Matthew Lutz-Kinoy’s primary medium might be painting, but it often goes beyond two-dimensional space to extend to its surroundings, becoming decor or pieces of furniture. This expansion of the pictorial space is seen both in the choice of subjects and in the enlarged and repeated stylized motifs. His large format paintings, often installed like decorative tapestries, wall panels or suspended ceilings, stages the exhibition space in which viewers are physically immersed. This highly spatial and physical approach to painting expresses Lutz-Kinoy’s special relationship with the body and gesture, and explains the extension of his work into dance and performance. For his recent exhibition at Le Consortium, Dijon, a vast system of murals, inspired by François Boucher’s painted panels that once decorated a boudoir and are now displayed at the Frick Collection in New York, entirely covered the walls of this white cube. This fascination with the refined, sophisticated and carnal painting of the 18th century brought out its erotic and transgressive nature against a backdrop of sensual and sexual liberation.
For his exhibition at the CEC, Victor Man invites Navid Nuur not so much to create a common work but rather to establish a dialog and to underline a certain kinship between their artistic practices: their use of traditional and handcrafted techniques – watercolour for the one and ceramics for the other -, their common references to materials that bear strong symbolic and poetic meaning – minerals, water, fire -, their personal and artistic background, but also their ties to childhood, to memory and perhaps to nostalgia. A shared way of revisiting the significant initiatory stages that rendered this duo possible and natural, offering an installation alternating the watercolours of Victor Man and the ceramics of Navid Nuur. (more…)
Presentation of the edition offered to the 2017 members of the Centre d’édition contemporaine association
The CEC at week-end
Genève Art Contemporain
Itinerant presentation of the facsimile of the publication Les plaintifs, les bêtes, les politiques
Signing session in the presence of Thomas Hirschhorn
From 6 PM Presentation of Jean-Michel Wicker’s edition, #picturebook1, artist’s book, offset, 27 × 28.5 cm, 396 pages, including 360 pages in colour and 36 pages in black on LuxoArt Silk 150 g/m2 paper, glossy colour cover, LuxoArt Silk 350 g/m2, 10 inserts, colours, 26.5 × 28 cm, LuxoArt Silk 130 g/m2, publication of an arbre de vie produced by Jean-Michel Wicker in collaboration with Marlie Mul, a text by Harry Burke, and a recipe for Alsatian plum pie by Charlotte Wicker (French), English, an edition of 500. Graphic design: Maximage Société Suisse, London. Printing: DZA Druckerei zu Altenburg, Altenburg. Edition of the Centre d’édition contemporaine, Geneva, June 2017.
For this exhibition, Jakob Kolding will be proposing a scenography reminiscent of 19th century dioramas or the photomontages of the Théâtre Alfred Jarry, a small theatre that will fill all our exhibition spaces and be visible from outside, both as an installation and a public artwork. Several scaled up or down “standing” silhouettes will be grouped on this stage set, creating an interplay of juxtapositions and gaps. Each figure suggests a historical or anonymous person, illustrative of Jakob Kolding’s extended vocabulary of literary, philosophical, artistic or personal references, and encouraging a sociological, cultural and aesthetic interrogation of the use of space. While in his earlier works this critical research was more closely linked to the phenomena of the transformation of urban space and gentrification, Kolding has more recently approached different concepts of space in a broader, more open and ambivalent way, as areas where questions of identity are simultaneously complex, shifting and multiple. (more…)