Min Jung-Yeon - Il faut passer par là - 2022

Mais le paysage est encore là
Min Jung-Yeon
27.01 > 18.03.2022

Presentation


An all time metaphor, Min Jung-Yeon’s landscapes evolve with her.
Her work took on a new fluidity and a powerful gesturality with the creation of her monumental installation Tissage, which was presented at the MNAAG – Musée national des arts asiatiques Guimet in 2019-2020. An energy was released and now contributes its impetus, sometimes violent, sometimes like a gentle exhalation. The compositions, once entirely thought out, now go with the flow, closely coexisting with the thoroughness of which the artist is capable. Opposites and their struggles, recurring subjects in her work, have melted into an intimate embrace, if not a face-off.

In the past, round edges and angles clashed in dense compositions. Henceforth, the artist’s work conveys a more pacified sensation: the relationship between matter and void presents a new balance.
Min Jung-Yeon creates to better erase and recreate. Brush strokes, prints, fluid materials of diluted acrylic on canvas. In this process, fossilised times accumulate and overlap: Skeletons, rocks, visions and dreams appear in perspectives which are often strange. Amongst her landscapes, we find those of her childhood in the Korean countryside, those glimpsed or dreamed, or those anchored in her visual memory, including the imaginary landscapes of Ahn Gyeon, a great figure of fifteenth-century Korean art.

Reality is a dream, and dream becomes reality. The seasons pass, the emotions surge forth; lights and thoughts come and go. The intense hues, powerful contrasts and mirages of summer give way to autumn, and occasionally to nostalgia. The landscape is experienced from within, the sun becomes scarcer, spring is still only a promise. The memory we were looking for is lost, leaving behind only matter, colour, gesture… The eyes scrutinise, forms stand out and manifest themselves: cliffs, stalactites, stalagmites and suddenly a line, a drip, or a flat area of colour impose themselves. The works are presented to us in a frontal, almost scenic and horizontal way, but they also display a verticality, that of strata. Thus Min Jung-Yeon establishes a temporality: her own.

Agenda


OPENING

Thursday 26.01.2023
5pm > 8:30pm
Galerie Maria Lund

SUNDAY OPENINGS

Sunday 29.01.2023
2pm > 6pm
Galerie Maria Lund

SUNDAY OPENINGS

Sunday 26.02.2023
2pm > 6pm
Galerie Maria Lund

TALK

Conversation between Min Jung-Yeon and Amélie Adamo, critic and curator

Thursday  02.03.2023
7:30pm
Korean Cultural Center
20 rue de la Boétie, 75008 Paris

VISITS of the exhibition Désert plein, soif, sommeil, silence

with Min Jung-Yeon

Réservation before February 10th

Saturday, February 11th - 11:00pm
Saturday, Fabruary 11th - 230:pm
Korean Cultural Center
20 rue de la Boétie, 75008 Paris

Press


Publications and texts


MEET | Min Jung-Yeon

for “carte blanche” to Min Jung-Yeon – MNAAG – Musée Guimet, Paris, 2019-2020


Pré-histoires
Farida Le Suavé
17.11.2022 > 14.01.2023

Presentation


With the support of

Farida Le Suavé’s ceramic sculptures have been formed and marked by mythological times and borrowings from various historical human civilisations. The artist belongs to her time, whilst simultaneously surpassing it. Archaism and contemporaneity are closely intertwined in her works, rich with a delicately balanced suggestivity. Her forms have an undeniable human echo; they are languorous, eager, skilful and clumsy, tragic, funny, sensual and sometimes suffering. An ambiguity is introduced by the orifices, which refer back to the object-container. The artist seizes upon this ambiguity and diverts it by endowing the works with their own breath.

The colour of the clay is that of the skin – white, red, black… the sculptures’ texture is smooth, silky like a dermis. Certain pieces present undulating ornaments, signs and symbols on their surfaces, drawn in coloured pencil like tattoos. We can discern landscapes, rhythms and incantations. The drawings, rebuses and puzzles on paper, which Farida Le Suavé has been creating since childhood, find a new ground here. They become one with her three-dimensional works, as the cave paintings of our ancestors became one with the walls of the underground world that hosted them.

Panser
Elora Weill-Engerer

Here, the belly is slumped, the lips loose and the totality splayed on the ground like jowls heated by the sum of spewed words. There, the feet are paws, supporting a curved and fertile mass which seems poised to come to life. It is an opportunity to recall the eminently corporeal dimension of the vocabulary associated with pottery (neck, bottom, belly, shoulder), and also a way to indicate the mystical presence of Farida Le Suavé’s ceramics. This object that has served, given birth and poured out its contents leaves a void that only thought can fill. Although it retains the memory of centuries-old containers deployed around the Mediterranean (jars, amphoras, dolia, kraters), its form responds to the authority of the hands and the organic breath alone: swellings indicate that something is moving inside.

In the practice of ornamentation, it is common to indicate the function of the object by a precise form and by the inscription of multiple details on its surface: containers devoted to libations or to the conservation of wine, oil or milk will therefore present different aspects. In Farida Le Suavé’s work, this observation takes on an organic dimension: feeling physically what is perceived visually. These gravid ceramics shape after they have been shaped – do we create in order for this creation (or creature) to act on us? They mirror the effect of their function, as if they had been materially transformed by the action they were created for. Their anthropomorphism is accentuated, since they are presented from an empathetic perspective, the one from which we naturally consider everything that seems endowed with affects. Especially since the smooth, soft texture of the fine clays used by the artist and their shades, ranging from dark brown to light beige, make the surface reminiscent of skin. And the role of colour does not preclude that of drawing. For Farida Le Suavé, ceramics are an extension of the practice of drawing, the line of which is made manifest in two ways: firstly, in the motifs of arabesques or Berber and Coptic signs, drawn in pencil like tattoos on these reddish-purple clay volumes; and secondly, by the very line of the form, cut to the quick in the breaking of the shards.

From the envelope to the structure, Farida Le Suavé’s ceramics therefore challenge the relationship between the ornamental and the non-ornamental as that between the useless and the necessary. In colonial and progressive thinking, ornamentation was the prerogative of peoples without writing. Associated with seduction and femininity, it was not to be confused with the subject, whose essential function was to produce meaning. The recurrence of the ornament’s defining motif was seen as the mark of the craftsman rather than that of the artist. Its aim was to be decorative, that is to suit (decere), or, literally, to arrive at the same point as the main subject. Against this Platonic thinking which denounces adornment as vulgar, useless, superficial and distinct from beauty, Farida Le Suavé’s work places the ornament in the context of universal and magical language. It does not refer to adornment in the sense of “decoration” but in the more secondary sense of protection, which “shields” the individual from the evil eye. The ornament becomes a surviving sign, enabling us to link formlessness back to reality and to anchor it in a narrative.

Translated from French by Juliet Powys

Agenda


Opening

Pré-histoires

Thursday 17.11.2022
17:00 > 20:30
Galerie Maria Lund

Sunday Opening

Sunday 27.11.2022
14:00 > 18:00
Galerie Maria Lund

Un dimanche à la galerie

CPGA

dimanche 16.10.2022
14:00 > 18:00
Galerie Maria Lund

Press


Publications and texts



YOO Hye-Sook - nuage 1

Le jour vient
Yoo Hye-Sook
08.09 > 12.11.2022

Presentation


Yoo Hye-Sook breathes to the sound of a pencil that twists and turns on the canvas covered with a dense, matte black. No programme, no destination. The artist abandons herself to the gestures that place the pigments on the canvas. Each line is a presence. Each line carries hope and expectation. Today is, tomorrow will certainly be.   

 

The canvas becomes a wall. A vibration is created between the pigments on the surface and the darkness of the hollows, where the pencil does not penetrate. At first, you see almost nothing, you discern a glow, a slight halo perhaps, nuances of subtle tones. Then the senses awaken, they would like to grasp, to understand. Through contemplation, the perceptive capacities and the gaze sharpen and refine. In hundreds, even thousands of lines, Yoo Hye-Sook gently awakens a presence. A murmured form, a halo, a shadow, an opening: a genesis that the attentive eye perceives without managing to embrace it. Blues, greens, purples, greys – the light brings forth and grows in these captivating apparitions that never reveal all of their secrets. Oceans, celestial spaces, architectures? Yoo Hye-Sook envelops the viewer in a night-time cape where the beginning of the day is breaking. Led to yield to our intuitions, everything within us admits doubt. What will happen will happen.   

In a series of small drawings, Yoo Hye-Sook revisits the subject of the window or the frontal stage. The writing is graphic. Is the point of view from the inside to the outside? Or the other way around? The lines are long, rapidly sketched in assertive colours. 

Those who have experienced James Turell’s installations, where light without an identifiable source embodies the only reference point, will draw a parallel with Yoo Hye-Sook’s research. The artist does not know any of these places-spaces and the important thing is not so much their identity. Her non-intentional universe is an invitation to surrender, to absorption, to impregnation. Its materiality links us to a space beyond the image, beyond time, beyond being.  

In pictures


Agenda


Opening

Le jour vient - Day is breaking

Thursday 08.09.2022
5pm > 8:30pm
Galerie Maria Lund

Night opening

the artist will be present

Friday 21.10.2022
7pm > 10pm
Galerie Maria Lund

Sound performance

by Tristan Pradelle

16.10.2022
4:30pm
Galerie Maria Lund

Sunday Openings

marais.guide

Sunday 25.09.2022
2pm > 6pm
Galerie Maria Lund

Un dimanche à la galerie

CPGA

Sunday 16.10.2022
2pm > 6pm
Galerie Maria Lund

Press


Publications and texts


RENCONTRE | Marlon Wobst

Son parcours, sa manière de travailler, ses sources d’inspiration


NH.2020.002 - Nicolai Howalt - Preparation (header)

Specimens
Nicolai Howalt
12.05 > 02.07.2022 - EN

Presentation


Specimens

The observation of living things is at the heart of the Specimens exhibition. The term obviously has a scientific connotation; it designates a plant or animal which is an example of a particular species or type. Specimens brings together four series of works that the photographer Nicolai Howalt has been creating since 2019 – Old Tjikko, Algae, Fasciations and Microscope/Preparation. They all share a common desire to question, reflect, marvel and perhaps understand. 

Developing an initial concept, Nicolai Howalt then proceeds with a systematic and creative exploration of his subjects. Most often, this is not limited to looking or documenting. As a good alchemist, he also mobilises the very materiality of the subjects in order to extract knowledge about their profound natures, the essence of which is invisible to the naked eye. Throughout the working process, the photographer is receptive to what presents itself to him. These sometimes unexpected discoveries confer a very special poetry to the images; their perfection keeps viewers at a distance, whereas their sensuality attracts them.

Nicolai Howalt’s work has been widely exhibited in Scandinavia, Europe and the United States. It has been awarded by many prestigious institutions (Hasselblad Foundation, Danish Arts Foundation etc.). The exhibition Variations of Old Tjikko at Nikolaj Kunsthal (Copenhagen, 2020) received the award for the best exhibition of the year in Denmark, and the following year, the series was distinguished by the honorary fellowship of the Aage & Yelva Nimbs Fond (Denmark). In France, the Maison du Danemark hosted the exhibition How to hunt (a collaboration with Trine Søndergaard, 2012) and the photographs by Nicolai Howalt and Trine Søndergaard were acquired by the collections of the Hermès Foundation and the Maison Européenne de la Photographie. In 2020, the Musée de l’Elysée (Lausanne) acquired the entire Silver Migration series, which was presented in the same year in the Migrations exhibition at the Maria Lund Gallery, as well as a selection of works from the Elements series which were exhibited at the gallery in de travers (2017). Nicolai Howalt’s works feature in a large number of collections: J. Paul Getty Museum, United States  – Hiscox Art Project, United States – Montreal Museum of Fine Arts, Canada – Israel Museum, Israel –  Museo de Arte Contemporáneo de Castilla y León, Spain – Museum of Fine Art Houston, United States – Artphilein Foundation, Italy – and in Denmark, those of: ARoS, Aarhus Art Museum – Kunsten, Museum of Modern Art, Aalborg – Medical Museion, University of Copenhagen, – Bornholms Art MuseumEsbjerg Art MuseumNy Carlsbergfondet, –  Skagens MuseumDanish Arts Foundation –  Brandts Collection, Odense – the Royal LibraryNational Museum of Photography, Copenhagen – Ny Kredit.

In pictures


Agenda


Concert

Louis Siracusa & Antonin Le Faure (bass & viola)

Thursday 16.06.2022
8:00pm
Galerie Maria Lund

Violist Antonin Le Faure and bass player Louis Siracusa embark us on an initiatic journey exploring music from the past century with melodies written for (both) their instruments. Duets by Veress, Scodanibbio and Lutoslawski are Specimens as they offer us a general idea of the composers’ worlds. Their accents, whether oniric or melancholic, draw from both instruments’ lower register. These duets will be rhythmed by improvisations and will dialog with more classical pieces.

Opening

Specimens

 

Thursday 12.05.2022
5:00pm > 8:30pm
Galerie Maria Lund

Sunday Opening

marais.guide

Sunday 29.05.2022
2:00pm > 6:00pm
Galerie Maria Lund

Sunday Opening

marais.guide

Sunday 26.06.2022
2:00pm > 6:00pm
Galerie Maria Lund

Press


Publications and texts


Nicolai Howalt - By looking down - couverture

Nicolai Howalt, By looking down I see up. By looking up I see down.

Fabrik Books, 2017

Nicolai Howalt - Light Break - couverture

Nicolai Howalt, Light Break

Fabrik Books, 2015

Nicolai Howalt - Old Tjikko - couverture

Nicolai Howalt, Old Tjikko

Fabrik Books, 2019

Nicolai Howalt, NH – A new lightbreak på Gigthospitalet Sønderborg

Fabrik Books, 2020

Nicolai Howalt, 78 boxers

Fabrik Books, 2011

Nicolai Howalt, How to hunt

Hatje Cantz, 2010


Si le fleuve sous tes paupières
Didier Boussarie
17.03 - 07.05.2022

Presentation


If you are expecting Didier Boussarie in a distinct place, most likely will he be elsewhere. An unshakable libertarian with a captivating curiosity, he explores and thrives, digs further and always surprises. The work processes and matters change, exchange and sometimes return.

Thirty years ago, the form was dense, almost naive. Today, an expressive figuration seems to arise from more or less rapid gestures. A tireless painter and draughtsman, Didier Boussarie knows how to create worlds in volume or morph into a taxidermist when he wishes to play with an irresistible finding. For several years, the artist kept an arachnean colony in his studio in order to explore a new kind of acrobatics; with Indian ink he would darken the silk threads woven by his weaver friends.

Living close to the river was a dream come true: Didier Boussarie now has a studio in the Loiret. That is how the water spirit began to visit him. In the beginning, it whispered landscapes of the Loire, this seemingly calm water, and the activity that unfolds on its banks. First, the blue day, the green evening, the black night and recently variations in yellow and red. More than ever colour plays out and the compositions – just like water – spread on the entire surface… Soon, plants – irises and cow parsnips – invade the banks and one of them draws shadows on a face… a woman’s face among the trees alongside the river.And the nymph settles. She wanders around, tries a few dance steps, takes her clothes off, swims as the landscape changes its colour. She wears flower dresses, and this motif becomes background and wallpaper, when she appears in polka dot knickers, barelegged, only wearing a fur-hooded jacket – her back turned to the painter. In a second portrait, she is standing, facing him, wearing rubber boots to brave the humidity of the blue landscape, which is in fact a canvas in the studio. An image within an image. From a real landscape to scenography. Didier Boussarie opens a door on a theatric nature for an inner vision, the fantasy to unravel It is on this very doorstep – where several worlds intersect and interweave – that If the river beneath your eyelids is has its source.

In pictures


Agenda


Opening

Si le fleuve sous tes paupières

Thursday 17.03.2022

5pm > 8:30pm
Galerie Maria Lund

Sunday opening

marais.guide

Suynday 27.03.2022

2pm > 6pm
Galerie Maria Lund

News

Didier Boussarie is part of Surpopulation

18.02 - 26.03.2022

IMMIX galerie
116 quai de Jemmapes, 75011 Paris

Publications and texts


MEET - Didier Boussarie (subtitled in English)

Colours, materiality and tools

youtube.com


Marlon Wobst - Marlon

Sunsetter
Marlon Wobst
27.01 > 12.03.2022 - EN

Presentation


Variations of pinks of a silhouette that moves forward in a nocturnal background: Sunsetter… An enigmatic title that is rich in meaning – impossible to translate – and quite emblematic of Marlon Wobst’s new works.

If lucid observations of easy living existences were predominant in his work until now, a certain gravity seems to have taken over Marlon Wobst’s world. It cohabitates nevertheless with the playful, whimsical scenes that the artist cherishes. An evolution can also be seen in the way he paints: the juxtaposed colour planes and expressive gestures bring life to compositions where figures are often made of a few brushstrokes. The coloured matter creates a world less defined where figures barely stand out against big spaces that are deserted, wintery, sometimes heavenly – or even immersed in the ocean where they come face to face with blood red skies. It is warm, it is cold, the light is intense, almost blinding, and the water is rising. Nature, its elements, seem to reign as supreme.

As always, colour plays a major role in Marlon Wobst’s work. Dark tones have made their way through; the world has dimmed the light, and from a daytime vaudeville we are now immersed in a dark ‘théâtre noir’ setting. The decor makes it harder to find one’s bearings, but the delicate and personal palette subtly gleams and resists obscurity.

With Sunsetter, Marlon Wobst plays it by ear. Sometimes vision only offers bodies, a way to find comfort and enjoy, a toilet paper roll left in a room as an evocation of presence. At other times, this vision broadens to offer a perspective both terrible and splendid in its extravagance. There, one can feel helpless, fragile, or on the other hand, overwhelmed but completely and totally alive.

In pictures


Agenda


Opening

Sunsetter

 

 

Thursday 27.01.2022
5:00pm > 8:30pm
Galerie Maria Lund

Sunday Opening

marais.guide

 

Sunday 30.01.2022
2:00pm > 6:00pm
Galerie Maria Lund

Sunday Opening

marais.guide

 

Sunday 27.02.2022
2:00pm > 6:00pm
Galerie Maria Lund

Press


Publications and texts


MEET | Marlon Wobst

His career, his work process, his sources of inspiration


Bente Skjoettgaard - Phylum Cnidaria no 2137

Tableaux
Bente Skjøttgaard
07.11.2021 - 08.01.2022

Presentation


It is painful to admit that I will not save the world with ceramics,
 but this is my voice.
Bente Skjøttgaard, Glowing in the Dark, Biennale DK 2021

The tableau or tableau vivant designates a type of theater, where actors are immobilized as a silent image for a brief instant on a set, usually inspired by History. In the science field, the word tableau (table) refers to a structured presentation of a specific topic in images, words or numbers. Tableaux by Bente Skjøttgaard brings to life both these definitions.

During the second half of the 19th century, German biologist Ernst Haeckel (1834-1919) – fervent Darwinian and inventor of the concept of ecology – explored, among other things, the submarine world. In his book Art Forms in Nature (1904), tables (tableaux) inventory beings that live in the depths. These stunning and very detailed drawing boards have always fascinated Bente Skjøttgaard, who drew inspiration from them to create the works shown in Tableaux.
Bente Skjøttgaard’s works do not try to copy the natural world; they draw inspiration from it to create what is simultaneously concentrations of shapes, sensations and impressions.
But Tableaux remains nonetheless a feast – a celebration of different types of beauty, extravagance, imagination and a certain humor. By strolling between the tableaux of the exhibition, where in turns are visible, in little groups, natural vases caught in the current, high-headed carbon molecules and the wide-open mouths of ‘gourmet-greedy’ anemones, one understands that Bente Skjøttgaard shares her anxiety with us, but also delivers a tender yet attentive point of view.

Agenda


Opening

Tableaux

 

Thursday, November 18th
5pm > 8:30pm
Galerie Maria Lund

Un dimanche à la galerie

Comité Professionel des Galeries d'Art

Sunday, November 7th
4pm > 6pm
Galerie Maria Lund

Ouverture dominicale

marais.guide

Sunday, November 28th
2pm > 6pm
Galerie Maria Lund

Press


Publications and texts


Titre

Description


Voyager vers l'inaccompli
Yoon Ji-Eun
16.09 - 31.10.2021 - EN

Presentation


A fragment can have two meanings: it can lead to destruction or achievement.
Life often finds itself between destruction and a desire to achieve (…)
In the end, it is a struggle between utopia and void.

Yoon Ji-Eun, July 2021

Suddenly, a blinding light. Shapes appear, move and waltz, lifted by an invisible breeze. It’s all about suppleness, angles, textures and colors. By looking closely, fragments reveal themselves: they are hair, trees, legs, architectures, blades of grass…. YOON Ji Eun’s latest works tell the story of a world admittedly cracked and floating, but a world that is also stratified, organic and cyclic. In a movement from inwards to outwards, the artist seizes images of division, separation, reshaping or even dispersion. She describes how she sometimes lets herself daydream and feels projected into space. A couple of brief instants, airy and miniscule, she is almost weightless and comes close to void and light.

Confronted with a world in transition, a reality that she cannot grasp, YOON Ji-Eun chooses to take some perspective and reacts by means of figures and shapes decomposing and immaterializing. Bi and tri-dimensionalities are not the only ones cohabitating in her drawings on papers and sculpted woods. The artist activates yet another dimension, which is both temporality and musicality. If certain compositions strike in their verticality, others are multi-focal for everything to appear undulating, shapeshifting, moving. Light and void thus create a world of possibilities. The world can transform and rise again. Grace, utopia and nothingness engage closely with each other.

In pictures


Agenda


Opening

Voyager vers l'inaccompli

 

 

 

Thursday, 16th Sept. 2021
5:30pm > 8:30pm
Galerie Maria Lund

Talk

A discussion between Yoon Ji-Eun and the art historian and curator Elora Weill-Engerer.

Saturday, 16th Oct. 2021
5:30pm > 8:00pm
Galerie Maria Lund

Sunday opening

marais.guide

Sunday, 26th Sept. 2021
2pm > 6pm
Galerie Maria Lund

Sunday opening

marais.guide

Sunday, 31th Oct. 2021
2pm > 6pm
Galerie Maria Lund

Press



Perdre le fil - Losing the thread
Johanna & Mickael Berdugo, Emmanuel Pariente
01.07 – 04.09.2021

Presentation


Holding the thread with one’s fingertips. Making a connection with almost nothing. Letting go without any apprehension, neither rupture, nor void.
Finding a thread and pulling on it.
Smiling, laughing, bursting into laughter, hearing a burst.
Bursting words and images, actions and sounds. Images that mooooooove and lines that spin.
An artist-poet-performer.
A collector in love with other people’s images.
A poet-photographer who strikes cords.
A troika that makes us lose track.
Each one proposes, follows an alternative idea, an answer is suggested…
In a multimedia game of ‘exquisite corpse’, a photograph meets a drawing and allows for a sentence to come along in the next round.
Nostalgia is never what it used to be.
Anonymous photographs come to life. The moon comes out of a mouth and also mumbles words. A goldfish that swims in the street and swoons in front of our window.
The thread is stretched, from absurdity to tenderness, from eroticism to fondness. Nonetheless the obviously good-natured games of infinite and undefined possibilities do carry a serious project: poetry and a delicate laugh.

In pictures


Agenda


Event

Opening

01.07.2021
5:30pm > 8:30pm
Galerie Maria Lund

Event

Performance

July 8th, 2021 at 7:30pm
July 25th, 2021 at 4:30pm
Galerie Maria Lund

Sunday opening

marais.guide

July 25th, 2021
2pm > 6pm
Galerie Maria Lund

Press


Bestial Love

Ange Ramsay

Publications and texts


Peter Martensen - The Multiverse Academy

Titre

Dates

Contrairement à une opinion répandue, le Lorem Ipsum n’est pas simplement du texte aléatoire. Il trouve ses racines dans une oeuvre de la littérature latine classique datant de 45 av. J.-C.,

Titre

Dates

Contrairement à une opinion répandue, le Lorem Ipsum n’est pas simplement du texte aléatoire. Il trouve ses racines dans une oeuvre de la littérature latine classique datant de 45 av. J.-C.,

Peter Martensen - Aften - Soir

Titre

Dates

Contrairement à une opinion répandue, le Lorem Ipsum n’est pas simplement du texte aléatoire. Il trouve ses racines dans une oeuvre de la littérature latine classique datant de 45 av. J.-C.,


On being
Lyndi Sales
06.05 – 27.06.2021

Presentation


Lyndi Sales is searching.
She is searching for an elsewhere and is searching for a reunion. An escape to better connect to the world, to others, to herself. A love quest in the platonic sense, where love means a progression towards the knowledge of beauty and in fine the access to the indivisible*.
Lyndi Sales’ work process is meditative: she repeats gestures in a carefully crafted sound universe to provoke specific emotions (sadness, euphoria, melancholia, ecstasy) in order to enter a state of maximum receptivity… A dream of Utopia in response to a void, the feeling of being separated from others, even though beings are the universe and breathe together.  The artist aspires to overcome contradictory emotions that characterize human life, by opening herself to an interior, contemplative world leading to other levels of consciousness. By doing so, she reaches new visions and distances herself from a sometimes hurtful societal reality.

* The definition of Diotima in Plato’s Banquet.

In pictures


Agenda


Event

Paris Gallery Weekend

03/04/05/06 06.2021
11 am - 6 pm
Galerie Maria Lund

Sunday opening

marais.guide

May 30th, 2021
2pm-6pm
Galerie Maria Lund

Concert

Carte blanche to Louis Siracusa & Antonin Le Faure
Contemporary, baroque and improvised music
Bass & viola

June 4th, 2021
7pm
Galerie Maria Lund

Press


Bestial Love

Ange Ramsay

Publications and texts


Peter Martensen - The Multiverse Academy

Titre

Dates

Contrairement à une opinion répandue, le Lorem Ipsum n’est pas simplement du texte aléatoire. Il trouve ses racines dans une oeuvre de la littérature latine classique datant de 45 av. J.-C.,

Titre

Dates

Contrairement à une opinion répandue, le Lorem Ipsum n’est pas simplement du texte aléatoire. Il trouve ses racines dans une oeuvre de la littérature latine classique datant de 45 av. J.-C.,

Peter Martensen - Aften - Soir

Titre

Dates

Contrairement à une opinion répandue, le Lorem Ipsum n’est pas simplement du texte aléatoire. Il trouve ses racines dans une oeuvre de la littérature latine classique datant de 45 av. J.-C.,