OPENING
04.12.2024
Corey Bartle-Sanderson
Naomi Gilon
Laurie Giraud
Tommy Lecot
Morgane Le Ferec
Raphaël Matieu
Matthieu Michaut François Patoue
Elias Sanhaji
Raphaëlle Serres
04.12.2024
Corey Bartle-Sanderson
Naomi Gilon
Laurie Giraud
Tommy Lecot
Morgane Le Ferec
Raphaël Matieu
Matthieu Michaut François Patoue
Elias Sanhaji
Raphaëlle Serres
First of all, there is the address—the place to go, as that which extends toward the other. Here, the space that receives. The rendez-vous. Time is given. Time to break with a daily routine made of patience, routines, which aims for immobile and serene plenitudes, to devote oneself for a moment to the joys that are running out of steam, to what is consumed, to rush into the celebration and pretend to stop the movement where something is always happening to the world.
Fragrant scents, a bouquet of fresh flowers, watch in hand, on the doorstep, the threshold beyond which everything is prepared. The impatience of vases to find their flowers, gifts offered, feet under the table. The frenzy of potential, unexpected encounters, friends-of-friends-of-friends, new things, and candles still standing. Smoking area. Drinks.
Tommy has given himself a makeover, determined to smell good. He shares with us Brut (‘Raw’): "the essence of a man" a promise of authenticity, power, sensuality, intensity, character—irresistible. It is by deconstructing this (or that) that a new form appears to him: that of a bottle more in keeping with the gigantism of the challenge, such an imaginary, and also to offer the opportunity to each person to come to terms with this impression, to experience a pretended long-awaited masculinity.
François brings the flowers, as usual grandiose, light on the cotton, the petals mounted in cumulative point juices, like XXL watercolors in which we will not fail to dive—but also those, the colors always—, of Naomi's vase, made in collaboration between the two artists, enamels of the coolest darkside. Other vases, ribboned with tape or bound with canvas, reveal some attention to the address, of a ready-made-ready-to-print-ready-to-go simplicity that I like.
Matthieu's explosive, non-champagne cascades splash you without drowning in them, a perpetual mirrored spectacle, through a circular economy of the image. Morgane's neither-yes-nor-no mouths could ask to quench their thirst there—for what, for whom, for how? It's up to you to judge. Raphaël Matieu is blossoming in his corner. Don't worry.
Elias focuses on the intimacy of the home with a selection of his own football magazines, preciously preserved and carefully chosen; these objects considered poor emphasize the ephemeral nature of everything that fades, like books, flowers or works of art. These magazines evoke the mess just necessary to put us at ease, as well as the attentive considerations of happy technical coincidences, brilliant on paper, abstract pixels of precious symbols for connoisseurs, in addition to the pictorial qualities of new, unprecedented framings.
By a curious coincidence, Laurie's proposal also echoes this in another way, through her collaboration with Ibrahima, 11 years old, met in a Youth Center in the Curregham district of Anderlecht, whom she wanted to invite in turn to make, together, an emblem to represent it. First hand-drawn by Ibrahima, then brought to light by Laurie, with all the care given to the meticulous work of composition, colors, in screen printing.
All the proposals of this event are their spontaneous responses to the initial invitation, their interpretations of the opening. On this occasion, the invited artists fix these joys more durably in the exercise of their proposals, in response to the theme imposed by the advent of this cycle, like a prequel or a film opening, of what is to come. Where the wish to be realized somewhere is fulfilled; and to do it is to produce the effect of wanting it for all of you, not in an abstract formula, but by a concrete action.
—
a§s
Corey Bartle-Sanderson, Container (Rainbow), pulped newspaper & digital print on newspaper, 2023
/and/or/ Untitled (La tour), ashtrays stacked to the same ratio as a king cigarette, apple seeds & dust collected from spasss, 2024
Naomi Gilon, Sans titre, stoneware ceramic glazed with François Patoue, fired at 1230°C, 2024
Laurie Giraud in collaboration with Ibrahima, ibra sow snx, three-color screen printing on paper, 2024
Tommy Lecot, Brut, poplar plywood, melamine MDF, cologne spray, washers, screws, 117 × 49 × 15 cm, 2024
Morgane Le Ferec, Invitations, diptych drawings in felt pen on Munken Lynx paper, 18 ×24 cm, 2024
Raphaël Matieu, (+), collage, 2024
Matthieu Michaut, carwash, metal box, postcards, magnets,
23 × 21,5 × 12 cm, 2024
François Patoue,
Wild Flowers
I can pick in your tears
Colored gesso, acrylic and watercolor on cotton duck canvas, aluminum frame, 140 × 190 cm, 2024I can pick in your tears
Elias Sanhaji, Italie 1-1 France (tàb 5-3), variable dimensions, 2024
Raphaëlle Serres, noreply@ &
enter—shift—esc—space,
Vases, variable dimensions, adhesive papers and printed binding cloth, glass container, 2024
ANALOG PHOTOS Leïla Zahedi (TOP)
& Delphine Schockert (BOTTOM)
Prints and exhibition text by Eléonore Bonello
The bar was tended by Eléonore, Leïla, and Renaud
Flowers were provided by Leïla and Naomi
Thanks —& Delphine Schockert (BOTTOM)
Prints and exhibition text by Eléonore Bonello
The bar was tended by Eléonore, Leïla, and Renaud
Flowers were provided by Leïla and Naomi
I would especially like to thank Éléonore, Renaud, and François for their many contributions and unconditional support; and all the artists who have amazed me with their suggestions, their support, and their trust; I am truly honored. Thank you.
Raphaël Matieu, (+), 2024
ANALOG PHOTOS Delphine Schockert