Angelica

Mesiti

Studio professor

Angelica Mesiti is a multidisciplinary artist whose practice combines performance with video, sound and spatial installation to create immersive environments of absorption and contemplation. Mesiti has long been fascinated by performance, as a mode of storytelling and a means of expressing social ideas in physical form. In recent years, she has produced videos that reveal how culture manifests itself through non-linguistic forms of communication, and more particularly through sound and gesture vocabularies. Her work emphasizes the unquantifiable social role played by music – and, by extension, sound in general – in our relationship to the world.


Her work ASSEMBLY was presented by Australia at the 58th Venice Biennale (2019). Among her recent solo exhibitions: When doing is saying, Palais de Tokyo (2019); In The Round, Talbot Rice Gallery, University of Edinburgh (2021); ASSEMBLY, Arnolfini Contemporary Art Centre, Bristol (2020); Relay League, Art Sonje Center, Seoul (2018); Polyphonies, Basis Frankfurt (2017). Her work is also regularly presented in international museums and biennials.


 

Photo credit: © Hugo Aymar

 

 

Emmanuelle

Huynh

Studio professor

With Emmanuelle Huynh, dance enters into a relationship with literature, music, light and architecture. She studied philosophy alongside dance. 


In 1995, thanks to the Villa Médicis Hors les Murs grant, she created the solo Múa, shifting her focus from dance to performance. This was followed by projects such as A vida enorme, Shinbaï le vol de l'âme, Cribles, Tôzai !..., Formation, Nuée, Kraanerg... In 2022 she created Embrasser un arbre, embrasser le temps, an in situ performance on the memorial question of trees with the composer and director of the GMEM - CNCM in Marseille, Christian Sebille. Between 2004 and 2012, she directed the Centre National de Danse Contemporaine (CNDC) in Angers, notably creating a new "Essais" course and Schools, an international meeting of dance and art schools. In 2016, together with visual artist Jocelyn Cottencin, she initiated a series of portraits of the cities of New York and Saint-Nazaire. In 2021 / 2022 these two portraits will be exhibited at the Carré d'Art in Nîmes under the title De vertical, devenir horizontal, étale. 


She is working on Atravessemos! a portrait of São Paulo in Brazil, which will be created with students from her studio at the Beaux-Arts de Paris in 2024. Lands, a portrait of Houston, will open at the DiverseWorks art centre in November 2023 and will be revived at the Théâtre national de Chaillot in collaboration with the studio.


Her interviews with Trisha Brown have been published by Presses du réel. by Presses du réel.

 

 

Photo : Hugo Aymar

 

 

Dominique

Figarella

Studio professor

The whole body is involved in Dominique Figarella's abstract painting, which is both playful and learned. He has taught at the Villa Arson and at the Beaux-Arts in Nîmes and Lyon. Trained at the Villa Arson in the legacy of Supports/Surfaces, from which he has broken free, he never ceases to question the pictorial process in his approach. Gestures, accidents, traces such as splashes and imprints are integrated into his paintings with a sense of discrepancy and a touch of humour. The shapes and lines are sometimes supported by unexpected objects: a bag of goldfish, photographs, plasters, balloons, suction cups... This poetic painting, full of invention, even recently stepped out of its box to collaborate on Soapera, a choreographic show conceived with Mathilde Monnier (Centre Pompidou, 2010-2014). 


Her exhibitions in 2022-2023 include Des corps, des écritures, Musée d'art Moderne de Paris, Filiations 2, Espace de l'art concret (Mouans-Sartoux), Dominique Figarella, Galerie Anne Barrault, Imagetexte6, Topographie de l'art (Paris).

 

 

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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