{"id":949,"date":"2021-03-20T17:11:32","date_gmt":"2021-03-20T16:11:32","guid":{"rendered":"https:\/\/bis-art.com\/?page_id=949"},"modified":"2024-08-03T09:38:27","modified_gmt":"2024-08-03T07:38:27","slug":"edition2018-artistes","status":"publish","type":"page","link":"https:\/\/bis-art.com\/index.php\/edition2018-artistes\/","title":{"rendered":"Edition2018 Artistes"},"content":{"rendered":"\n
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Edition 2018 – Les artistes et leurs oeuvres<\/span><\/h3>\n\n\n
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Vincent Barr\u00e9<\/strong><\/a><\/span>
Colonne 3\/4, 2011
Deux anneaux cannel\u00e9s,\u00a0<\/strong>2009<\/strong>
La sculpture de Vincent Barr\u00e9 s\u2019exprime en un large champ de formes allant de l\u2019abstrait au presque narratif. Dans des th\u00e8mes qui empruntent souvent aux mythes, \u00e0 l\u2019histoire de l\u2019art occidental, ses formes sont porteuses d\u2019images, de sens, de symboles qu\u2019il s\u2019applique \u00e0 communiquer par des \u0153uvres ayant une forte pr\u00e9sence dans l\u2019espace. Sa recherche s\u2019est traduite, selon les circonstances, dans des mat\u00e9riaux et des techniques contrast\u00e9es : bois, acier, verre, fonte de fer, fonte d\u2019aluminium, bronze \u00e0 la cire perdue.
Les deux sculptures pr\u00e9sent\u00e9es \u00e0 Saint-Paul de-Vence, sont r\u00e9alis\u00e9es en fonte d\u2019aluminium, \u00e0 partir de mod\u00e8les perdus d\u00e9coup\u00e9s dans le polystyr\u00e8ne selon une technique qu\u2019il ne cesse de mettre en oeuvre depuis 1999, dans un registre de plus en plus minimal et \u00e9pur\u00e9 :\u00a0Colonne 3\/4<\/em>\u00a0(2010) \u00e0 trois faces et quatre \u00e9l\u00e9ments empil\u00e9s \u00e9voque une architecture dont ne subsisterait qu\u2019un fragment;\u00a0
Deux anneaux cannel\u00e9s (2009),\u00a0<\/em>larges pi\u00e8ces gigognes d\u00e9coup\u00e9es dans le m\u00eame bloc, pos\u00e9es au sol, comme les pi\u00e8ces d\u2019une improbable m\u00e9canique.\u00a0<\/p>\n

Vincent Barr\u00e9\u2019s sculptural work communicates across a broad range of forms from the abstract to the virtually narrative. Using themes that often borrow from mythology and Western art history, his shapes portray images, meaning and symbols to communicate through works having a strong spatial presence. Depending on the context, his research translates into technically-contrasting materials: wood, steel, glass, cast iron, die-cast aluminum, lost-wax bronze\u2026..
<\/em>The two sculptures shown in Saint-Paul de Vence, are made from die-cast aluminum, using \u201clost\u201d models cut out from polystyrene, a technique that he has continued to employ since 1999 in an increasingly minimalist and pared down way :\u00a0
<\/em>Colonne 3\/4\u00a0(2010) Column \u00be: 3-sided with 4, stacked elements, conjuring up an architecture of which only a fragment remains ;\u00a0
<\/em>Deux anneaux cannel\u00e9s (2009), Two fluted rings: \u00a0large \u201cnesting\u201d pieces cut from the same block, placed on the ground like components of an improbable mechanical structure\u2026<\/em><\/p>\n<\/div>\n\n\n\n

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Jan Fabre<\/strong><\/a><\/span>
L\u2019Homme qui porte La Croix, 2015
<\/strong>Depuis plus de 40\u00a0ans, Jan Fabre (n\u00e9 \u00e0 Anvers en 1958) occupe une place pr\u00e9pond\u00e9rante en tant que l\u2019un des acteurs majeurs les plus innovants de la sc\u00e8ne artistique contemporaine \u00e0 l\u2019\u00e9chelle internationale. En sa qualit\u00e9 d\u2019artiste plasticien, d\u2019homme de th\u00e9\u00e2tre et d\u2019auteur, il a cr\u00e9\u00e9 un univers extr\u00eamement personnalis\u00e9 r\u00e9gi par ses propres r\u00e8gles, lois, personnages, symboles et motivations.\u00a0
L\u2019Homme qui porte la croix (2014) est une sculpture en bronze repr\u00e9sentant un homme faisant tenir une croix en \u00e9quilibre dans le creux de sa main. \u00ab Croyons-nous en Dieu, ou ne croyons-nous pas ? La croix qui tient en \u00e9quilibre sur le bras de l\u2019homme cristallise cette question\u00bb, avait d\u00e9clar\u00e9 l\u2019artiste lors de l\u2019installation permanente de l\u2019\u0153uvre dans la cath\u00e9drale d\u2019Anvers. L\u2019\u00e9quilibre n\u2019est jamais aussi beau qu\u2019\u00e0 son point de rupture.<\/p>\n

For more than 40 years, Jan Fabre, who was born in Anvers in 1958, has figured prominently as one of the most innovative leading artists on the contemporary, international art scene. Spanning disciplines like theatre, the visual arts and writing, this multidisciplinary artist has created a highly personalized universe governed by his own rules, laws, characters, symbols and driving forces. The Man Who Bears the Cross (2014) is a bronze sculpture of a man who is balancing a huge cross in the palm of his hand. When the sculpture was installed at its permanent home in Antwerp Cathedral Fabre said, \u201cDo we believe in God, or not? The cross that teeters in the man\u2019s\u00a0 hand sums up this very question.\u201d Balance is never so alluring as when it is on the verge of tipping.<\/em><\/p>\n<\/div>\n\n\n\n

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Antony Gormley<\/strong><\/a><\/span>
Big switch,\u00a02014<\/strong>
BIG SWITCH appartient \u00e0 l\u2019ensemble des\u00a0BLOCKWORKS (2003-2018) qui ont pour d\u00e9nominateur commun une structure se d\u00e9veloppant \u00e0 partir de blocs pixellis\u00e9s. Chaque bloc s\u2019inscrit dans un espace qui lui est propre. Au fur et \u00e0 mesure, la dynamique entre espace et masse impr\u00e8gne toute la sculpture de sorte que\u00a0l\u2019empilement des blocs les uns sur les autres donne le sentiment d\u2019habiter un corps.<\/p>\n

BIG SWITCH is part of the BLOCKWORKS (2003-2018) collection share a common denominator \u2013 a structure developed from pixellated blocks. Each block fits into its very own space. The dynamic between space and mass gradually permeates the entire sculpture, so that the stacking of the blocks on top of each other gives the feeling of inhabiting a body.<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Wang Keping<\/strong><\/a><\/span>
Renaissance, 2010<\/strong>
WANG\u00a0Keping\u00a0est l\u2019un des membres les plus \u00e9minents de l\u2019avant-garde artistique de la fin des ann\u00e9es 1970 en Chine. Il r\u00e9alise depuis 1984 en France,\u00a0\u00e0 travers un langage de formes universel dont\u00a0Renaissance<\/em>\u00a0(2010) est l\u2019expression m\u00eame,\u00a0une \u0153uvre reconnue internationalement comme l\u2019une des contributions les plus fortes et les plus originales \u00e0 la sculpture contemporaine.<\/p>\n

WANG\u00a0Keping\u00a0is one of the most prominent members of the artistic avant-garde movement of the end of the 1970s in China. He has produced works in France since 1984, using universal shapes like Renaissance\u00a0(2010) to communicate his craft. His work is internationally acclaimed as one of the greatest and most original contributions to modern sculpture.\u00a0<\/em><\/p>\n<\/div>\n\n\n\n

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Arik Levy<\/strong><\/a><\/span>
Rock Shift Giant, 2011<\/strong>
\u00ab\u00a0La cr\u00e9ation est un muscle incontr\u00f4l\u00e9\u00a0\u00bb \u00a0
Arik Levy (n\u00e9 en 1963)
Artiste, technicien, photographe, designer, vid\u00e9aste, Arik L\u00e9vy combine les talents multi-disciplinaires et expose son travail dans des mus\u00e9es et des galeries de prestige \u00e0 travers le monde. Connu du grand public pour ses sculptures, et notamment les fameux\u00a0\u00ab\u00a0Rock\u00a0\u00bb ou\u00a0\u00ab\u00a0Rochers\u00a0\u00bb, Levy produit aussi des installations, des objets de design ainsi que des \u00e9ditions limit\u00e9es. Sa grande exp\u00e9rience l\u2019a aussi amen\u00e9 \u00e0 travailler dans la sc\u00e9nographie et le graphisme. Originaire d\u2019Isra\u00ebl, il vit et travaille aujourd\u2019hui \u00e0 Paris.\u00a0<\/p>\n

\u201cCreation is an uncontrolled muscle\u00a0\u00bb\u00a0<\/em>
Arik Levy (born 1963)<\/em>
Artist, technician, photographer, designer, video artist, Levy\u2019s skills are multi-disciplinary and his work can\u00a0be seen in prestigious galleries and museums worldwide. Best known publicly for his sculptures \u2013 such as\u00a0his signature Rock pieces \u2013, Levy also produces installations, limited editions and design and has experienced the fields of\u00a0set design for stage and graphic design. Originally from Israel,\u00a0Levy currently lives and works in Paris.<\/em><\/p>\n<\/div>\n\n\n\n

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Vincent Mauger<\/strong><\/a><\/span>
Sans titre, 2017<\/strong>
N\u00e9 en 1976 \u00e0 Rennes. Vit et travaille \u00e0 Cholet.
Vincent Mauger a suivi une formation \u00e0 l\u2019\u00c9cole des Beaux-Arts d\u2019Angers puis a poursuivi \u00e0 Paris au sein de l\u2019atelier de Richard Deacon. Sa sculpture a pour ambition de formaliser des \u00ab\u00a0espaces mentaux\u00a0\u00bb, projet qu\u2019il m\u00e8ne \u00e0 l\u2019aide de mat\u00e9riaux ordinaires le plus souvent associ\u00e9s \u00e0 l\u2019id\u00e9e de construction, donc de m\u00e9tamorphose. Les parpaings, tuyaux, tubes PVC, ou les morceaux de bois qu\u2019il utilise sont assembl\u00e9s, usin\u00e9s, superpos\u00e9s, accroch\u00e9s ou pos\u00e9s\u2026 Ces espaces mentaux prennent la forme \u00ab\u00a0d\u2019imageries virtuelles ou scientifiques\u00a0\u00bb, sortes de topographies ou de mod\u00e8les 3D qu\u2019il met en relation avec les espaces occup\u00e9s, du\u00a0white cube\u00a0\u00e0 la chapelle en passant par le jardin,\u00a0sur des fa\u00e7ades XIXe comme modernes. Ses sculptures\u00a0in\u00a0situ s\u2019apparentent \u00e0 des excroissances. Un jeu entre urbanisme et organisme, motif et\u00a0pattern, croissance et inertie.\u00a0<\/p>\n

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Born in 1976 in Rennes, Vincent Mauger lives and works in Cholet.
<\/em>He trained at the \u00c9cole des Beaux-Arts in Angers and then went to Paris to join Richard Deacon\u2019s studio. He seeks, through his sculptures, to give form to \u00ab\u00a0mental spaces\u00bb, a project he conducts using ordinary materials \u2013 often associated with building \u2013 a true metamorphosis: building blocks, pipes, PVC tubing or bits of wood\u2026Mauger brings them all together, works them, superimposes them, hangs them up or simply places them\u2026.\u00a0 These \u201cmental spaces\u201d take the form of\u00a0 \u201cvirtual or scientific imagery\u201d: types of topographies or 3D models that he associates with occupied spaces, from the\u00a0white cube\u00a0to the chapel, the garden, the 19th<\/sup> century and even modern fa\u00e7ades\u2026His sculptures\u00a0in\u00a0situ take on the appearance of excrescences. This is a game between urbanism and organism, motif and pattern, growth and inertia.\u00a0<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Tania Mouraud<\/strong><\/a><\/span>
Mots M\u00eal\u00e9s \u2013 SMAPT, 2018<\/strong>
Intervention au sol avec des bacs en bois dans lesquels sont plant\u00e9s des plants de lavande en fleur int\u00e9grant l\u2019odorat dans l\u2019exp\u00e9rience esth\u00e9tique.
La forme est issue d\u2019un g\u00e9n\u00e9rateur de mots m\u00e9l\u00e9s dans lequel j\u2019ai entr\u00e9 la phrase\u00a0 de l\u2019op\u00e9ra Einstein on the beach <\/em>\u00a0(Phil Glass et Bob Wilson)
TOUT DOIT AVOIR UNE FIN SAUF MON AMOUR POUR TOI<\/p>\n

Ground level work \u2013 wooden flower boxes filled with blossoming and scented lavender, creating a truly sensorial experience.\u00a0<\/em>
My inspiration for the shape comes from a word search generator into which I entered this phrase from Einstein on the beach \u00a0(Phil Glass et Bob Wilson):<\/em>
EVERYTHING MUST HAVE AN ENDING EXCEPT MY LOVE FOR YOU<\/em><\/p>\n<\/div>\n\n\n\n

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David Nash<\/strong><\/a><\/span>
Torso, 2011<\/strong>
N\u00e9 en 1945 \u00e0 Esher (Angleterre). Vit et travaille \u00e0 Blaenau Ffestiniog (Pays de Galle).
<\/em>David Nash travaille depuis les ann\u00e9es 1970 \u00e0 Blaenau Ffestiniog, dans une ancienne chapelle qu\u2019il a reconvertie en studio. Sculpteur d\u2019atelier comme d\u2019ext\u00e9rieur \u2013 il travaille parfois directement en for\u00eat -, toute sa cr\u00e9ation se con\u00e7oit comme un long dialogue avec la nature. David Nash n\u2019incarne pas cette figure de l\u2019artiste-d\u00e9miurge, insufflant la vie \u00e0 la mati\u00e8re, plut\u00f4t celle d\u2019un homme agissant en compl\u00e8te \u00e9conomie avec son mat\u00e9riau. Celui qu\u2019il privil\u00e9gie est le bois pour la diversit\u00e9 de ses essences et de ses propri\u00e9t\u00e9s : masse, densit\u00e9, texture, ligne, r\u00e9sistance, couleur. David Nash refuse de consid\u00e9rer la mati\u00e8re qu\u2019il emploie comme masse inerte. Ainsi, le bois lui fournit \u00e0 la fois une source d\u2019inspiration et d\u2019\u00e9tude, une mati\u00e8re premi\u00e8re et un horizon. Torso<\/em>\u00a0(2011) une pi\u00e8ce en bronze repr\u00e9sentant un large tronc (l\u00e9g\u00e8rement vrill\u00e9 et tr\u00e8s nervur\u00e9) et l\u2019origine de ses deux branches radicales coup\u00e9es, joue avec les jeux d\u2019\u00e9vocation de la nature et de l\u2019histoire de l\u2019art. Ce faux-tronc \u00e9voque effectivement les torses vrill\u00e9s et expressifs de la sculpture grecque dans sa p\u00e9riode hell\u00e9nistique (peut-\u00eatre une r\u00e9f\u00e9rence au\u00a0Laocoon<\/em>).<\/p>\n

Born in 1945 in Esher (England). Lives and works in Blaenau Ffestiniog Wales).<\/em>
David Nash has worked in Blaenau Ffestiniog since the 1970s, using a re-converted old chapel as his studio.\u00a0\u00a0 Being both an indoor and outdoor sculptor \u2013 he sometimes works out in the forest itself \u2013 his creations conceptualize a lengthy dialogue with nature. David Nash does not embody the image of an artist-demiurge breathing life into matter but rather that of a man who is scrupulously economical with his materials.\u00a0 His preferred choice is wood, for the diversity of its species and qualities: mass, density, texture, lines, solidity, colour. David Nash refuses to view the material he uses as an inert mass.\u00a0 For him, wood is both a source of inspiration and a broadening experience \u2013 a raw material and an outlook.\u00a0 Torso\u00a0(2011) is a bronze piece representing a trunk that is slightly twisted and very grainy: the origin of the two radically cut branches interplays evocative games between Nature and the History of Art. This imitation trunk actually brings to mind the twisted and expressive torsos of Greek sculptures during the Hellenistic period and perhaps even alludes to Laocoon.\u00a0<\/em><\/p>\n<\/div>\n\n\n\n

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Jean-Pierre Raynaud<\/strong><\/a><\/span>
Autoportrait, 1980-1986<\/strong>
\u00ab\u00a0Chaque fois que je r\u00e9p\u00e8te un m\u00eame geste, j\u2019ai l\u2019impression que je suis plus fort.\u00bb
<\/em>Jean Pierre Raynaud dans un entretien avec Pierre Restany, 1983
Pierre Restany, Les Symboles du lieu\u00a0, l\u2019habitation de l\u2019homme, Paris 1983
Une \u0153uvre autoportrait\u00a0: Une maison comme double psychique de son corps. La statue sous la forme de ses autoportraits<\/em> s\u2019inscrit dans le volume d\u2019une st\u00e8le quadrangulaire, \u00e0 peine suggestive d\u2019une structure anthropomorphe. Raynaud construit une architecture solide, nette, hygi\u00e9nique, d\u2019une nudit\u00e9 totale \u00e0 l\u2019ext\u00e9rieur, polie comme un briquet. On aura compris que l\u2019\u0153uvre de Raynaud est absolument autobiographique et beaucoup plus proche du proc\u00e9d\u00e9 du romancier et du po\u00e8te que du sculpteur. C\u2019est la reconstruction d\u2019un univers mental au moyen des objets signes.<\/p>\n

\u00ab\u00a0Each time I repeat the same gesture I feel stronger.\u201d <\/em>
Jean Pierre Raynaud during an interview with Pierre Restany, 1983<\/em>
Pierre Restany, Les Symboles du lieu, l\u2019habitation de l\u2019homme, Paris 1983A self-portrait: the house as a psychic double of his body. The statute as it appears in his Self-portraits becomes part of the spatial substance of a quadrangular headstone, hinting at an anthropomorphic structure. Raynaud produces a solid, clean, clinical architecture, stripped bare outside and with the polished finish of a cigarette lighter. We can see that Raynaud\u2019s work is completely autobiographical and much more akin to a novelist\u2019s or poet\u2019s approach than that of a sculptor. This is the reconstruction of a mental universe through symbolic objects.<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Vladimir Skoda<\/span><\/a><\/span>
Une seule direction ?, 2004-2009
<\/strong>Les pointes en acier intitul\u00e9es\u00a0Une seule direction<\/em>\u00a0(2004 \u2013 2009) fendent l\u2019espace et d\u00e9signent les hauteurs infinies du cosmos. Elles osent un contre-pied tr\u00e8s brancusien \u00e0 ses\u00a0Sph\u00e8res<\/em>.\u00a0Denses et l\u00e9g\u00e8res \u00e0 la fois, elles semblent puiser dans le sol une force tellurique va jusqu\u2019\u00e0 chatouiller les nuages.\u00a0<\/p>\n

The steel spikes called One Direction (2004 \u2013 2009) pierce through space and point to the infinite heights of the cosmos. They offer a daring and very Brancusi-esque contrast to the artist\u2019s Spheres.\u00a0Solid and light at the same time, they seem to draw telluric energy from the ground, channeling it to tickle the clouds above\u2026.\u00a0<\/em><\/p>\n<\/div>\n\n\n\n

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Agn\u00e8s Thurnauer<\/strong><\/a><\/span>
Matrice (joie), 2018<\/strong>
Agnes Thurnauer est une artiste franco-suisse n\u00e9e en 1962. Elle vit \u00e0 Paris et travaille \u00e0 Ivry. Elle s\u2019int\u00e9resse au langage pictural. Ces tableaux associent souvent images et mots pour une mise en r\u00e9sonance du sens de l\u2019oeuvre. Cette plasticit\u00e9 du langage a trouv\u00e9 sa forme en trois dimensions avec l\u2019exposition de moules de lettres induisant la parcourabilit\u00e9 du regard comme du corps. R\u00e9v\u00e9l\u00e9 au public par une exposition au Palais de Tokyo en 2003, le travail d\u2019Agn\u00e8s Thurnauer n\u2019a cess\u00e9 depuis d\u2019\u00eatre expos\u00e9 dans de grands institutions fran\u00e7aises et internationales (Centre Pompidou \u00e0 Paris,\u00a0Mus\u00e9e des beaux-arts d\u2019Angers et de Nantes, Mus\u00e9e Unterlinden \u00e0 Colmar, SMAK \u00e0 Gand, SAM \u00e0 Seattle..), dans des biennales et centres d\u2019art (Biennale de Lyon, Biennale de Cambridge, Kunsthalle Bratislava, Yermilov Center Kharkiev). Ses oeuvres font partie de nombreuses collections publiques et priv\u00e9es.<\/p>\n

Agnes Thurnauer is a Franco-Swiss artist born in1962. She lives in Paris and works at Ivry. Pictorial language holds a particular fascination for her. In her paintings she often associates pictures and words to give resonance to the meaning of each individual work. This plasticity of language takes on a 3-dimensional, physical form with the letter-shaped moulds exhibited, inviting the gaze of the onlooker. First unveiled to the public during an exhibition in the Palais de Tokyo in 2003, Agn\u00e8s Thurnauer\u2019s work has since continued to be shown in major French and international institutions (Centre Pompidou in Paris,\u00a0Mus\u00e9e, the Angers and Nantes Beaux-arts, the Unterlinden museum in Colmar, SMAK in Gand, SAM in Seattle..) as well as in biennials and art centres (Biennale in Lyon, Biennale in Cambridge, Kunsthalle Bratislava, Yermilov Center Kharkiev). Her works can be found in numerous public and private collections.<\/em><\/p>\n<\/div>\n\n\n\n

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Morgane Tschiember<\/strong><\/a><\/span>
\u00ab There\u2019s always been this problem of how to make colour and how to deal with it as a thing in itself, just as the material is.\u00bb (Donald Judd)
<\/strong>En hommage \u00e0 Miro, Morgane Tschiember r\u00e9active l\u2019action minimale et radicale que Joan Miro fit \u00e0 La fondation Maeght.
Tracer une ligne, tout en se promenant, sans jamais perdre le fil \u2026<\/p>\n

In hommage to Miro, Morgane Tschiember revives the minimalist and radical approach that Joan Miro used at the Maeght Foundation.<\/em>
Draw a line, whilst walking, without ever losing the thread\u2026\u2026<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Henk Visch<\/strong><\/a><\/span>
Du livre du matin, 2018<\/strong>
N\u00e9 \u00e0 Eindhoven (Pays-Bas) en 1950. Vit et travaille \u00e0 Eindhoven et Berlin.
<\/i>Lorsque\u00a0Henk<\/span>\u00a0Visch<\/span>\u00a0se met \u00e0 la sculpture, dans les ann\u00e9es 1980, ses cr\u00e9ations se situent dans l\u2019esprit de ses dessins et dans l\u2019air du temps. Son int\u00e9r\u00eat pour la figuration anthropomorphique, l\u2019utilisation de la couleur et son choix de mat\u00e9riaux traditionnels comme le bois et le bronze co\u00efncident avec le climat post-moderne de l\u2019\u00e9poque. Depuis, il alterne entre figuration et abstraction mais il a pr\u00e9serv\u00e9 cette app\u00e9tence pour la figure humaine. Pour\u00a0Henk<\/span>\u00a0Visch<\/span>, le corps n\u2019est pas le r\u00e9ceptacle d\u2019une quelconque identit\u00e9 de l\u2019homme ; il vit, grandit, souffre, se marque, absorbe. Il \u00e9volue. Les figures en bronze qu\u2019il r\u00e9alise ont des poses marqu\u00e9es, des membres allong\u00e9s ou pas de membre du tout, des positions mani\u00e9ristes, voire serpentines. C\u2019est une sculpture expressive, malgr\u00e9 la sobri\u00e9t\u00e9 du traitement des visages g\u00e9n\u00e9ralement contemplatifs, gr\u00e2ce \u00e0 ces positions exag\u00e9r\u00e9es qui incarnent tour \u00e0 tour l\u2019affection ou l\u2019acceptation, la souffrance ou la d\u00e9tresse, la curiosit\u00e9\u2026 Pour ses expositions,\u00a0Henk<\/span>\u00a0Visch<\/span>\u00a0cr\u00e9e fr\u00e9quemment de vastes dispositifs o\u00f9 le choix des sculptures et leurs positions ouvrent la voie \u00e0 de multiples narrations. Il est aussi l\u2019auteur d\u2019une soixantaine de sculptures install\u00e9es dans l\u2019espace urbain.\u00a0<\/p>\n

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Born in Eindhoven (Holland) in 1950. Lives and works in Eindhoven and Berlin.
<\/span><\/em>When\u00a0Henk<\/span>\u00a0Visch<\/span>\u00a0turned his hand to sculpture during the 1980s, his creations were both in the spirit of his drawings and in tune with the times. His interest in anthropomorphic figures, the use of colour and his choice of traditional materials like wood and bronze coincided with the then post-modern climate. Since that time, he has alternated between the figurative and the abstract but still retaining this partiality he has for the human form. For\u00a0Henk<\/span>\u00a0Visch<\/span>, the body is not simply the vessel of Man\u2019s identity; it lives, it grows, it suffers, is marked, it absorbs\u2026.. It evolves. The bronze figures he creates hold striking poses; have elongated limbs or none at all; adopt Mannerist and almost snake-like postures. These exaggerated poses, which each convey emotions like affection, acceptance, suffering, distress or curiosity make for expressive sculpture despite the sparing portrayal of the generally contemplative faces. \u00a0\u00a0For his exhibitions,\u00a0Henk<\/span>\u00a0Visch<\/span>\u00a0frequently creates large-scale installations where the selection of sculptures and their positioning sets the stage for a whole range of possible narratives. He has also produced around sixty sculptures in urban spaces.<\/span><\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Artiste s\u00e9lectionn\u00e9 par le jury<\/p>\n

Simon B\u00e9rard<\/strong><\/a><\/span>
Le raisonnement est\u00a0la petite monnaie de\u00a0<\/strong>l\u2019intelligence, 2018<\/strong>
\u201c\u00a0<\/span>Et au centre il scie ; on ne sait pas tr\u00e8s bien ce qu\u2019est cette branche mais l\u2019issue ne saurait tarder. On reste suspendu dans cet avant-la-chute. Et il scie sans soucis, le sourire aux l\u00e8vres.\u00a0<\/span>\u201d
<\/span>Une oeuvre issue du jardin\u00a0simonberard.garden<\/i>, lieu conceptuel d\u2019o\u00f9 travaille l\u2019artiste.<\/p>\n

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\u201c And at the centre, he saws; we do not really know what this branch is but the outcome is imminent. We remain suspended in the before-the-fall. And he saws, unperturbed, with a smile on his face.\u201d
<\/span><\/span>A work from the garden simonberard.garden, a conceptual space where the artist works.<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Artiste s\u00e9lectionn\u00e9e par le jury<\/span><\/p>\n

Gabrielle Conilh de Beyssac<\/a><\/span>
<\/span>Rocking, 2014
<\/strong>Mise en mouvement, la sculpture\u00a0Rocking<\/em>\u00a0bascule tout au long de sa tranche et retrace la ligne de sa silhouette au sol. Elle\u00a0d\u00e9ploie un mouvement ample dans l\u2019espace, elle se dresse jusqu\u2019\u00e0 ses extr\u00eames en faisant\u00a0vibrer l\u2019acier qui \u00e9met un son grave et r\u00e9gulier. Le Geste, la trace et le son se retrouvent r\u00e9unis dans une exp\u00e9rience vertigineuse, entretenue par la main du visiteur.\u00a0Install\u00e9e\u00a0sur le fameux terrain de p\u00e9tanque de Saint-Paul-de-Vence,\u00a0Rocking<\/em>\u00a0s\u2019int\u00e8gre dans cette ambiance de jeu conviviale et joyeuse.<\/p>\n

When set in motion, the sculpture Rocking, oscillates along its entire rim and outlines its own form on the ground. The spatial movement is full and the sculpture stands tall as it pitches to each extremity, making the steel resonate with a regular and deep sound. Placed on the boules pitch in St Paul de Vence, Rocking fits perfectly into the atmosphere of a fun and convivial game.<\/em><\/p>\n<\/div>\n\n\n\n

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Artiste s\u00e9lectionn\u00e9e par le jury<\/span><\/p>\n

Isabelle Giovacchini<\/strong><\/a><\/span>
G\u00e9omancie, 2018<\/strong>
Isabelle Giovacchini est n\u00e9e en 1982 \u00e0 Nice, o\u00f9 elle vit actuellement. Son travail, qu\u2019il soit en images, en vid\u00e9os ou sculptural, sollicite le champ lexical de la photographie pour cr\u00e9er un ensemble de fictions qui deviennent ensuite des \u0153uvres. Pour la Biennale internationale de Saint-Paul-de Vence, elle a imagin\u00e9 un lac aux contours reprenant ceux de la Mer M\u00e9diterran\u00e9e et dont le relief sous-marin a \u00e9t\u00e9 trait\u00e9 en n\u00e9gatif pour \u00e9difier, par un proc\u00e9d\u00e9 d\u2019inversion, une \u00eele montagneuse. Inspir\u00e9 des th\u00e9ories de la d\u00e9rive des continents et du r\u00e9chauffement climatique, G\u00e9omancie anticipe ainsi la cr\u00e9ation possible d\u2019un nouveau massif issu de la collision des plaques africaine et eurasienne.<\/p>\n

Isabelle Giovacchini was born in 1982 in Nice where she continues to live. Her work \u2013 ranging from images, videos or sculptures \u2013 harnesses a photographic vocabulary to create a series of stories that then go on to becomes artistic pieces. For the international Bienniale in Saint-Paul-de Vence, she has imagined a lake whose outline resembles that of the Mediterranean Sea and whose underwater terrain has been inverted, rather like a black-and-white negative, to produce a mountainous island. Inspired by theories of continental drift and global warming, G\u00e9omancie foretells the possible creation of a new landmass created by the collision of the African and Eurasian tectonic plates.\u00a0<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Artiste s\u00e9lectionn\u00e9 par le jury<\/span><\/p>\n

Quentin Spohn<\/strong><\/a><\/span>
Sans-titre, 2015-2018
<\/strong>Le travail de Quentin Spohn s\u2019articule autour du dessin \u00e0 la pierre noire ou\u2028au graphite, \u00e0 partir duquel il con\u00e7oit\u2028des paysages ou des portraits de grand format, entre vision critique sur le monde et distorsions surr\u00e9alistes. Des images narratives, dans un imaginaire naviguant entre Dado, la peinture am\u00e9ricaine des ann\u00e9es 30, les Bandes dessin\u00e9es de Crumb et la science- ction.
L\u2019installation pr\u00e9sent\u00e9e pour la Biennale de Saint-Paul de Vence est une r\u00e9activation d\u2019une pi\u00e8ce ant\u00e9rieure, r\u00e9alis\u00e9e il y a 5 ans \u00e0 la Villa Arson, dans le cadre de mon dipl\u00f4me. Repens\u00e9e par rapport \u00e0 un nouvel espace (la Chapelle Notre Dame de la Gardette) et au contexte actuel, celle-ci a \u00e9t\u00e9 profond\u00e9ment remani\u00e9e et continuera d\u2019\u00e9voluer\u2026\u00a0 \u00a0un grand dessin notamment l\u2019accompagnera, r\u00e9alis\u00e9 sur une voile durant le temps de la r\u00e9sidence que j\u2019effectue \u00e0 Saint Paul de Vence jusqu\u2019\u00e0 mi-juillet.\u00a0<\/p>\n

Quentin Spohn\u2019s work revolves around black stone or graphite drawings, from which he creates large-scale landscapes or portraits, between a critical vision of the world and surrealist distortions. Narrative images, in an imaginary world navigating between Dado, American painting of the 1930s, Crumb\u2019s comics and science- ction.
<\/em>The installation presented for the Biennial of Saint-Paul de Vence is a reactivation of a previous piece, created 5 years ago at the Villa Arson, as part of my degree. Rethought in relation to a new space (the Chapelle Notre Dame de la Gardette) and to the current context, it has been profoundly reworked and will continue to evolve\u2026 a large drawing in particular will accompany it, made on a sail during the time of my residency in Saint Paul de Vence until mid-July.<\/em>
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\u00c9dition 2018 ><\/a><\/strong><\/span><\/p>\n

Le jury ><\/a><\/strong><\/span>
Nos remerciements ><\/a><\/strong><\/span><\/p>\n\n\n

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