Manuèle Bernardi, was born in 1959 in Saint-Tropez, France. She lives and works in Roussilon, France.
After studies to the Academy Roederer and to Beaux-Arts de Paris, she becomes a decorator and a
wardrobe master then an illustrator, before choosing to express herself by the painting and finally,
This visual artist explores the feminine representation in what it has of links
in its ecosystem. She makes perceptible invisible emotion of two beings which connect,
the alchemy of a group which moves towards a common destination. Her sculptures, Callipygia,
in feet anchored well in the reality, rise unconditionally towards the other one, the waves pass.
In her installations, the fragile material , of paper, plastic, seeds, ..., is strengthened by invisible
threads, Manuèle studies the flora and fauna as the source of an inspiration for a common life
where the link makes rampart, sets up itself as protective shield of a materialistic everyday life.
If the installations of Manuèle Bernardi have a high poetic density, they contain in their heart a
disturbing fragility. Attached to nylon threads, these little things icker happily on themselves,
unaware of their meaning. Individually they are only the traces of a past life, of a manslaughter,
together they reform a quivering ecosystem that seeks to protect its center. A new constellation
around a visible or concealed star that brings back a form of life. The allegory does not stop there,
Manuèle protects her installations of a sheet of transparent plexiglass which is reminiscent of the
Benjamin Bichard was born in Nice, France, in 1982. He’s graduated from the famous Villa Arson in 2010.
After his studies he lived few years in Paris and was selected by the 57th Montrouge Salon for the young
creation where he was discovered by Geraldine Banier gallery. In 2014 he came back to his native city,
He still lives and works at Nice today.
He has chosen everyday objects, assimilated to our consumption, to realize them into new forms by
accumulation, assembly, twisting and cutting. His modular objects reveal the aesthetic power of
these invisible actors of our everyday life.
Born in 1985 in Maysaf, Syria.
Leaves and works in Vanves (France).
Khaled Dawwa graduated from the Damascus School of Fine Arts in 2007 (Syria).
His sculptural practice is rooted in the social and political history of his time and in his belief that art has a role to play in it. The Syrian revolution and, more broadly, the upheavals that have affected the world since 2011 have led him to question the relationship between people and power, and between art and memory.
His men of earth and bronze evoke the duality between people and authority, between fragility and solidity. Reduced to impotence by their statufication or pierced by an infinity of holes, these male figures stuck to their seats embody the ambivalence of power.
As Khaled Dawwa says, «the holes, in some of my works, are a way to undermine the solidity of the system, to weaken it. It is my way of expres- sing my frustration with the state of the world around me. I spent hours punching through the statues, both those made of clay and those made of bronze. It is an attempt to pierce the mass, to break the wall.»
Frédéric Garnier was born in 1970 in Troyes.
All his really protean creations stage our questioning on the human existence.
Its beginning and its term. Its meaning. What we name collectively « After «.
Then what survives us is born, takes place in memoirs, « tracks of life ».
Visual artist, he expresses himself through numerous mediums: sculpture, installation,
photo, video and drawings. His reflections concentrate on the object, which makes link between
the human being and the world. By using materials of our time (foil blanket, cement, plexiglasse),
it anchors its works in our period. They crystallize questionings in the intimate and universal echos.
Benjamin Grivot was born in 1994 in Dijon (France). He lives and works in Dijon.
He graduated from EMA (Fructidor 2014) and Ensa Dijon (2016).
In 2017, he won the prize of the Dijon-Dallas Residence.
Emerging artist, he exhibited in group exhibitions in the United States
In 2019, he has a solo show at the Espace Ricard (Dijon) for his exhibition :
"Anyone can play guitar".
His work evolves around the relationship between visual arts and music.
His different experiments are built around the matter of objects,
to their learning at first glance. He uses these materials as a support for
sliding between two universes.
Hörl has become famous with large installations in Berlin and Munich, among others, and will now realize a spectacular project of his "Art in the public environment" in the city of Nuremberg where he teaches as a professor at the Academy of Fine Arts since 1997.Using about 7000 plastic replicas of Dürer's hare Hörl will transpose the central square in the old town of Nuremberg into a large green corridor of 2500 m². For two weeks, the Nuremberg Main Market will become a "Large Piece of Hare" in honor of Albrecht Dürer before breaking up in its individual components and so to speak merge into the population.
Duplication, the idea of serial production, and large numbers are the center of Hörl's projects. His art intends to inspire communication and to include as many people as possible. Dissolving of the large piece of hare into individual components is part of the concept. After two weeks, one may take a piece of hare home against a nominal charge. The hares move from a public to a personal environment. "I want to reach out with my work, set an impulse and let people take their Dürer home to allow individual, undogmatic altercation."
Was born in 1984, in Nuremberg, Germany.
Anna Dorothea Klug studied ceramics in art colleges in Nürtingen,
Halle and for a guest semester also in Ohio. Therefore her works are made
of clay. Her interest is not the self-expression of this material. Material is for
her only a means to an end when she tries to find images for emotional states.
Her beautiful sketchy drawings serve as models for the sculptural works. That
is the exciting task: translating a two-dimensional representation into the spatial.
Anna Dorothea Klug is concerned with the visualization of her own elementary
emotions - fear, pain, joy, sadness, longing, pity, security - and their transfer
into the universal. In doing so, she makes use of fairy-tale-like images from
mythology and their stereotypical contemporary interpretations. It is the narrative
of the relationship between mental and physical states, the narrative of the
relationship between body and mind, the narrative of the ambivalence of human
states of being.
The actors of this bizarre world theater are humans and animal-like beings.
In the series entitled «The Feeling Behind,» they always appear as a pair: a small
human and an oversized, fantastic-looking animal being. Their relationship
remains mysterious. Their interaction seems to follow a ritual that remains
hidden from the viewer. Visibly borne by empathy, they consistently exclude third parties.
Works in collection :
Hetjens Museum Düsseldorf
City of Gmunden, Austria
City of Kempten
Selected exhibitions :
2021 The other view, Villa Jauss, Oberstdorf
25th Anniversary of the Ceramics Award in the Pulverturm, Stadtmuseum Oldenburg
Creatures and Bodies, City Museum Hüfingen
Art from the Allgäu, Alpine Museum, Kempten
From the dark forest, solo exhibition, Kunsthalle Kempten
72nd Great Swabian Art Exhibition, In the H2- Center for Contemporary Art
2019 10th Korean International Ceramic Biennale, Korea
Michel Laubu, creator and artistic director of Turak since 1985, and Emili Hufnagel,
co- director of the company since 15 years.
Michel Laubu presents his theater in France and abroad ( Indonésie, Russie, Syrie, Norvège...).
He was artisartner at Volcan, national stage of Havre, at Bateau Feu, national stage of Dunkerque,
at Subsistances in Lyon...
In short terms, he brings in France and abroad this strange theater, poetic and visual. The company
has just its birthday of 30 years in 2015.
Emili Hufnagel, accomplice of Michel Laubu, co-writes the projects with him. She is also a comedian
in all the shows of Turak.
Turak in few words
Turak, is a Theater of Objects and Puppet company, that develops a visual theater «all ground compatible»
fed by diverted objects, by old or imaginary mythologies, by languages in multiple and invented accents.
Known for its research work around the object, Turak mixes the puppet forms, the gestural theater and the
plastic exploration. This tinkered poetry could be situated in the crossroads of the dance, the gestural theater
and the plastic arts.
The artistic approach of Turak lays on a game with the used object. Imaginary past, born from «the used of
the object», memory and marks of an invented civilization, it is from this fictitious archaeology that shows and
exhibitions are created.
The shows written and staged by Michel Laubu thus address a very wide public. Every image having several
levels of reading, the doors of access are not lacking. It is a writing in strata, with « theater in all the floors».
Laurence Le Constant was born in 1976 on Reunion Island. After obtaining a degree in
fashion design, she began art studies specialized in textile design and then developed
skills as an embroiderer, weaver and feather-worker.
The ancestral gestures were patiently passed on to her in the workshop. She later chose a
course combining visual arts at the Sorbonne with classes at the School of the Chambre
Syndicale de la Couture Parisienne, which sealed her desire to master the creation of the
most sophisticated materials, together with the fundamental questions of visual art.
From 2000, she gained experience in prestigious haute couture workshops as Chanel,
Dior, Emmanuel Ungaro, Prada, etc. In 2010 she decided to devote herself entirely to
her own work and finally allowed herself to show a body of work that was just waiting to be seen.
She has participated in several group exhibitions in Paris, Tokyo, Osaka, Dallas and San
Francisco. The work MICHELINE (from the series MY LOVELY BONES) joined the permanent
collection of the Dallas Museum of Art in 2012.
A noteworthy selection of her Vanitas (from the MY LOVELY BONES series) was shown at
the Art Paris Art Fair in March 2014 and March 2015.
From May to the end of June 2014, the Geraldine Banier Gallery devoted a solo exhibition
to her work: “HER GARDEN”.
2015 was marked by a series of collaborations with Massaro (Chanel’s custom-made
shoes department). They gave rise to SUKI, EVE, DAPHNE and Mademoiselle IVES.
The alchemy that developed between the artist, the bootmaker of the Rue de la Paix and
the watchmaker Roger Dubuis resulted in the creation of the ultra-limited edition watch: VELVET GRETA in 2016.
Sylvie Mangaud is born in 1961, in Paris. She lives and works in Paris.
Sylvie Mangaud seems to sculpt the vibrancy that emanates from the female body in motion.
Whether it is a gesture or an emotion, we fully understand the essence. Attitudes are accurately,
sometimes slightly ironic, like self-mockery. His sculptures are close to the sketch, their shadows
play with them and tell a poetic double.
Her nudes have no definite face, just a head wear, they are all women, all at once playful, languorous,
seductive, pensive ...
It is the crossroads of her studies that led her naturally to sculpture. Originally, a training of
photographer allows her to know how to seize the movement, the emotion, and immortalize
the moment. At the same time, she is studying morphopsychology, which will enable her to
observe and restore the subtleties of the female body.
Nudes and animals immediately become his favorite territory without respecting the proportions
that will define her style.
Elephants advance with a sure and quiet step. Baboons fly from one branch to another.
Herons are about to leave the nest. Cheetahs roam ... Their momentum and their intentions
are palpable. They all seem caught on the run, at a standstill. They heard the sound of the dark
room closing on them.
The bronze material takes under the fingers of the artist a lightness, which makes the sculptures
alive, one could almost feel their pulse.
Born in Oviedo, Spain, 1966.
Leaves and works in Madrid Spain
Fernando Suarez is an enormously versatile sculptor. His training, his mastery of
the environment, and his untiring creative capacity, allow him to travel on many different
paths of creativity, although these paths may share similar challenges. He works
preferably with iron and bronze, but it is surprising the multiple resources he uses
to diversify its production. From utilizing materials like resin for example, to manipulating
the multiplying effects of mirrors, or to exploit all the options offered by the Spatial
occupation, with a singular obsession for movement and weightlessness.
He is primarily interested in the human body, and is capable of deepening both
his psychic surroundings with the most varied formal solutions. He uses a model
of a strong man, strong muscular complexion, pushed to the most unsuspecting limits.
Active, restless, tried-and-tested man who must overcome, who jumps,
climbs, runs, fights, or maintains balance, in a continuous game of equilibrium. Fernando
Suarez possesses an unusual mastery of capturing the rhythm, the gesture, the
precise moment to freeze an image in time while studying its dynamic potential. He
creates a special man, whose muscles are shaped with metal blades and rods, and
therefore is also a hybrid machine, often immersed in suggestive futuristic poses. But
he also studies the individual as a creator, as inventor of vehicles and gadgets, or as a
being that transforms his environment. This involves bridges, architecture, and unique
buildings from exotic settings evoking distant environments, or blocks of flats under
construction or destroyed by fire, urban agglomerations, or the ironic circulatory chaos
shown in an absurd and endless circle.
All are constructive and structural, sometimes very complex, that allows him to explore
new and rich possibilities utilizing plastic.
- Moises Bazar