ORLAN
LES FEMMES QUI PLEURENT SONT EN COLÈRE
From 5 November 2019 au 18 janvier 2020
Exibition Curator : Yann Toma
Opening on November 8th 2019
Sorbonne Artgallery is thrilled to present you the exhibition LES FEMMES QUI PLEURENT SONT EN COLÈRE by ORLAN, exhibited from 5 November 2019 au 18 janvier 2020.
For the first time in its history, the Sorbonne Artgallery, with the support of Florence Bourgeois and Christoph Wiesner, director and artistic director of Paris Photo, is participating in this renowned international event, during which ORLAN will be awarded the 100 Heroines Medal by The Royal Photographic Society.
The artist presents an original photographic work, created specifically for this exhibition. Through her site-specific intervention, ORLAN questions and contextualizes a series of women's faces, weeping and angry, directly referencing Picasso's paintings, now reinterpreted through photography.
"Femme avec tête(s)" is a series of eight photographs by the artist ORLAN, created as part of a reflection on the unsung women who have played a pivotal role in the lives of artists. Like a new hybrid through a photographic montage that blends the features of Dora Maar and other muses of the master Picasso with those of ORLAN, the work establishes itself as a game of destruction, construction, and creation of the female figure around the motif of tears. The series traces the tears shed by shadowy figures. Full of anachronism that examines the position of women in the current artistic sphere, the work, entirely political, is based on a visual exploration of faces of horror, fear, and grandeur.
ORLAN writes each letter in capital letters, ORLAN, because she refuses to conform, to fall in line.
ORLAN is one of the most internationally renowned French artists.
She is not bound to a single material, technology, or artistic practice. She uses sculpture, photography, performance, video, 3D, video games, augmented reality, artificial intelligence, and robotics (she created a robot in her image that speaks with her voice), as well as scientific and medical techniques such as surgery and biotechnology… to question the social phenomena of our time.
ORLAN created the magazine Art-Accès Revue on Minitel, and ORLAN founded and organized the Lyon International Symposium of Performance and Video.
ORLAN constantly and radically changes the status quo, disrupting conventions and received wisdom.
She opposes natural, social, and political determinism, all forms of domination, male supremacy, religion, cultural segregation, racism…
Always infused with humor, sometimes parody, or even the grotesque, her work questions social phenomena and challenges established norms.
"Orlan: femme avec tête(s)",
November 8, 2019
BADIUCAO+MOLINA
CARTOONING & CENSORSHIP
From October 4th to 14th 2019
Commissariat d'exposition : Yann Toma
Vernissage le 3 octobre 2019
Sorbonne Artgallery is thrilled to present you the exhibition CARTOONING & CENSORSHIP by Badiucao+Molina, exhibited from October 4th to 14th 2019.
As part of the second edition of the Cartooning Global Forum 2019 in Paris, the Editorial Committee of the EGDP/CGF, in cooperation with the CRNI, presents a selection of works by the two most recent winners of the CRNI Courage in Cartooning Award. Cartoonists Rights Network International (CRNI) is a US-based NGO that focuses on threats to the freedom of expression of cartoonists who face extremism, authoritarianism, and the vulnerabilities arising from new working methods. Earlier this year, Index on Censorship recognized CRNI’s two decades of campaigning with a Reedom of Expression Fellowship Award.
From the outset, the INRP has been represented on the Cartooning Global Forum steering committee, believing that solidarity and cross-border collaboration are the most effective ways to address the challenges cartoonists face, and that the only reason cartoonists are still threatened is because they are exceptional communicators. Their work can therefore be used not only for satire, but also as a tool for social change.
The Cartooning Global Forum is a proposal, during the annual meeting, to facilitate encounters and exchanges around the active role of caricature in society. Several stakeholders are then presented during a day of production and recommendations integrated into the SDG2030. These Sustainable Development Goals call on governments to invest in initiatives to improve the lives of their citizens and their relationship with the environment. This annual workshop follows initial discussions held in March 2017 at UNESCO on "The Question of Caricature and its Future," supported by the Permanent Delegations of France and Switzerland to UNESCO and organized by the Si agency, as part of the "La presse en Liberté" exhibition.
Chinese visual artist Badiucao has resided in Australia for nearly 10 years, using a pseudonym. In November 2018, his first exhibition in Hong Kong was canceled at the last minute when his family members in China were threatened by the police. In April 2019, a documentary was made in the lead-up to the exhibition and broadcast on Australian television. Badiucao filmed a short sequence, removing his mask for the first time and thus depriving the CCP of the advantage they thought they could exploit to stifle his art. Since then, Badiucao has been inspired by the renewed pro-democracy protests in Hong Kong to produce daily cartoons and graphics that he uses in his protest movement. He has since reported suspicious activity, indicating that attempts have been made to hack his personal devices and that his movements are being monitored. It also appears that his home has been broken into at least once.
Nicaraguan cartoonist Pedro X. Molina has frequently spoken out against the regime of Daniel Ortega, particularly during the crackdown on civil liberties that followed widespread protests that swept the country in 2018 and 2019. His cartoons focused on the corruption he perceived at the highest levels of the Nicaraguan government, the indifference of the outside world to the crisis, and the hundreds of men, women, and children injured and killed during the unrest. Molina himself was followed by paramilitaries, and his workplace was raided by the police. Molina defines cartooning as “an instrument of denunciation, analysis, critique, emotional connection, and democratic liberation.” Through the ICORN network of refuge cities, Molina is now an international visiting scholar at Itchaca College in New York. He received a Maria Moors Cabot Award for Journalism in 2019.
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COMMUNIQUÉ DE PRESSE
AFFICHE DE L'EXPO
PRESSE
ALESSIA SANNA - Prix AMMA winner
SCREEN CITY
From June 18th to September 14th 2019
Exhibition Curator : Yann Toma
Sorbonne Artgallery is thrilled to present you the exhibition SCREEN CITY by artist Alessia Sanna, exhibited from June 18th to September 14th 2019.
Screen City is a volumetric installation comprising 1,140 plaster modules that mimic the principle of urban sprawl. The artist's work addresses the ever-increasing digitization of the world, as exemplified by the concept of Smart Cities.
In this exhibition, the artist presents an experiential photographic series stemming from her process based on the emergence of smart cities. The Screen City project offers a poetic and critical perspective on what the city of tomorrow will be. As civic life becomes increasingly dematerialized, a multitude of sensors record various data streams and their digital context every day. Transportation, pollution, rush hour… The city, its flows, and its circulation are constantly scanned. Screen City classifies these recordings and questions this hyper-current concept of the "smart city" in the form of an open archive. How do these data then reveal lifestyles within the city's ecosystem? What do they tell us about who we have become? In this sense, Screen City resembles a sensitive cartography. It involves hybridizing traditional manufacturing processes, such as molding, with video mapping techniques to offer an original aesthetic of the city. The urban landscape is thus redesigned by several thousand modules whose heights correspond to a population density scale ranging from 25,000 to 60,000 inhabitants per square kilometer. Plunged into darkness, this video sculpture is an immersive experience where the interpretation of data offers a hypnotic escape. A sensory, visual, intellectual, and imaginative journey into the heart of metropolitan data. Screen City raises the question of the plastic transmission of information. It leads us to reflect on the ways in which we can aesthetically experience the impact of data today.
The AMMA Prize: The visibility offered by this event stems primarily from the jury members responsible for selecting the winner, such as Philippe Dagen, art historian and critic, and Yann Toma, notably curator of the Sorbonne Artgallery. In previous editions, prominent figures in the art market have participated: Jennifer Flay (Artistic Director of FIAC), Chantal Crousel and Thaddeus Ropac (internationally renowned gallery owners), Maryvonne Pinault (antiques dealer and wife of the famous collector François Pinault), and Jean-Jacques Aillagon (former Minister of Culture and Communication). The exhibition of the twelve selected works and the award ceremony will take place in January at the heart of an exceptional cultural venue: the Bastille Design Center.
AMMA Office 2018 | 2019 - Amélie DESAIZE, President - Alix MORAND, Vice-President and Head of the Graduation Ceremony Organization Team - Flore CANAL, Co-Head of the Graduation Ceremony Organization Team - Maria BORISOVA, Vice-President and Head of the Contemporary Art Prize Organization Team - Camille MERLIER, Co-Head of the Contemporary Art Prize Organization Team - Marion HABAULT, Co-Head of the Contemporary Art Prize Organization Team - Marie-Axelle COUPPÉ, Treasurer - Clothilde LAROCHE, General Secretary of the Association - Tiphaine AUBRY, Communications and Website Management Team - Eugénie MESHCHERYAKOVA, Communications and Social Media Management Team - Marie BERTRAND, Communications and Social Media Management Team - Diane CHAPEL, Association Merchandise Manager - Rime SAHMAOUI, Manager public relations of the Association.
Alessia Sanna was born on July 22, 1995, in Mulhouse. Her passion for the visual arts emerged early, and at 15, she chose to pursue a literary and artistic path. In 2013, she moved to Strasbourg where, for five years, she completed a university program to become an artist-researcher.
During this period, she developed her sculptural practice, which she blended with digital media, exploring our relationship to a world shaped by information and communication technologies. These experiments first appeared in a series of works that used Google Trends as a research laboratory. This led to the creation of the work Screen City_Mockup, which was awarded the Paris 1 Panthéon Sorbonne Prize for Contemporary Art.
In 2018, after graduating, she continued her research and in January 2019 joined the first cohort of the FLUXUS cultural incubator to develop the Screen City_Mockup project. Mentored at Shadok, this year marked a pivotal moment in the launch of Alessia Sanna's career.
These encounters, these key moments, allowed her, for the first time, to work with territorial data with more ambitious technical goals. The deepening of her practice and access to new tools transformed the Screen City_Mockup work and led to the creation of Screen City_Strasbourg, which was exhibited in September 2021 at the Ososphère festival.
Continuing her artistic project, she is now exploring digital art, which she considers to be an art of numbers.
LE NOYAU
ENTRE CHIEN ET LOUP
From May 20th to June 17th 2019
Commissariat d'exposition: Yann Toma
Vernissage le 20 mai 2019
Sorbonne Artgallery is thrilled to host LE NOYAU, an artist group comprised of six committed artistes, exhibited from May 20th to June 17th 2019.
CONFUSION - TO BRING ABOUT - IS IT A DOG, IS IT A WOLF? - AMBIGUITY - A THREAT - FEARED, MISDOLATED - A PROMISE - A FILTER - TO MISTAKE ONE THING FOR ANOTHER.
The expression "between dog and wolf," which appeared in French in the 13th century, already existed in Antiquity. A 2nd-century text states: "when a man cannot distinguish a dog from a wolf." "Inter canem et lupum" refers to evening or morning, the time of day when it is too dark to differentiate a dog from a wolf. The dog symbolizes the day, since, like the dog, it can guide us; while the wolf symbolizes the night, representing a threat, but also nightmares and fear.
Le-noyau (MANIFESTO)
We are the deep part of the pericarp, which has become hard and woody and contains the drupes.
We are the small group of people that gave birth to a larger group or that forms its essential element.
We are the small, coherent group acting in a hostile or dominant environment. We are the solid body constituting the permanent part of a comet.
We are the central region of a galaxy.
We are the axial mass receiving the collar of the steps.
We are each of the vertical supports, rising from the ground or suspended.
We are the central and vital organelle of every living cell that disappears only during mitosis. We are the cycle.
We are the space where economic mechanisms fully operate.
We are the magnetic piece around which the coils of a device are placed.
We are the central part of the globe.
We are the piece made of sand, metal, or another material resistant to molten matter.
We are all clusters of neurons in the nervous system.
We are the central part of the atom.
We are the sealed zone, generally made of compacted clay.
Alain Bernardini questions the distortion of stereotypical representations of the world of work and human activity. Through his work, he redefines the subject's identity, allowing them to occupy a place other than the one imposed upon them.
Véronique Boudier maintains a consistent and surprising body of work, characterized by its economy of means and a direct effectiveness that reveals a unique poetic and existential scope.
Frédéric Héritier is multifaceted. His preferred subject is the human being. He employs a variety of practices to strike the mark as precisely as possible, his method being defined by the stakes involved.
Véronique Hubert has been working with and staging fictional characters since 1996, such as the fairy UTOPIA. The multifaceted nature of her research is based on collaboration with other artists, her circle of acquaintances, and even audiences.
Valérie Jouve likes to envision cities as being primarily nourished by a multitude of living elements. Her exhibitions are often conceived as visual compositions, encapsulated in a specific place.
Roberto Martinez develops a multimedia artistic practice and questions the production and circulation of images, as well as the political and social relationship of their inscription within the various current flows of the world.
TOMAS VU
FLATLAND
From March 18 to May 18, 2019
Curated by: Yann Toma
Opening March 18, 2019
Sorbonne Artgallery is pleased to present the Flatland series by TOMAS VU, on show from March 18 to May 18, 2019.
"In 2001, the towers fell and, a month later, I learned that I was going to be a father. This turbulent period gave birth to the Flatland series. Through Flatland, I have created a landscape that allows the fusion of opposing and conflicting forces: destruction and recovery, chaos and clarity, brutality and civility. These polarities stem from the constant battle in my head between memory and reality, specifically the memory of a distinct landscape that has been displaced. Current psychological reality combines memory, desire and uncertainty with the illusion of space and the physicality of surface. This perceptual power play, the excessive war waged between light and dark, is embodied not only in the use of chiaroscuro, but also in the exposure of numerous contradictions.
Une fois terminée, la série Flatland comprendra 102 tirages, chacun avec un titre temporel. Ces 102 pièces représentent les 102 minutes écoulées entre l’impact sur la première tour jumelle et l’effondrement de la seconde. Ce faisant, les tirages sont transformés en objets individuels, en quelque chose de plus proche de l’image fixe d’un film. Ils figurent une tranche d’un ensemble flottant, en mouvement constant. Lorsque ces oeuvres sont installées pour des spectacles, elles occupent une grille, passant souvent de l’obscurité à la lumière, devenant ainsi des fragments de paysages en mouvement et, prises ensemble, elles donnent une impression de mouvement à travers le temps. »
Tomas Vu was born in Saigon, Vietnam, and at the age of ten moved with his family to El Paso, Texas. After graduating in Fine Arts from the University of Texas (El Paso), he went on to earn an MFA from Yale University. He has been a professor at Columbia University School of the Arts since 1996 and was named LeRoy Neiman Professor of Visual Arts in 2000. In 1996, Vu helped found the LeRoy Neiman Center for Print Studies. Since its creation, he has held the position of Director/Artistic Director of the Neiman Center.
MISS.TIC
LE MASCULIN L'EMPORTE, MAIS OÙ ?
March 11-15, 2019 Curated by Yann Toma Vernissage March 10, 2019 Sorbonne Artgallery is pleased to welcome artist MISS.TIC for the exhibition Le masculin l'emporte, mais où? on view from March 11 to March 15, 2019.
An extension of the history of feminist struggles (workers, suffragettes) in the early 20th century, International Women's Rights Day converges with a critical and active stance formalized by the United Nations in 1977. Unfortunately, it is still relevant today, given the persistent inequalities between men and women. Women's rights remain one of the major struggles of our time, in all communities, all walks of life, all ages. Miss.Tic democratizes an art form in direct contact with our soma. At this very moment, her sincerity and artistic relevance match the impact of the images conveyed by those who today consider art to be capable of proposing, often through images, at the heart of our collective consciousness, what Marie-José Mondzain calls an exercise in freedom, notably through subjectivizing operations that directly involve the viewer. It's here, in the visible, that something deepens and escapes the reduction of what Miss-Tic shows us. With a history that converges with many women's trajectories, Miss.Tic is today an ambassador for the goals of education and gender equality at the heart of the UN's priorities. Here, the Miss.Tic stencil is transformed into a sensitive form and material. Beyond its plastic quality, it invites us to resist and to think about the emancipation of women and their rights. This being of art tactfully signals a being of the, a possible extension of the self to the other. The virtue then of each of the artist's body parts, with their generously symbolic plasticity, is offered to all and for all in the public space of the University. Miss-Tic becomes an integral part of our imaginations, as she turns the corner of a street transformed into the Galerie Soufflot for the occasion.
A poet, visual artist and leading figure in street art, Miss.Tic has been developing a pictorial and poetic universe, stencilled on Paris walls since 1985. With characteristic drawings of women and incisive phrases, her creations express freedom. Her art is based on a subtle blend of lightness and gravity, insouciance and provocation. Present in galleries and public spaces alike, her work combines perennial supports with ephemeral interventions. Regularly exhibited since 1986 in France and abroad, sought after by the fashion world (Kenzo, Louis Vuitton...) and approached by the world of cinema (in 2007, she designed the poster for Claude Chabrol's La Fille coupée en deux), Miss.Tic also took part in the 2010 edition of the Petit Larousse, illustrating words from the French language. Represented at international contemporary art fairs, some of her works have been acquired by the Victoria and Albert Museum, London, and the Fond d'art contemporain de la ville de Paris. Miss.Tic's art is born of life, and inscribed in it. Her works are for everyone, and make the public their regular and critical recipients.
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RENAUD LAYRAC
HORIZON D'ATTENTE
Résultat de la traduction
February 19 to March 9, 2019
Curated by: Yann Toma
Opening February 19, 2019
Sorbonne Artgallery is pleased to present the exhibition Horizon d'attente by artist Reynaud Layrac, on view from February 19 to March 9, 2019.
The images presented are montages of elements retrieved from the web. Affirming this gesture of appropria- tion, the Before Present watermark is printed like a copyright. Here, the expression, abbreviated BP, is used in the scientific world as a temporal referent for carbon-14 dating. It also refers to the past of Renaud Layrac, who, as part of the BP group in the late '80s, questioned the place of the artist in a society dominated by multinationals deaf to social and ecological issues. Before Present also expresses the opposition between the long time frame of the planet and its history, and the immediacy of a contemporary world governed by speed.
Paul Virilio, interviewed in 2009 about his exhibition "Ce qui arrive" at the Fondation Cartier, said: "We live in the conviction that we have a past and a future. But the past doesn't pass, it has become mon-truthful, to the point where we no longer refer to it. As for the future, it is limited by the ecological question, the programmed end of natural resources such as oil. That leaves the present to inhabit. But as the writer Octavio Paz once said, "The present is uninhabitable, as is the future. That's what we're experiencing right now...".
So where do we want to be: before or after the catastrophe?
Renaud Layrac was born in 1962. He first came to prominence with the BP group of artists he founded as a student at the Villa Arson in 1984. Nurtured by an urban culture, the group recycles products from the oil and automobile industries in devices that revisit the stereotypes of contemporary art, celebrating the end of the avant-garde and modernist utopias. BP's works have been exhibited in numerous international shows and are included in major private and institutional collections.
With this collaboration coming to an end in 2008, Renaud Layrac continues to pursue a line of thought in which art, author, logo and signature come face to face with the worlds of business and communication. His sculptures and installations often employ the logic of misappropriation and appropriation. In an age of digital flux, his images question how we represent, imagine and understand the world. He teaches art and scenography at the Ecole Supérieure d'Arts Plastiques in Monaco. He is a member of Art&Flux (Institut Acte) at the University of Paris 1 Panthéon-Sorbonne and of the UFR council at the Sorbonne School of Art.
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