TERENCIO GONZALEZ
LUMINARIA
From October 15th to December 1st 2018
Exibition Curator: Françoise Docquiert
Vernissage le 15 octobre 2018
Sorbonne Artgallery is thrilled to present you the exhibition LUMINARIA by Terencio González, from October 15th to December 1st 2018.
Like the works of the American artist Richard Diebenkorn, to which the artist refers, Luminaria transports us into a reflection where time and space converge through panoramas and horizons of light. It is about experiencing a form of linear and serene expressionism that speaks to us, beyond the recycling of Argentinian poster paper, of the successive passages of human action and what they suggest in terms of residual energy and hopes for rebirth. This form of reborn figuration, secretly imbued with undulating volumes and rough, almost sonorous passages, is gradually revealed with each breath taken through the Soufflot Gallery. From the local to the global: The artwork as witness to the passage of bodies and the discontinuity of life. As the days unfold, from dawn to dusk, this immanent presence leads us to reflect on the world and its sounds. Like the works of the American artist Richard Diebenkorn, to whom the artist refers, Luminaria transports us into a realm where time and space converge through panoramas and horizons of light. Here, we experience a form of linear and serene expressionism that speaks to us, beyond the recycling of Argentinian poster paper, of the successive passages of human action and what they suggest in terms of residual energy and hopes for rebirth. This form of reborn figuration, secretly imbued with undulating volumes and rough, almost sonorous passages, is gradually revealed with each breath taken through the Soufflot Gallery. From the local to the global: The artwork as a witness to the passage of bodies and the discontinuity of life. As the days go by, from dawn to dusk, this immanent presence leads us to reflect on the world and its sounds.
These superimposed, reflective, abstract, taut, and acoustic lines escape the configurational patterns of painting itself. They have neither beginning nor end. They weave a veritable force field where lines have meaning and where they trace intersecting perspectives. It is as if all the images of thought within this academic context must be considered beyond their primary context and imperceptibly aim for a common horizon.
Luminaria acts like a lantern, a colored lantern that provides illumination and ventilation for the surrounding space. Touched by this sensitive, colored, and vibrant light, the viewer, as a being with the right to make known (consciously or unconsciously) and to share what René Thom defines as the ultimate nature of reality, would only have to share, in return for this generous gesture, the infinite horizon that the artist opens for us.
Terencio Gonzalez lives and works in Paris. After a stint in the business world, he was quickly drawn back to his passion for painting and in 2013 entered the École Nationale des Beaux-Arts in Paris, studying in the studio of Jean-Michel Alberola, from which he graduated in 2015. Terencio Gonzalez is represented in Paris by the Jérôme Bauchant Gallery.
Public Collections (selection): FRAC Normandie Roeun, France; Société Générale, Paris; Fond de dotation VR D'Affaux, France; Université Paris-Dauphine, Paris, France.
Solo Exhibitions (selection): 2018 - Luminaria, Sorbonne Artgallery, Paris; 2017 - Chronicles of a Summer, Galerie Jérôme Pauchant, Paris; 2016 - Gracias por sur Visita, Galeria Kernel, Càceres, Spain; 2015 - Mural Reflection, Diplôme National Supérieur d'Arts Plastiques, Ecole Nationale Supérieure des Beaux-Arts de Paris, Atelier Alberola, Paris.
Selected joint exhibitions: 2018 - Resonance, Frac Normandie Rouen, Rouen, France; 2017 -Session #5 Filiation, Galerie Paris-Beijing, Paris; 2017 -Background, Frac Normandie Rouen, Galerie Duchamp, Yvetot; 2017, Agora (cur. Collectif 2A 1 ), Galerie R-2, Paris; 2017 -Garder le cap, Galerie Valérie Delaunay, Paris; 2016 -L'im-matériel, Galerie Episodique, Paris; 2016 Generosity, release exhibition, Point Contemporain magazine, XPO Studio, Paris; 2016 -Il suffit d'un grand morceau de ciel, Galerie Jérôme Pauchant, Paris.
Awards/ grants: 2017 - Support for research, artistic creation from the CNAP
Training: 2012 - 2015: DNSAP, École Nationale Supérieure des Beaux Arts de Paris, Atelier Alberola, including an exchange semester at the Art Center College of Design, Pasadena, USA (2013).
GABRIELLE WAMBAUGH
GROTTES
From June 6th to July 31st 2018
Exhibition Curator : Yann Toma
Opening on June 5th 2018
Sorbonne Artgallery is thrilled to present you the exhibition GROTTES by Gabrielle Wamabaugh, from June 6th to July 31st 2018.
“I am a sculptor, and I explore displaced spaces,
in-between spaces,
spaces that aren’t immediately visible.
In my practice, I assemble.
I am interested in fire, withdrawal, and transformation.
The use of ceramics allows me to do all of this.
I thus explore gentle and tense forces,
ancient gestures,
feminine attitudes.”
Gabrielle Wamabaugh
"A series of gestures that consists of arranging, encompassing what doesn't naturally fit together, creating areas of convergence between these singular points, highlighting and connecting them, making them come together, transforming them into a new form that fills them without defining them. Then something can be born and rise, not through regulation, but through the addition of immiscible, non-negotiable materials.
This shaping would mean, by accepting that the functioning of translation unfolds through variation or oscillation, that it oscillates between knowledge and feeling, between projection and doubt, that it induces new elucidations through the introduction of a set of questions that remain unanswered. Questioning the place it touches, pointing and arriving at the point of possible juncture. Where a perspective to be constructed and a feeling to be insinuated would begin. Doesn't the simplest perception arise from doubt?" Is it about the perceived thing or the desire for that thing? We desire and we don't think about being afraid because we let go and accept losing control. What moves is matter itself. A form is always understood from the periphery, that is, from the place where it moves, impalpable, with which it flirts. To move, to sculpt, is to pass from one form to its opposite, and it is also to rhythm, to jump from one interval to another, and to take the pulse of the rhythm of the air with the substance. A form is then apprehended, engendered in this matter: a form informs matter itself.
Excerpt from EXPLOSANTE-FIXE, by Frank Smith, based on the exchanges between Frank and Gabrielle
Gabrielle Wambaugh is a sculptor and winner of the Altadis Prize in 2002. With her first monograph published by Actes Sud, she won her first public commission in 2003 in Daegu, South Korea. In 2005 and 2006, she was invited to a research residency at the Manufacture Nationale de Sèvres, Cité de la Céramique. In 2007, 2008, and 2014, she furthered her research in stoneware and explored the concept of "fusions" at the EKWC International Ceramics Centre. A recipient of the Norma Lipman Research Fellowship in 2007, she spent several years in Newcastle upon Tyne, UK, and published "The Power of Losing Control" (ISBN 978-0-9557478-5-4), supported by the Arts Council of England, Newcastle University, and the University of Sunderland. Gabrielle Wambaugh's work has been exhibited in numerous museums, art centers, and private galleries in Europe, the United States, and Korea: Le Grand Hornu in Belgium, the International Ceramics Museum in Faenza, Italy, as well as the Capitoline Museums in Rome and the "Sèvres Porcelain" exhibition at the Prince's Palace of Monaco. A portion of her sculptural research is marketed by the Cité de la Céramique, Manufacture de Sèvres, following a new research residency on stoneware in 2010-2011. Her work is represented in France by the Galerie Eric Dupont in Paris.
In 2015, as the recipient of a public commission from the city of Vitry-sur-Seine, she created "Merveilleuse Marie Madeleine dans les nuages", an open-air sculpture made entirely of stoneware. http://www.wambaugh.us/prix.htm In 2017, she participated in Ceramix at the Bonnefanten Museum in Maastricht, Netherlands, the Sèvres Museum, and the Maison Rouge, Antoine de Galbert Foundation. Gabrielle Wambaugh works primarily with ceramics but also creates installations combining ceramics, chalk, and rubber. In 2018, at the Jean Collet Municipal Gallery and the Eric Dupont Gallery, she presented sculptures of ricochets, suggested or concealed, the kind that are not immediately apparent and open to multiple interpretations. She also presented large wall drawings and photographs through which she underscores the ambiguous nature of sculpture and explores notions of periphery, norm, gender, and representation. A text by Frank Smith retraces these engagements.
CÔME MOSTA-HEIRT
DE L'UN À L'AUTRE
From May 15th to June 2nd 2018
Exhibition Curator : Yann Toma
Vernissage le 14 Mai 2018
Sorbonne Artgallery is thrilled to present you the exhibition DE L'UN À L'AUTRE by Côme Mosta-Heirt, exhibited from May 15th to June 2nd 2018.
Côme Mosta-Heirt presents nine compositions whose progression through the Galerie Soufflot, from one space to another, is intentionally non-linear while simultaneously embodying a non-normative multiplicity. This progression gives rise to a place in itself, a space of diversity that unfolds gradually. The poetic and ironic dimension that animates the artist plays with this binary progression. For him, "the number of pieces placed randomly creates an imaginary world, in this case based on numbers, and it is evident that he is alluding to the poetic dimension of the Greek mathematicians (Pythagoras in particular)." We are confronted with an expanding "field of presences" (Husserl): "These structures evoke fragmentation, and this fragmentation contributes to the mise en abyme of space. It is not the shaping, but the arrangement of the pieces that creates the plastic space, what we are meant to see (the given to be seen)." “This site-specific work clearly reflects the rigor of Côme Mosta-Heirt’s practice, which primarily involves creating within the space he inhabits and simultaneously redistributes, without resorting to composition. In this way, the artist exercises freedom. The resistance of the uncomposed materials is only reinforced, thus reaffirming a continuity in the artistic act: ‘The model of beauty is only relevant within the continuity of the initial project; one must still recall the fleeting moment of that first flash of inspiration.’”
The exhibition "From One to the Other" by Côme Mosta-Heirt is the tenth exhibition organized at the Sorbonne ArtGallery. It celebrates a leading figure in French contemporary art, an uncompromising artist who has opened us up to his art and his unique conception of the relationship between thought and creation. Côme Mosta-Heirt presents a selection of nine compositions whose progression through the Soufflot Gallery, from one space to another, is intentionally non-linear while simultaneously embodying unconventional multiplicity. The work engages with both arithmetic and geometric issues and is imbued with poetry. It unfolds slowly, as if inhabited by a place of its own, where the sun and the elements transcend our temporality. This is evidenced by the distinctive shadows that lend each of his sculptures an inexplicable relief. This journey brings forth a place of its own, a space of diversity that gradually unfolds.
The poetic and ironic dimension that animates the artist plays with this binary progression. For him, "the number of pieces placed randomly creates an imaginary world, in this case based on numbers, and it is clear that he is alluding to the poetic dimension of Greek mathematicians (Pythagoras in particular)." We are confronted with an expanding "field of presences" (Husserl): "These structures evoke fragmentation, and this fragmentation contributes to the mise en abyme of space. It is not the shaping, but the arrangement of the pieces that creates the plastic space, what we are meant to see (the given to be seen)." This site-specific work obviously refers to the rigor of Côme Mosta-Heirt's work, primarily invoking the act of making within the space he inhabits and redistributes simultaneously, without resorting to composition. Thus, the artist performs an act of freedom. The resistance of uncompounded materials is thereby reinforced, reaffirming a continuity in the artistic act.
Through this multiplicity of (seemingly logical) signs, Côme Mosta-Heirt introduces a temporality that constitutes a temporal horizon in itself, more precisely an “original temporal field” (Husserl). From one to the next of the exhibition windows, we witness the liberation of the phenomenal field and the emergence of a foundational horizon of perception. The field of presence of the artwork and its subtle, imperceptible shifts would thus be the place where actuality and non-actuality continually flow into one another, intertwining infinitely, so that the coming and going of spectators in the Soufflot Gallery (both their bodies and their gazes) would, as they pass through, reveal something beyond the image, a common denominator in the state of sculpture. This arrhythmic wandering would encourage the emergence of the sculptural while simultaneously entailing a fleeting absence of photography. From one to the other would ultimately lie the possibility of perceiving a field of sculptures in motion. Sculpture here and now. Prior to the opening, the Sorbonne ArtGallery gave the artist the floor during a conference held on May 14, 2018, at 4:00 p.m. in Amphitheater IV of the Panthéon-Sorbonne Center, in the presence of leading figures in contemporary art. It is reproduced in the following pages.
Côme Mosta-Heirt was born in 1946 in Le Havre. He lives and works in Paris and Étretat. After studying at the École Nationale Supérieure des Beaux-Arts in Paris and at the Sorbonne, he was deeply influenced by the lectures of Bernard Teyssèdre and, at the École du Louvre, by Jacques Thirion on Romanesque art. He then began his career as an artist. While still a student, his meeting with François Mathey, curator at the Musée des Arts Décoratifs, proved decisive. The renowned curator entrusted him with a series of lectures on contemporary art and encouraged him to become an artist. Côme Mosta-Heirt went to New York and discovered the life of an artist in Soho. From then on, he traveled there and worked regularly. There he met Richard Serra, Keith Sonnier, Mark di Suvero, Grosvenor, Lawrence Weiner, Joseph Kosuth, Daniel Buren, and Robert Rauschenberg. During one of his many visits to Tony Smith, he was presented, as a sign of their shared artistic intimacy, with a model of Snake is Out, a sculpture exhibited at the National Gallery of Art in Washington. Côme Mosta-Heirt explores the relationship between colored volumes and space, as well as creating drawings and video works. He is a tenured professor in the sculpture workshop at the École Nationale Supérieure d’Art de Dijon and at the École des Arts de la Sorbonne (Paris 1 Panthéon-Sorbonne), where he remains a significant figure in its history. There, the artist has transmitted his unique and rigorous vision of the pictorial quality of volume in space, a vision that encompasses a wide range of investigations, moving from drawing to sculpture and from sculpture to video. His practice is characterized by interactions between beings and forms. His work is held in numerous private collections.
Public Collections (selection) : Museum of Modern Art (de la Ville de Paris), Paris ; Centre Georges Pompidou, Paris ; Museum of Calais ; Museum of le Havre ; Museum of Fine Art, Cincinnati ; FRAC (Regional Foundation for Contemporary Art) Nord/Pas de Calais ; FRAC Ile de France ; FRAC Lorraine ; Museum of Languedoc-Roussillon, Sérignan.
Solo Exhibitions (selection) : 2016 Mille et une, Granville Gallery Paris ; 2014 Au-delà de la peinture, Immanence Gallery, Paris ; 2013 Travaux spécifiques / Specific Works, Daniel Buren et Côme Mosta-Heirt, Granville Gallery, Paris ; 2013 J’aime trop Baugin, La Verrière, Hermès Foundation, Brussels ; 2010 Mise en serre, Domaine de Chaumont-sur-Loire ; 2010 Granville Gallery, Paris ; 2010 Théâtre d’Arras, Arras ; 2010 Festival Côté/Court, Ciné 104, Pantin ; 2009 Gallery Georges Verney-Carron, Lyon ; 2007 Projection of Recent Video Works, Ciné 104, Pantin ; 2005 Museum of Contemporary Art, Languedoc-Roussillon, Sérignan ; 2005 Prieuré de Marcevol, France ; 2004 Gallery Georges Verney-Carron, Lyon-Villeurbanne ; 2002 CheJu, Korea ; 2002 Ecole des Beaux-Arts, Nîmes ; 2001 Kunstverein Stuttgart (Germany) ; 2001 Gallery Im Heppacher, Esslingen (Germany) ; 1999 Gallery Georges Verney-Carron, Lyon-Villeurbanne ; 1999 Site Odéon°5, Paris ; 1999 Gallery Le Moniteur, Paris ; 1996 Gallery Georges Verney-Carron, Lyon-Villeurbanne ; 1994 Centre d’Art Contemporain de Vassivière en Limousin ; 1993 Centre d’Art Contemporain de Kerguehennec, Morbihan ; 1987 Museum of Fine Arts, Le Havre ; 1985 Museum of Fine Arts, Calais ; 1983 Gallery Eric Fabre, Paris ; 1981 Gallery Micheline Szwajcer, Anvers (Belgium) ; 1981 Gallery Eric Fabre, Paris ; 1979 Modern Art Gallery, Vienne (Austria) ; 1979 C-Space, New York (United States) ; 1974-1983 Galerie Eric Fabre, Paris.
BARBARA ANNA HUSAR
KOSMISCHE SEXUALITÄT
From April 10th to May 9th 2018
Exhibition Curator : Yann Toma
Opening on April 10th 2018
Sorbonne Artgallery is thrilled to present you the exhibition Kosmische Sexualität by BARBARA ANNA HUSAR, from April 10th to May 9th 2018.
Barbara Anna Husar presents a unique work (begun in 1997) at Sorbonne Artgallery under the title "Ticket to Coordinate." It explores the vital forces that flow through us and call to us. Created on the backs of cigarette packs she recycled for the occasion, the artist overturns conventions, affixes her own marks, and proposes to replace nicotine with a cosmic and sexual energy. Her "secret boxes" engage our imagination and inspire us far beyond the rationalist thinking that pervades our daily lives. It is a frenzied call to our dormant life forces.
Barbara Anna Husar, who positions herself here as a "midwife of cyberspace," proposes linking sexual energy to intuition, reactivating our chakras, and allowing this phenomenon to permeate us wherever we are: on public transport, during our daily routines. She reminds us that work and its environment embody "an intermediate landing strip." It is a vector of connections and intermediality essential to the transformation of bodies and minds.
In Kosmische Sexualitât, Barbara Anna Husar elevates nine paper formats by significantly increasing their size and evokes what she calls "the landscape zones between thoughts." For her, nudity embodies the indispensable presence of being in the world. She intends to share the experience and joy found in nature, in order to subsequently facilitate the necessary repair of some of our internal algorithms, which are currently malfunctioning. She advocates for the development of a noble and cosmic underlying mode of thought, a mindset of information hygiene and deep listening.
The artist offers a gift for each of us: a window onto the potential of our vital energy. Barbara Anna Husar invites us to integrate within ourselves a new form of cosmic sexuality that could sublimate us through the action of art and the artist. This site-specific series is a kind of oasis that aims to replace social media and prompts us to reflect on the human condition.
For the ultra-contemporary artist Barbara Husar, the horizon, as a connecting element between heaven and earth, is of paramount importance. She notably worked as a goatherd in the Sinai Desert and was mentored by the guardians of a millennia-old nomadic culture. Infinity and internal connections drive her artistic exploration, characterizing the central questions of creation. She connected a hammock to the umbilical cords of her herd of goats. The path between the umbilical cord and the udder is narrow. The artist created a hot air balloon in the shape of a breast as a celestial symbol of shifting values, stimulating discussion on the relationship between culture and nature. In 2020, she crossed the Alps with her social sculpture, FLYING UDDER.
Barbara Husar's work is difficult to isolate. 4.535 billion years of Earth's history; Meteorites, trilobites, dragonflies, dinosaurs, mammals... extraterrestrial plant experiments, micro and macro rotations - all explored through social sculpture, performance, animation, oil painting, and poetry. Her research lies at the intersection of prehistory and the reshaping of life. Barbara Husar's international work, encompassing the exchange of information between cultures, fields of knowledge, and artistic media, is characterized by her: "I am a part, an intermediary, and a particle accelerator."
Barbara Husar is a visual artist, performance artist, director, and writer. She studied at the University of Applied Arts Vienna and the Gerrit Rietveld Academy in Amsterdam, received an Austrian State Scholarship, and is a recipient of the Hubert Berchtold Prize.
She has been an artist-in-residence in Berlin, Beijing, Shanghai, and Bilbao. Individual exhibitions at the Natural History Museum Vienna, Schloss Amberg Feldkirch (A), Altenrhein Airport (CH), English Building Art Space (FL), Kunstverein Ulm (D), stage back Shanghai (CHN), GoDownArtCenter Nairobi (KE), Sorbonne Artgallery Paris (F).
CHRISTIAN JACCARD
PARTS DE CROISSANCE
From February 6th to March 3th 2018
Exhibition Curator : Yann Toma
Opening on February 5th 2018
Sorbonne Artgallery is thrilled to present you the exhibition Parts de croissance de CHRISTIAN JACCARD, from February 6th to March 3th 2018.
Christian Jaccard presents ephemeral paintings created specifically for the gallery of the academic palace at Paris 1 Panthéon-Sorbonne University. His work refers as much to global phenomena and the fluctuation of time's drift as to our own internal processes. For the artist, one of the major challenges is the representation of time. Initiated in the 1970s with the burning of objects on canvas, leather, and anonymous paintings, this fiery approach combines the pictorial gesture with the ancestral practice of slash-and-burn agriculture. The slow-burning process alters the original matter and color of various materials and supports, from which emerges a network of unique imprints. These "automatic" drawings are so many stigmas of time, constituting for the artist a memorial trace, a meaningful marker. Applied to the scale of a wall or a building, these "ephemeral paintings" celebrate cosmic energy.
In this contextual work, the omnipresence of the incandescent prints reflects the movements of an economy of ignition that intersects, juxtaposes, or overlaps in corrected data. It is comparable to that of globalization, stigmatized daily by stock market charts tracing fleeting, brutal, or cyclical rises and falls.
The process of ignition takes hold of it. The flare-ups, their expanding flow, their textures, their strata, their overheated pigmentations act by unfolding their fluctuating and metaphorical perspectives. They highlight the explosive volatility of the turmoil and the unpredictability of the resulting upheavals within the grandiose and chaotic universe of growth indices, statistical trends, operational results, resource factors, economic curves, performance gaps, trend indicators, value transfers, and rates of return.
Speculative and virtual interfaces, these dominant and flamboyant fluctuations resist, accelerate, or collapse. Dissipated, this energy, with its flammable properties, reflects and satirizes the evolution of the ceaseless stock market turmoil. It displays its graphs, whose shadow penetrates the margins. Its undulating rhythms and peaks are those of frenetic indices that burn and shatter their own records. So many legendary landscapes where dream and reality express the untimely nuances of these oscillations.
In both vehement ignition and the imprint of bitumen, humanity glimpses the mystery it carries within itself. Dissipated energies, complementary and distinct, are inherent conditions of thought. The mind manipulates them and moves within an unhindered universe. Their matter resides in their respective properties, in the combinatory interplay of overlap and function. A density of bifurcations within the labyrinth of particles, this one ceaselessly intersects, weaving its compulsive and chaotic factors.
Christian Jaccard, of Swiss origin, was born in 1939 in Fontenay-sous-Bois. He learned the "Topman's Manual" and about campfires (1948). As a high school student, he collected fossils, indelible traces of time (1954). As a university student, he studied fine arts at the National School of Bourges (1956-1960). Jaccard became interested in industrial waste and traces left by imprints: the genesis of his first lithographic works. He worked as a color engraver in a letterpress printing house (1964-1975). He explored impregnation processes related to the creation of specific tools. He successively shaped and obliterated Erased Canvases, Tied Canvases, Folded Canvases, and Calcined Canvases. An artist of the combustion process: His works include Anonymous Burned Works, Trophies, and Burned Canvases (1970-1989). Since 1990, he has been developing his Burned and Combustion Peaks in conjunction with the Supranodal Concept (proliferation of knotty textures). His occasional interventions in industrial wastelands, chapels, and other locations represent a new implementation of his pictorial transition, where, at each stop, the ephemeral painting and its creation are fulfilled in terms of exploration. A celebrated artist, Christian Jaccard is currently President of ADAGP (Society of Authors in the Graphic and Plastic Arts), where he defends the interests of artists and copyright. He is a member of the Faculty Council at the Sorbonne School of Arts.
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