Lives and works in Cotonou and Hamburg\u003C/p>",[667],{"id":668,"url":669,"jpg16":670,"jpg800":671,"jpg1600":672,"jpg2400":673,"jpg3200":674,"alt":420,"title":675,"width":676,"height":677,"caption":420,"mobile":678,"__typename":679},"272650","https://dev-admin.mennour.com/uploads/img/2024-Portrait-Georges-Adeagbo-Photo.-Archives-mennour.jpg","mCH2N9_3_M9F#jRh00t5MwIUIoaext_3_3s:tRtRD$9FIpE1MyoJ","https://dev-admin.mennour.com/uploads/img/_jpg800/2024-Portrait-Georges-Adeagbo-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/2024-Portrait-Georges-Adeagbo-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/2024-Portrait-Georges-Adeagbo-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/2024-Portrait-Georges-Adeagbo-Photo.-Archives-mennour.jpg","2024 Portrait Georges Adeagbo Photo Archives mennour",4082,6123,[],"images_Asset",[681],{"title":682,"slug":683,"type":684,"extra":685},"Collaboration","collaborations","artistCategory",true,"artist",{"url":688,"slug":689,"title":690,"firstName":691,"lastName":692,"customFullName":420,"tagline":693,"coverImage":694,"artistCategory":707,"type":686},"https://www.mennour.com/artist/mohammad-alfaraj","mohammad-alfaraj","Mohammad AlFaraj","Mohammad","AlFaraj","Born in 1993 in Saudi Arabia\u003Cbr />\nLives and works in Al-Ahsa, Saudi Arabia",[695],{"id":696,"url":697,"jpg16":698,"jpg800":699,"jpg1600":700,"jpg2400":701,"jpg3200":702,"alt":420,"title":703,"width":704,"height":705,"caption":420,"mobile":706,"__typename":679},"4320","https://dev-admin.mennour.com/uploads/img/d2ac0d56-8e16-45ce-90fc-f8eb496b94e5-2.jpg","nCJZ}7?_JW0OeZ..].tSElw0.9EeRPROt8RiIn~VE2Ekxus.MzM_Nxx]D%x]=|jX","https://dev-admin.mennour.com/uploads/img/_jpg800/d2ac0d56-8e16-45ce-90fc-f8eb496b94e5-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/d2ac0d56-8e16-45ce-90fc-f8eb496b94e5-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/d2ac0d56-8e16-45ce-90fc-f8eb496b94e5-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/d2ac0d56-8e16-45ce-90fc-f8eb496b94e5-2.jpg","Mohammad alfaraj",1200,1600,[],[],{"url":709,"slug":710,"title":711,"firstName":712,"lastName":713,"customFullName":420,"tagline":714,"coverImage":715,"artistCategory":728,"type":686},"https://www.mennour.com/artist/lucie-antoinette","lucie-antoinette","Lucie Antoinette","Lucie","Antoinette","Born in 1993, lives and works in Paris, France.",[716],{"id":717,"url":718,"jpg16":719,"jpg800":720,"jpg1600":721,"jpg2400":722,"jpg3200":723,"alt":420,"title":724,"width":725,"height":726,"caption":420,"mobile":727,"__typename":679},"125200","https://dev-admin.mennour.com/uploads/img/LucieBascoul_Jan_-50.jpg","W7F$684T~qSc?b?G0JM~?GD*IX%g4T?aNH0LM_w]XnIoVr%2g2IV","https://dev-admin.mennour.com/uploads/img/_jpg800/LucieBascoul_Jan_-50.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/LucieBascoul_Jan_-50.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/LucieBascoul_Jan_-50.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/LucieBascoul_Jan_-50.jpg","Lucie Bascoul Jan 50",3024,2005,[],[729],{"title":730,"slug":731,"type":684,"extra":732},"Emergence","emergence",false,{"url":734,"slug":735,"title":736,"firstName":737,"lastName":738,"customFullName":420,"tagline":420,"coverImage":739,"artistCategory":752,"type":686},"https://www.mennour.com/artist/eugène-atget","eugène-atget","Eugène Atget","Eugène","Atget",[740],{"id":741,"url":742,"jpg16":743,"jpg800":744,"jpg1600":745,"jpg2400":746,"jpg3200":747,"alt":420,"title":748,"width":749,"height":750,"caption":420,"mobile":751,"__typename":679},"272655","https://dev-admin.mennour.com/uploads/img/Atget-Eugene.jpg","n38E3tIU_3-;t7%M~qD%IU?b~WD%9FRiD%t7RjM{xuog4n%MxuIV%M%MM{xb%ME1","https://dev-admin.mennour.com/uploads/img/_jpg800/Atget-Eugene.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Atget-Eugene.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Atget-Eugene.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Atget-Eugene.jpg","Atget Eugene",1544,2000,[],[753],{"title":682,"slug":683,"type":684,"extra":685},{"url":755,"slug":756,"title":757,"firstName":758,"lastName":759,"customFullName":420,"tagline":760,"coverImage":761,"artistCategory":774,"type":686},"https://www.mennour.com/artist/neil-beloufa","neil-beloufa","Neïl Beloufa","Neïl","Beloufa","Born in 1985 in Paris, France\u003Cbr />\nLives and works in Paris, France",[762],{"id":763,"url":764,"jpg16":765,"jpg800":766,"jpg1600":767,"jpg2400":768,"jpg3200":769,"alt":420,"title":770,"width":771,"height":772,"caption":420,"mobile":773,"__typename":679},"7769","https://dev-admin.mennour.com/uploads/img/Portrait-%C2%A9Polly-Thomas.jpg","nZGuapWC%Nt7Ri?wWBozkCR*-UjZROjsofIVj[RjayxbxCayofjZkCIoWBofWBR*","https://dev-admin.mennour.com/uploads/img/_jpg800/Portrait-©Polly-Thomas.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Portrait-©Polly-Thomas.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Portrait-©Polly-Thomas.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Portrait-©Polly-Thomas.jpg","Neil beloufa",2667,4000,[],[],{"url":776,"slug":777,"title":778,"firstName":779,"lastName":780,"customFullName":420,"tagline":781,"coverImage":782,"artistCategory":795,"type":686},"https://www.mennour.com/artist/hicham-berrada","hicham-berrada","Hicham Berrada","Hicham","Berrada","Born in 1986 in Casablanca, Morocco \u003Cbr />\nLives and works in Paris and Roubaix, France",[783],{"id":784,"url":785,"jpg16":786,"jpg800":787,"jpg1600":788,"jpg2400":789,"jpg3200":790,"alt":420,"title":791,"width":792,"height":793,"caption":420,"mobile":794,"__typename":679},"8351","https://dev-admin.mennour.com/uploads/img/HICHAM_PORTRAIT%C2%A9TETARD.jpg","nqMG@loe-:%LM{~pWVR*WBWCoLoeM{V@xaofj]j[a}j[ayaxt6oeWBayfRayWVfQ","https://dev-admin.mennour.com/uploads/img/_jpg800/HICHAM_PORTRAIT©TETARD.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/HICHAM_PORTRAIT©TETARD.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/HICHAM_PORTRAIT©TETARD.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/HICHAM_PORTRAIT©TETARD.jpg","4 S9 A5796",2606,3475,[],[],{"url":797,"slug":798,"title":799,"firstName":800,"lastName":801,"customFullName":420,"tagline":802,"coverImage":803,"artistCategory":815,"type":686},"https://www.mennour.com/artist/mohamed-bourouissa","mohamed-bourouissa","Mohamed Bourouissa","Mohamed","Bourouissa","\u003Cp>Born in 1978 in Blida, Algeria\u003Cbr />Lives and works in Paris, France\u003C/p>",[804],{"id":805,"url":806,"jpg16":807,"jpg800":808,"jpg1600":809,"jpg2400":810,"jpg3200":811,"alt":420,"title":812,"width":813,"height":750,"caption":420,"mobile":814,"__typename":679},"288154","https://dev-admin.mennour.com/uploads/img/230724_NA_MB_06_0474_1.jpg","npI|ICuO=|%M%M}[pIozxGS3RPWBS#aKRPWBj[f+WBnixuofWVbboJoLj[bIkCae","https://dev-admin.mennour.com/uploads/img/_jpg800/230724_NA_MB_06_0474_1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/230724_NA_MB_06_0474_1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/230724_NA_MB_06_0474_1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/230724_NA_MB_06_0474_1.jpg","230724 NA MB 06 0474 1",1500,[],[],{"url":817,"slug":818,"title":819,"firstName":820,"lastName":821,"customFullName":420,"tagline":822,"coverImage":823,"artistCategory":836,"type":686},"https://www.mennour.com/artist/marie-bovo","marie-bovo","Marie Bovo","Marie","Bovo","Born in 1967 in Alicante, Spain\u003Cbr />\nLives and works in Marseille, France",[824],{"id":825,"url":826,"jpg16":827,"jpg800":828,"jpg1600":829,"jpg2400":830,"jpg3200":831,"alt":420,"title":832,"width":833,"height":834,"caption":420,"mobile":835,"__typename":679},"4326","https://dev-admin.mennour.com/uploads/img/4S9A7589.jpg","WgJ8Lvxt?ct7IAoL~qogogs:RiaykDt8t6RjozM{M{ayRjoeflay","https://dev-admin.mennour.com/uploads/img/_jpg800/4S9A7589.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/4S9A7589.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/4S9A7589.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/4S9A7589.jpg","Marie bovo",5760,3840,[],[],{"url":838,"slug":839,"title":840,"firstName":841,"lastName":842,"customFullName":420,"tagline":843,"coverImage":844,"artistCategory":857,"type":686},"https://www.mennour.com/artist/daniel-buren","daniel-buren","Daniel Buren","Daniel","Buren","\u003Cp>Born in 1938 in Boulogne-Billancourt, France\u003Cbr />Lives and works \u003Ci>in situ\u003C/i>\u003C/p>",[845],{"id":846,"url":847,"jpg16":848,"jpg800":849,"jpg1600":850,"jpg2400":851,"jpg3200":852,"alt":420,"title":853,"width":854,"height":855,"caption":420,"mobile":856,"__typename":679},"4328","https://dev-admin.mennour.com/uploads/img/Daniel-Buren-EMMA-2022-%C2%A9Ari-Karttunen-EMMA-Espoo-Museum-of-art-0313.jpg","nKDcU7~o-.tRkq?ut1si%Kt7MhMzn4bFWUIcT2bfJEN{M|o|%Mt6oL=X-5xswbn#","https://dev-admin.mennour.com/uploads/img/_jpg800/Daniel-Buren-EMMA-2022-©Ari-Karttunen-EMMA-Espoo-Museum-of-art-0313.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Daniel-Buren-EMMA-2022-©Ari-Karttunen-EMMA-Espoo-Museum-of-art-0313.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Daniel-Buren-EMMA-2022-©Ari-Karttunen-EMMA-Espoo-Museum-of-art-0313.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Daniel-Buren-EMMA-2022-©Ari-Karttunen-EMMA-Espoo-Museum-of-art-0313.jpg","Daniel buren",2134,3200,[],[],{"url":859,"slug":860,"title":861,"firstName":862,"lastName":863,"customFullName":420,"tagline":864,"coverImage":865,"artistCategory":878,"type":686},"https://www.mennour.com/artist/haguette-caland","haguette-caland","Huguette Caland","Huguette","Caland","\u003Cp>Born in 1931 in Beirut, Lebanon\u003Cbr />Died in 2019 in Beirut\u003C/p>",[866],{"id":867,"url":868,"jpg16":869,"jpg800":870,"jpg1600":871,"jpg2400":872,"jpg3200":873,"alt":420,"title":874,"width":875,"height":876,"caption":420,"mobile":877,"__typename":679},"138260","https://dev-admin.mennour.com/uploads/img/Huguette-Photo-by-Jacques-Prayertiff.jpg","fWNTwJof~qM{ayxt-;Rjj]ofRjofxuWBRjxtofWBs:fQWVWBRjj[xujtWBt7ofof","https://dev-admin.mennour.com/uploads/img/_jpg800/Huguette-Photo-by-Jacques-Prayertiff.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Huguette-Photo-by-Jacques-Prayertiff.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Huguette-Photo-by-Jacques-Prayertiff.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Huguette-Photo-by-Jacques-Prayertiff.jpg","Huguette Photo by Jacques Prayertiff",542,375,[],[879],{"title":682,"slug":683,"type":684,"extra":685},{"url":881,"slug":882,"title":883,"firstName":737,"lastName":884,"customFullName":420,"tagline":885,"coverImage":886,"artistCategory":899,"type":686},"https://www.mennour.com/artist/eugene-carriere","eugene-carriere","Eugène Carrière","Carrière","Born in 1849 in Gournay-sur-Marne, France\u003Cbr />\nDied in 1906 in Paris, France",[887],{"id":888,"url":889,"jpg16":890,"jpg800":891,"jpg1600":892,"jpg2400":893,"jpg3200":894,"alt":420,"title":895,"width":896,"height":897,"caption":420,"mobile":898,"__typename":679},"4332","https://dev-admin.mennour.com/uploads/img/portrait-CARRIERE.jpg","n3ATi%9F01-;00xu_3xuM{M{_2~q9F%M-;a{9Goe?bfQ~pM{Rj%Mt700ofay-;%M","https://dev-admin.mennour.com/uploads/img/_jpg800/portrait-CARRIERE.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/portrait-CARRIERE.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/portrait-CARRIERE.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/portrait-CARRIERE.jpg","Eugene carriere",3071,4016,[],[900],{"title":901,"slug":902,"type":684,"extra":732},"Estates","estates",{"url":904,"slug":905,"title":906,"firstName":907,"lastName":908,"customFullName":420,"tagline":909,"coverImage":910,"artistCategory":921,"type":686},"https://www.mennour.com/artist/valentin-carron","valentin-carron","Valentin Carron","Valentin","Carron","Born in 1977 in Martigny, Switzerland\u003Cbr />\nLives and works there",[911],{"id":912,"url":913,"jpg16":914,"jpg800":915,"jpg1600":916,"jpg2400":917,"jpg3200":918,"alt":420,"title":919,"width":750,"height":771,"caption":420,"mobile":920,"__typename":679},"4334","https://dev-admin.mennour.com/uploads/img/KamelMennour-ValentinCarron-portraits-JulienGremaud-074-web.jpg","nTL;dF-=%N%MD*~qt7M|t8ae?Ht8IUWAxuxuWBWAV@WBR*j]ofofj[Rjofxut7kC","https://dev-admin.mennour.com/uploads/img/_jpg800/KamelMennour-ValentinCarron-portraits-JulienGremaud-074-web.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/KamelMennour-ValentinCarron-portraits-JulienGremaud-074-web.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/KamelMennour-ValentinCarron-portraits-JulienGremaud-074-web.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/KamelMennour-ValentinCarron-portraits-JulienGremaud-074-web.jpg","Valentin carron",[],[],{"url":923,"slug":924,"title":925,"firstName":926,"lastName":927,"customFullName":420,"tagline":928,"coverImage":929,"artistCategory":942,"type":686},"https://www.mennour.com/artist/ymane-chabi-gara","ymane-chabi-gara","Ymane Chabi-Gara","Ymane","Chabi-Gara","Born in 1986 in Paris, France\u003Cbr />\nLives and works in Montreuil, France",[930],{"id":931,"url":932,"jpg16":933,"jpg800":934,"jpg1600":935,"jpg2400":936,"jpg3200":937,"alt":420,"title":938,"width":939,"height":940,"caption":420,"mobile":941,"__typename":679},"288991","https://dev-admin.mennour.com/uploads/img/Ymane-Chabi-Gara-048.jpg","fDF68^X9%Mj[9G-;~qs;%MkCt6a|?v?bIVf8tQM{8{M{xv%LWVWAtRa~a}oft7WB","https://dev-admin.mennour.com/uploads/img/_jpg800/Ymane-Chabi-Gara-048.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Ymane-Chabi-Gara-048.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Ymane-Chabi-Gara-048.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Ymane-Chabi-Gara-048.jpg","Ymane Chabi Gara 048",1920,1281,[],[],{"url":944,"slug":945,"title":946,"firstName":947,"lastName":948,"customFullName":420,"tagline":949,"coverImage":950,"artistCategory":962,"type":686},"https://www.mennour.com/artist/jean-degottex","jean-degottex","Jean Degottex","Jean","Degottex","Born in 1918 in Sathonay-Camp, France \u003Cbr />\nDied in 1988 in Paris",[951],{"id":952,"url":953,"jpg16":954,"jpg800":955,"jpg1600":956,"jpg2400":957,"jpg3200":958,"alt":420,"title":959,"width":960,"height":960,"caption":420,"mobile":961,"__typename":679},"4338","https://dev-admin.mennour.com/uploads/img/Portrait-Keiichi-Tahara.jpg","oBD,4W~qD%_2t64nD%-p?aWBoyay%MofRjt7%Mt7aya|WBWBIURkRjfjkBRjt7%Layfkayj[ofRj","https://dev-admin.mennour.com/uploads/img/_jpg800/Portrait-Keiichi-Tahara.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Portrait-Keiichi-Tahara.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Portrait-Keiichi-Tahara.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Portrait-Keiichi-Tahara.jpg","Jean degottex",2250,[],[963],{"title":901,"slug":902,"type":684,"extra":732},{"url":965,"slug":966,"title":967,"firstName":968,"lastName":969,"customFullName":420,"tagline":970,"coverImage":971,"artistCategory":984,"type":686},"https://www.mennour.com/artist/liam-everett","liam-everett","Liam Everett","Liam","Everett","Born in 1973 in Rochester, New York\u003Cbr />\nLives and works in California, USA",[972],{"id":973,"url":974,"jpg16":975,"jpg800":976,"jpg1600":977,"jpg2400":978,"jpg3200":979,"alt":420,"title":980,"width":981,"height":982,"caption":420,"mobile":983,"__typename":679},"8152","https://dev-admin.mennour.com/uploads/img/8.jpg","nkM7rxD$~qxtay?bofIURjt7%NkCM|t7R*bIazoeaxkCt8kCR*j?WBxuofWWWBf6","https://dev-admin.mennour.com/uploads/img/_jpg800/8.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/8.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/8.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/8.jpg","8",922,1382,[],[],{"url":986,"slug":987,"title":988,"firstName":989,"lastName":990,"customFullName":420,"tagline":991,"coverImage":992,"artistCategory":1005,"type":686},"https://www.mennour.com/artist/sidival-fila","sidival-fila","Sidival Fila","Sidival","Fila","Born in 1962 in the state of Parana, Brazil\u003Cbr />\nLives and works in Rome, Italy",[993],{"id":994,"url":995,"jpg16":996,"jpg800":997,"jpg1600":998,"jpg2400":999,"jpg3200":1000,"alt":420,"title":1001,"width":1002,"height":1003,"caption":420,"mobile":1004,"__typename":679},"42935","https://dev-admin.mennour.com/uploads/img/DSC2639-Recuperato.jpeg","fWHxZ*M|9F9Gt6%M~VoLRjoeRjR*%Lj?axxaRkWBt7jsoLj@j[ofozWBjZfks:oL","https://dev-admin.mennour.com/uploads/img/_jpg800/42935/DSC2639-Recuperato.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/42935/DSC2639-Recuperato.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/42935/DSC2639-Recuperato.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/42935/DSC2639-Recuperato.jpg","Sidival fila",7580,5054,[],[],{"url":1007,"slug":1008,"title":1009,"firstName":1010,"lastName":1011,"customFullName":420,"tagline":1012,"coverImage":1013,"artistCategory":1026,"type":686},"https://www.mennour.com/artist/dan-flavin","dan-flavin","Dan Flavin","Dan","Flavin","Born in 1933 in Jamaica, New York\u003Cbr />\nDan Flavin died in 1996 in Riverhead, New York",[1014],{"id":1015,"url":1016,"jpg16":1017,"jpg800":1018,"jpg1600":1019,"jpg2400":1020,"jpg3200":1021,"alt":420,"title":1022,"width":1023,"height":1024,"caption":420,"mobile":1025,"__typename":679},"270254","https://dev-admin.mennour.com/uploads/img/49717_portrait_de_l_artistedanflavin_high.jpeg","WXIhplRjj[IUof%M~qxuayxuj[RjIUxuj[ofj[WBIUt7j[Rjt7of","https://dev-admin.mennour.com/uploads/img/_jpg800/270254/49717_portrait_de_l_artistedanflavin_high.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/270254/49717_portrait_de_l_artistedanflavin_high.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/270254/49717_portrait_de_l_artistedanflavin_high.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/270254/49717_portrait_de_l_artistedanflavin_high.jpg","49717 portrait de l artistedanflavin high",3000,1888,[],[1027],{"title":682,"slug":683,"type":684,"extra":685},{"url":1029,"slug":1030,"title":1031,"firstName":1032,"lastName":1033,"customFullName":420,"tagline":1034,"coverImage":1035,"artistCategory":1048,"type":686},"https://www.mennour.com/artist/claire-fontaine","claire-fontaine","Claire Fontaine","Claire","Fontaine","Founded in 2004 in Paris\u003Cbr />\nWorks and lives in Palermo, Italy",[1036],{"id":1037,"url":1038,"jpg16":1039,"jpg800":1040,"jpg1600":1041,"jpg2400":1042,"jpg3200":1043,"alt":420,"title":1044,"width":1045,"height":1046,"caption":420,"mobile":1047,"__typename":679},"4342","https://dev-admin.mennour.com/uploads/img/1-2024-Portrait-Claire-Fontaine.-Archives-mennour.jpg","mSJ8V1%M?b%L~qRjoft6_3t7D$WBt7t7RjWCt7WAofayIoWBaeay","https://dev-admin.mennour.com/uploads/img/_jpg800/1-2024-Portrait-Claire-Fontaine.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/1-2024-Portrait-Claire-Fontaine.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/1-2024-Portrait-Claire-Fontaine.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/1-2024-Portrait-Claire-Fontaine.-Archives-mennour.jpg","Claire fontaine",939,1409,[],[],{"url":1050,"slug":1051,"title":1052,"firstName":1053,"lastName":1054,"customFullName":420,"tagline":1055,"coverImage":1056,"artistCategory":1069,"type":686},"https://www.mennour.com/artist/ryan-gander","ryan-gander","Ryan Gander","Ryan","Gander","Born in 1976 in Chester\u003Cbr />\nLives and works in London, United Kingdom",[1057],{"id":1058,"url":1059,"jpg16":1060,"jpg800":1061,"jpg1600":1062,"jpg2400":1063,"jpg3200":1064,"alt":420,"title":1065,"width":1066,"height":1067,"caption":420,"mobile":1068,"__typename":679},"4346","https://dev-admin.mennour.com/uploads/img/4S9A9540.jpg","mfFP83t7-;xu~poKkDof%1RjM{V@R*t7RPofR*oLjFaeozWBn%af","https://dev-admin.mennour.com/uploads/img/_jpg800/4S9A9540.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/4S9A9540.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/4S9A9540.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/4S9A9540.jpg","Ryan gander",940,1410,[],[],{"url":1071,"slug":1072,"title":1073,"firstName":1074,"lastName":1075,"customFullName":420,"tagline":1076,"coverImage":1077,"artistCategory":1090,"type":686},"https://www.mennour.com/artist/alberto-garcia-alix","alberto-garcia-alix","Alberto Garcia Alix","Alberto","Garcia Alix","Born in 1956 in León, Spain\u003Cbr />\nlives and works in Madrid, Spain",[1078],{"id":1079,"url":1080,"jpg16":1081,"jpg800":1082,"jpg1600":1083,"jpg2400":1084,"jpg3200":1085,"alt":420,"title":1086,"width":1087,"height":1088,"caption":420,"mobile":1089,"__typename":679},"4348","https://dev-admin.mennour.com/uploads/img/Autorretrato.-Mi-lado-femenino.-2002_2024-10-15-105642_todw.jpg","oCDl{3_3?bRjIUof~qM{RjWBM{ofD%WBoft7RjRjM{ofofofxuWBxuofM{RjofofxuayRjofayWB","https://dev-admin.mennour.com/uploads/img/_jpg800/Autorretrato.-Mi-lado-femenino.-2002_2024-10-15-105642_todw.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Autorretrato.-Mi-lado-femenino.-2002_2024-10-15-105642_todw.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Autorretrato.-Mi-lado-femenino.-2002_2024-10-15-105642_todw.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Autorretrato.-Mi-lado-femenino.-2002_2024-10-15-105642_todw.jpg","Alberto garcia alix",3080,3126,[],[],{"url":1092,"slug":1093,"title":1094,"firstName":1074,"lastName":1095,"customFullName":420,"tagline":1096,"coverImage":1097,"artistCategory":1110,"type":686},"https://www.mennour.com/artist/alberto-giacometti","alberto-giacometti","Alberto Giacometti","Giacometti","Born in 1901 in Borgonovo, Switzerland \u003Cbr />\nDied in 1966 in Chur, Switzerland",[1098],{"id":1099,"url":1100,"jpg16":1101,"jpg800":1102,"jpg1600":1103,"jpg2400":1104,"jpg3200":1105,"alt":420,"title":1106,"width":1107,"height":1108,"caption":420,"mobile":1109,"__typename":679},"7786","https://dev-admin.mennour.com/uploads/img/1957-Isaku-Yanaihara-Alberto-Giacometti-travaillant-dans-son-atelier-2003-3382-coll.-Fondation-Giacometti-Paris.jpg","nDI#x_009F?bxu~qt7xuIURj00%M-;M{M{D%xuRjt7WBxuxuM{M{%Mt7IU%MxuM{","https://dev-admin.mennour.com/uploads/img/_jpg800/1957-Isaku-Yanaihara-Alberto-Giacometti-travaillant-dans-son-atelier-2003-3382-coll.-Fondation-Giacometti-Paris.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/1957-Isaku-Yanaihara-Alberto-Giacometti-travaillant-dans-son-atelier-2003-3382-coll.-Fondation-Giacometti-Paris.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/1957-Isaku-Yanaihara-Alberto-Giacometti-travaillant-dans-son-atelier-2003-3382-coll.-Fondation-Giacometti-Paris.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/1957-Isaku-Yanaihara-Alberto-Giacometti-travaillant-dans-son-atelier-2003-3382-coll.-Fondation-Giacometti-Paris.jpg","Alberto giacometti",2340,3438,[],[1111],{"title":901,"slug":902,"type":684,"extra":732},{"url":1113,"slug":1114,"title":1115,"firstName":1116,"lastName":1117,"customFullName":420,"tagline":1118,"coverImage":1119,"artistCategory":1132,"type":686},"https://www.mennour.com/artist/douglas-gordon","douglas-gordon","Douglas Gordon","Douglas","Gordon","Born in 1966 in Glasgow, Scotland\u003Cbr />\nLives and works in Berlin, Glasgow and Paris",[1120],{"id":1121,"url":1122,"jpg16":1123,"jpg800":1124,"jpg1600":1125,"jpg2400":1126,"jpg3200":1127,"alt":420,"title":1128,"width":1129,"height":1130,"caption":420,"mobile":1131,"__typename":679},"4350","https://dev-admin.mennour.com/uploads/img/2019-06-05-15.00.56.jpg","feMQq+Rj-pRjIUxu~qRjIUofozWBxaayRjkCogWBofj@t6WBWBj[j[ayj[fjWCfQ","https://dev-admin.mennour.com/uploads/img/_jpg800/2019-06-05-15.00.56.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/2019-06-05-15.00.56.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/2019-06-05-15.00.56.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/2019-06-05-15.00.56.jpg","Douglas gordon",3046,2400,[],[],{"url":1134,"slug":1135,"title":1136,"firstName":1137,"lastName":1138,"customFullName":420,"tagline":1139,"coverImage":1140,"artistCategory":1153,"type":686},"https://www.mennour.com/artist/dhewadi-hadjab","dhewadi-hadjab","Dhewadi Hadjab","Dhewadi","Hadjab","Born in 1992 in M’Sila, Algeria\u003Cbr />\nLives and works in Paris, France",[1141],{"id":1142,"url":1143,"jpg16":1144,"jpg800":1145,"jpg1600":1146,"jpg2400":1147,"jpg3200":1148,"alt":420,"title":1149,"width":1150,"height":1151,"caption":420,"mobile":1152,"__typename":679},"289052","https://dev-admin.mennour.com/uploads/img/3-2024-Portrait-Dhewadi-Hadjab-Photo.-Archives-mennour.jpg","nZK_B[D%_2t7D%~qt7WBofj[jrRjIUWBxuNGIUWBofWBM{RjogayWBRkWCt7ayRj","https://dev-admin.mennour.com/uploads/img/_jpg800/3-2024-Portrait-Dhewadi-Hadjab-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/3-2024-Portrait-Dhewadi-Hadjab-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/3-2024-Portrait-Dhewadi-Hadjab-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/3-2024-Portrait-Dhewadi-Hadjab-Photo.-Archives-mennour.jpg","3 2024 Portrait Dhewadi Hadjab Photo Archives mennour",3571,4762,[],[],{"url":1155,"slug":1156,"title":1157,"firstName":1158,"lastName":1159,"customFullName":420,"tagline":1160,"coverImage":1161,"artistCategory":1174,"type":686},"https://www.mennour.com/artist/petrit-halilaj","petrit-halilaj","Petrit Halilaj","Petrit","Halilaj","Born in 1986 in Kostërrc, Kosovo\u003Cbr />\nLives and works between Germany, Kosovo, and Italy",[1162],{"id":1163,"url":1164,"jpg16":1165,"jpg800":1166,"jpg1600":1167,"jpg2400":1168,"jpg3200":1169,"alt":420,"title":1170,"width":1171,"height":1172,"caption":420,"mobile":1173,"__typename":679},"8289","https://dev-admin.mennour.com/uploads/img/MT_PETRIT-HALILAJ_David-Cruz-Puebla-small.jpg","nHM%ZPtTt8-pE100NIWnn~M}=;WCM|s.kC~q%MM{ogt7NfxuxZW=RjM^NG%2RjNG","https://dev-admin.mennour.com/uploads/img/_jpg800/MT_PETRIT-HALILAJ_David-Cruz-Puebla-small.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/MT_PETRIT-HALILAJ_David-Cruz-Puebla-small.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/MT_PETRIT-HALILAJ_David-Cruz-Puebla-small.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/MT_PETRIT-HALILAJ_David-Cruz-Puebla-small.jpg","MT PETRIT HALILAJ David Cruz Puebla small",1000,1477,[],[],{"url":1176,"slug":1177,"title":1178,"firstName":1179,"lastName":1180,"customFullName":420,"tagline":420,"coverImage":1181,"artistCategory":1194,"type":686},"https://www.mennour.com/artist/heidsieck-bernard","heidsieck-bernard","Bernard Heidsieck","Bernard","Heidsieck",[1182],{"id":1183,"url":1184,"jpg16":1185,"jpg800":1186,"jpg1600":1187,"jpg2400":1188,"jpg3200":1189,"alt":420,"title":1190,"width":1191,"height":1192,"caption":420,"mobile":1193,"__typename":679},"269609","https://dev-admin.mennour.com/uploads/img/ob_9cd4b7_mlp051138.jpg","msHLl1%M%Mxu~qt7ofayj[WBM{WBRjj[RjofofayWBayxuj[ayay","https://dev-admin.mennour.com/uploads/img/_jpg800/ob_9cd4b7_mlp051138.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/ob_9cd4b7_mlp051138.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/ob_9cd4b7_mlp051138.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/ob_9cd4b7_mlp051138.jpg","Ob 9cd4b7 mlp051138",682,1024,[],[1195],{"title":682,"slug":683,"type":684,"extra":685},{"url":1197,"slug":1198,"title":1199,"firstName":1200,"lastName":1201,"customFullName":420,"tagline":1202,"coverImage":1203,"artistCategory":1216,"type":686},"https://www.mennour.com/artist/camille-henrot","camille-henrot","Camille Henrot","Camille","Henrot","Born in 1978 in Paris, France\u003Cbr />\nLives and works in New York, United States",[1204],{"id":1205,"url":1206,"jpg16":1207,"jpg800":1208,"jpg1600":1209,"jpg2400":1210,"jpg3200":1211,"alt":420,"title":1212,"width":1213,"height":1214,"caption":420,"mobile":1215,"__typename":679},"4354","https://dev-admin.mennour.com/uploads/img/camille-henrot-josep-fonti-2019_146_2024-04-10-130937_ieba.jpg","WBHLr7Dh*0={IV.9%#IA?uSi%#-o0LkXMdIU?uoy4:i^-;S5xt%g","https://dev-admin.mennour.com/uploads/img/_jpg800/camille-henrot-josep-fonti-2019_146_2024-04-10-130937_ieba.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/camille-henrot-josep-fonti-2019_146_2024-04-10-130937_ieba.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/camille-henrot-josep-fonti-2019_146_2024-04-10-130937_ieba.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/camille-henrot-josep-fonti-2019_146_2024-04-10-130937_ieba.jpg","Camille henrot",5102,3401,[],[],{"url":1218,"slug":1219,"title":1220,"firstName":1221,"lastName":1222,"customFullName":420,"tagline":1223,"coverImage":1224,"artistCategory":1236,"type":686},"https://www.mennour.com/artist/david-hominal","david-hominal","David Hominal","David","Hominal","Born in 1976 in France\u003Cbr />\nLives and works in Berlin, Germany",[1225],{"id":1226,"url":1227,"jpg16":1228,"jpg800":1229,"jpg1600":1230,"jpg2400":1231,"jpg3200":1232,"alt":420,"title":1233,"width":1234,"height":750,"caption":420,"mobile":1235,"__typename":679},"8409","https://dev-admin.mennour.com/uploads/img/Portrait-c-Alexandra-Khazina-small.jpg","mIH2G*-po|_N~pRiIUoeRjIpxvMxM|kD?Gj[oNIAWAt7ozR+xaa#","https://dev-admin.mennour.com/uploads/img/_jpg800/Portrait-c-Alexandra-Khazina-small.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Portrait-c-Alexandra-Khazina-small.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Portrait-c-Alexandra-Khazina-small.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Portrait-c-Alexandra-Khazina-small.jpg","Portrait c Alexandra Khazina small",1125,[],[],{"url":1238,"slug":1239,"title":1240,"firstName":1241,"lastName":1242,"customFullName":1240,"tagline":1243,"coverImage":1244,"artistCategory":1257,"type":686},"https://www.mennour.com/artist/huang-yong-ping","huang-yong-ping","Huang Yong Ping","Yong Ping","Huang","Born in 1954 in Xiamen, China\u003Cbr />\nLived in Paris until his death in 2019",[1245],{"id":1246,"url":1247,"jpg16":1248,"jpg800":1249,"jpg1600":1250,"jpg2400":1251,"jpg3200":1252,"alt":420,"title":1253,"width":1254,"height":1255,"caption":420,"mobile":1256,"__typename":679},"138521","https://dev-admin.mennour.com/uploads/img/HYP-in-Grand-Palais-Paris-2016-Photo.-Archives-Mennour.jpg","o7DcXTM{-;D%00t7~qxu00t7t7ofIU-;D%%M%MM{M{IU_3M{WBay4nRj-;RjIUt700%MxuRjt7WB","https://dev-admin.mennour.com/uploads/img/_jpg800/HYP-in-Grand-Palais-Paris-2016-Photo.-Archives-Mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/HYP-in-Grand-Palais-Paris-2016-Photo.-Archives-Mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/HYP-in-Grand-Palais-Paris-2016-Photo.-Archives-Mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/HYP-in-Grand-Palais-Paris-2016-Photo.-Archives-Mennour.jpg","HYP in Grand Palais Paris 2016 Photo Archives Mennour",1151,1328,[],[1258],{"title":901,"slug":902,"type":684,"extra":732},{"url":1260,"slug":1261,"title":1262,"firstName":1263,"lastName":1264,"customFullName":420,"tagline":1265,"coverImage":1266,"artistCategory":1279,"type":686},"https://www.mennour.com/artist/elizabeth-jaeger","elizabeth-jaeger","Elizabeth Jaeger","Elizabeth","Jaeger","Born in 1988 in San Francisco, USA\u003Cbr />\nLives and works in New York, USA",[1267],{"id":1268,"url":1269,"jpg16":1270,"jpg800":1271,"jpg1600":1272,"jpg2400":1273,"jpg3200":1274,"alt":420,"title":1275,"width":1276,"height":1277,"caption":420,"mobile":1278,"__typename":679},"8217","https://dev-admin.mennour.com/uploads/img/Photo-Credit.Qiaosen-Yang-02.JPG","mPHed.Di-;~q?bIUt7NH-pxuM{jY-;t7V@t7_3V@xaof-;Rjt7oe","https://dev-admin.mennour.com/uploads/img/_jpg800/8217/Photo-Credit.Qiaosen-Yang-02.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/8217/Photo-Credit.Qiaosen-Yang-02.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/8217/Photo-Credit.Qiaosen-Yang-02.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/8217/Photo-Credit.Qiaosen-Yang-02.jpg","Photo Credit Qiaosen Yang 02",3712,5568,[],[],{"url":1281,"slug":1282,"title":1283,"firstName":1284,"lastName":1285,"customFullName":420,"tagline":1286,"coverImage":1287,"artistCategory":1299,"type":686},"https://www.mennour.com/artist/cameron-jamie","cameron-jamie","Cameron Jamie","Cameron","Jamie","Born 1969 in Los Angeles, United States\u003Cbr />\nLives and works in Paris, France",[1288],{"id":1289,"url":1290,"jpg16":1291,"jpg800":1292,"jpg1600":1293,"jpg2400":1294,"jpg3200":1295,"alt":420,"title":1296,"width":1297,"height":1297,"caption":420,"mobile":1298,"__typename":679},"295094","https://dev-admin.mennour.com/uploads/img/MGL7314_%C2%A9SilvioWaser.jpeg","o6J8Y6A8~p_300IU00x]ImI-~qs=00s=_3oNouoyr#9G_3%g00D~^,xc00t8%1t7_4%MIVRW^,s;","https://dev-admin.mennour.com/uploads/img/_jpg800/295094/MGL7314_©SilvioWaser.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/295094/MGL7314_©SilvioWaser.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/295094/MGL7314_©SilvioWaser.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/295094/MGL7314_©SilvioWaser.jpg","MGL7314 Silvio Waser",1772,[],[],{"url":1301,"slug":1302,"title":1303,"firstName":1304,"lastName":1305,"customFullName":420,"tagline":1306,"coverImage":1307,"artistCategory":1320,"type":686},"https://www.mennour.com/artist/ann-veronica-janssens","ann-veronica-janssens","Ann Veronica Janssens","Ann Veronica","Janssens","Born in 1956 in Folkestone, United Kingdom\u003Cbr />\nLives and works in Brussels, Belgium",[1308],{"id":1309,"url":1310,"jpg16":1311,"jpg800":1312,"jpg1600":1313,"jpg2400":1314,"jpg3200":1315,"alt":420,"title":1316,"width":1317,"height":1318,"caption":420,"mobile":1319,"__typename":679},"8343","https://dev-admin.mennour.com/uploads/img/Portrait-2-%C2%A9-Colombe-Clier-Centre-des-monuments-nationaux.jpg","nAE.%}?b0000010L~pD%4.oJs79GIWoL?a?ct7xZxuR+01RjxuxuWBWBR*WDRjjY","https://dev-admin.mennour.com/uploads/img/_jpg800/Portrait-2-©-Colombe-Clier-Centre-des-monuments-nationaux.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Portrait-2-©-Colombe-Clier-Centre-des-monuments-nationaux.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Portrait-2-©-Colombe-Clier-Centre-des-monuments-nationaux.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Portrait-2-©-Colombe-Clier-Centre-des-monuments-nationaux.jpg","Portrait 2 Colombe Clier Centre des monuments nationaux",4004,6000,[],[],{"url":1322,"slug":1323,"title":1324,"firstName":1325,"lastName":1326,"customFullName":420,"tagline":1327,"coverImage":1328,"artistCategory":1341,"type":686},"https://www.mennour.com/artist/nina-jayasuriya","nina-jayasuriya","Nina Jayasuriya","Nina","Jayasuriya","Born in 1996 in Paris, France\u003Cbr />\nLives and works between Paris and Sri Lanka",[1329],{"id":1330,"url":1331,"jpg16":1332,"jpg800":1333,"jpg1600":1334,"jpg2400":1335,"jpg3200":1336,"alt":420,"title":1337,"width":1338,"height":1339,"caption":420,"mobile":1340,"__typename":679},"294769","https://dev-admin.mennour.com/uploads/img/Nina-Jayasuriya-Portrait-1_2025-02-20-134956_ayuh.jpeg","m8CPhY~q.S~W~p-pE2D*-pRP4.4oXA9aV@s.9uIonNslIpV?VsRj","https://dev-admin.mennour.com/uploads/img/_jpg800/294769/Nina-Jayasuriya-Portrait-1_2025-02-20-134956_ayuh.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/294769/Nina-Jayasuriya-Portrait-1_2025-02-20-134956_ayuh.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/294769/Nina-Jayasuriya-Portrait-1_2025-02-20-134956_ayuh.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/294769/Nina-Jayasuriya-Portrait-1_2025-02-20-134956_ayuh.jpg","Nina Jayasuriya Portrait 1",3456,5184,[],[1342],{"title":730,"slug":731,"type":684,"extra":732},{"url":1344,"slug":1345,"title":1346,"firstName":1347,"lastName":1348,"customFullName":420,"tagline":1349,"coverImage":1350,"artistCategory":1362,"type":686},"https://www.mennour.com/artist/anish-kapoor","anish-kapoor","Anish Kapoor","Anish","Kapoor","Born in 1954 in Bombay, India\u003Cbr />\nLives and works in London, England",[1351],{"id":1352,"url":1353,"jpg16":1354,"jpg800":1355,"jpg1600":1356,"jpg2400":1357,"jpg3200":1358,"alt":420,"title":1359,"width":1360,"height":939,"caption":420,"mobile":1361,"__typename":679},"4382","https://dev-admin.mennour.com/uploads/img/Photographs-by-Alex-Majoli-Magnum-for-The-New-Yorker-Art-works-%C2%A9-Anish-Kapoor-ARS.jpg","fG9@VE4oRk%MRPaz~q8_Mx%Mt6t7-;ocM{oyofRPM|ogM{WCxuj@WBt7ofRjj[j?","https://dev-admin.mennour.com/uploads/img/_jpg800/Photographs-by-Alex-Majoli-Magnum-for-The-New-Yorker-Art-works-©-Anish-Kapoor-ARS.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Photographs-by-Alex-Majoli-Magnum-for-The-New-Yorker-Art-works-©-Anish-Kapoor-ARS.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Photographs-by-Alex-Majoli-Magnum-for-The-New-Yorker-Art-works-©-Anish-Kapoor-ARS.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Photographs-by-Alex-Majoli-Magnum-for-The-New-Yorker-Art-works-©-Anish-Kapoor-ARS.jpg","Anish kapoor",2560,[],[],{"url":1364,"slug":1365,"title":1366,"firstName":1367,"lastName":1368,"customFullName":420,"tagline":1369,"coverImage":1370,"artistCategory":1383,"type":686},"https://www.mennour.com/artist/tadashi-kawamata","tadashi-kawamata","Tadashi Kawamata","Tadashi","Kawamata","Born in 1953 in Hokkaidō, Japan\u003Cbr />\nLives and works in Tokyo and Paris",[1371],{"id":1372,"url":1373,"jpg16":1374,"jpg800":1375,"jpg1600":1376,"jpg2400":1377,"jpg3200":1378,"alt":420,"title":1379,"width":1380,"height":1381,"caption":420,"mobile":1382,"__typename":679},"4384","https://dev-admin.mennour.com/uploads/img/2023-Portrait-TK-couleur-Photo.-Archives-mennour.jpg","mIDc2S00_ND%^+00-=IU_49Fx]j@NHkBs.t7Ipt7VsxuRls:t7fk","https://dev-admin.mennour.com/uploads/img/_jpg800/2023-Portrait-TK-couleur-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/2023-Portrait-TK-couleur-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/2023-Portrait-TK-couleur-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/2023-Portrait-TK-couleur-Photo.-Archives-mennour.jpg","Tadashi kawamata",980,1470,[],[],{"url":1385,"slug":1386,"title":1387,"firstName":1388,"lastName":1389,"customFullName":420,"tagline":1390,"coverImage":1391,"artistCategory":1404,"type":686},"https://www.mennour.com/artist/idris-khan","idris-khan","Idris Khan","Idris","Khan","Born in 1978 in Birmingham, United Kingdom\u003Cbr />\nLives and works in London",[1392],{"id":1393,"url":1394,"jpg16":1395,"jpg800":1396,"jpg1600":1397,"jpg2400":1398,"jpg3200":1399,"alt":420,"title":1400,"width":1401,"height":1402,"caption":420,"mobile":1403,"__typename":679},"4386","https://dev-admin.mennour.com/uploads/img/idris-2-copy-Cr%C3%A9dit-Steven-White-and-Company.jpg","nPLW*BD%-p%1rp~VELbw-p%0W-IUIp$zxGIURPofr=oMRjDibFRko|IUIAs+Rkxt","https://dev-admin.mennour.com/uploads/img/_jpg800/idris-2-copy-Crédit-Steven-White-and-Company.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/idris-2-copy-Crédit-Steven-White-and-Company.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/idris-2-copy-Crédit-Steven-White-and-Company.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/idris-2-copy-Crédit-Steven-White-and-Company.jpg","Idris khan",4368,5824,[],[],{"url":1406,"slug":1407,"title":1408,"firstName":1409,"lastName":1410,"customFullName":420,"tagline":1411,"coverImage":1412,"artistCategory":1425,"type":686},"https://www.mennour.com/artist/alicja-kwade","alicja-kwade","Alicja Kwade","Alicja","Kwade","Born in 1979 in Katowice, Poland\u003Cbr />\nLives and works in Berlin, Germany",[1413],{"id":1414,"url":1415,"jpg16":1416,"jpg800":1417,"jpg1600":1418,"jpg2400":1419,"jpg3200":1420,"alt":420,"title":1421,"width":1422,"height":1423,"caption":420,"mobile":1424,"__typename":679},"8126","https://dev-admin.mennour.com/uploads/img/2017-%C2%A9Luise-M%C3%BCller-Hofstege.jpeg","nKC?v1RPyDof%2~qWBIUa|RPR-xuaKozWBIpoexuWVbbadj[t7j@WBs-WCR*j[ae","https://dev-admin.mennour.com/uploads/img/_jpg800/8126/2017-©Luise-Müller-Hofstege.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/8126/2017-©Luise-Müller-Hofstege.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/8126/2017-©Luise-Müller-Hofstege.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/8126/2017-©Luise-Müller-Hofstege.jpg","4 S9 A9350",3543,5308,[],[],{"url":1427,"slug":1428,"title":1429,"firstName":1430,"lastName":1431,"customFullName":420,"tagline":420,"coverImage":1432,"artistCategory":1445,"type":686},"https://www.mennour.com/artist/françois-xavier-lalanne","françois-xavier-lalanne","François-Xavier Lalanne","François-Xavier","Lalanne",[1433],{"id":1434,"url":1435,"jpg16":1436,"jpg800":1437,"jpg1600":1438,"jpg2400":1439,"jpg3200":1440,"alt":420,"title":1441,"width":1442,"height":1443,"caption":420,"mobile":1444,"__typename":679},"269616","https://dev-admin.mennour.com/uploads/img/Lalanne-Hero-Option-1.jpg","WeJkl#4nj[xuRjM{~qWBWBofWBM{t7t7RjWBt7WBt7j[Rjayofof","https://dev-admin.mennour.com/uploads/img/_jpg800/Lalanne-Hero-Option-1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Lalanne-Hero-Option-1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Lalanne-Hero-Option-1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Lalanne-Hero-Option-1.jpg","Lalanne Hero Option 1",2650,1650,[],[1446],{"title":682,"slug":683,"type":684,"extra":685},{"url":1448,"slug":1449,"title":1450,"firstName":1451,"lastName":1452,"customFullName":420,"tagline":1453,"coverImage":1454,"artistCategory":1466,"type":686},"https://www.mennour.com/artist/bertrand-lavier","bertrand-lavier","Bertrand Lavier","Bertrand","Lavier","Born in 1949 in Châtillon sur Seine, France\u003Cbr />\nLives and works between Paris and Aignay‐le‐Duc, France",[1455],{"id":1456,"url":1457,"jpg16":1458,"jpg800":1459,"jpg1600":1460,"jpg2400":1461,"jpg3200":1462,"alt":420,"title":1463,"width":1381,"height":1380,"caption":1464,"mobile":1465,"__typename":679},"7995","https://dev-admin.mennour.com/uploads/img/4S9A1841.jpg","WOJ89O00?Es,D*Ne~TtSI=S5s;axx^x^E1Rjxus:?aIUt7s:V?oe","https://dev-admin.mennour.com/uploads/img/_jpg800/4S9A1841.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/4S9A1841.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/4S9A1841.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/4S9A1841.jpg","Portrait Bertrand Lavier Photo Archives mennour","Photo. Archives Mennour",[],[],{"url":1468,"slug":1469,"title":1470,"firstName":1471,"lastName":1472,"customFullName":1470,"tagline":1473,"coverImage":1474,"artistCategory":1486,"type":686},"https://www.mennour.com/artist/lee-ufan","lee-ufan","Lee Ufan","Ufan","Lee","Born in 1936 in Haman-gun, Korea\u003Cbr />\nLives and works in Paris and Kamakura, Japan",[1475],{"id":1476,"url":1477,"jpg16":1478,"jpg800":1479,"jpg1600":1480,"jpg2400":1481,"jpg3200":1482,"alt":420,"title":1470,"width":1483,"height":1484,"caption":420,"mobile":1485,"__typename":679},"7810","https://dev-admin.mennour.com/uploads/img/1-Lee-Ufan-Photos.-archives-kamel-mennour.jpg","m+K_5u~qxuRjj@ofWBfQRjM{RjofRjj[ofayRjRjj[j[WBayoej[","https://dev-admin.mennour.com/uploads/img/_jpg800/1-Lee-Ufan-Photos.-archives-kamel-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/1-Lee-Ufan-Photos.-archives-kamel-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/1-Lee-Ufan-Photos.-archives-kamel-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/1-Lee-Ufan-Photos.-archives-kamel-mennour.jpg",3744,5616,[],[],{"url":1488,"slug":1489,"title":1490,"firstName":1491,"lastName":1492,"customFullName":420,"tagline":1493,"coverImage":1494,"artistCategory":1507,"type":686},"https://www.mennour.com/artist/matthew-lutz-kinoy","matthew-lutz-kinoy","Matthew Lutz-Kinoy","Matthew","Lutz-Kinoy","Born in 1984 in New York, United States\u003Cbr />\nLives and works in Paris, France",[1495],{"id":1496,"url":1497,"jpg16":1498,"jpg800":1499,"jpg1600":1500,"jpg2400":1501,"jpg3200":1502,"alt":420,"title":1503,"width":1504,"height":1505,"caption":420,"mobile":1506,"__typename":679},"8170","https://dev-admin.mennour.com/uploads/img/IMG_6521.jpg","fDMt2DwJ_N_NPC%g~q%gWVWZ?Hfk_NROM{x]-oR+t7E2xvnhM{xutmDiV?x]bctR","https://dev-admin.mennour.com/uploads/img/_jpg800/IMG_6521.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/IMG_6521.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/IMG_6521.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/IMG_6521.jpg","IMG 6521",1225,865,[],[],{"url":1509,"slug":1510,"title":1511,"firstName":420,"lastName":1511,"customFullName":420,"tagline":1512,"coverImage":1513,"artistCategory":1526,"type":686},"https://www.mennour.com/artist/the-estate-of-maryan","the-estate-of-maryan","Maryan","Born in 1927 in Nowy Sacz, Poland\u003Cbr />\nDied in 1977 in New York, United States",[1514],{"id":1515,"url":1516,"jpg16":1517,"jpg800":1518,"jpg1600":1519,"jpg2400":1520,"jpg3200":1521,"alt":420,"title":1522,"width":1523,"height":1524,"caption":420,"mobile":1525,"__typename":679},"7817","https://dev-admin.mennour.com/uploads/img/Maryan-in-his-New-York-Chelsea-Hotel-apartment-studio-1974.-Photo-courtesy-of-Susan-Wiley.jpg","fSF={%~qM{RjM{IUxuWBt7t7of%MWBRjoft7WBayWBWBofWBRjWBM{M{j[j[fQof","https://dev-admin.mennour.com/uploads/img/_jpg800/Maryan-in-his-New-York-Chelsea-Hotel-apartment-studio-1974.-Photo-courtesy-of-Susan-Wiley.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Maryan-in-his-New-York-Chelsea-Hotel-apartment-studio-1974.-Photo-courtesy-of-Susan-Wiley.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Maryan-in-his-New-York-Chelsea-Hotel-apartment-studio-1974.-Photo-courtesy-of-Susan-Wiley.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Maryan-in-his-New-York-Chelsea-Hotel-apartment-studio-1974.-Photo-courtesy-of-Susan-Wiley.jpg","The estate of maryan",1320,892,[],[1527],{"title":901,"slug":902,"type":684,"extra":732},{"url":1529,"slug":1530,"title":1531,"firstName":1532,"lastName":1533,"customFullName":420,"tagline":1534,"coverImage":1535,"artistCategory":1548,"type":686},"https://www.mennour.com/artist/pierre-molinier","pierre-molinier","Pierre Molinier","Pierre","Molinier","Born in Agen (France)\u003Cbr />\n1900 — 1976",[1536],{"id":1537,"url":1538,"jpg16":1539,"jpg800":1540,"jpg1600":1541,"jpg2400":1542,"jpg3200":1543,"alt":420,"title":1544,"width":1545,"height":1546,"caption":420,"mobile":1547,"__typename":679},"138528","https://dev-admin.mennour.com/uploads/img/Capture-d%E2%80%99%C3%A9cran-2024-11-21-%C3%A0-17.25.56.jpg","n89aBQj[_3j[~q?bofRjWBayD%ofayj[9Ft7ofj[t7M{%MofRjt7j[%MofWBj[ay","https://dev-admin.mennour.com/uploads/img/_jpg800/Capture-d’écran-2024-11-21-à-17.25.56.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Capture-d’écran-2024-11-21-à-17.25.56.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Capture-d’écran-2024-11-21-à-17.25.56.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Capture-d’écran-2024-11-21-à-17.25.56.jpg","Capture décran 2024 11 21 à 17 25 56",1240,1552,[],[1549],{"title":901,"slug":902,"type":684,"extra":732},{"url":1551,"slug":1552,"title":1553,"firstName":1554,"lastName":1555,"customFullName":420,"tagline":1556,"coverImage":1557,"artistCategory":1570,"type":686},"https://www.mennour.com/artist/francois-morellet","francois-morellet","François Morellet","François","Morellet","Born in 1916 in Cholet, France\u003Cbr />\nDied in 2016 in Cholet, France",[1558],{"id":1559,"url":1560,"jpg16":1561,"jpg800":1562,"jpg1600":1563,"jpg2400":1564,"jpg3200":1565,"alt":420,"title":1566,"width":1567,"height":1568,"caption":420,"mobile":1569,"__typename":679},"138510","https://dev-admin.mennour.com/uploads/img/Capture-d%E2%80%99%C3%A9cran-2024-11-21-%C3%A0-17.10.06.jpg","WcJ*uAIUxuWBRjay~qRjRjxuRjofxut7WBWBt7ofIURjxuM{ofj[","https://dev-admin.mennour.com/uploads/img/_jpg800/Capture-d’écran-2024-11-21-à-17.10.06.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Capture-d’écran-2024-11-21-à-17.10.06.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Capture-d’écran-2024-11-21-à-17.10.06.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Capture-d’écran-2024-11-21-à-17.10.06.jpg","Capture décran 2024 11 21 à 17 10 06",2364,1566,[],[1571],{"title":901,"slug":902,"type":684,"extra":732},{"url":1573,"slug":1574,"title":1575,"firstName":1576,"lastName":1577,"customFullName":420,"tagline":1578,"coverImage":1579,"artistCategory":1592,"type":686},"https://www.mennour.com/artist/louise-nevelson","louise-nevelson","Louise Nevelson","Louise","Nevelson","\u003Cp>Born in 1899 in Kiev.\u003Cbr />Died in 1988 in New York.\u003C/p>",[1580],{"id":1581,"url":1582,"jpg16":1583,"jpg800":1584,"jpg1600":1585,"jpg2400":1586,"jpg3200":1587,"alt":420,"title":1588,"width":1589,"height":1590,"caption":420,"mobile":1591,"__typename":679},"138644","https://dev-admin.mennour.com/uploads/img/Nevelson-C2-4a-1440px.jpg","n58qNg9F00?bM{00-;_3M{%M_3Rjt7D%D%9Ft7j[xuWB~qIUD%%M-;4n%MxuM{M{","https://dev-admin.mennour.com/uploads/img/_jpg800/Nevelson-C2-4a-1440px.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Nevelson-C2-4a-1440px.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Nevelson-C2-4a-1440px.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Nevelson-C2-4a-1440px.jpg","Nevelson C2 4a 1440px",972,1440,[],[1593],{"title":682,"slug":683,"type":684,"extra":685},{"url":1595,"slug":1596,"title":1597,"firstName":1598,"lastName":1599,"customFullName":420,"tagline":1600,"coverImage":1601,"artistCategory":1615,"type":686},"https://www.mennour.com/artist/christodoulos-panayiotou","christodoulos-panayiotou","Christodoulos Panayiotou","Christodoulos","Panayiotou","Born in 1978 in Limassol, Cyprus\u003Cbr />\nLives and works between Limassol and Paris",[1602],{"id":1603,"url":1604,"jpg16":1605,"jpg800":1606,"jpg1600":1607,"jpg2400":1608,"jpg3200":1609,"alt":420,"title":1610,"width":1611,"height":1612,"caption":1613,"mobile":1614,"__typename":679},"7983","https://dev-admin.mennour.com/uploads/img/Portrait-Christodoulos-Panayiotou-by-Nikita-Shubnyi.jpg","nROgB0WB.8%MD%_3j[kDofV@M{kCM{WBt7~qofMxWBt7IofQjsj[j[oMWBt7ofaz","https://dev-admin.mennour.com/uploads/img/_jpg800/Portrait-Christodoulos-Panayiotou-by-Nikita-Shubnyi.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Portrait-Christodoulos-Panayiotou-by-Nikita-Shubnyi.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Portrait-Christodoulos-Panayiotou-by-Nikita-Shubnyi.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Portrait-Christodoulos-Panayiotou-by-Nikita-Shubnyi.jpg","Portrait Christodoulos Panayiotou by Nikita Shubnyi",4784,6378,"Photo: Nikita Shubnyi",[],[],{"url":1617,"slug":1618,"title":1619,"firstName":1620,"lastName":1621,"customFullName":420,"tagline":1622,"coverImage":1623,"artistCategory":1636,"type":686},"https://www.mennour.com/artist/gina-pane","gina-pane","Gina Pane","Gina","Pane","Born in 1939 in Biarritz, France\u003Cbr />\nDied in 1990 in Paris, France",[1624],{"id":1625,"url":1626,"jpg16":1627,"jpg800":1628,"jpg1600":1629,"jpg2400":1630,"jpg3200":1631,"alt":420,"title":1632,"width":1633,"height":1634,"caption":420,"mobile":1635,"__typename":679},"138502","https://dev-admin.mennour.com/uploads/img/Capture-d%E2%80%99%C3%A9cran-2024-11-21-%C3%A0-17.15.27.jpg","WXK1%fj[9FM{t7%M%MWBj[ofWBWB~qWBt7xuRjM{9Fj[WBWBt7of","https://dev-admin.mennour.com/uploads/img/_jpg800/Capture-d’écran-2024-11-21-à-17.15.27.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Capture-d’écran-2024-11-21-à-17.15.27.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Capture-d’écran-2024-11-21-à-17.15.27.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Capture-d’écran-2024-11-21-à-17.15.27.jpg","Capture décran 2024 11 21 à 17 15 27",2740,1806,[],[1637],{"title":901,"slug":902,"type":684,"extra":732},{"url":1639,"slug":1640,"title":1641,"firstName":1642,"lastName":1643,"customFullName":420,"tagline":1644,"coverImage":1645,"artistCategory":1658,"type":686},"https://www.mennour.com/artist/philippe-parreno","philippe-parreno","Philippe Parreno","Philippe","Parreno","Born in 1964 in Oran, Algeria\u003Cbr />\nLives and works in Paris, France",[1646],{"id":1647,"url":1648,"jpg16":1649,"jpg800":1650,"jpg1600":1651,"jpg2400":1652,"jpg3200":1653,"alt":420,"title":1654,"width":1655,"height":1656,"caption":420,"mobile":1657,"__typename":679},"7830","https://dev-admin.mennour.com/uploads/img/PhilippeParreno2014PhotoCreditAndreaRossetti-imagemaitre.jpg","mMD0Z3^-.QMzbWM|X4V]4UD$IBtQaxayf6j[x]%M%Mt7Rkf$n*j[","https://dev-admin.mennour.com/uploads/img/_jpg800/PhilippeParreno2014PhotoCreditAndreaRossetti-imagemaitre.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/PhilippeParreno2014PhotoCreditAndreaRossetti-imagemaitre.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/PhilippeParreno2014PhotoCreditAndreaRossetti-imagemaitre.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/PhilippeParreno2014PhotoCreditAndreaRossetti-imagemaitre.jpg","Philippe parreno",1872,2808,[],[],{"url":1660,"slug":1661,"title":1662,"firstName":1663,"lastName":1664,"customFullName":420,"tagline":1665,"coverImage":1666,"artistCategory":1677,"type":686},"https://www.mennour.com/artist/adam-pendleton","adam-pendleton","Adam Pendleton","Adam","Pendleton","\u003Cp>Born in 1984 in Richmond, United States\u003Cbr />Lives and works in New York\u003C/p>",[1667],{"id":1668,"url":1669,"jpg16":1670,"jpg800":1671,"jpg1600":1672,"jpg2400":1673,"jpg3200":1674,"alt":420,"title":1675,"width":1023,"height":750,"caption":420,"mobile":1676,"__typename":679},"303282","https://dev-admin.mennour.com/uploads/img/Pendleton_010824_0021_Matthew-Septimus.jpg","WOKdlBIA_4-;IAt7.9MxM{ofRiof-pWVW9RjRjWBE2%MWBoftQj[","https://dev-admin.mennour.com/uploads/img/_jpg800/Pendleton_010824_0021_Matthew-Septimus.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Pendleton_010824_0021_Matthew-Septimus.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Pendleton_010824_0021_Matthew-Septimus.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Pendleton_010824_0021_Matthew-Septimus.jpg","Pendleton 010824 0021 Matthew Septimus",[],[],{"url":1679,"slug":1680,"title":1681,"firstName":1682,"lastName":1683,"customFullName":420,"tagline":1684,"coverImage":1685,"artistCategory":1698,"type":686},"https://www.mennour.com/artist/judit-reigl","judit-reigl","Judit Reigl","Judit","Reigl","Born in 1923 in Kapuvár, Hungary\u003Cbr />\nDied in 2020 in Marcoussis, France",[1686],{"id":1687,"url":1688,"jpg16":1689,"jpg800":1690,"jpg1600":1691,"jpg2400":1692,"jpg3200":1693,"alt":420,"title":1694,"width":1695,"height":1696,"caption":420,"mobile":1697,"__typename":679},"138488","https://dev-admin.mennour.com/uploads/img/Capture-d%E2%80%99%C3%A9cran-2024-11-21-%C3%A0-17.16.21.jpg","oHH.Qb~q~qxu_3t7_3D%D%IU4nIU9FxuIUxuM{%Mt7t7M{Rj-;xuIUWBt7t7ofM{RjRjWBWBRjRj","https://dev-admin.mennour.com/uploads/img/_jpg800/Capture-d’écran-2024-11-21-à-17.16.21.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Capture-d’écran-2024-11-21-à-17.16.21.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Capture-d’écran-2024-11-21-à-17.16.21.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Capture-d’écran-2024-11-21-à-17.16.21.jpg","Capture décran 2024 11 21 à 17 16 21",1554,1784,[],[1699],{"title":901,"slug":902,"type":684,"extra":732},{"url":1701,"slug":1702,"title":1703,"firstName":1704,"lastName":1705,"customFullName":420,"tagline":1706,"coverImage":1707,"artistCategory":1719,"type":686},"https://www.mennour.com/artist/robin-rhode","robin-rhode","Robin Rhode","Robin","Rhode","Born in 1976 in Cape Town\u003Cbr />\nLives and works in Berlin, Germany",[1708],{"id":1709,"url":1710,"jpg16":1711,"jpg800":1712,"jpg1600":1713,"jpg2400":1714,"jpg3200":1715,"alt":420,"title":1703,"width":1716,"height":1717,"caption":420,"mobile":1718,"__typename":679},"7834","https://dev-admin.mennour.com/uploads/img/4N2A9827.JPG","nqK1XZoz-;oKM_~URjR%j[og-:xvRkaeaeofn$V[j[kCRkWBf6oft7WVWrWVayf5","https://dev-admin.mennour.com/uploads/img/_jpg800/7834/4N2A9827.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/7834/4N2A9827.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/7834/4N2A9827.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/7834/4N2A9827.jpg",1969,2953,[],[],{"url":1721,"slug":1722,"title":1723,"firstName":1724,"lastName":1725,"customFullName":420,"tagline":1726,"coverImage":1727,"artistCategory":1740,"type":686},"https://www.mennour.com/artist/ugo-rondinone","ugo-rondinone","Ugo Rondinone","Ugo","Rondinone","Born in 1964 in Brunnen, Switzerland\u003Cbr />\nLives and works in New York, United States",[1728],{"id":1729,"url":1730,"jpg16":1731,"jpg800":1732,"jpg1600":1733,"jpg2400":1734,"jpg3200":1735,"alt":420,"title":1736,"width":1737,"height":1738,"caption":420,"mobile":1739,"__typename":679},"289878","https://dev-admin.mennour.com/uploads/img/DSC7644.jpg","WoL}82NaRj$+t8%2_3ofRjofofkC_4xGj[bvjXX8V@ogoff6R*ae","https://dev-admin.mennour.com/uploads/img/_jpg800/DSC7644.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/DSC7644.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/DSC7644.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/DSC7644.jpg","DSC7644",7907,5271,[],[],{"url":1742,"slug":1743,"title":1744,"firstName":1745,"lastName":1746,"customFullName":420,"tagline":1747,"coverImage":1748,"artistCategory":1761,"type":686},"https://www.mennour.com/artist/zineb-sedira","zineb-sedira","Zineb Sedira","Zineb","Sedira","Born in 1963 in Paris, France\u003Cbr />\nLives in London and works between Algeria, Paris and London",[1749],{"id":1750,"url":1751,"jpg16":1752,"jpg800":1753,"jpg1600":1754,"jpg2400":1755,"jpg3200":1756,"alt":420,"title":1757,"width":1758,"height":1759,"caption":420,"mobile":1760,"__typename":679},"7840","https://dev-admin.mennour.com/uploads/img/Zineb-Sedira-portrait-Thierry-Bal-1.jpeg","nICG6[RQZ*s+Tc~BI:kUsSRn-VkVt6aeM|t7xtxFoMaeXks.VtkDoxR7xao{WYRQ","https://dev-admin.mennour.com/uploads/img/_jpg800/7840/Zineb-Sedira-portrait-Thierry-Bal-1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/7840/Zineb-Sedira-portrait-Thierry-Bal-1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/7840/Zineb-Sedira-portrait-Thierry-Bal-1.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/7840/Zineb-Sedira-portrait-Thierry-Bal-1.jpg","Zineb sedira",4600,6596,[],[],{"url":1763,"slug":1764,"title":1765,"firstName":1766,"lastName":1767,"customFullName":420,"tagline":1768,"coverImage":1769,"artistCategory":1782,"type":686},"https://www.mennour.com/artist/mircea-suciu","mircea-suciu","Mircea Suciu","Mircea","Suciu","Born in 1978 in Baia Mare, Roumanie\u003Cbr />\nLives and works in Cluj-Napoca, Roumanie",[1770],{"id":1771,"url":1772,"jpg16":1773,"jpg800":1774,"jpg1600":1775,"jpg2400":1776,"jpg3200":1777,"alt":420,"title":1778,"width":1779,"height":1780,"caption":420,"mobile":1781,"__typename":679},"7843","https://dev-admin.mennour.com/uploads/img/OA5A4673.jpg","oIEVpVHr.mkqWB%g-DMJXmtRRPkq~CMxo}tQWBbaOZM{xvoLofj[S~SgVsV@bGoMO@R+xaRjWBs:","https://dev-admin.mennour.com/uploads/img/_jpg800/OA5A4673.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/OA5A4673.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/OA5A4673.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/OA5A4673.jpg","Mircea suciu",1378,1539,[],[],{"url":1784,"slug":1785,"title":1786,"firstName":1787,"lastName":1788,"customFullName":420,"tagline":420,"coverImage":1789,"artistCategory":1802,"type":686},"https://www.mennour.com/artist/álvaro-urbano","álvaro-urbano","Álvaro Urbano","Álvaro","Urbano",[1790],{"id":1791,"url":1792,"jpg16":1793,"jpg800":1794,"jpg1600":1795,"jpg2400":1796,"jpg3200":1797,"alt":420,"title":1798,"width":1799,"height":1800,"caption":420,"mobile":1801,"__typename":679},"272542","https://dev-admin.mennour.com/uploads/img/40dd8a74a2e1412e0c76eabe6b90feb8.jpg","nCIOCD?G01%LVD0hS%tmt6xa4TM_~Vs:tRL4-;McM|XT^%RPsVR-4.IWoLV@M|t7","https://dev-admin.mennour.com/uploads/img/_jpg800/40dd8a74a2e1412e0c76eabe6b90feb8.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/40dd8a74a2e1412e0c76eabe6b90feb8.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/40dd8a74a2e1412e0c76eabe6b90feb8.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/40dd8a74a2e1412e0c76eabe6b90feb8.jpg","40dd8a74a2e1412e0c76eabe6b90feb8",964,1301,[],[1803],{"title":682,"slug":683,"type":684,"extra":685},{"url":1805,"slug":1806,"title":1807,"firstName":1808,"lastName":1809,"customFullName":420,"tagline":1810,"coverImage":1811,"artistCategory":1824,"type":686},"https://www.mennour.com/artist/zao-wou-ki","zao-wou-ki","Zao Wou-Ki","Zao","Wou-Ki","Born in 1920 in Beijing, China.\u003Cbr />\nPrimarily lived and worked in Paris from 1948 until his passing in Nyon, Switzerland in 2013.",[1812],{"id":1813,"url":1814,"jpg16":1815,"jpg800":1816,"jpg1600":1817,"jpg2400":1818,"jpg3200":1819,"alt":420,"title":1820,"width":1821,"height":1822,"caption":420,"mobile":1823,"__typename":679},"140217","https://dev-admin.mennour.com/uploads/img/1973.-Atelier.-Photo-Mohror_2024-12-04-162356_arsd.jpeg","neL;?Q?b?bxaIU~qRj%MxuRjt7IURjayt7%Mt7Rjj[j[xuozRjofj[oLayWBWBV@","https://dev-admin.mennour.com/uploads/img/_jpg800/140217/1973.-Atelier.-Photo-Mohror_2024-12-04-162356_arsd.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/140217/1973.-Atelier.-Photo-Mohror_2024-12-04-162356_arsd.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/140217/1973.-Atelier.-Photo-Mohror_2024-12-04-162356_arsd.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/140217/1973.-Atelier.-Photo-Mohror_2024-12-04-162356_arsd.jpg","1973 Atelier Photo Mohror",891,1280,[],[1825],{"title":682,"slug":683,"type":684,"extra":685},{"url":1827,"slug":1828,"title":1829,"firstName":1830,"lastName":1831,"customFullName":420,"tagline":1832,"coverImage":1833,"artistCategory":1846,"type":686},"https://www.mennour.com/artist/shen-yuan","shen-yuan","Shen Yuan","Shen","Yuan","Born in 1959 in Xianyou, China\u003Cbr />\nLives and works in Paris, France",[1834],{"id":1835,"url":1836,"jpg16":1837,"jpg800":1838,"jpg1600":1839,"jpg2400":1840,"jpg3200":1841,"alt":420,"title":1842,"width":1843,"height":1844,"caption":420,"mobile":1845,"__typename":679},"8095","https://dev-admin.mennour.com/uploads/img/4S9A6733.jpg","WKOgE3%gt7RiD%Rj_NRjaxt7s:ofIoa#IUWCxbxuDiozt7aekCRk","https://dev-admin.mennour.com/uploads/img/_jpg800/4S9A6733.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/4S9A6733.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/4S9A6733.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/4S9A6733.jpg","Portrait Musée 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Mennour","",[],{"twitter":1870,"facebook":1871},{"title":1866,"description":1867,"image":420},{"title":1866,"description":1867,"image":420},{"robots":1873,"canonical":420},[],[1875],{"locale":1876,"slug":220,"ancestors":1877},"fr",[1878],{"locale":1876,"slug":194},"archivePage_Entry",[],{"entries":1882,"entryCount":1894,"data":-1,"errors":1895},[1883,1887,1891],{"id":1884,"slug":461,"title":172,"type":1885,"__typename":1886},"6471","exhibitionCategory","defaultCategory_Entry",{"id":1888,"slug":1889,"title":1890,"type":1885,"__typename":1886},"6473","offsite","Offsite Exhibition",{"id":1892,"slug":528,"title":1893,"type":1885,"__typename":1886},"6478","Gallery Exhibition",3,[],{"entries":1897,"entryCount":3146,"data":-1,"errors":3147},[1898,1942,1988,2034,2079,2113,2146,2178,2223,2255,2288,2322,2355,2389,2420,2453,2487,2520,2553,2586,2619,2652,2687,2721,2755,2788,2822,2855,2888,2919,2953,2983,3015,3049,3083,3115],{"id":1899,"slug":1900,"title":1901,"customTitle":1901,"defaultTitle":1901,"overrideHeading":420,"url":1902,"tagline":420,"thumbImage":1903,"locations":1916,"category":1935,"description":1937,"startDate":1938,"endDate":1939,"type":236,"showForm":732,"form":1940,"__typename":1941},"114580","spring-and-fall","Spring and Fall","https://www.mennour.com/exhibition/spring-and-fall",[1904],{"id":1905,"url":1906,"jpg16":1907,"jpg800":1908,"jpg1600":1909,"jpg2400":1910,"jpg3200":1911,"alt":420,"title":1912,"width":1913,"height":1914,"caption":420,"mobile":1915,"__typename":679},"38351","https://dev-admin.mennour.com/uploads/img/spring-and-fall.jpg","fTIE^W_NxvM{s:M{_3M{RiWBazRjIUIAV@xuWBt7%MM{ayofofxukDV@WBRjRjay","https://dev-admin.mennour.com/uploads/img/_jpg800/spring-and-fall.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/spring-and-fall.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/spring-and-fall.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/spring-and-fall.jpg","Spring and fall",1825,1368,[],[1917],{"title":1918,"slug":1919,"url":1920,"type":1921,"getDataFromGooglePlaceAPI":732,"googlePlaceAPI":420,"thumbImage":1922,"city":1923,"mapLocation":1927},"Mennour, 51 Brook Street, London","mennour-51-brooke-street-london","https://www.mennour.com/location/mennour-51-brooke-street-london","location",[],[1924],{"title":1925,"slug":1926},"London","london",{"parts":1928},{"number":1929,"address":1930,"city":1925,"postcode":1931,"county":1932,"country":1933,"state":1934},"51","Brook Street","W1K 4HP","Greater London","Royaume-Uni","England",[1936],{"title":1893,"slug":528,"type":1885},"Giant bronze bells lie shattered across the floor. On the wall hang large canvases blackened in ink, the sediment of their childish colours appearing in naïve graffiti. For the inauguration of his new London space during Frieze, Kamel Mennour is pleased to present a series of new works by Latifa Echakhch. The French-Moroccan artist brings together the eddies of world history with the gestures of childhood. From the encounter, she redraws unknown contours: ‘Elsewhere... I want to live in this place where the gap between the functionality of a time, a thing, and where they have gone opens up infinite potentialities. Ruins speak to me. Not because they have gone under, but because of the paths they initiate.’\nThe bells have smashed to pieces in a final peal, deafening though forever lacking. Their silence reverberates through future time. A time when a chorus of voices will lift up from the monumental debris to ‘free the heavens’1. One can hear the voice of Zarathustra: ‘Free from the happiness of serfs, redeemed from gods and worship, fearless and fearful, great and solitary, that is how the will of the genuine man is.’2 The voice of the French Revolution and the fledgling Republic’s laws for desacralising the soundscape are evoked3. One hears, vibrating, the Romantic palpitations of hearts’ osmosis... An inaugural season, like childhood is.\nTime’s lines transcribe strata of memory and forgetting in black ink. But behind appearances, nothing is effaced. The scribbles and joys of childhood are ready to break through the surface of the present. Latifa Echakhch has their ample movements appear intermittently in colourful crayon lines, the containers of our first, singular and universal emotions. Walter Benjamin once wrote: ‘the child’s apprehension of colour brings the sense of sight to its highest artistic development [...] insofar as it isolates that sense. It elevates this development to a spiritual level.’4\nAt once above and below boundaries and forms, Latifa Echakhch performs gestures of flight, even as places in which to stand firm. Paul Celan would leave the mark of his own thunderbolt there:\n'From the visible, from the audible, the turning\nfree wordtent:\nTogether' 5\nAnnabelle Gugnon\n\nBorn in 1974 in El Khnansa, Morocco, Latifa Echakhch lives and works in Fully (Switzerland).\nHer work has been shown in France as well as abroad, in numerous solo exhibitions: at the Museum Haus Konstruktiv, in Zürich, the Centre Pompidou, the macLYON, the Hammer Museum in Los Angeles, the Kunstmuseum Liechtenstein in Vaduz, the Columbus Museum of Art (Ohio), Portikus in Frankfurt am Main, the Kunsthaus in Zürich, at the Museum Haus Esters in Krefeld, the MACBA in Barcelona, FRI ART in Fribourg, the GAMeC in Bergamo, the Kunsthalle Basel, the Bielefelder Kunstverein, the Fridericianum in Kassel, the Frac Champagne Ardenne in Reims, the Swiss Institute in New York, the Tate Modern in London and the Magasin - Centre in Grenoble; also in group shows: the MoMA PS1 in New York, the Palais de Tokyo and the Musée d'art moderne de la Ville de Paris, the Frac Nord-Pas de Calais in Dunkerque, the Centre d'art contemporain La Synagogue de Delme, the Centre d’Art Contemporain Genève, as part of the 11 Sharjah Biennial, the Aargauer Kunsthauss in Aarau, the Signal - Center for Contemporary Art in Malmö, the Den Frie Center of Contemporary Art of Copenhagen, the Kunsthalle Basel, as part of the 54th Venice Biennale, the Fundació Joan Miró in Barcelona, the Contemporary Arts Museum in Houston, at the GAM – Civic Gallery of Modern and Contemporary Art – in Turin, the Beirut Art Center, the CAC in Vilnius, as part of the Jerusalem Biennale ArtFocus and Manifesta 7 in Bolzano, at the Museum Anna Nordlander in Skellefteå, at the Studio Museum in Harlem, New York and at the Museum of Contemporary Art Chicago.\n\nWinner of the 2013 Marcel Duchamp Prize and of the 2015 Zurich Art Price, Latifa Echakhch will present a solo exhibition at The Power Plant, in Toronto, from October 15th, 2016 to January 2nd, 2017.","2016-10-04T22:00:00+00:00","2016-11-12T17:10:00+00:00",[],"defaultExhibition_Entry",{"id":1943,"slug":1944,"title":1945,"customTitle":1744,"defaultTitle":1946,"overrideHeading":420,"url":1947,"tagline":420,"thumbImage":1948,"locations":1961,"category":1982,"description":1984,"startDate":1985,"endDate":1986,"type":236,"showForm":732,"form":1987,"__typename":1941},"114599","l-ecriture-des-lignes","Zineb Sedira - L'écriture des lignes","L'écriture des lignes","https://www.mennour.com/exhibition/l-ecriture-des-lignes",[1949],{"id":1950,"url":1951,"jpg16":1952,"jpg800":1953,"jpg1600":1954,"jpg2400":1955,"jpg3200":1956,"alt":420,"title":1957,"width":1958,"height":1959,"caption":420,"mobile":1960,"__typename":679},"38369","https://dev-admin.mennour.com/uploads/img/l-ecriture-des-lignes.jpg","WxOWpYogxujsxuoyx]kCayjtaej[~qoLRPofRjjtnhaxflj[ogf6","https://dev-admin.mennour.com/uploads/img/_jpg800/l-ecriture-des-lignes.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/l-ecriture-des-lignes.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/l-ecriture-des-lignes.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/l-ecriture-des-lignes.jpg","L ecriture des lignes",5665,3776,[],[1962],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":1966,"city":1978,"mapLocation":1980},"Mennour, 47 rue Saint-André-des-Arts","mennour-47-rue-saint-andré-des-arts","{\n \"html_attributions\" : [],\n \"result\" : \n {\n \"current_opening_hours\" : \n {\n \"open_now\" : true,\n \"periods\" : \n [\n {\n \"close\" : \n {\n \"date\" : \"2025-03-18\",\n \"day\" : 2,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-03-18\",\n \"day\" : 2,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2025-03-19\",\n \"day\" : 3,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-03-19\",\n \"day\" : 3,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2025-03-13\",\n \"day\" : 4,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-03-13\",\n \"day\" : 4,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2025-03-14\",\n \"day\" : 5,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-03-14\",\n \"day\" : 5,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2025-03-15\",\n \"day\" : 6,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-03-15\",\n \"day\" : 6,\n \"time\" : \"1100\"\n }\n }\n ],\n \"weekday_text\" : \n [\n \"Monday: Closed\",\n \"Tuesday: 11:00 AM – 7:00 PM\",\n \"Wednesday: 11:00 AM – 7:00 PM\",\n \"Thursday: 11:00 AM – 7:00 PM\",\n \"Friday: 11:00 AM – 7:00 PM\",\n \"Saturday: 11:00 AM – 7:00 PM\",\n \"Sunday: Closed\"\n ]\n }\n },\n \"status\" : \"OK\"\n}",[1967],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":1977,"__typename":679},"136113","https://dev-admin.mennour.com/uploads/img/1-2017-fa%C3%A7ade-47-rue-saint-andre-des-arts-Photo.-archives-kamel-mennour.jpg","obHx]IIpxUaeWYWA%%%NM_oeWERjNNt8acWBj]Rjx^xuV@WBWCf5bdxuRjayayWCtRWBofofWBj[","https://dev-admin.mennour.com/uploads/img/_jpg800/1-2017-façade-47-rue-saint-andre-des-arts-Photo.-archives-kamel-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/1-2017-façade-47-rue-saint-andre-des-arts-Photo.-archives-kamel-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/1-2017-façade-47-rue-saint-andre-des-arts-Photo.-archives-kamel-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/1-2017-façade-47-rue-saint-andre-des-arts-Photo.-archives-kamel-mennour.jpg","1 2017 façade 47 rue saint andre des arts Photo archives kamel mennour",3082,[],[1979],{"title":350,"slug":351},{"parts":1981},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[1983],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present ‘L’Écriture des lignes’, Zineb Sedira’s fifth solo exhibition at the gallery.\nEarth is Zineb Sedira’s main subject: earth as territory, as habitat, as a part of the world. This is where she looks for inspiration to help her understand the relationship between humans and their environment. For this exhibition she has been considering the place of the individual in the midst of the world by interrogating the meaning of an individual’s practices, inviting us to reconsider, in Heideggerian terms, our ‘being-in-theworld’.\nThis reflection/proposition echoes a growing interest among historians, anthropologists, geographers,and archaeologists in the means of translating the relationship that this or that society, or fragment of a society, has to the world, nature, its environment, and consequently to its time, past, and history. From this comes the question of how to consider the systems of representation that flow from this relationship. Is it possible to think of territories that are not landscapes, landscapes that do not constitute territories1?\nThe current exhibition explores this dialectic by interrogating the way in which a society can materialise its territories. For this, Sedira looks at two societies and the relationships they have to their surrounding worlds: Lapland and Algeria. In Lapland, on the banks of the Tornio River, the artist has translated into images the wild, white power of these territories haunted by myths and fables. In Algeria, in the intimacy of family holdings, she evokes beneath the peaceful surface of the photographed landscapes the ambiguity inherent in the way representation revolves between ‘interiority’ and ‘physicality’2.\n\n‘Hic sunt leones’—‘Here live lions’—wrote the Ancient Romans on the unexplored regions of their\nplanispheres. What should one inscribe on the maps of the distant, icy territories of Lapland? The territories of Lapland have preserved an air of terra incognita. More explored than conquered, the harshness of the climate has to a large extent guaranteed their preservation. Today they constitute one of the last large stretches of wilderness in Europe, traversed by the long Tornio River. This river, this interior line cutting across Lapland and separating Sweden from Finland, is a line of water 730 kilometres long that disappears under ice in the winter.\n\nAs she listens to these mysteries and frozen immensities, Zineb Sedira is attempting to discover the echoes of this world, the mute beauties of these landscapes. She offers up petrifying dreams. She gives birth to fugitive images of frozen, clear, brilliant waters, but also dark depths where fantasies and imaginary projections lurk.\nTo get there, she uses points of view situated at different levels, from the microscopic to the macroscopic,taking into account all the wealth of these hidden spaces. With these images Zineb Sedira appears to create a correspondence with the heavens. Certain details are like stars generating new constellations. A feeling of cosmic totality emanates from this deep background she has exposed, and as a result these forms—these frozen solitudes—encourage us to reconsider the balance between the heavens and the earth, water and sky, earth and water, earth and individual. By way of their poetics they become so many discoveries of the world and of the self. From out of this rich and varied experience Zineb Sedira suggests a relationship that would be in symbiosis with the world, a symbiosis that involves neither fusion nor disappearance. Instead, it is a question of finding resources in the world for rethinking our relationship with nature, a relationship in which we would be neither separated nor united with it, but taking care of it.\n\nWith this work, Sedira is asking herself about the whole of our existence. For her it is not a question of demarcating a border between humans and their environment. The two are inextricably interwoven. Accordingly, she highlights the diversity and the subjectivity of the different gazes brought to bear on the representation and the experience of a territory. Blind to both the infinitely large and the infinitely small, the perception of the world she describes takes place on the group and individual level. What stakes, what constraints, what limits are involved in the representation of a territory or a property? How does one outline the geographical form of the land? Faced with such questions, Zineb Sedira becomes aware of the fragility of her representations, together with the fear of losing her father, witness to a cultural and oral heritage on the point of disappearing. With this instance of her father in Algeria in mind, she has looked at how to translate the role of such a memory, at once individual and collective, alive in the lineaments of a territory.\nFilming her father walking over his property, Zineb Sedira questions as she goes a territory’s different forms of representation. Is it legitimate to want to define the limits of a territory, or does this amount to removing them from the only domain where they can become fulfilled: the interiority of the one who expresses them, in this case her father? And if this is the case, how, in a respectful way, to map the notion of territory?\n\nEvery effort of spatialisation is, for her father, at once mental and physical. Walking, her father traces out his land both mentally and physically. Experience plays a fundamental role in the tracing of a territory. Zineb Sedira plays with this divide between ‘interiority’—the mental apprehension of the world—and ‘physicality’—the physical materialisation of a territory. Is not the notion of territory inseparable from the experience of the body? The two heterogeneous notions of body and territory seem here, in the experience of her father, consubstantial with the representation of land. A perception of territory at once precise and hazy emanates from such a standpoint. In the space of the exhibition this neither picturesque nor sublime landscape, as it\nappears in both photographs and films, finds itself face to face with the typology deployed by geographers and urban planners, which fixes the limits and contours of a territory following precise geometric forms. In this way Sedira displaces the divisions between societies, between cultures, between regions of the world.\nHers is an attempt to understand the thought proper to each of them, to understand it without adopting it. From one land to another, from one world to another, she stops explaining so that she can listen. She places the earth itself in a subject position, risking a reconsideration of its forms and limits, evoking, in this very risk, the different ways a being can consider her environment.\n\nMouna Mekouar\n-\n1. Jean-François Chevrier, Des Territoires et les Relations au Corps, Paris, l’Arachnéen, 2010.\n2. See Philippe Descola, Par-delà nature et culture, Paris, Gallimard, 2005.","2016-09-03T15:50:00+00:00","2016-10-08T15:50:00+00:00",[],{"id":1989,"slug":1990,"title":1991,"customTitle":1303,"defaultTitle":1303,"overrideHeading":420,"url":1992,"tagline":420,"thumbImage":1993,"locations":2006,"category":2028,"description":2030,"startDate":2031,"endDate":2032,"type":236,"showForm":732,"form":2033,"__typename":1941},"114609","ann-veronica-janssens-2016","Ann Veronica Janssens - Ann Veronica Janssens","https://www.mennour.com/exhibition/ann-veronica-janssens-2016",[1994],{"id":1995,"url":1996,"jpg16":1997,"jpg800":1998,"jpg1600":1999,"jpg2400":2000,"jpg3200":2001,"alt":420,"title":2002,"width":2003,"height":2004,"caption":420,"mobile":2005,"__typename":679},"38386","https://dev-admin.mennour.com/uploads/img/ann-veronica-janssens-2016.jpg","fMKxM8%24TNF-;%M~CbuR*Rjxut7MyjZShkCjFfPOrn+i_baR%WBrrSzW;jFj[fk","https://dev-admin.mennour.com/uploads/img/_jpg800/ann-veronica-janssens-2016.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/ann-veronica-janssens-2016.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/ann-veronica-janssens-2016.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/ann-veronica-janssens-2016.jpg","Ann veronica janssens 2016",1791,1325,[],[2007],{"title":2008,"slug":2009,"url":369,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2010,"thumbImage":2011,"city":2024,"mapLocation":2026},"Mennour, 6 Rue du Pont de Lodi","6-rue-du-pont-de-lodi","{\n \"html_attributions\" : [],\n \"result\" : \n {\n \"current_opening_hours\" : \n {\n \"open_now\" : true,\n \"periods\" : \n [\n {\n \"close\" : \n {\n \"date\" : \"2025-01-21\",\n \"day\" : 2,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-01-21\",\n \"day\" : 2,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2025-01-22\",\n \"day\" : 3,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-01-22\",\n \"day\" : 3,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2025-01-23\",\n \"day\" : 4,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-01-23\",\n \"day\" : 4,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2025-01-24\",\n \"day\" : 5,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-01-24\",\n \"day\" : 5,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2025-01-25\",\n \"day\" : 6,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-01-25\",\n \"day\" : 6,\n \"time\" : \"1100\"\n }\n }\n ],\n \"weekday_text\" : \n [\n \"Monday: Closed\",\n \"Tuesday: 11:00 AM – 7:00 PM\",\n \"Wednesday: 11:00 AM – 7:00 PM\",\n \"Thursday: 11:00 AM – 7:00 PM\",\n \"Friday: 11:00 AM – 7:00 PM\",\n \"Saturday: 11:00 AM – 7:00 PM\",\n \"Sunday: Closed\"\n ]\n }\n },\n \"status\" : \"OK\"\n}",[2012],{"id":2013,"url":2014,"jpg16":2015,"jpg800":2016,"jpg1600":2017,"jpg2400":2018,"jpg3200":2019,"alt":420,"title":2020,"width":2021,"height":2022,"caption":420,"mobile":2023,"__typename":679},"11750","https://dev-admin.mennour.com/uploads/img/b0f4655169df8781be2724721e79b175.jpeg","fFJ8Fa9u~VI=4mW?00IUWBWCj?WC~W%M4ooJ%Mt68_RjxuWBWBM{?IR*x[WBt7Rj","https://dev-admin.mennour.com/uploads/img/_jpg800/11750/b0f4655169df8781be2724721e79b175.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/11750/b0f4655169df8781be2724721e79b175.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/11750/b0f4655169df8781be2724721e79b175.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/11750/b0f4655169df8781be2724721e79b175.jpg","B0f4655169df8781be2724721e79b175",4096,2731,[],[2025],{"title":350,"slug":351},{"parts":2027},{"number":374,"address":367,"city":350,"postcode":356,"county":357,"country":375,"state":359},[2029],{"title":1893,"slug":528,"type":1885},"Life is an experimental journey undertaken involuntarily. It is a journey of the spirit\nthrough the material world and, since it is the spirit that travels, it is in the spirit that\nis experienced. That is why there exist contemplative souls who have lived more\nintensely, more widely, more tumultuously than others who have lived their lives\npurely externally. The end result is what matters.\nWhat one felt was what one experienced.1\nFernando Pessoa\nConsciousness needs force, unity, and independence. The works of Ann\nVeronica Janssens elude this desire for mastery and invite each of us into the\ntroubled waters of psycho-sensorial journeys through space and light. After\nthe coloured, immersive mists of Fantazy in 2013, the galerie kamel mennour is\npleased to present Janssens’ second solo show. This time, a triptych of iridescent\nglass panes has been set against the walls of the gallery on the Rue du Pont\nde Lodi. They are entrances into a subtle world where diffractions, reflections,\nand iridescences stimulate the intimate, unconscious magma of our thoughts.\nThey trigger a series of sensations, colours, and perceptive associations like\nthose running to infinity over the circle of gilt brass lying on the floor (Sans titre,\n2013). The circle traces out a border that each of us is invited to illuminate in\nour innermost being (sacred-profane, in-play-out-of‑play, same-other…).\nFurther on in the second space, under glass, Ann Veronica Janssens has, with a\nswipe of her heel, dispersed a little heap of sequins into a glimmering, iridescent\nlake. The fragments flash out in myriad directions. Pégase produces an infinity\nof emotions, even inspirations, continuing to modify under the changing\naspect of the lights. Indeed Janssens’ dig of her heel frees up inspiration in\nthe same way the mythological winged horse gave birth to the spring of the\nnine muses with a blow of its hoof… And all the senses are solicited. A audio\nheadphone pair will let you hear the work Untitled (sons infinis) that Janssens\nmade in collaboration with Michel François in 2009: a hollow, multiplied\nsound, superimposed over a series of descending octaves. Hearing pulls the\nbody into an infinite falling motion. This auditory illusion produces a visceral\nsense of vertigo, like a labyrinth of temporal dissonance. Sound and light waves\nmix vibrations.\nAs is often the case with Janssens, the exhibition is created as the visitor walks\nthrough it. She introduces her space and exists according to each visitor’s\nexperimentation. She requires sight as much as the body. Janssens has put\nin place the conditions for a hypnotic moment. Not a spectacular lulling to\nsleep but a diffuse feeling, like the state between sleeping and waking, when\nthe familiar folds of the bedroom curtains take on strange and intriguing\nforms. She causes us to penetrate into the complex phenomenon of our\nperception, where sensation, memory, and fantasy combine to carve out new\nforms of existence and thought. Of course these will end up getting fixed.\nConsciousness, with its will to power, will endlessly redraw the boundaries,\nbuild up evidence, and mark out enclosures. But Jannsens’ works will always\ncome to fluidise these topographies of certitude, experimenting with the\npermeability of contexts, whether architectural, social, cultural, or political…\nThe world is not defined once and for all, for the real cannot be accessed\noutside of the dimension of fantasy, and hence the imaginary. Ann Veronica\nJanssens thinks sculpture as a place of perception. Consequently, the tools\nand the palette of her works are an evolving configuration: they depend on\nthe sensation, the experience, and the singularity of each viewer. Sculpture is\nnot the object of perception—it is perception that sculpts.\nWith this, Janssen extends Carl Andre’s founding gesture from 1967 when the\nAmerican minimalist created his radical work, 144 Pieces of Zinc, with the zinc\nsheets arranged on the floor in rows of twelve. With this piece, Andre posed\nthe principle of sculpture as situation, as a place from which to look at space\nand environment. He said himself that he had broadened the movement of\nConstantin Brancusi’s Colonne sans fin (1918-1938) by thinking it horizontally.\nNo longer directed towards the sky but rather placed on the earth. Ann\nVeronica Janssens has unfolded Andre’s initial opening by introducing the\nwork as the possibility of exploring oneself. Colour plays a primordial role here.\nPaul Cézanne’s experience is close by: ‘Colour is the place where our brain and\nthe universe meet’.2 The glass panes of CL2 Blue Shadow, CL2GN35 Orange,\nCL9GN35 Sunset Bright Green create a multitude of iridescent reflections\nthat shift with one’s point of view. They enliven perception with a palette of\nflamboyant colours. They are reflections from the first glimmers of the history\nof art when, on the cave walls, shadows danced until they became painted\nforms. They also mirror future horizons, where light, at once wave and particle,\ndematerialises reality, bringing about innumerable connections.\nIf light is essentially a spiritual element, Ann Veronica Janssens is not engaged\nin such a quest. Her explorations of the world are closer to those of the three\nprinces of the kingdom of Serendip.3 Like theirs, they are the fruit of a plurality\nof discoveries, all born from chance, whether this is in the artist’s studio or in\nthe world around her. The journey is unpredictable. You are required to get\nunderway to ‘awaken powers dormant in ordinary vision’.4 The world is there,\nAnn Veronica Janssens’ works invite us to discover it.\nAnnabelle Gugnon\n\n1. Fernando Pessoa, The Book of Disquiet, Trans. Margaret Jull Costa, Serpent’s Tail, 2010,\np. 74.\n2. Joaquim Gasquet, Cézanne, Encre Marine, 2002.\n3. Louis de Mailly, Les Aventures des trois princes de Serendip, Thierry Marchaisse, 2011.\n4. Maurice Merleau-Ponty, ‘Eye and Mind’ [L’OEil et l’Esprit], in The Primacy of Perception,\nEd. James M. Edie, Trans. Carleton Dallery, Northwestern University Press, 1964.","2016-09-03T14:45:00+00:00","2016-10-08T14:45:00+00:00",[],{"id":2035,"slug":2036,"title":2037,"customTitle":2038,"defaultTitle":2038,"overrideHeading":420,"url":2039,"tagline":420,"thumbImage":2040,"locations":2051,"category":2073,"description":2075,"startDate":2076,"endDate":2077,"type":236,"showForm":732,"form":2078,"__typename":1941},"114629","michel-francois-2","Michel François - Michel François","Michel François","https://www.mennour.com/exhibition/michel-francois-2",[2041],{"id":2042,"url":2043,"jpg16":2044,"jpg800":2045,"jpg1600":2046,"jpg2400":2047,"jpg3200":2048,"alt":420,"title":2049,"width":981,"height":982,"caption":420,"mobile":2050,"__typename":679},"38395","https://dev-admin.mennour.com/uploads/img/michel-francois-2.jpg","nOLNuqjZx]xuMx~q%Mj?RjV@tRt8WVt7of-;ozflofM{?boet8ofWB-;xuayRjjZ","https://dev-admin.mennour.com/uploads/img/_jpg800/michel-francois-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/michel-francois-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/michel-francois-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/michel-francois-2.jpg","Michel francois 2",[],[2052],{"title":2053,"slug":2054,"url":361,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2055,"thumbImage":2056,"city":2069,"mapLocation":2071},"Mennour, 5 rue du Pont de Lodi","mennour-5-rue-du-pont-de-lodi","{\n \"html_attributions\" : [],\n \"result\" : \n {\n \"current_opening_hours\" : \n {\n \"open_now\" : true,\n \"periods\" : \n [\n {\n \"close\" : \n {\n \"date\" : \"2024-12-17\",\n \"day\" : 2,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2024-12-17\",\n \"day\" : 2,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2024-12-18\",\n \"day\" : 3,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2024-12-18\",\n \"day\" : 3,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2024-12-19\",\n \"day\" : 4,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2024-12-19\",\n \"day\" : 4,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2024-12-13\",\n \"day\" : 5,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2024-12-13\",\n \"day\" : 5,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2024-12-14\",\n \"day\" : 6,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2024-12-14\",\n \"day\" : 6,\n \"time\" : \"1100\"\n }\n }\n ],\n \"weekday_text\" : \n [\n \"Monday: Closed\",\n \"Tuesday: 11:00 AM – 7:00 PM\",\n \"Wednesday: 11:00 AM – 7:00 PM\",\n \"Thursday: 11:00 AM – 7:00 PM\",\n \"Friday: 11:00 AM – 7:00 PM\",\n \"Saturday: 11:00 AM – 7:00 PM\",\n \"Sunday: Closed\"\n ]\n }\n },\n \"status\" : \"OK\"\n}",[2057],{"id":2058,"url":2059,"jpg16":2060,"jpg800":2061,"jpg1600":2062,"jpg2400":2063,"jpg3200":2064,"alt":420,"title":2065,"width":2066,"height":2067,"caption":420,"mobile":2068,"__typename":679},"136116","https://dev-admin.mennour.com/uploads/img/2-Fa%C3%A7ade-PDL-5-Photo.-Archives-mennour.jpg","f9IhT,?Hxu%MRjx[00xut7WXj[j[~XtRRQt7WBoe00V@t7Rjj@R*buWBxuR*t7R*","https://dev-admin.mennour.com/uploads/img/_jpg800/2-Façade-PDL-5-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/2-Façade-PDL-5-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/2-Façade-PDL-5-Photo.-Archives-mennour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/2-Façade-PDL-5-Photo.-Archives-mennour.jpg","2 Façade PDL 5 Photo Archives mennour",5783,3856,[],[2070],{"title":350,"slug":351},{"parts":2072},{"number":366,"address":367,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2074],{"title":1893,"slug":528,"type":1885},"At the Biennale d’art contemporain in Rennes, Michel François is presenting a\nwork at the end of September with a title as poetic as it is ambiguous: Scène\ndes abandons [Stage of abandonments]. This retrospective installation, with\nwhich most of the objects in his third solo exhibition at kamel mennour\nare in dialogue, is a space for catalysing a collection of finished objects and\nunfinished processes, a sort of laboratory of ideas and experiments. François\nhas produced spaces like this before, with Bureau augmenté (2000) and\nLe Salon intermédiaire (2002). Each time there has been an identifiable kind\nof space, by turn connected to work (the office), waiting (the waiting room),\nand now the theatre (the stage). One could remark on the fact that over the\nlast fifteen or so years the artist has gone from an augmented office to a stage\nof abandonments. The principle of voluntaristic growth in the work-place\nhas given way to a theatrical letting go. But the abandonment here is not\npsychological in the sense of a resignation or a renouncement. It is rather a sort\nof letting go in respect to the intrinsic resistance of his materials, an attentive\nobservation of their capacity for taking shape by default. It is this capacity that\nhe wants to bring to light.\nIn the living system that is Michel François’ oeuvre, growth and decay have\nalways cohabited as they do in nature. There are upsurges and collapses,\nprojections and flows, erections and detumescences, contaminations and\nretractions. Throughout his work, there is the question of production, value,\ngrowth, and circulation, but just as much, and simultaneously, of inertia,\ndevaluation, decomposition, loss, dissemination. Control and chance mix\ntogether on the best of terms. This ‘letting go’ suggests a more intimate footing\nwith time than even nature takes in the bestowing of form.\n‘Let the water disperse in the plaster. Let the vinegar dissolve in the marble.\nLet the ice cubes melt. Let the rain plow ravines. Let the soap shrink. Let the\nfire warp the sheet metal. Let the sea wear away at the wood. Let the molten\nbronze flow over the floor. Let everything stiffen under hard water. Let your\nsweaters wear out at the elbows. Let the sun shine. Let the spiders spin their\nwebs. […]’, writes Michel François.\nFrançois creates a form of continuity between what is and what is not\n(yet) art, proposes a definition of art as a moment, with gestures giving the\nimpetus and forms the result. The forms are immediately fixed, as if frozen\nin their movement. For instance at the 28 avenue Matignon, the web made\nby the bronze when it is thrown over the floor is lifted onto the wall, where\nit forms a painting, like an arrested explosion. The sheet metal, where an\ninsistent blowtorch has made a constellation of eyes, is covered in chrome and\nbecomes shimmering, untouchable, as if cooled down. Concretions of plaster,\nrandomly extracted from a basin in which a watering hose has been fed, are\npatiently sanded and sliced. For François, the legitimacy of these forms, issuing\nas they do from empirical protocols, must not be made to depend on a myth\nof process. Their existence has to triumph in the form of finished objects. This\nis where the staging comes in, as a way of arranging the gaze, bringing within\nthe scope of the viewer the very artificiality of interrupting the continual flux\nof metamorphosis in the materials.\n\nFrançois Piron, August 2016","2016-09-02T22:00:00+00:00","2016-10-08T14:05:00+00:00",[],{"id":2080,"slug":2081,"title":2082,"customTitle":2083,"defaultTitle":2083,"overrideHeading":420,"url":2084,"tagline":420,"thumbImage":2085,"locations":2098,"category":2107,"description":2109,"startDate":2110,"endDate":2111,"type":236,"showForm":732,"form":2112,"__typename":1941},"114656","nobuyoshi-araki","Nobuyoshi Araki - Nobuyoshi Araki","Nobuyoshi Araki","https://www.mennour.com/exhibition/nobuyoshi-araki",[2086],{"id":2087,"url":2088,"jpg16":2089,"jpg800":2090,"jpg1600":2091,"jpg2400":2092,"jpg3200":2093,"alt":420,"title":2094,"width":2095,"height":2096,"caption":420,"mobile":2097,"__typename":679},"7763","https://dev-admin.mennour.com/uploads/img/nobuyoshi-araki.jpg","nkK_B^-;_NM{oL%~SLt7RjWAM{aeITt7WX%gfjR*WVkB%NWCM{RjV@RiaeWCt7o}","https://dev-admin.mennour.com/uploads/img/_jpg800/nobuyoshi-araki.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/nobuyoshi-araki.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/nobuyoshi-araki.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/nobuyoshi-araki.jpg","Nobuyoshi araki",1008,1248,[],[2099],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":2100,"city":2103,"mapLocation":2105},[2101],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":2102,"__typename":679},[],[2104],{"title":350,"slug":351},{"parts":2106},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2108],{"title":1893,"slug":528,"type":1885},"The flutterings of Araki Nobuyoshi’s eyelids are the systoles and diastoles of an omni-photographic gaze. Over six decades, these intermittences of light have revealed hundreds of thousands of images, all on film, never digital. Known worldwide for his photographs of tied-up women in the tradition of kinbaku, a combination of martial art and sex, the Japanese photographer is offering for his fifth solo exhibition at the galerie kamel mennour a series of recent photographs where certain ties are undone, allowing a glimpse of love unto death.\nHer name is Kaori. She is a dancer. Since their meeting in 2001, she has appeared in thousands of photographs. In image after image, like a Japanese Scheherazade, this Tōkyō muse seems to be reconciling to life a man wounded by the death of his beloved wife Yōko. Yōko was the heroine of Araki’s ‘Sentimental Journey’ in 1971, where Araki, his camera become an eye, caressed her from every angle. She was also the heroine of the 1989-1990 ‘Winter Journey’, a voyage without return, for Yōko died from cancer. Araki’s melancholic destiny is moored between the ecstatic face of the ‘Sentimental Journey’ and Yōko’s still warm ashes in the ‘Winter Journey’. Thanatos has colonised Eros. Melancholy comes from an inconsolable loss. In perpetual mourning, it takes on the colour of women’s eyes. Eyes that vibrate more than ever when the body is immobilised… Prostitutes, school girls, lovers and aged beauties, teenagers and adults, their shimmering pupils speak of the same quest: that of the missing photograph. Araki punctuates the void with thousands of photographs, covering the walls with them and piling them up on the floors of his exhibiting galleries, but this missing shot will never appear. It would be the photograph of the place where Yōko has flown off to, leaving her body behind, here, to the flowers of the graveyard. Flowers—cut, faded, or artificial—that life has abandoned. At times, with Araki, their petals suggest sexual metaphors, once toying with the censor, now offering themselves to poetry. But death has colonised life and the riddle will be solved by no photograph. Where do caresses, love, tears go; where does being go? Where is Yōko now? Does she still exist otherwise than in photographic memory? \nThe bonds of kinbaku use the body to perceive the soul. ‘Photography is a back and forth between life and death,’ says Araki Nobuyoshi. These words echo from the skies that he photographs every day, whether covered in melancholic clouds, in cobalt blue, or in the gold of sunset. And Kaori the muse is not far off. Sometimes tied up, here she finds herself free of restraints. Calm, beside an unsettling, lacerated doll; a giant beside the radioactive combat of two Godzilla; laughing as she steps out of the bath, a large red fish splashing its arc of water over her breasts; lascivious, stretched on the couch of her orgasm, between her open kimono an iguana toy resting on her mons veneris; serene, her hand resting on a commode where a Tyrannosaurus rex meets with a lover of cake. The artificial flowers form the theatre of tiny games where the plastic lives of roped-up Barbies, bloody and disarticulated dolls, prehistoric animals as large as playthings are acted out in humanoid scenes. The collected photographs ripple with bursts of laughter and tears and bear witness to what is at times a derisory contemporary life. This collection of images by Araki Nobuyoshi appears to traverse melancholy to bring together two invitations to live. The one finds its echo in art—Memento mori—the other in philosophy—Carpe diem. In other words: ‘remember that you are going to die’, so ‘seize the day.’\n\nAnnabelle Gugnon","2016-06-22T10:00:00+00:00","2017-07-23T10:00:00+00:00",[],{"id":2114,"slug":2115,"title":2116,"customTitle":1470,"defaultTitle":1470,"overrideHeading":420,"url":2117,"tagline":420,"thumbImage":2118,"locations":2131,"category":2140,"description":2142,"startDate":2143,"endDate":2144,"type":236,"showForm":732,"form":2145,"__typename":1941},"114675","lee-ufan-2","Lee Ufan - Lee Ufan","https://www.mennour.com/exhibition/lee-ufan-2",[2119],{"id":2120,"url":2121,"jpg16":2122,"jpg800":2123,"jpg1600":2124,"jpg2400":2125,"jpg3200":2126,"alt":420,"title":2127,"width":2128,"height":2129,"caption":420,"mobile":2130,"__typename":679},"38440","https://dev-admin.mennour.com/uploads/img/lee-ufan-2.jpg","fHPsq._2D%t6xuIU_3t7RjWBayWB_4M{xvofRj-p%NR*t7kCWBt74nxaWBWBt7IU","https://dev-admin.mennour.com/uploads/img/_jpg800/lee-ufan-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/lee-ufan-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/lee-ufan-2.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/lee-ufan-2.jpg","Lee ufan 2",901,601,[],[2132],{"title":2008,"slug":2009,"url":369,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2010,"thumbImage":2133,"city":2136,"mapLocation":2138},[2134],{"id":2013,"url":2014,"jpg16":2015,"jpg800":2016,"jpg1600":2017,"jpg2400":2018,"jpg3200":2019,"alt":420,"title":2020,"width":2021,"height":2022,"caption":420,"mobile":2135,"__typename":679},[],[2137],{"title":350,"slug":351},{"parts":2139},{"number":374,"address":367,"city":350,"postcode":356,"county":357,"country":375,"state":359},[2141],{"title":1893,"slug":528,"type":1885},"‘The point is existence. The line is life.’1\n\nAfter his expansive and surprising sculptural dialogue with the Château de Versailles and the gardens of André Le Nôtre in 2014, in Paris Lee Ufan is exhibiting his most recent paintings along with eleven watercolours from 1983. The galerie kamel mennour is honoured to bring these watercolours to the public in its new space on the Rue Matignon, and to hang in the space on the Rue du Pont de Lodi a series of paintings whose astonishing colours and vibratos signal a\nnew direction for the artist.\nLee Ufan is legion. Known and recognised throughout the world for his paintings and sculptures, he is also a writer, philosopher, and art critic. He is Korean and Japanese, a double cultural heritage that has been further enriched through his special relationships with France, Germany, Denmark, and numerous other countries. Such a kaleidoscopic life is weighted down by an essential silence, where drawing and watercolour take on a primordial role. ‘My thoughts and\nacts are an endless flittering. Drawing is the first contact between the paper and myself and the development of our relationship. It’s true what one says about drawing’s freedom from projects and structures, about its arbitrariness, it is really what best suits the activity of the painter,’ he writes in his book The Art of Resonance.2\nWhether drawn, painted, or sculpted, every one of Lee Ufan’s works is a beginning, an existential point, an event from which the exploration of an infinite, unknown, though vital world unfolds. This adventure takes place in a dialogue with the work. It is a question of setting in motion the creative process that will open art up to its own life. It will allow the viewer to enter into a dance scored to feeling. The outcome is vital: to become freer, vaster, more in tune with the infinite, and hence to the universe. ‘It is not the universe that is infinite, it’s the infinite that is the universe’, says Lee Ufan3. Nuance appears on the\nscale of the limitless, where each of us can invent new dimensions for ourselves.\nThis is true of Lee Ufan himself first of all. He underlines this by pointing to a difference between painting and sculpture. The latter for him has a relationship to the environment in which it appears. This is why his sculptures always take the prefix-title Relatum, to which is then added a variable suffix-title. By contrast, pictorial creation is a solitary practice: ‘I must, in my painting, challenge myself alone. The event that takes place between the canvas and myself is almost a secret rite, completely closed to the surrounding world.’4 In this meditative, timeless state, Lee Ufan is attempting to connect with the unknown, to perceive ‘the undetermined world that precedes language’.5 This connexion will preside over the whole of the making of a painting or a drawing: it is the key with which Ufan will try to reach a prereflective dimension. Before painting, he adjusts his breathing and the rhythm of his body so that his energy, animated by a vital drive, finds its way to the infinite. The key turns. It opens the place in which to paint. The painting becomes like a living being that causes space to resonate.\nThis is where the viewer is invited to venture: towards the unknown. For thought and reality do not conform with one another. Reality is infinite, painting is infinite…\n\nLee Ufan was the initiator and the theoretician of Mono-ha (‘School of Things’). Between 1967 and 1970, this movement in Japan brought together artists who showed art to be a process between two things or between a thing and space. The Mono-ha artists, who have sometimes been linkened to the minimalists and the artists of arte povera, wanted to pace out, to make a survey of relationships with the outside by setting up spatial relationships. This relationship between the interior, the exterior, and space is still present in the work of Lee Ufan.\nIn Naoshima, on a small Japanese island in the Seto Inland Sea, the artist has created, with the help of his architect friend Tadao Ando, a place of contemplation. Dedicated to silence and meditation, it vibrates with the meeting between life and death. Would this be another way of designating the interior and the exterior? In any case, for Lee Ufan, a successful work manages to hold within itself life and death, to go beyond the fundamental dilemma of the human condition. This is what makes drawing and painting the privileged tools of metaphysics.\n\nAnnabelle Gugnon","2016-06-03T10:45:00+00:00","2016-07-23T10:45:00+00:00",[],{"id":2147,"slug":2148,"title":1240,"customTitle":1240,"defaultTitle":1240,"overrideHeading":420,"url":2149,"tagline":420,"thumbImage":2150,"locations":2163,"category":2172,"description":2174,"startDate":2175,"endDate":2176,"type":236,"showForm":732,"form":2177,"__typename":1941},"114703","huang-yong-ping-47","https://www.mennour.com/exhibition/huang-yong-ping-47",[2151],{"id":2152,"url":2153,"jpg16":2154,"jpg800":2155,"jpg1600":2156,"jpg2400":2157,"jpg3200":2158,"alt":420,"title":2159,"width":2160,"height":2161,"caption":420,"mobile":2162,"__typename":679},"38460","https://dev-admin.mennour.com/uploads/img/huang-yong-ping-47.jpg","WcMQ#9Rj-;%MWCt7~qWBRjozWBofIUj[RjWAWBj[IARjt7j?ofWB","https://dev-admin.mennour.com/uploads/img/_jpg800/huang-yong-ping-47.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/huang-yong-ping-47.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/huang-yong-ping-47.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/huang-yong-ping-47.jpg","Huang yong ping 47",1278,852,[],[2164],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":2165,"city":2168,"mapLocation":2170},[2166],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":2167,"__typename":679},[],[2169],{"title":350,"slug":351},{"parts":2171},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2173],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present an exhibition by Chinese-born artist Huang\nYong Ping. Both in the gallery’s new space at 28 Avenue Matignon and at 47 Rue Saint-André des Arts, Huang Yong Ping is presenting the scale models, preparatory sketches, and satellite works of his Empires project for the 2016 Monumenta at the Grand Palais. The large-scale work is, in the words of Monumenta’s curator Jean de Loisy, ‘a symbolic landscape of today’s economic world.’ Taking on indeed the proportions of a landscape, the work is shaped by 305 shipping containers from all over the world together with a 29-metre-high lifting gantry, projecting the viewer into the surrounds of a contemporary\ncommercial port. Over the ‘islands’ of containers slides an immense, 254-metre-long snake skeleton, winding its way above the visitor and guiding her to its coveted object: an outsized replica of Napoleon’s cocked hat, an emblem of power. Huang Yong Ping unfolds throughout the nave of the Grand Palais a theatre evoking ‘the modification of the world, the metamorphoses of political and economic power, the rise of new geographic regions’ (Jean de Loisy).\n\nFor each of his major interventions, the artist has created a series of reduced-scale models, all of which demonstrate a creative process closely linked to the exhibition context. The exceptional architecture of the Grand Palais has been at the base of numerous Empires models on various scales: 1:100, 1:20, 1:50. These models are truly the artist’s working tools and reveal the stages of a herculean undertaking as the project outlines are refined over a period of constant negotiation between creative thought and the technical challenges posed by such a space, including architectural, material, and engineering constraints.\n\nIn the new space on the Avenue Matignon, Huang Yong Ping is exhibiting the project’s beginnings: the first model, on the scale of 1:100, begun in 2014 with simple materials, including wooden cubes for the containers and wire for the snake; and two watercolours from 2015, where the artist has expertly imagined perspectives of a large, central alley overshadowed by a giant cocked hat.\n\nAt 47 Rue Saint-André des Arts can be found a series of recent work, all of it conceived during Empire’s production phase, and including a model on the scale of 1:50. In gilded copper, metal, and wood, on a Trespa base engraved with the floor plan of the Grand Palais, this model shows the project in its final stages, with its mosaic of colours and the Napoleonic cocked hat—reproduced from a 3D scan of the hat worn by the Emperor in 1807 at the Battle of Eylau and housed in the Musée de l’Armée—placed over two columns of containers and forming a triumphal arch.\n\nThe artist conceived the two sculptures in aluminum during the making of the\nMonumenta snake, as he was making visits to the foundry. Untitled (2016) evokes a strange animal born from the chance configuring of two parts of a vertebra from the large snake. The other, entitled De celui qui mange est sorti ce qui se mange (2016), is made up of a long table into which has been built a fragment from the jaw of the Grand Palais snake, a part of its row of teeth accidently missing and leaving a gaping hole. As is often the case for Huang Yong Ping, chance becomes a point of departure for a new idea. With its title borrowed from an Old Testament parable—Samson’s enigma: ‘Out of the eater came forth meat, and out of the strong came forth sweetness’—the work evokes the cycle of transformation, that of the food chain as well as that of the transmission of\npower and knowledge.\n\nThe two large watercolours, each measuring almost 4 metres in width and hung to face the sculptures, develop a series of references to two of the artist’s favourite animals, the horse and the snake, testifying to the breadth and complexity of the thought process behind the Monumenta work. Neuf chevaux (2016) shows three pairs of horses, each holding in its mouth flags evoking three aspects of the close relationship between horses and human beings (in their respectively scientific, political, and artistic dimension) and its role in the creation of empires. Each group shows at once the permanence of the horse in our culture, our dependence on it, and its key role in the history of Western civilization. Cinq serpents (2016) includes a large, stencilled snake skin surrounded by three drawings, figuring a total of five snakes. From left to right appear the two Laocoön snakes from the famous classical group sculpture illustrating a moment of tragic tension in which it is impossible to tell whether man or snake will win out; the figure of Saint Michael slaying the dragon, from a group sculpture kept at the Palais de Papes, where Hung Yong has exhibited a tiled floor representing a large blue and yellow dragon; and a\nnine-headed snake placed on the ground plan of the Grand Palais, with a bowler hat held by a hand above it. What is at stake here is the question of the struggle between man and animal, which one can see as the tension between the chaos of nature and the human desire for order, each of which throws the other out of joint.\n© Axelle Blanc\n\nBorn in 1954 in Xiamen (China), Huang Yong Ping lives and works in Paris since 1989. Huang Yong Ping was part of the exhibition “Magiciens de la Terre” at Centre Pompidou, Paris in 1989. He represented France at the 1999 Venice Biennale. In 2006, the Walker Art Center in Minneapolis organized and premiered his retrospective “House of Oracles,” which traveled to Mass MoCA in North Adams, Massachusetts; Vancouver Art Gallery; and Ullens Center, Beijing. Other solo exhibitions include: CCA Kitakyushu, Japan; De Appel, Amsterdam; Fondation Cartier pour l’Art Contemporain, Paris; Astrup Fearnley Museum, Oslo; Barbican Art Gallery, London; New Museum of Contemporary Art, New York; Chapelle des Petits-Augustins des Beaux-Arts, Paris; Musée Océanographique, Monaco; Nottingham Contemporary, Nottingham, at the Musée de l’Hospice Comtesse, on the occasion of lille3000; at MAC – Musée d’art contemporain de Lyon; at the Hab\nGalerie - Hangar à Bananes, Nantes, on the occasion of the Voyage à Nantes.\nHis exhibition “Bâton Serpent” was hosted by the Maxxi, Rome, and the Red Brick\nMuseum, Beijing; it is currently presented at the Power Station of Art, Shanghai (18 March - 19 June 2016). His project Empires for Monumenta 2016 is currently on show at the Grand Palais in Paris (8 May - 18 June 2016).","2016-05-10T10:15:00+00:00","2016-06-18T10:15:00+00:00",[],{"id":2179,"slug":2180,"title":2181,"customTitle":1240,"defaultTitle":1240,"overrideHeading":420,"url":2182,"tagline":420,"thumbImage":2183,"locations":2196,"category":2217,"description":2219,"startDate":2220,"endDate":2221,"type":236,"showForm":732,"form":2222,"__typename":1941},"114718","huang-yong-ping28","Huang Yong Ping - Huang Yong Ping","https://www.mennour.com/exhibition/huang-yong-ping28",[2184],{"id":2185,"url":2186,"jpg16":2187,"jpg800":2188,"jpg1600":2189,"jpg2400":2190,"jpg3200":2191,"alt":420,"title":2192,"width":2193,"height":2194,"caption":420,"mobile":2195,"__typename":679},"38487","https://dev-admin.mennour.com/uploads/img/huang-yong-ping28.jpg","fIO:@UM{D%ofaxxu~qofxuoft7j[4.oft6j[WCRjWCWBRjWBRjRjRioft7ofWBof","https://dev-admin.mennour.com/uploads/img/_jpg800/huang-yong-ping28.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/huang-yong-ping28.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/huang-yong-ping28.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/huang-yong-ping28.jpg","Huang yong ping28",1828,1370,[],[2197],{"title":2198,"slug":2199,"url":377,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2200,"thumbImage":2201,"city":2213,"mapLocation":2215},"Mennour, 28 avenue Matignon","mennour-28-avenue-matignon","{\n \"html_attributions\" : [],\n \"result\" : \n {\n \"current_opening_hours\" : \n {\n \"open_now\" : true,\n \"periods\" : \n [\n {\n \"close\" : \n {\n \"date\" : \"2025-02-18\",\n \"day\" : 2,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-02-18\",\n \"day\" : 2,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2025-02-12\",\n \"day\" : 3,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-02-12\",\n \"day\" : 3,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2025-02-13\",\n \"day\" : 4,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-02-13\",\n \"day\" : 4,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2025-02-14\",\n \"day\" : 5,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-02-14\",\n \"day\" : 5,\n \"time\" : \"1100\"\n }\n },\n {\n \"close\" : \n {\n \"date\" : \"2025-02-15\",\n \"day\" : 6,\n \"time\" : \"1900\"\n },\n \"open\" : \n {\n \"date\" : \"2025-02-15\",\n \"day\" : 6,\n \"time\" : \"1100\"\n }\n }\n ],\n \"weekday_text\" : \n [\n \"Monday: Closed\",\n \"Tuesday: 11:00 AM – 7:00 PM\",\n \"Wednesday: 11:00 AM – 7:00 PM\",\n \"Thursday: 11:00 AM – 7:00 PM\",\n \"Friday: 11:00 AM – 7:00 PM\",\n \"Saturday: 11:00 AM – 7:00 PM\",\n \"Sunday: Closed\"\n ]\n }\n },\n \"status\" : \"OK\"\n}",[2202],{"id":2203,"url":2204,"jpg16":2205,"jpg800":2206,"jpg1600":2207,"jpg2400":2208,"jpg3200":2209,"alt":420,"title":2210,"width":2211,"height":2211,"caption":420,"mobile":2212,"__typename":679},"140431","https://dev-admin.mennour.com/uploads/img/Fa%C3%A7ade-Matignon-carr%C3%A9.jpg","oTMQ;Yt7%Mof?bt7~qofWBWB%MoM_4ofIUWBoej[R*j[s:ayxuoLD$aet7WBt7ayxuofRjfRRjay","https://dev-admin.mennour.com/uploads/img/_jpg800/Façade-Matignon-carré.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/Façade-Matignon-carré.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/Façade-Matignon-carré.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/Façade-Matignon-carré.jpg","Façade Matignon carré",5264,[],[2214],{"title":350,"slug":351},{"parts":2216},{"number":382,"address":383,"city":350,"postcode":384,"county":357,"country":358,"state":359},[2218],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present an exhibition by Chinese-born artist Huang\nYong Ping. Both in the gallery’s new space at 28 Avenue Matignon and at 47 Rue Saint-André des Arts, Huang Yong Ping is presenting the scale models,preparatory sketches, and satellite works of his Empires project for the 2016 Monumenta at the Grand Palais. The large-scale work is, in the words of Monumenta’s curator Jean de Loisy, ‘a symbolic landscape of today’s economic world.’ Taking on indeed the proportions of a landscape, the work is shaped by 305 shipping containers from all over the world together with a 29-metre-high lifting gantry, projecting the viewer into the surrounds of a contemporary commercial port. Over the ‘islands’ of containers slides an immense, 254-metre-long snake skeleton, winding its way above the visitor and guiding her to its coveted object: an\noutsized replica of Napoleon’s cocked hat, an emblem of power. Huang Yong Ping unfolds throughout the nave of the Grand Palais a theatre evoking ‘the modification of the world, the metamorphoses of political and economic power, the rise of new geographic regions’(Jean de Loisy).\n\nFor each of his major interventions, the artist has created a series of reduced-scale models, all of which demonstrate a creative process closely linked to the exhibition context. The exceptional architecture of the Grand Palais has been at the base of numerous Empires models on various scales: 1:100, 1:20, 1:50. These models are truly the artist’s working tools and reveal the stages of a herculean undertaking as the project outlines are refined over a period of constant negotiation between creative thought and the technical challenges posed by such a space, including architectural, material, and engineering constraints.\n\nIn the new space on the Avenue Matignon, Huang Yong Ping is exhibiting the project’s beginnings: the first model, on the scale of 1:100, begun in 2014 with simple materials, including wooden cubes for the containers and wire for the snake; and two watercolours from 2015, where the artist has expertly imagined perspectives of a large, central alley overshadowed by a giant cocked hat.\n\nAt 47 Rue Saint-André des Arts can be found a series of recent work, all of it conceived during Empire’s production phase, and including a model on the scale of 1:50. In gilded copper, metal, and wood, on a Trespa base engraved with the floor plan of the Grand Palais, this model shows the project in its final stages, with its mosaic of colours and the Napoleonic cocked hat—reproduced from a 3D scan of the hat worn by the Emperor in 1807 at the Battle of Eylau and housed in the Musée de l’Armée—placed over two columns of containers and forming a triumphal arch.\n\nThe artist conceived the two sculptures in aluminum during the making of the\nMonumenta snake, as he was making visits to the foundry. Untitled (2016) evokes a strange animal born from the chance configuring of two parts of a vertebra from the large snake. The other, entitled De celui qui mange est sorti ce qui se mange (2016), is made up of a long table into which has been built a fragment from the jaw of the Grand Palais snake, a part of its row of teeth accidently missing and leaving a gaping hole. As is often the case for Huang Yong Ping, chance becomes a point of departure for a new idea. With its title borrowed from an Old Testament parable—Samson’s enigma: ‘Out of the eater came forth meat, and out of the strong came forth sweetness’—the work evokes the cycle of transformation, that of the food chain as well as that of the transmission of\npower and knowledge. \n\nThe two large watercolours, each measuring almost 4 metres in width and hung to face the sculptures, develop a series of references to two of the artist’s favourite animals, the horse and the snake, testifying to the breadth and complexity of the thought process behind the Monumenta work. Neuf chevaux (2016) shows three pairs of horses, each holding in its mouth flags evoking three aspects of the close relationship between horses and human beings (in their respectively scientific, political, and artistic dimension) and its role in the creation of empires. Each group shows at once the permanence of the horse in our culture, our dependence on it, and its key role in the history of Western civilization. Cinq serpents (2016) includes a large, stencilled snake skin surrounded by three drawings, figuring a total of five snakes. From left to right appear the two Laocoön snakes from the famous classical group sculpture illustrating a moment of tragic tension in which it is impossible to tell whether man or snake will win out; the figure of Saint Michael slaying the dragon, from a group sculpture kept at the Palais de Papes, where Hung Yong has exhibited a tiled floor representing a large blue and yellow dragon; and a\nnine-headed snake placed on the ground plan of the Grand Palais, with a bowler hat held by a hand above it. What is at stake here is the question of the struggle between man and animal, which one can see as the tension between the chaos of nature and the human desire for order, each of which throws the other out of joint.\n© Axelle Blanc\nBorn in 1954 in Xiamen (China), Huang Yong Ping lives and works in Paris since 1989. Huang Yong Ping was part of the exhibition “Magiciens de la Terre” at Centre Pompidou, Paris in 1989. He represented France at the 1999 Venice Biennale. In 2006, the Walker Art Center in Minneapolis organized and premiered his retrospective “House of Oracles,” which traveled to Mass MoCA in North Adams, Massachusetts; Vancouver Art Gallery; and Ullens Center, Beijing. Other solo exhibitions include: CCA Kitakyushu, Japan; De Appel, Amsterdam; Fondation Cartier pour l’Art Contemporain, Paris; Astrup Fearnley Museum, Oslo; Barbican Art Gallery, London; New Museum of Contemporary Art, New York; Chapelle des Petits-Augustins des Beaux-Arts, Paris; Musée Océanographique, Monaco; Nottingham Contemporary, Nottingham, at the Musée de l’Hospice Comtesse, on the occasion of lille3000; at MAC – Musée d’art contemporain de Lyon; at the Hab\nGalerie - Hangar à Bananes, Nantes, on the occasion of the Voyage à Nantes.\nHis exhibition “Bâton Serpent” was hosted by the Maxxi, Rome, and the Red Brick\nMuseum, Beijing; it is currently presented at the Power Station of Art, Shanghai (18 March - 19 June 2016).\nHis project Empires for Monumenta 2016 is currently on show at the Grand Palais in Paris (8 May - 18 June 2016).","2016-05-10T09:20:00+00:00","2016-06-18T09:20:00+00:00",[],{"id":2224,"slug":2225,"title":2226,"customTitle":2227,"defaultTitle":2228,"overrideHeading":420,"url":2229,"tagline":420,"thumbImage":2230,"locations":2240,"category":2249,"description":2251,"startDate":2252,"endDate":2253,"type":236,"showForm":732,"form":2254,"__typename":1941},"114727","shadows","Alfredo Jaar - Shadows","Alfredo Jaar","Shadows","https://www.mennour.com/exhibition/shadows",[2231],{"id":2232,"url":2233,"jpg16":2234,"jpg800":2235,"jpg1600":2236,"jpg2400":2237,"jpg3200":2238,"alt":420,"title":2228,"width":982,"height":981,"caption":420,"mobile":2239,"__typename":679},"38501","https://dev-admin.mennour.com/uploads/img/shadows.jpg","f68Nqa%L00IUM{s:%Mt7RjM{WBt700M{_4%MxuWVD%M{xu-;xuRi?bxuIUIUM{of","https://dev-admin.mennour.com/uploads/img/_jpg800/shadows.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/shadows.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/shadows.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/shadows.jpg",[],[2241],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":2242,"city":2245,"mapLocation":2247},[2243],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":2244,"__typename":679},[],[2246],{"title":350,"slug":351},{"parts":2248},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2250],{"title":1893,"slug":528,"type":1885},"“I was glancing through an illustrated magazine. A photograph made me pause. Nothing\nvery extraordinary: the (photographic) banality of a rebellion in Nicaragua: a ruined street,two helmeted soldiers on patrol; behind them, two nuns. Did this photograph please me? Interest me? Intrigue me? Not even. Simply, it existed (for me). I understood at once that its existence (its ‘adventure’) derived from the co-presence of two discontinuous elements, heterogeneous in that they did not belong to the same world (no need to proceed to the point of contrast): the soldiers and the nuns. I foresaw a structural rule (conforming to my own observation), and I immediately tried to verify it by inspecting other photographs by the same reporter (the Dutchman Koen Wessing): many of them attracted me because they included this kind of duality which I had just become aware of. Here a mother and daughter sob over the father’s arrest [...], and this happens out in the countryside (where could they have learned the news? for whom are these gestures?).1”\nThese images, taken in 1978 in Nicaragua by Koen Wessing and commented by Roland\nBarthes, caught Alfredo Jaar’s attention. Both of them thought that these photographs\nexpressing ‘the dignity and horror of insurrection’ must also perhaps give back what\nBarthes claims to have experienced: ‘In terms of image-repertoire, the Photograph (the\none I intend) represents that very subtle moment when, to tell the truth, I am neither\nsubject nor object but a subject who feels he is becoming an object: I then experience a micro-version of death (of parenthesis): I am truly becoming a spectre.’ Is it not this ‘silent transformation’, which could be likened to a memento mori, that one finds at the heart of Alfredo Jaar’s new work, Shadows?\nFrom the 22nd of April to the 28th of May at the galerie kamel mennour, filmmaker and\ntrained architect Alfredo Jaar will present “Shadows”, the second part of a trilogy\nexploring the power of iconic images. After “The Sound of Silence” (2006), the artist\ninvites the public to discover images he has borrowed from Koen Wessing’s 1978\nbook and placed within in a carefully elaborated scenario. Through an extremely dense,\nunfolding drama, imagined like two paintings across the two rooms of the exhibition, Jaar plunges the viewer into the nightmare of this insurrection. The installation also evokes another book by Koen Wessing, Chili September 1973. Rigorously silent, this book without texts, without words or speech, recounts in images the coup d’état in Santiago de Chile in 1973. Playing with layers of reference, Jaar multiplies the sensations and affects that progressively submerge the viewer. Making her way through the exhibition, the viewer becomes hostage to this apparatus where the material—gaze and distress—transcends (goes beyond) the historical event: because this visual complaint, imagined like a piece of theatre, ends up in the enveloping darkness of the larger room, where the visitor is confronted with the glaring, fleeting apparition of two women who have just learned of the death of their father. Struck by the blinding light of a screen, these women appear swept up in grief. White shadows? Ghosts, spectres, souls in torment? They are at once direct emanations of two photographed figures, and interior projections of our own psyche. For deep down, in the darkness of the installation, these white figures, struggling to exist, appear and disappear in a sort of indifference, a sort of collective, absolute blindness. They manifest our inability to see. They offer up negative images of the real world. A distant memory of Plato’s cave? Indeed, Jaar’s apparatus does not invite us to enter the light. It invites us rather to step out of the shadows.\n\nWith this immediately efficacious demonstration, Jaar aims a critical eye at the\nrepresentation of violence, the attitude of the media, and the indifference of the\ninternational community. ‘Against the duplicity of the system that solicits and rejects such images at the same time, Alfredo Jaar constructs a different apparatus of visibility with his installation, The Sound of Silence. He has used words and silence [...] in order to inscribe what is intolerable in the image of the young girl within a wider history of intolerance’,2 writes Jacques Rancière about the first installation of a trilogy that actively stages an image taken by Kevin Carter. How must one look at images by Kevin Carter or Koen Wessing? What is our relationship to violence? To reality? To the visible? These implicit, recurring questions in Jaar’s work appear openly in The Sound of Silence and Shadows. Both installations, each an instance of what Jaar calls ‘sampling’, gives back to the image its share of darkness, reveals its changing status and explores its underside.\nEach invites us to reflect on the overexposure of a world placed under the tyranny of\nthe visible. In the pain and din of this world, Alfredo Jaar draws out, with reticence and silence, the urgent need to reconsider the role and the place of our gaze.\n\nMouna Mekouar\n_\n1. Roland Barthes, Camera Lucida: Reflections on Photography, Trans. Richard Howard, Hill\nand Wang, 1981, p. 23.\n2. Jacques Rancière, Le Spectateur émancipé, La fabrique éditions, Paris, 2008.","2016-04-22T16:35:00+00:00","2016-05-28T16:35:00+00:00",[],{"id":2256,"slug":2257,"title":2258,"customTitle":1619,"defaultTitle":1619,"overrideHeading":420,"url":2259,"tagline":420,"thumbImage":2260,"locations":2273,"category":2282,"description":2284,"startDate":2285,"endDate":2286,"type":236,"showForm":732,"form":2287,"__typename":1941},"114737","gina-pane-2016","Gina Pane - Gina Pane","https://www.mennour.com/exhibition/gina-pane-2016",[2261],{"id":2262,"url":2263,"jpg16":2264,"jpg800":2265,"jpg1600":2266,"jpg2400":2267,"jpg3200":2268,"alt":420,"title":2269,"width":2270,"height":2271,"caption":420,"mobile":2272,"__typename":679},"38509","https://dev-admin.mennour.com/uploads/img/gina-pane-2016.jpg","fIM@ZQIv?w?b.8xv_3RiWBfjayaeWGxuITR+RPj[j]t7WBofoekCWEofoLMxWBWB","https://dev-admin.mennour.com/uploads/img/_jpg800/gina-pane-2016.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/gina-pane-2016.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/gina-pane-2016.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/gina-pane-2016.jpg","Gina pane 2016",1300,1066,[],[2274],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":2275,"city":2278,"mapLocation":2280},[2276],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":2277,"__typename":679},[],[2279],{"title":350,"slug":351},{"parts":2281},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2283],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present our second solo showing of the work of Gina Pane.\nPane is a seminal figure in the history of body art and more generally in that of the arts\nscene in France during the 1970s and 80s.\nThroughout her career, Gina Pane moved between painting, drawing, sculpture,\ninstallation, and ‘action\n1\n’ with equal facility, whether in the heart of nature, as she did\nthe 1960s, or before an audience in the 1970s. Photography made an appearance\nwithin the context of her ‘constats d’actions’, produced in close collaboration with\nFrançoise Masson. With Masson, who photographed all the actions, Pane rigorously\nplanned the images that were to result, using a series of preparatory drawings that\nwould be fundamental in the elaboration of the works. Pane used a variety of materials\nthroughout her career (earth, wood, glass, marble, copper, steel, brass, lead, felt, etc.),\neach selected for its intrinsic qualities and its symbolic significance, but she also used\nreadymade objects as well as objects created by herself, to say nothing of her own\nbody, which she set up as her principal material and the instrument of a new language:\nthat of body art.\nThe exhibition bears witness to the wealth of Gina Pane’s vocabulary with three major,\nutterly singular works, produced about a decade apart from one another respectively:\nSouvenir enroulé d’un matin bleu (1968), Action de Chasse. C’est la nuit chérie… (1979-\n1981), and La Prière des pauvres et le corps des saints (1989). The latter give some\nindication of the conceptual coherence of her work, at the crossroads between the\npoetic and the sacred, the intimate and the extimate, the heavens and the earth.\nExhibited for the first time in Turin in 1969, Souvenir enroulé d’un matin bleu\ntakes the form of a wooden cylinder covered in blue felt and fixed to a metal structure\non which the words ricordo avvolto di un mattino blu have been engraved in the artist’s\nnative language. The delicate colour of the felt, the evocative power of these few\nwords, the sweetness and sobriety emanating from the whole combination give the\nwork an exceptionally strong poetic resonance, accentuating the intimate and doubtless\nagreeable event that is being remembered. Gina Pane would reveal in a late interview\nthat this recurrent use of felt in her productions—notably in the ‘Partitions’ of the 1980s,\nand in particular in the Saints’ robes—is tied to a childhood memory: ‘It’s the first material\nI came into contact with, when I was a child, cutting discs for the pianos to be repaired\n2\n…\nbut this blue is also the blue of the sky above the Piedmont mountains of my childhood.’\nThis aspiration towards the celestial, present in all her work, is a part of the\nprivileged relationship Gina Pane developed with the elements, with beautiful,\nsavage nature that she envisioned as a ‘poetic force, a place of memory and energies’.\nThis attraction to the mysterious forces that surround and inhabit us can be seen in\nthe monumental mural, Action de Chasse. C’est la nuit chérie…. The work embodies a\ndecisive turning point for the artist who, after producing thirty odd actions in public,\nhad decided not to do any more. When she was invited to show in the US in 1979,\nGina Pane chose to send instructions (notably in the form of texts and drawings), which\ntwo performers would interpret two years later at Franklin Furnace in New York, then\nin Lyons in France. The large mural presented here is the work’s third realisation or the\n‘Partition of the Action’, which the artist exhibited in 1981 at the Galleria Multimedia\nd’Arte Contemporanea in Brescia. Action de Chasse. C’est la nuit chérie… brings together\nthe immoderate dimensions of a large, 24 panel colour drawings (black, white, blue, red,\norange) in charcoal, pastel, and gouache, with the action object: a tiny little wooden house\npainted green. In order to bring the viewer closer to the darkness, by way of introduction\nGina Pane adds a succinct dialogue between a man and a woman, which one images to\nbe murmured: ‘…. Deep is the night. Terrifying things happen. A woman asks a man: what\nis all that? He answers: It’s the night sweetheart…’. The polyptych represents this night: an\nintense night, one that, far from offering a peaceful refuge, is full of perils, risks born of\nobscurity… One can see sketched within it different ‘hunting’ and combat scenes. Stylised\nmasculine figures wrestle with the figures of animals, enemy brothers clash in ferocious\njousting matches, crossing knives as well as arrows. Three angels watch over all this, and\nthe little house nearby on the wall is there as if to offer a zone of comfort in the midst\nof such an unleashing of the passions. Dark night, troubling night, tormented night—but also com.\nGina Pane’s solo exhibition is on show from\nTuesday to Saturday, 11 am to 7 pm, at 6 rue du\nPont de Lodi, 75006 Paris.\nfantasised, magnetic, amorous night, made of embraces and reconciliations… Gina Pane\ntakes care to keep a refuge from the torment of the outside world.\nIn the second room of the gallery (rue du Pont de Lodi), La Prière des pauvres et\nle corps des saints is the artist’s last work. This solemn sculptural ‘Partitions’ is made up of\nthree groups of three horizontal glass cases dedicated to three saints the artist had paid\nhomage to before: Saint Sebastian, Saint Francis, and Saint Laurence. The central cases\nallow one to see the bodies of the saints brushing up against the surface of their brass\nsarcophagi. The cases on the left exhibit memories of their attributes or the instruments\nof their martyrdom: the forged iron bow bristling with arrowheads for Saint Sebastian,\nthe rusted iron Tau cross for Saint Francis, the charcoal-blackened wood to evoke the\ngridiron of Saint Laurence. The right-hand cases show the saints’ robes in symbolic colours:\nred felt for Saint Sebastian to reflect his body pierced by an arrow, brown felt for Saint\nFrancis to recall his vow of austerity and poverty, sky blue felt for Saint Laurence to\nsignify his bodily ascesis and the element of the air. Words from the ‘prayer of the poor’\n—an invocation for simple needs—are engraved in the brass and the glass of the cases,\nsuch as to recall that it was for others, and to bring salt, honey, and fire, that these saints\ngave their lives. A synthetic work exhibited posthumously in 1990 at the CAC Passages\nin Troyes, La Prière des pauvres et le corps des saints deploys a complete repertory\nof materials cherished by the artist, and affirms the sacred dimension present in the\n‘Partitions’ of the 1980s. Through the Lives of the Saints, Gina Pane places the wounds\nof today’s world in a mise en abyme that nonetheless includes an opening onto another\nworld, an escape heavenwards. ‘All my work belongs to the trajectory: Earth-Sky’, wrote\nthe artist.\nGina Pane, whose first wish was to shake minds awake from the anaesthetising torpor\nof the media, managed to create a myth and to leave us a vibrant, sincere, radical, and\npoetic work, in search of an eternal communion with the public.\n‘It is to YOU that I am speaking because you are this “unity” in my work: THE OTHER.’\nGina Pane, Lettre à un(e) inconnu(e), 1974\n_\n1. Gina Pane preferred the term ‘action’—more capable of transcribing the idea of process at the very heart of her\npractice—to that of ‘performance’, which she believed to be too demonstrative.\n2. Gina Pane’s father was a piano maker. Felt is used between some of the metal parts and the wood, and for the\nhammers and dampers.","2016-03-12T15:05:00+00:00","2016-04-16T14:10:00+00:00",[],{"id":2289,"slug":2290,"title":2291,"customTitle":1597,"defaultTitle":2292,"overrideHeading":420,"url":2293,"tagline":420,"thumbImage":2294,"locations":2307,"category":2316,"description":2318,"startDate":2319,"endDate":2320,"type":236,"showForm":732,"form":2321,"__typename":1941},"114755","theories-of-harm","Christodoulos Panayiotou - Theories of Harm","Theories of Harm","https://www.mennour.com/exhibition/theories-of-harm",[2295],{"id":2296,"url":2297,"jpg16":2298,"jpg800":2299,"jpg1600":2300,"jpg2400":2301,"jpg3200":2302,"alt":420,"title":2303,"width":2304,"height":2305,"caption":420,"mobile":2306,"__typename":679},"38518","https://dev-admin.mennour.com/uploads/img/theories-of-harm.jpg","fVLg^Y%MIUxuofj[~qWBRjfRWBay4nRjt7ayj[t7M{off6j[ogofRjfkt7WBRjWB","https://dev-admin.mennour.com/uploads/img/_jpg800/theories-of-harm.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/theories-of-harm.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/theories-of-harm.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/theories-of-harm.jpg","Theories of harm",1846,1373,[],[2308],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":2309,"city":2312,"mapLocation":2314},[2310],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":2311,"__typename":679},[],[2313],{"title":350,"slug":351},{"parts":2315},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2317],{"title":1893,"slug":528,"type":1885},"Enter the world: Christodoulos Panayiotou divides it into acts like a theatre where the myths that unite us, the implicit narratives, our affective and economic relations, are played out, built up, illuminated. For ‘Theories of Harm’, his first solo exhibition at the galerie kamel mennour, the Cypriot artist has built a maze of enigmas that, paradoxically, elucidate the world and reveal its hidden stories.\n\nThe exhibition in Paris begins with a fountain, a classic form in art history. This one is made of copper cathode, a highly meaningful material for the artist. The metal takes its name from that of Cyprus. In antiquity, it was called ‘aes cyprus’ (Cyprus bronze) because the island was the centre for its production. A copper talent existed as a unit of measurement like the silver mina and the gold stater. This commercial etymology resonates with the parable of the brass merchant.\n\nThis merchant finds a brass band to whom he offers to buy their instruments for the price of their metal. He wants to buy a trumpet by weight at the going rate for brass, making nothing of the instrument’s surplus value: its fabrication, its musicality, its history. Between the raw material and the trumpet is a universe of desires, elaborations, and savoir-faire that the merchant attempts to ignore. With this parable, Bertolt Brecht draws out the importance of the immaterial in what is taken for ‘the evidence of reality pure and simple’. In Panayiotou’s work, L’Achat du cuivre, the symbolic flux is manifested by water. When the flow of water is cut, the fountain becomes copper again. Its identity\nis deconstructed. It loses its ties with the very idea of a fountain and returns to its raw materiality.\n\nFurther on, a marble floor, showing what is usually effaced: the written indications for the quarrymen concerning weight, provenance, quality, and destination. These inscriptions are the signs of the raw material’s transformation into a noble one. They make sculpture, building, décor possible, but they always end up erased. The material appears as if untouched by all the acts of which it is the result. The final material ends up being idealised and fetishised. Christodoulos Panayiotou demystifies its aura of power by placing in the foreground the stages of human labour that have made its use possible.\n\nMichelangelo perhaps already had this artistic intuition when he had placed on the ground, under the windows of Pope Julius II, the giant blocks of raw marble transported from the mountains of Carrara. The Roman population came to marvel at the unworked stone that was going to become a masterpiece, the Tomb of Pope Julius II. This marble floor also recalls Carl André’s Magnesium Copper Plain (1967). The gesture of the US minimalist was foundational to an idea of sculpture as a place from which to think the world.\n\nThe pieces brought together for ‘Theories of Harm’ are an invitation to decipher and demystify the channels of emotion. The mosaics draw out contemporary rhythms. The tiles come from copies of ancient works. The artist bought them in Syria before the beginning of the war. He decomposed, re-appropriated, and recreated them. The imposing block of limestone also plays with history and the real. In it the fake and the genuine come together. The stone in fact is a reproduction that Christodoulos Panayiotou has made of a detail of a work from the Metropolitan Museum’s Collection, Bearded Head Wearing a Conicol Helmet, carved from real archeological material. One work is hidden from view. Each visitor may ask at the gallery reception to see i . It is a pendent in\nmemory of a Venetian and Cypriote hero, Marcantonio Bragadino. Here it is a question of a solemn promise made during the siege of Famagusta in Cyprus in 1570…\n\nThe stained glass replays the history of the Rainbow Flag. The flag was conceived by Gilbert Baker, graphic artist and political activist, for the first LGBT Pride march in San Francisco in 1978. The flag enjoyed an enormous success. Production went so far into overdrive that the stocks of pink fabric were exhausted. The pink stripe was out, with seven colours remaining. Baker wanted to keep an even number, so he also took out the turquoise and the indigo to create a unique blue—royal blue. For Baker, pink represented sexuality (it would give its name to the ‘Pink dollar’) and turquoise, magic and art.\n\nPanayiotou rehabilitates and reconfigures the two colours in his stained glass. This hasbeen produced by the historic manufactory of Saint-Just, specialists since the nineteenth century in stained glass windows for castles and cathedrals; the stained glass is then made by les Ateliers Duchemin. The artist has brought back into the light colours that illuminate or darken depending on the position of the sun.\n\nThe botanical photographs underwrite another semantic journey: towards Guangzhou, the global centre for the production of artificial flowers. These flowers were once objects of value: Marie Antoinette collected them for instance. Now that they are produced en masse, they have become symbols of globalisation. ‘Value does not stalk about with a label describing what it is. It is value, rather, that converts every product into a social hieroglyphic,’ Karl Marx wrote.\n\nWhen he arrived in Guangzhou, Panayiotou saw that the high quality artificial flowers were all earmarked for the North American market. Only the rejects remained in China. In order to gain direct access to the workshops, the Cypriote artist passed himself off as a Western buyer: ‘I picked flowers in the factories, as if I was walking through the fields.’ The overlaying of photography of the real and the false highlights the hiatus between nature and its transposition into merchandise. This gap contains the whole question of the\ncreation of value and its possible by-products. The latter point to the meanderings that circulate in language and their real effects. Panayiotou understands the world like Roland Barthes: ‘Listening swerves into scoping: I feel like a visionary and a voyeur of language.’By transforming his intuitions into artistic apparatuses, Christodoulos Panayiotou opens up enigmas concealing freedoms, precious as buried treasure.\n\nAnnabelle Gugnon","2016-03-12T12:15:00+00:00","2016-04-30T11:15:00+00:00",[],{"id":2323,"slug":2324,"title":2325,"customTitle":2326,"defaultTitle":2327,"overrideHeading":420,"url":2328,"tagline":420,"thumbImage":2329,"locations":2340,"category":2349,"description":2351,"startDate":2352,"endDate":2353,"type":236,"showForm":732,"form":2354,"__typename":1941},"114771","ensemble","Pier Paolo Calzolari - Ensemble","Pier Paolo Calzolari","Ensemble","https://www.mennour.com/exhibition/ensemble",[2330],{"id":2331,"url":2332,"jpg16":2333,"jpg800":2334,"jpg1600":2335,"jpg2400":2336,"jpg3200":2337,"alt":420,"title":2327,"width":2338,"height":2194,"caption":420,"mobile":2339,"__typename":679},"38535","https://dev-admin.mennour.com/uploads/img/ensemble.jpg","fFLEQf-;tRfmo$xu~qWAM|oga#WB00M|x]awM_WAM_ofV@WBWBj[-:M_D%ofWXt7","https://dev-admin.mennour.com/uploads/img/_jpg800/ensemble.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/ensemble.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/ensemble.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/ensemble.jpg",1845,[],[2341],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":2342,"city":2345,"mapLocation":2347},[2343],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":2344,"__typename":679},[],[2346],{"title":350,"slug":351},{"parts":2348},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2350],{"title":1893,"slug":528,"type":1885},"“I would like people to know that I want expansion, democracy, madness, alchemy, craziness, rhythm, horizontality. I mean I want to be elementary, I want to commit acts of passion,” Pier Paolo Calzolari wrote in 1968 for his “Ideal house”, one of the foundational works of arte povera, a movement of which the Italian artist remains a signal figure.\nNow, with “Ensemble”, his second solo exhibition at the galerie kamel mennour, he is reactivating this quest for passageways, vibrations, basic configurations, by causing distances to collide. To begin with, the distance between the past and the present, with a number of his works dated 1968-2015, from the beginnings of arte povera to today. But he is also confronting Kazimir Malevich and Suprematism, that artistic reconstruction plan initiated by “0,10” [Zero-Ten], the mythic exhibition in Saint Petersburg in 1915. Freed from the obligations of representation, Malevich exhibited there his\n“Black Square on White Ground”, while affirming that “Creating means living, eternally creating 1\nnewer and newer forms”.\nCalzolari is regenerating the elements of his own personal syntax, and with “Ensemble” he is laying the groundwork for a malleable world, like a musical formation. Lead, copper, wood, salt, frost structure and frost, ink, fire, flowers, and nuts... Collected from one work to another, this vocabulary of the everyday, studded with the impalpable, plays over and retunes its poetic pulsions by reforming the sensible thresholds through which the invisible infiltrates their organisation. This force of the invisible is the essence of Calzolari’s art. He makes contact with existence through its fleeting crystallisations: candle flame, breath, air, the crystallisation of frost... So many forms in formation beyond space and time, in a category that traverses them both, and which Roland Barthes called “espacement”.2 Here, Calzolari rediscovers one of his first remembered mysteries: the light of Venice. As a child, he often went to the riva degli Schiavoni with a box of coloured pencils. He would sit on a marble bench. As he drew, the light from the Lagoon caused the marmoreal white of the bench to shimmer: life revealed itself.\nHow does one recreate this vital pleasure, this dynamic moment of the sensible, of the soul’s drive?\nBy entering into an equal dialogue with the expressions of nature, as did Francis of Assisi when he 3\ntalked to his sister the Moon and his brothers the Wind and the Sun. By recovering the intensity of primitive forms, whether rock carvings or babbling onomatopoeia. By impoverishing the signs of culture in order to recover the energy of archetypes, heart beating with the real.\nIn a contemporary world tensed with something waiting to be born, Calzolari pursues his enlivening ruptures. He contacts the primordial, listens to the lost voice of each thing, takes his bearings, and moves in for it.\n“We don’t know how we’ll turn up tomorrow, hard-pressed or happy: perhaps our path\nwill lead to virgin clearings\nwhere youth’s water murmurs eternal; or maybe come down\nto the last valley in the dark,\nthe memory of morning gone.”\nThese lines, written by Eugenio Montale in 1925, resonate with our current state of affairs, where yesterday and tomorrow are looking for their link. This is where, with “Ensemble”, Calzolari’s works find us: uncertain, searching for presence...\nAnnabelle Gugnon","2016-01-29T16:30:00+00:00","2016-03-05T16:30:00+00:00",[],{"id":2356,"slug":2357,"title":2358,"customTitle":1829,"defaultTitle":2359,"overrideHeading":420,"url":2360,"tagline":2361,"thumbImage":2362,"locations":2375,"category":2384,"description":420,"startDate":2386,"endDate":2387,"type":236,"showForm":732,"form":2388,"__typename":1941},"114779","etoiles-du-jour","Shen Yuan - Étoiles du jour","Étoiles du jour","https://www.mennour.com/exhibition/etoiles-du-jour","Solo show",[2363],{"id":2364,"url":2365,"jpg16":2366,"jpg800":2367,"jpg1600":2368,"jpg2400":2369,"jpg3200":2370,"alt":420,"title":2371,"width":2372,"height":2373,"caption":420,"mobile":2374,"__typename":679},"38550","https://dev-admin.mennour.com/uploads/img/etoiles-du-jour.jpg","fuLz{lt7D%WAj[of_NfRofofRja|RjWBt8ofj[ofxufQRiWBofoLWBj[ayayaeWB","https://dev-admin.mennour.com/uploads/img/_jpg800/etoiles-du-jour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/etoiles-du-jour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/etoiles-du-jour.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/etoiles-du-jour.jpg","Etoiles du jour",1852,1369,[],[2376],{"title":2008,"slug":2009,"url":369,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2010,"thumbImage":2377,"city":2380,"mapLocation":2382},[2378],{"id":2013,"url":2014,"jpg16":2015,"jpg800":2016,"jpg1600":2017,"jpg2400":2018,"jpg3200":2019,"alt":420,"title":2020,"width":2021,"height":2022,"caption":420,"mobile":2379,"__typename":679},[],[2381],{"title":350,"slug":351},{"parts":2383},{"number":374,"address":367,"city":350,"postcode":356,"county":357,"country":375,"state":359},[2385],{"title":1893,"slug":528,"type":1885},"2015-12-11T14:25:00+00:00","2016-01-23T14:25:00+00:00",[],{"id":2390,"slug":2391,"title":2392,"customTitle":2392,"defaultTitle":2392,"overrideHeading":420,"url":2393,"tagline":420,"thumbImage":2394,"locations":2405,"category":2414,"description":2416,"startDate":2417,"endDate":2418,"type":236,"showForm":732,"form":2419,"__typename":1941},"114789","winter-show","Winter show","https://www.mennour.com/exhibition/winter-show",[2395],{"id":2396,"url":2397,"jpg16":2398,"jpg800":2399,"jpg1600":2400,"jpg2400":2401,"jpg3200":2402,"alt":420,"title":2392,"width":1634,"height":2403,"caption":420,"mobile":2404,"__typename":679},"38557","https://dev-admin.mennour.com/uploads/img/winter-show.jpg","fOJRaN%3Mxt7xut8~qj[t7WCj[of9Fa}ogj[WBWBRjt7azj[ofjtxuayWBayoeae","https://dev-admin.mennour.com/uploads/img/_jpg800/winter-show.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/winter-show.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/winter-show.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/winter-show.jpg",1337,[],[2406],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":2407,"city":2410,"mapLocation":2412},[2408],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":2409,"__typename":679},[],[2411],{"title":350,"slug":351},{"parts":2413},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2415],{"title":1893,"slug":528,"type":1885},"Photo-souvenir","2015-12-11T13:35:00+00:00","2016-01-23T13:35:00+00:00",[],{"id":2421,"slug":2422,"title":2423,"customTitle":799,"defaultTitle":2424,"overrideHeading":420,"url":2425,"tagline":420,"thumbImage":2426,"locations":2438,"category":2447,"description":2449,"startDate":2450,"endDate":2451,"type":236,"showForm":732,"form":2452,"__typename":1941},"114797","hustling","Mohamed Bourouissa - Hustling","Hustling","https://www.mennour.com/exhibition/hustling",[2427],{"id":2428,"url":2429,"jpg16":2430,"jpg800":2431,"jpg1600":2432,"jpg2400":2433,"jpg3200":2434,"alt":420,"title":2424,"width":2435,"height":2436,"caption":420,"mobile":2437,"__typename":679},"38566","https://dev-admin.mennour.com/uploads/img/hustling.jpg","fLL4vkkCIUf8t7t7~qt7RjfkWCWBITRiWBofM{ayIAj[%Mj@oeofWCj@xuWVofay","https://dev-admin.mennour.com/uploads/img/_jpg800/hustling.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/hustling.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/hustling.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/hustling.jpg",1830,1353,[],[2439],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":2440,"city":2443,"mapLocation":2445},[2441],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":2442,"__typename":679},[],[2444],{"title":350,"slug":351},{"parts":2446},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2448],{"title":1893,"slug":528,"type":1885},"They are urban centaurs, street horsemen galloping with what they’ve got. They live in a northern suburb of Philadelphia and they are known as the Riders of Fletcher Street. They mount their horses among the cars, ride out to the park and back, but act like cowboys out of a Western. Over a nine-month residency, Mohamed Bourouissa spent time with them and suggested, in his fumbling English, organising a ‘Horse Day’: a competition in which, paired-up with students from Pennsylvania Academy of the Fine Arts, each rider would dress up his steed in parade gear—and may the most valorous win. One video shows the months of the lead-up and another the famous ‘Horse Day’, with trophies sculpted by the artist.\n‘Hustling’, Mohamed Bourouissa’s third solo show at galerie kamel mennour, displays the facets of his experience in Philadelphia in an installation where backstage and front of stage offer up multiple points of entry, as much semantic (encounters, myths, social and class relations…) as formal (video, sculpture, photography, layout)… The central question is one of alterity. For the inside and the outside, the centre and the periphery, the other and the same are at the heart of the Franco-Algerian artist’s enquiry. His work, ‘Temps mort’ [Dead Time], for which a friend in gaol sent him images of his prison with a mobile phone, left a deep impression in 2009. The place\nof the inside and the outside was thrown out of kilter. Likewise in the series of photographs, ‘Périphérique’ (2008), where the margins are given centre place, and in ‘All-In’ (2012), with its one-off medallions manufactured at the venerable Paris Mint and bearing the profile of French rapper Booba.\nMohamed Bourouissa translates between worlds, a player making carom shots where it is two planes of reality that collide. The resulting revelations hustle the real, plugging it with the power of the imaginary. ‘The imaginary exists profoundly,’ the artist affirms. ‘It’s what allows you to fold up the present to produce futures. The question of the imaginary is fundamentally political.’\nBecause art interprets, shuffles the cards, gives the wheel of fortune another spin. Here contemporary mythologies are deboned and carved into parcels of life. Cars and motorbikes, like horses, are extensions of the body, powers of displacement and value. Exploded into wings, bonnets, doors, the myth becomes the medium for fragments of existence. The motors’ roar and the horses’ galloping propel bodies and landscapes towards an imaginary made up of images from films, stories of cowboys and Indians, rock paintings and noble steeds from the brushes of Uccello and Géricault…\nBut the horses of Fletcher Street are no thoroughbreds. They live at the poverty line in an economy of every-man-for-himself. The video projected on the car bonnet shows this. We are in a rear courtyard. We can hear the strained exchange between the horse dealer and the moneyless buyer. The horse is frightened, a victim of the transaction and its tension. Just to the side, Mohamed Bourouissa has installed a sculpture. Its neon, a luminous unicorn horn, lights up another direction. The fantastic animal opens the way to the possibility of utopia, invention, change. Like Rossinante, Don Quixote’s nag, it trots towards visions that modify the limit between the hallucinated imaginary and the reinvented real. Borders that Mohamed Bourouissa endlessly redraws as he re-writes the world.\n\nAnnabelle Gugnon","2015-10-17T10:50:00+00:00","2015-12-05T11:50:00+00:00",[],{"id":2454,"slug":2455,"title":2456,"customTitle":1366,"defaultTitle":2457,"overrideHeading":420,"url":2458,"tagline":420,"thumbImage":2459,"locations":2472,"category":2481,"description":2483,"startDate":2484,"endDate":2485,"type":236,"showForm":732,"form":2486,"__typename":1941},"114807","maquettes-1983-2015","Tadashi Kawamata - Maquettes 1983-2015","Maquettes 1983-2015","https://www.mennour.com/exhibition/maquettes-1983-2015",[2460],{"id":2461,"url":2462,"jpg16":2463,"jpg800":2464,"jpg1600":2465,"jpg2400":2466,"jpg3200":2467,"alt":420,"title":2468,"width":2469,"height":2470,"caption":420,"mobile":2471,"__typename":679},"38573","https://dev-admin.mennour.com/uploads/img/maquettes-1983-2015.jpg","fPO|X[4nD*xujsxuM{ozaeoLt7of~qxaM{fkWBkCt7M{ozoze.ofITIVoLoLt8oz","https://dev-admin.mennour.com/uploads/img/_jpg800/maquettes-1983-2015.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/maquettes-1983-2015.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/maquettes-1983-2015.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/maquettes-1983-2015.jpg","Maquettes 1983 2015",1782,1339,[],[2473],{"title":2008,"slug":2009,"url":369,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2010,"thumbImage":2474,"city":2477,"mapLocation":2479},[2475],{"id":2013,"url":2014,"jpg16":2015,"jpg800":2016,"jpg1600":2017,"jpg2400":2018,"jpg3200":2019,"alt":420,"title":2020,"width":2021,"height":2022,"caption":420,"mobile":2476,"__typename":679},[],[2478],{"title":350,"slug":351},{"parts":2480},{"number":374,"address":367,"city":350,"postcode":356,"county":357,"country":375,"state":359},[2482],{"title":1893,"slug":528,"type":1885},"I’ve never considered my work as either sculpture or\ninstallation, it’s not what I’m interested in (…). I always say\nto myself that I’m ‘in-between’, I prefer this\nfloating category, I’m in-between architecture and sculpture,\nor in-between architecture and the environment. [1]\n[1] Interview with Frederic Migayrou in Kawamata, catalogue, Atelier\nCalder, Orléans; CCC, Tours, 1994, p. 112\nIn Tadashi Kawamata’s studio, you will find paper cutouts alongside\nmaquettes, constructions made out of cardboard together with\nscavenged objects. Kawamata works alone on his maquettes, and if his\nspectacular and monumental interventions are conceived in a spirit of\nparticipation, this initial period of introspection is just as important in his\nwork as the later stage of construction. He works with immense\nconcentration, tirelessly searching for inspiration and meditation.\nKawamata always reserves a decisive part of the production process\nfor his maquettes, which he sees as veritable microcosms of the world,\nof his world.\nFreed from the bounds of rules and models, his maquettes are\nnonetheless underpinned by the same mechanisms as produce his built\nworks. With their variations in scale and material, they illustrate his\nmethods, his systems for construction, the way he plays with assembling\nforms from scrap materials. They also reflect his acute sense of the\nephemeral, his ongoing desire to transform existing pieces of\narchitecture, to dissolve the boundary between inside and outside,\nbetween public and private. At once models for thought, tools for\nexploration, and imaginary landscapes, the maquettes bring us into the\nheart of his practice and show us his ideological and aesthetic\naspirations.\nAs tools for thought, they can intervene in the creative process and\npermit the artist to understand or further develop his project. Favela\nno. 1 attests to his fascination with the endless cycle of construction\nand deconstruction in the favelas in Brazil. ‘The favelas, built and pulled\ndown, built and down again, are exactly what I try to capture in my\ninstallations,’ he says. ‘They are really part of the fiber of the city, while\nendlessly, organically propagating.’ With these little flat-roofed huts,\nKawamata created for Documenta 9 at Kassel a whole ghost town: a\nPeople’s garden. A veritable spatial construction, the maquette, placed\non a table and seen from above, resembles a tool for scripting the real,\nevoking past or coming experience. It brings out the incessant dialogues\nand journeys taking place in Kawamata’s practice between the\nmaquette and the finished construction. The same is true of the\nmaquette for the Maison des squatters, which bears witness to the\nstructure—a veritable movement of horizontal expansion—that\nKawamata and his students assembled around a squat.\n\nThis ‘movement that creates another, and then another’ breathes\ndisorder into the order of the ready-built, and demonstrates in a\nspectacular manner the artist’s refusal of all fixed situations.\nConsiderations about when a work is finished or unfinished enter into\nnone of his constructions; it is their potential for being acted upon and\nacting upon the space that alone is allowed to determine how they\ndevelop.\nThe maquette could also be the copy of a copy, the reproduction of an\nimagined real. There is something mysterious about the Bruges Tree Huts,\nthese little houses in the air inviting you to escape from reality. Clearly,\neach hut is also a poetic object, a short form, a suspended, architectural\nhaiku. They become sculptures without ever losing their character as\nshelter, as hideaway.\nKawamata endlessly blurs the boundaries between the represented\nobject and the constructed object. He creates houses that look like\nmaquettes and maquettes that look like drawings. In their tangled play,\nall of them attest to the complex and proliferating economy of his\nstudio work, but also to his back-and-forth between solitary and\ncollective making, between his imaginary world and real space.\n\nMouna Mekouar\n1\nMarie-Ange Brayer, « Kawamata : Constructions Nomades », Kawamata,\ncatalogue, Atelier Calder, Orléans ; CCC, Tours, 1994, p. 8","2015-09-12T17:05:00+00:00","2015-10-10T17:05:00+00:00",[],{"id":2488,"slug":2489,"title":2490,"customTitle":1220,"defaultTitle":1220,"overrideHeading":420,"url":2491,"tagline":420,"thumbImage":2492,"locations":2505,"category":2514,"description":2516,"startDate":2517,"endDate":2518,"type":236,"showForm":732,"form":2519,"__typename":1941},"114821","david-hominal-2015","David Hominal - David Hominal","https://www.mennour.com/exhibition/david-hominal-2015",[2493],{"id":2494,"url":2495,"jpg16":2496,"jpg800":2497,"jpg1600":2498,"jpg2400":2499,"jpg3200":2500,"alt":420,"title":2501,"width":2502,"height":2503,"caption":420,"mobile":2504,"__typename":679},"38582","https://dev-admin.mennour.com/uploads/img/david-hominal-2015.jpg","fCL|y6PA0fkW-6,?~qofRjfQbHfk01#,^On%J:K5?boKRjj[WAWCL#NwI;WoZ~nO","https://dev-admin.mennour.com/uploads/img/_jpg800/david-hominal-2015.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/david-hominal-2015.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/david-hominal-2015.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/david-hominal-2015.jpg","David hominal 2015",1805,1338,[],[2506],{"title":2008,"slug":2009,"url":369,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2010,"thumbImage":2507,"city":2510,"mapLocation":2512},[2508],{"id":2013,"url":2014,"jpg16":2015,"jpg800":2016,"jpg1600":2017,"jpg2400":2018,"jpg3200":2019,"alt":420,"title":2020,"width":2021,"height":2022,"caption":420,"mobile":2509,"__typename":679},[],[2511],{"title":350,"slug":351},{"parts":2513},{"number":374,"address":367,"city":350,"postcode":356,"county":357,"country":375,"state":359},[2515],{"title":1893,"slug":528,"type":1885},"The infinite is there. Each painting in David Hominal’s third solo exhibition at Kamel Mennour is a manifestation. He has opened up a space of origin, where the inside and the outside are brought respectively into question. One is faced with a kind of birth, an opening, the cave and the gates of light, a return to the matrix,\nsketching across the walls of the gallery the forms of a world to know, translating experiences and phenomena into signs.\n\nHominal’s canvases form a group of façades whose rhythm is a vital throb. You hear the painting before you see it. The repeating patterns are like so many chants, you perceive the colours in their tonalities, the gestures in the paint as thrusts of a single momentum. Windows attempt to delimit, frame, order a passage within this flow. But within what spacetimes exactly? ‘A painting,’ Leon Battista Alberti wrote in the fifteenth century, ‘is a window onto the world.’ The borders of the canvases might have echoed this affirmation if the painting within them didn’t itself deny it.\n\n‘Monochrome is the way I enter into the space of colour,’ says the Franco-Suisse Hominal. This monochromatic space, forming the background to each of his paintings, makes the infinite present. It is the very place where life forms, informs itself, deforms—dies and is reborn. As Vincent van Gogh said: ‘There is something infinite in painting […] There are hidden harmonies or contrasts in colours which involuntarily combine to work together and which could not possibly be used in another way.’The mystery of colour is ontological before it is visual. Hominal’s paintings take us to that level, where they ask the question of the real. The window is its frame. It appears here in the foreground, open or closed, flooded with lemon yellow light or lost in a Rayogram grey. The window is the space that makes it possible to encounter the real, that ‘irruption of reality’ spoken of by Gerhardt Richter. Hominal’s magisterial intuition shows us that the real is not accessible if not through fantasy, that little paperback narrative we each tell ourselves according to our own singularity. In other words, there is no access to the infinite if not through the window. To enter it is to be able to call home the fire of those dancing patterns that Hominal brings back to us from far, far away. They are so much\ntreasure, the fruits of a primal journey where painting has saved the artist from drowning in colour.\n\nAnnabelle Gugnon","2015-09-12T09:10:00+00:00","2015-10-10T09:10:00+00:00",[],{"id":2521,"slug":2522,"title":2523,"customTitle":2523,"defaultTitle":2523,"overrideHeading":420,"url":2524,"tagline":2525,"thumbImage":2526,"locations":2538,"category":2547,"description":2549,"startDate":2550,"endDate":2551,"type":236,"showForm":732,"form":2552,"__typename":1941},"114839","heroes-for-imagine-i","Heroes for Imagine I","https://www.mennour.com/exhibition/heroes-for-imagine-i","Exceptionnal charity auction for the Imagine Institute",[2527],{"id":2528,"url":2529,"jpg16":2530,"jpg800":2531,"jpg1600":2532,"jpg2400":2533,"jpg3200":2534,"alt":420,"title":2535,"width":2536,"height":2470,"caption":420,"mobile":2537,"__typename":679},"38595","https://dev-admin.mennour.com/uploads/img/heroes-for-imagine-i.jpg","f9K-qP-;00?b9FD%~q%LM{9Ft8s:004nRk?bIUxvjc%N%NIUx]%M?vIAD%x]t7IT","https://dev-admin.mennour.com/uploads/img/_jpg800/heroes-for-imagine-i.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/heroes-for-imagine-i.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/heroes-for-imagine-i.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/heroes-for-imagine-i.jpg","Heroes for imagine i",1807,[],[2539],{"title":2198,"slug":2199,"url":377,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2200,"thumbImage":2540,"city":2543,"mapLocation":2545},[2541],{"id":2203,"url":2204,"jpg16":2205,"jpg800":2206,"jpg1600":2207,"jpg2400":2208,"jpg3200":2209,"alt":420,"title":2210,"width":2211,"height":2211,"caption":420,"mobile":2542,"__typename":679},[],[2544],{"title":350,"slug":351},{"parts":2546},{"number":382,"address":383,"city":350,"postcode":384,"county":357,"country":358,"state":359},[2548],{"title":1893,"slug":528,"type":1885},"Photos-souvenirs","2015-09-04T16:10:00+00:00","2015-09-09T16:10:00+00:00",[],{"id":2554,"slug":2555,"title":2556,"customTitle":2556,"defaultTitle":2556,"overrideHeading":420,"url":2557,"tagline":2558,"thumbImage":2559,"locations":2572,"category":2581,"description":420,"startDate":2583,"endDate":2584,"type":236,"showForm":732,"form":2585,"__typename":1941},"114847","double-eye-poke","Double Eye Poke","https://www.mennour.com/exhibition/double-eye-poke","Curated by Béatrice Gross",[2560],{"id":2561,"url":2562,"jpg16":2563,"jpg800":2564,"jpg1600":2565,"jpg2400":2566,"jpg3200":2567,"alt":420,"title":2568,"width":2569,"height":2570,"caption":420,"mobile":2571,"__typename":679},"38611","https://dev-admin.mennour.com/uploads/img/double-eye-poke.jpg","fDG+UH0000_4M_WU~qRjIUxuayWB4n%gr^M_xvRjtQoNbYRPxuofM{a#ozRPt6t7","https://dev-admin.mennour.com/uploads/img/_jpg800/double-eye-poke.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/double-eye-poke.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/double-eye-poke.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/double-eye-poke.jpg","Double eye poke",2226,1647,[],[2573],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":2574,"city":2577,"mapLocation":2579},[2575],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":2576,"__typename":679},[],[2578],{"title":350,"slug":351},{"parts":2580},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2582],{"title":1893,"slug":528,"type":1885},"2015-05-27T10:50:00+00:00","2015-07-25T10:50:00+00:00",[],{"id":2587,"slug":2588,"title":2589,"customTitle":778,"defaultTitle":2590,"overrideHeading":420,"url":2591,"tagline":420,"thumbImage":2592,"locations":2604,"category":2613,"description":2615,"startDate":2616,"endDate":2617,"type":236,"showForm":732,"form":2618,"__typename":1941},"114857","paysages-a-circadiens","Hicham Berrada - Paysages a circadiens","Paysages a circadiens","https://www.mennour.com/exhibition/paysages-a-circadiens",[2593],{"id":2594,"url":2595,"jpg16":2596,"jpg800":2597,"jpg1600":2598,"jpg2400":2599,"jpg3200":2600,"alt":420,"title":2590,"width":2601,"height":2602,"caption":420,"mobile":2603,"__typename":679},"38615","https://dev-admin.mennour.com/uploads/img/paysages-a-circadiens.jpg","W40Al4ehZLgSk@ekbhfRjAf4a+f:e5g8gSePemg7jCffa%fmkYe%","https://dev-admin.mennour.com/uploads/img/_jpg800/paysages-a-circadiens.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/paysages-a-circadiens.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/paysages-a-circadiens.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/paysages-a-circadiens.jpg",4920,3280,[],[2605],{"title":2008,"slug":2009,"url":369,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2010,"thumbImage":2606,"city":2609,"mapLocation":2611},[2607],{"id":2013,"url":2014,"jpg16":2015,"jpg800":2016,"jpg1600":2017,"jpg2400":2018,"jpg3200":2019,"alt":420,"title":2020,"width":2021,"height":2022,"caption":420,"mobile":2608,"__typename":679},[],[2610],{"title":350,"slug":351},{"parts":2612},{"number":374,"address":367,"city":350,"postcode":356,"county":357,"country":375,"state":359},[2614],{"title":1893,"slug":528,"type":1885},"I start from the premise that everything exists in nature and that we are within it.\nHicham Berrada\n\nFor his first exhibition at the galerie kamel mennour, Hicham Berrada transforms the space into a sensorial landscape. The temperature, the light and dark, the blue sky and the night, the images and scents of flowers all appear and steal away, fade and spread, immersing the visitor in a unique experience. This scripted environment at the crossing of science and poetry, of intuition and knowledge, is based on an inverted temporal mechanism: the artist upsets the climatic conditions and the circadian rhythm of plants to create three landscapes, Azur, Céleste and Mesk-ellil2.\nHicham Berrada stages chemically activated changes and metamorphoses in his work; in so doing, he invites the visitor to experience the unique energies and forces emanating from the matter he utilizes. At the Villa Medici (September 2013-August 2014), he extended his research by creating enclosed worlds from elemental matter and bits of landscape from ore. We can see the results of this work in Azur, a suite of canvases bathed in cobalt that explores changes in the ore’s state. Overwhelmed by heat, the cobalt transforms into a vibrant material – in this extraordinary moment of pictorial metamorphosis from one state of matter to another, a big, pure sky gradually rises to the surface of the canvas. Whether this aerial landscape stabilizes or takes flight depends on the temperature: when warm, the blue spreads, and when cold, it dissolves somewhat. From the blue to the light, this partition in two – which differs from painting to painting – evokes the sun’s path towards the horizon. The cerulean reverie unites the ore and the light, the earth and the sky, and the terrestrial ore becomes a sort of inverted star, “a light from the earth”. Yet this connection is not symbolic – it is a testament to the richness of this world buried secretly in the earth, and to this “energetic work of hard substances” that, as Gaston Bachelard says, comes to life in “promised beauties3”. The artist continues to focus on this mysterious unity of matter and the heavens in the video Céleste. A thick blue smoke constituted of refined ore takes flight, moves about, and melts into a gray sky. Light is given body, the sky is colored. A fragment of blue sky gradually appears. In the thick of this aerial landscape filled with minerals, Hicham Berrada offers us “the calm to imagine” a new blue.\nFaced with these two landscapes, Hicham Berrada invites us below, to a reverie of essences. In a blue light, he devises a chiaroscuro garden where nature presents itself to us in the darkness and secretly releases its subtle scents. This botanical theater in which nature and artifice mingle takes the form of a glass pavilion with alleys of mesk-ellil (‘night musk’). This delicate flower, this five-petal star, displays its white beauty in the day. At night, in the blue of the evening, it opens, straightens up, and emits its ester. Sensual and sweet, zesty and enchanting, its scent speaks to us all night long. The work thus invites visitors to take the path from which the perfume emanates. The artist lyrically manipulates the climatic parameters and the circadian rhythm to create this environment: in the day, an artificial darkness falls on the little biosphere; in the evening, horticultural lighting provides the plants with the necessary illumination. A veritable dream factory, this transfiguration of day into night, the inversed life of these flowers, and the profusion of perfumes awaken the senses and emotions as they transport visitors from the gallery space to somewhere beyond.\nPoetic and illusory, this small parcel of a world constitutes a closed ecosystem together with Azur. Indeed, each contributes to constitute the other. The humidity emanating from the plants below acts on the environment of Azur and the heat from the paintings above affects the garden in turn. This exhibition divided into successive, cross-fertilizing scenes invites visitors to take a poetic voyage in time and space, to a world both alive and inert, to unknown regions where nature, matter, and creation meet.\n\n© Mouna Mekouar\n\n\n The circadian rhythm is the set of biological events that occur every 24 hours in living organisms.\n2 The vernacular for Cestrum nocturnum in the Maghreb.\n3 Gaston Bachelard, La terre et les rêveries de la volonté [Earth and Reveries of Will], Paris, Librairie José Corti, [1948] 2004, p. 13.","2015-03-27T16:30:00+00:00","2015-05-13T15:30:00+00:00",[],{"id":2620,"slug":2621,"title":2622,"customTitle":2622,"defaultTitle":2622,"overrideHeading":420,"url":2623,"tagline":2624,"thumbImage":2625,"locations":2637,"category":2646,"description":2648,"startDate":2649,"endDate":2650,"type":236,"showForm":732,"form":2651,"__typename":1941},"114867","for-real","For Real","https://www.mennour.com/exhibition/for-real","Curated by Anne Pontégnie",[2626],{"id":2627,"url":2628,"jpg16":2629,"jpg800":2630,"jpg1600":2631,"jpg2400":2632,"jpg3200":2633,"alt":420,"title":2634,"width":1422,"height":2635,"caption":420,"mobile":2636,"__typename":679},"38624","https://dev-admin.mennour.com/uploads/img/for-real.jpg","fDL}BD^,of%M?wWA~pWYo#RioeWV00aw-;ogIUWBxuRkkCt7Rjt7%2xuIUIot7WB","https://dev-admin.mennour.com/uploads/img/_jpg800/for-real.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/for-real.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/for-real.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/for-real.jpg","For real",2635,[],[2638],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":2639,"city":2642,"mapLocation":2644},[2640],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":2641,"__typename":679},[],[2643],{"title":350,"slug":351},{"parts":2645},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2647],{"title":1893,"slug":528,"type":1885},"Group Show\nwith Daniel Buren, Valentin Carron, Camille Henrot, David Hominal, Alex Hubbard, Sergej Jensen, Yves Klein, Jutta Koether, Mathieu Malouf, Helen Marten, Pablo Picasso, Robert Rauschenberg, Kurt Schwitters, Daniel Spoerri, Fredrik Værslev\n\nPhotos-souvenirs","2015-03-27T11:05:00+00:00","2015-05-13T10:05:00+00:00",[],{"id":2653,"slug":2654,"title":2655,"customTitle":840,"defaultTitle":2656,"overrideHeading":420,"url":2657,"tagline":2658,"thumbImage":2659,"locations":2672,"category":2681,"description":2683,"startDate":2684,"endDate":2685,"type":236,"showForm":732,"form":2686,"__typename":1941},"114880","daniel-buren-au-fur-et-a-mesure-travaux-in-situ-et-situes","Daniel Buren - Au fur et à mesure","Au fur et à mesure","https://www.mennour.com/exhibition/daniel-buren-au-fur-et-a-mesure-travaux-in-situ-et-situes","Travaux in situ et situés",[2660],{"id":2661,"url":2662,"jpg16":2663,"jpg800":2664,"jpg1600":2665,"jpg2400":2666,"jpg3200":2667,"alt":420,"title":2668,"width":2669,"height":2670,"caption":420,"mobile":2671,"__typename":679},"38633","https://dev-admin.mennour.com/uploads/img/daniel-buren-au-fur-et-a-mesure-travaux-in-situ-et-situes.jpg","nCO|Ox-=Kq%eR8}^s:u0kUVvQwoMOkbFV@^,s;I-WCtQITj[oNRk%L%faeoNa#x[","https://dev-admin.mennour.com/uploads/img/_jpg800/daniel-buren-au-fur-et-a-mesure-travaux-in-situ-et-situes.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/daniel-buren-au-fur-et-a-mesure-travaux-in-situ-et-situes.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/daniel-buren-au-fur-et-a-mesure-travaux-in-situ-et-situes.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/daniel-buren-au-fur-et-a-mesure-travaux-in-situ-et-situes.jpg","Daniel buren au fur et a mesure travaux in situ et situes",1679,2264,[],[2673],{"title":2008,"slug":2009,"url":369,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2010,"thumbImage":2674,"city":2677,"mapLocation":2679},[2675],{"id":2013,"url":2014,"jpg16":2015,"jpg800":2016,"jpg1600":2017,"jpg2400":2018,"jpg3200":2019,"alt":420,"title":2020,"width":2021,"height":2022,"caption":420,"mobile":2676,"__typename":679},[],[2678],{"title":350,"slug":351},{"parts":2680},{"number":374,"address":367,"city":350,"postcode":356,"county":357,"country":375,"state":359},[2682],{"title":1893,"slug":528,"type":1885},"Photos-souvenirs \n\nMarble, rock, granite, and graphite are the materials and colors of Daniel Buren’s fourth exhibition at galerie kamel mennour. “Bit by Bit: In Situ and Situated Works” is the title of this latest showing by the French artist known around the world for his poetic interpretations and architectural subversions – be they ephemeral or enduring – of places both public and private, from the Pompidou Centre in Paris to the Guggenheim in New York, and more generally from Europe and North America to South America, by way of Guadalajara and Mexico, as well as Africa and Asia.\nWith “Bit by Bit: In Situ and Situated Works”, Daniel Buren assesses, surveys, and gives geometrical form to a site – the space on the rue du Pont de Lodi where he showed in 1983. The gallery space at that time belonged to Eric Fabre and the show was entitled “Auparavant” [Back Then], now the subject of a conspiratorial wink, an “opening” in the window of the galerie kamel mennour, the form of which has not changed.\nThis encounter between past and present draws our attention to the spatiotemporal sweep of Daniel Buren’s work, which has touched us and transformed the perception we have of art, space, and our environment over the past fifty years. The constancy of his “visual tool” (the famous 8.7cm alternating stripes) enables the audacity of his ever-changing originality.\nEvery site to which Daniel Buren turns his artistic gaze is opened to unprecedented perspectives, reoriented by playful diffraction, and amplified by luminous projections... He makes us lose the compass of the commonplace, he awakens our curiosity and inventiveness by disturbing habits and blindnesses. Because the world has need of us, it is not determined once and for all – it moves between signs and forces, it limits itself, starts anew, breathes... And art is the beating heart of this infinite recomposition. As the philosopher Maurice Merleau- Ponty wrote, “the language of painting is never [...] ‘instituted by nature’; it must be made and remade. The perspective of the Renaissance is no infallible ‘gimmick.’\nIt only one particular case, a date, a moment in a poetic information of the world 1\nwhich continues after it.”\nThe foundation of Daniel Buren’s artistic approach is expressed and implemented by the phrase “in situ”: “To my mind, it means that there is a purposefully accepted connection between the venue and the ‘work’ that is made, occurs, and\nis exhibited there. This is true of all my work without exception, here and 2\nelsewhere, since 1965.”\nIn other words, in situ is a commitment made by the entirety of Daniel Buren’s body of work to the here and now, which are very particular words, as they are dependent on the context in which they are pronounced to derive meaning. This artistic stance is of great import. It evades the most persistent and the most prestigious preconceptions. Thus Daniel Buren’s 1971 work at the Guggenheim Museum in New York made a profound impact on the history of art. Participating in the “Guggenheim International” group exhibition, he hung a twenty meter long, ten meter wide blue and white striped banner in the center of Frank Lloyd Wright’s spiral structure. This subversion of the space caused American artists Dan Flavin and Donald Judd in particular to protest that the banner be banned, claiming that their works were compromised in contact with this “Peinture- Sculpture. Work In Situ”... In 2005, Buren was invited back to the famous New York museum for a three-month solo show occupying the entire space (“The Eye of the Storm: Works In Situ by Daniel Buren”). Among other works, he built two 30-meter-tall walls joined at a right angle and covered in mirrors animated by the play of light from the rose window skylight, whose every other panel was covered with transparent magenta filters.\nIn situ is an artistic choice, but it is also an ethical one. It promotes a rigorous relationship between the artist and the world. The work is no longer subjected to the external world, but foregrounds the intimate creative imagination and the exploration of fresh perspectives. As such, the fixed work gives way to the work in process, which reinvents the space rather than being overshadowed by it. Obsolete arrangements are challenged to be measured in new light; perception rediscovers its powers of transformation. Daniel Buren’s in situ contributes to the reinvention of the world.\nAnnabelle Gugnon\n_\n1. Maurice Merleau-Ponty “Eye and Mind”, trans. James M. Edie, in The Primacy of Perception: And Other Essays on Phenomenological Psychology, the Philosophy of Art, History and Politics, Northwestern University Press 1964.\n2. Daniel Buren, Mot à mot, Ed. Centre Pompidou, Ed. Xavier Barral, Ed. de La Martinière, 2002.\nBorn in Boulogne-Billancourt, France in 1938, Daniel Buren lives and works in situ.","2015-01-24T14:55:00+00:00","2015-03-21T14:55:00+00:00",[],{"id":2688,"slug":2689,"title":2690,"customTitle":906,"defaultTitle":2691,"overrideHeading":420,"url":2692,"tagline":420,"thumbImage":2693,"locations":2706,"category":2715,"description":2717,"startDate":2718,"endDate":2719,"type":236,"showForm":732,"form":2720,"__typename":1941},"114893","l-autoroute-du-soleil-a-minuit","Valentin Carron - L'autoroute du soleil à minuit","L'autoroute du soleil à minuit","https://www.mennour.com/exhibition/l-autoroute-du-soleil-a-minuit",[2694],{"id":2695,"url":2696,"jpg16":2697,"jpg800":2698,"jpg1600":2699,"jpg2400":2700,"jpg3200":2701,"alt":420,"title":2702,"width":2703,"height":2704,"caption":420,"mobile":2705,"__typename":679},"38645","https://dev-admin.mennour.com/uploads/img/l-autoroute-du-soleil-a-minuit.jpg","WPMa6I4T%N?v.8of~XRPxut7a}t7%f-=M{IUM{t7WVx]ofRPt7WB","https://dev-admin.mennour.com/uploads/img/_jpg800/l-autoroute-du-soleil-a-minuit.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/l-autoroute-du-soleil-a-minuit.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/l-autoroute-du-soleil-a-minuit.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/l-autoroute-du-soleil-a-minuit.jpg","L autoroute du soleil a minuit",1728,1152,[],[2707],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":2708,"city":2711,"mapLocation":2713},[2709],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":2710,"__typename":679},[],[2712],{"title":350,"slug":351},{"parts":2714},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2716],{"title":1893,"slug":528,"type":1885},"From the Sacred to the Profane and Back\nValentin Carron interrogates and reassesses art. Between interpretation, jest, and subversion, he makes fluid the reverential glaze. He traces the lines of a temple – of a mental architecture whose dimensions are known to him – to incite profanation. One of these lines is the return of the readymade: while the urinal entered the museum, Carron brings out masterpieces in the common vernacular. Vernacular? He gave an exact definition at his exhibition at the Palais de Tokyo in 2010: “An architectural form proper to a given geographical zone and period. Adapted to the climatic conditions of the region and the population’s uses.” And thus in 2002 we find Fernand Léger reinterpreted by Jo Style, an artisan from the Swiss canton of Valais, where Carron was born and now works.\nNormally, Jo Style makes “paintings on animal pelts, stretched with leather straps on frames made from tree branches.”1\nCarron commissions these same works, but asks that the usual designs be replaced with ones made by Fernand Léger. The profanation is consummated, the freedom to envisage art and the history of art are rediscovered.\n“The passage from the sacred to the profane can, in fact, also come about by means of an entirely inappropriate use (or, rather, reuse) of the sacred: namely, play. It is well known that the spheres of play and the sacred are closely connected,” writes the philosopher Giorgio Agamben.2\nValentin Carron wants to keep this playground open, since it is also the domain of creation. He walks into this territory with worn out socks, as evidenced by the glass sculptures that resonate with Magritte’s painting “Jean-Marie”, from his Vache period, in which the hen thief Jean-Marie makes his getaway with a peg leg… Indeed, Carron always saddles distinction with signs of degradation in his work, as though it were in order to maintain the hardiness of opposing poles, which is necessary to movement. Movement, contrary to the aspirations of the Futurists, is itself hampered, as is suggested by the readymade Piaggio “Ciao” – a low-horsepower moped shown in the courtyard of the Swiss Pavilion during the 2013 Venice Biennial.\nFor his first solo show at the galerie kamel mennour, the Swiss artist enters into dialogue with the architecture of the space, presenting a typical barn façade from whose openings seep out the uncanny of the repressed familiar: stories, fears, secrets that wander like ghosts pushed back behind the scenes of the truth. Near this façade – from which the unexpected might jump out at any time – the glass belts hanging from the picture rail hiss like the 80-meter-long wrought iron snake that welcomed visitors to the Swiss Pavilion at the Venice Biennial. Carron’s belt-snakes, like those that Botticelli drew to represent the Furies in Dante’s Divine Comedy, curl around one another in ordinary twists. They are frozen in glass of various colors yet retain their appearance of flexibility, and this opposition brings them to life. They look out on the space and provide welcome, telling domestic stories and distinguishing themselves by their exceptional craftsmanship. Carron cultivates contrasts – they allow for this movement between two terms that is so essential to his work.\nFurther inside the gallery sits “The great object”. This markedly postmodern sculpture is an identical copy of a work by André Gigon, a Swiss artist from the 1950s. The original sculpture, entitled “Le Grand Objet”, didn’t make its mark on the history of art, winding up a piece of urbane decoration; and so to give it another chance, Carron appropriated the piece, recreating it with artificial materials.\nAs such, it becomes the mirror of the original, its interpretation – its translation, as Carron says: “I believe I’ve invented translation in the visual arts. A little like interpretation in classical music – interpretation which is not composition.” Replicating, duplicating, and multiplying is no longer a choice in today’s world, it is utterly commonplace. Carron signals this by translating the work’s original title into Globish, “The great object”. This “verbal color”, as Marcel Duchamp put it 3, makes manifest the contemporary palette, ranging as it does from pixel to globalization, while continuing to radically pose the question of artistic creation and its role in the world. For Valentin Carron, modernism didn’t keep its promises of a better world. What are the issues of art today? Of what sacred spheres will he be \nthe guardian?\n\nAnnabelle Gugnon\n_\n1. Valentin Carron, interview with Fabrice Stroun, “Do, ré, mi, fa, sol, la, si, do”, exhibition\ncatalogue from the Bern Kunsthalle, 2014.\n2. Giorgio Agamben, “Profanations”, trans. Jeff Fort, Zone Books, 2007.\n3. “Marcel Duchamp parle des ready-made”, interview with Philippe Collin on 21 June\n1967, L’Échoppe, 1998.","2015-01-24T14:10:00+00:00","2015-03-21T14:10:00+00:00",[],{"id":2722,"slug":2723,"title":2724,"customTitle":819,"defaultTitle":2725,"overrideHeading":420,"url":2726,"tagline":420,"thumbImage":2727,"locations":2740,"category":2749,"description":2751,"startDate":2752,"endDate":2753,"type":236,"showForm":732,"form":2754,"__typename":1941},"114901","alger-jours-blancs","Marie Bovo - Alger, jours blancs","Alger, jours blancs","https://www.mennour.com/exhibition/alger-jours-blancs",[2728],{"id":2729,"url":2730,"jpg16":2731,"jpg800":2732,"jpg1600":2733,"jpg2400":2734,"jpg3200":2735,"alt":420,"title":2736,"width":2737,"height":2738,"caption":420,"mobile":2739,"__typename":679},"38657","https://dev-admin.mennour.com/uploads/img/alger-jours-blancs.jpg","fVNAk+~VWBayxu%M~qoLRiWARjR*D%-;aef5RjM{Rjofogj?ofoeRjRiozoft7of","https://dev-admin.mennour.com/uploads/img/_jpg800/alger-jours-blancs.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/alger-jours-blancs.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/alger-jours-blancs.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/alger-jours-blancs.jpg","Alger jours blancs",2301,1632,[],[2741],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":2742,"city":2745,"mapLocation":2747},[2743],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":2744,"__typename":679},[],[2746],{"title":350,"slug":351},{"parts":2748},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2750],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present ‘Alger, jours blancs’, Marie Bovo’s fourth solo exhibition at the gallery.\n« The Mediterranean coast is connected to people, to the history of civilizations and cultures. Each beach looks like it keeps Ulysses’ footsteps. The Lofoten coast brings to mind Moby Dick. Before my trip, I knew one text about Lofoten that I had read some years ago — \"A Descent into the Maelström,\" the short story by Edgar Allan Poe.\nI knew that Captain Nemo wanted to vanish with the Nautilus in 1\nLofoten. » Marie Bovo\nWith the photographic series Jours blancs2 and Alger, Marie Bovo places exterior landscapes in relation with interior landscapes, emanating as these do from the images on display. She leads us back and forth between one world and another, showing in the process the traces and figures that emerge in the dialogue between people and their environment.\nJours blancs evokes the brightness of the nights beyond the polar circle, on the Lofoten Islands in Norway. This series, produced to the rhythm of the midnight sun—that almost metaphysical night one encounters in the Nordic latitudes—sustains that rare phenomenon, that of the eternal day, light resisting darkness. Water, air, light: these images invite us to plunge suddenly into elements that meet only to disappear into the horizon. These immense images, bathed in a white light, with their rainbow sheen, are all photographed in the same way, with the same proportion of sky and sea, and at regular moments of the night. Before these calming variations of white, the gaze seems to lose itself in the brightness of the Nordic night. “One goes to the Lofoten Islands in order to disappear,’ says Marie Bovo. Strangely luminous and evanescent, these silent landscapes, seemingly empty, are transformed into spaces of contemplation and meditation. At the same time, the beauty of the light and their very peculiar chromatic softness lend her works a sort of timelessness. ‘I have spent hours and hours observing the landscape, looking for nuances. I basically don’t know if I have spent ten days or one eternal day,’ she adds. Her poetic experience of this polar world, of these border regions, have given her a chance to escape from time. Slowly and surely, with her view camera she examines the landscape in order to bring forth its density. The landscape is no longer looked at, it is plumbed. These images give the impression not only of having been taken in the midst of duration, but of continuing to unfold their present before our eyes. In this spectacle of a wilderness of unreal beauty, in this impression one has of spatial and temporal infinity, Marie Bovo seems to identify the only possible eternity. An eternity here and now, present in such moments of rapture and\nbedazzlement. In this sense, ‘It has been recovered. / What? – 3\nEternity. / It’s the sea mixed / With the sun.’\nIt is a sea then, forever rebegun, unfinished and unfinishable, that she photographs. A sea that comes forth through light, following the perpetual back and forth of flux and reflux, of loss and recovery. It is also an interior sea. Visible and invisible, it fills and escapes us. Without beginning or end, it floods and overwhelms us.\n--\n1 Zeke Turner, « Spaces outside time, An Interview with Marie Bovo », Different Lights Lofoten, Teknisk Industri AS, Oslo, 2013, n. pag.\n2 A nuit blanche is an all-nighter. A jour blanc suggests then both a ‘white day’ and an endless one. [Ndt.]\n3 Arthur Rimbaud, « Alchimie du Verbe », Une saison en enfer, Délires II, 1873, in Œuvres, Paris, Bordas, 1991, p. 232-233.\nOpposite these landscapes endlessly modelled and recomposed by light, Marie Bovo offers images that behave like sequences in an unreal film. Images that immerse us in the profound silence of a city. This introspective dynamic is visually carried out here through the repetition of a single motif—the photographed window—in an apartment in Algiers, at different time intervals. She has created isolated images of great formal stability. Repetition and difference together make up the essential element of this work. Playing with such a variation on a single theme, the photographer directs everything at her disposal towards sculpting and reifying these windows through the play of light. The effect is made stronger by the rules of presentation in force here: the bare, austere record of the place; the refusal of anecdote; the format and the angles she has chosen.\nWith no promise of release, without perspective, these windows seem to look back at us with the oblique gaze of icons. Themselves trapped within the windows’ frames, the next-door buildings’ facades appear as it were outfaced. Thus the space works like a mechanism for enclosing the back-and-forth of gazes passing between here and over there, inside and outside. The open windows act upon the interior space, inverting the relation between inside and outside. This experience of the outside reveals its deep relation with that of the inside, for the interior becomes exterior, all the while remaining inside. A visual shock. Spaces collide at one moment, only to absorbe one another the next: a tension that\nHenri Michaux underlines when he evokes the ‘horror inside / 4\noutside that is real space’. Such a group of images radiates with a theatrical and symbolic conception of space. This metaphoric conception—of a mental space at once fictive and experienced— invites the viewer to dive into a world, into an interstitial space between presence and absence, between inside and outside. These spaces become mute, these interior places call out to and demand thought, which soon seems to float. Time finds itself paradoxically suspended, immobile. Architectural vanities, these perspectives embody the borders between two worlds, between our imaginary and reality, between the inside and the outside.\nThus Marie Bovo’s photographic writing sets up a profound relationship with its environment. With her views of Algiers but also her seascapes, she reveals an interior world. A world in which inside/outside, interior/exterior cannot be separated. In her work, there is systematically an exteriorisation beginning in the inside, and an interiorisation beginning in the outside. She plays on this reciprocity to sound the inexpressible, and to open timeless breaches in the contingent experience of the world.\nMouna Mekouar\n\n\n--\n4 Henri Michaux, « L’espace aux ombres », Nouvelles de l’étranger, Paris, Mercure de France, 1952, p. 91.\nBorn in 1967 in Alicante in Spain, Marie Bovo lives and works in Marseille.\nHer work has been shown in solo exhibitions at the Institut français de Madrid, the Maison Européenne de la Photographie in Paris, at the CCC in Tours, at Luis Serpa Projectos in Lisbon, at the Collections de Saint-Cyprian, at the Musée d’art contemporain de Marseille and at the Fondation ERA in Moscow.\nMarie Bovo has also participated in numerous group exhibitions: at the Museum of Contemporary Art in Chicago, at Maxxi in Rome, the Institut Culturel Bernard Magrez in Bordeaux as well as for the Venice, Busan and Thessaloniki Biennales, and the Milan Triennale. She will have a solo exhibition at the FRAC Provence- Alpes-\nCôte d'Azur in Spring 2015.","2014-11-29T14:05:00+00:00","2015-01-17T14:05:00+00:00",[],{"id":2756,"slug":2757,"title":2758,"customTitle":2758,"defaultTitle":2758,"overrideHeading":420,"url":2759,"tagline":420,"thumbImage":2760,"locations":2773,"category":2782,"description":2784,"startDate":2785,"endDate":2786,"type":236,"showForm":732,"form":2787,"__typename":1941},"114908","food","Food (& other series)","https://www.mennour.com/exhibition/food",[2761],{"id":2762,"url":2763,"jpg16":2764,"jpg800":2765,"jpg1600":2766,"jpg2400":2767,"jpg3200":2768,"alt":420,"title":2769,"width":2770,"height":2771,"caption":420,"mobile":2772,"__typename":679},"38664","https://dev-admin.mennour.com/uploads/img/food.jpg","f9K^~e4.00~XE1n~^+MxWroL%Mof*0%N%MM{-;WC-=%MM{IUt7kC00tR?vjFW=oc","https://dev-admin.mennour.com/uploads/img/_jpg800/food.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/food.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/food.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/food.jpg","Food",2289,1709,[],[2774],{"title":2008,"slug":2009,"url":369,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2010,"thumbImage":2775,"city":2778,"mapLocation":2780},[2776],{"id":2013,"url":2014,"jpg16":2015,"jpg800":2016,"jpg1600":2017,"jpg2400":2018,"jpg3200":2019,"alt":420,"title":2020,"width":2021,"height":2022,"caption":420,"mobile":2777,"__typename":679},[],[2779],{"title":350,"slug":351},{"parts":2781},{"number":374,"address":367,"city":350,"postcode":356,"county":357,"country":375,"state":359},[2783],{"title":1893,"slug":528,"type":1885},"“I strongly believe in the democratic nature of photography – in its ability to be both a popular and an artistic medium.” This credo serves as the compass of photographer Martin Parr, whose work has been exhibited in the world’s top museums and who has been a member of the prestigious photographic cooperative Magnum Photos since 1994. English by birth (1952) and globetrotter by profession, he has spent the last forty years exploring the contemporary world as it runs, phones, consumes, eats junk food, shops in supermarkets, turns itself into a theme park, and so on. Martin\nParr reveals a thousand and one facets of globalized human stereotypes as he invites us into the subtleties of a palette of laughter that ranges from joyous to bitter – laughter to which he himself is subject in his self-portraits as middle-class anti-hero.\n\nFor his fourth solo exhibition at the galerie kamel mennour, the photographer shows two series based around London and Paris, and he covers the walls with a special wallpaper in situ. This wallpaper, made up of 250 photographs relating to food, puts the constant flow and the volatility of images of today’s world into perspective. This work is emblematic of Martin Parr’s desire to invent new ways of presenting his photographs: in museums, in the subway or other public spaces, or in books, magazines, and fanzines, adding up to some 130 publications.\n\nWho am I and where are we going? As we look at the wallpaper and the photographs exhibited, this question becomes a burning one for each visitor. Where is humanity going? Can we survive these acidic sausages and these fluorescent cakes? Martin Parr uses the colors of advertising propaganda to uncover the madness of increase, the\nfeedback squeals of defrosting, and the hazardous glare of cellophane – he means to use these garish colors as a way of bearing witness to a reality without aesthetic appeal. It is important to remember that he began photographing in black and white, before 1982, when he “converted to color”* and became one of the pioneers of the\ncurrent of New European color photography, which aligned itself with American colorists such as William Eggleston and Stephen Shore.\n\nThe food reveals itself to be a double agent, evoking life while leading to death. The uses of the present world must be illuminated, and Martin Parr documents them by collecting images that seem to be the pieces of an infinite puzzle. His framing, which cuts reality rather than circumscribing it, attests to this. Look at this lady with Chanel elegance – nothing is left of her but one flesh hand atop high heels, the rest of her body being left to chance for next time… This photo is emblematic of the rhetorical device that underpins Martin Parr’s gaze: metonymy, the part standing in for the whole. A photographed fragment sheds light on the entire world. As such, one image by Martin Parr – whether it be of mass tourism, the supermarket, or a contemporary art fair – speaks of all humanity. And while he documents a rather precise era (our own), his art finds a counterpart in that of Hieronymus Bosch through the humor of each. In “The Ship of Fools” (c. 1501), the brilliant painter depicts the human conflict between ideals and reality – the dilemma of having our heads in the clouds and our feet in the mud… While undertake to overwhelm us with this fracture, Martin Parr invites us to take fun seriously. By observing our reality through this prism, we are amused, but also inevitably think of the words of the medieval poet François Villon: “Brothers, humans, who live on after us, don’t harden your hearts and turn away.”\n\nAnnabelle Gugnon","2014-11-29T12:50:00+00:00","2015-01-17T12:50:00+00:00",[],{"id":2789,"slug":2790,"title":2791,"customTitle":1157,"defaultTitle":2792,"overrideHeading":420,"url":2793,"tagline":420,"thumbImage":2794,"locations":2807,"category":2816,"description":2818,"startDate":2819,"endDate":2820,"type":236,"showForm":732,"form":2821,"__typename":1941},"114928","yes-but-the-sea-is-attached-to-the-earth-and-it-never-floats-around-in-space-the-stars-would-turn-off-and-what-about-my-planet","Petrit Halilaj - Yes but the sea is attached to the earth and it never floats around in space. The stars would turn off and what about my planet?","Yes but the sea is attached to the earth and it never floats around in space. The stars would turn off and what about my planet?","https://www.mennour.com/exhibition/yes-but-the-sea-is-attached-to-the-earth-and-it-never-floats-around-in-space-the-stars-would-turn-off-and-what-about-my-planet",[2795],{"id":2796,"url":2797,"jpg16":2798,"jpg800":2799,"jpg1600":2800,"jpg2400":2801,"jpg3200":2802,"alt":420,"title":2803,"width":2804,"height":2805,"caption":420,"mobile":2806,"__typename":679},"38680","https://dev-admin.mennour.com/uploads/img/yes-but-the-sea-is-attached-to-the-earth-and-it-never-floats-around-in-space-the-stars-would-turn-off-and-what-about-my-planet.jpg","fIF=zU4m4-_4awog?uxcV_RhxuahRkM|IUxuofM__4ITD$%Mt7jcR}xvV^t6ofM{","https://dev-admin.mennour.com/uploads/img/_jpg800/yes-but-the-sea-is-attached-to-the-earth-and-it-never-floats-around-in-space-the-stars-would-turn-off-and-what-about-my-planet.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/yes-but-the-sea-is-attached-to-the-earth-and-it-never-floats-around-in-space-the-stars-would-turn-off-and-what-about-my-planet.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/yes-but-the-sea-is-attached-to-the-earth-and-it-never-floats-around-in-space-the-stars-would-turn-off-and-what-about-my-planet.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/yes-but-the-sea-is-attached-to-the-earth-and-it-never-floats-around-in-space-the-stars-would-turn-off-and-what-about-my-planet.jpg","Yes but the sea is attached to the earth and it never floats around in space the stars would turn off and what about my planet",2294,1710,[],[2808],{"title":2008,"slug":2009,"url":369,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2010,"thumbImage":2809,"city":2812,"mapLocation":2814},[2810],{"id":2013,"url":2014,"jpg16":2015,"jpg800":2016,"jpg1600":2017,"jpg2400":2018,"jpg3200":2019,"alt":420,"title":2020,"width":2021,"height":2022,"caption":420,"mobile":2811,"__typename":679},[],[2813],{"title":350,"slug":351},{"parts":2815},{"number":374,"address":367,"city":350,"postcode":356,"county":357,"country":375,"state":359},[2817],{"title":1893,"slug":528,"type":1885},"This is not an exhibition. This is a dream. Of the strength of those who make us Visionaries in Arthur Rimbaud’s sense of the word (“The point is to arrive at the unknown by throwing all the senses into disorder”*). Petrit Halilaj, born in Kostërrc, Kosovo in 1986, creates a world both surreal and familiar at the galerie kamel mennour. We enter into this world through astonishment, immediately finding ourselves face to face with a forest of ocarinas perched on legs as though they were trees. Breathe into them and they sing. Ocarinas are wind instruments that have been made in Kosovo since the Neolithic Era. Those composing this forest of ocarinas were modeled and then overmodeled by the artist, who undertook to learn the technique from one of the last ocarina makers in Kosovo, Shaqir Hoti, expressly for this installation.\n\nBoth the shapes and sounds of these ocarinas lead the visitor toward the extraordinary vision in the gallery’s basement. There, in an intensely pink lake edged by earth, thickets of branches, and stones, stands a horse several meters tall. On its muzzle, the artist has placed a shoka, a long, traditional belt onto which he embroidered the phrase that gives the exhibition its title:\n \n“Yes but the sea is attached to the Earth and it never floats around in space. The stars would turn off and what about my planet?”\n\nLike all dreams, the installation imagined by Petrit Halilaj presents itself as an enigma. It is a mysterious story whose every element is a world unto itself, and which each viewer is invited to people with his or her own memories, desires, and intimate horizons. Of course, all of the young artist’s works are shaped by History’s intrusions into his childhood, marked by the war in former Yugoslavia and life in an Albanian refugee camp; but for him, the essence of his work is in the establishment of new arrangements, new relationships, and the vital promises they hold. We see evidence of this in the green grass growing on sixty tons of earth from his native land, transported to the contemporary art fair in Basel (“Kostërrc”, 2011), as well as in his cohabitation with flying birds and his companion in the work he created in 2013, on the occasion of Kosovo’s first national pavilion at the Venice Biennial, “I’m hungry to keep you close. I want to find the words to resist but in the end there is a locked sphere. The funny thing is that you’re not here, nothing is”. This motivation is likewise present in “Poisoned by men in need of some love” (2013), which petitioned for the resurrection of the Museum of Natural History in Pristina, whose treasures had been left to mold in basement storage in favor of a folkloric exhibition with ideological ends. \n\nFor this new work at galerie kamel mennour, Petrit Halilaj calls on the memory of his great-great-grandfather, Baba Gan. While Halilaj never knew Baba Gan, the story of his life is part of the family mythology passed on to the artist by his raconteur grandfather. Baba Gan was a Kosovar intellectual who opened a school and who was assassinated at the beginning of the 20th century. He was regularly called on to calm quarrels and to resolve disputes. While small in stature, he imposed his role as moderator by arriving on a large white horse and wearing a traditional belt that his wife had embroidered with stories that became symbolic statements… That said, it should be noted that he made use of his gift as a peacekeeper more adeptly in the outside world than at home…\n\nThe detergent-pink lake, aside from its dreamlike power, evokes the interior of Kosovar homes, where extreme cleanliness is de rigueur whereas the public space is treated with indifference. It is as though the inhabitants search for an unsullied space by ridding their homes of the traces that they cannot purge from the public – and political – space.","2014-10-18T15:40:00+00:00","2014-11-22T16:40:00+00:00",[],{"id":2823,"slug":2824,"title":2825,"customTitle":1073,"defaultTitle":2826,"overrideHeading":420,"url":2827,"tagline":420,"thumbImage":2828,"locations":2840,"category":2849,"description":2851,"startDate":2852,"endDate":2853,"type":236,"showForm":732,"form":2854,"__typename":1941},"114943","un-mundo-traicionado","Alberto Garcia Alix - Un Mundo Traicionado","Un Mundo Traicionado","https://www.mennour.com/exhibition/un-mundo-traicionado",[2829],{"id":2830,"url":2831,"jpg16":2832,"jpg800":2833,"jpg1600":2834,"jpg2400":2835,"jpg3200":2836,"alt":420,"title":2837,"width":704,"height":2838,"caption":420,"mobile":2839,"__typename":679},"38688","https://dev-admin.mennour.com/uploads/img/un-mundo-traicionado.jpg","fRJu7U_4R.M|Rjt7_3ofV@WARjWB9F%2oJofj]RjazxuogayaxV@j]M{f6ofogog","https://dev-admin.mennour.com/uploads/img/_jpg800/un-mundo-traicionado.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/un-mundo-traicionado.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/un-mundo-traicionado.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/un-mundo-traicionado.jpg","Un mundo traicionado",918,[],[2841],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":2842,"city":2845,"mapLocation":2847},[2843],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":2844,"__typename":679},[],[2846],{"title":350,"slug":351},{"parts":2848},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2850],{"title":1893,"slug":528,"type":1885},"“What Is Isn’t What Is”\n\nSuns die and the night comes. The Spanish photographer Alberto García-Alix has chosen this night as his companion, to illuminate his life – in times of turbulence, and of intoxication, and of giddiness. For his third solo exhibition at Galerie Kamel Mennour, Alberto García-Alix reveals the new perspectives of false horizons. The “horizonte falso”, where points of reference shift and usher the real into poetry, is the position from which the photographer unsettles the visible and makes metaphoric extremes emerge.\n\nAlberto García-Alix is one of the key figures of the creative avant-garde underground (1970-1986), which, in Madrid, contributed to ousting the avatars of the Franco dictatorship, with its double time music, its formidable Political-Social Brigade, and its forty years of censorship and muzzled silence. During this time, the photographer was in an especially advantageous position, in concert halls for rock music, in bars, on his Harley Davidson, in avant-garde reviews, with filmmakers, fashion designers, and comics writers. He photographed life on the crest\nof the wave, life that was wide-awake. And above all, he lived it. His lovers, his friends, parties, sex, heroin, porn stars, speed, the city’s rumblings, the shadows falling into darkness… The prints are all in black and white: “It’s the color of my fiction.” Indeed, it’s thanks to the magic of black and white that Alberto García-Alix leads his tribe into eternity. From the singular to the universal: the lived moment is transfigured, becoming the story of the human condition. For this exhibition, the photographer offers a return to some of these vintage photos displayed in glass cases.\n\nWriting on photography, the semiologist and literary critic\nRoland Barthes spoke of punctum, the detail in a photo that\ncontains an expansive force. This detail is not intentional, but\nsignifies that the photographer was present. “The photographer’s\n‘second sight’ does not consist in ‘seeing’ but in being there,”\nBarthes writes (1). Alberto García-Alix has a gift for this second\nsight which is in fact a presence. It allows him to live and witness\nthe world poetically. The motorcycle has always been his most\npreferred access to this second sight, this sight which is more\nthan a dream – which is the essence of all his dreams, an extension\nof himself that enables the dazzling flights, the anamorphoses of\nspeed, and the optic aberrations of his work, and which is an\nintegral part of the photographer’s unsettled vision. He affirms\nthat “it’s necessary to change the angle, to change the scale,\nbecause what we believe isn’t real. And what is isn’t what is.”\nThis exhibition is an invitation to explore the interstitial moments,\nthe transitions, the superpositions, and all the geometry of the\nhorizonte falso from which García-Alix creates an original story.\n\nThe real is destabilized and the heart’s geography comes to resonate with space. García-Alix’s cavernous voice begins to whisper texts that he has written over his videos (some of which are presented at the Maison Européenne de la Photographie in\nParis). All these images are the work of a photographer with a gift for words, who gives titles to his photos that ring of underground haikus, with flashes of emotion, humor, and darkness – words that open the passageway to the depth of the image, from which something will arise. His interior fictions trace the path from stammering to vibration. For each of us, fiction is the only entryway into the real. The strength of Alberto García-Alix’s photographs is in showing us this.\n\nAnnabelle Gugnon","2014-10-18T08:35:00+00:00","2014-11-22T09:35:00+00:00",[],{"id":2856,"slug":2857,"title":2858,"customTitle":2038,"defaultTitle":2859,"overrideHeading":420,"url":2860,"tagline":420,"thumbImage":2861,"locations":2873,"category":2882,"description":2884,"startDate":2885,"endDate":2886,"type":236,"showForm":732,"form":2887,"__typename":1941},"114955","ciel-ouvert","Michel François - Ciel ouvert","Ciel ouvert","https://www.mennour.com/exhibition/ciel-ouvert",[2862],{"id":2863,"url":2864,"jpg16":2865,"jpg800":2866,"jpg1600":2867,"jpg2400":2868,"jpg3200":2869,"alt":420,"title":2859,"width":2870,"height":2871,"caption":420,"mobile":2872,"__typename":679},"38702","https://dev-admin.mennour.com/uploads/img/ciel-ouvert.jpg","WKNTzXxu00xuRQj[~qt7bJazIUWA-;ofM{j[M{ay?bayRjj[ayof","https://dev-admin.mennour.com/uploads/img/_jpg800/ciel-ouvert.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/ciel-ouvert.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/ciel-ouvert.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/ciel-ouvert.jpg",1668,1112,[],[2874],{"title":2008,"slug":2009,"url":369,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2010,"thumbImage":2875,"city":2878,"mapLocation":2880},[2876],{"id":2013,"url":2014,"jpg16":2015,"jpg800":2016,"jpg1600":2017,"jpg2400":2018,"jpg3200":2019,"alt":420,"title":2020,"width":2021,"height":2022,"caption":420,"mobile":2877,"__typename":679},[],[2879],{"title":350,"slug":351},{"parts":2881},{"number":374,"address":367,"city":350,"postcode":356,"county":357,"country":375,"state":359},[2883],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present Michel François’ second solo show at the gallery.\n\nMichel François’ sculpture is rhythm, movement, and breath – his works infuse his materials with the movements of the world. “Ciel Ouvert” [Open Sky], his second solo show at the galerie kamel mennour, puts us in the presence of a fissured landscape where the sky and the asphalt, like contemporary vanities, question earthly existence, its fleeting nature, its conquests, and more.\n\nIt begins with the infinite. The sky opens with a sign: a configuration of the Möbius strip, a unilateral band of continuous, unflagging movement. The front is already in the back and the back will soon be in front. So it is with the world, the senses, the real… Nothing is hidden, everything occurs on the surface to be understood, explored, articulated. Michel François’ sculptures venture to this surface of things, where depth opens itself to discovery, forming a new beginning.\n\nYet disaster looms. A knotted rope, a spinal cord that has been cut. Movement is snuffed out. The infinite comes down to a beginning and to its end: a segment of time. But, like life, death is not definitive. From stupefaction will be born another desire, a new momentum.\n\nFurther off, a wall. The smooth surface of plaster, light as a canopy of clouds, is pierced with openings of blue sheet metal. The background passes through the wall, projecting out its collisions and fractures. The creased sheet metal, a damaged material, imposes its fictions on reality – that is, unless it is the realities that penetrate the fiction. This porosity between the real and the imaginary which is so important to Michel François’ work ends, according to a formal logic, in bas-relief. A classic form for a contemporary work, the technique of bas-relief is emblematic of the Belgian artist’s path, which remains committed to a sculptural tradition while continually presenting new and renewed results, as with the volume that pierces through the wall’s flat horizon here.\n\nThe creation of tension between materials, spaces, and opposites is a strategy – a game by which Michel François brings life to pulsate its systolic-diastolic rhythm into closures, prejudices, and preconceptions. This vital flow runs through the sculptor’s entire body of work and it is particularly palpable in this exhibition, where heaven and earth interact and come to life through contrast.\n\nA silver-colored grate caps the sky’s depth and barricades infinity with its boundary lines. On the ground, stuck in the asphalt, are peanut shells. Fallen from a truck, they form a random ensemble, a clandestine unity; and yet they glitter on the ground, transforming into an urban constellation that sends bronze signals up to the sky. Escape attempts… And what if the peanuts were to free themselves, to become seeds again, and to reactivate their potential for life? Is that nuts? The future of humanity and of life does lie in the question, though. We hear the words of the poet André du Bouchet resonate: “Put all your weight on the weakest word so that it breaks open and surrenders its sky”…(1)\n\nThe grate blocks the sky, and yet it sparkles, streaking the ether with the pulsations of stars that provide human nomads with points of reference as they make vital journeys. The constellations structure space by drawing a network of meaningful forces, and unlike earthbound barriers, stellar boundaries don’t block passage but accompany it. The infinite number of movements, of goings and comings, form a geographical tracery as real as it is invisible, and which is evocative of one of Michel François’ most astonishing works, “Scribble”, a gigantic sculpture of the squiggles that people leave on paper after having tried out pens.\n\nA metaphor for closure, for the border, for the line between inside and outside, the grate is a crucial motif in Michel François’ work. At times it also appears as a breath: on the other side of closure there is the possibility of opening. It is important to remember that the artist spent an entire year leading a workshop with repeat criminal offenders at the TBS clinic De Kijvelanden in the Netherlands. This residence resulted in several major works, including the blueprint of a cell drawn on the floor at full-scale “Expérimentation d’un plan de cellule” [Cell Blueprint Experiment], 1997; as well as “Où je suis vu du ciel” [Where I Am Seen from Above], 1997; “Section TBS”, 2000; and “Plans d’évasion” [Escape Plans], 2009. Does the grate entice visitors to jump high enough to be elevated or does it nail them to the ground with the reflection of its bars? Who knows?\n\nWe simply note that sparks set the air to vibrating and make the grate quiver. There is a rhythm to this sparkling, thus there are intervals, and thus multiple egresses. One might think of Sol Lewitt’s modular structures – of a minimal form that allows for an infinite number of compositions, such as “Cubic-Modular Wall Structure, Black”, 1966, from the MoMA collection.\n\n“I am interested in the future of things. I make them appear in a moment of instability where they can change, become disrupted […] It is a very momentary attempt to organize chaos, to recycle a precarious instant,” explains Michel François (2). In fact, his preferred material is instability. Otherwise stated, that which isn’t petrified or fetishized, but which remains on the threshold – fragile, unbalanced, ready for new movement – ready to pass through the opening, the primordial fissure, matrix of all beats: the origin of the world.\n\n© Annabelle Gugnon\n\n_\n1. André du Bouchet, “Air”, published by Fata Morgana, 1986.\n2. François-Aline Blain, in “Parcours des arts”, nº 31","2014-09-05T22:00:00+00:00","2014-10-11T14:00:00+00:00",[],{"id":2889,"slug":2890,"title":2891,"customTitle":1346,"defaultTitle":2892,"overrideHeading":420,"url":2893,"tagline":420,"thumbImage":2894,"locations":2905,"category":2914,"description":420,"startDate":2916,"endDate":2917,"type":236,"showForm":732,"form":2918,"__typename":1941},"114963","anish-kapoor-james-lee-byars","Anish Kapoor - Anish Kapoor & James Lee Byars","Anish Kapoor & James Lee Byars","https://www.mennour.com/exhibition/anish-kapoor-james-lee-byars",[2895],{"id":2896,"url":2897,"jpg16":2898,"jpg800":2899,"jpg1600":2900,"jpg2400":2901,"jpg3200":2902,"alt":420,"title":2903,"width":2403,"height":1822,"caption":420,"mobile":2904,"__typename":679},"38713","https://dev-admin.mennour.com/uploads/img/anish-kapoor-james-lee-byars.jpg","oZGl9YocogkDt6t6~qj[t7j]j[oeIoa}t6axRka#D%ayozf5j?WCs+jtRlfRoJayj]fPRjj[WCWB","https://dev-admin.mennour.com/uploads/img/_jpg800/anish-kapoor-james-lee-byars.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/anish-kapoor-james-lee-byars.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/anish-kapoor-james-lee-byars.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/anish-kapoor-james-lee-byars.jpg","Anish kapoor james lee byars",[],[2906],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":2907,"city":2910,"mapLocation":2912},[2908],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":2909,"__typename":679},[],[2911],{"title":350,"slug":351},{"parts":2913},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[2915],{"title":1893,"slug":528,"type":1885},"2014-05-27T15:15:00+00:00","2014-07-26T15:15:00+00:00",[],{"id":2920,"slug":2921,"title":2922,"customTitle":1553,"defaultTitle":2923,"overrideHeading":420,"url":2924,"tagline":420,"thumbImage":2925,"locations":2938,"category":2947,"description":2949,"startDate":2950,"endDate":2951,"type":236,"showForm":732,"form":2952,"__typename":1941},"114977","c-est-n-importe-quoi","François Morellet - C'est n'importe quoi ?","C'est n'importe quoi ?","https://www.mennour.com/exhibition/c-est-n-importe-quoi",[2926],{"id":2927,"url":2928,"jpg16":2929,"jpg800":2930,"jpg1600":2931,"jpg2400":2932,"jpg3200":2933,"alt":420,"title":2934,"width":2935,"height":2936,"caption":420,"mobile":2937,"__typename":679},"38720","https://dev-admin.mennour.com/uploads/img/c-est-n-importe-quoi.jpg","f64:.ctmVan#iua{uPV?V@WVWBo#D4kXoekCo#ozj=o#WBadn$V@pKRNafRjWAWX","https://dev-admin.mennour.com/uploads/img/_jpg800/c-est-n-importe-quoi.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/c-est-n-importe-quoi.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/c-est-n-importe-quoi.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/c-est-n-importe-quoi.jpg","C est n importe quoi",1348,899,[],[2939],{"title":2008,"slug":2009,"url":369,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2010,"thumbImage":2940,"city":2943,"mapLocation":2945},[2941],{"id":2013,"url":2014,"jpg16":2015,"jpg800":2016,"jpg1600":2017,"jpg2400":2018,"jpg3200":2019,"alt":420,"title":2020,"width":2021,"height":2022,"caption":420,"mobile":2942,"__typename":679},[],[2944],{"title":350,"slug":351},{"parts":2946},{"number":374,"address":367,"city":350,"postcode":356,"county":357,"country":375,"state":359},[2948],{"title":1893,"slug":528,"type":1885},"After having juxtaposed his works with drawings by Kazimir Malevitch in 2011, François Morellet returns to occupy both of the galerie kamel mennour’s spaces in the spring of 2014.\nDevilishly mischievous, the exhibition’s title, “François Morellet, c’est n’importe quoi ? [Does It Make Any Sense?]”, questions us and alerts us to the touch of mischief that animates the artist’s now well-known minimalist vocabulary of white monochromes, black lines, and neon lights all arranged under the auspices of mathematics. This neatly ordered world is actually subject to a generalized tremor of sorts, a kind of earthquake of saving grace.\nIn the series Triptyque (2014) and Carrément bricolé [Completely Cobbled Together] (2013), the diverse elements of the work give the impression of being broken apart by vibrations. This is the case, too, in La Débâcle [The Debacle] (2013), where a large black line divides the painting like a Newmanian zip, almost recalling the sharp edges of Caspar David Friedrich’s The Sea of Ice. As for the concentric circles of Cruibes (2013-14), they might be the materialization of this shockwave that turns the exhibition upsidedown and extends far beyond the Rue Saint André des Arts.\nIndeed, at the Rue du Pont de Lodi, we step out onto a wooden footbridge specially designed by Japanese artist Tadashi Kawamata. This jetty allows us to venture out over an ocean of neon lights whose blinking creates a luminous swell. The undulations of light created by this work, initially designed in 2001 for the Zentrum für Internationale Lichtkunst in Unna (Germany), bring the space to reel and sway in a vibrant tribute to Piet\nMondrian’s series of paintings entitled Pier and Ocean (1915).\nFinally, an exceptional collection of works from 1949 will be on display at the space on Rue Saint-André des Arts. Inspired by tribal art, and more specifically by aboriginal art, they were initially shown in 1950 at the Gallery Raymond Creuze, in Paris. Shedding light on its origins, these pieces allow us to appreciate the growth and the eternal, vibrating youth of François Morellet’s work.","2014-03-29T14:40:00+00:00","2014-05-07T13:40:00+00:00",[],{"id":2954,"slug":2955,"title":2956,"customTitle":2956,"defaultTitle":2956,"overrideHeading":420,"url":2957,"tagline":420,"thumbImage":2958,"locations":2968,"category":2977,"description":2979,"startDate":2980,"endDate":2981,"type":236,"showForm":732,"form":2982,"__typename":1941},"114984","all-around-fades-to-a-heavy-sound","All around fades to a heavy sound","https://www.mennour.com/exhibition/all-around-fades-to-a-heavy-sound",[2959],{"id":2960,"url":2961,"jpg16":2962,"jpg800":2963,"jpg1600":2964,"jpg2400":2965,"jpg3200":2966,"alt":420,"title":2956,"width":1023,"height":750,"caption":420,"mobile":2967,"__typename":679},"38733","https://dev-admin.mennour.com/uploads/img/all-around-fades-to-a-heavy-sound.jpg","W4JR%Q01HXh{E;~W:NE9XSaIX=t8}MMa0uTMDgIqKTocIvOb#haI","https://dev-admin.mennour.com/uploads/img/_jpg800/all-around-fades-to-a-heavy-sound.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/all-around-fades-to-a-heavy-sound.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/all-around-fades-to-a-heavy-sound.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/all-around-fades-to-a-heavy-sound.jpg",[],[2969],{"title":2008,"slug":2009,"url":369,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2010,"thumbImage":2970,"city":2973,"mapLocation":2975},[2971],{"id":2013,"url":2014,"jpg16":2015,"jpg800":2016,"jpg1600":2017,"jpg2400":2018,"jpg3200":2019,"alt":420,"title":2020,"width":2021,"height":2022,"caption":420,"mobile":2972,"__typename":679},[],[2974],{"title":350,"slug":351},{"parts":2976},{"number":374,"address":367,"city":350,"postcode":356,"county":357,"country":375,"state":359},[2978],{"title":1893,"slug":528,"type":1885},"On the occasion of her third solo show at galerie kamel mennour, Latifa Echakhch will exhibit in the new space on the rue du Pont de Lodi. In line with the works presented at the Kunsthaus Zürich in 2012 and for the Marcel Duchamp Prize at the FIAC in 2013, the artist once more mobilizes the idea of a ghost show, deserted by both audience and performers after some uncertain disaster. The sky has fallen into the large downstairs room, as though having wormed its way in through the high glass roof: it is a theater backdrop painted azure blue and dotted with clouds that has slipped to the floor like a dress left at the foot of the bed.\nStanding before this crumpled, unfinished canvas that is too large th\nfor the space, one’s thoughts turn to the skies of 17 century paintings, to Nicolas Poussin, and to the golden age of theater. A melancholic sense of non finito hangs over the abandoned scene. The walls are hung with paintings. Blue ink has seeped capillaries into the white canvas like some kind of vibrant sap, creating coralloid arborescences or a tight network of branches. As in most of her ink works, Latifa Echakhch initiates a minimal procedure, then lets time and the materials do their work—in this instance, the “phthalo” ink, developed in the 1930s from the chemical compound phthalocyanine, whose deep blue recalls the artist’s stencils. Due to this part of the process that is given over to chance, these images might almost be called “acheiropoietic” (or “not made by human hand”), a category in which we also find the Veil of Veronica and Chinese scholar’s rocks.\nAll Around Fades to a Heavy Sound... is the title of one of these spectral works. The collation of all the titles creates a story—a story about a walk, about the narrator’s wandering in a forest that is reminiscent of the first verses of The Divine Comedy, though the text also evokes “the latest landscape”. Perhaps a decomposing sky glimpsed through the foliage of a strange blue forest.\n\nBorn in El Khnansa (Morocco) in 1974, Latifa Echakhch lives and works in Martigny (Switzerland).\nHer work has been shown in France as well as abroad, in numerous solo exhibitions: at the macLYON, the Hammer Museum in Los Angeles, the Kunstmuseum Liechtenstein in Vaduz, the Columbus Museum of Art (Ohio), Portikus in Frankfort, the Kunsthaus in Zürich, at the Museum Haus Esters in Krefeld, the MACBA in Barcelona, FRI ART in Fribourg, the GAMeC in Bergamo, the Kunsthalle Basel, the Bielefelder Kunstverein, the Kunsthalle Fridericianum in Kassel, the Frac Champagne Ardenne in Reims, the Swiss Institute in New York, the Tate Modern in London and the Magasin in Grenoble; also in group shows: the MoMA PS1 in New York, the Palais de Tokyo and the Musée d'art moderne de la Ville de Paris, the Frac Nord-Pas de Calais in Dunkerque, the Centre d'art contemporain La Synagogue de Delme, the Centre d’Art Contemporain Genève, as part of the 11 Aargauer Kunsthauss in Aarau, the Signal - Center for Contemporary Art in Malmö, the Den Frie Center of Contemporary Art of Copenhagen, the Kunsthalle Basel, as part of the 54th Venice Biennale, the Fundació Joan Miró in Barcelona, the Contemporary Arts Museum in Houston, at the GAM – Civic Gallery of Modern and Contemporary Art – in Turin, the Beirut Art Center, the CAC in Vilnius, as part of the Jerusalem Biennale ArtFocus and Manifesta 7 in Bolzano, at the Museum Anna Nordlander in Skellefteå and at the Studio Museum in Harlem, New York.\nWinner of the 2013 Marcel Duchamp Prize, Latifa Echakhch will exhibit at the Centre Pompidou – Espace 315 in autumn 2014.","2014-02-05T17:05:00+00:00","2014-03-22T17:05:00+00:00",[],{"id":2984,"slug":2985,"title":2986,"customTitle":1199,"defaultTitle":2987,"overrideHeading":420,"url":2988,"tagline":420,"thumbImage":2989,"locations":3002,"category":3011,"description":3013,"startDate":2980,"endDate":2981,"type":236,"showForm":732,"form":3014,"__typename":1941},"114990","grosse-fatigue","Camille Henrot - Grosse Fatigue","Grosse Fatigue","https://www.mennour.com/exhibition/grosse-fatigue",[2990],{"id":2991,"url":2992,"jpg16":2993,"jpg800":2994,"jpg1600":2995,"jpg2400":2996,"jpg3200":2997,"alt":420,"title":2998,"width":2999,"height":3000,"caption":420,"mobile":3001,"__typename":679},"38739","https://dev-admin.mennour.com/uploads/img/grosse-fatigue.jpg","W77UL]D+00?aaStKWBayofofaxV[00%L~pD*kORWt7j[RjV[ogo|","https://dev-admin.mennour.com/uploads/img/_jpg800/grosse-fatigue.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/grosse-fatigue.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/grosse-fatigue.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/grosse-fatigue.jpg","Grosse fatigue",1685,1123,[],[3003],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":3004,"city":3007,"mapLocation":3009},[3005],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":3006,"__typename":679},[],[3008],{"title":350,"slug":351},{"parts":3010},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[3012],{"title":1893,"slug":528,"type":1885},"Kamel Mennour is pleased to present “Grosse Fatigue” by Camille Henrot – Silver Lion at the 55th Venice Biennale.\n\n*In the beginning there was no earth, no water – nothing. There was a single hill called Nunne Chaha. In the beginning everything was dead. In the beginning there was nothing; nothing at all. No light, no life, no movement, no breath. In the beginning there was an immense unit of energy. In the beginning there was nothing but shadow and only darkness and water and the great god Bumba. In the beginning were quantum fluctuations.\n\nExcerpt from “Grosse Fatigue” \n\n“Our question thus becomes clearly the question of the impossible experience or the experience of the impossible: an experience removed from the conditions of possibility of a finite knowledge, and which is nevertheless an experience.” \n\nExcerpt from “The Creation of the World, Or, Globalization” (2002) by Jean-Luc Nancy \n\nWith Grosse Fatigue, Camille Henrot set herself the challenge of telling the story of the universe’s creation. Indeed, the fatigue is grosse, or hugely weighty, she who has condemned herself to carrying the weight of the world on her shoulders like the Titan Atlas. But aren’t such dark and lonely burdens meant to become as light, as beautiful and fragile as soap bubbles in the hands of an artist? Holding the world in the palm of her hand… it floats effortlessly at the palm’s surface as though, imbued with magical powers, the artist has truly resurrected the youth of humanity from the depths of the ages – bringing to life the magisterial dawn we had thought too far off to ever be seen again, yet which captivates us as easily as a magic lantern does a child. The backbone of Grosse Fatigue is a long poem delivered in the style of spoken word, the form of expression used to great effect in the ’70s by the New York musicians The Last Poets. It mixes scientific history with Creation stories belonging to religious (Hindu, Buddhist, Jewish, Christian, Islamic, etc.), hermetic (Kabbalah, Freemasonry, etc.), and oral (Dogon, Inuit, Navajo, etc.) traditions in a joyous syncretism. In the visual background of this impassioned oration, Camille Henrot performs what she calls an “intuitive unfolding of knowledge” through a series of shots unveiling the treasures hidden away in the prestigious collections of the Smithsonian Institution in Washington, D.C.1 – shots that have been reworked with images found on the Internet and scenes filmed in locations as diverse as a pet store and a domestic interior that appear like pop-ups at the screen’s surface. Of course, Grosse Fatigue doesn’t purport to produce any objective truth. Trying to com-prehend (to comprehend = to grasp) an infinite mass of information that, by definition, will forever remain in excess in the span of thirteen minutes is an exercise that falls within the bounds of what Walter Benjamin, using psychiatric terms, called a “cataloguing psychosis”. The artist explains: “In my video, the desire to universalize knowledge is accompanied by the conscience I have of this act. As soon as you think you have laid out and circumscribed the entirety of your universe within a single, selfsame landscape, isn’t the only question of any worth, and which relentlessly nags and torments the mind, inevitably the same as that with which Jonas Cohn ends his History of the Infinite (1896): “But what is there beyond the limit?”2. \n\n© Jonathan Chauveau\n\n_\n1 The Smithsonian Institution is the biggest scientific and museum complex in the world. As part of the Smithsonian Artist Research Fellowship, Camille Henrot was granted permission to film the collections belonging to the following departments: the Smithsonian Archives of American Art, the Smithsonian National Museum of Natural History, and the Smithsonian National Air and Space Museum\n2 History of speculative thought, 1896 Jonas Cohn. (my translation)",[],{"id":3016,"slug":3017,"title":3018,"customTitle":1220,"defaultTitle":3019,"overrideHeading":420,"url":3020,"tagline":420,"thumbImage":3021,"locations":3034,"category":3043,"description":3045,"startDate":3046,"endDate":3047,"type":236,"showForm":732,"form":3048,"__typename":1941},"114998","1-2-haehnchen-pommes-reis-oder-salat","David Hominal - 1/2 Hæhnchen, Pommes / Reis oder Salat","1/2 Hæhnchen, Pommes / Reis oder Salat","https://www.mennour.com/exhibition/1-2-haehnchen-pommes-reis-oder-salat",[3022],{"id":3023,"url":3024,"jpg16":3025,"jpg800":3026,"jpg1600":3027,"jpg2400":3028,"jpg3200":3029,"alt":420,"title":3030,"width":3031,"height":3032,"caption":420,"mobile":3033,"__typename":679},"38744","https://dev-admin.mennour.com/uploads/img/1-2-haehnchen-pommes-reis-oder-salat.jpg","WQMj:fW?s-t79GjF~qRiRkt7a#RkD$WB9ZRj%Mbbt7xuRjMxaxxu","https://dev-admin.mennour.com/uploads/img/_jpg800/1-2-haehnchen-pommes-reis-oder-salat.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/1-2-haehnchen-pommes-reis-oder-salat.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/1-2-haehnchen-pommes-reis-oder-salat.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/1-2-haehnchen-pommes-reis-oder-salat.jpg","1 2 haehnchen pommes reis oder salat",5533,3545,[],[3035],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":3036,"city":3039,"mapLocation":3041},[3037],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":3038,"__typename":679},[],[3040],{"title":350,"slug":351},{"parts":3042},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[3044],{"title":1893,"slug":528,"type":1885},"For his second solo show at galerie kamel mennour, Franco-Swiss artist David Hominal continues a body of abstract works begun in 2009. Originating in the reinterpretation of flags appearing in certain Renaissance paintings, these works in various sizes are composed of solid colors divided into triangles. While they have\nbeen created as parts of a series, these paintings nevertheless remain independent of one another. For this show, however, the artist has hung the pieces according to a musical logic, where their size, colors, and the diamonds shaped by the juxtaposition of triangles correspond to rhythmic values, notes, and phrasing.\n\nDespite their heraldic origin, which also alludes to semaphores (colored pennants that enable ships to communicate visually), these paintings do not “bear signs.” They are, in fact, about painting above all else. Here, the artist practices a simple yet primordial gesture of dividing the canvas with a diagonal line that cuts the space like Barnett Newman’s “zip”. The choice of a subject a minima reveals the purely pictorial dimension of the works, as would a self-portrait, a nude, or a still life. “I have always looked at paintings by Pierro Della Francesca or Piet Mondrian in the same way,” says the artist.\n\nFor this reason, these works must be considered in a purely formalist and frontal tradition: what you see is what you see, as Frank Stella says. The title chosen by Hominal (“half a chicken fries/rice or salad”) humorously alludes to the way in which his daily life in Berlin might (or might not) surreptitiously innervate his\npainting. These new paintings can also be linked to a Swiss tradition of wall painting, though they counteract the latter’s fetishism with cold perfection through a non-linear application of color.\n\nBorn in 1976 in France, David Hominal lives and works in Berlin. His work has been shown in numerous solo and group exhibitions in France and abroad: at the Palais de Tokyo and the Centre culturel Suisse in Paris, at the Consortium in Dijon, the Magasin in Grenoble, the Centre d’édition contemporaine and the Centre d'Art Contemporain Genève, Raster in Warsaw, the New Museum of Contemporary Art in New York, as part of the Younger than Jesus exhibition, the Musée des Beaux Arts of Lausanne, the FRI ARTCentre d’Art de Fribourg, the Kunsthalle Bern, the Kunsthaus\nZürich and the CAC of Vilnius.","2014-02-05T09:55:00+00:00","2014-03-22T09:55:00+00:00",[],{"id":3050,"slug":3051,"title":3052,"customTitle":2326,"defaultTitle":3053,"overrideHeading":420,"url":3054,"tagline":420,"thumbImage":3055,"locations":3068,"category":3077,"description":3079,"startDate":3080,"endDate":3081,"type":236,"showForm":732,"form":3082,"__typename":1941},"115001","another","Pier Paolo Calzolari - ANOTHER","ANOTHER","https://www.mennour.com/exhibition/another",[3056],{"id":3057,"url":3058,"jpg16":3059,"jpg800":3060,"jpg1600":3061,"jpg2400":3062,"jpg3200":3063,"alt":420,"title":3064,"width":3065,"height":3066,"caption":420,"mobile":3067,"__typename":679},"38751","https://dev-admin.mennour.com/uploads/img/another.jpg","fKNTwS_4xWn%o#WB?aaxofaeofWB%NjbD%oyoJof-=t7IUkCo0jaM_axt8jsayf6","https://dev-admin.mennour.com/uploads/img/_jpg800/another.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/another.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/another.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/another.jpg","Another",5958,4666,[],[3069],{"title":2008,"slug":2009,"url":369,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":2010,"thumbImage":3070,"city":3073,"mapLocation":3075},[3071],{"id":2013,"url":2014,"jpg16":2015,"jpg800":2016,"jpg1600":2017,"jpg2400":2018,"jpg3200":2019,"alt":420,"title":2020,"width":2021,"height":2022,"caption":420,"mobile":3072,"__typename":679},[],[3074],{"title":350,"slug":351},{"parts":3076},{"number":374,"address":367,"city":350,"postcode":356,"county":357,"country":375,"state":359},[3078],{"title":1893,"slug":528,"type":1885},"Like many of Pier Paolo Calzolari’s works, this piece, which was originally the starting point for a performance, combines various elements: alongside a large monochrome piece is a complete installation kit. This piece was created at a time when the Arte Povera movement was coming to an end. It embodies the artist’s desire to go beyond the limits of Arte Povera in order to juxtapose more freely the languages of painting and performance. Certain elements, such as frost (which acts as a vector of transformation), the egg (an image of the perfect form), or the sound (read out loud during performances, or recorded) are perfectly anchored in Pier Paolo Calzolari’s sculptural universe. The soundtrack consists of an extract from Giorgio Vasari’s work “Lives of the Most Eminent Painters, Sculptors, and Architects”, about Il Sodoma.\n> Soundtrack: “All these animals were so well domesticated that they wondered endlessly around the house, playing the strangest games and making the most bizarre noises in the world, in such a way that the house itself had the feel of a veritable Noah’s Ark.”\nThe horizontality of this piece, made up of tobacco leaves from Virgina and pure tin, is a reference to Franciscan ideology that establishes a dialogue and a relationship of equals between living creatures (human or animal), matter and objects. It simultaneously juxtaposes the intimacy of writing with the materiality of tobacco leaves. The inscription “lago del cuore” (lake of the heart) introduces a form of poetry into this contemplative work.\nThe artist has produced three different versions of this work.\nCreated in 2011, this large still life, shown for the first time at the “Arte Povera” exhibition organised by Germano Celant at the Milan Triennale in the same year, can be seen as the metaphor of a landscape in three dimensions, in which the artist has taken certain elements like water or frost. Conceived through a process the artist calls “syncretic and lyrical”, suggested by the murmuring of water from a fountain, it references the “Valori Plastici” movement in mid-1920s Italy, which aimed to rediscover the sculptural values of painting by ridding it of romanticism and expressionism in order to reconnect with a greater formal purity.\nThe form of the water clock occurs frequently in Pier Paolo Calzolari’s work; this pure form is the vehicle for notions of time and memory that are omnipresent in the artist’s thinking. These three pieces, shown for the first time as a triptych, employ the same geometric form, contrasting the whiteness of salt with its exact double, burnt to an intense black.\nThis phrase (Love, your teeth are like grains of glass), carved in capital letters on a surface made of salt, echoes telegram n°502 (Milan, 26 April 1976), an extract from a series exhibited at the Galerie Toselli in the same year. It has also been quoted several times during performances. The inscription, a mirror image, is only revealed when read carefully, simultaneously suggesting the shyness of an intimate relationship and a silence that derives from the white surface of the salt. The format of the work, as well as the choice of letters carved in capitals, are references to funerary monuments that carry commemorative inscriptions.\nCreated in 2013, this piece reflects Pier Paolo Calzolari’s domestic world: the door is an exact copy of the one from his bedroom, the mechanical pig that tries in vain to go through is a toy that he gave his wife.\nIt can be interpreted as a sort of tragicomic self-portrait.\nCreated in the artist’s studio in Paris (rue des Écouffes) in 1970, this piece is emblematic of the development of his thinking between the late 1960s and the early 1970s, a period during which he frequently used mirrors. The surface of the mirror reflects the space, but also acts simultaneously as a medium for a memory triggered by the combination of the phrase written in neon lights (I and my five fish-hooks in the corner of my real sermon”), and the soundtrack coming from the loudspeaker (the artist’s own voice).","2013-09-13T22:00:00+00:00","2013-10-26T15:10:00+00:00",[],{"id":3084,"slug":3085,"title":3086,"customTitle":3086,"defaultTitle":3086,"overrideHeading":420,"url":3087,"tagline":3088,"thumbImage":3089,"locations":3101,"category":3110,"description":420,"startDate":3112,"endDate":3113,"type":236,"showForm":732,"form":3114,"__typename":1941},"115018","l-image-pensee","L'image pensée","https://www.mennour.com/exhibition/l-image-pensee","Curated by Donatien Grau",[3090],{"id":3091,"url":3092,"jpg16":3093,"jpg800":3094,"jpg1600":3095,"jpg2400":3096,"jpg3200":3097,"alt":420,"title":3098,"width":704,"height":3099,"caption":420,"mobile":3100,"__typename":679},"38754","https://dev-admin.mennour.com/uploads/img/l-image-pensee.jpg","f88XC15J~qWC4n?7?bNMx]fRM{t200$]9Fod-;Iv00$u9Fj?-;N4xua%t7a#WBj=","https://dev-admin.mennour.com/uploads/img/_jpg800/l-image-pensee.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/l-image-pensee.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/l-image-pensee.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/l-image-pensee.jpg","L image pensee",805,[],[3102],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":3103,"city":3106,"mapLocation":3108},[3104],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":3105,"__typename":679},[],[3107],{"title":350,"slug":351},{"parts":3109},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[3111],{"title":1893,"slug":528,"type":1885},"2013-06-26T22:00:00+00:00","2013-07-25T10:15:00+00:00",[],{"id":3116,"slug":1302,"title":1991,"customTitle":1303,"defaultTitle":1303,"overrideHeading":420,"url":3117,"tagline":420,"thumbImage":3118,"locations":3131,"category":3140,"description":3142,"startDate":3143,"endDate":3144,"type":236,"showForm":732,"form":3145,"__typename":1941},"115029","https://www.mennour.com/exhibition/ann-veronica-janssens",[3119],{"id":3120,"url":3121,"jpg16":3122,"jpg800":3123,"jpg1600":3124,"jpg2400":3125,"jpg3200":3126,"alt":420,"title":3127,"width":3128,"height":3129,"caption":420,"mobile":3130,"__typename":679},"4380","https://dev-admin.mennour.com/uploads/img/ann-veronica-janssens.jpg","W9COnK^N0w5?4.;T9ZM}jGW9xbWV00JW}^^O.7Bg%MRhR6j2E0j=","https://dev-admin.mennour.com/uploads/img/_jpg800/ann-veronica-janssens.jpg","https://dev-admin.mennour.com/uploads/img/_jpg1600/ann-veronica-janssens.jpg","https://dev-admin.mennour.com/uploads/img/_jpg2400/ann-veronica-janssens.jpg","https://dev-admin.mennour.com/uploads/img/_jpg3200/ann-veronica-janssens.jpg","Ann veronica janssens",5328,3472,[],[3132],{"title":1963,"slug":1964,"url":347,"type":1921,"getDataFromGooglePlaceAPI":685,"googlePlaceAPI":1965,"thumbImage":3133,"city":3136,"mapLocation":3138},[3134],{"id":1968,"url":1969,"jpg16":1970,"jpg800":1971,"jpg1600":1972,"jpg2400":1973,"jpg3200":1974,"alt":420,"title":1975,"width":1023,"height":1976,"caption":420,"mobile":3135,"__typename":679},[],[3137],{"title":350,"slug":351},{"parts":3139},{"number":354,"address":355,"city":350,"postcode":356,"county":357,"country":358,"state":359},[3141],{"title":1893,"slug":528,"type":1885},"For her first solo exhibition at galerie kamel mennour, the Belgian artist Ann Veronica Janssens punctuates the space with works that play with the mobile states of matter, varied nuances of colours and the intensity of light.\n\nA long metal I-beam has been placed on the concrete floor of the gallery, of which it appears to form a part. Its mass anchors it securely to the floor, but its upper surface shines with an oily brightness. Metal is by its nature chthonian, but here it gives back something of the sky it reflects, because the artist has made the light jump out by polishing the metal. Responding to the density of the beam is the transparency of two volumes of glass, also placed on the ground. Coloured throughout, these parallelepipeds were created in the Czech Republic. They capture a light that gives the impression of radiating out from within the works. Close by, a cubic glass aquarium plays similarly with the light, but also with the space around it. Like a black hole, it swallows everything, only to give it all back in a diffracted, quasi-cubist and kaleidoscopic way. It is filled with liquid, on the surface of which an intense monochrome tonality gives the impression of a phantom image. These games of reflections are like thresholds where images dissolve. \nFinally, the last work is the continuation of a series begun in 1997 with the white fog at the M HKA in Antwerp, a fog which became coloured in 2000 in Tours, and likewise the following year at the Neue Nationalgalerie in Berlin with the installation Blue, Red and Yellow. Here, with the walls painted in hot colours, the natural light and artificial fog induce the troubling experience of evolving in a paradoxical space, at once dense and light, enclosed and infinite. There is also a bewitching sensation of heaviness, and the impression of being immersed in colour, of a journey into an intangible 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