; it now has the weight of the irremediable, for all that one might call it a blue sky. The blue ceases to be a colour you have chosen and instead becomes fate. A fate from which there is no escape [from the Spanish edition].”

We could argue that this “constant attempt to slip away” is what binds the Galician artist’s oeuvre together. These escape strategies add up to a vast imaginary cosmos folding in on itself, layer upon dark tragic layer, woven with brightly neon thread. Speaking of layers, I am reminded of a line from the opening of Eva Fernández del Campo’s essay La infancia como patria [Childhood as Motherland]: “We have all been sick children, and it is probably because we have all been submerged in the endless folds of sheets, blankets, and bedspreads that later on, as shivering adults, we are able to explore the intricate system of folds of which painting consists.” Interestingly, another of the pillars of the artist’s oeuvre arises from this quote: namely, play. In this case, the overarching importance of homo ludens can be seen in the explosive vindication of juvenile mischief—but with all one’s responsibilities laid out on the game board for the adults to see.

In this exhibition, NIGHT SHIFT, the artist offers up several zigs and zags through two-dimensional paintings, their spatial context, and a series of installations closely related to play—always rooted in concepts having to do with imbalance, defacement, or slyness.

On the one hand, his paintings still have the plastic rigour of a tense painted object. Like a reliquary from the Italian Duecento, its two-dimensionality remains untouched and headstrong. There is no room for optical fugues, only for allegorical ones. These paintings might seem like windows into a hidden world, but they are in fact a map with which to traverse—even inhabit—a hallucination.

But it is also important to keep in mind that in Nano 4814, as in all good city-dwelling flâneurs, three-dimensional space has the most important role to play: without this habitat, so to speak, none of the other puzzle pieces can become signs.

In order to navigate these zigs and zags with relative ease, it is helpful to keep in mind the Aberrations series, made up of several “distorting mirrors” of the kind we find in funhouses, where the image of the viewer morphs as he moves and gestures. The artist adds a new layer of interpretation to these mirrors—already altered in both form and function—by superimposing on ourselves fragments of black wire fence or traces of paint half scrubbed away (by a rag unable to wipe completely away). Upon our reflections, too, bubble pieces of flying femurs, handfuls of confetti in midair . . .

We know that the party has begun inside the hole, but we don’t know which of the elements now eclipsing our anomalous reflection symbolizes the opening toast.

Text by Daniel Muñoz
Translated by Guillermo López Gallego

Expo: Phil Frost – Ellipse of Passage @ Galería Javier López & Fer Frances (Madrid)
Fév 22 @ 16 h 01 min – Avr 27 @ 17 h 00 min


Madrid, February 22 – April 27, 2018

The Galería Javier López & Fer Francés, as part of its involvement in ARCOmadrid 2018, is proud to present the second show in Spain by Phil Frost (b. Jamestown, New York, 1973). Ellipse of Passage offers a chance to enjoy a selection of previously unseen works by the only contemporary artist to have exhibited at the Empire State Plaza in Albany, New York, where his works were in creative conversation with those of the Rockefeller Collection in a show commemorating the fiftieth anniversary of the collection’s creation. Frost’s visual language combines the rawness and gritty edge of the street, through its use of found materials, with the elegance of its painterly aesthetic, in which the importance of drawing—line, stroke, movement, power—is paramount.

Self-taught, Frost defines his personal style as “intuitive perceptive portraiture”. In the artist’s own words: “My work is a means to chart and define an interpretation of sensorial experience through perception and the building up of a consequential visual gesture, which amounts to an accumulation of physical trace as passage interwoven through the layers of pictorial depth”. In the 1990s he was part of the alternative New York graffiti movement and was influenced by the music scene of the period, creating images of immense expressive power that are immediately recognizable through the way they juxtapose white patterns, such as letters and symbols, on different levels.

His characteristic figures have elongated faces and stylized necks that recall totems and tribal masks and are the formal elements that establish the prinicipal axes of his complex compositions. Within the superimposed planes, viewers can make out geometric patterns—including circles of various sizes, positive and negative, stars, triangles, hearts—that repeat endlessly to create an articulated structure for both the bright colours of the base and contrasting elements of light and shade, as well as incorporating all kinds of salvaged and recontextualized objects—including boxes, bottles, ladders, baseball bats, helmets, toy cars, brushes, locks, buttons, leaves, feathers, metal plates, numbers and letters.

Ellipse of Passage includes several monumental works, one of them a diptych previously on show—in unfinished form—in Magnetic Shift, the exhibition at the Corning Tower in Albany mentioned above, as part of Frost’s work in progress. The idea of entry to another dimension of perception, indicated in the current exhibition’s title, is present in important earlier works such as Entrance to Perception Gate (2003–2014) or the emblematic Consequential Passage of Accumulative Experience in Perceptive Realm (2002–2014). Through their imposing size, some of the pieces on show here invite us to cross to the other side of the work’s surface and pass into the artist’s personal and unique universe.

Expo: Todd James – Love to love you @ Galería Javier López & Fer Frances (Madrid)
Fév 22 @ 16 h 01 min – Avr 27 @ 17 h 00 min


Madrid, February 22 – April 27, 2018

The Galería Javier López & Fer Francés is marking the return to showing separate projects in the two rooms at the space in La Florida with a solo exhibition by Todd James (b. New York, 1969), which focuses on his work on paper. In Love To Love You the artist is showing a wide selection of recent drawings where some of his most recognizable themes are evident: pirates with rifles, tanks and military aeroplanes in jaunty attitudes, women with cats in idyllic landscapes or in quiet bourgeois interiors—and these last have increasingly been coming to the fore, to the point of becoming separate scenes.

James shows an indisputable ability to synthesize images drawn from the overflowing stream of media information that inundates us every day and sometimes drowns us. The scenes he presents invite contemplation in an age when we are rarely offered time for reflection. The figures of women, generally lightly clad or nude silhouettes, have gradually been taking a dominant place in his universe of colours and forms; they smoke cigarettes, drink tea, and watch meditatively, in frozen moments, static atmospheres, sometimes with an element of anxiety but more and more relaxed and hedonistic now, in contrast with the hysteria and hectic rhythm beyond their walls.

In this selection of works, we can see how the compositions are becoming more complex, as James reorganizes our traditional perception of foregrounds and backgrounds. The objects that populate the interiors—chairs, tables, flowers, books, painting, fruit, skulls, teapots, cups, ashtrays, pipes, and cigarette butts—are transformed into an alphabet of shapes that resolve into one another and combine through the artist’s original palette and exuberant outlook.

The title of the exhibition refers to the pleasure he takes in painting, a celebration of love for what one is doing, and Matisse’s joie de vivre; James acknowledges his admiration for Matisse, and the Frenchman’s spirit somehow imbues the pictures of recent years. The title’s wording was inspired by the song Love to Love You Baby—a hit for Donna Summer in the seventies—which has a sensuality that is embodied in the blonde girls who capture the viewer’s gaze with their voluptuosity and, sometimes, sass.

Expo: Will Sweeney – Vorpal Sword @ Diesel Art gallery (Tokyo)
Mar 2 @ 11 h 31 min – Mai 24 @ 21 h 00 min


Vorpal Sword – the dreamland created by psychedelic power

London based graphic artist Will Sweeney holds a solo show in Japan for the first time in 11 years

Diesel art gallery presents ‘Vorpal Sword’an exhibition by acclaimed graphic artist Will Sweeney from 2018.3,2(Fri) – 5.24 (Thu). Vorpal Sword is the first major solo exhibition by Will Sweeney in Tokyo for 11 years. Will Sweeney is known for his diverse range of work from record sleeves, T-shirt and toy designs to fashion textiles, animated music videos and advertising campaigns for high end clients as well as his own psychedelic adventure comic ‘Tales from Greenfuzz’. The newly created work featured in Vorpal Sword represents Will’s ongoing fascination with post apocalyptic worlds, microcosmic evolution and fantastical technology. The title is inspired by Lewis Carroll’s poem, Jabberwocky (from Through The Looking Glass).

A retro/futuristic English landscape, mutated beyond recognition, is populated by mythical creatures and freakish characters, living in makeshift shelters, conducting strange rituals and harvesting the polluted soil. Meanwhile the urban centres have fallen to ruin and decadence, ruled by a twisted elite, who exploit the populace for food and entertainment. Monsters roam the landscape, real and imagined, only those able to wield The Vorpal Sword stand a chance of defeating them.

The new pieces are rendered in garish colour and in a larger scale than much of Will’s previous work,using watercolour, gel marker brush and ink, Will has developed a looser more freeform style in these pieces. Other work in the show includes a series of small scale paintings of tiny universes which display Will’s fascination with biological & medical illustration, depicting visions of worlds within worlds, cross sections of alien organisms and alien technology from eldritch dimensions. These paintings were generated from free flowing ink paintings, and refined with ballpoint pen to create an otherworldly atmosphere that suggests 1970’s science fiction art, coral reefs and primitive structures hewn from an alien substance.

In addition there will be a new animation piece made in collaboration with London artist/musician Subway Lung and several older, unseen pieces, sketches books and collected ephemera from Will’s archive.

The title Vorpal Sword signifies a vital creative energy, a life-force beaming directly from the subconscious which will vanquish monsters and destructive forces. The painting Energy Cannot Be Destroyed perhaps represents the idea behind the title best, a chaotic maze of mutated machines and strange objects burst and sputter volatile substances in a feedback loop of demented propulsion. The monsters of mundanity and inertia are defeated by the metaphysical blade of The Vorpal Sword. The life cycle goes on, cross pollinating and evolving.

There will be a range of exclusive special products on sale during the exhibition including two new limited edition silkscreen prints as well a new book zine featuring work from the show.


Title : Vorpal Sword
Artists : Will Sweeney
Date : March 2 ‒ May 24, 2018
Venue : DIESEL ART GALLERY (inside Diesel Shibuya)
Website :
Address : Cocoti B1F, 1-23-16, Shibuya, Shibuya-ku, Tokyo
TEL : 03-6427-5955
Hours : 11:30am to 9pm
Entrance fee : Free
Closed : No scheduled holidays
Coordinator : Ayako Terashima
Supported : Medicom Toy / Nieves / Fern Toys / MATSUI BIGEIDO Co.,Ltd.


Will Sweeney will be giving a signing at DIESEL ART GALLERY on March 3rd (Sat) 15:00- 17:00

Coordinator : Ayako Terashima

London based producer specialised in licensing, coordination and translation for various creative projects including graphic arts, fashion, design and culture. She has also worked for London agencies such as Winkreative and Assembly London. She worked previously as a coordinator for Diesel Art Gallery for The Ayami Nishimura x Rankin exhibition.

Expo: Nicolas Karakatsanis – Disgracers @ Alice Gallery
Mar 8 @ 18 h 01 min – Avr 29 @ 18 h 00 min


Nicolas Karakatsanis

08.03.2018 – 29.04.2018Vernissage

Thursday 08.03.2018 / 18:00-21:00

‘DISGRACERS’ is the 4th Brussels’ solo show by
critically acclaimed photographer Nicolas Karakatsanis.

The inspirational seed for the series was planted years ago when visiting The Met in New York, Nicolas was struck by a series of works depicting falling figures by the late 16th, early 17th century artist, Hendrick Goltzius who – not unlike Nicolas himself – chased after technical and poetic understanding of different media and apparatuses with a quiet but fierce ambition.

Nicolas’ remarkable way of pickling bodies in their surroundings so the former cannot be recalled without the latter has made his one-off works into much sought-after artefacts by lovers and collectors of photography around the world.
For ‘DISGRACERS’ the ante is upped when the inspiration of a painting becomes a photo, which then becomes an abstraction in and of itself. You might see bodies falling any which way into liquid voids, classic forms being catapulted into timelessness and conflicting energies finding a calm that may or may not be everlasting, all coinciding with portraiture redefined.

But, you will only get to do so if you show up to the exhibit at Alice Gallery. No extra ‘editions’ of these works are made available after the show. Luckily, it’s more than worth the trip because Nicolas Karakatsanis’ aversion to reproduction of his own art is only matched by his distaste for stagnancy. While pushing against the currently accepted norm of the virtually endless cloning of artwork, he also relentlessly thrusts against his own boundaries as an artist and artisan. Visitors of the exhibit will be rewarded with a progressive and exclusive experience that can never be relived. Meaning: don’t look for a hashtag. There will be none.

Dominique Nzeyimana


Expo: Dalek & Buff Monster – Spaced Out @ GR Gallery (New York)
Mar 8 @ 18 h 01 min – Avr 28 @ 19 h 00 min

8 Mar – 28 Apr




New York, Feb 1st, 2018 – GR Gallery is pleased to present “SPACED OUT”, a mesmerizing double-solo show featuring legendary street artists James Marshall (aka Dalek) and Buff Monster, unite together in the same exhibition for the first time. The show will reveal 16 fresh artworks including paintings, editions and installations, expressly created for this occurrence and designed to throw the visitor into a psychedelic cosmos defined by mysterious characters and mazy colorful shapes.


Opening reception: Thursday March 8 6:00pm – 9:00pm (Exhibition Dates: March 9 – April 28 2018) Members of the press can contact GR Gallery in advance to schedule a private viewing and/or an interview. The artists will be attending the opening night.


GR Gallery, 255 Bowery (between Houston & Stanton) New York, NY 10002.


SPACED OUT” aims to investigate and juxtapose the latest artistic output of two, internationally known and brilliant whizzes, who not only share an affinity for Street Art and New Pop Culture, but are also deeply connected through a witty and cutting edged visual aesthetic. Through the invention of odd and intriguing characters, that by now become popular icons of the contemporary urban imagery, and the use of colorful and distinguished shapes, they are creating a stylish visionary world as a medium to depict today’s society, bringing to the next level the concept of Street Culture. Marshall’s alter ego is the Space Monkey, a character through which he expresses his emotions and ideas, interpreting his concept of a human being lost in a growing sea of technology and convenience. While Buff’s delivers his vision of the world through captivating, typographic and apparently happy characters living in bubbly landscapes, which delights us with their playful imagination and creative energy.


The artists have known each other for long time and reciprocally appreciated each other’s creations but they never had the chance to exhibit together until now. For their first collaborative show they chose NYC and, more specifically, the Bowery, an iconic spot for exploring the boundaries of Street Art and to get engaged in a conversation that leads to the creation of a new urban spirit.

For this groovy new project, they are preparing an astonishing design planning, uncovering an unanticipated visual layout that will reinvent completely the art gallery space and will strongly disorient and surprise the viewer, hurling him into a funky and profound dimension.


Spaced Out” will start its exhibition itinerary by displaying couple of unavoidable models of Buff Monster’s and Dalek’s supreme creations, to quickly move towards a new and more unusual body of artworks, appositely conceived to match each other’s style and the slant of the show.

In addition to the reported plan, the artists will work in symbiosis to produce a collaborative mural on the walls inside GR gallery, manufactured in association specifically for this event.

Expo: Inès Longevial – Je pleure donc je ris @ Galerie M (Toulouse)
Mar 13 @ 19 h 01 min – Mai 18 @ 19 h 00 min



Inès Longevial,
peintre et illustratrice française originaire du sud-ouest,
vit aujourd’hui à Paris.
C’est avec succès qu’elle avait exposée aux côtés de Jean André, lors de l’exposition «L’amour et la violence» à l’ouverture de la Galerie M.
Depuis, son parcours l’aura amené à exposer jusqu’à Los Angeles;
Et c’est aujourd’hui avec honneur que nous la recevons entre nos murs.

L’artiste décompose les corps, les courbes, les ombres et nous offre une vision poétique et sensuelle de la féminité.
D’une toile à l’autre, la singularité de son style affirme une réalité aux touches douces et colorées.

Exposition du 13 mars au 18 mai.

Vernissage mardi 13 mars 2018 à partir de 19h.

Exposition visible du 13 mars au 18 mai.

Expo: Amandine Urruty – The party @ galerie arts factory
Mar 14 @ 17 h 01 min – Avr 28 @ 19 h 30 min

Amandine Urruty

The party

exposition du 15 mars au 28 avril 2018
vernissage le mercredi 14 mars de 17h à 21h
galerie arts factory – 27, rue de charonne – 75011 paris
métro : ledru-rollin & bastille / du lundi au samedi : 12h30-19h30


Après « Bedtime Stories », son dernier solo show programmé en 2015 dans le cadre de HEY! Acte III au Musée de la Halle Saint Pierre, Amandine Urruty est enfin de retour sur la scène parisienne avec une ébouriffante collection de dessins, fruit de deux longues années de travail. Fascinante immersion dans un univers baroque et singulier, « The Party » – à l’instar du film éponyme de Blake Edwards – nous entraîne dans une invraisemblable bacchanale, orchestrée par une surdouée du crayon. Véritable alchimiste de l’histoire de l’art et de la culture populaire, Amandine Urruty convoque sur les quatre niveaux de la galerie Arts Factory les grands maîtres de la peinture flamande, pour livrer, entre autres prouesses graphiques, sa propre version des Sept Péchés Capitaux en mode Muppet Show.

Figure centrale de compositions saturées au fusain et à la mine de plomb, une galerie de personnages trop poupins pour être tout à fait honnêtes, veille sur un Neverland résolument borderline. Rejetons illégitimes d’une famille recomposée avec Jérôme Bosch, Lewis Carrol, Stephen King et Jérôme Zonder en ombres tutélaires, ils sont les acteurs d’un petit théâtre masqué, où tout semble sur le point de basculer à grands coups de martinet. Ambitieuse, érudite et foisonnante, cette exposition est aussi l’oeuvre d’une enfant des années 80 qui aurait malicieusement déversé son gargantuesque coffre à jouets, pour organiser la fête d’anniversaire ultime, autant redoutée par les parents qu’une invasion de Gremlins affamés.

Trop de chance vous êtes invités …
Welcome to The Party !

Expo: Matthew Ronay – Ramus @ Galerie Perrotin
Mar 17 @ 16 h 01 min – Mai 26 @ 19 h 00 min

Matthew Ronay


Vernissage samedi 17 mars, 16h -19h

17 mars – 26 mai 2018

La dernière fois que je me suis rendu au studio de Matthew Ronay, je l’ai trouvé assis sur une chaise au centre de la pièce. Il portait une paire de baskets bleu roi habillées d’un motif en mesh blanc et dotée d’une semelle laiteuse translucide. À sa droite se trouvait une paire identique, portée de façon similaire et positionnée de la même façon que la paire qu’il avait aux pieds, comme si un Matthew invisible était assis sur une chaise invisible juste à côté de lui. La Jordan Horizon, m’a expliqué Ronay, est un modèle hybride, une mutation dans l’univers Jordan, alliant les lignes épurées de la Jordan Future et la semelle lobulaire caractéristique de la Jordan 13. Il l’a tellement aimée qu’il a acheté deux paires identiques et, plutôt que d’en mettre une de côté pour plus tard, les a utilisées toutes les deux sans attendre.

Ronay travaille à partir de dessins, des croquis simples en apparence qu’il dessine dans un petit carnet de notes qu’il garde constamment avec lui. Il s’agit de dessins de corps entrelacés, de membres et de protubérances, de cuticules, de pédoncules, de furoncles, de calcifications, de croisements entre la matière dure et la matière souple, de bernacles, de nœuds, de tumeurs, de membres fantômes et de membres atrophiés. Ce ne sont pas des dessins de sculptures, mais des dessins qui deviennent sculptures. Ni plans ni schémas, ces dessins sont plus libres, plus intuitifs et s’affranchissant de toute considération pour les particularités structurelles des sculptures qu’ils décrivent.

Une fois les dessins terminés, Ronay inverse les modes d’écriture et s’attèle à la tache de déchiffrer ses propres notes, de lire chaque croquis comme le schéma d’une sculpture. À ce moment transitionnel d’un processus littéralement bicaméral, l’œuvre passe de la pièce épurée du studio où s’empilent carnets et autres monographies reliées à une pièce sale plus petite où un bloc de bois de tilleul attend d’être taillé, gougé, râpé, creusé, réduit en copeaux, poncé, marqué, floqué, teinté et alvéolé. Ronay travaille seul et sur une sculpture à la fois, de sa conception à sa finalisation, avant de commencer à travailler sur la suivante. Chaque sculpture part d’un dessin pour donner vie à un objet et nécessite donc de résoudre des problèmes d’équilibre, de remédier à des perspectives impossibles, d’interpréter la texture et d’ajouter de la couleur (ce dernier détail est particulièrement important lorsque l’on sait que Ronay, bien qu’il utilise la couleur comme tout autre artiste d’aujourd’hui, ne peint qu’en noir et blanc).

À différents moments de nos vies, Matthew et moi avons exercé plus ou moins le même métier, à savoir celui de réaliser des maquettes pour des architectes. En général, ces modèles représentaient un élément isolé, un pan de fenêtre ou le détail d’un angle qui ne prenait pas facilement forme sur le papier et qui devait être vu en trois dimensions pour être compris. Des années plus tard, j’ai appris que le mot «architecte» était dérivé du grec arkhitektônōsignifiant «maître bâtisseur». Le terme original décrivait une profession où design et construction ne faisait qu’un mais, au fil du temps, les maîtres bâtisseurs ont cessé de bâtir. Aujourd’hui, les architectes sont des experts en modes figuratives (dessins, modèles, rendus et animations), qui sont les illustrations de la structure et non les structures elles-mêmes. L’architecte, dès lors que la structure prend forme, délaisse son design.

Je ne dirais jamais que Ronay est un architecte mais le glissement de la signification du mot laisse penser à un processus de travail à cheval sur cette séparation étymologique. D’un côté, Ronay est un maître bâtisseur qui veille à la germination de chaque sculpture à chacune de ses phases de création. De l’autre, il rend possible une faille au sein du processus, une faille grâce à laquelle il peut coucher ses idées sur le papier sans s’encombrer de préoccupations pratiques, interpréter ses propres schémas, et trouver le moyen de donner vie en trois dimensions à ses dessins. Comment faire en sorte que le bois se comporte comme le fusain ? Quand faire du plexiglas souple et du bois de tilleul dur ? Où trouver les os à l’intérieur des masses sans forme ?

Les dessins de Ronay sont automatiques et intuitifs, ils découlent naturellement de son propre corps, venant d’habitudes de composition intériorisées et de mémoire motrice. Ses sculptures, à l’inverse, sont minutieuses, réalisées avec une précision rigoureuse et une technique magnifique. Ses langues invraisemblablement réalisées sans traits de scie et sans rainures laissent perplexe quiconque ayant déjà travaillé le bois. Chaque sculpture, malgré ses extravagances, reste pourtant immanquablement fidèle au simple dessin qui l’a précédée


Pour sa prochaine exposition chez Perrotin, Matthew dessine à une échelle différente, travaillant sur des formats plus grands qui permettent différents types d’interactions physiques avec le dessin. Libéré des limites du carnet à spirales, l’artiste exécute de nouveaux gestes partant de l’épaule ou du bras plutôt que de la main. Son corps joue un plus grand rôle dans chaque dessin et de nouvelles variations émergent en termes d’épaisseur de trait, de texture et de détails. Ronay passe tour à tour du dessin à l’objet, d’une pièce sale à une pièce propre, d’une paire de chaussures à une autre paire identique.

Justin Beal

Expo: Kenny Scharf- Inner and Outer Space @ Leila Heller Gallery (Dubai)
Mar 19 @ 18 h 01 min – Août 31 @ 19 h 00 min

Leila Heller Gallery is pleased to present the first solo exhibition in the UAE by Kenny Scharf (b. 1958), muralist, painter, sculptor, and installation artist, best known for his fantastical, large-scale paintings of anthropomorphic animals and imagined creatures. The exhibition features a selection of large-scale works on canvas as well as relief sculptures comprised of oil painted televisions and small assemblages of found objects.


His new body of work is a reaction to what he perceives as our ‘increasingly out-of-control situation’, depicted by the melting faces in his paintings. Scharf’s work continues to reflect his inexhaustible optimism and his sense of fun but has always been engaged with profound issues beneath the facade. Ecology, the environment, and capitalist excess have long been central themes. More recently, his paintings reflect his environmental concerns over the petroleum industry.


Large-scale, bright, colorful paintings, murals, drawings, sculptures, prints and installations define Kenny Scharf’s oeuvre, often depicting animated cartoons or imagined creatures. With a child-like appeal, his work is often described as playful, optimistic, bubbly and full of joy. Beneath the colorful and idyllic surface of his paintings and collages, Scharf references the darker issues of the modern world. He categorizes his art as ‘pop surrealism’, drawing inspiration from the realm of the unconscious, explaining that his own unconscious is full of pop imagery. He cites surrealism and abstract expressionism as his major influences.


In We’re Melting Together Night and Day (2017), Melty Slop (2017) and consequent paintings in this series, animated faces of comical creatures crown the descending lines of paint, as though each downward melting blotch were the extended body of one of those figures. Alluding to Color Field, a style characterized by large, highly simplified compositions in which the use of color is independent of line and figuration, Scharf connects with modernist art movements by creating new hybrids, almost as if these earlier forms of art had been placed in a blender. Rows of faces disintegrate into colorful drips reminiscent of both New York School painting and the imagery of minimal art. In these new works, Scharf strives to create clear and simple forms that resonate with meaning, a process that he finds to be “so much fun”.


The use of cartoon faces allows Scharf to express emotion with abstract power. The expression of emotion in art is an element he considers essential to his practice; art that is cold leaves him cold. Scharf studied cartoons as a way to intensify figurative expression, like his artistic counterparts from his early years in New York, Jean-Michel Basquiat and Keith Haring.


Earlier in his career, Scharf sourced materials for his artworks in the garbage, and to this day, he still stops his car when he finds plastic toys and TV sets thrown out on the street. These discarded plastic objects have inspired the two other bodies of work featured in the show: his Assemblage Vivant Tableaux Plastiques, and his TV Bax. Inspired by the Nouveau Realistes, the assemblage works are constructed from his stock of recycled plastic toys, an expression of our perpetual consumerism. The TV Bax are painted on the plastic backs of discarded television sets. Like the toys, the TV Bax have a disconcerting anthropomorphic quality. The artist questions if their anonymous designers created these plastic covers, which are different for every model, to resemble a face.


These discarded toys and television backs are considered poignant objects, resonant with emotion. “Each of these objects carries a story,” Scharf explains. He considers how people may have struggled and sacrificed to buy these toys and TVs, and the intense relationships that children and families have with them. Scharf brings to life these inanimate objects in his work.


Since his childhood, Scharf has been fascinated by outer space. Space travel and the portrayal of infinite space have long been central themes. In his life and in his work, he tries to eliminate boundaries and borders. He is increasingly preoccupied with the inner space of painting, his exploration of which creates a dynamic tension with his passion for outer space. With his characteristic exuberance and moral voice, Scharf reformulates his unique combination of Pollock and Pop to create a vibrant new body of work.


The use of oil and acrylic paint in an airbrush-like manner imbues the presence of street culture within contemporary art. Pulsating with energy and overflowing with visual information, Kenny Scharf’s art infuses sinuous biomorphic forms with a symbolism reflecting electronic media’s insistent grip on our most primal fantasies. Fusing high art and cartoon, technological aspiration and ecological devastation, he creates playful works of art that evoke a state of whimsy.

Expo: Lust, Laughter & Liquor @ Plus One (Anvers)
Mar 22 @ 18 h 01 min – Mai 6 @ 18 h 00 min

Group Show – In collaboration with Gallery Sofie Van de Velde
Lust, Laughter & Liquor



Lust, Laughter & Liquor, is the first jointly curated exhibition with Gallery Sofie Van de Velde in their shared space in Antwerp and on Art Brussels. The three words form the framework for a concept revolving around a joyful and positive attitude both galleries show in their endeavors but also a positive willingness to make things happen. The exhibition is a celebration. With their own perspective on artistic choices they show historical and contemporary artworks

Works by: Alphachanneling, Antwan Horfee, Beni Bischof, Bruce Nauman, Dennis Tyfus, Felicien Rops, Francis Picabia, George Grosz, Guillaume Bijl, James Ensor, Joakim Ojanen, Kapser De Vos, Keith Haring, Kembra Pfahler, Marcel Broodthaers, Mike Bouchet, Mrzyk Moriceau, Nel Aerts, Nicholas William Johnson, Paul McCarthy, Sergio De Beukelaer, Stefan Marx, Sven ‘t Jolle, Tatjana Gerard, William Ludwig Lutgens, and others

Expo: Mrzyk & Moriceau – Never Dream of Dying @ Air de Paris (Paris)
Mar 24 @ 17 h 01 min – Mai 19 @ 19 h 00 min

March 24 – May 19, 2018

Mrzyk & Moriceau

Air de Paris

Expo: Felipe Pantone – Dynamic Phenomena @ Galerie Magda Danysz (Paris)
Mar 24 @ 18 h 01 min – Mai 12 @ 19 h 00 min


24 MARS – 12 MAI 2018


Considéré aujourd’hui comme l’une des étoiles montantes internationales du street art, Felipe Pantone, 31 ans, présente son exposition  » Dynamic phenomena » en France. Pantone, cet « enfant de l’ère internet » comme il le dit lui-même, dépasse la notion d’espaces extérieurs et enchaîne les projets : fresques monumentales, peintures, sculptures et installations hors-normes. Influencé par l’ère de l’internet des années 80 et 90, nourri aux nouvelles technologies, il imagine ses sujets géométriques sur des logiciels de modélisation, reprenant l’esthétique propre à la création 3D, qu’il reproduit ensuite au format XXL ou sur des toiles. Il leur donne vie en superposant ses installations dans de troublantes illusions d’optiques qui font l’effet d’une explosion ou d’une décharge électrique.

Dans une dynamique puissante, Pantone s’étend sur les murs avec son style futuriste aux accents psychédéliques qui évoque le futurisme italien. S’y ajoutent des touches abstraites et stroboscopiques articulant des formes géométriques noires et blanches qu’il combine avec des couleurs vives et métalliques, non sans rappeler la Mire, visuel s’affichant sur le poste de télévision en l’absence d’émission. Explosion visuelle d’une certaine brutalité, son travail est à ranger dans l’art cinétique, sur les pas d’un Victor Vasarely ou de Carlos Cruz-Diez (dont Pantone a récemment reçu le soutien affirmé).

Expo: Os Gemeos – Déjà Vu @ Lehmann Maupin (Hong Kong)
Mar 26 @ 18 h 01 min – Mai 12 @ 19 h 00 min

Déjà Vu

March 26 – May 12, 2018
Hong Kong


Hong Kong, February 13, 2018—Lehmann Maupin is pleased to announce Déjà Vu, the Brazilian artist duo OSGEMEOS’ first solo exhibition in Hong Kong. Twin brothers Gustavo and Otavio Pandolfo together have developed an internationally recognized style born of influences across pop culture, music, folk art, and their vivid inner worlds. Déjà Vu presents new paintings and a sound installation from the highly influential artists who are sought out for numerous high profile collaborations and commissions, transforming buildings and public spaces across Europe, South America, and the United States. The gallery will host an opening reception with the artists on Monday, March 26, from 6 to 8PM at the Pedder Building.

Known internationally for a figurative style that typically features their signature yellow characters, thin dark red outlining, and intricately patterned designs, OSGEMEOS broke onto the art scene during the late 1980s as graffiti writers in their São Paulo neighborhood of Cambuci. Initially influenced by the graffiti movement coming out of New York, they were ultimately inspired by the ingenuity and resourcefulness evident in their working class neighborhood, and sought to make their art accessible to the community as a way to contribute a sense of optimism.


Déjà Vu extends OSGEMEOS’ approach to their exhibitions as an immersive, multi-sensory experience, as exemplified in their many international institutional shows. The exhibition pays tribute to music in particular with their mixed media sound installation, White Carnival (2016), where the artists have painted their characters directly onto speakers in a formation that resembles a choir. More traditional paintings from a recent series of work pays homage to the late 1970s and early 1980s, the period which represents a coming of age for the artists. This era, considered the golden age of hip-hop, is intrinsically linked to their practice with comparisons evident in the bravado, improvisational structure, and descriptions of everyday life on the streets. Additional paintings reflect upon lived and imagined experiences the artists share, including allegorical motifs such as water and the moon and stars, which have long appeared in their work, rendered vividly to conjure a lucid dream state.


Similar to the Surrealist artists of the early 20th century, OSGEMEOS seek to defy conventions and push boundaries in art and society through the unbridled exploration of the subconscious and one’s imagination. In direct contrast to the surrealist notion of a solitary dream space, the twins have described a shared intuition and subconscious experience that is translated visually through their collaborative process. Through their art, OSGEMEOS seek to empower their audience to consider their own subconscious.

Expo: James Jarvis – The Waste Man @ AISHONANZUKA (Hong Kong)
Mar 29 @ 19 h 01 min – Avr 29 @ 19 h 00 min

James Jarvis
The Waste Man

29 Mar – 29 Apr 2018

AishoNanzuka is pleased to announce a solo exhibition with London-based British artist, James Jarvis. This exhibition is Jarvis’s first solo presentation at the gallery.

James Jarvis was born in London in 1970, and studied at the University of Brighton and the Royal College of Art, graduating in 1995. Jarvis is an artist and visual philosopher from London, born in 1970, whose work encompasses cartoons, objects, comics, graphic design, printmaking and moving image.

Jarvis’ work is well known through many collaborative project with Coca-Cola, MTV, Nike, Sony or UNIQLO. Jarvis is also recognized as character designer through his iconic character toy, Martin, for the cult fashion brand Silas.
Over 20 years Jarvis’s practice has important context which concerns drawing, philosophy, alternate realities, minimalism and skateboarding. Especially as skateboarder himself, his work is widely representing street culture which is now globally recognized one of the most important culture movement in 21st century.

The show will include group of his daily drawings with the wall hung style frame as well as large scale air brush canvas paintings.
An opening reception with the artist will be held on March 29nd (Thr) .

Expo: Chemin Papier @ Le Signe (Chaumont)
Mar 30 @ 18 h 01 min – Sep 16 @ 18 h 00 min

Chemin Papier, l’illustration et ses marges

du 31 mars au 16 septembre 2018

Vernissage : vendredi 30 mars à 18h 

Qu’est-ce que l’illustration aujourd’hui?

Bien des choses en réalité… Car si elle existe toujours en tant que telle, dans l’édition et la presse, les illustrateurs s’affranchissent sans cesse de ses frontières pour s’engager sur d’autres terrains, tels les romans graphiques, les affiches, … L’exposition Chemin papier, l’illustration et ses marges propose de répondre à la question en s’intéressant directement à la démarche personnelle d’une quinzaine de créateurs contemporains – parmi les plus talentueux de la scène internationale de l’illustration – en les invitant à présenter des séries de dessins originaux et des documents imprimés (livres, affiches, fanzines, objets, périodiques).
Cette sélection d’auteurs aux univers éclectiques donne à voir la diversité des supports et expressions d’un chemin créatif qui passe toujours par le dessin et le papier. L’exposition déborde ainsi du cadre pour s’intéresser plus largement aux liens entre dessin et édition, entre illustration et design graphique, et considérer l’illustration comme un point de rencontre entre une pluralité d’arts appliqués.

Les auteurs invités :

Bráulio Amado (Portugal), Blexbolex (France), Cristina Daura (Espagne), Hannah Waldron (Royaume-Uni), It’s Raining Elephants (Suisse), Jockum Nordström (Suède), Kitty Crowther (Belgique), Mari Kanstad Johnsen (Norvège), Bettina Henni (France), Alexis Beauclair (France), Paul Cox (France), Simon Roussin (France), Philippe Weisbecker (France), Yann Kebbi (France)

Commissariat : Vincent Tuset-Anrès, en collaboration avec Fotokino et Cucufa
Scénographie : Cucufa (Benoit Bonnemaison-Fitte, Fred Fivaz, Vincent Tuset- Anrès, Marion Pinaffo
Partenaires : Fotokino (Marseille), Lézard Graphique (Brumath), Nicole Crème (Marseille)

Expo: Koralie – Indigo Blood @ Jonathan LeVine Projects (New Jersey)
Mar 31 @ 18 h 01 min – Avr 28 @ 18 h 00 min



Opening reception: Saturday, March 31 from 6 – 8 pm
March 31st , 2018 – April 28th , 2018


For the month of April JLP will be taken over by Indigo Blood Project, an extensive exhibition by French artist Koralie featuring work on canvas, prints, sculptures, a film, as well as an immersive installation. Drawing inspiration from her travels around the world she’s particularly interested in folk customs, emblematic monuments and animist rituals, all of which offer an aesthetic richness full of a variety of symbols. In an effort to create dreamlike multicultural harmony, Koralie breaks down borders by mixing elements of both traditional and contemporary cultures.

Check out the work in progress video below and be sure to visit Indigo Blood Projectopening on March 31st with and opening reception from 6 – 8 pm.  The show remains on view through April 29th.


Expo: Stephen Powers – There Are No Wrong Answers @ Gallery Target (Tokyo)
Avr 5 @ 19 h 01 min – Avr 24 @ 19 h 00 min

« There Are No Wrong Answers »

by Stephen Powers 

“There Are No Wrong Answers”

Stephen Powers

April 5th (thur) – 24th (tue), 2018

Open 12-7 pm (except on sun. & holidays)

* Opening reception from 7 – 9 pm on April 5th (thur)


GALLERY TARGET is proud to announce our second exhibition with Stephen Powers.

Mural on cat street “NOW IS FOREVER” has become a landmark of Harajuku as well as long mural along Nakamegurfo station.  In this exhibition, we will be showing Powers’s enamel paintings, silkscreens and sculptures.

You will be able to experience ESPO’s Art World in Brooklyn in Tokyo!

Expo: Joan Cornellà – JOAN COMIX @ Studio Concrete (Seoul)
Avr 6 @ 11 h 01 min – Avr 30 @ 21 h 01 min

Spanish artist Joan Cornellà Vázquez is holding his second solo exhibition in Korea entitled 《JOAN COMIX》 with Studio Concrete.


Joan Cornellà ’s work has a peculiar way of sardonically portraying internal situations and characters’ psychological relationships through airy and simple cartoon scenarios. His frank and double sided visual language solidifies the ground that the artist plows open and vividly uncovers in the world we belong in.

Cornellà may seem like he recklessly exaggerates about the current order of the world but in fact he is an elaborate story teller. Joan Cornellà’s narrative may be unpleasant because it irritates the innermost of one’s true human nature but it is also awfully pleasant; uncomfortable but at the same time forms empathy in a simple manner. Joan Cornellà, an artist disguised as an innocent cartoonist, does not play the game of scales between subject and the self, reality and the absence of it, love and violence, order and order, human and human but rather makes a playground of the forbidden terrain that lie in-between the nature of those things.


The role that I would like to ask Joan (who is en-route to Seoul ever since he sent his most recent work consisting of a small heart shaped by crossing a thumb and an index finger next to a portrait of Kim Jong-un) is not of a messenger but rather of a narrator who will read to us the order of the current world.At the tip of his rough and bold hands that drift between the boundaries of everyone’s world lies a place with no subtitles, no dialogue; a place that is utterly not a reality show but our real world.

Expo: Boris Tellegen – UnPlot @ Galerie Ron Mandos (Amsterdam)
Avr 7 @ 17 h 01 min – Mai 5 @ 18 h 00 min


Galerie Ron Mandos, Amsterdam
07.04.2018 – 05.05.2018

Galerie Ron Mandos is proud to present an exciting exhibition with works by Boris Tellegen (NL, 1968). On the occasion of UnPlot, Tellegen will take over the entire gallery space by creating site-specific installations, which will include new and recent sculptures, drawings as well as paper and wood collages. The exhibition is co-curated by Daniel Hofstede.

In his work Boris Tellegen investigates the tension between schedule and happenstance; the semblance of order schematically undone by chaos. In the industrial installations of UnPlot, Tellegen will show new paper and wood collages, which read as isometric landscapes. By layering, cutting and chiselling, Tellegen playfully changes scale and perspective. Pieces of paper get torn, glued and then torn again. They are replicated beyond control, forming cityscapes resembling fuming wastelands. His fascination for skyscraper architecture, Japanese robots and tribal idols materialises as sculptures, in the size of toy-like creatures to life-size monuments. Tellegen’s dystopian-like ensembles paradoxically serve as temporary spaces of refuge for a doomed future.

During the 1980s Boris Tellegen started his artistic career in the streets using his pseudonym Delta. Tellegen always treated the two dimensional frame of the letter and the word as sculpture, bursting out or morphing into the wall, piercing its boundaries by adding a dimension. By combining the reliefs of his practice with his education in industrial design, he soon started to create three-dimensional work on the intersection of architecture, painting, sculpture and installation. If there is a recurrent theme in his body of work made over a thirty-year span, it is walls. He explores how to transcend their boundaries by annexing, deconstructing and recomposing them, to ultimately disregard them in recent installations like UnPlot. Through the ever-fluctuating shape of his work, Tellegen continues to disrupt our perception of surface and space.

Expo: Clay Today @ The Hole (New York)
Avr 10 @ 18 h 01 min – Mai 6 @ 19 h 00 min


April 10th – May 6th, 2018

OPENING: Tuesday, April 10th, from 6-9pm

Expo: Michael Lau Exhibition VI – Collect Them All! @ Christie's (Hong Kong)
Avr 11 @ 10 h 31 min – Avr 27 @ 17 h 31 min



AT CHRISTIE’S, 11 ~ 27 APRIL 2018

a lire avec des pincettes c’est une traduction:

Christie’s announced that it will collaborate with the famous Figure King Michael Lau in a privately-purchased exhibition « COLLECT THEM ALL ! ». The Christie’s Hong Kong Art Gallery was exhibited between April 11 and April 27, 2018, displaying six themes and more than 40 pieces of flats. Three-dimensional works. Among the exhibitions, including his six themes, the origin of his Figure creation: Gardener (1999), until Crazychildren (2000), 6 vinyl dolls (2003 to 2017), Remember-Disc · Time -Table(2014), what? we: want!(2016), Package-Change(2018) Michael Lau was formerly known as Liu Jianwen and graduated from Hong Kong Freshman College of Art and Design in 1992. In 1999, he combined his favorite G.I. Joe action figure and the increasingly popular street culture combination to create a figure named Gardener. 99 12-person figures were also exhibited at the solo exhibition of the Hong Kong Arts Centre. Afterwards, the tour exhibit was held in various cities in Japan, followed by the Taipei Museum of Contemporary Art, London and Paris. Public exhibition: April 10, 2018, 1:00 to 5.30 am – April 27, 10:30 to 5:30 Venue: Christie’s Gallery, Level 22, Lishan Building, 18 Chater Road, Central, Hong Kong

Expo: Stevie Dix – Désert @ Nevven Gallery (Göteborg)
Avr 12 @ 17 h 01 min – Mai 12 @ 17 h 00 min



A solo show by STEVIE DIX

OPENING: THURSDAY APRIL 12, 2018. TIME 17:00-20:00


TUESDAY, APRIL 10, 2018. TIME 18:00-19:30.

“I love the way [oil paint] moves, smells, looks.
I never actually mix impasto or anything with my paint. I joke and say it’s blasphemy.
My work is built up of pure, out of the tube, oils.”

Stevie Dix

Stevie Dix is part of a new generation of uprising young artists whose work is driven by a renewed interest in challenging painting’s traditional expressive possibilities. The astounding quality of this UK based Belgian artist’s production is also an important reminder of how regrettable the absence of a female perspective upon this field has been until now. With her personal, spontaneous yet extremely aware approach to oil painting, she embraces the qualities of this traditional medium while bending it into a language of her own.

Dix’s paintings are deeply gestural, informal, thick and dirty. The energy of the paint strokes still vibrates in the materic texture of the canvas. In this almost sculptural approach to painting, that is wild and controlled at once, we can sense the profound attraction and relation she has with the material she is working with. It is hard to stop looking at this moving surface breaking through the flatness of the canvas.

Figuration and abstraction come together in a sometimes harmonic, sometimes brutal juxtaposition which characterises Dix’s production. A boot, a vase, a bird or some brushes materialise from the still consistently abstract surface. These everyday objects are giving us recognisable glimpses of the personal and intimate universe inhabiting her works while the Belgian artist’s sense of composition creates a tension in the balance of the paintings which reflects their emotional charge and makes them reverberate with that same turmoil.

Dix’s faculty to personally and consciously appropriate the language of oil painting and her ability to intimately communicate through its thick materic surface are fully demonstrated in Désert. A new series of oils on canvas, appositely painted for this exhibition, develops in a more experimental and unrestrained way her recent American works. With Désert, Stevie Dix is bringing us inside her personal universe and into a painting practice which fuses together emotions and materials in a unique physical concurrence.

Expo: Cody Hudson – Let Me Help You @ Mini Galerie (Amsterdam)
Avr 13 @ 18 h 01 min – Mai 12 @ 17 h 00 min

Let Me Help You by Cody Hudson 

14 April – 12 May 2018

Mini Galerie is excited to announce the very first solo exhibition by Cody Hudson in The Netherlands titled Let Me Help You. You are kindly invited for the opening on Friday the 13th of April, 18.00-21.00.

Cody Hudson is a Chicago based artist, also known for his graphic design contributions under the name Struggle Inc. His graphic work and paintings have been exhibited throughout the US, Europe and Japan including the Museum of Contemporary Art (Chicago), V1 (Copenhagen), Hellerau Art Center (Dresden) and Andrew Rafacz (Chicago). He is also a partner in the Michelin Star rated Longman & Eagle restaurant and a founding partner in the James Beard Foundation award winning Land and Sea Dept. creative group.

Expo: Tomoo Gokita – Peekaboo @ Tokyo Opera City Art Gallery (Tokyo)
Avr 14 @ 11 h 01 min – Juin 24 @ 19 h 00 min

Tomoo Gokita – PEEKABOO

Dates: Apr 14 – Jun 24, 2018
Location: Tokyo Opera City Art Gallery


Expo: D*Face – FORNEVER @ Galerie Itinerrance (Paris)
Avr 19 @ 18 h 01 min – Mai 19 @ 19 h 00 min

La Galerie Itinerrance est fière de vous présenter la nouvelle exposition de D*Face : FORNEVER. Cet événement rare sera l’occasion pour l’artiste originaire de Londres de présenter ses toutes nouvelles oeuvres, fidèles à son travail de rue, qui nous plongeront d’une manière originale dans son univers pop et urbain. 

« De Londres à Los Angeles, de Tokyo à Paris, toute ma vie j’ai travaillé et vécu dans des grandes villes. S’il y a quelque chose qu’elles ont toutes en commun c’est cette tension toujours palpable entre le nouveau de l’ancien. Le progrès est inévitable, pourtant l’histoire et la tradition restent des richesses précieusement gardées dont il est difficile de se séparer.

Les vestiges de ce passé subsistent malgré tout, sauvés, reconvertis et formidablement obsolètes. Ils viennent nous rappeler que peu importe à quel point on cherche à lutter contre la roue du changement, rien n’existe pour toujours mais plutôt à jamais : « Fornever ». « – D*Face 

Pour cette première exposition personnelle en France, D*Face – figure incontournable de la scène street art mondiale – présentera une série d’oeuvres inédites dans une variété de formats : peintures sur toile, sculptures, installations, assemblages, HPM et sérigraphies. D*Face, que l’on connaît pour les fresques monumentales qu’il a réalisées à travers le monde depuis plusieurs années, nous invite à découvrir son oeuvre sous un nouvel angle. L’espace de la galerie est l’occasion pour lui de s’exprimer d’une manière inédite.

Avec son imagerie issue de la bande dessinée américaine des années 1950, du pop art et du street art, l’artiste se consacre à la représentation de portraits pour aborder avec subtilité la question de l’éphémère et de l’éternel. Dans un monde où plus que jamais les images circulent, les objets s’empilent et les informations s’accumulent, il est crucial de s’interroger sur ce qui résistera au passage du temps et marquera à la fois la mémoire intime et collective.

Vernissage le 19 avril de 18h à 22h en présence de l’artiste !

Exposition du 19 avril au 19 mai 2018
Ouvert du mardi au samedi de 12h à 19h
Entrée Libre et gratuite
Plus d’info sur :

Expo: Hell’O – Enjoy the show… @ BAM (Mons)
Avr 28 @ 10 h 01 min – Juil 29 @ 18 h 01 min

Hell’O Enjoy the show…

10 ans de création

Hell’O est un duo d’artistes belges qui réalise aussi bien des fresques murales que des peintures sur toile et des installations.

Leur univers graphique unique, complexe et ambigu s’enrichit et se développe au fur et à mesure des créations.

Par leur approche qui mêle une extrême liberté iconographique à une exécution rigoureuse, Jérôme Meynen et Antoine Detaille produisent un monde imaginaire fertile, parfois grotesque mais toujours poétique. Une sorte d’étrange bestiaire fantastique, peuplé d’animaux énigmatiques et de créatures vaguement humaines, asexuées, composé de formes et de symboles tirés de l’iconographie des contes, des fables et autres mythologies anciennes et contemporaines.

Utilisant une bonne dose d’humour et de moquerie, Hell’O bouscule les faiblesses humaines dans des compositions mêlant la réflexion métaphysique et le non-sens, mettant en valeur le mystère et l’interprétation libre du spectateur.

L’art de Hell’O réside dans le traitement d’idées parfois crues ou dures au moyen de formes douces et d’une esthétique léchée, ou, à l’inverse, d’aborder des thèmes légers avec un trait précis et méticuleux, oscillant continuellement entre attraction et répulsion, à la fois joyeux et macabre, amusant et effrayant, mièvre et rêveur, morbide et séduisant… Un art de la dualité.

Avec le temps, les formes se sont épurées, centrées sur l’essentiel, le noir et blanc a fait place à la couleur, d’abord discrète et pastel, ensuite plus franche et vive.

L’exposition du BAM présente leur 10 dernières années de création depuis leurs premiers dessins en noir et blanc jusqu’aux tableaux plus abstraits en couleur. De plus, le parcours plongera le visiteur en totale immersion au cœur d’œuvres du collectif créées in situ spécialement pour l’exposition. De nombreux collectionneurs privés, galeries ou institutions publiques belges et étrangères ont accepté de nous prêter leurs œuvres pour ce premier « état des lieux » de leur travail.

Expo: Tal R – This is not detroit @ MOCAD (Detroit)
Mai 11 @ 18 h 01 min – Juil 29 @ 17 h 00 min

Tal R – This is not detroit

MOCAD is excited to announce a solo exhibition featuring the work of Copenhagen-based artist Tal R. : this is not Detroit will open on Friday, May 11th.

The intricate, multipart installation manifests the artist’s fantasy of Detroit, acting as a meditation on dream places, identity, and whimsy. The exhibition will remain on view at MOCAD through July 29.

Expo: Vhils – Fragments urbains @ CENTQUATRE (Paris)
Mai 19 @ 14 h 01 min – Juil 29 @ 19 h 00 min

Fragments urbains
Première exposition monographique
19.05 > 29.07.2018

avec la Galerie Magda Danysz

À la fois discrètes et frappantes, souvent gigantesques, les œuvres de Vhils représentent des visages anonymes, creusés dans différents matériaux ou à même les murs. Désormais connu et exposé à travers le monde, l’artiste portugais fait escale au CENTQUATRE. L’occasion pour cet explorateur urbain de présenter au public parisien une vue d’ensemble de son travail, mais aussi d’aller une nouvelle fois à la rencontre d’une ville et de ses habitants.

vernissage public samedi 19 mai à partir de 14h