The artist’s practice is rooted in questions of identity, borders and cultural belonging, which evolve and take on new meaning in the different countries through which they pass. Her exhibition in the Project Room as part of Drawing Now and Printemps du Dessin focuses on her drawing practice, which takes shape in a variety of ways.
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Wei Libo work on a series of sculptures celebrating the memory of his origins. He first drew inspiration from the furniture of his childhood, making replicas using traditional skills.
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Thomas Buswell’s work, which he describes as ‘something to live with’, suggests tensions between the state of nature and modern comfort, attraction and repulsion.
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Joséphine Berthou makes fiction films with a strong documentary and musical comedy element. Her films are incorporated into large-scale installations, and consider the roles that each person acquires in a globalized society where information circulates with ever-increasing immediacy.
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Unidentified objects taken from the design of our everyday lives, combined with images of UFO or supernatural events, cast doubt on our adherence to any form of certitude.
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Na Liu’s multi-disciplinary work explores themes related to human subconscious psychological motivations and their interactions with objects.
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Andréa Sparta’s discreet installations bring together objects that everyone can recognize, but whose nobility usually escapes our gaze. He likes to quote the artist Agnes Martin: “The wriggling of an earthworm is as important as the assassination of a president”.
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Nina Azoulay works in installation, sculpture, drawing and fragmentary writing, which she describes as “stacked poetry”. Her fascination with textiles has led her to research the skin, raising questions about permeability, vulnerability, limits, vertigo, heritage and possible transformations.
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Romain Best’s installation and sculpture work is rooted in a variety of materials. By learning the techniques involved in understanding the different states of matter, he initiates research that leads to new experimentation. In this virtuous circle of investigation, Romain Best becomes a blacksmith, an alchemist, a dowser and a researcher. Chance and serendipity are central to his practice, which reinvents itself as it experiments.
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Using visual associations and mise en abyme, Parisa Babaei’s installationscombine objects, photographs, editions, videos, texts and sound archives, humorously revealing the hidden meaning of a personal political history.
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