OPENING APRIL 25th, 2014

OPENING APRIL 25th, 2014
YEAH AND LOOK WHERE IT GOT US !
from April 25th to May 31st, 2014
group show
Jean-Baptiste Bernardet
Dora Budor
Gabriele de Santis
Bryan Dooley
Donna Huanca
Éric Mistretta
Piotr Lakomy
Kasper Sonne
67 rue de la régence, Brussels, 1000 Belgium. info@moncheri.co - www.moncheri.co
Donna Huanca
Performance inaugurale, vue d’installation, monCHÉRI, 25 avril 2014, Bruxelles, BE / Opening performance, installation view,
monCHÉRI, April 25th, 2014, Brussels, BE
Donna Huanca
Performance inaugurale, vue d’installation, monCHÉRI, 25 avril 2014, Bruxelles, BE / Opening performance, installation view,
monCHÉRI, April 25th, 2014, Brussels, BE
Donna Huanca
Untitled (#1 Painting), 2014
152 x 122 x 12 cm / 60 x 48 x 5 inches
tissu peint sur cadre / textil painted on canvas
Donna Huanca
vue d’installation / installation view
«Yeah and look where it got us», group show, 25.04 / 31.05.2014
Vue d’exposition / Exhibition view
«Yeah and look where it got us», group show, 25.04 / 31.05.2014
Piotr Lakomy
Need Room, 2013
styromousse, ampoules / styrofoam, lightbulbs
60 x 60 x 60 cm / 23 5/8 x 23 5/8 x 23 5/8 inches
de gauche à droite / from left to right :
Kasper Sonne
Borderline (new Territory) No. 28
2013
peinture industrielle, toile brûlée / industrial paint, fire on canvas
150 x 120 cm / 59 x 47 1/4 inches
Borderline (new Territory) No. 27
2013
peinture industrielle, toile brûlée / industrial paint, fire on canvas
150 x 120 cm / 59 x 47 1/4 inches
Vue d’exposition / Exhibition view
«Yeah and look where it got us», group show, 25.04 / 31.05.2014
Jean-Baptiste Bernardet
Sans Titre (retour)
2014
huile sur toile / oil on canvas
100 x 85 cm / 39 x 33 inches
Vue d’exposition / Exhibition view
«Yeah and look where it got us», group show, 25.04 / 31.05.2014
Vue d’exposition / Exhibition view
«Yeah and look where it got us», group show, 25.04 / 31.05.2014
de gauche à droite / from left to right :
Jean-Baptiste Bernardet,
Untitled (screen II)
2014
huile sur toile / oil on canvas,
205 x 290 cm / 80 x 114 inches
Bryan Dooley,
Sunset White #2
2014
sérigraphie, impression numérique sur miroir et acier poli / silkscreen, digital print on mirror-polished steel : 170 x 140 cm / 66 6⁄5 x 55 1⁄8 in.
2 blocs de ciment / 2 concrete blocks : 35 x 22 x 12 cm / 13 x 8 x 4 in.
de gauche à droite / from left to right :
Dora Budor
Amygdala
2014
112 x 66 cm / 44 x 26 inches
verre, acrylique, métal, maquillage d’effets spéciaux / glass screen, metal, acrylic, special effect make up
Kasper Sonne
Untitled (flag) No. 7
2013
208,3 x 125 cm / 82 x 50 inches
moquette sur toile / commercial carpet on canvas
Vue d’exposition / Exhibition view
«Yeah and look where it got us», group show, 25.04 / 31.05.2014
Piotr Lakomy
Untitled
2014
plaque d’aluminium polie et imprimée / polished aluminium printing plates
183 x 75 x 3cm / 72 x 29 x 1,5 inches
Éric Mistretta
Climax
2014
bas tendus sur toile / stockings over canvas
70 x 46 cm / 27x 18 7/6 inches
Vue d’exposition / Exhibition view
«Yeah and look where it got us», group show, 25.04 / 31.05.2014
YEAH AND LOOK WHERE IT GOT US
C’est à Venise au cours du XVIIIe siècle que sont nés les premiers «botteghe del caffè», précurseurs de nos bars et
cafés actuels, sans oublier bien sûr les chocolateries qui rivalisaient d’inventivité en modifiant les recettes existantes
et en en créant de nouvelles. En 1760, le journal Gazzetta Veneta fit écho de la popularité de ce produit devenu
rapidement extrêmement répandu. Jusqu’alors, l’on considérait le chocolat comme un remède universel, lui prêtant
des propriétés miraculeuses. Cet engouement a entrainé une augmentation démesurée de la culture du cacao au
Brésil, au Venezuela, en Martinique et aux Philippines, pendant que de nombreuses villes en Europe se sont faites
un nom grâce à la qualité de leur chocolat. Citons entre autres Turin, qui avec une production quotidienne de 350 kg,
exportait vers l’Autriche, la Suisse, l’Allemagne et la France, pays dans lesquels s’est progressivement découverte
une véritable passion.
En 2013, dans l’un de ces cafés typiques de la ville de Turin, lors d’une conversation en dégustant un Mon Chéri
(le célèbre petit chocolat exquis, dont le cœur fondant est fait d’une cerise trempée dans sa liqueur) deux galeries
parisiennes, VALENTIN et JEANROCH DARD, ont imaginé de s’associer. Sans hésitation aucune, elles ont choisi
Bruxelles, autre capitale du chocolat.
monCHÉRI, un subtile mélange de goûts à l’origine d’une saveur unique, dont l’esprit embrassera les nuances rapides
de couleurs en constante évolution. Conçu telle une nouvelle combinaison, l’espace aura comme objectif premier de
donner à voir le travail des jeunes artistes contemporains les plus prometteurs.
Voici les ingrédients de cette nouvelle recette :
Piotr Łakomy, Jean-Baptiste Bernadet, Kasper Sonne, Bryan Dooley, Gabriele De Santis, Dora Budor, Éric Mistretta
and Donna Huanca.
Laissez libre cours à votre curiosité – venez goûter le nouveau «monCHÉRI» !
In eighteenth century Venice the first coffee houses were born, forerunners of our bars, they were, of course, also
chocolate shops which raced to modify the existing recipes and invent new versions. In 1760 the Gazzetta Veneta
documented the now enormous diffusion of the product. Until the eighteenth century, chocolate was considered a
remedy for all ills, and it was attributed with miraculous properties. The cultivation of cocoa in Brazil, Venezuela,
Martinique and the Philippines increased disproportionately, while many European cities gained esteem and fame
for working with chocolate, such as Turin, which had a production of 350 kg per day, exported mainly to Austria,
Switzerland, Germany and France, where little by little chocolate became a passion for many.
In 2013, in one of the Turin’s characteristic coffee houses, while conversing and enjoying a Mon Chéri (a famous small
and exquisite chocolate with a heart of cherry, soaked in liquor) the Parisian galleries VALENTIN and JEANROCH
DARD conceived of a joint venture. Immediately after they exclusively chose this location in Brussels.
A meeting of tastes which generates a unique flavor and a spirit that embraces the fast and ever changing shades
of colour. The contrast between two elements, the strength of the interior which reflects the intent of the new Belgian
space. It focuses on the challenge of offering the contemporary art world the best young artists. It was designed as a
new combination, whose flavor is not yet well known.
The ingredients? Yes, these:
Piotr Łakomy, Jean-Baptiste Bernadet, Kasper Sonne, Bryan Dooley, Gabriele De Santis, Dora Budor, Eric Mistretta
and Donna Huanca.
Are you curious to taste the new «monChéri»?
Domenico de Chririco
JEAN-BAPTISTE BERNADET
Sans titre (Retour)
2014
huile sur toile / oil on canvas
100 x 85 cm / 39 x 33 inches
JEAN-BAPTISTE BERNADET
Jean-Baptiste Bernadet (né en 1978 à Paris, FR) vit et travaille à Bruxelles, BE.
Jean-Baptiste Bernardet peint des tableaux abstraits, dans des formats très différents, le plus souvent à l’huile, mais
il recourt parfois à la laque, au spray, aux paillettes ou à des collages. Il commence à travailler avec une vague idée
de sujet — disons, le paysage — mais sans jamais viser la représentation ou l’illustration. Il veut éviter les marqueurs
picturaux qui trahiraient une identification à de la peinture abstraite : grands coups de pinceaux expressifs, présence
du geste, virtuosité, lyrisme, etc… À l’écoute de la plasticité du matériau et des gestes qu’il lui imprime, il s’efforce
de laisser faire les choses, de laisser la peinture elle-même diriger le processus par lequel elle est produite : chaque
marque, trace, couleur est une étape transitoire, qui mène à la suivante, puis à la suivante, encore.
Les peintures de Bernadet peuvent être faites avec des mots, ou à propos des mots, ou de mots. Ses textes, souvent
en anglais, empruntent la forme de slogans, d’injonctions, ou de confessions plus ou moins désespérées : Halo,
Vicious, Hola Conquistador, I Will Run After You, Back To Reality, I Want Muscles. Il arrive que ces fragments de textes
soient les bribes dérisoires de chansons pop un peu vaines, et c’est peut-être dans leur vacuité même que réside leur
intérêt. Les tableaux exhortent, roucoulent, se lamentent, murmurent… le traitement pictural même, à l’instar de la
musique pop, se partage entre précision millimétrée et torrent d’émotions sirupeuses.
Diplômé des Beaux-Arts de Rennes, et de l’École Nationale Supérieure des Arts Visuels de la Cambre, Jean-Baptiste
Bernardet à collaboré à de nombreuses expositions de groupe parmi lesquelles au WIELS, Bruxelles, (2009 et 2010),
à la galerie Galerie Crèvecoeur, Paris (2009), au Musée des Beaux-Arts de Tourcoing (2005), la Galerie Catherine
Bastide, Bruxelles (2004). Des expositions personnelles lui ont été consacrées chez Maes & Matthys, Antwerp ;
Baronian_Francey, Bruxelles (2010); Galerie les Filles du Calvaire, Bruxelles ; Konsortium, Dusseldorf (2007).
Jean-Baptiste Bernadet (b. 1978 in Paris, FR) lives and works in Brussels, BE.
The French artist Jean-Baptiste Bernadet works in painting and sculpture. His paintings are abstract and come in
different sizes, from very small to large. Bernadet may start with some notion of subject—an idea about landscape,
for example—but there is no attempt to portray or represent. Similarly, he tries to avoid those marks and markers that
have come to signify “abstract painting”: big brushy brushwork, gestural sleight-of-hand, etc. Instead his aim is to let
the painting itself direct the process by which it is made. An initiating mark, or a color, might act as a hypothesis of sorts,
a provisional statement which leads to another, then another. There is a skepticism built in to the process, a humorous
dubiety and doubt. Sometimes the artist’s work features texts-paintings “of,” or “with,” or ?about? words. The texts,
usually but not always in English, take the forms of slogans, injunctions, semi-abject confessions: Halo, Vicious, Hola
conquistador, I will run after your, Back to reality, I want muscles. Some of these text-snippets are cropped from pop
songs, and their vacuity is perhaps part of the attraction—Bernadet has compared himself to a foreign rock musician
singing in English. Thus the paintings exhort, croon, bemoan, and babble. The paint handling itself, like any good pop
song, is equal parts painstaking exactitude and unabashed glop.
Jean-Baptiste Bernadet was educated at the Ecole Supérieure des Beaux-Arts in Rennes, France, and the École
Nationale Supérieure des Arts Visuels - La Cambre in Brussels. He has participated in many group shows since
2000 at such venues as WIELS, Brussels (2009 and 2010), Galerie Crèvecoeur, Paris (2009), Musée des BeauxArts de Tourcoing (2005), and Galerie Catherine Bastide, Brussels (2004). He has had solo exhibitions at, among
others, Maes & Matthys, Antwerp, Baronian_Francey, Brussels (2010); Galerie les Filles du Calvaire, Brussels; and
Konsortium, Dusseldorf (2007).
JEAN-BAPTISTE BERNADET
Born 1978 in Paris (FR)
Lives and works in Brussels (BE)
Selected Solo exhibitions
2014
Fugue, Rod Barton Gallery, London, UK
2013 On Knowing & Not, Karma, New York, US*
Mise en Abyme, Casado Santapau Gallery, Madrid, SP
Scenic Drive, Marfa Book Company Gallery, Marfa, Texas, US*
Wichiti, (with Koen Delaere), Gerhard Hofland, Amsterdam, NL
2012 FIVE W and ONE H, TORRI Booth at ArtRotterdam, Rotterdam, NL
Dirty Windows, (with Patrick Brennan), Toomer Labzda, New York, US
Bernadet - Platéus, (with Benoît Platéus), Au 8 rue Saint-Bon, Paris, FR
2011
Réservoir, Galerie Saks, Geneva, CH
Jean Baptiste Bernadet, Project Space Renwick Gallery, New York, US
Fortune, TORRI, Paris, FR
Bernadet - Platéus, (with Benoît Platéus), Middlemarch, Brussels, BE
If There Is A Chance, (with Benoît Platéus), Karma, New York, US*
Anonymous, (with Xavier Noiret-Thomé), curated by Devrim Bayar, Hunting & Collecting, Brussels, BE*
2010
Another Roadside Attraction, Chinati Foundation, Marfa, Texas, US
Never Forgive, Never Forget, Project-Room Baronian_Francey, Brussels, BE
What Happens Here, Stays Here, Maes & Matthys Gallery, Antwerp, BE
2009
Let’s Talk About Painting I, with Eva Nielsen, curated by Clément Dirié, Le Stand, Lyon, FR
2008
A Total Eclipse Of My Heart, Galerie Xprssns, Hamburg, DE
Winter For A Year, Project-Room Galerie les Filles du Calvaire, Brussels, BE
Spring Break, with Martin Laborde, Speedy Wash - WIELS Offsite, Brussels, BE
2007
This Is Not America, Konsortium, Düsseldorf, DE
Happy End, Chapelle des Calvairiennes, Mayenne, FR
2006
Gravity Always Wins, with Simon Jaffrot, Galerie Bortier, Brussels, BE
Selected group exhibitions
2014
Yeah and look where it got us !, monCHÉRI, Brussels, BE
<< < > >>, Super Dakota, Brussels, BE
OUTRESOL, Curated by Joel Riff and Mathieu Buard, Johan Fleury de Witte, Paris, FR
2013
Void, Super Dakota, Brussels, BE
J. Degottex, J.B. Bernadet, T. Smalley, K.J. Varadi, Ricou Gallery, Brussels, BE
The Ocean Before Me, Espace Le Commun, Geneva, CH
Young Belgian Art Prize, Palais des Beaux-Arts de Bruxelles, Brussels, BE*
JB Bernadet, Israel Lund, Landon Metz, Olivier Mosset, TORRI, Paris, FR
JB Bernadet, Israel Lund, Kyle Thurman, Josh Smith, TORRI, Paris, FR
Jam Session, Galerie Saks, Geneva, CH
Let’s Talk (Again) About Painting, curated by Clément Dirié and Eva Nielsen, Centre d’art de Guyancourt, FR
2012
Drawing Quote !, Commissaire d’exposition Nick Oberthaler, Pigna Project Space, Rome, IT
Matterdaddy, curated by Israel Lund and John Roebas, Angstrom Gallery, Dallas, Texas, US
Chronique Curiosité, curated by Joël Riff, Villa Noailles, Hyères, FR
The Final Frontier, The Atlantic Conference, Brooklyn, New York, US
13 Peintres et Moi, curated by Pascal Bernier, Royal Skating - Valérie Bach, Brussels, BE
Texture/Material, Klemm’s Gallery, Berlin, DE
Nothing, ENSA, Nancy, FR
See You There, Middlemarch, Brussels, BE
2011
Karma, White Flags Projects, Saint-Louis, Missouri, US
Christmas Jewels, 8 rue Saint-Bon, Paris, FR
Dark Vision, Galerie SAKS, Geneva, CH
Vigoureuse Affection, Adrien Vescovi studio, Ivry-sur-Seine, FR.
Another Idea Of Landscape, curated by Samuel François, ENSA, Nancy, FR
2010
The Old Sow Sent Them Out To (...), curated by Martin Laborde, Wiels Project Room, Brussels, BE
The Small Show, Maes & Matthys, Antwerp, BE
55ème Salon de Montrouge, Montrouge, FR
2009
169A2, curated by Éric Stéphany & Xavier Mazarol, private apartment, Paris, FR
Short Tracks, Wiels Contemporary Art Center, Brussels, BE
Let’s Talk About Painting II, curated by Clément Dirié, Le Stand, Lyon, FR
There Is No(w) Romanticism, Galerie les Filles du Calvaire, Brussels, BE
Overlap, curated by Agnès Violeau, Galerie Crèvecoeur, Paris, FR
Portraits de Famille, curated by Adrien Vescovi, Utile Ignorance, Strasbourg, FR
This Is No Ordinary Love, Bernadet, Laborde, Meert, Galerie Frédéric Desimpel, Brussels, BE
2008
Don’t Ask Me To Dance, Hôtel Noailles, Brussels, BE
Zero Gravity, École Supérieure d’Art de Metz, Metz, FR*
2007
Pink Screens, curated by Éric Croës, Cinéma Nova, Brussels, BE
Alone In The Dark, curated by Justin Morin, Galerie Bortier, Brussels, BE
2006
2005
Maïs 2006, Festival, Brussels, BE
Code/Strate, curated by Code Magazine, Parking La Monnaie, Brussels, BE
2004
Des dessins et des autres – partie II, Galerie Catherine Bastide, Brussels, BE
Baete, Bernadet, Bruère, Noiret-Thomé, Musée des Beaux-Arts, Tourcoing, FR
Grants & residencies
2013
Laureate Young Belgian Prize, Palais des Beaux-Arts de Brussels, BE*
Residency, Lauenen, CH*
2012
Residency l’Institut Français – Triangle Studio, New York, US
Prix Meurice pour l’Art Contemporain (selected artist), Paris, FR
Residency, Lauenen, CH
2011
Residency, La Pratique, Vatan, FR
Residency, APT Studios x Residency Unlimited, Brooklyn, New York, US
Second Prize, BNP Paribas Fortis Belgium Young Talents Awards, BE
2010
Residency, Chinati Foundation, Marfa Texas, US
Suddenly Last Summer, Residency, Beauchéry Saint-Martin, FR
2008
Ariane de Rotschild Artprize (selected artist), Brussels, BE
2005
First prize, Art’Contest, Brussels, BE
* Catalogue
DORA BUDOR
Amygdala
2014
verre, acrylique, métal, maquillage d’effets spéciaux / glass screen, metal, acrylic, special effect make up
112 x 66 cm / 44 x 26 inches
DORA BUDOR
Dora Budor (née en 1984 à Zagreb, CR) vit et travaille à New York, US.
Le travail de l’artiste mélange et remixe l’image numérique, l’installation sculpturale, la vidéo et la performance dans
une exploration et une réinterprétation des images esthétiques et comportementales, qui nous parviennent du monde
de l’entreprise et de l’industrie du divertissement. Dans la série exposée à MonCHÉRI, Dora Budor fait appel au
maquillage d’effets spéciaux et aux accessoires cinématographiques pour s’interroger sur la représentation de la
violence sur grand écran. Que ce soit avec des prothèses pour son film d’horreur, Splinter, ou en travaillant avec
des spécialistes des effets spéciaux dans un procédé de rétroingénierie des blessures des personnages du film
Blade Runner, ses œuvres font référence aux divers stades de la production audiovisuelle, de l’objet initial à l’image
numérique.
Entre 2004 et 2012 Dora Budor collabore avec Maja Cule dans le duo D+M participant à de nombreuses manifestations
internationales tels qu’aux Stadium, NY ; Kunsthalle de Bergen ; Kunsthaus Bethanien, Berlin ; Higher Pictures, New
York, parmi tant d’autres. Des expositions personnelles du duo furent organisées chez Arcadia Missa, Londres ;
Perfect Present, Copenhague ; Suzanne Geiss Company, New York ; ainsi qu’au Palazzo Peckham durant la 55ème
Biennale de Venise. Dora Budor a participé dernièrement à des expositions collectives à la New Galerie, Paris ;
Nottingham Contemporary, Londres. L’artiste est actuellement en résidence au Quartier21 à Vienne.
Dora Budor (b. 1984 in Zagreb, CR) lives and works in New York, US.
Dora Budor merges and remixes digital media, sculptural installation, video and performance to explore and
reinterpret universal behavioural and aesthetic patterns coming from the contemporary corporate environment and
the entertainment industry. In the series of works presented at MonCHÉRI, Budor uses special effects’ make-up and
movie props to explore the representation of violence on the cinematic screen. By purchasing leftover productionmade skin prosthetics from the horror movie «Splinter», or working with special effects companies to reverse-engineer
the injuries of characters in Blade Runner, in these works the artist refers to the various stages of film production,
between the material and digital image.
These visual representations of pain are removed from their conventional setting and left floating in the vacuum of
transparent screens, objects which may alternatively blur or darken as the viewer’s body moves around those works in
a physical space. These spatial variables make reference to the viewer’s body as the ultimate site for the consumption
of images and the point of reference against which those representations may be measured.
From 2004 and 2012 Dora Budor worked as part of an artist duo D+M, their works were exibited at Stadium, NY; Higher
Pictures, NY; Interstate, NY; CEO Gallery, Malmö; Kunsthaus Bethanien, Berlin, among others. Recent exhibitions
include solo shows at Perfect Present, Copenhagen; DIS, Suzanne Geiss Company, NY; Palazzo Peckham for 55th
Venice Biennale. Dora Budor is currently artist-in-residence at Quartier21 in Vienna.
DORA BUDOR
Born 1984, Zagreb (CR)
Lives and works in New York (US)
Selected solo exhibitions
2014 Action Paintings, 247365, Brooklyn, New York, US
2013 New Lavoro, Palazzo Peckham at the 55th Venice Biennale, Venice, IT
Skin That Drinks, Perfect Present, Copenhagen, DK
(In collaboration with Maja Cule, as D+M)
2012 Dear D+M, Arcadia Missa, London, UK
BodySurfing, Stadium Gallery, New York, US
KnockOff, OktoberDans, Kunsthall Bergen, NO
Memory Foam, curated by Alex Freedman, Spring Break Art Show, New York, US
Universal Appeal, CEO gallery, Malmo, SE
2011
Mobile Phones Treatment & Sp33dGuided Art Tour, Performing Europe, Salzburg, AT
Substitutes for Present Sense, Performing Europe, Szene Salzburg, AT
Selected group exhibitions
2014
Yeah and look where it got us !, monCHÉRI, Brussels, BE
Disown, curated by DIS magazine and Agatha Wara, New York, US
Skins VS Shirts, New Galerie , New York, US
2013 Insider Sports, Control Room, Los Angeles, US
Surface Tension, curated by Franklin Melendez, Andreas Huber Galerie, Vienna, AT
89+Marathon, (with Joshua Citarella), Serpentine Galleries, London, UK
Hot Rare Signed, HHDM, Vienna, AT
Rematerialized, curated by Toke Nielsen, New Galerie, Paris, FR
On Demand, curated by Candice Jacobs, One Thoresby Street, London, UK
Dry Wipe, curated by Candice Jacobs, Nottingham Contemporary, Nottingham, UK
Post-Body Projections, curated by Victoria Dejaco, 0gms, Sofia, BG
DisImages, curated by DIS magazine, DIS Image Studio, New York, US
2012 Ad Book, project by BFFA3AE, Badlands Unlimited, Apple iTunes, New York, US
From Me 2 U, From U 2 Me, curated by Parker Ito, Untitled Art Fair, Art Basel Miami, US
Plausible Manner, curated by Jaakko Pallasvuo, Titanik gallery / Turku Modern Museum, Turku, FI
That Can Be My Next Status, Window Gallery, Auckland, AU
Brand Innovations for Ubiquitous Authorship, curated by Artie Vierkant, Higher Pictures, New York, US
Important Things, curated by Rachel de Joode, Interstate Projects, New York, US
Bad Girls of 2012, curated by Jamie Sterns, Interstate Projects, New York, US
Its Hardly Softcore, curated by Janus Høm & Mikkel Carl, BKS Garage, København, DK Next Time, performance festival curated by Colin Self, White Box, New York, US
Gifpumper Project, Eyebeam Studios, New York, US
twothousandtwelve, CEO gallery, Malmo, SE
2010 Black & White & Read All Over, NP Contemporary Art Center, New York, US
Residencies & Awards
2013 Rema Hort Foundation Grant Nomination
Artist-In-Residence at Quartier21, Vienna, AT
2012 Artist-In-Residence at Tanzfabrik, Uferstudios, Berlin, DE
2011
Newcomer Artist for Performing Europe, Advancing Performing Arts Project (APAP 2011 – 2016)
GABRIELE DE SANTIS
“)))))))”
2014
acrylique et bande adhésives sur toile, roues de skateboard / acrylic, adhesive tape on canvas, skateboard wheels
150 x 100 x 10 cm / 59 x 39 x 3 inches
GABRIELE DE SANTIS
Gabriele De Santis (né en1983 à Rome, IT) vit et travail à Rome, IT.
Le travail de Gabriele De Santis se développe autour du mot et de l’ambigüité de l’écrit, l’humour qui transparait dans
la vie quotidienne et la façon par laquelle ces deux univers distincts peuvent s’entremêler dans une œuvre d’art.
Dans une évocation des classiques italiens, Gabriele de Santis porte son intérêt sur l’iconographie de la ponctuation.
«Je suis vraiment intéressé par la référence au language - les parenthèses précisent le sens d’une phrases, sans en
être dépendante sur le plan syntaxique. D’une manière similaire, cette série est une tentative d’ajouter un contexte
supplémentaire à la peinture. Je joue avec les hiérarchies de fond et de premier plan. Le simple ‘(‘ forme un sourire.
D’autres parenthèses ressemblent à des moustaches, des notes de musique ou des ustensiles. J’aime aussi l’idée
que le marbre prenne tellement de temps à se former. Ces dalles ont été des témoins du monde depuis des siècles.»
Après une formation à l’International Summer fur bildende Künste, de Salzurg, Gabriele De Santis est diplômé en
Arts plastiques de l’Université de Londres. En 2010, il reçoit le Prix Moroso pour l’art contemporain et participe à de
nombreuses expositions de groupe à Milan, Londres, Udine et Vérone. En 2012 il est invité au MACRO à Rome,
dans l’exposition Re-Generation, par les commissaires Ilaria Gianni et Maria Alicata. Ses projets à venir incluent deux
expositions personnelles, au Mostyn Oriel, à Wales organisé par Adam Carr et à la Frutta gallery à Rome.
Gabriele De Santis (b.1983 in Rome, IT) lives and works in Rome, IT.
His work is continuously developing around the modular contexts of the written word and its ambiguity, the humour
of everyday life and how both of these can intertwine with artworks. Harking back to the Italian classics, Gabriele De
Santis focuses on punctuation as iconography.
«I am really interested in the reference to language – parenthesis gives extra information or context to sentences. In a
similar manner, this series is an attempt to add extra context to painting. I am playing with the hierarchy of background
and foreground within painting. Other works in the series play with the ambiguity of language and the symbols that
create it. The simple ‘(‘ parenthesis mark is rotated, forming a smile. Other parenthesis marks seem to become
mustaches, music notes or utensils. I also like the idea the marble takes so long to form. Those slabs have been
witness to the world for centuries.»
After his participation to the International Summer fur bildende Künste in 2009, Gabriele De Santis entered at the
University of London, starting a MA in Visual Arts. In 2010 he received the Moroso Award for Contemporary Art and
within two years has participated in numerous group exhibitions, exposing among others in Milan, Udine and Verona.
In 2012 he was invited to exhibit his works at the MACRO in Rome, in the exhibition Re-Generation, curated by Ilaria
Gianni and Maria Alicata. Upcoming exhibitions include two solo shows, at Mostyn Oriel, Wales, UK curated by Adam
Carr and Frutta gallery, Rome.
GABRIELE DE SANTIS
Born 1983 in Rome (IT)
Lives and works in Rome (IT)
Selected solo exhibitions
2014
Project Room, Valentin, Paris, FR
Frutta Gallery, Rome, IT
Solo show, curated by Adam Carr, Mostyn Oriel Museum, Wales, UK
2013
Limoncello, London, UK
Cura Commercial Rd. project, London, UK
Looking for a madeleine in Baalbek, Galerie Diana Stigter Backspace, Amsterdam, NL
2012
Suck My Disney, Frutta, Rome, IT
Selected group exhibitions
2014
Yeah and look where it got us !, monCHÉRI, Brussels, BE
2013
Knock-off, curated by Brooke Babington and Liang Luscombe, USSR, Melbourne, AU
New Works #1, Sprovieri, London, UK
Grand Opening, Frutta, Rome, IT
Private Collection selected by #1 / Anneke Eussen, Tatjana Pieters, Gent, BE
Mappa, page 2, curated by Adam Carr, Nomas Foundation, Rome, IT
Chinese Whispers, Cura Basement, Rome, IT
Wanna be a masterpiece, curated by Ilaria Marotta, ISCP, New York, US
Footnotes, curated by Valentinas Klimašauskas, CAC, Vilnius, LT
Fessure, curated by Ermanno Cristini, Museo della Ceramica di Cerro, Laveno, IT
2012
The Way Things Go , Part 1 : We will disappear you, curated by Adam Carr, Frutta, Rome, IT
Metamorphosis, curated by Andrea Bruciati Galleria d’Arte Moderna di Udine, Udine, IT
Art-o-Rama, Marseilles, FR
Re-Generation, curated by Ilaria Gianni e Maria Alicata, MACRO, Rome, IT
Tutti al Mare…, Frutta, Rome, IT
2011
On Stage, curated by Andrea Bruciati, Verona, IT
Hear Me Out, curated by Cecilia Casorati and Claudio Libero Pisano, CIAC Genazzano, Rome, IT
Remake Argonauti, curated by Andrea Bruciati and Alice Ginaldi, Galleria Metropolitana, Gorizia, IT
Beyound “Liminal Experience”, curated by Francesco Scasciamacchia, Vault, Prato, IT
Il Ramo d’Oro, curated by Andrea Bruciati and Eva Comuzzi, Fondazione Giovanni da Udine, Udine, IT
2010
Moroso Award for Contemporary Art 2010, curated by Andrea Bruciati, GCAC, Monfalcone, IT
Il Raccolto d’Autunno Continua ad Essere Abbondante, curated by Chiara Agnello and Milovan Farronato, Docva, Milano, IT
To be destroyed, 10 Floors Project, curated by Lucy Woodhouse and Huw Chaffer, London, UK
Seven 7 artists | 7 curators, Conduits, Milan, IT
La Danse Macabre, curated by JCU students and coordinated by Ilaria Gianni Nomas Foundation, Rome, IT
2009
Emotional Community, curated by Teresa Macrì, Monitor gallery, Rome, IT
Mi Ricordo di Noi, curated by Lorenzo Bruni, Dryphoto Arte contemporanea, Prato, IT
Usine des reves, curated by Cecilia Casorati, 26cc, Rome, IT
Awards
2010
Moroso Award for Contemporary Art 2010, GC.AC Monfalcone, Special mention
Curatorial Projects
2013
AB, Nomas Foundation, Rome, IT
BRYAN DOOLEY
Sunset white #2
2014
sérigraphie, impression numérique sur miroir et acier poli / silkscreen, digital print on mirror-polished steel :
170 x 140 cm / 66 6⁄5 x 55 1⁄8 inches
2 blocs de ciment / 2 concrete blocks : 35 x 22 x 12 cm / 13 x 8 x 4 inches
BRYAN DOOLEY
Bryan Dooley (né en 1987 à Leeds, UK) vit et travaille à Londres, UK.
Bryan Dooley explore la tension entre la photo et l’objet, remettant ainsi en cause la capacité des images à communiquer.
Le travail de Dooley, à la fois graphique et formel, suspend le spectateur dans le temps présent, en dehors du plan
de l’image.
Chaque œuvre est l’archétype de l’inconnu : le langage photographique est brisé car, au fur et mesure que l’image
se transforme en indice, le signifiant culturel se réduit au niveau d’un simple mot clef, semblable à celui utilisé par
une banque d’images (ville, coucher de soleil, casquette, steak, oranger...). Dooley se sert d’impressions Laser, de
la sérigraphie et de film PVC autocollant pour construire sur les bases du langage photographique, jouant sur les
répétitions et l’instabilité.
Bryan Dooley a été diplômé en 2012 du Royal College of Art de Londres. Ses travaux ont dernièrement été exposés
au SPA Projects, Los Angeles ; chez Rod Barton, Eighty One gallery, Chewday’s et au ICA à Londres ; mais également
chez Minninger à Cologne et à la Peter Lav Gallery de Copenhague.
Une première monographie de l’artiste intitulée Gold County Real Estate a été publiée par Études books en 2013.
Bryan Dooley (b.1987 in Leeds, UK) lives and works in London, UK.
Dooley’s practice explores and exploits the tension between photography and the object, questioning the image’s
ability to communicate. Both graphic and formal, Dooley’s work suspends the viewer above the picture plane, within
the present. The singular image asks little of the viewer, as it is in fact the tenuous and banal link between image and
form that engages him/her.
The single and triple-panelled works suggest a transition to the final piece, their arrangement accidental, by
happenstance. The works become archetypes of an unknown. The vernacular of photography is ruptured and as
images become indexes, cultural signifiers and are reduced to a form of stock image keyword (city sunset, baseball
cap, steak, orange tree), the image neither fulfilling nor dissatisfying the viewers gaze. Dooley uses LaserJet prints,
silkscreen and self-adhesive vinyl, building upon a photographic language through repetition of the image and the
instability of the image plane.
The panels, populated with images simultaneously iconic and banal offer the viewer an indexical ground in constant
flux. The silk-screen symbols/imagery offer an even further reduced, formal impression of the image, yet still allowing
enough for the viewer to excavate and produce their own reading, thereby exploiting the viewer’s expectation of where
the image ends and the object begins.
In 2012, Bryan Dooley graduated with an MA in Fine Arts from the Royal College of Art London. Recent exhibitions
were presented at SPA Project, Los Angeles; Rod Barton, Eighty One gallery, Chewday’s, ICA, in London ; Minninger,
Cologne; Peter Lav Gallery, Copenhaguen.
Dooley’s body of work entitled Gold County Real Estate was also published by Etudes books in an edition in 2013.
BRYAN DOOLEY
Born in 1987 in Leeds (UK)
Lives and works in London (UK)
Selected Solo Exhibitions
2014
False Grip Demo, curated by Chewday’s, SPA Projects, Los Angeles, US
2013
Rabbit is Rich, Rod Barton, London, UK
Selected Group Exhibitions
2014 Yeah and look where it got us !, monCHÉRI, Brussels, BE
Pre-pop to Post-human, Collage in the Digital Age, Hayward Gallery and Touring, London, UK
2013 They Live, Shanaynay Gallery, Paris, FR
Comrades of time, Cell Space Projects, London, UK
Constructed, factual and reality, S1 works, Sheffield, UK
Performance Fetish, SWG3 gallery, Glasgow, UK
Open Plan, Eighty One gallery, London, UK
Ivan’s Ecstasy, Chewday’s, London, UK
DIS Magazine, (Online Project) Image studio, New York, US
Seb Koberstadt, Marianne Spurr, Bryan Dooley, Fiebach, Minninger, Cologne, DE
2012
Apples, apples, apples, Peter Lav Gallery, Copenhagen, DK
New Contemporaries, ICA, London, UK*
New Contemporaries, Liverpool, UK
Show, Royal College of Art, London, UK
Sleeping Upright, One Thoresby Street, Nottingham, UK
Heat, Twelve Around One Gallery, London, UK
NADA Cologne, Rod Barton, Cologne, Germany, DE
Breach, Rod Barton, London, UK
Sraunus, awa Gallery, Amsterdam, NL
2011
Booklet Tokyo, Utility Canvas, Tokyo, JP
Colour, AkzoNobel, Henry Moore Gallery, London, UK
How Looking Gets in the way of Seeing, Tweleve Around One Gallery, London, UK
Artbook, Hamburg, Germany, DE
RCA Interim Show, Royal College of Art, Kensington, London, UK
Awards
2012
Magenta Flash Forward Emerging Photographers
2011
Akzo Nobel, Colour Award
Leica Prize
* Catalogue
DONNA HUANCA
Donna Huanca
Performance inaugurale, vue d’installation, monCHÉRI, 25 avril 2014, Bruxelles, BE
/ Opening performance, installation view, monCHÉRI, April 25th, 2014, Brussels, BE
DONNA HUANCA
Donna Huanca (né en 1980 à Chicago, US) vit et travaille à New York, US.
Les installations de Donna Huanca associent des matériaux de récupération trempés dans de la peinture (vêtements,
chaussures et objets éphémères) pour créer des œuvres à mi-chemin entre le collage, la sculpture et la performance.
Par ces gestes, elle leur confère une solidité qui anéantît la fluidité caractéristique de l’habit. Pendant ses performances,
les créations intéragissent avec des modèles vivants, qui sont camouflés et intégrés dans la sculpture pour ainsi
insufler de la vie à l’ensemble.
Ces objets trouvés de par le monde guident le regard à travers l’œuvre. Ils se posent sur les acteurs, comme une
couche supérieure de l’épiderme critiquant notre système complexe de socialisation dans lequel le vêtement joue un
rôle primordial.
Donna Huanca est diplômée de l’Université de Houston et à étudié à la Städelschule de Francfort.
Au cours de ces dernières années, l’artiste a développé une expérience de production nomade au travers de lieux
choisis aux États-Unis, en Autriche, au Mexique, au Pérou, en Allemagne, en Suède et en Corée.
Donna Huanca a dernièrement exposé à ltd Los Angeles (2014) ; KSF Berlin (2013) ; Preteen Gallery, Mexico (2013).
Son travail a été publié dans DUST Magazine, DazedDigital, Wire, British Vogue, F5 Moscow, NY Arts, ArtInfo, Art in
America, Younger than Jesus édité par le New Museum, New York.
Donna Huanca (b.1980 in Chicago, US) lives and works in New York, US.
The artist’s installations fuse tactile materials, such as clothing, shoes and ephemera to create architectural collages
that are performative in nature. Working primarily with deconstructed clothing, dipped in paint and solidified, the
sculptural gestures pause the once-fluid life of the garment. During Huanca’s durational performances the works
interact with the vulnerability of live models, camouflaged and infused into the sculpture, giving life to otherwise static
artworks.
Huanca uses found materials that are collected on various trips around the world. These pieces become beacons
for artworks, displaying an exterior layer on her actors’ mammalian skins, remarking upon a primordial and complex
system of socialization, that of clothing. The results are distinct and precise observations on the function of the garment
as an ever-evolving manner of language production and a form of cultural transmission.
Dona Huanca received a BFA in Painting from the University of Houston and studied at Städelschule, Frankfurt,
Germany. In recent years Huanca has developed a nomadic practice producing site-specific, experience based
projects throughoutthe United States, Austria, Mexico, Peru, Germany, Sweden and Korea. She is currently based in
New York City.
Solo exhibitions were recently presented at ltd Los Angeles (2014), KSF Berlin (2013) ; Preteen Gallery, Mexico (2013).
Publications of her work have been featured in DUST Magazine, DazedDigital, Wire, British Vogue, F5 Moscow, NY
Arts, ArtInfo, Art in America, and the Younger than Jesus published by the New Museum, New York among others.
DONNA HUANCA
Born in 1980 in Chicago (US)
Lives and works in New York (US)
Solo exhibitions
2014 Seeing Auras, ltd Los Angeles, California, US
2013 Scrying Threats, Queer Thoughts, Chicago, US
Maenad Cymbals, KSF Berlin, DE
2012 Panic Fear Crying Fits, Preteen Gallery, MX
The Myth… CCS BARD, Annadale on Hudson, New York, US
2008 Secret Museum of Mankind, Women and Their Work, Austin, Texas, US
2007 Philosophy of The World, Susan Inglett Gallery, New York, US
Group exhibitions
2014
Yeah and look where it got us !, monCHÉRI, Brussels, BE
2013
D, ZweiDrei, Berlin, DE
Ēlevation, Arnhem Fashion Biennale, Arnhem, NL
Pioneer Voices, Gallery of Northern Norway, Harstad, NO
Raw Material, Malmö Konsthalle, SE
Braids, Access Gallery, Vancouver, CA
Social Fabric, CAFAM, Los Angeles, California, US
2012 Reduction of Form, EXILE, Berlin, DE
Baby I Lost my Handshoes, Fórum da Maia, Maia, AT
SADE on DMT, Kunsthalle Exnergasse, Vienna, AT
2011 Baby I Lost my Handshoes, KURANT, Tromsø, NO
2010 Conjunction, HBC, Berlin, DE
2009 Incehon Womens Biennale, Incehon, KR
A-Z Smockshop, Sprueth Magers, London, UK
Global Fabrics, Common Threads, ISE Foundation, New York, US
Grants & awards
2012 Fulbright Scholarship:research in Mexico City, Washington DC, US
2011 Art Matters Grant, New York, US
2009
DAAD Artist Grant, DAAD, Bonn, DE
2006 Fellowship, Skowhegan School of Painting and Sculpture, Maine, US
2004 DeGolyer Grant Recipient, Dallas Museum of Art, Dallas, Texas, US
Residencies
2013 Access Gallery, Vancouver, CA
2009 LMCC SwingSpace, 77 Water, New York, US
2008 Headlands Center for the Arts, San Francisco, California, US
Art Omi International Artist Residency, Ghent, New York, US
2007
Lower Manhattan Cultural Council, New York, US
Lawndale Art Center, Houston, Texas, US
2006 Skowhegan School of Painting and Sculpture, Skowhegan, Maine, US
ÉRIC MISTRETTA
Let The Good Times Roll
2012
Fleurs synthétiques, bas, bois sur toile / Synthetic flowers, stockings, wood on canvas
71 x 51 cm / 28 x 20 inches
ÉRIC MISTRETTA
Éric Mistretta (né en 1985 à New York, US) vit et travaille à New York, US.
Le travail d’Éric Mistretta relie la comédie et la tragédie les condamnant à coexister. Le désespoir côtoie l’optimisme
sans faille pour forger d’étranges créations hybrides, qui, d’un premier abord absurdes, ne nous sont pas totalement
étrangères.
Ses œuvres les plus récentes sont des « peintures » construites à partir des couches superposées de bas en nylon.
Quand celles-ci sont tendues sur la toile, elles se déchirent pour créer des motifs linéaires, spontanés et complexes,
à la fois élégants, mais qui expriment une violence et un appétit sexuel insatiable. Cette juxtaposition de sentiments
contraires nourrit la pratique de l’artiste.
Dans une autre série récente, l’artiste soustrait des parapluies ou des couvertures à leur fonction quotidienne, révélant
ainsi une beauté intrinsèque qui n’est visible que lorsque ces objets deviennent inutiles.
Éric Mistretta est diplômé de la School of Visual Arts de New York. L’artiste a déjà participé à de nombreuses expositions
aux États-Unis. En 2013, il participe au programme de résidence F_AIR à Florence, où deux premières expositions
personnelles lui ont été consacrées à cette occasion.
Éric Mistretta (b. 1985 in New York, US) lives and works in New York, US.
Mistretta’s work facilitates the relationship between comedy and tragedy, insinuating that the two forces frequently
necessitate each other. Notions of despair share the same real estate as those of unwavering optimism, forging visual
hybrids that at once appear nonsensical, but feel ultimately familiar.
His most recent body of work consists of “paintings” constructed from layers of nylon stockings. Upon being stretched
over his canvas, the stockings have a tendency to tear, creating spontaneous and intricate linear patterns that are at
once elegant but also exude intimations of ravenous lust and violence. This juxtaposition of sentiments fuels much of
Mistretta’s practice.
In another recent series, he draws upon the pre-existing graphic qualities of umbrellas and moving blankets. Once
the objects are relieved of their intended utilitarian functions, Mistretta renders them strictly aesthetic – uncovering a
particular beauty that only arises once they have become essentially useless.
Eric Mistretta holds an MFA from the School of Visual Arts in New York City. The artist has exhibited widely in the US
and internationally. In February of 2012, he was included in the highly publicized Virgins Show, curated by Marilyn
Minter at the Family Business Gallery in NYC. He was also named by premier New York art blog, Art F City, as one of
their must-see Open Studios in 2012. In January 2013, Mistretta was selected as the Artist in Residence for the F_AIR
Residency program in Florence, Italy.
ÉRIC MISTRETTA
Born 1985 in New York (US)
Lives and works in New York (US)
Solo exhibitions
2013 Plan B, F_AIR Gallery, Florence, IT
Home Wrecker, Opera Delocalizzata, Faenza, IY
Group exhibitions
2014 Yeah and look where it got us !, monCHÉRI, Brussels, BE
Shrink It Pink It, curated by Irena Jurek, Cathouse FUNeral, Brooklyn, New York, US
2013 UNTITLED Art Fair, The Pool NYC booth, Miami, US
Sub Rosa, curated by Jessica Hodin, Bleecker Street Arts Club, New York, US
Deep Cuts, curated by Wendy White & David Humphrey, Anna Kustera Gallery, New York, US
2012 239 DAYS, curated by Stephen Maine, Allegra Laviola Gallery, New York, US
The Miami Project, Organized by artMRKT, curated by Dan Halm, Miami, US
Standard Deviation, The Shirey, Bushwick, New York, US
It’s A Small, Small World, curated by Marilyn Minter and Hennessy Youngman, Family Business, New York, US
The Virgins Show, curated by Marilyn Minter, Family Business, New York, US
Just the Tip, SVA MFA Fine Arts Thesis Exhibition, Organized in collaboration with Mike Egan, Visual Arts Gallery, New York, US
2011 Scapes, Brooklyn Artists Gym, Brooklyn, New York, US
Text Me!, Watchung Arts Center, Watchung, US
The Artist Project Fair, School of Visual Arts Booth, Pier 92, New York, US
The Ecstatic, Curious Matter Gallery, Jersey City, New Jersey, US
2010 MFA Fine Arts Winter Open Studios, School of Visual Arts, New York, US
2007 Cerberus Before You, Smiley Gallery, New Paltz, New York, US
Temporary Monuments, Public Installation, New Paltz, New York, US
2006 First Look: Young, Emerging Artists, Cunneen-Hackett Arts Center, Poughkeepsie, New York, US
Residencies
2013 F_AIR Artist in Residence, Florence, IT
PIOTR LAKOMY
Need Room
2013
Styromousse, ampoules / Styrofoam, lightbulbs
60 x 60 x 60 cm / 23 5/8 x 23 5/8 x 23 5/8 inches
PIOTR LAKOMY
Piotr Lakomy (né en 1983 en Pologne, PL) vit et travaille à Poznań, PL.
La matière première du travail de Piotr Lakomy est la styromousse grise qu’il découpe de maintes façons. Récupérées
pour la plupart directement dans la rue, ce matériau, qui malgré son aspect austère est léger et doux, évoque les
édifices et les monuments architecturaux. Au toucher, une chaleur se dégage et évoque le contact d’un corps humain.
Dans cette logique, Lakomy fabrique des pièces de taille humaine. L’artiste s’intéresse aussi à une chose qui, d’un
point de vue architectural semble sans intérêt, mais qui est néanmoins fondamental : le coin. Lorsqu’il positionne l’une
de ses œuvres dans un coin, ou installe ses propres constructions en aluminium dans le lieu d’exposition, c’est comme
si il emmenait le spectateur à part, créant ainsi un dialogue direct et quasiment intime. Le mot «room» (pièce/salle) est
assez récurrent dans le titre de ses œuvres, citons Need Room, une sculpture à l’allure modeste. Tout comme dans
Observing Self, diverses ampoules fixées dans les blocs de Styrofoam s’allument et s’éteignent, parfois de manière
complice quand elles restent allumées avant de s’éteindre simultanément. La séquence est simple mais profonde.
L’énergie contenue dans cette œuvre croît graduellement jusqu’à sa culmination pour finir de manière abrupte – et
nous n’en prenons conscience que bien plus tard, d’une manière semblable à notre réalisation après un événement
que nous venons de vivre un moment charnière de notre vie.
Piotr Lakomy a dernièrement exposé à la Galerie Stereo, Poznań ; The Sunday Painter, Londres ; Exile Gallery, Berlin ;
Middlemarch, Brussels.
Piotr Lakomy (b. 1983 in Poland, PL) lives and works in Poznań, PL.
The basic material for Piotr Łakomy’s work is silver-grey Styrofoam cut in all sorts of ways. Taken almost directly
from the street, it brings to mind connotations of construction, architecture and monuments, and yet despite its visual
austerity, it remains light and soft. When touched, it gives off heat like the body. Following this idea, Łakomy often
makes human-sized works from these Styrofoam blocks. Łakomy’s current interest in something as architecturally
banal and fundamental as a corner is very telling. Locating one of his works in a corner of the exhibition space, or fitting
his own aluminium constructions into existing venues, the artist takes the viewer aside, into the corner, thereby creating
a semi-private situation. At the same time the word ‘room’ appears in the titles of the works. His most recent piece,
‘Need Room’, brings together the aforementioned elements in a modest-looking sculpture. Just like in Observing Self,
different kinds of bulbs set in the blocks of Styrofoam flash on and off, joining one another, remaining lit for a while and
then turning off at the same time in a simple yet profound sequence. The energy contained within this work, although it
finishes abruptly, progresses gently towards its culmination and we become aware of it only after a while, the way we
usually belatedly notice some significant moments of our lives.
Artworks by Piotr Lakomy were recently presented at Galeria Stereo, Poznań ; The Sunday Painter, Londres ; Exile
Gallery, Berlin ; Middlemarch, Brussels.
PIOTR LAKOMY
Born in 1983 in Poland (PL)
Lives and works in Poznań (PL)
Selected solo exhibitions
2012
I see no evil, I hear no evil, I speak no evil, Arsenał Gallery, Białystok, PL
2011
Temporary Hood/ Last Fitting, Galeria Stereo, Poznań, PL
Temporaire Capuche/ Temporary Hood, Galerie Delko, Rennes, FR
Tymczasowy Kaptur/ Temporary Hood, Galeria GSN, Gorzów Wlkp, PL
2010
T – HOOD, TTC Gallery, Copenhagen, DK
2009
Shapes 02, TTC Gallery, Copenhagen, DK
Shapes, BWA Zielona Góra, PL
Perfect Day, with Zbiok, galerie A Part, Grenoble, FR*
Selected group exhibitions
2014
Yeah and look where it got us !, monCHÉRI, Brussels, BE
2012
Cosmo’s Levels, The Sunday Painter, London, UK
My safe reduction to form, Exile Gallery, Berlin, DE
Épisode 4, Middlemarch, Brussels, BE
Makeshift, Galeria Miejska Arsenał, Poznań, PL
2011
What does a painter do?, 10th Geppert Competition BWA Awangarda, Wrocław, PL
6TM, 6 Youth Triennial, Centre of Polsish Sculpture, Orońsko, PL
3 in the morning, (with Jakub Czyszczoń), Starter Gallery Warsaw, PL
Bcc#6, curated by Julie Grosche, Reference Art Gallery, Richmond, US
BARTHOLOMEW, curatated byr JSBJ, 12Mail Gallery, Paris, FR
The First & Final Y3K, Second (third) Inaugural Melbourne Biennial of International Arts, Y3K
Gallery, Melbourne, AU
2010
Eli Manning, Reference Art Gallery, Richmond, US
Dirty Flowers, Leto Gallery, Warsaw, PL
2009
Polish Painters – Polish Paintings, (with Jakub Czyszczoń), Starter Gallery, Poznań, PL
2008
Artyści Zewnętrzni – OUT OF STH, BWA Awangarda, Wrocław, PL
Rebel, Thionville, FR
Curatorial projects
2010
“DUST SHOW” (activites in public spaces) Amager Strandpark, Copenhagen, DK*
“DUST SNOW” (Winter Sculpture Park) Wilson Park, Poznań, PL
Grants & Residencies
2011 The Visegrad symposium Xerox, BANSKÁ ST A NICA Contemporary, SK
Half-year grant, Ministry of Culture and National Heritage, PL
2010 DIVA – Danish International Visiting Artists Programe, Copenhagen, DK
* Catalogue
KASPER SONNE
Borderline (new territory) No. 26
2013
peinture industrielle, toile brûlée / industrial paint, fire on canvas
150 x 120 cm / 59 x 47 1/4 inches
KASPER SONNE
Kasper Sonne (né en 1974 à Copenhague, DE) vit et travaille à New York, US.
Le travail de l’artiste Kasper Sonne tourne autour de stratégies conceptuelles qu’il évoque avec un certain sens
poétique imprégné de mélancolie et de doutes. Sonne explore comment les repères individuels et culturels influencent
notre lecture du monde qui nous entoure, et comment la signification est conditionnée par la construction mentale
de celui qui observe. En questionnant les symboles et valeurs communément acceptées et les soi-disant « vérités
» dictées par nos références culturelles, Sonne suggère que si une décision a donné sens à des choses que nous
considérons comme allant de soi, alors nous sommes libres de leur choisir un tout autre sens.
Pour Kasper Sonne, le langage est un outils qui lui permet de remettre en question l’idée même des échanges
d’information. Si la fonction primordiale du langage a permis de traverser les frontières, d’unifier et d’œuvrer pour
l’intégration, le langage sert souvent à contrôler, à isoler et à exclure. Le vocabulaire artistique de Sonne est empli de
contradictions et de négations, qui font référence à la création de réalités alternatives au cœur du concept du bien et
du mal. Dans ses œuvres, le langage est un moyen de se souvenir, de réfléchir et de réfracter les évènements : « des
mots qui deviennent des images » et « des images qui deviennent des mots. »
Kasper Sonne est diplômé de la Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation.
Il a participé à de nombreuses expositions au Palais de Tokyo, Paris ; SAPS museum, Mexico ; SALTS, Basel ; Den
Frie - Centre of Contemporary Art, Copenhague ; Primo Piano, Paris ; Bergen Kunsthall, Bergen; White Box, New York ;
Seventeen Gallery, Londres ; The Hole, New York; Krinzinger Projekte, Vienne. Son travail a été publié dans Artforum,
Art In America et Flash Art.
Kasper Sonne (b. 1974 in Copenhagen, DE) lives and works in New York, US.
The work of artist Kasper Sonne revolves around conceptual strategies, invoked with a certain sense of poetry,
melancholy and doubt. Sonne explores how individual and cultural references influence the way we read the world
around us, and how meaning is determined by the viewer’s own active construction. By questioning the conventionally
adopted symbol values and culturally dictated “truths”, Sonne suggests that if the very things that we take for granted
are merely based on a cultural decision, it means that we can also decide for them to mean something else.
Kasper Sonne treats language as an artistic material through which he questions the idea of transferring or mirroring
information. Language might originally have been conceived in order to transcend boundaries, to unify and to include
- but more often than not, it serves as a tool to control, confine and ultimately to exclude. Sonne’s artistic vocabulary
is therefore full of contradictions and negations that allude to the creation of alternative realities, within the notion of
right and wrong. In his work language becomes a way of remembering, of reflecting and refracting events: «words that
become pictures» and «pictures that become words.»
Kasper Sonne holds a BA from the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and
Conservation. He has exhibited widely at institutions and galleries internationally, including Palais de Tokyo, Paris,
SAPS museum, Mexico City, SALTS, Basel, Den Frie - Centre of Contemporary Art, Copenhagen, Primo Piano,
Paris, Bergen Kunsthall, Bergen, White Box, New York, Seventeen Gallery, London, The Hole, New York, Krinzinger
Projekte, Vienna and his work has been featured in magazines such as Artforum, Art In America and Flash Art.
KASPER SONNE
Born 1974 in Copenhagen (DE)
Lives and works in New York (US)
Selected solo exhibitions
2014
On Destruction And Decoration, Galerie Olivier Robert, Paris, FR
To Be Titled, Brand New Gallery, Milan, IT
2013
Zero Emotional Content, The Hole, New York, US
All Their Lies Are True, Henningsen Gallery, Copenhagen, DK
All Information Is Subject To Change, SALTS, Basel, CH
2012
The Total Loss of Innocence Regained, Primo Piano, Paris, FR
2010 Pure Colors, Charles Bank Gallery, New York, US
Untitled Sign # 3, SAPS museum, Mexico City, MX
2009 Total Revolution, V1 Gallery, Copenhagen, DK
2006 Trust Me, V1 Gallery, Copenhagen, DK
2004 Small works, Gallery Beneath, Stockholm, SE
Punk Rock Saves, solo installation under Copenhagen Blow Up, Myymala2, Helsinki, FI
Ambition makes you look pretty ugly, Turbine-halls, Copenhagen, DK
2003 AM I EVIL?, V1 Gallery, Copenhagen, DK
2002 The Dicktator Sucks!, I-N-K Institut for nutidskunst, Copenhagen, DK
Selected group exhibitions
2014
Yeah and look where it got us !, monCHÉRI, Brussels, BE
Drive the Change, curated by Annette von Spesshardt-Portatius 100plus Zürich, CH*
Bikuben, curated by Rebecca Maksym Utah Museum of Contemporary Art, Utah, US
To Draw a Line, curated by Jay Ezra Nayssan, Undisclosed Venue, Los Angeles, US
2013
ZEIGEN - Karin Sander, Nikolaj Contemporary Art Center, Copenhagen, DK
Room 1, Henningsen Gallery, Copenhagen, DK
Secret Garden II, curated by Mads Damsbo, Gl. Holtegaard, gallery for contemporary and modern art, Humlebæk, DK*
Tectonic, curated by Simon Sakhai and Aya Mousavi, The Moving Museum, Dubai, UAE
IRL, curated by Mikkel Carl, Point B, New York, US
2012
The Dark Cube, curated by Francesca Gavin, Palais de Tokyo, Paris, FR
Tonight We Won’t Be Bored - 10 years of V1 Gallery, V1 Gallery, Copenhagen, DK
Under The Volcano, curated by Raul Zamudio Andromeda Arte Contemporaneo, San Jose, CR
Paper Match, curated by Johan RosenmuntheHalmlageret, Copenhagen, DK*
The Inhabitants, curated by Mathias Kryger and Christina Malbek, Apart, Copenhagen, DK
Celebrity Skin, curated by Raul Zamudio, White Box Contemporary, San Diego, US
Rock, Paper, Scissors, curated by Sam Bardaouil and Till Fellrath Leila Heller Gallery, New York, US*
The Artist Is Not Present, curated by T. Wertheimer & S. Kenna Meulensteen, New York, US*
BODY SNATCHERS, curated by Raul Zamudio, White Box Contemporary, New York, US
Overgaden at The Armory Show, curated by Henriette Bretton-Meyer, New York, US
2011 Grey Area – Art and Object Shop, Bass Museum of Art, Miami, US
Lake of Fire, curated by Mikkel CarlDen Frie Centre of Contemporary Art, Copenhagen, DK* Artprojx Cinema, curated by David Gryn, SVA Theatre, New York, US
Art Machine, curated by Alife and Kathy Grayson, The Hole, New York, US
January White Sale, curated by Beth Rudin DeWoody, Loretta Howard Gallery, New York, US*
2010 Faint to black, curated by Mikkel Carl, Henningsen Gallery, Copenhagen, DK
Art Moves, Commissioned billboard, Torun, PL*
One Shot, Allmänna Galleriet 925, Stockholm, SE*
2009 Summer Show, LaviolaBank Gallery, New York, US
When the vacation is over for good, Pianissimo Gallery, Milan, IT
One Shot, Werkstette Gallery, Copenhagen, DK*
2008 The Destruction of Atlantis, curated by Jesper Elg Union Gallery, London, UK
Year One, LaViolaBank Gallery, New York, US
56° N, 10° E, Museo de San Carlos, Mexico City, MX*
TEMPO, curated by Anne Szefer Karlsen, Skien, NO (Public art commission)*
2007 What can desert islands do?, curated by Paul Pieroni Seventeen Gallery, London, UK
Spitting Image, V1 Gallery, Copenhagen, DK
2006 Exportable Goods - Contemporary Danish Art, Galerie Krinzinger Projekte, Vienna, AT*
The wish list, M+R Gallery, London, UK
2005 DNA, DogA, Norges Design og Arkitekturcenter, Oslo, NO (travelling exhibition)
Framed, Turbinehallerne, Copenhagen, DK
2004 Video 2004, Bergen Kunsthall, Bergen, NO
One, V1 Gallery, Copenhagen, DK
5 million Peace March, Let us talk while we walk 5, Ridehuset, Århus, DK (travelling exhibition)
2003 Size 12, Galleri Asbæk, Copenhagen, DK
2002 KE 2002, Den Frie udstillingsbygning, Copenhagen, DK*
Gallery Luhmann, curated by Jason Dodge, Nils Stærk Contemporary Art, Copenhagen, DK
* Catalogue