French artist Fabienne Verdier trained in painting with Chinese masters in the 1980s. After a ten-year apprenticeship in China, she returned to France and invented her own pictorial language. On huge colored canvases, she searches for the energy and vibration of signs and simple forms, traced with brushes and custom-made tools that engage her whole body. Her paintings are now part of the collections of the most prestigious museums and her work is regularly exhibited in many countries.
In the spring of 2022, the painter Fabienne Verdier returns to Nogent-sur-Seine for an exhibition at the Camille Claudel Museum. In 2016, she had already created the stained glass windows of the choir of the Saint-Laurent church in collaboration with Flavie Serrière-Vincent-Petit, a master glass artist based in Troyes.
At the Camille Claudel Museum, the exhibition will give a central place to the stained glass windows of the Saint-Laurent church and to the reflection of the two artists. Their experiments will form the heart of the exhibition through a set of glassmaker’s tools, films and photographs showing the realization of the stained glass windows in order to reveal to the public the backstage of this original collaboration. An original variant of the stained glass windows, not chosen for the choir of the church, will be presented exceptionally in the former sculpture gallery in the park of the former Dubois-Boucher museum.
The contemporary aesthetics of the stained glass windows will be illuminated by a set of paintings by Fabienne Verdier, showing the bridges that exist between her pictorial practice and the reflection that she has carried out since the commission for the stained glass windows of the church of Nogent-sur-Seine. In line with this work, Fabienne Verdier and Flavie Serrière-Vincent-Petit have also created a series of paintings on glass, Topographies imaginaires, which will be exhibited for the first time to the public. It will be displayed in the museum’s superb auditorium with its panoramic view of the city.
Figure emblématique de la scène artistique portugaise, Pedro Cabrita Reis a acquis une reconnaissance mondiale. Il a notamment participé à la documenta 9 (Kassel, 1992) et a représenté le Portugal à la Biennale de Venise en 2003. Ses œuvres d’art – sculptures, peintures, dessins, photographies – figurent dans les collections des plus grands musées d’art contemporain du monde.
Cabrita aime travailler avec des matériaux utilisés en architecture et apprécie le défi d’adapter ses créations à des sites spécifiques. Dans Les Trois Grâces, il aborde la tradition pour apporter un regard nouveau sur un thème ancien, largement présent dans les collections du Musée du Louvre, notamment dans l’art gréco-romain. Les pièces en marbre et en bronze dans le Jardin des Tuileries – héritages du siècle du roi Louis XIV ou œuvres imprégnées de l’esprit académique du XIXe siècle – ajoutent une touche supplémentaire inattendue à ce dialogue.
Under the artistic direction of José-Manuel Gonçalvès, the Eva Albarran agency is coordinating the technical design and production of the permanent works for the stations of the Grand Paris Express. 41 French and international artists from a wide range of artistic disciplines are already at work on the stations, which are scheduled to open between 2024 and 2030.
Artistic director: José-Manuel Gonçalvès. Associate curators: Bernard Blistène, Fabrice Bousteau, Jean-François Chougnet, Alexia Fabre and Frank Lamy, Charlotte Laubart, Laurent Le Bon and Annabelle Ténèze.
Design and production of the tandem works, belvederes and nomadic works: Agence Eva Albarran. In collaboration with Le CENTQUATRE-Paris for the artistic coordination and production of events on the sites and Manifesto, administrative representative of the consortium.
Dans le cadre de la troisième exposition de la série Lee Ufan and His Friends, le Busan Museum of Art accueille Christian Boltanski : 4.4.
Il s’agit de la plus grande rétrospective de Boltanski organisée en Corée depuis une exposition individuelle en 1997 au Musée national d’art moderne et contemporain de Corée, ainsi que sa première exposition posthume.
Le titre de l’exposition, 4.4, fait référence à l’année 1944, l’année de sa naissance.
Under the artistic direction of Sandrina Martins and Moura Merzouki, Nuit Blanche 2021 set the city and its inhabitants in motion around the celebration of the body, sharing art in all its liveliness and unifying power.
The edition celebrated the relationship between art and sports and contributed to the launch of the Paris 2024 Cultural Olympiad, a program consisting of a series of artistic events organized in the host country before the Games.
This Nuit Blanche also served as an invitation to an urban walk along the GR 75, a long-distance hiking trail created for Paris’ bid for the 2024 Olympic and Paralympic Games.
Through four routes, visitors discovered performances, contemporary artworks, cultural and sporting heritage, as well as two contemporary art exhibitions.
For Lionel Estève, it is the eye of the beholder to whom one must address when creating a work of art. He sculpts a monumental conglomerate that fits beautifully into the space of the Muse center, playing with the visitor’s perception. 50 polychrome volumes of varying dimensions come to life, subtly rotating to create an almost hypnotic effect.
But the striking effect is not solely due to the kinetic dimension of the work, as it is a play of color and transparency unfolding before our eyes. Neither exactly the same nor quite another, the work offers us a multitude of colored effects each time.
The movement allows the colors to be recomposed; when blue meets yellow, one is surprised by a green that did not exist before and disappears as quickly as it appeared. Then it’s a purple, an orange, a pink, an ochre, a magnificent palette unfolding before us. The interaction reaches its peak when one moves around the volume, trying to create one’s own color range. For Lionel Estève, his work must appeal to the pleasure of shapes and colors, provide a breath, and refresh the mind of the spectator.
The year 4, a “re-birth” / a return to basics. For three years now, the name Les Extatiques, originally conceived for a first anniversary edition, has managed to establish itself, be recognized, and perpetuated.The event has managed to become part of the cultural calendar, highlighting its ambition to become an essential outdoor cultural event, akin to Le Voyage à Nantes or La Nuit Blanche.
The project also fits within the framework of the “re-birth” of the neighborhood through greening initiatives and the creation of new parks in Paris La Défense, as well as on the “biodiversity island” site of La Seine Musicale. A particular intention will thus be brought forth so that the artistic installations can express this “blossoming,” this flourishing of the sites.
Ici et maintenant est une intervention sculpturale délicate qui passe par le langage et le dessin pour créer une atmosphère de pensées et d’inspirations qui circulent à travers le cloître comme un vent doux.
Elle est constituée de lignes de bronze qui deviennent textes, et de textes qui deviennent lignes, et qui proposent, tout en étant discrètes, des pensées fortes et intéressantes, en lien avec l’histoire de l’Université, avec la vie étudiante, avec des références littéraires, musicales, cinématographiques, philosophiques et populaires. Des jeux de mots perspicaces qui permettent d’enrichir le quotidien de l’université, d’éveiller de nouvelles pensées, d’intriguer, de faire réfléchir au moment présent, de faire rêver du futur, d’encourager ou encore de poser des questions.
L’oeuvre qui s’infiltre dans l’architecture crée des liens symboliques entre les espaces, et peut, à terme, constituer une sorte de nomenclature parallèle symbolique pour certains espaces : le coin où l’on devient invisible, le lieu où l’on court vers la mer, celui qui porte bonheur, celui où l’on sent le printemps.
Un Eté au Havre returns in 2021!
The cultural event “Un Eté au Havre” is back for a new edition in 2021. Still under the artistic direction of Jean Blaise, this ambitious encounter with art, heritage, and culture unfolds each season in Le Havre, enriching the collection of artworks in public spaces.
Since 2019, the GIP Summer in Le Havre has entrusted the delegated production of the event to Eva Albarran & Co.
Delegated production: Eva Albarran & Co // Technical direction: Ateliers Puzzle // General management: Prométhée Concept