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WANG – PERROTIN

Galleries — Sat, 04 Jun 2022 15:55:00 +0000

Perrotin Paris is pleased to present Xiyao Wang’s first exhibition at the gallery. The young, Berlin-based Chinese artist creates large- scale, immersive paintings in which gestural lines evoke echoes of landscapes, bodies, movements, thoughts. In the process, she develops a kind of hybrid abstract painting that combines various influences and inspirations: Taoism and post-structuralism, ancient Chinese pictorial traditions, bodywork, dance, martial arts, and the canon of Western art history. In her work, mythologies and the lyrical, hermetic painting of Cy Twombly merge with global mass culture, electronic music, with the networked, media-influenced thinking of millennials and Gen Z. Xiyao’s paintings explore inner visions, bodily perceptions, sensations, feelings, interrogating her East-West biography.

Xiyao, who studied with Werner Büttner and Anselm Reyle, is interested besides Twombly in German painters such as Günther Förg and Albert Oehlen. In the practice of all these painters the line plays a crucial role, through the “eccentric,” in some cases calligraphic ductus, the tension between reduced clarity and affect-laden chaos. But Xiyao Wang is not

concerned with picking up where lyrical abstraction and Abstract Expressionism left off, nor with a female remake of the German, male-dominated painting of the 1980s and 1990s. Rather, she deals with the question of how to create abstract and bold pictorial spaces today with similarly reduced means. The Crystalline Moon Palace, the title of her exhibition, borrowed from a series of paintings in the show, refers to an ancient Chinese myth around the moon goddess Chang’e. The latter was immortalized in her present form in a fourth-century poem.

Many of the depictions from different periods, such as the Buddhist frescoes from the cave temples near Dunhuang dating back to the fourth century, which the artist studied in detail, show flying female deities rising gracefully into the sky, surrounded by floating fabric and ribbons. The motif of the female figure flying weightlessly through the air, defying the laws of gravity and all physical limitations, entered global mass culture through kung fu and martial arts films such as Ang Lee’s Crouching Tiger, Hidden Dragon (2000). The myth of the moon princess Chang’e inspired not only the world-famous manga series Sailor Moon, but also the names of various Chinese moon probes.

The vision of flying, of intense physical and emotional states, of weightlessness, liberation, and dissolution of boundaries is the essential starting point for the construction of Xiyao Wang’s expressive pictorial spaces, reduced to color, gesture, and lines. Although nonrepresentational, they conjure up abstract landscapes, neural pathways, fragmented afterimages of flowering or dying plants, animal or human bodies, traces of dance, struggle, search and thought processes. The experience they convey is paradoxical: disembodied and transcendent, yet at the same time exhilaratingly sensual, material, almost tangible

GROSS – RICHARD

Galleries — Tue, 18 Feb 2020 14:49:25 +0000

Galerie Richard is pleased to represent Rainer Gross in New York and Paris and to present “Contact Paintings,” his first show in the New York gallery, from September 4 to October 26, 2019. Galerie Richard previously exhibited Rainer Gross’ work in Paris in 1990 and 1997. The artist’s “Twin Paintings” and “Contact Paintings” are a definitive achievement in the history of painting. As their name implies, the compositions encompass two painted surfaces that the artist presents as a diptych, each panel imprinting on and mirroring the other. With the modesty of a philosopher, Gross admits that he controls the general composition of these unique pieces but insists that nature makes the details.

Gross’ process is alchemic. He first paints six or seven layers of different-colored pigments suspended in water on one canvas. These are neither a solid color nor a pattern, but each layer covers the last completely. Next, he applies an approximately 1/8-inch-thick layer of paint on another canvas of equal size, pressing the two canvases together by hand and leaving them to “cure.” Gross then pulls the canvases apart, revealing the parts of the surface that have adhered to the other. This idiosyncratic technique produces a consciously unpredictable crackled impasto landscape that a viewer can connect to other materials or textures that are altered by time. Gross hangs the double painting upside down, confusing the viewer by escaping obvious symmetries.

A deeper understanding of Gross’ paintings asks the viewer to consider the challenges entailed in becoming a painter in 1970s Cologne, when the ideology of “The End of Painting” professed by Joseph Beuys and Associates at the Kunst Akademie Düsseldorf became dominant among the art world’s “elite.” Being a painter meant thinking about the specificities of the medium and new ways to push it forward. From figuration to abstraction, Gross’ series share one common trait: they reveal every layer of paint and texture. From sticking kitsch canvases on his paintings and superimposing geometrical lines on figurative subjects, to the “Twin Paintings” and the “Contact Paintings,” his work has always been a play of visible superimpositions using various layers of paint.

In the new paintings, the importance of the process is both striking and fascinating. The artist controls the original first painting; after that, the piece is altered by the pressure of the additional canvas which unpredictably partially removes the pigments. For the artist, it must be a wonderfully surprising feeling to create a work which in many ways does not depend solely on him. The unexpected parts of the process bring a sense of infinity. In this aspect, it is interesting to think about Gross’ work in context with contemporary Asian artists such as Kiyoshi Nakagami, who never claims to have total control of the creative process and is happy to discover how natural processes interact in the final result.

Rainer Gross was born in Köln, Germany in 1951. He has lived and worked in New York City for 45 years. In 2017, Gross was included in the Beijing Biennale as a representative of Germany. In 2012, the Museum Ludwig (Koblenz, Germany) held a four-decade survey of his paintings. Other notable national and international exhibits include the Musée Cantonal des Beaux-Arts (Lausanne, Switzerland), Krannert Art Museum and Kinkead Pavilion (Champaign, Illinois), Kunsthalle Emden (Emden, Germany). Gross’ paintings are housed in numerous public collections, including the AT&T Corporate Art Collection, the Cohen Family Collection, the Hirschhorn Collection, the UBS Union Bank of Switzerland, and the Lowe Art Museum. His work has been reviewed by the New York Times, Art in America, ArtNews, The Brooklyn Rail, The Boston Globe, and others.

ARSHAM – PERROTIN

Galleries — Sat, 18 Jan 2020 16:20:38 +0000

PERROTIN Paris is pleased to announce Paris, 3020, an exhibition of new works by New York-based artist Daniel Arsham, on view from January 11 through March 21, 2020.For this exhibition, Daniel Arsham will present a new suite of large-scale sculptures based on iconic busts, friezes and sculptures in the round from classical antiquity. Over the past year, Arsham has been granted unprecedented access to the Réunion des Musées Nationaux – Grand Palais (RMN), a 200-year-old French molding atelier that reproduces masterpieces for several of Europe’s major encyclopedic museums. Arsham was able to use molds and scans of some of the most iconic works from the collections of the Musée du Louvre in Paris, Acropolis Museum in Athens, the Kunsthistorisches Museum in Vienna and the San Pietro in Vincoli as source material for this new body of work. Inter-ested in the way that objects move through time, the works selected by Arsham are so iconic that they have eclipsed their status as mere art object, and instead have embedded themselves into our collective mem-ory and identity.

Ranging from Michelangelo’s Moses to the Vénus de Milo, each item was cast in hydrostone to produce a perfect to scale replica of the orig-inal sculpture, a process that shares formal qualities with historic wax casting. Arsham utilizes natural pigments that are similar to those used by classical sculptors, such as volcanic ash, blue calcite, selenite, quartz, and rose quartz. From that, individual erosions are chiseled into the surface of the hydrostone, a nod to the sculpting techniques of the Renaissance sculptors. Finally, Arsham applies his signature tactic of crystallization.Arsham is best known for visually transforming ready-made objects of the last half century into subtly eroding artifacts. Historically, he has focused on items that act as containers of memory: an original Apple computer, a Mickey Mouse phone, or Leica cameras. Arsham’s explora-tion into fictional archaeology dates back to nearly a decade ago when he took a research trip to Easter Island in the South Pacific. There, he observed an archeological expedition of a Moai statue. Around the base of the sculpture, archeologists uncovered tools left behind by a previ-ous archeological expedition from almost a century prior. Inspired by the dissolution of time between these distinct landscapes, Arsham began to explore the idea of archeology as a fictionalized account of the past, as well as a tool with which to collapse the past and the present.concept has become a common thread throughout his practice. Mak-ing use of classical and ancient objects, this new body of work experi-ments with the timelessness of certain symbols, furthering Arsham’s previous investigations into objecthood.For Paris, 3020, Arsham borrows display strategies from the modern museum, including elevated plinths, dimmed lights, and a series of nested exhibition spaces. By appropriating the visual language of the encyclopedic museum, Arsham makes deliberate reference to how museums have showcased and shaped object history, specifically as a vehicle that canonizes objects within a greater narrative of progress.In the first room of the exhibition, visitors encounter two large-scale iconic works of classical antiquity that depict women, specifically the goddess Aphrodite and Lucilla, the daughter of Roman Emperor Mar-cus Aurelius, which are respectively titled Vénus d’Arles and Tête de Lucille. Moving into the next room, Arsham continues his ongoing refer-ence to the great works of Western Art, with an eroded version of Michelangelo’s Moses on one end of the wall and the Vénus de Milo on the other. Both are flanked by a series of busts and life-size sculptures, including the bust of Caracalla wearing a breastplate and the Athéna Casquée, with both pairings highlighting how the ancient world con-flated royalty and deity. Flanking the sculptural works are a series of graphite process drawings by Arsham depicting eroded icons of clas-sical antiquity.These drawings both reference Arsham’s background in fine art as well as the art historical tradition of sketching, providing a fictionalized cre-ation myth for works that seemingly were never meant to exist. Dis-played together, these new works are transformed to compress time, at once referencing the past, informing the present, and reaching towards a crystallized future.

MURAKAMI – PERROTIN

Galleries — Tue, 10 Dec 2019 15:07:52 +0000

Takashi Murakami is back at the Paris gallery three years after his exhibition Learning the Magic of Painting. This new show follows several museum exhibitions throughout the world: Tai Kwun Contemporary, Hong Kong (2019); the Vancouver Art Gallery (2018); the Garage Museum, Moscow (2017-2018); the Modern Museum of Fort Worth (2018); the MCA Chicago (2017) and the Astrup Feamley Museet, Oslo (2017). This is the 12th solo exhibition by the artist at Perrotin since he first met Emmanuel Perrotin in 1993. This exhibition presents about twenty works in Perrotin’s Salle de Bal at 60 rue de Turenne – a showroom that is usually closed to the public and only available to visit by appointment.The large space is dedicated to Mr. DOB, the iconic character created by the artist in 1993. For this exhibition, the artist has created six new portraits of Mr. DOB in shaped canvas formed around the character’s contours. In the middle of the room, a central 5-foot sculpture represents the same full-length character. The design for Mr. DOB was inspired by several animated figures including Doraemon, Sonic and Mickey Mouse. H psychology to the point of becoming an avatar of the artist. In counterpoint to the portraits of Mr. DOB, the artist also created two humorous self-portraits in shaped canvas, rendering himself in caricature.In the room adjacent to the main salle de bal space, the artist presents the debut showing of the sculpture Devil Ko2, the latest in his succession of hyper-sexualized, life-sized manga sculptures which includes Miss Ko2 (1997), Hiropon (1997), My Lonesome Cowboy (1998) and Nurse Ko2 (2011). It was the erotic manga illustrator Nishi e Da who created the original drawing of Devil Ko2 in 2004. Presented alongside the sculpture will be a photograph by Takashi Murakami, also taken in 2004, featuring a young woman dressed in a Devil Ko2 costume. It would take the artist over ten years to complete the final work shown in this exhibition. One other piece from a new series entitled the Panda Flower Ball will offer a reinterpretation of a recurrent motif in Takashi Murakami’s work: flowers. On the lower level, the visitor will discover another aspect of Murakami’s work inspired by traditional Japanese painting. Two large paintings, nearly 33 feet long, and three tondos represent fish in an aquatic world, rendered in monochromatic blue tones over a pale background. Exhibited for the first time in France, this recent series of Fish Paintings is inspired by an original motif painted on a vase dating from the Yuan dynasty in China (c. 1206-1368). In these works, ancient iconography combines with memories from the artist’s childhood: walks along the riveris name is a diminutive of the expression dobojite, meaning “why” in Japanese slang. Accompanying Takashi Murakami in his existential questioning, the character of DOB has developed a complex with his father and the contemplation of carp fishermen.

FRIZE – PERROTIN

Galleries — Sat, 18 May 2019 12:40:29 +0000

Perrotin Paris is proud to present a new exhibition of French painter Bernard Frize, simultaneously to his personal exhibition “Bernard Frize. Without Remorse” at the Centre Pompidou – Musée National d’Art Moderne (May 29 – August 26, curated by Angela Lampe). Featuring a wide range of paintings, including new productions, this exhibitions mark 25 years of collaboration between the artist and the gallery. The artist, who recently exhibited in Japan (Perrotin Tokyo and Kaikai Kiki gallery), will also be exhibited this Fall at Perrotin New York. « While regularly revisiting various moments of his past practice, Frize has never stopped exploring new concepts, inventing novel ways to paint (starting with the development, 10 years ago, of processes based on the creation of one painting by multiple people simultaneously), but he has also, since the mid-1990s, abandoned all recourse to what we summarize as “figurative art,” namely the representation of real and identifiable objects or images. It is only by accident or allusion, and by a natural predisposition of our vision, that we perceive this or that painting as evoking a stone, a curtain or a bookshelf. So much so that this action of expansion that first strikes us corresponds to another, of reduction or of disconnection. The paradox is far-reaching and leads immediately to the Frize’s conception of painting since the beginning, which is to constitute it of an ensemble of paradoxes, in other words of propositions contrary to common sense and expectation. Of course, the principle applies at the level of each work considered individually:

“I always try to get to the point where there is not just one thing in the painting, one thing shown, but that there is a paradox, an antagonism, a difficulty in the work1.”“I try to make paintings that one can look at at least twice. I would also say that I try as much as possible to articulate the processes amongst themselves, to recycle the remains of one series for the benefit of another. The monochrome that is drying over there is an example: at one point I put a canvas beneath it so that the drops that fall from it provide me with the beginning of another painting2.” These words, spoken by Frize more than 20 years ago, have just as much pertinence today. Since then his work has continued to grow using the same autodidactic method. Considering the many avenues he has explored, one of the questions he certainly now faces is that of a renewed, deliberate use of distinctly figurative motifs. In an interview published in Artforum, he remarked on this point: “The figurative pieces I’ve done, the ones that are paintings in the strict sense—not the photographs or scanachromes— are, it seems to me, even more ambiguous than the abstract ones. In the figurative the images function as a sort of primary material that I use without worrying about their references, or else they are used to play with the idea of hidden figuration, of double meaning. In any case, I have never invented an image, I can only paint one in order to put it to use in a demonstration of pictorial order. When, for example, I returned periodically to painting images of pots, I did so in order to work on the idea of ‘failure,’ to accentuate, via the image, a certain exploitation of accident that I was trying to get to. So, for example, I would cover the surface of thepainting with “crazing” varnish, or I would paint the image itself out of register. I was trying to represent in the clearest way possible a certain inad- equacy, the fact that nothing fits in these pictures3.” That there is still much to invent from such a conception of the image is more than likely, especially if one takes into account the way in which all sorts of illicit figurations haunt numerous paintings of Frize’s that can rightly be called “abstract.” In the course of his entire body of work, the logic would be that of an expansion of figurative exploration, through a revitalization of “pictorial intelligence4.“Jean-Pierre Criqui, extract of Bernard Frize Today, in Bernard Frize, Perrotin, 2014

OTHONIEL – PERROTIN

Galleries — Sat, 18 May 2019 12:34:29 +0000

‘And they had brick for stone, and slime had they for morter. And they said, Go to, let us build a city and a tower, whose top may reach unto heaven.’ From Genesis to the histories of Herodotus, between history and myth, the Tower of Babel and its destruction have fired the imagination. What remains of this ziggurat, this architectural utopia and symbolic link between heaven and earth? What happened to the millions of bricks used to erect it? What new utopias were built on the ruins of that thwarted aspiration? These are the questions that underlie Jean-Michel Othoniel’s latest works, presented for the first time at Galerie Perrotin in Paris. For this exhibition, which brings together fifteen minimalistic, enigmatic sculptures made of glass or metal bricks, the artist has systematized the use of a module that entered his work in 2009, after a journey to India. On the road from Delhi to Firozabad, a city with an age-old glassmaking tradition, he was struck by the stacks of bricks accumulated in the hope of building a house and by the countless altars covered in offerings and multicoloured necklaces. Since then, he has called on the knowledge of Indian glassblowers to blow blue, amber, yellow and grey glass bricks. A modular element – like the glass beads that have been his hallmark since 1993 – brick has led Jean-Michel Othoniel towards more refined, more radical works, somewhere between sculpture and architecture, enabling a new monumentality inaugurated with Precious Stonewall (2010), a gigantic monolith covered in necklaces, and developed, more recently, with the impressive Big Wave (2018), which measures 15 metres long and 6 metres high. In brick, the artist has found a universal element, a common denominator between cultures and one that has traversed the history of humanity. Feeding his latest research and generating material for new ‘obsessions’, brick enables him to reach the architectural scale he was aiming for and to try out cantilevered constructions, to go beyond the idea of sculpture, to invent a new relation to space, to rethink the embedding in the landscape, to radicalize his relation to geometry or to create places – grottoes, paths, walls, agoras – that set out a different relationship to the body, thereby synthesizing the recurrent themes of his oeuvre. If, for his exhibition at Galerie Perrotin in New York in March 2018, glass-bead sculptures and drawings were engaged in a dialogue with brick works, Othoniel has here chosen to concentrate exclusively on this new serial element in glass or stainless steel through abstract, monochrome propositions close to the language of minimalist art.

KIM Chong-Hak – PERROTIN

Galleries — Sun, 03 Mar 2019 12:19:00 +0000

Kim Chong Hak’s first exhibition with Perrotin pays homage to the artist’s extensive career, showcasing around 20 of his works, which include recent acrylic paintings, his representative works from the 1980s, and drawings never before displayed.
Widely known as the “Painter of Seorak”, Kim evokes Mount Seorak—the third-highest mountain in Korea, situated in the east of the country—on his canvases with motifs from nature, such as flowers, insects, and weeds.At the age of 82, Kim maintains a gestural way of making his art with coarse, rapid brushstrokes and with his hands, slathering paint on the canvas. Kim’s paintings introduce a distinct world where nature is rearranged according to the artist’s experience and sensations, bypassing temporal limits and cycles of life and death. His landscapes relinquish perspective and are intensely two-dimensional.
Vines and weeds tangle luminously across the canvas; flowers bloom frontal-facing in various bright shades; dragonflies and butterflies fill the remaining gaps, resulting in dense compositions eliciting visceral awe.In developing his unique style, Kim has his artistic development traced across three main periods. From 1960 to 1978, he explored and rejected Western modernism; from 1979 to 1986, he started combining nature with traditional Korean aesthetics.
It was in 1987 and onwards, when Kim settled permanently in Mount Seorak, that he entered his period of maturity, embracing Mother Nature’s mountains, rivers, and oceans to construct his art.
By incorporating Kim’s demonstrative works and drawings, the exhibition illustrates the evolution of his artistic discourse founded on revisiting the same subject matters. In the largest painting of the show, which is eight meters wide, Kim overtly references Weeds and River, two of his paintings from 1987 that also study the green and shrubby landscape now spanning the wall of the gallery. Alongside Kim’s monumental canvases, a series of drawings detail the beginnings of Kim’s practice for the first time. After his walks in Mount Seorak, Kim sketches, in pencil or ink, the impressions nature has made on him, morphing them into shapes, colors, and structures befitting his expressionist conception.Kim considers his art “new figurative painting based on abstract painting”, building on his canvases an indiscriminate framework reflective of his devotion to even the tiniest of wonders. Mount Seorak is for Kim what Mont Sainte-Victoire is for Cézanne and Tahiti for Gauguin, and viewers grasp the sense of reverence Kim has for nature upon entering the gallery. There is a certain primitive exuberance in Kim’s larger-than-life vegetation that indicates renewal and rejuvenation, evoking the vigorous spirit of the artist and his joyous celebration of nature in all of its forms.

SAMES – LUND

Galleries — Tue, 22 Jan 2019 15:15:28 +0000

L Y N D I S A L E S
I f o u n d a r a i n b o w b u t t e r f l y o n c e

The exhibition’s title comes from a comment published on the forum of a virtual game, which goal is to reach Utopia – by the attribution of points for finding butterflies in desolated urban landscapes.
If the insect is the symbol of metamorphosis, from hatching to blossoming beautifully, the rainbow refers to an immaterial, splendid and fleeting reality, to a desire that cannot be fulfilled. It suggests a bridge between two elements of different nature such as the physical and spiritual worlds. Thus, “I found a rainbow butterfly once” convenes- in a poetic and simple manner- the singular instant, the experience, the memory, the dream…

The composition of a hormone that makes people love, a crystal structure and its parallel among the stars, deep web and mandalas: Lyndi Sales borrows from the scientific and technological imaging as well as from symbolic representations. She questions, juxtaposes, looks, dreams to confront fears and fascinations, marvelling and horror. Through her two or three-dimensional works, the artist pushes back the frontiers of the visible to reach a better comprehension of the world. Her exploration of social realities comes with a spiritual quest.
For years now, she has been finding some of her inspiration in the cutting-edge spatial research while also learning from Buddhist thinking. Navigating between microcosmos and macrocosms, between the tangible and the immaterial, a number of her works are looking to give shape to dualities such as light/obscurity, masculine/feminine, life/death. A desire for balance, visions and utopias or even other possible realms characterizes Lyndi Sales’ universe which is profoundly shaped by her environment: a highly-contrasted South-African reality where innovation and material deprivation live side by side.
Her language is the language of beauty, such as the captivating beauty of the butterfly that embodies the possibility of mutation.

b e i n g – l o o k i n g
Our relationship to the world starts in our own body. A “Primary tool”, its constitution determines our capacities to perceive and interact with the “exterior”. Sight, in all its functional and psychological complexity has been for a long time at the core of Lyndi Sales’ work that questions her own perception of and about the world: functioning of the eye*, visions of cosmos**and society***, drugs and religion as ways to access a broader vision****. This need to see further probably comes from personal tragedy: the loss of her father in an unexplained plane crash, the theme of her first exhibition in France. Thus, In transit (2009) highlighted notions of fragility, chance and rebirth.
Life experience, a need or a fact are always at the origin of the artist’s artworks.
* Audience, installation presented at the Bon Marché Rive Gauche, 2014, ** Uhuru (meaning« freedom » in Swahili), installation created for the Venise Biennial, 2011
*** Onthology, installation presented in Surveillance passive, Galerie Maria Lund, 2011, **** Moth to a flame, installation presented at Art Paris, 2015

s e a r c h i n g to k n o w o n e s e l f
In its own way, the scientific world enables to see further, to fathom what escapes us.
A result of the conversations with researchers at the Texas A&M College of Engineering, the physical phenomenon of a plane passing through the sound barrier and the fragmented space left by its passage inspired Lyndi Sales to create the monumental mural work Chaos and flow, love and fear (2018).
The code of the human genome is the inspiration behind the Human genome tapestry, which composition in concentric circles recalls mandalas, symbols of the universe’s evolution and involution. The circle, a recurrent motif in the artist’s work, represents the entirety, the fulfillment, the unique, the resonance. Just as it suggests the links/connections between the big everything and the modest place human beings hold, between the rational world of science and the spiritual world.
The exploration of the link is also visible in the collages Pituitary gland and Oxytocin : I’m addicted to you. Respectively, “key body gland” and hormone that favours social interactions. The pituitary gland and oxytocin are evoked in a crystalline shape beaming with particularly luminous colours.
In large laser-cut cardboards entitled Love and fear, Lyndi Sales establishes a parallel between the areas of cosmic energies and those circulating between beings. She superimposes registers of quantum physics – gravitational attraction and expansion, matter and dark energies – to human feelings of attraction and repulsion. Matrix-networks with complex frames, sometimes organic, sometimes straight, dense or frail. The surfaces of the works are saturated with layers of many colours – as many strata of different emotions and their contraries.

d r e a m i n g i n d e p t h
One night, a dream inspired by a visit to the Paris Catacombs takes Lyndi Sales to a new world of Utopia, connectivity, love, sadness and abandonment. A transcendental experience or trip caused by a drug? Left puzzled, the artist questions herself and gives shape to dreams in an ensemble of hand-embroidered tapestries. (A place where I found moments of …: Catacomb dream map). Constructions, labyrinths, models and symbols are juxtaposed. This newly created cartography presents similarities with her series of drawings inspired by an aerial vision of transformations caused by the mining activities in South Africa. The Erosion drawings tell the story of the precarious destiny of the Zama-Zamas, illegal minors rummaging abandoned mines in the hopes of finding gold.
As for the eponymous work of the exhibition, it presents a weave where the central thread expands in winding lines. Free deviations, they evoke Internet browsing or virtual games where the browser /gamer ends up discovering things beyond their search field. Just like the unconscious in a dream, diving into the Internet can lead to shifts and surprising contiguities. Lyndi Sales reminds us that parallel worlds – virtual or dreamlike – are also fields of an expanded reality.

Going from the specific to reach the universal, Lyndi Sales explores fundamental structures and symbols through a diversity of cultures and fields of knowledge. The chosen shape, medium and technique carry as much signification as the subject matter.
Chance, hope, transformation, chaos, harmony, movement, observation, quest for love and infinity… Lyndi Sales’ rhizome-like work embraces very widely to show the impermanence and fragility of fundamental conditions. I found a rainbow butterfly once explores the multivocity of a whole and offers a unitary vision of existence.

b a c k g r o u n d
Lyndi Sales has been widely exhibited for over fifteen years (United States, Europe, Australia, Asia and South Africa). In 2011, she represented South Africa in the 54^th Venice Biennale.
Her works are part of a large number of prestigious collections: The National Gallery of Art, Washington; New York Public Library, NYC; Library of Congress, Washington DC; McGill University, Montréal; Arthur and Matta Jaffe Collection, Florida Atlantic University; Jack Ginsberg artist book collection, South Africa; Ernst & Young, ABSA, Telkom (South Africa) and Red Bull, Austria.
In France, Lyndi Sales is represented in the collections of the FRAC Normandie Rouen and the collection of the Société Générale.
Lyndi Sales has also created a considerable number of monumental commissions for private and public clients: Mandela stone installation for Norton Rose in Johannesburg in 2012, Satellite telescope for Cape Town University in 2013, an installation for Facebook (Johannesburg, 2017) and the mural work Chaos and flow, love and fear for Texas A&M College of Engineering (Brian, 2018).
The Galerie Maria Lund has welcomed three personal exhibitions of the artist (In transit – 2009; Passive surveillance – 2012 ; Lumière préternaturelle – 2014) and has shown her works in several fairs (KIAF – Séoul, 2017 ; Art Paris, 2015 ; Art on paper – Brussels, 2013; Drawing Now - Paris, 2011; Slick art fair – Paris, 2011; Chic dessin – Paris, 2010).
During the summer 2014, her installation Audience was presented at the Bon Marché Rive Gauche, Paris.

Elmgreen & Dragset PERROTIN

Galleries — Sun, 07 Oct 2018 16:29:13 +0000

Perrotin Paris is pleased to announce an exhibition of new works by Elmgreen & Dragset, their first solo show in the city since the duo mounted a one-day installation at the Grand Palais in the fall of 2016. Michael Elmgreen and Ingar Dragset have worked together for more than twenty years, in a wide range of media. They create sculptures and installations that often echo early land art or Minimalist aesthetics, but engage with current, social, and existential issues surrounding both public space and everyday designs, and how these influence our behavior and mindsets.
Their new body of sculptural works continues the artists’ ongoing interest in how we interact withspatial contexts.

In a new large-scale installation on the ground floor of the gallery, the entire room seems to have chewed up an expanse of urban streetscape. The massive, broken shards of asphalt stack up like the wreckage left in the wake of an arctic icebreaker and recall both Caspar David Friedrich’s The Sea of Ice (1824) and early land art projects by Michael Heizer and Richard Long. Their flat black surfaces are embedded here and there with the remnants of common street fixtures—the anchor pole for a lost traffic sign, twisted metal that may have once been a bike rack. These tools that once were used both to limit and to encourage social use of public space are now gone or at least useless. But what happened to them, who is to blame, and what comes next are questions left for the viewer to puzzle out.

Examined in strictly formal terms, this composition in black, grey, and silver has a unified beauty. Yet it is just as undeniable that viewers would feel inconvenienced if they encountered a similar—albeit probably less pristine—stack of debris on the street. Through the artists’ finely-tuned design decisions, we as viewers are able to perceive this image of dysfunctional public space in a dangerously pleasing manner. The installation not only raises questions about our shared public spaces, but also about the setting of the gallery itself, by displacing the broken pieces of the street and presenting them within the bourgeois grandeur of the private gallery room.

The contemporary white cube figures quite literally in the exhibition’s next work, a polished stainless steel street sign with no instructions or warnings to be found. Titled “Adaptation”, this new series of mirrored signage reflects the spatial context: instead of a warning or a direction printed on the sign board’s surface, the viewer will see the image of him- or herself in the space. The street sign is here reduced to pure form, which adapts to its surroundings rather than being a tool for controlling and directing.

Galerie Maria Lund – Paris 3

Galleries — Mon, 15 Nov 2010 20:42:26 +0000

Sense and senses

This play on words underlines the tension that exists between appealing to the senses – a language specific to the fine arts – and an art work’s capacity to provoke reflection and eventually a more profound understanding of existence. The plurality which can be found in both ‘sense’ and ‘senses’ – lying between narrative, fantasy, organic, tangible universe and consideration for matter – reflects the artistic choices of the GALERIE MARIA LUND. A wide range of expressions are represented: painting, drawing, sculpture, photo, video and installation. GALERIE MARIA LUND has a deep attachment for the contemporary ceramic and glass scene.