Tim

Eitel

Studio professor

The figures in Tim Eitel's paintings are usually depicted from the back, a little away or somewhere else. The artist induces the presence of a quasi-observer whose gaze embraces the anonymous passers-by who pass in front of him or her. They are caught in motion in neutral environments, outdoor landscapes and public places. Bathed in coloured greys and sober colours, these figures are as if in suspension, captured far from any affect. Peaceful, sensual and silent, his works, which inspire tranquillity and simplicity, take the viewer back to a dreamy solitude and raise the question of the other. 


Tim Eitel trained at the Fine Arts Schools of Halle and Leipzig in Germany, and was a resident at the Bethanien in Berlin in 2002. His work has been shown in numerous exhibitions, including at Kasteel Wijlre in the Netherlands, Kunsthalle Tübingen in Germany, the Essl Museum in Klosterneuburg in Austria, the Goethe Institut in Hong Kong and the Center of Gravity, Pace Wildenstein in New York.

 


Photo credit: © Hugo Aymar

 

 

Clément

Cogitore

Studio professor

Trained at the École des Arts Décoratifs in Strasbourg and the École du Fresnoy, before joining the Villa Medicis in Rome in 2012, Clément Cogitore, through his films, videos and installations, develops a body of thought in which the images tell a story without applying the usual narrative rules. In this way, a documentary quite logically becomes fiction by the mere presence of the camera, which creates a frame and delimits a gaze. So, in the heart of the Taiga, two families living in autarky, isolated from everything, confront each other as if they were fiction. For Cogitore, narrative inventiveness, experimentation and the staging of images are interwoven with deeper reflections on society.

 

This is why, since his debut, in addition to the fact that his work has been exhibited or screened everywhere from the Moma to the Centre Pompidou, via the ICA in London, he has won numerous awards and distinctions: The Gan Foundation Prize at the Cannes Film Festival for his first feature film, as well as the Locarno, Los Angeles and San Sebastian Film Prizes, the BAL Prize for Young Artists, the Sciences Po Prize for Contemporary Art, the Ricard Prize (2016), and finally the Marcel Duchamp Prize (2018) for a dystopia based on images selected from a database. A true reflection on the fascination of images and their power over reality.

 


CNC © DR


 

Claude

Closky

Studio professor

Subtle, minimal and playful, Claude Closky creates a body of work that plays with all codes and logical systems, whether metrical, mathematical, alphabetical or grammatical. He observes, reclassifies, combines, accumulates, cuts out, assembles, glues, draws and photographs the infraordinary. To add a touch of humour and absurdity to everyday life, he poetically hijacks advertising codes and, with a rebellious streak, turns order on its head. From the simplest drawings - executed with a biro and a sheet of paper - to video, photography, collage, painting and audio media, as well as publishing and websites, he uses a wide range of means to create discrepancies and distort well-oiled mechanisms.

 

After a brief stint at the Ecole des Arts Décoratifs in Paris, which he left after a year, he co-founded the Ripoulin brothers, who in the 1980s imposed their pictorial diversions on the city's advertising posters. In the 1990s, Claude Closky asserted his own style in a more conceptual vein. His work can be found in private and public collections, and his exhibitions have toured the world. He was awarded the Grand Prix National d'Arts Plastiques in 1999 and the Prix Marcel Duchamp in 2005.

 

Photo : saywho.fr

 

Nina

Childress

Studio professor

Fluorescent paint for Rococo hangings, neo-romantic punk with a taste for opera, soaps and wigs, as well as portraits of Simone de Beauvoir and pop singer France Gall... no subject frightens Nina Childress. Her paintings indulge in all the delights of matter, colour and form, without shying away from a non-aggressive feminism and a "silly conceptuality" that is at once tender, tangy and perfectly assertive. It's not for nothing that the artist got her start in the 1980s, as a member of the French punk band Lucrate Milk, but also in '69 with the Ripoulin brothers, who worked as much in Parisian clubs as they did in the corridors of the metro. Since then, Nina Childress has never stopped painting, and her technical virtuosity combined with her taste for the quirky has continued to assert itself, leading her to teach at the Nancy School of Art from 2007 onwards.

Her energetic paintings can be found in numerous institutions (Musée d'Art Moderne de Paris, FRACS, FNAC, etc.). Nina Childress has had major solo exhibitions at the Mamco in Geneva in 2009, the Fondation Ricard in 2020, and the FRAC Méca in Bordeaux in 2021-2022.

© Gaby Esensten

Marie-José

Burki

Studio professor

In a world saturated with images and information, Marie José Burki's films, photographs and installations question our perception of reality, analyse our relationship with the passage of time, and focus on the relationship between words, language games and images. Her films and visual devices reveal and deconstruct the media strategies to which we are constantly exposed, reconnecting us with the living. 


Marie José Burki studied literature at the University of Geneva and art at the Haute École d'Art et de Design (HEAD) in Geneva. She was a visiting artist at the Rijsakademie in Amsterdam, directed the post-graduate course at the Beaux-Arts de Lyon, and was a professor at the Hochschule fur Bildende Kunste in Hamburg from 2001 to 2008, before becoming head of the studio and head of the post-graduate course at the Beaux-Arts de Paris from 2015 to 2020.


From Documenta IX in Kassel (1992) to Museum on the Seam in Jerusalem (2018), via The Irish Museum of Modern Art in Dublin (1996), Barcelona Museum of Contemporary Art (1998), The Contemporary Museum, Baltimore (1999), Villa Arson in Nice (2000), Museum Folkwang, Essen (2005), Maison Rouge in Paris (2012), Kunstmuseum Bern (2013), Kunsthaus Aarau (2014), or the Institut d'art contemporain de Lyon (2015), she is regularly invited to take part in major international events, as well as a number of solo exhibitions (Kunsthalle de Basel and De Appel in Amsterdam in 1995, Kunsthalle de Bern in 1998, Musée des Arts Contemporains du Grand Hornu in 2003, the CRAC in Sète in 2007, the Gulbenkian Foundation in Lisbon in 2017).

 

 

Dove

Allouche

Studio professor

From drawing to photography, Dove Allouche's work is never completely one or the other. He is more interested in the conditions under which images appear, where the medium only makes sense in its mutual relationship with the subject. His artistic projects are often rooted in reality or the manifestation of natural phenomena. From the Pétrographies series, in which stalagmitic sections are used directly as photographic negatives, to the Fungi series, in which the moulds found in museum storerooms are combined with specific blown glass, most of his images bring into tension the almost organic energy of the material and the idea of an indefinitely stretched temporality that allows him to project into the present something he is looking for in the past. Trained at the Beaux-Arts in Cergy, this revealer of visual treasures, who stayed at the Villa Medici in Rome in 2011-2012, has presented exhibitions at the LAM in Villeneuve d'Ascq, the Palais de Tokyo, the Centre Pompidou, the Contemporary Art Gallery in Vancouver, the Peter Freeman Gallery in New York and GB Agency in Paris, and has entered the collections of the Louvre in chalcography, as well as the Centre Pompidou and the Moma in San Francisco. He recently took part in the exhibition Préhistoire, une énigme moderne at the Centre Pompidou and the Moma in San Francisco. He recently took part in the exhibition Préhistoire, une énigme moderne at the Centre Pompidou and the Visible/Invisible exhibition at the Château de Versailles, and is preparing is preparing new exhibitions for 2024 and 2025 at the Fondation Van Gogh in Arles, the Centre Pompidou-Metz and the Musée de l'Orangerie in Paris.

 

Photo credit: © Hugo Aymar


 

From wednesday 21 february 2018 to sunday 20 may 2018

Palais des Beaux-Arts

13 quai Malaquais, 75006

ENTRÉE PAYANTE

Curators: Philippe Artières and Éric de Chassey

Fruit of the joint perspectives of two often opposing disciplines, the history of art and history, this exhibition offers a documented reading of this particular moment in contemporary history, the years 1968-1974, when art and politics, creativity and social and political struggles were intimately entwined.

The exhibition is not a visual history of politics but a political history of visual works. It presents posters, paintings, sculptures, installations, films, photographs, leaflets, journals, books and magazines, including some 150 publications available for consultation in an open library.

Beginning with major demonstrations against the Vietnam War, dwelling on the Atelier Populaire des Beaux-Arts of May and June 1968 and, in the following years, items recovered from Parisian boulevards, factories, mines, universities, prisons and many other places throughout France, a long procession is unveiled.

Palais des Beaux-Arts
13 quai Malaquais
Paris 6e

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From monday 1 october 2018 to friday 11 january 2019

Cabinet de dessins Jean Bonna

14 rue Bonaparte, 75006

ENTRÉE PAYANTE

This autumn Beaux-Arts de Paris unveils part of its collection of more than 40,000 architectural drawings, exhibiting thirty-four watercolors on architectural projects designed during the training of young architects under the Second Empire.

The drawings on display, dated between 1848 and 1867, constitute a veritable visual memory of the academic teaching dispensed to students in the architecture section and provide a mirror for the architectural trends of the second half of the 19th century.

Curated by Emmanuelle Brugerolles. 

14, rue Bonaparte
75006 Paris

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From friday 12 october 2018 to saturday 5 january 2019

Beaux-Arts de Paris

14 rue Bonaparte, 75006

ENTRÉE PAYANTE

Nairy Baghramian is the guest of the 2018 Paris Festival d'Automne. Born in 1971 in Isfahan (Iran), she lives and works in Berlin. Last year her work was presented at several major international events such as Documenta in Cassel, the Skulptur Projekt in Münster and the Biennale in Lyon. Several solo exhibitions have recently been devoted to her in museums such as the Reina Sofia in Madrid (2018), the Walker Art Museum in Mineapolis (2017), SMAK in Ghent (2017) and Museo Tamayo in Mexico (2015).

Her exhibition at Beaux-Arts de Paris is her first solo exhibition in France. 

14, rue Bonaparte
75006 Paris

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© Martin Argyroglo

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From friday 12 october 2018 to saturday 5 january 2019

Palais des Beaux-Arts

13 quai Malaquais, 75006

ENTRÉE PAYANTE

The discovery of the work of Georges Focus from the period of his confinement at the Petites Maisons arouses an overwhelming sense of astonishment today, not to mention shock. It inspires us with a feeling of something new, something never seen before, and challenges our received ideas.

Georges Focus, member of the Royal Academy of Painting and Sculpture under Louis XIV, produced two separate streams of work: public, Academy art on the one hand, personal and intimate, on the other.

This astonishing corpus, brought together in France for the first time at the Palais des Beaux-Arts, comprising around 80 drawings as well as prints and paintings from the University of Edinburgh, private collections and public institutions including Beaux-Arts de Paris, bears witness to his unique trajectory.

The exhibition is an opportunity to explore the exceptional and unique œuvre of an artist suffering from madness at the time of Louis XIV.

Curated by Emmanuelle Brugerolles

Palais des Beaux-Arts
13, Quai Malaquais
75006 Paris

 

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