<br />AMELIE CHABANNES - FRAGMENTS Galerie Hussenot <i>by French_In_America</i>

New York City Based French Artist Amelie Chabannes takes her latest exhibition to Paris.

“FRAGMENTS”
From the 28th Of April to the 6th of June 2011

Opening thursday the 28th of April 2011
5 pm

Galerie Hussenot
5 bis, rue des Haudriettes
75003 PARIS
T : +33(0)1 4887 6081 – info@galeriehussenot.com – www.galeriehussenot.com

Amélie Chabannes / Fragments
Texte de Julie Boukobza
La première exposition personnelle d’Amélie Chabannes à la galerie Hussenot à Paris est constituée d’une somme de « Fragments ». Dans « l’Archéologie du Savoir », Michel Foucault évoque « ce qui transforme les documents en monuments ». Chabannes empreinte les façons de l’archéologue, cherche et devient l’objet de sa quête. Elle évoque les grottes de Chauvet, comme Paul Thek en son temps les catacombes de Palerme. Sculpture après sculpture, strate après strate, elle enfouit, dégage, excave et replonge les matériaux, animaux, traces et vestiges. L’identité, plus que la quête de l’autre, est le prétexte utilisé par l’artiste pour expérimenter et forger une pratique protéiforme. Entre sa fascination pour le Lagerstatte, lieu de conservation des fossiles, et son obsession pour le couple que formait le peintre Kokoschka et Alma Mahler, femme à hommes du XIXème siècle, Amélie Chabannes réalise des oeuvres à sa mesure. La biométrie est transformée en arme pour préserver l’identité de l’artiste à travers ses sculptures, dessins et installations. Les amours tempêtueuses de Kokoschka et Alma font l’objet de dessins au calque ou les corps se mélangent, où l’artiste s’immisce dans ce pas de deux, quand la fusion prend le pas sur le sentiment amoureux. Les visages en plâtre décomposés rappellent les travestissements multiples et autres brouillages de pistes de Leigh Bowery, contenus dans un carré de plexiglas. L’artiste décrit ces boîtes comme des « espaces mentaux ». Même espace dans lesquels évolue une autre forme, le clitoris, l’organe féminin par excellence, libéré de ses fonctions. Au creux d’une sculpture on découvre parfois des apparitions de Betty Page ou Linda Lovelace, des visages de femmes archétypales des années 50 à 70. La notion d’identité sexuelle ne cesse en effet de rattraper l’artiste et de questionner l’aliénation qu’elle représente pour les femmes. La méduse, forme libre, nageuse et sexuée, fait aussi partie de ce bestiaire empêché, présence impossible à définir, tout aussi animale que végétale. Des chapelets dégoulinent de plâtre sur le carcan de l’identité religieuse. Amélie Chabannes vit à New York, ville en passe de devenir un vaste terrain de fouille, avec l’influence de Urs Fischer, Matthew Day Jackson, David Altmedj comme fiers étendards d’un retour à l’ordre antique. Identité sociale, sexuelle, religieuse, ou le « get over yourself » répété par Thek à maintes reprises dans ses carnets. A Chabannes de sacrifier le lustre et la porcelaine familiale pour en finir avec les conventions sociales liées à un milieu figé. Un index en cire pointe l’une de ces sculptures stratifiées, la main de l’architecte semblant avoir remplacée celle de l’artiste l’espace d’un instant, afin de constater l’œuvre déjà accomplie.

Everyone should see this exhibition. You know this. So go and tell us what you think!

Andy Warhol: The Last Decade
June 18–September 12, 2010

Andy Warhol: The Last Decade is the first U.S. museum survey to examine the late work of American artist Andy Warhol (1928–1987). Encompassing nearly fifty works, the exhibition reveals the artist’s vitality, energy, and renewed spirit of experimentation. During this time Warhol produced more works, in a considerable number of series and on a vastly larger scale, than at any other point in his forty-year career. It was a decade of great artistic development for him, during which a dramatic transformation of his style took place alongside the introduction of new techniques.

Warhol continued to expand upon his artistic and business ventures with commissioned portraits, print series, television productions, and fashion projects, but he also reengaged with painting. In the late 1970s, he developed a new interest in abstraction, first with his Oxidations and Shadows series and later with his Yarn, Rorschach, and Camouflage paintings. His return to the hand-painted image in the 1980s was inspired by collaborations with Jean-Michel Basquiat, Francesco Clemente, and Keith Haring. The exhibition concludes with Warhol’s variations on Leonardo da Vinci’s The Last Supper, one of the largest series of his career. Together, these works provide an important framework for understanding Warhol’s late career by looking at how he simultaneously incorporated the screened image and pursued a reinvention of painting.

Limited Edition Prints Availible on Art We Love

More: http://ameliechabannes.com

Last night was amazing! The new Stephan Stoyanov Gallery (aka Luxe) on Orchard street is an incredible space. Nestled in on the first block of Orchard above Canal, on arrival, the street was glowing with art lovers and the artists whom they adore. The opening of Marie Maillard was beautiful, hypnotic and exceptional. The clear blue light and stunning imagery mixed with ethereal sounds produced a feeling of floating on a cloud, made just for you. After this initial transformation, the gallery space leads you down the stairs to the "secret" second gallery where the contrasts are strong. Brick walls, industrial appliances and a crowd that rivals any speakeasy in the time of prohibition. The cozy, homespun, creative feeling encountered brings us to a different time. A different feeling. A place where the art speaks to each of us and provides us with a much needed break from the white walls of the outside scene. Enjoy!

(download)

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Marie_Maillard_Opening_at_Step.zip (826 KB)

LUXE/ STEPHAN STOYANOV GALLERY   29 Orchard  Street, New York, NY 10002 M: 646 407 2932  http://www.luxegallery.net  

Luxe Gallery has moved and is changing its name. Having vacated its Stanton Street premises, the gallery is now located at 29 Orchard Street, Lower East Side, where its collaboration with the French Institute Alliance Francaise—Marie Maillard’s Wall 0909—is currently on view. At the conclusion of the show, the gallery will take the name of its director of seven years, Stephan Stoyanov, and resume its program of group and solo shows of gallery artists.

Please join the gallery for it's inaugural reception celebrating Marie Maillard's exhibition WALL 0909 on Wednesday September 9th from 6 until 8pm at 29 Orchard Street between Hester and Canal on the Lower East Side.

For Immediate Release: 
Marie Maillard 

  « WALL 0909 » 
 
At a time of radical evolution in our information society, Marie Maillard transcribes the futures of an image that suddenly emerges in reality in order to reshape it. She anticipates the consequences of virtual reality’s intrusion in the day-to-day spaces of our lives. Her artworks test the becoming-image of our realities.

  With the new century came the age of the iconocrash. This confrontation between heterogeneous and apparently incompatible regimes of representation is based on an imaging principle at the heart of the functioning of hypermodernity. Reality generates its own representations in a continuous and simultaneous flow. In this context in which the image goes so far as to anticipate the event in order to engender a heightened reality, the frameworks of our lives are reshaped in terms of their physical and perceptual coordinates.

  Maillard’s Video-Wallpaper expresses the idea of an inhabitable, enveloping image that moves beyond the screen to take over architectural space. It is no longer an image that is looked at or read but rather an image one inhabits. The image is superimposed over reality, redefining it aesthetically.

  The artist’s collaborations with Jean Nouvel display this incorporating of the image into the experience of the contemporary city. The architectural building becomes a disseminator of an image that creates an interaction with its immediate environment while making it part of the atmospheric ambiance. Maillard’s works filter reality live in order to give back a representation of it that is informed by digital protocols.

  A similar effect appears in her photographs, where the pixels are stretched and elongated one by one to produce an extruded image, like an acceleration of iconic cells, offering a representation of the new digital horizon.

  Maillard’s chair and table sculptures seem to be infected with a virus generating the proliferation of bubbles on their surfaces, like a swelling of the object that reveals the vitality of the atoms composing it.

  Through these intrusions of an image that is endowed with an intelligence all its own, Marie Maillard introduces a doubt into our understanding of what distinguishes virtualities from realities. Welcome to the enigma of the virtual.
 
Pascal Beausse

--
Romina Djelosevic
Gallery Manager

Luxe/ Stephan Stoyanov Gallery
29 Orchard Street
New York, NY 10002
T: 646 407 2932
M: 310 877 6904
E: galleryluxe@gmail.com
http://www.luxegallery.net