Helene Schmitz
Biography
Born in 1960.
Lives and works in Stockholm, Sweden.
Through her photographs, Helene Schmitz studies how Mankind tries to become the “master and possessor of nature” in the words of Descartes. Far from the idyllic projections conveyed by a large part of Western literature, which bestows on nature an “innocent goodness”, tying it to the metaphor of Paradise lost, the photographer studies the violence and cruelty of the living, of the elements. She presents the power balance that plays out between Mankind and Nature. Helene Schmitz documents different endeavours of domestication, classification or interaction. A majesty emanates from her images, where great beauty and terrifying perspectives coexist.
Some artworks
Nothing found.
Exhibitions
Studies in Falling
Helene Schmitz
08. 11. 2024 – 08. 01. 2025
Inspired by the 1818 painting Chalk Cliffs on Rügen by the figurehead of German Romanticism Caspar David Friedrich, Helene Schmitz went to the island of Rügen itself, facing Germany’s North coast in today’s Jasmund National Park. […]
With the series of photographs Studies in Falling, Helene Schmitz chose to reverse the point of view and to be facing the location of Friedrich’s protagonists. By changing perspectives, not only does Helene Schmitz echo the undeniable beauty of the place, but she also ponders over the materiality created by the invisible meeting between the sky, the sea, and the land —terra not so firma.
Earthworks
Helene Schmitz
10. 11. 2016 – 07. 01. 2017
Having become a photographer “to capture beauty”, Helene Schmitz suggests its fragility, its ephemeral, even ambiguous dimension. The main subject of her work is nature, often assimilated to a form of Paradise by Western tradition. The reality, of course, is quite different. Man admires its aesthetic beauty and finds comfort in it, but also seeks to dominate it, exploit it and “order” it in order to counteract its chaos and movement. The frontal aspect of Helene Schmitz’s photos, built around a central axis, gives the place photographed a scenic dimension. In this way, the artist creates a tension between reality and fiction.
Kudzu Project
Helene Schmitz
7. 11. – 07. 12. 2013
In 2012 Helene Schmitz undertook a field study to the U.S. with the aim of investigating the Kudzu phenomenon. […]
Schmitz finds the notion of a plant being ‘invasive’ intriguing, since this term is normally used to describe actions of war. Bringing war terminology to mankind’s relation to a singular plant and its germination, might even describe something about our relation to nature itself. With a background in film theory, Schmitz is captivated by the cinematographic sense in which Kudzu transforms the landscape into a kind of apocalyptical film set.
Sunken Gardens
Helene Schmitz
22. 10. – 04. 12. 2010
With the poetry of Jardins engloutis and the realistic beauty of Carnivores, Helene Schmitz takes us to the darker side of nature, to what is insatiable, threatening – and sometimes cruel. Both series, each in their own way, question these fascinating spaces where nature and culture embrace and intertwine.
Off site
MAMC, Saint-Etienne Métropole
Ravage
Peter Martensen
09. 03 – 27. 08. 2017
Sans cesse en quête d’une vérité artistique et existentielle, Peter Martensen trace, à travers sa peinture, son propre chemin, indépendamment des modes parfois aléatoires du monde de l’art. Nombreux sont les musées danois qui lui ont offert leurs cimaises et depuis, il a été présenté en Suède, en Italie, en Corée comme à New York ou Paris. Ravage est sa première exposition monographique dans un musée français [extrait du communiqué de presse].
Maison du Danemark, Paris
Ravage
Peter Martensen
06. 09 – 29. 10. 2017
Première exposition de l’artiste sur la scène institutionnelle parisienne, Ravage rassemble peintures, dessins, sculpture et vidéos témoignant de la cohérence de la démarche de l’artiste. Loin d’une rétrospective de l’œuvre de Peter Martensen, cette exposition intervient dans une période de création particulièrement riche et innovante dans sa carrière dont elle se veut l’écho [extrait du communiqué de presse].
Publications and texts
Titre
Dates
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Titre
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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.,
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.,
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.,
Yoon Ji-Eun
Biography
Born in 1982 in South Korea.
Lives and works in Paris.
Worlds within worlds within worlds… Yoon Ji-Eun seeks to depict the many strata that constitute reality. Her artworks are superimpositions of scenes of everyday life – a metro platform, a woman hanging laundry to dry, children playing – and phantasmagoric landscapes that render the thoughts, memories or dreams of her characters. Yoon Ji-Eun draws, paints, carves and sculpts, paper or wood, in order to bring life to time, place and action simultaneities. It’s about visually transposing the density of an enlarged reality, a complex temporality where space, mind, body, matter, past and present are constantly interacting. In Yoon Ji-Eun’s poetic universe, the mirage is as much reality as it is tangible materiality.
Exhibitions
Unanswered Questions
YOON Ji-Eun
22.03. – 11.05. 2024
Les jours passent dans une suite de routines et d’évènements ordinaires : Les enfants grandissent, les saisons se succèdent, les informations en tout genre s’enchainent et se multiplient. Le monde ne cesse de bouger. Ainsi absorbés par le train-train quotidien, les grands sujets fondamentaux paraissent s’éloigner jusqu’au moment où ils s’imposent à nous avec leurs questions de sens, d’utilité et d’exigence. Le nouvel ensemble de reliefs sur bois et de dessins de Yoon Ji-Eun – Unanswered Questions (Questions sans réponse) – titre emprunté au compositeur Tristan Murail – matérialise sa réaction aux interrogations existentielles : […]
Voyager vers l’inaccompli
YOON Ji-Eun
16.09. – 31.10. 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.
Mirages
YOON Ji-Eun
16.03. – 27.04.2013
Here one turns, as in a number of traditional dances, hand in hand in a circle in a never-ending movement… An impression of floating reigns, – of a halt of all those activities which have been accomplished and which have to be repeated time and time again: mountains of clothing to be augmented or reduced, clothes lines hanging to be filled or lightened and traced paths to follow…
Yoo Hye-Sook
Biography
Born in 1964 in Seoul, Républic of Korea.
Lives and works in France.
Desire is the underlying theme of all of Yoo Hye-Sook’s work. She reveals this fundamental and animal-like desire in each of the mundane objects she chooses to study with the painstaking attention to detail that is her trademark. Someone’s hair, underwear, a fur coat become more than their physical incarnation to become sensuous and intriguing specimens, even veering toward eeriness. In other works that tend towards abstraction works, desire turns into a destructive force. The artist uses pencil like a dagger to pierce through Hanji, an extremely thin traditional Korean paper. Bewilderment ensues: cosmic system or microscopic view ? Fragment or Grand All ? With an economy of means (pencil, paper, canvas and space), Yoo Hye-Sook has instinctively given shape to an interrogation that characterises all her work: how to make visible the ‘other reality’ that lies beneath?
Some artworks
Some artworks
Nothing found.
Exhibitions
Le jour vient
Yoo Hye-Sook
08.09 – 12.11.2022
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. Then, 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.
Foyers (Hearths)
Yoo Hye-Sook
23.05 – 16.06.2018
You have never been there and you will never go, but you know this place although it does not exist. Contradictory, yes and no. In her recent works, Hye-Sook suggests a space, a location she knows without knowing it, a place that isn’t one, but provokes a reaction. For her, it’s about the exploration of an indefinite, born from the simple pleasure of hearing and seeing the pencil go over the canvas.
Through these artworks which seem minimalist and almost inscrutable, Yoo Hye-Sook manages to awaken more primary registers, activate our senses, while offering a foray towards an elsewhere.
Publications and texts
Marlon Wobst
Biography
Born in 1980 in Wiesbaden, Germany.
Lives and works in Berlin.
Omnipresence of the human figure and “comings and goings” between matter and presence; in this world, as much as a few strokes suffice to give life to a being or even an inanimate object, their absorption or dissolution in the space of the matter often seems imminent. The young German artist offers a sophisticated game of appearance and disappearance, which illustrates the capacity of matter to hold its own narration or even suggest a fluctuating frontier between reality, dream and imagination. Poetry meets humour, as in Getting undressed as much as possible via jumping up and down (Soviel wie möglich ausziehen durch auf- und abhüpfen). All of this is carried by a most refined palette that ranges from a deaf obscurity to pastel tones.
Some artworks
Exhibitions
Tribes
Marlon Wobst
03.11.2023 – 13.01.2024
They are running, skipping, falling, they are looking at each other, playing with each other, they are making love or doing nothing at all—but they are always together. The concept of tribe —the group, the collective— is at the core of Marlon Wobst’s most recent work. Marlon Wobst is sensitive to the present and his own time: he represents what he lives and what he sees. His aim is first one of a detective/researcher/ His agenda is that of a researcher, investigating human beings, for human beings.
Sunsetter
Marlon Wobst
27.01. – 12.03.2022
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.
Relax
Marlon Wobst
13.09. – 09.11.2019
RELAX. Unwind… Whatever happens happens. Why worry ? Nothing will change anyway. Why bother ? Dance, dive, you only live once. And you know, giving yourself a treat won’t hurt. With RELAX, Marlon Wobst asserts his ability to work as a fiercely efficient and sophisticated master puppeteer.
L’Oasi
Marlon Wobst
08.09. – 31.10.2017
Masses of bodies, flesh, compressions, accumulations, contemplative and contemplated bodies – L’Oasi brings the modern tribe together in the gourmand, knowing and voyeuristic eye of Marlon Wobst: Games, pantie intimacy, hedonism, movements, mundane and absurd poses – you name it – everything goes, everything is shown… The title of the exhibition – L’Oasi – the eponymous name of an Italian beach where the artist often went when he was younger becomes a metaphor for existence.
Starter
Marlon Wobst
06.11.2015 – 09.01.2016
For his first solo exhibition in France, the painter Marlon Wobst chose the suitable title Starter, after an eponymous work showing a runner on the verge of starting. There, the everyday activities and elements represented slip towards a dreamlike universe – a world where the substance is that of painting.
Publications and texts
MEET | Marlon Wobst
His career, his work process, his sources of inspiration
MEET | Marlon Wobst
His relation to colour, to matter and to the human figure
Bente Skjøttgaard
Biography
Born in 1961 in Denmark.
Lives and works in Copenhagen.
Bente Skjøttgaard ‘s artworks are born from her empirical knowledge of clay, her love for this natural and unpredictable matter, her desire to always push technical experiments further and to bring ceramics to new horizons. She draws inspiration from the relationship between Nature and Culture by transforming a matter that comes from nature into an artifact recalling roots, rock formations, aquatic fauna or flora, clouds or tornadoes. Her glazes irresistibly incite us to touch them, they foam and drip, sometimes evoking froth or volcanic rocks and other times a luscious pastry icing or melted ice cream. The artist’s experiments materialize as sculptures that are organic and sensual abstractions.
Exhibitions
Timberline
Bente Skjøttgaard
2. 02. > 08. 03. 2022
Timberline represents a border beyond which some forms of life cannot survive, thus extending a symbolic invitation to treasure life and value its importance. Here Bente Skjøttgaard pays tribute to trees, to their slow growth, to their resilient nature and their ability to absorb waste, to the precious shelter they become for many animals and tiny life forms.. […]
Tableau
Bente Skjøttgaard
7. 11. 2021 – 08. 01. 2022
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. […]
Look at me !
Bente Skjøttgaard
10.11.2018 – 5.01.2019
At the risk of sounding narcissistic – Look at me ! – the title of Bente Skjøttgaard’s new exhibition is not the epitome of discretion, for two reasons : first of all, because of the source of inspiration, the subject matter itself : a particularly reflective species that ineluctably catches the eye because of its luminous beauty. It is the so-called Sea walnut, a Comb jelly referred to as Mnemiopsis leidyi in Latin. Second of all, because of the great damages that this small auto-fertilising hermaphrodite has been causing since its accidental introduction in the Black Sea by the water spillage of cargos in the 1980s: a preoccupying biological and environmental reality that requires attention.
Off site
Musée des Beaux-Arts de Cambrai
Looking at clouds
Participation : Bente Skjøttgaard
21. 12. 2019 – 27. 06. 2020
Bente Skjøttgaard’s contemporary sculptures are presented alongside sketches by painter Georges Maroniez (1865-1933). The ensemble comes as an addition to the exhibition of the permanent collections entitled Regarder les nuages : pour une histoire de l’art du paysage. Choix dans les collections du musée. (Looking at clouds : For a history of landscape art. Picks from the museum’s collections).
Madoura – Lieu d’art, d’histoire et de création – Vallauris
Look at me !
Bente Skjøttgaard
15.04 – 26.07.2019
“Bente Skjøttgaard makes us part of an ecological thought process in which drama lies insidiously in wait behind the wonder of materials and forms. The object of our fascination is Mnemiopsis leidyi, a pelagic ctenophore (comb jelly). Invasive, and as predatory as it is destructive, it exerts a never-ending fascination [extract from the text by Yves Peltier, curator].
Press
Publications and texts
Titre
Dates
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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.,
Titre
Dates
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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.,
Shoi
Biography
Born in 1983 in Masan, South Korea.
Lives and works in Nézel, France.
Shoi’s artistic process is cathartic. With humor and sensitivity, she confers her joyous and traumatic experiences to her artworks – in order to free herself from them. In her art, feminism, Korean Folk tradition and her own story come together to form a truly personal mythology.
It is populated with animals (snakes, medusa, deer), plants, flowers and small armless and legless voluptuous women and leaves the observer with an ambiguous feeling. Shoi’s art practice includes sculpture, drawing and performance.
Exhibitions
Call from inside
Peter Martensen
14. 09 – 3. 11. 2018
Actions déterminées, apathie et immobilité cohabitent dans les nouvelles œuvres de Peter Martensen. Des scénarios parallèles se jouent simultanément – une atmosphère à la fois étrange et familière plane sur l’ensemble… S’en dégage un sentiment de mystère, de démission, voire de chaos où s’immisce ici et là une image d’une tranquillité hors du temps. Call from inside le titre de sa nouvelle exposition interpelle. Est-ce une allusion faite à notre for intérieur ? S’agit-il d’un renvoi à un registre originel, d’un rappel de certains fondamentaux de l’existence humaine ? ou encore d’une incitation à s’éveiller ?
Undone sketches
Peter Martensen
17. 06. – 23. 07. 2016
Intentions, idées, notes, projets, plans, journaux intimes, mémoires, registres, archives ou simples feuillets… Notre vie, nos pensées, nos rêves prennent souvent – et parfois seulement – la forme de traces écrites… Tiroirs et autres rangements en sont emplis. Ajoutons à cela les tentatives, les projets avortés, les impossibilités… La confrontation avec une réalité qui ne veut pas émerger ou qui se heurte à ce temps dont on manque toujours. Pour ne pas mentionner les documents aux informations si sensibles qu’elles vivent intensément mais dans l’ombre… jusqu’au jour où…
Off site
Musée national des arts asiatiques – Guimet, Paris
Mes souffles
A performance by Shoi
21.11.2019
Shoi materializes her breathing, to fight the intense anxiety of asthmatics, who feel as if they cannot exhale. To address this stifling topic, she chose a whimsical, poetic and light way: she fills the space with transparent balloons that she blows up one by one… She exhales, inhales and exhales, symbolically taking control of this breathing that wanted to betray her. As she blows out her air and traps it in the balloon, Shoi fills the room with herself. Her vitality surrounds her, covers her, almost to the point of asphyxiation.
Maison du Danemark, Paris
Ravage
Peter Martensen
06. 09 – 29. 10. 2017
Première exposition de l’artiste sur la scène institutionnelle parisienne, Ravage rassemble peintures, dessins, sculpture et vidéos témoignant de la cohérence de la démarche de l’artiste. Loin d’une rétrospective de l’œuvre de Peter Martensen, cette exposition intervient dans une période de création particulièrement riche et innovante dans sa carrière dont elle se veut l’écho [extrait du communiqué de presse].
Press
La peinture métaphysique de Peter Martensen
L'Oeil
Septembre 2017
N° 704
Fabien Simode
Peter Martensen "ravage " l'entendement
Libre Belgique - Arts Libre
23 Août 2017
Semaine du 23 au 29 Août 2017
Roger-Pierre Turine
Vous avez dit "Complot" ?
Dossier
Le Monde diplomatique
Juin 2015
N°735
Dossier illustré par Peter Martensen
Lyndi Sales
Biography
Born in 1973 in Johannesburg.
Lives and works in Cape Town.
Lyndi Sales’ artistic process is guided by her desire to explore the limits of human perception. She draws her inspiration from quantum physics as well as spiritual philosophy. Her aim is to achieve “looking with closed eyes”- to ignore what could obscure our vision and finally perceive our reality in its entirety. She seeks to state that the universe is a living organism, that each entity is a part of this whole and that – in the words of William Blake – “If the doors of perception were cleansed everything would appear to man as it is, Infinite.” Lyndi Sales’ artworks are influenced by scientific imagery, one can find structures that repeat themselves on a microscopic scale as well as in the immensity of space. These abstract motifs interweave to form symbols that can be found in multiple cultures. The artist explores different techniques – drawing, embroidery, laser cutting – to expose the spectator to artworks that may be openings towards new visions, towards a utopian world.
Some artworks
Nothing found.
Exhibitions
Overlappings
Lyndi Sales
16. 05 – 15. 07. 2023
In Overlappings, Lyndi Sales invites us to open our eyes and our emotions wide with her, in a journey without destination but ourselves. She does so by her breath-taking works, mesmerising in a wonder similar to a peacock suddenly spreading its tail or to the glistening waters. But her intent does not stop at the immediate attraction and the possibility of enchantment: her more intimate desire is also to invite us to dig deeper, to know and further our relationship to others and the world.
On being
Lyndi Sales
06. 05 – 27. 06. 2021
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 (the definition of Diotima in Plato’s Banquet).
I found a rainbow butterfly once
Lyndi Sales
26. 01 – 16. 03. 2019
The composition of a hormone that makes people love, a crystal structure and its parallel among the stars, deep web and mandalas : Lyndi Sales borrows from the scientific and technological imaging as well as from symbolic representations. She questions, juxtaposes, looks, dreams to confront fears and fascinations, marvelling and horror. Through her two or three-dimensional works, the artist pushes back the frontiers of the visible to reach a better
comprehension of the world. Her exploration of social realities comes with a spiritual quest.
Liens
Lyndi Sales, Didier Boussarie
23. 03. – 22. 04. 2017
Emerveillement, tendresse, étonnement, stupeur et parfois angoisse – la Nature embrasse et suscite l’éventail complet de nos émotions possibles… La relation qu’elle entretient avec notre civilisation figure en haut de l’agenda en raison des enjeux écologiques. Et pourtant elle semble de plus en plus loin des vies urbaines de la majorité d’entre nous.
Pour le citadin la nature se résume en grande partie à des images, un rêve… ou bien nous la rencontrons par petit bouts quand elle arrive malgré nous à s’immiscer dans notre cadre.
Off site
Biennale de Venise (Pavillon sud-africain)
Satellite telescope
Lyndi Sales
04. 06 – 27. 11. 2011
L’installation Satellite telescope témoigne de la fascination de l’artiste pour les rapports analogiques entre infiniment grand et infiniment petit. Elle s’inspire à la fois des images aux rayons X prises par le premier satellite envoyé depuis le continent africain (Uhuru, qui signifie liberté en Swahili), et de la structure en double hélice de l’ADN. C’est une réflexion sur le visible et l’invisible, sur les passages d’un monde ou d’un système à un autre et sur la frontière mouvante entre réalité matérielle et réalités alternatives.
Le Bon marché, Paris
Audience
Lyndi Sales
23. 05 – 06. 09. 2014
L’installation Audience représente simultanément l’organe de la vue et un ensemble de regards. Comment regardons-nous ? Que choisissons-nous de voir ? Que ne voulons-nous / pouvons-nous pas voir ? Qu’aimerions-nous voir ? L’œuvre est un symbole de l’œil qui observe, protecteur, mais aussi de l’œil qui voit plus loin. Audience reflète un désir humain d’évasion, d’utopie, de déformation et de transformation devant une réalité parfois douloureuse qu’il faut oser regarder en face.
Press
Publications and texts
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.,
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.,
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.,
Min Jung-Yeon
Biography
Born in 1979 in Gwangju, South Korea.
Lives and works in France.
A light mist that spreads to immediately disappear or an imposing shape that envelops, suffocates, devours… Nothing is static in the extremely delicate world of Min Jung-Yeon. Nothing is completely real and nothing is completely imaginary either. Her works resembles scenic, frontal compositions, where, when looking at them, one holds one’s breath in order to see what happens next. The works are the expression of the artist’s intimate being and her belonging to a contemporary history.
Min Jung-Yeon’s profound interest in sciences, specifically the exploration of space, is linked to her intense observation of nature since childhood. She is also very attached to her origins, a Korea torn between consumerism and tradition, where the shamanistic heritage is still deeply rooted. Drawings, paintings, volumes, installations – Min Jung-Yeon is at ease in every dimension, from the infinitely small to the monumental.
Exhibitions
Mais le paysage est encore là (But the landscape is still there)
Min Jung-Yeon
27. 01 > 18. 03. 2023
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.
Dawn after night
Min Jung-Yeon
13. 03. – 09. 05. 2020
Must one dive into obscurity to know, embrace, and finally be able to (re)capture the light? That is what Min Jung-Yeon seems to suggest with the title of her new show : L’aube après la nuit (Dawn after night).
In her latest works on paper, colour is much more present: subtle yet undeniable lights. The traces of large paintbrush gestures hold an important place – like a liberation, a new breath. One can recognize the impulse of certain calligraphers.
Pluto’s letter
Min Jung-Yeon
06.03. – 28.04.2018
In 2006, Pluto was excluded from the solar system and was downgraded to the status of “dwarf planet” because of its mass and its volume, both too little, and a “deviant” trajectory. The first images of Pluto sent by the New Horizons probe (2015) revealed a surface partly covered in methane and nitrogen ice, which, at one spot, was shaped like a heart. Min Jung-Yeon was inspired by the symbolism of this rejection of a small different planet with a heart of ice. Thus, Pluto’s letter explores the notion of reconciliation with loss, integration of what escapes our understanding, of other viewpoints and assessments.
Off site
Korean Cultural Center
Désert plein – soif, sommeil, silence
29. 11. 2022 – 11. 03. 2023
The exhibition is part of a collaboration between the Centre Culturel Coréen, the MNAAG – Musée National des arts asiatiques – Guimet and the Galerie Maria Lund, initiated on the occasion of the Carte blanche offered to Min Jung-Yeon at the MNAAG in 2019-2020.
Min Jung-Yeon invites us to a dreamlike world which is nevertheless closely linked to our own. Her monumental and immersive installation Tissage (Weave), presented at the MNAAG in 2019-2020, dealt with memory and reconciliation in the symbolic form of a forest with unfathomable depths. Since then, her work has developed a new fluidity to evoke the perpetual movement of our reality.
Musée Guimet
Carte Blanche to Min Jung-Yeon
06.11.2019 – 17.02.2020
This new contemporary Carte Blanche, entrusted to the Korean artist MIN Jung-yeon, presents an immersive and organic installation specifically created for the MNAAG. Inspired by the reality of a country split in two for the past 65 years and the idea of reconciliation, the installation consists of large-format drawings and birch trunks drawn on paper.
Like a huge kaleidoscope, the plays of mirrors offer the eye a subtle superimposed interweaving. Her philosophical approach to time, memory, and space arises from the harmonious blending of the organic with fluidity.
Musée d’art moderne et contemporain, Saint-Etienne Métropole
Demander le chemin à mes chaussures
Min Jung-Yeon
23. 06 – 30. 09. 2012
“Vanishing lines that taper off into infinity, organic-looking forms suspended in space, unnameable strange clusters that refer to nothing or very little, then suddenly a perfectly identifiable element.
[…] In both her paintings and her drawings, Jung-Yeon Min’s work is full of a strange world that mixes biological, plant, animal and human references to inform an aesthetic in which the body, if it is not explicit, acts notably as a liberating medium of the creative act, a substitute for excessive control and for stopping breathing.” Philippe Piguet in Min Jung-Yeon, Demander le chemin à mes chaussures, MAMC+ Saint-Etienne Métropole, 2012.
Press
Publications and texts
Contemporary voices from the Asian and Islamic art worlds
Olivia Sand, SKIRA, 2018
The publication includes a conversation with Min Jung-Yeon.
“Dreamy, Grotesque and Surreal: Into the Deep Subconscious of Min Jung-Yeon” (in French)
Video
Chat Room – ASIA NOW – 18. 10. 2019
With Sophie Makariou, Director of the musée national des arts asiatiques – Guimet, Min Jung-Yeon, artist, and Maria Lund, gallerist. Moderated by Olivia Sand, journalist for the Asian Art Newspaper and author of the book “Contemporary Voices from the Asian and Islamic Art Worlds”.
Min Jung-Yeon talks about her Carte blanche exhibition at Musée national des arts asiatiques – Guimet
video
11. 2019 – 02. 2020
The notion of reconciliation is at the heart of Min Jung-Yeon’s installation.
The work draws on the artist’s experience and the tragic reality of a Korea split in two for the last sixty-six years.
Min Jung-Yeon refers to Lao-Tseu’s thoughts on contraries and she also draws inspiration from contemporary research and quantum physicist Carlo Rovelli’s considerations on time and space.
Peter Martensen
Biography
Born in 1953 in Odense, Denmark.
Lives and works in Copenhagen and Northern Sealand.
Peter Martensen sets in the manner of a scenographer who juxtaposes accessories and human figures in a space that is both familiar and unknown to us. His works become the conveyor of poignant observations, deep anxieties, yet also a meeting place with dreams. In a multiverse world, Peter Martensen brings the most diverse registers and “realities” together, that form our perceptive frame in all its complex scope. He speaks of a “mental reality”.
Drawing occupies a very important place in Peter Martensen’s work: charcoal offers modelling in the most subtle tones, watercolor or ink a fluidity, which quick pencil and pen strokes define and delineate.
Some artworks
Nothing found.
Exhibitions
Boundaries
Peter Martensen
20.09 – 02.11.2024
A keen observer of his time and of the depths of the human soul, Peter Martensen offers us a set of vivid scenes with Boundaries. There, human figures navigate through landscapes —on the edge of a pit, their feet in the water, on a small boat, near invisible, melted in a field—, or through nameless enclosed spaces and pens. Despite the prevalent stillness of these situations, there is great tension
bla bla bleu
Peter Martensen
04.02 – 27.03.2021
“Blue conversations” between the two Danish artists are behind bla bla bleu, the first shared exhibition of painter Peter Martensen and his dear friend poet, performer and artist Morten Søndergaard.
Indigo lies at the heart of it all: its sounds, space, light, time. Peter Martensen alludes to the indigo colour as a state and evokes the distance it brings as a master of memory and oblivion. He points out its luminosity in the obscurity and compares its melancholic tone to a cello’s. Morten Søndergaard puts forth its transformative and enchanting dimension, its link to the depths of existence.
Undone sketches
Peter Martensen
17.06. – 23.07.2016
Intentions, ideas, notes, projects, plans, diaries, memoirs, registers, archives or simple sheets of paper… Our life, our thoughts, our dreams often exist in writing – and sometimes only exist as written traces… Drawers and other containers are filled with them. To this we can add the attempts, the aborted projects, the impossibilities… The confrontation with a reality that does not want to emerge or that collides with the eternal lack of time. Not to mention documents with such sensitive material that they live in the shadows… until the day when …
Call from inside
Peter Martensen
14.09. – 03.11.2018
Determined actions, apathy and immobility cohabitate in Peter Martensen’s latest works. Parallel scenarios play out simultaneously – an atmosphere both strange and familiar hovers … From there emanates a feeling of mystery, abdication, even chaos where images of timeless tranquility slip in. Call from inside, the title of his new show raises questions. Is it an allusion to our deeper self ? Could it be a reference to primary layers, recalling certain fundamentals of human existence? Or maybe an incentive to wake up ?
Off site
MAMC, Saint-Etienne Métropole
Ravage
Peter Martensen
09. 03 – 27. 08. 2017
Sans cesse en quête d’une vérité artistique et existentielle, Peter Martensen trace, à travers sa peinture, son propre chemin, indépendamment des modes parfois aléatoires du monde de l’art. Nombreux sont les musées danois qui lui ont offert leurs cimaises et depuis, il a été présenté en Suède, en Italie, en Corée comme à New York ou Paris. Ravage est sa première exposition monographique dans un musée français [extrait du communiqué de presse].
Maison du Danemark, Paris
Ravage
Peter Martensen
06. 09 – 29. 10. 2017
Première exposition de l’artiste sur la scène institutionnelle parisienne, Ravage rassemble peintures, dessins, sculpture et vidéos témoignant de la cohérence de la démarche de l’artiste. Loin d’une rétrospective de l’œuvre de Peter Martensen, cette exposition intervient dans une période de création particulièrement riche et innovante dans sa carrière dont elle se veut l’écho [extrait du communiqué de presse].
Press
Publications and texts
Peter Martensen – video
MAMC+ Saint-Etienne
Film produced for Peter Martensen’s exhibition “Ravage” (Musée d’art moderne et contemporain de Saint-Etienne Métropole, 2017).
Meeting – video
Peter Martensen & Morten Søndergaard
with the kind participation of Barbara Polla
Lee Jin Woo
Biography
Born in 1959 in Seoul, Republic of Korea.
Lives and works in France.
For Lee Jin Woo, creation is meditation. His work process is long, physically demanding and repetitive, like a prayer recited over and over again. The artist’s works bring together strata of traditional Hanji paper and layers of wood charcoal. Sometimes pigments, especially blues, are added. Lee Jin Woo builds a space and time, a world of light; a universe where even storms and breezes are noiseless. In front of these rectangles and squares of matter, both rustic and refined, dense and mute, an original universal manifests itself. Arte povera, minimalism, relation to void…
Lee Jin Woo’s work falls in line – with his specific signature – into Korean contemporary tradition. The heritage of the generation of Dansaekwha artists intersects here with Lee Jin Woo’s distinctive and specific urge for immersion, absorption, and even disappearance.
Exhibitions
Eranthis
Lee Jin Woo
23.03 – 18.05.2019
Being absorbed by matter, making one with it, disappearing in it, going elsewhere… For Lee Jin Woo, creation is meditation. His work process is long, physically demanding and repetitive, like a prayer recited over and over again. The spectator is in front of a dark bark landscape, a rock landscape or an almost transparent aerial one. A veil seems to float, luring but impenetrable. The eye lingers, tries to go through the surface, finally it is also caught in the matter and taken elsewhere…
Undone sketches
Peter Martensen
17. 06. – 23. 07. 2016
Intentions, idées, notes, projets, plans, journaux intimes, mémoires, registres, archives ou simples feuillets… Notre vie, nos pensées, nos rêves prennent souvent – et parfois seulement – la forme de traces écrites… Tiroirs et autres rangements en sont emplis. Ajoutons à cela les tentatives, les projets avortés, les impossibilités… La confrontation avec une réalité qui ne veut pas émerger ou qui se heurte à ce temps dont on manque toujours. Pour ne pas mentionner les documents aux informations si sensibles qu’elles vivent intensément mais dans l’ombre… jusqu’au jour où…
Off site
MAMC, Saint-Etienne Métropole
Ravage
Peter Martensen
09. 03 – 27. 08. 2017
Sans cesse en quête d’une vérité artistique et existentielle, Peter Martensen trace, à travers sa peinture, son propre chemin, indépendamment des modes parfois aléatoires du monde de l’art. Nombreux sont les musées danois qui lui ont offert leurs cimaises et depuis, il a été présenté en Suède, en Italie, en Corée comme à New York ou Paris. Ravage est sa première exposition monographique dans un musée français [extrait du communiqué de presse].
Maison du Danemark, Paris
Ravage
Peter Martensen
06. 09 – 29. 10. 2017
Première exposition de l’artiste sur la scène institutionnelle parisienne, Ravage rassemble peintures, dessins, sculpture et vidéos témoignant de la cohérence de la démarche de l’artiste. Loin d’une rétrospective de l’œuvre de Peter Martensen, cette exposition intervient dans une période de création particulièrement riche et innovante dans sa carrière dont elle se veut l’écho [extrait du communiqué de presse].
Press
La peinture métaphysique de Peter Martensen
L'Oeil
Septembre 2017
N° 704
Fabien Simode
Peter Martensen "ravage " l'entendement
Libre Belgique - Arts Libre
23 Août 2017
Semaine du 23 au 29 Août 2017
Roger-Pierre Turine
Vous avez dit "Complot" ?
Dossier
Le Monde diplomatique
Juin 2015
N°735
Dossier illustré par Peter Martensen
Publications and texts
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.,
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.,
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.,