{"id":9970,"date":"2020-04-15T11:14:58","date_gmt":"2020-04-15T09:14:58","guid":{"rendered":"https:\/\/www.jousse-entreprise.com\/art-contemporain\/?post_type=expositions&p=9970"},"modified":"2023-05-09T19:02:24","modified_gmt":"2023-05-09T17:02:24","slug":"1-jour-1-artiste","status":"publish","type":"expositions","link":"https:\/\/www.jousse-entreprise.com\/art-contemporain\/en\/expositions\/1-jour-1-artiste\/","title":{"rendered":"1 day \/ 1 artist"},"content":{"rendered":"

For one day, one artist from the gallery takes over our Instagram<\/a>\u00a0account and shares with you his \/ her research, books, works and more…<\/p>\n

Find here all the content they have published on our social networks!<\/p>\n

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09.05.2020 – Takeover by Seulgi Lee<\/h4>\n

Seulgi Lee\u2019s work \u00ab invites us to discover animated signs and their opposites. It plays with our vague desires to recognize (or not) a letter and a language in its most primitive attire. [\u2026] Just like in the \u201cnubi(s)\u201d (Korean quilt) [\u2026], these votive sculptures [\u2026] stimulate our powers of free association between image and language, a process in which the image becomes as right (and not just an image) as a fully- edged proverb. \u00bb
\nArl\u00e8ne Berceliot-Courtin<\/p>\n

Seulgi Lee (1972, Seoul) has developed a unique artistic practice immediately recognizable for its use of color, gesture, simple yet elegant forms, and performance. Her work consists of reactivating ancient craft practices in order to find a lost relationship with our environment and our bodies. La Cri\u00e9e (Rennes) dedicated a solo exhibition to her in 2019 and she is one of the four finalists for the Korea Artist Prize 2020.<\/p>\n

Photos captions:<\/span>
\n1. Portrait of Seulgi Lee by Paolo Codeluppi<\/p>\n

I\u2019m happy to be introduced by Jousse on Instagram.
\nLiving in Paris since 1st Feb. 1992, I\u2019ve been working with extraordinary
\nartisans for last years, convinced that there is an alternative form of being community.
\nEventually I was looking for the starting point of language through the practice of those artisans, whether in quilt, basketry or pottery.
\nEach time something else came out of the research.
\nFor 1 Day, I propose a glimpse of my humble environment.
\nAs said my colleague Louidgi Beltrame, our past is our future.
\nI am thrilled to announce that a new project will be part of the Korea Artist Prize show along with 3 artists at National Museum (MMCA) in Seoul this year, next door to the Gallery Hyundai.
\nThank you for supporting the arts.\u00a0Seulgi<\/p>\n

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07.05.2020 – Takeover by Atelier Van Lieshout<\/h4>\n

The works from Atelier Van Lieshout often propose utopian environments for living and industry, while questioning the ways in which we occupy both. The world as we know it is deconstructed with techno-modernist speed, playing a game of nostalgia for bygone political beliefs. Van Lieshout raises dynamic and often dark questions about \u201cthe end of everything\u00a0\u00bb while offering artistic solutions towards \u201cthe beginning of everything\u00a0\u00bb.<\/p>\n

After graduating at the Rotterdam Art Academy, Joep Van Lieshout (1963, Ravenstein) found the Atelier Van Lieshout in 1995 and\u00a0\u00a0AVL-Mundo in 2001 (Rotterdam). The produces works are on the borders between art, design, and architecture. By investigating the thin line between manufacturing art and mass-producing functional objects, he seeks to find the boundaries between fantasy and function, between fertility and destruction. Recently, he had a solo exhibition at the Pioneer Works (New York).<\/p>\n

Photos captions:<\/span>
\n1. Portrait of Joep Van Lieshout by Jaap Scheeren<\/p>\n

Think big! As the height of the gallery’s roof isn’t infinite, AVL is posting artworks you wouldn’t be able to run into at Jousse Entreprise.<\/p>\n

2. Invisible Hand,<\/em> 2012, 470 cm high.<\/p>\n

4. The Monument<\/em>, 2015, 431 cm high.<\/p>\n

5. Beeld<\/em>, 2012, 310 cm high.<\/p>\n

6. The Leader<\/em>, 2015, 330 cm high.<\/p>\n

7. Womb House,<\/em> 2004, 212 cm high. The artwork was part of Unlimited<\/em>\u00a0at Art Basel in 2004. Afterwards, it was part of the Antoine de Galbert collection and is now in the collection of Centre Pompidou.<\/p>\n

9. Blast Furnace,<\/em> 2013, 1050 cm high.<\/p>\n

10. Domestikator<\/em>, 2015, 880 cm high.<\/p>\n

11. Last one, and we\u2019re cheating again\u2026 But this work was especially made for the gallery and was sold by Jousse, so we wanted to share this artwork as well. And, let\u2019s be honest, one part is actually quite big\u2026.\u00a0 Le Magnifique, <\/em>2010, 135 cm high.<\/p>\n

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05.05.2020 – Takeover by Ange Leccia<\/h4>\n

\u00ab From his first cinematic experiments in Super 8 to Poussi\u00e8re d’\u00e9toiles<\/em> (2017) and Mer<\/em> (1991), Ange Leccia’s works (1952, Minervi\u00fa) present suspended moments where time and space become the measure of emotions. Steeped in memory and love, introspection and sensation, his videos bring each thing filmed into an incandescence form. Purity and abstraction become the vectors of a vibrant approach conducive to contemplation. His work offers a carnal analysis of the image where light and natural elements affirm the energy of his creation. \u00bb
\nFabien Danesi<\/p>\n

After studies at the Sorbonne (Paris) and a stay at the Acad\u00e9mie de France (Rome), he taught at the School of Fine Arts in Grenoble and then in Cergy. From 2001 to 2017, he created and directed the Pavilion at the Palais de Tokyo. His works have been exhibited in France and abroad (Paris, New York, London, Athens, Akureyri…).<\/p>\n

Photos captions:<\/span>
\n1. Portrait of Ange Leccia by Janarbek Amankulov-Saparlas<\/p>\n

Confinement – Villa M\u00e9dicis, 1982 – 01<\/p>\n