(IN)ERRANCE III
BIBLIOTHÈQUE INTERUNIVERSITAIRE
From December 7th 2021 to February 9th 2022
Exibition Curator : Yann Toma
Opening on December 7th 2021
As of today, Sorbonne's interuniversity library hosts the exhibition (IN)ERRANCE created by the Master 2 Recherche du Master in Arts & Vision (MAVI - Promotion Christo & Jeanne Claude) students partnering with the Master de Projet Culturel et Artistique International of Paris 8 University.
The young artists gathered in (IN)ERRANCE offer a contextualized perspective, giving us an opportunity to explore the notion of wandering while considering it as a series of beacons and flashes of thought for which we are responsible. They unfold their creations through the systematic lens of a dual interpretation: that of the exhibition space itself, and that of a wandering within the act of creation, which leads us subtly elsewhere, to the very edge of uncertainty.
The young visual arts researchers of the Jeanne & Christo Claude cohort, from the Master in Arts and Vision (MAVI) program at the Sorbonne School of Arts (International Master 2 of the University of Paris 1 Panthéon-Sorbonne), in partnership with the International Cultural and Artistic Project Master's program at Paris 8 University, present seventeen contextual works firmly rooted in a reflection on the world around them.
Describe your image
Describe your image
Describe your image
Describe your image
Describe your image
Describe your image
Describe your image
Describe your image
The Master in Arts and Vision (MAVI) at the Sorbonne School of Arts allows students direct access to a dynamic of reflection linking art and globalization. It questions and contextualizes the empowerment of the artist, the burden of their work within a social body often composed of independent and dissociated organizations. The paradigm of artistic autonomy is thus invoked through representations most often stemming from international, cross-disciplinary approaches, connecting art with other disciplines. The program addresses the issue of the international circulation of flows, the poetics of the relationship between the artist and their immediate or distant environment, and the emergence of new technologies in the context of the information society.
Baptiste Agnero Rigot
Paris 8 - Master de Projet Culturel et Artistique International
Archipélisation fantochmatique
2021, installation and sculpture in fabric, wood, and thread; Puppet on an embroidered chair and masks, 130cm
In the weaving and (mixing) of materials and textures, a figure emerges, anchored to opacity. It stems from this destabilization of the stereotype. The library becomes an archipelago of these masks, which initiate a new sharing of the senses. The marble, tutelary busts of knowledge open themselves to diversity and its shimmering pluralities. Our imaginations are recomposed.
Katherine Araoz Velez
Paris 1 - Master Recherche Arts Plastiques et Création Contemporaine
Cartographie sensible d'un arbre: Fluctuations légères I
2021, acrylic paint on linen canvas, 200 x 160 cm
Like specks floating in the air, light and fragile, how can leaves hold something as vast as the atmosphere? In Light Fluctuations I, colors break free from reality to better reveal the leaves as laboratories where air, light, and water meet. This painting is part of a series entitled Sensitive Mapping of a Tree, exploring the enigmatic nature of trees.
Lyou Bouzon Simonet
Paris 8 - Master de Projet Culturel et Artistique International
within and without
2021, performance
Gaïa Farcy
Paris 1 - Le Master en Art et Création Internationale (MAVI)
" EX-VOTOS "
2021, painting and screen printing on canvas.
Offrande à la créature 250 x 90 cm,
Racine 240 x 135cm, Lucioles 285 x 145cm,
Prière 250 x 90cm, Bénédiction 80 x 60 cm,
Somnambule et fleur 80 x 60 cm
The various portraits of nature, both creature and creator, converge. Revealed in different aspects, nature appears enigmatic, supernatural, alive, but also frozen, inert, reduced to a sacred object. The reification and sacralization of nature are not presented here as solutions to its preservation, but rather as questions about our relationship to it.
Nicolas Diaz Ramirez & Fanny Letrou
Paris 1 - Le Master en Art et Création Internationale (MAVI)
My apologies to great questions for not knowing the right places to look for answers
2021, floor installation, red clay plates, variable dimensions
These clay plates bear witness to forms of knowledge that have been erased. This is evident both in the artisanal techniques they embody and in the function such containers may have served in ancient communities. In many pre-Columbian cultures, certain clay objects reflected relationships with the world and nature that are unknown to us today.
Following violent historical processes of erasure, certain forms of knowledge and worldviews are relegated to peripheries where the central perspective prevails. Therefore, by playing on the specific characteristics of the space it occupies, this work leads us to question where we should turn to answer our fundamental questions.
Ritsuko Koga
Paris 1 – Le Master en Art et Création Internationale (MAVI)
[ e ] – Étude I
2021, digital illustration, printed on yupotako film, 60 x 80 cm
“e,” as in ukiyo-e or sumi-e, the Japanese term 絵 [e] refers to anything presented as an image on a flat surface—painting, illustration, engraving, etc.
The graphic work [e] – Étude 1 was created to explore the possibility of manga as a contemporary art form and its place in French society.
Yunhan Ma
Paris 1 – Le Master en Art et Création Internationale (MAVI)
Après une évasion de mon chat
2021, 13 photographs on Dibond, 14.8 x 21 cm
This photo-novel recounts the grotesque, nocturnal scene witnessed by a cat after it ran away from the apartment. Around the themes of displacement and exile, handwritten words, drawings, and hikes are all interconnected: like traces on a solid surface, their linear movement embodies the lives of beings and the "flow of life."
Yona Piccini Bauret
Paris 8 - Master de Projet Culturel et Artistique International
Portrait de Léa Goeb
2021, photographic print on paper, 100 x 150 cm
Léa Goeb is a student at the Sorbonne. Her portrait highlights the crucial lack of female representation on the walls of the BIS (Bibliothèque Internationale Supérieure). With this photograph, I hope to reveal the need to artistically celebrate the female students who are making and have made the history of this university.
Zoé Schröter
Paris 1 - Le Master en Art et Création Internationale (MAVI)
Présumé inconscient
2021, watercolor and pencil on tracing paper, 35 x 110 cm / 36 x 49 cm
The apparent separation between the adult and what they consider their past reveals a conceptual disturbance in the way culture communicates. We observe a kind of doubling, a mythologizing of the child that separates them from the adult, reducing them to a defective specimen. It is through the representation of the child that I attempt to depict a subject that is both intangible and familiar to the viewer.
Nitouche Anthoussi
Paris 1 - Master Recherche Arts Plastiques et Création Contemporaine
Les impressions
2021, acrylic paint. Photographic prints and writing on newsprint
42 x 59,4 cm / 21 x 14,8 cm / 21 x 14,8 cm
42 x 29,7 cm / 42 x 29,7 cm / 42 x 59,4 cm
The prints are a series of interventions on newsprint. It is a heterotopia constructed on a surface where other people - the authors - write their articles.
These artworks speak to us of the pandemic, confinement, and human anxiety. It is vital for us to create a personal space, free from the constant restrictions that frame our social lives.
Chloé Barbe
Paris 1 - Le Master en Art et Création Internationale (MAVI)
Pensée Pissenlit
2021, 70 photographies instantanées, 9 x 6 cm ; aquarelle sur papier, 125 x 800 cm
Pensée Pissenlit est une installation associant une peinture et une série de photographies qui envahissent et mêlent le lieu dans lequel elles se situent et le contexte où de multiples pensées sont formulées par les personnes qui le traversent. Elles reflètent la vie d'un pissenlit qui, pourtant partout, n'est pas regardé.
Karen Dominique Castro
Paris 8 - Master de Projet Culturel et Artistique International
Lavare
2021, photographic print, glass and stone installation, variable dimensions
Superimposition, intersection, and accumulation of photographs taken during an act of communion between the artist and various individuals. The tension between these images - fragments of identities - and the structure raises questions about the importance of considering the unique characteristics of members of the same community in order to weave a notion of relational equity.
Violette Charlier
Paris 8 - Master de Projet Culturel et Artistique International
La Pause
2021, performance
Taking possession of an institutional space of knowledge, starting from a body that is not recognized as capable of conveying its own discourse about itself. Here, the movement of a body acting out its own performance is an act of reclaiming the gaze. Hyper-femininity is staged by the artist as an offensive reversal within a feminist and queer perspective.
Clément Justin-Hannin
Paris 1 – Le Master en Art et Création Internationale (MAVI)
VOYEZ COMME NOUS RESSENTONS
2021, performance
Here, everything is an invitation; the performance can be experienced as both participant and spectator. Everyone is invited to contribute to this shared creation, which explores the evolution of interpersonal relationships in increasingly individualistic capitalist societies. During a walking reading, participants who wish to, who dare, who feel the urge, are invited to share a drink from a ceramic wineskin passed from hand to hand… The tone is set; the artistic gesture is an act of sharing, a horizontal act of creation in which we all have our place. Fragments of text, like a small anthology, mark a kind of progression, a mental journey that leads us to consider our relationship with others, both physically and emotionally. These selected fragments are offered for reading to those who wish to participate, creating a kind of chorus where the voices intertwine, revealing the nuanced complementarity of texts, knowledge, and lived experiences. The beverage (a mixture of plant-based milk and honey) is contained in a limited quantity within the wineskin; each person drinks knowing this limit and thus becomes a conduit for this resource to those who follow. Each person, according to their own inclination, is then invited to offer a moment of reflection to those around them.
Adelina Krakowska
Paris 1 – Le Master en Art et Création Internationale (MAVI)
Emotional states of mind
2021, 6 illustrations
These four colorful, comic-book-inspired illustrations are accompanied by details and song lyrics that I find inspiring. The other two illustrations, in contrast, are much more minimalist; they focus primarily on the emotions that appear on her face. Asheara lives in another dimension (parallel to ours), in a world I created in my subconscious a long time ago, which can sometimes seem psychedelic and unreal. However, her emotions are very real; they are always a reflection of my daily life.
Jasmine Thy Nguyen
Paris 1 – Le Master en Art et Création Internationale (MAVI)
They want me to be...
2021, inkjet print on paper, felt-tip pens, 100 x 150 cm
Certain social norms deprive us of our freedom and our unique sense of identity. In They want me to be..., the artist invites all viewers to write down the social norms and expectations they must endure, in order to share their own anxiety and seek the audience's empathy.
Cécile Renoult
Paris 1 – Le Master en Art et Création Internationale (MAVI)
Les terres battues2021, tinted clay on adhesive vinyl, 20 cm in diameter
Electromagnetic grids exist on Earth, forming intersections that impact the living beings within them. These drawings are installed at the locations of these possible energy nodes. The forces inherent to the Earth, which supports our buildings, then appear as if on the surface.
JANE AND LOUISE WILSON
I'D WALK WITH YOU, BUT NOT WITH HER
From November 6th to 30th 2021
Exibition Curator : Yann Toma
Sorbonne Artgallery is thrilled to present you the series by Jane et Louise Wilson titled I'd walk with you, but not with her , exhibited from November 6th to 30th 2023.
These large-scale photographs reveal the abandoned interiors and facilities of Pripyat, the Ukrainian city built in the 1970s to house workers from the Chernobyl nuclear power plant and evacuated after the 1986 disaster. Now visited only by tourists and researchers, this city has become a site of "dark tourism" (visiting sites devastated by natural or man-made disasters) for over 25 years.
Through the recurring motif of a standard placed inside each interior, our act of entering and photographing these spaces, of stopping time in this place now beyond human control, challenges the viewer. The photographs invite us to look back to the past, into empty spaces created by humankind, but the standards (a means of measurement now obsolete, just like the buildings themselves) play with notions of interpretation and memory regarding the material fact, what is recorded, measured, articulated, and analyzed. »
This series was created during two artist residencies in protected areas: Gapado Island, South Korea, and the city of Ise, Japan.
The contemporary development of both sites is now heavily focused on environmental preservation, maintaining sustainable ecosystems, and tourism, which in the past had long centered on harvesting and selling seafood. For three months, we lived alongside the Haenyo, who, like the Amu in Japan, live from sustainable fishing practices and collective labor. This illustrates the bond of sisterhood upon which their survival depends; when they are together, they share everything. The photographic works from both residencies capture the natural materiality of the giant lava rocks, imbued with a divine mysticism within the local culture.” We wanted to mix sea urchins and seashells on piles of lava stones and scarecrows on the surface of the sanctuary's architecture, to merge discovery with inaccessibility, reverie with disappearance.
The Wilson sisters are particularly interested in humanity's impact on the planet, especially what happens when a place, perceived as inaccessible, becomes an object of desire and control, only to ultimately be reclaimed by the forces of nature and the environment, which reassert themselves and regenerate.
Fascinated by the unconscious, these twin sisters create strange, hallucinatory, and psychedelic images, provoking visual shocks through contrasts of materials (mineral/organic) and environments (land/sea), blending the beauty of nature with abandoned architecture and the chaos of certain tragically historical sites.
This artist duo, nominated for the Turner Prize in 1999, has since exhibited in the world's leading museums (Metropolitan Museum, Getty, Tate, etc.).
KETTY JULIEN & LOIS SZYMCZAK
SÉQUENCES / PARTITIONS - PRIX AMMA 2021
From October 11th to 27th 2021
Exibition Curator : Yann Toma
Opening on October 11th 2021
Sorbonne Artgallery is thilled to present you two artists and winners of the fifth prix AMMA Paris 1 Panthéon-Sorbonne pour l'Art contemporain edition.
Despite the health crisis, the students of the Master 2 Art Market Association decided to proceed with the nomination of the AMMA Paris 1 Panthéon-Sorbonne Prize for Contemporary Art. From all the applications received, eleven artists particularly caught the attention of the students: Assoukrou Aké, Justine Germond, Tessa Gomez Orcel, Yunyi Guan, Victoire Inchauspé, Ketty Julien, Lucas Leclercq, Pauline Pilard, Mathieu Sauvat, Mirae Shin, and Loïs Szymczak. The mediums employed by these student artists are rich in possibilities, as are the subjects they address. However, despite their differences, it is clear that all these young artists draw their inspiration from personal experiences, thus shaping the originality and power of their respective artistic worlds. On May 18 and 19, 2021, the nominated artists were able to exhibit their work at the prestigious Bastille Design Center. To select the winners, five jurors kindly agreed to participate in this year's event. The jury, chaired by artist Agnès Thurnauer, was composed of Emmanuelle Chan (alumna and specialist in modern and contemporary Asian art at Christie's Hong Kong), Salomé Partouche (artist and co-founder of Atelier de Paname and the Biennale de Paname), Luiza Vanelli Schmidt (alumna and independent art advisor), and Magda Danysz (gallerist). The deliberations among the jurors were particularly engaging. Agnès Thurnauer offered a very encouraging and moving message to the artists, motivating them to continue their work. The projects presented were all highly developed, and the exhibition was very well received by the public in attendance. After lengthy deliberations, the jury members exceptionally chose to award the Prize to two winners, Loïs Szymczak and Ketty Julien, whom they particularly wish to encourage in their artistic endeavors. The public prize was awarded to Tessa Gomez-Orcel, a student in a double Master's program in Visual Arts and Gender Studies at the Sorbonne School of Arts, for her committed photographs from her series La Lucha Libre.
Luiza Vanelli Schmidt, Agnès Thurnauer & Salomé Partouche
Luiza Vanelli Schmidt, Agnès Thurnauer & Salomé Partouche
This year, the outcome was more than surprising, as two artists were chosen to win the Jury Prize, which is exhibited at the Sorbonne Art Gallery. Ketty Julien, a Master's student in Fine Arts at the Sorbonne School of Arts at Paris 1 Panthéon-Sorbonne University, and her photographic installation, Souvenir Sourd (Deaf Memory), moved the jury, especially the female jurors present, who wanted to give a boost to a promising artist. Loïs Szymczak, a student at the Beaux-Arts de Paris (Paris School of Fine Arts), distinguished himself with his work from the series Trouver ma place (Finding My Place), which was unanimously praised by the jury members.
For the fifth edition of the AMMA Paris 1 Panthéon-Sorbonne Prize for Contemporary Art, we are once again discovering young contemporary art talents in the very heart of the Sorbonne's academic palace. This year, an innovation is the presence of the Antenne building (consecrated in December 2020 by ORLAN), which has become the operational base of Sorbonne Artgallery, the Sorbonne's contemporary art gallery, and in front of which the two laureates will be presented. This edition is particularly exemplary as it highlights the talent of two young artists from two leading institutions of higher art education: the École Nationale Supérieure des Beaux-Arts (ENSBA, Ministry of Culture) and the Sorbonne School of Arts (Ministry of Higher Education). This skillful balance demonstrates how the richness of the work offered by the younger generation of artists and curators gives us hope. Faced with increasing levels of entropy (at the physical, biological, informational, and psychosocial levels) in the Anthropocene era, the following era, the Neguanthropocene, requires the implementation of artistic models based on the systemic valorization of anti-entropy production. The works emerging today support this momentum and allow it to take shape in reality.
Ketty Julien
Séquence/0401 vers souvenir sourd
When I work, I create narrative units that form spaces in the form of sequences. These are ordered sequences that reveal their depths and often allow me to work with a sense of absence or philosophical undertones. I also sometimes work in the form of plans, pages, or shorter spaces. These sequences take shape in installations, publications, videos, web layouts, games, and other media. Or they remain in the archives. To gather material for creating sequences/spaces, I record all sorts of data daily using various media: photography, video, writing, dreams, screenshots, painting, drawing, and cut-outs. These are signs and moments of real or metaphorical spaces, forming an agglomeration of multiple images, metaphors, and signs. In my perception, these are organic elements that allow me to spatialize the sequences from which I will draw when creating a sequence/space.
Ketty Julien
Loïs Szymczak
Partition de Plongeon
The Partition de Plongeon series invites the viewer to step into the diver's shoes. As we progress through the comic strip panels, we discern the logic of the pool's gradual approach. While the black square of the pool draws closer, it disappears from time to time, depending on the viewer's aerial maneuvers. In this way, Loïs Szymczak playfully invites us to understand her sport and its demands. Like her athletic practice, the collages are the result of repetitive gestures and a strong aesthetic rigor. The dizziness one might experience when faced with this myriad of panels echoes the anxiety felt by the athlete at the top of the diving board. These different sequences invite us to reflect on the logic of ranking, inherent in athletic competition, yet ultimately insufficient for finding one's place and giving meaning to one's life.
Loïs Szymczak is 28 years old and currently a fourth-year student at the Beaux-Arts de Paris, in Pascale Marthine Tayou's studio. Reflections on competitive sport, the futility of sacrifices, and the binary logic of failure and victory are central to Szymczak's work. His entry into the Beaux-Arts coincided with his retirement from high-level acrobatic diving.
Ketty Julien is a 23-year-old artist who is developing her artistic practice within the Master 2 program in Visual Arts at the Sorbonne School of Arts, part of the University of Paris 1 Panthéon-Sorbonne. Working with photography, video, and painting, Julien offers a reinvention of the medium through the superimposition of silver gelatin prints on tracing paper, made visible by the light that transcends them. While photographs are objective records of fleeting moments, Ketty Julien's installation manages to imbue them with subjectivity and recreate a unique, lived atmosphere. Her artistic approach is rooted in a desire to share, with interaction with the viewer being an integral part of the work. Through her "Muffled Memory," we are immersed in a different space-time, one that is not limited to what is visible but also reflects the artist's feelings. The interplay of light contributes to the particular weight of these visions, lending a delicate touch to this personal and poetic installation.
Prix AMMA 2020 - Arianne Jouhaud - Rio Project, sous le parrainage de l’artiste ORLAN.
Prix AMMA 2019 - Dayoung Jehong - Avatar, sous le parrainage de la galeriste Nathalie Seroussi.
Prix AMMA 2018 - Alessia Sanna - Screen City, sous le parrainage d’Antoine de Galbert.
Prix AMMA 2017 - Lenny Rébéré - Exhibit, sous le parrainage des galeristes Chantal Crousel et Thaddaeus Ropac.
Special thanks to the artists, the jury members, Monique Le Forestier, Yann Toma, Tristan Azzy, Arnaud Bertinet, and the University of Paris 1 Panthéon-Sorbonne, without whom this entire adventure would not have been possible. Members of the association Héloïse De Baudus, Juliette Dessagne, Louise Nédélec, Aude Keruzore, Chloé Liu, Joséphine Dauphin, Léane Inès, Raphaëlle Bracq. Partners : Université Paris 1 Panthéon Sorbonne, Sorbonne Artgallery, Bastille Design Center, CPGA Comité professionnel des galeries d’art, Master 2 Pro-fessionnel marché de l’art (Paris 1), Institut Art&Droit, Le Quotidien de l’Art, Christie’s.
MULTILATÉRALISMES
LE DROIT INTERNATIONAL POUR UN MONDE NOUVEAU /
INTERNATIONAL LAW FOR A NEW WORLD
From September 16th au 8 octobre 2021
Exibition Curator : Yann Toma
Opening on le September 16th 2021
To mark the centenary of the Institute of Advanced International Studies, Sorbonne Artgallery is honored to present this photography exhibition in partnership with the United Nations Photo Library and with the kind support of Pascale Martin-Bidou.
A Collaboration Between Paris 2 Panthéon-Assas and Paris 1 Panthéon-Sorbonne
Sorbonne Artgallery benefits from the active support of the UN and is developing a collaborative effort between the two major universities, Paris 2 and Paris 1, by organizing a unique photographic exhibition at the Panthéon Center and a monumental exhibition at the Assas Center as part of the IHEI's centenary celebrations.
Intended to "reinvigorate" multilateralism, the photographs presented in this exhibition coincided with the 75th anniversary of the UN and were unveiled by its Secretary-General to advance a shared agenda at a time of great upheaval and peril for our civilization. Indeed, if the world is to get moving again today, and if we want to keep our promises to future generations - to guarantee a world where everyone can thrive in peace, dignity, and equality on a healthy planet - then 2021 must be the year we imagine a desirable future together.
Four major themes are currently being explored by the IHEI:
Responding to new challenges: the evolving sources of international law;
Supporting new aspirations: renewed actors on the international stage;
Towards new procedures; Countering new threats: geopolitical imbalances
Karach, 1983, UN Photo/John Isaac
Karach, 1983, UN Photo/John Isaac
International Peace Day, 2007, UN Photo/Helena Mulkerns
International Peace Day, 2007, UN Photo/Helena Mulkerns
Established in the aftermath of the First World War to serve the hope of peace through law, it rose from the ashes of the Second as the "Institute of Advanced International Studies (IHEI) of the Faculty of Law of the University of Paris" by decree of General de Gaulle, under the Provisional Government.
Through its history, its function, its social makeup, and its openness, the IHEI is a world apart in the contemporary academic landscape, while still being affiliated with the University of Paris 2 Panthéon-Assas. It is often perceived, and rightly so, as a haven where very different personalities, from diverse and sometimes distant cultures and backgrounds, meet to learn, study, and exchange ideas in a language they hope they share: international law. It is the place where internationalist thought is transmitted, founded on the ambition and the hope that the negotiators of tomorrow, the jurists who will come after, will be able to communicate more effectively than their predecessors.
While it lies at the heart of the French tradition of international law, to which it tirelessly contributes, the specificity of its disciplines and the mission of our Institute, which strives to be one of its guardians, extend beyond the local perspective. Every year, without exception in its century-long history, foreign scholars and practitioners from every continent, every culture, and every tradition come to honor the IHEI with their contributions. Whereas academics, particularly jurists, initially flourish within a national framework, cultivating its intellectual resources before extending their reasoning to comparative perspectives, the first interlocutors of the internationalist are Russian, Chinese, American, African, or Japanese, as much as French. The outside world is not a point of comparison; it is the natural environment of international law and the very condition for the existence of a training and research institute such as the Graduate Institute of International Studies in Paris.
Professeur Carlo Santulli, directeur de l’Institut des hautes études internationales
Founded in 1921, after the First World War, the IHEI is celebrating its centenary this year.
A Sorbonne Artgallery / United Nations Photo Library partnership.
Art direction by Yann Toma, Artist, University Professor and Delegate for Academic Impact at the United Nations / Paris 1 Panthéon-Sorbonne University.
With the kind support of Pascale Martin-Bidou, Senior Lecturer in Public Law, Director of Studies at the IHEI, and Co-Director of the Master 2 in Law and Security Strategies at Paris 2 Panthéon-Assas University.
RODRIGO BRAGA
CORPO POROSO
From June 14th to September 10th 2021
Exibition Curator : Yann Toma
Vernissage le 14 juin 2021
Sorbonne Artgallery is thrilled to present you the photography exhibition Corpo Poroso by Rodrigo Braga, in partnership with the Le Salon H gallery.
The visual journey of Brazilian artist Rodrigo Braga is intimately linked to the natural ecosystems he explores. Long rooted in the unique topography of his native country, he has more recently expanded his work to encompass a diversity of geographical environments. His images depict the relentless, intimate struggle between humankind and nature. From this conflict emerge symbolically powerful images that reveal the porous boundaries between humans, animals, and plants, and the resulting disruptions. At the heart of this conflict, his own body is often present, in the density of the forest or in the bowels of the earth.
For his exhibition at the Sorbonne Artgallery, we propose to trace this journey through a selection of his work spanning twenty years of his career. The nine photographs presented here do not follow a chronological order, but rather seek, through iconic images, to synthesize the artist's thoughts and immersive practices. They are fragments of a non-linear story, told through bodies, rocks, and plants, which reveal the evident fractures of our era. In a way, this retrospective gaze acutely reflects the question of the Anthropocene, as humanity tends toward the depletion of its resources and the collapse of its presence on Earth. But these photographs are also a testament to a personal, and therefore subjective, vision of the world at a given moment. Sometimes aggressive, sometimes tender, they bear witness to the ambivalence of the predatory or protective impulses that bind us to the living.
Born in Manaus (Amazon, Brazil) in 1976, Rodrigo Braga graduated from the UFPE School of Fine Arts (Recife, Northeast Brazil, 2002). He has been exhibiting since 1999 and is the recipient of some of Brazil's most prestigious contemporary art awards, including the 2012 PIPA Prize from the Museum of Modern Art in Rio de Janeiro and the 2013 Emerging Talents Prize from the Museum of Art of São Paulo (MASP).
In 2012, Rodrigo Braga participated in the 30th São Paulo International Biennial, and in 2013 he exhibited his work Tonus at the MoMA PS1 Cinema in New York.
In 2016, he was invited to the Palais de Tokyo in Paris (SAM Art Projects Prize) for a solo exhibition.
LEE SHULMAN
SWEET DREAMS
From June 1st to 10th 2021
Exibition Curator : Yann Toma
Opening on June 1st 2021
Sorbonne Artgallery is thrilled to present you the exposition Sweet Dreams by Lee Shulman, exhibited from June 1st to 10th 2021, as part of the Parcours Saint-Germain.
Sweet Dreams is part of a project initiated by British filmmaker Lee Shulman, which seeks to preserve a collective memory of the late 20th century using a collection of discarded slides. The Anonymous Project is a rising star; after the presentation of the photographic series The House at the Rencontres d’Arles, the Polka Factory, and then the Agnès B. factory, The Anonymous Project emerges as a kaleidoscopic diary of shared moments, bringing together all the social and cultural circles that, from the 1950s onward, had direct access to color film.
For the Saint Germain Parcours event, Sorbonne Artgallery is pleased to present an exclusive exhibition of a collection from The Anonymous Project, which until now has remained largely unknown. In addition, The Anonymous Project will flood the Saint-Germain district with posters from their vast collection, printed in editions of over 1,500.
At 40, Lee Shulman works in the film industry. He currently lives and works between Paris and London. He began his career as a production assistant for Ridley Scott Associates, working on various commercials and music videos. In 1998, he graduated from the University of Westminster with a BA (Hons) in Film, Video and Photographic Arts. He is the creator of The Anonymous Project and recently wrote, directed, and produced his first television series for Canal+.
EMERIC LHUISSET
CHEBAB
From May 4th to 27th 2021
Exibition Curator : Yann Toma
Post-confinement inauguration on May 19th 2021
Sorbonne Artgallery is thrilled to present you CHEBAB by Emeric Lhuisset, exhibited from May 4th to 27th 2021.
A single-shot sequence of a day in the life of a Free Syrian Army fighter. Subjective camera, 24-hour loop broadcast in real time.
Aleppo and Idlib Provinces (Syria), August 2012
In most societies, conflict is omnipresent: news, films, video games… it’s difficult not to see it, yet the image presented to us is merely an idealized fantasy detached from reality.
Even if the fantasy remains the same, the representation of war is changing. While reporters are generally expected to be as close to the action as possible, since 2010 we have seen a massive increase in images that are no longer produced by the witnesses of the event - the reporters - but by the actors of the event themselves: the fighters. These fighters now produce the majority of war images using their smartphones, and also become their disseminators via social media.
In this project, by attaching a camera to the torso of a Free Syrian Army fighter in the Aleppo and Idlib region, Emeric Lhuisset explores the contemporary role of the war reporter. But he also chooses, in this subjective-camera video, to create a 24-hour continuous shot, which will subsequently be broadcast in real time. He will revisit this video, systematically capturing each of the 1440 minutes of those 24 hours, thereby questioning our relationship to photography and the search for the decisive moment. Why still try to capture this decisive moment, risking missing it, when one can easily film in very high resolution and then simply capture the desired instant? The artist invites us to question the representations and uses of the photographic medium, but he also confronts us with the rawest reality, devoid of fantasy, devoid of the event itself, simply the banality of everyday life, that of war.
Born in 1983, Emeric Lhuisset grew up in the Parisian suburbs. He holds degrees in art (École des Beaux-Arts de Paris) and geopolitics (École Normale Supérieure Ulm / Université Paris 1 Panthéon-Sorbonne). His work has been featured in numerous exhibitions worldwide (Tate Modern, Museum Folkwang, Institut du Monde Arabe, Stedelijk Museum, Rencontres d’Arles, Sursock Museum, CRAC Languedoc-Roussillon, Musée du Louvre-Lens, etc.). He has won several awards, including the British Journal of Photography International Photography Award 2020, the BMW Photography Residency 2018, and the Grand Prix Images Vevey - Leica Prize 2017. His published works include Maydan – Hundred Portraits (2014) and Last Water War (2016), both published by André Frère Editions and Paradox (Ydoc); L’autre rive (2017) with André Frère Editions and Al-Muthanna; Quand les nuages parleront (2019) with Editions Trocadero; and Le bruit du silence (2020) with Filigranes Editions. He has taught at Sciences Po since 2007, focusing on contemporary art and geopolitics.
