Jeremy Stigter

Jeremy Stigter

Biography


Born in 1958 in The Hague, The Netherlands.
Lives and works in France.

Jeremy Stigter has developed a photographic universe where the societal documentary meets narration and psychology.

He practices photography freely under many forms – stories for the French and international press, books, photo novels, photo/performances, portraits – always in series.

Some artworks


Nothing found.

Exhibitions


Chère chair
(Dear Flesh – Fabulous Flesh) 

Farida Le Suavé
Jeremy Stigter

23.05 – 20.07.2019

Flesh. A connection between the body’s different parts, a connection between human beings. We are, indeed, all made of flesh: tender flesh, soft flesh, toned. Masses of flesh, young, fresh flesh, old, flaccid flesh, at every stage, flesh lives, vibrates, full of palpitations… Flesh exists beyond the beat of the heart. A source of passion, obsession, fascination, terror – its quantity, its shape and other characteristics, flesh is with us, always, in all its various manifestations. As our primary topography, it awakens us and it’s intense presence never ceases to ‘tickle’ our curiosity, our senses, and in our wanderings connects, allowing for a sense of communion as well as transcendence. Sometimes flesh is only pain, disgust, loathing. Chère chair (Dear Flesh – Fabulous Flesh) sets out examine, to scrutinize this matter that makes us who we are.

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


"Bojoo", a Tender View of Japan Captured by Jeremy Stigter

Pen

20.04.2020
Manon Baeza

Publications and texts


Visiting Mister Ueda

Jeremy Stigter, Zen Foto Gallery, 2021

And so off we went, into a blustery autumn day. As luck would have it, I noticed an umbrella, a prop Mister Ueda had often used to great effect in his own pictures, lying in the back of the car, and passed it to Mister Ueda. But it turned out to be a little fold-up umbrella, not at all suited to the fierce weather we soon found ourselves in, and it ended up flapping about like some mad black bird, a valiant Ueda-sensei holding on to it for dear life, as he bravely soldiered on, up and down the ridge of dunes we had chosen for our location.
Jeremy Stigter – Extract from the preface of Visiting Mister Ueda

available for sale at the gallery

The Jewish Bride – a photo play

Jeremy Stigter, Nazraeli Press, 2009

The Jewish Bride is a photo-novella, a photo play. Chilling yet curiously intimate it presents a picture book for grown-ups; there are no words, just pictures. If the story told is simple, even banal – an encounter between a man and a woman – it gradually drifts off into another dimension, dream-like, surreal. It is this quite unexpected twist, and its singular black humour, that gives this gorgeously produced book its distinct character.

Vivre

François Goldwasser et Jeremy Stigter, Seuil, 2012

Vivre (Life), a joint effort by the photographer Jeremy Stigter and the oncologist Professor François Goldwasser, presents an intimate portrait of life in a day hospital for cancer patients. Photographs of, and testimonies by, patients, their relatives and friends, as well as members of the medical staff bare witness to the intense personal upheaval of those affected. All those who agreed to participate gave most generously, in words and pictures, of themselves, resulting in an account of great sensitivity and quiet dignity.


Yoon Ji-Eun - Tunnel II

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


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…

Press



YOO Hye-Sook - nuage 1

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


Nothing found.

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.

Exhibitions


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


K62408-Maibritt Ulvedal Bjelke-tosca no 08

Maibritt
Ulvedal Bjelke

Biography


Born in 1967 in Copenhagen.
Lives and works in St Leonards-on-Sea, United Kingdom.

During her 30 year career, Maibritt Ulvedal Bjelke has continuously developed her research on colour, surface, matter and gesture, by setting procedures.Oval, square, or even rectangular multi-coloured surfaces provoke a true perceptive experience, a sensation both physical and emotional. They are collages made of a multitude of thin strips, cut in large papers run-through with paint drippings. Their surfaces, particularly vibrant, is reminded of weaving techniques, of bustling pixels from a television that struggles to get reception…

Exhibitions


colour galore

Maibritt Ulvedal Bjelke

5.07. – 8.09.2018

Far from any representational or naturalistic ambition, Maibritt Ulvedal Bjelke’s most recent works take possession of the spectator similarly to certain natural phenomena. Oval, square, or even rectangular multi-coloured surfaces provoke a true perceptive experience, a sensation both physical and emotional.
colour galore – abundance of colours – is the title chosen by the artist for this anniversary exhibition.

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


Peter Martensen - The Multiverse Academy

Titre

Dates

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Peter Martensen - Stjernenat - Nuit étoilée

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 - The Present

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.,

Peter Martensen - The Big Discussion

Titre

Dates

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Bente Skjøttgaard_Mnemiopsis leidyi no 1843

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


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.

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 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


Monstres & Cie (in french)

La Strada

April - May 2019
N° 312
Michèle Nakache

L'hybride rose n°1539 de Bente Skjøttgaard (in french)

Ateliers d'Art

January - February 2016
N° 121
Eva Bensard

Bente Skjøttgaard, Entre ciel et terre (in french)

La revue de la céramique et du verre

September - october 2016
N°192
Pascale Nobécourt

Bienvenue dans la forêt céleste (in french)

Le Figaroscope

9 October 2013
Valérie Duponchelle

Les gestes de la céramique (in french)

Art press 2

November 2013 - January 2014
N° 31
Ann Hindry

Le retour du paysage (in french)

Ateliers d'Art

March - April 2011
N°92
Stéphanie Le Follic-Hadida

Sèvres, Musée national de céramique (in french)

La revue des Musées de France

April 2010
Jean-Roch Bouiller

Bente Skjøttgaard à la Galerie Maria Lund (in french)

La revue de la céramique et du verre

November - December 2010
N° 175
C.A.

Les blancs pétrifiés de Bente Skjøttgaard (in french)

La revue de la céramique et du verre

July - August 2008
N°161
Marielle Ernould-Gandouet

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.,

Peter Martensen - Stjernenat - Nuit étoilée

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 - The Present

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.,

Peter Martensen - The Big Discussion

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

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

Publications and texts


Mes souffles, a performance by Shoi

video


Lyndi Sales- Love and fear, moving forward using all my breath

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


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


Lyndi Sales - Poésie de la fragilité (in french)

Jeune Afrique

03 - 09.03.2019
N° 3034
Nicolas Michel

Art Paris Art Fair 2015 : les artistes qu'il faut voir cette année (in french)

Télérama

26.03.2015
Laurent Boudier

In Conversation With Lyndi Sales

ART AFRICA

2013
Ashraf Jamal

Lyndi Sales - In transit (in french)

La Gazette de l'Hôtel Drouot

20.02.2009
N° 7
Lydia Harambourg

Lyndi Sales (in french)

Le Figaro

07.11.2011
Valérie Duponchelle

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.,

Peter Martensen - Stjernenat - Nuit étoilée

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 - The Present

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.,

Peter Martensen - The Big Discussion

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 - L'escalier

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


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


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


Min Jung-Yeon, The art of differences and reconciliation

Open ring

March 2020
Valentine Meyer

Carte blanche to Min Jung-Yeon

Beaux-Arts Magazine

November 2019
Hors-série

Le retour de l'esprit surréaliste dans la peinture (in french)

L’Oeil

May- June 2020
n°734
Amélie Adamo

Echappée d'art à Chaumont-sur-Loire (in french)

Madame Figaro

Avril 2021
n°1910
Laetitia Cénac

Publications and texts


Promise of a forest

Numa Hambursin

July 2019

Couverture - Contemporary voices - Olivia Sand - SKIRA 2018

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 - Backstage, Last Call

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


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


Peter Martensen - Et la société engloba l'individu

Boum!Bang!

November 2013
Bastien Stisi

La peinture métaphysique de Peter Martensen

L'Oeil

September 2017 - N° 704
Fabien Simode

Peter Martensen "ravage " l'entendement

Libre Belgique - Arts Libre

From August 23rd to August 29th 2017
Roger-Pierre Turine

Vous avez dit "Complot" ?
Dossier

Le Monde diplomatique

June 2015 - N°735
Illustrated by Peter Martensen

Peter Martensen, L'âme nordique


Le Figaro

January 1st 2006
Valérie Duponchelle

Peter Martensen au royaume des clones

Le Figaro

August 29th 2006
Valérie Duponchelle

Publications and texts


Peter Martensen - The Settlement

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).

Peter Martensen - The Poet

Portraet – video

Peter Martensen & Morten Søndergaard

Peter Martensen painting the danish poet Morten Søndergaard (Peter Martensen’s studio, 2016).

icône - teaser - Ravage - Peter Martensen - 2020

Peter Martensen, Ravage – video teaser

Director : Ole Stenum

Revealing the world and the driving forces of the painter Peter Martensen is the idea behind the documentary on the artist that Filmbureauet will produce in 2020.

Meeting – video

Peter Martensen & Morten Søndergaard

with the kind participation of Barbara Polla