Galleries in Paris » Alberta Pane

CHONG KWAN – ALBERTA PANE

Galleries — Tue, 18 May 2021 10:11:53 +0000

Solo show

A sensitive and singular approach to sustainability issues and participatory and inclusive experiences are the essence of the work of British artist Gayle Chong Kwan, on display from 22 May in her solo exhibition Waste Archipelago at the Venice gallery: an immersive and enveloping show in which the central concept of the archipelago aims to bring out, visually and conceptually, the interconnection between actions and ideas that humanity enacts and elaborates around waste and residue.
Gayle Chong Kwan explores the central role of the body and its relationship within a natural system of correlations, and the potentials that this perspective can offer.

Venissage: Saturday, 22.05.2021, from 12 to 8pm

PENSO – ALBERTA PANE

Galleries — Sat, 05 Sep 2020 11:55:04 +0000

F R E Q U E N C I E S

Alberta Pane Gallery is pleased to present the third solo exhibition by the Italian artist Michelangelo Penso. In the Paris gallery, the interactive sculpture Human vibe accompanies a series of prints on aluminium, rubber and wood.

Michelangelo Penso’s aesthetics is inhabited by macro and micro-organisms. His work is strongly inspired by scientific iconography, mostly coming from mathematics, genetics, and astrophysics. His artworks, created from industrial materials such as polyester, rubber, resin or aluminium, evoke DNA chains as well as constellations and planetary systems.

Human vibe consists of a small meteorite-like mineral object equipped with a system of touch sensors, which send out sound frequencies according to captured vibrations. By interacting with Human vibe, we can “tune in” to a flow of information emitted by our body, which is normally undetectable for us. Interaction develops by touching both sides of the sculpture, which are coated with tin to enable capturing the electrical response from the skin (GSR). The enclosed technology (microcomputer, sensors, miniature audio systems) processes these signals continuously and makes the sculpture react with sound and vibrations.

Human vibe, located in the center of the exhibition space, is surrounded by a series of paintings (Frequencies) showing astro-seismograms coming from recordings of electromagnetic radiations emitted by three planetary systems (HD 10180, HIP 41378, TRAPPIST-1 ).

Stars, as human bodies, generate vibrations which can be recorded by specific sensors. These scientific discoveries provide today a better understanding of the functioning and composition of astronomical bodies. The exhibition Frequencies attempts to translate the invisible complexity of physical and biological interactions into a perceptible form or language. The artist invites us to become aware of the vibrations sent out by microscopic, human, and astronomical bodies. He encourages us to consider the reactions that these vibrations trigger in the elements that surround us on very different scales. As in a scientific laboratory, this exhibition allows to experience the imperceptible resonances that we produce. It also invites to look attentively at the shapes of the invisible frequencies of stars and planets.

Relations between humans and technological systems take an increasingly significant place in Michelangelo Penso’s latest research. In this context, he proposes us to experience frequencies, which link the infinitely big and the infinitely small: two systems that are invisible to the human eye.

Marie DENIS – PANE

Galleries — Fri, 06 Jul 2018 11:17:16 +0000

A beautiful and faithful collaboration between the very fine work of artist Marie Denis and the very talented gallery owner Alberta Pane must be highlighted here.

For her fifth solo show at the gallery, the artist will entirely invest the gallery’s space by creating, with her new work on pap er, a very personal enchanting universe inspired by the plant world.

Marie Denis has always worked on metamorphoses, those that time or her taste for paradox imprint on materials; those that the artist gives to plants, since Nature is her

favorite field.

In Nature des Profondeurs the artist presents works based on her « historical » approach, the interpretation of the plant world, coupled with a daily process: photocopying.

After having reused silver photomaton , patina or fax, Marie Denis sublimates here the prosaic nature of the ultimate office machine, the Sharp MXM316N photo

copier from the école d’art de Fresnes where she has been in residence since the beginning of 2018. The exploitation of all possible diversions that she can operate with the fixed sc

an of the machine, transforms the latter into a photographic camera that switches these prints into timeless snapshots.

PANE – LELOUCHE

Galleries — Sun, 13 Dec 2015 15:58:28 +0000

A conversation between Alberta Pane and Marie Lelouche

Alberta Pane: When we first met in late 2007, you were still a student at Beaux-Arts de Paris. Back then, you were creating large glass sculptures, and I’ve been immediately attracted by the maturity of your work, by its complexity and poetry despite your young age. Could you tell us more about this?

Marie Lelouche: I’ve started to work with glass for a piece that was called “Inebriation”. No matter what media I use, I seek to benefit from all its potential meanings. Every material’s history is influenced by technical evolution that alters its appearance and usage: How is it shaped? Who is processing it? To what gestures, and habits, does it refer? What approach to the world does it offer at a precise moment? Subsequently, I try to find a form to evoke those aspects of the material that appear meaningful to me. I’ve been working with glass for some time longer than with other materials because of the multitude of techniques that can be applied to it, and because of the physical and temporal commitment they demand.
Today, I still choose the media for my work with that same attitude. When working with glass, I was greatly interested in tools that tell of the creation process, the mould for instance. Today, I’m concerned with technologies that seem to model, and to form, the world in different ways.

AP: Your fascination with media has led you to working with glass, but also with porcelain, cardboard, fabric and other objects that you cover in chalk…
I’m under the impression that you’re particularly interested in objects that are marked by a special fragility…

ML: It’s true that I prefer to work with materials that constantly remind us of the fragility of their “existence”. Materials whose weaknesses are familiar to us. They reveal a precarious state of affairs; just like dropping porcelain, a misplaced folding in a cardboard would be irreversible, and we are aware of it. In my work with chalk, precariousness is all the more evident, as chalk immediately starts to vanish the very moment it is applied. I think this is telling about our relation to space and objects, entities that we constantly try to render immovable. To me, this vain approach to perennial forms seems at the same time beautiful and charged with sense, with regards to our contemporary societies that paradoxically never cease to produce “events”.

AP. Marie, now I’d like to talk about your relation to traveling. You have travelled a lot, from Brazil to Korea, Italy, and, most recently, Canada. Could you tell us more about your travels, your experiences, residencies and the influence they’ve had on your work, and on yourself as an artist?

ML: Each journey has presented me with an occasion to reconsider my practice. Whenever I arrive somewhere new, in a new “structure”, it’s with the intention to let this new experience change and remodel my understanding of the world and my views on art. The modification may be minuscule, and it often takes between six months and a year before I realize what has been subjected to it. But I think, this enables me to keep my work in constant evolution, always attentive of what’s going on around me. I perceive new spaces of work and life as conditions for their renewal. It is in this sense, that I try to choose them in accordance to my current needs for evolution, e.g. when applying for a residency.

AP: It seems as if this approach to things has been of special importance during your residencies in South Korea; you have tried to absorb the country’s rites and customs, and immediately afterwards we presented your first show at the gallery. The works have been inspired by landscapes and architecture, but also by that country’s traditions; please could you tell us more?

ML: I’m not interested in traditions as isolated elements, but rather in a culture’s contemporaneity that finds expression in History with a capital ‘H’ as it’s told and taught directly, but also in a society’s customs, traditions and organisation. I’m particularly interested in architecture because it’s an expression of the need to lend structure to customs, and it reflects the respective governments’ politics. There’s also a part of it lying outside of the architect’s and the sponsor’s influence: The local population will take care of the construction, and later those who actually use the building will make changes to it. Architecture is a complex system that never ceases to influence my work, be it by structural analogies or by everyday experiences.

AP: Your work has much evolved since. What projects have you realised lately?

ML: I’ve developed two parallel approaches. One of them I consider as studio related, and the other as in situ. The first one has led me to create in a temporality that is defined by the medium and the persons who are involved. The second relates more directly to the precise context of a creation.

AP: Could you tell us about your ‘Instantaneous Sculptures’, and, for instance, the ‘Project °360’?

ML: The ‘Instantaneous Sculptures’ series is still an on-going project, in the sense that my artistic research of today draws on questions raised by it.
In these works, I apply more strongly than before my interest in the issue of a sculpture in situ, that attacks the utopian idea of objects as unalterable forms by the very means the sculpture is created and presented. I’ve also sought to overthrow my creative process and to reassess my position in it. It was necessary to furnish spaces in which somebody else could potentially intervene. The experience of ‘°360’ was particularly strong. This publication, which I’ve created with Septembre Tibeghien in the context of one of the ‘Instantaneous Sculptures’, has allowed me to give expression to a discourse, and to introduce the appearance of an object that I define as a work of art playing on the ambiguous status of a document/fiction, as well as to experience the limits of my attachment to a piece. Actually, there is a notion of abandon in the act of leaving space to somebody else in the creative process. I’ve learned a lot about my proper limits, and about what lies effectually at the heart of my interest. The publication involved an exchange, in the course of which our respective positions of critic and artist faded away, in favour of a multitude of tales and affects that may accompany the “life of a sculpture”.

AP: Are these the lines of research that will define your future projects?

ML: Yes, absolutely. I think a lot about the evolution of sculptural forms. I’ve furthermore begun a PhD project at Fresnoy and Uqam that allows me to combine theory and practice even more. This is the attitude of an artist who tries to surprise herself, to shatter her understanding of things, and eventually to discover how a sculpture in its new forms can find the means of subsistence.

AP: Talking about sculptures and their form, the new pieces that you’re showing at Alberta Pane Gallery have been created with the help of several institutional and private partners. They do not only deal with sculpture but also with installation and interaction. Sound is fundamental to the project; how does it fit into your research? What is its role?

ML: This concerns a sculpture/sound device. I’ve collaborated on this installation with scientists and engineers who are interested in the emerging technologies linked to the perception of space. The project is truly experimental, the interactive device as well as the audial experience. For a long time, I’ve wanted to address space with the means of sound. We learn of space quite intuitively, for example via the echo of our own steps on the floor. Even with our eyes closed we know whether we’re entering a small room with a tiled floor or a vast felted space. I offer the spectator, or, if I may say so: the listener, the experience of a double circulation inside the installation: he may perceive the sculptures in a “classical” way – fullness, emptiness, material, proportions – or travel from one to the other thanks to sound. A generative composition is gradually perceived in a space of every volume, depending on the spectator’s position. This is an unusual experience. I thus imagine we could “understand” a volume with our hearing to the same extent as with our other senses, comparable to what cinema is offering today in the relation of sound and image. I could add that the experience is similar to that of an architecture model: We succeed in projecting ourselves into it, and we imagine what the experience of the building would be like. In this case, it’s the sound you would hear if you were inside a volume.

Galerie Alberta Pane – Paris 3

Galleries — Mon, 15 Nov 2010 22:22:32 +0000

Founded in 2008 in Paris by Alberta Pane and specialized in contemporary art, the gallery supports international artists, promoting the conceptual force of their projects.The gallery also encourages artists’ experimentation in space and urges them to work in balance with their environment. The interpretation and analysis of our time is the main purpose of their reflection.
With several exhibitions per year and international art fairs, the gallery has realized important projects in collaboration with museums, cultural institutions and international galleries.

In May 2017 the gallery opened its second venue in Venice, a former carpenter’s shop of 350m², transformed into an evocative exhibition space. In the same year, the gallery undertook an editorial venture: Edizioni Alberta Pane. This new series of publications reinforces the role of the gallery as promoter of the artistic activity, fostering the public fruition, and the relationship of the artists with institutions, collectors and editorial production.

Artists: Gayle Chong Kwan, Marie Denis, Romina De Novellis, Igor Eškinja, Christian Fogarolli, Luciana Lamothe, Marie Lelouche, Marcos Lutyens, Ivan Moudov, Fritz Panzer, Michelangelo Penso, Michele Spanghero, Esther Stocker, João Vilhena