matali crasset will unveil Vino Sospeso for the ‘Mindblowing’ exhibition at La Cité du Vin in Bordeaux next month. Unique and ethereal, the nomadic “drinking object” Vino Sospeso produced by the CIAV glassmakers in Meisenthal, will hang from the branches of an imaginary tree, as an invitation to a tasting surrounded by nature. Lire la suite…
Didier Fiúza Faustino will show “A Home is not a Hole, Monument to emptiness” at the Guggenheim Bilbao from the 5th of December 2018 until the 28th of April 2019 as part of the exhibition “Architecture effects”. Curated by Troy Conrad Therrien and Manuel Cirauqui, the exhibition presents an innovative look at the correlations and connections between art and architecture in the digital era. Lire la suite…
After Bistro! From Baudelaire to Picasso (2017) and Wine and Music, concords and discords (2018), La Cité du Vin presents Mind-blowing! When art and design meet glassfrom 15 March to 30 June 2019. In a refined setting, the exhibits will sometimes be functional, but more often symbolic or re-purposed. Creations from Gaetano Pesce, Hubert Le Gall, Achille Castiglioni, Arik Levy, Jean-Michel Othoniel or Philippe Starck will rub shoulders with original works from Matali Crasset and the film-maker Jérôme de Gerlache, created especially for the exhibition. Mind-blowing!has been created by the Foundation for Wine Culture and Civilisations and guest curator Bettina Tschumi. Lire la suite…
Street artist l’Atlas imagine a graphic collection for Secret d’Atelier. This unconventional designer very keen on writing and calligraphy mirrors this particular interest into his work by his own typography, the final goal being to frame a universal language by merging geometric shapes with abstract art. Works as graffiti and painted facades made him widely known ; moreover Jules Dedet Granel gets invited by famous brands and houses such as Perrier, Agnès B. or Maison Guerlain to bring an alternative touch to their collections or stores.
For their first Parisian solo show, David Brognon & Stéphanie Rollin will present « Call (809) 610 – WAIT », a new series of works, at the untilthen gallery as of the 8thof September 2018. Installation, sculpture, photos and straw marquetry embark us upon a peculiar kind of time travel, one where the act of waiting keeps us hanging in a state of limbo. This very subject has become an obsession for both artists. Since 2008 David Brognon and Séphanie Rollin have built an impressive corpus dedicated to time, its measure, its passing, its meanders and dead-ends. “The world is a waiting room. As of our birth we are trapped on a timeline where death is the natural yet unpredictable outcome, give or take a few years. Our daily activities are but a mere artifice aimed at cheating the waiting game. Our works are always a description of this wait between hope, resignation and impatience. Yet, the languor of the wait is also the impassioned state where movement begins. A gestation before the birth of action.” Lire la suite…
Upon the invitation of David Brognon and Stéphanie Rollin, Robert Samuel is waiting in the church of Saint-Savinien for the 8th Melle Biennial in France. In 2012 Robert Samuel invented a new profession: the line sitter, waiting in line for others. The Same Ole Line Dudes team, as he named his company, stand in lines all throughout New York for impatient consumers who lust after the new IPhone or for front-row seats to a show but don’t want the inconvenience and hassle of a cue which can sometimes last several days. By filling a contemporary need, Robert Samuel has become a new benchmark to measure time. Lire la suite…
On June 21st2018, the Pierre Budin Elementary School, located in the heart of the Goutte d’Or in Paris’ 18th arrondissement, launched the sound piece “Train Your Bird to Talk” by David Brognon and Stéphanie Rollin. “Train Your Bird to Talk” is the new bell for the school, where the call to begin or end lessons will be chanted in Silbo, a whistled language used on the Canary Islands’ La Gomera. “Train Your Bird to Talk” is a permanent artwork pursuing the Budin School’s privileged relationship with contemporary art. Initiated by the Budin School’s director Pierre Perrin with the participation of the school’s teachers and pupils, the art commission was executed within the framework of the Fondation de France’s Nouveaux commanditaires procedure. The commission was also supported by the Mairie du 18ème, the Service d’Horlogerie de la Ville de Paris, the Ars Ultima Stein-Guillot endowment fund and the Untitlthen Gallery. The commission was implemented by Jérôme Poggi and Thomas Conchou, accredited mediators for the Fondation de France’s Nouveaux commanditaires procedure within the not-for-profit SOCIETIES structure. Lire la suite…
Didier Faustino unveils the Delete Yourself chair at PlusDesign Gallery in Milan as a prefiguration of his XYZ lounge opening in may in Gand (Belgium). XYZ is the first restaurant and lounge’s interior design completed by Didier Faustino with his unique rock n roll and nomadic style. The Delete your self chair will be showcased in a group show at Plus Design Gallery named “U-JOINTS Equations of Universal Lifestyle » with Erwan & Ronan Bouroullec, Pierre Charpin, Konstantin Grcic, Dirk Vander Kooij, Martino Gamper, Jonathan Nesci, Alvar Aalto, Jasper Morrison, Michael Marriott, Adrien Rovero, Tomas Alonso, Brynjar Sigurdarson, Aldo Bakker, Wieki Somers, Enzo Mari… Lire la suite…
Zidoun-Bossuyt gallery is pleased to announce the first exhibition of British artist Danny Fox. The history of Skid Row in Downtown Los Angeles, where Danny Fox works and which informs Blood Spots on Apple Flesh, pivots on the stories of migrants. Formerly an agricultural center, the 54-block area was transformed by railroads in the 1870s, becoming a hub for recent arrivals with its brothels, bars, and seedy hotels. Throughout the twentieth century, the district welcomed those displaced by the currents of history. Lire la suite…
Initiated in 2014, The Unmanned is a long-term project by Fabien Giraud and Raphaël Siboni in the form of a series composed of three seasons. This vast epic, while mimicking the classic form of a great narrative, offers a history of technique that is not one of instruments and tools to serve human production, but a history of man himself as a technological production. From this reversal – and ourselves as artifacts – gradually emerges, throughout the series, an image of history as the unlimited form of our own uprooting. Lire la suite…