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  • . Maguy Banq
    Maguy Banq was born in 1954, in Marseillan, South of France. She graduated from
    the School of Fine Arts of Mexico in 1992. She shares her life between France and Mexico
    and exhibits regularly in these two countries.
     
    Fed to the classic techniques, Maguy Banq allies the work of the bronze to materials and forms
    of the minimalist art. Because the work lies itself in the association of its pure, geometrical,
    multiplied forms where her bronze work, as a way of cross, takes back the stages of the human
    condition. She is interested from the beginning of her researches in the "cycle of the absurd ",
    eternal resumption, symbolized in her works by the myth of Sisyphus. She experiences and
    expresses labour, absolute quest towards an ecstatic and calmed plenitude, which as for Albert
    Camus would tighten towards an "happy men".
  • . Manuèle Bernardi

    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, 

    the sculpture. 

    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 

    ozone layer. 

  • . Benjamin Bichard

    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. 

  • . Joachim Biehler
    Joachim Biehler was born in 1981 in Strasbourg. He received the National
    Superior Diploma of Expression of Plastic Arts (DNSEP) of the Superior School of
    Art of Perpignan. 57th Salon of Montrouge.
     
    Familiar with the contemporary art milieu, he knows any of its subtleties or references, a
    nd enjoys twisting them with humor. Most of his works play an attraction-repulsion game.
    In the “like project”, one of his first series, Joachim substituted his face from contemporary
    art icons’ ones, such as ORLAN or Jeff Koons. The photomontage, a bit disturbing, makes us
    smile and wonder about the young generation’s place in this well-organized star-system.
    “Big sugar vanity” is also based on an ambivalent process: candies appeal and disgust us at the
    same time, placing us in direct confrontation with the vanity symbol. As a consequence, we connect
    sugar with our annihilating, blinded, consuming, warrior society.
    This work rests on a system of paradoxes. Through candies, Joachim captures a part of our senses:
    sight, sense of smell, taste. Our emotions are torn by the artist’s use of a material which deeply reminds
    us of childhood and feelings of immediate affection. Vanity reveals itself as a metaphor of today’s society,
    where the human being, often unconscious, sinks into warrior madness. With humor, poesy and irony,
    Joachim Biehler calls for a return to feelings.
  • . Yosman Botero
    Born in Cucuta, Colombie, in 1983. Leaves and works in Barcelone, Spain.
     
    Power is everywhere - Yosman Botero Gomez
    The creative universe of Yosman Botero can be defined as a space built of doors 
    and mirrors, where everything is reflected and confronted with the objective of mapping, 
    revealing and questioning power relationships. Influenced by multiple references originating 
    from history, literature, documentaries and art, Yosman has assembled an archive rich in 
    mixtures that he uses at the time of creation. Standing out is his ability to detect signs and 
    symbols and to elaborate narratives out of them that, in a visual and conceptual dimension, 
    question the tensions both ideological and institutional as well that of the economic system i
    n a society that bears decades of repression and brutality, articulating a essentially political work.
    Yosman develops a creative process in which he first locates a colonizing act, and then 
    determines the exploitation exercise to which it corresponds. His work criticizes the inappropriate 
    use of natural resources through mining, the manipulation of information by the powers that 
    be, and the unbridled cravings for enrichment. At this point, much of his work arises from the 
    need to visualize the void, to generate resilience processes in the spectator. There is a marked 
    interest in architecture and landscape that acquires a dimension as a social territory. Thus, his 
    method of work could be defined as the study of the ecology of war, where he expresses an 
    interest in those landscapes that during war conflicts only acquire value insofar as these may 
    be a resource for the enemy.
    The theoretical references of Yosman’s work are multiple. Among them the American writer, 
    philosopher, film director and photographer Susan Sontag who in her books reflects on the 
    meaning of her art. “That a bloody battle landscape could be beautiful - in the sublime, 
    astonishing or tragic record of beauty - is a common place of the war scene images made by 
    artists. The idea does not fit well when applied to the images taken by cameras: finding beauty 
    in war scene photographs seems cruel. But the landscape of devasta- tion remains a landscape. 
    In the ruins there is beauty.” (SONTAG SUSAN. Regarding the pain of the others. De Bolsillo, 2010.P. 68.). (...)
     
    Natalia Castillo Verdugo 
    Director AMA+
  • . Marco Cordero
    Born in 1969 in Roccavione (Cuneo), Italy, Marco Cordero graduated in Sculpture at the Albertina
    Academy of Fine Arts in Torino, city where he continues to live and work.
     
    His work establishes a genealogical relationship to matter, undertaking a movement in which,
    from the library as a collective heritage, becomes the germ of sculptures that hold a material
    “reminiscence” value. The intervention on the written text in which he digs, profiles enigmatic
    shapes and forms, and sets a space in which the matter is thought as memory. The book,
    though cut in a creative intention, remains idolized as an aesthetical, historical, cultural
    and divinatory object. This creative and aggressive gesture represents thus the nuclear
    element that makes explicit and overcomes the first meaning by opening a latent and
    potential semantic field.
     
    The hand of the artist gives way to the drawing that emerges from the stacked pages,
    showing the deficiency or inadequacy of writing to communicate properly, turning
    into an indecipherable text. Words stay readable and emerge from literary hidden
    references, simulating a horizon line; an excavated group of books brings to light a
    mountain landscape from which tracks of earth or charcoal traces, as a sort of
    memory of their future.
     
    Dialectic process between the materiality of heritage and his conceptual projection,
    Cordero undertakes then a hermeneutic of substance. He re-interprets and
    transforms this legacy in a renewed language, seizes the texts and their opened
    possibilities to perform an unveiling and concealing game that enhances an
    archaeology of the subject who confronts the matter.
  • . Khaled Dawwa

    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.»

  • . Samuel di Blasi
    Born in Alba, Italie, in 1975. He lives and works between Alba and Pietrasanta.
     
    Samuel di Blasi graduated in sculpture at the Academy of Fine Arts in Turin where 
    he started to work. 
    In 2000 he was in London, where he perfected his artistic language in the studio of 
    Noriaki Maeda. His monumental works describe the link between man and nature. 
    The artist idealizes the two universes by freezing them: this still image creates 
    metaphysical worlds linked to dreams. «I like to represent water using fire, because 
    they are two opposite elements, opposite, but both alive. I use photography to stop 
    the suggestion that I see and the beauty that will lead me to
    the realization of the work. I grew up through photography and the super-eight, 
    made first by my grand-father and then by my father».
    Samuel Di Blasi uses the short film technique as a representation of the non-expressible 
    in words and considers himself a visual sculptor, a creator of worlds that can be crossed.
    “We often observe shapes that don’t want to be description of themselves but simply 
    be something that looks like something else,
    like the idea of seeing a cloud and wanting to climb it”.
    In 2015 he realized at the National Mountain Museum of Turin the personal exhibition 
    «Lo scalatore di Nuvole» (The Climber of Clouds), whose art book is published by 
    Riccardo Cordero (Lizea Arte Edizioni).
    In 2018 he realized at ADD-Art Gallery in Spoleto the personal exhibition 
    «Sognando Sogni», curated by Roberto Sottile, and published his last book (ADD Edizioni).
    In 2020 he created the work «Uomo Onda» commissioned by Arena Italia for the Olympic 
    Games in Tokyo. At the same time, the production company Roundabout in Milan, 
    interested in its history, is making the docu-film «L’uomo onda».
  • . Frédéric Garnier

    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

    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 

    and France.

    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.

  • . Ottmar Hörl

    Ottmar Hörl (born 1950 in Nauheim, Germany) is a notable German artist, art professor and writer.

    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."

    Hans-Jörg Sigwart.

  • . Boris Jean
    Was born in Rabat (Marocco) in 1963.
    Leaves and works in Chelles (France)
     
    Stemming from the Beaux-Arts school of Tours and from the Conservatoire libre du cinéma français, Boris Jean
    became an art director and a director in the film industry (Les Épaves, Grand prix du festival d’Avoriaz),in
    advertising and live performance. Influenced by the Stanley Kubrick’s cult movie, he leads since 2001 his own
    odyssey, by building « Little Big », a futuristic city realized in miniature with rubbish and simply recycled objects.
    He who learnt with Jean Giraud aka Mœbius, to raise eyes towards the sky, invites us to look at the city as if it
    was overflown by a plane we were in, perceiving its lights through the porthole, and looking close to discover the
    way he plays with the architecture of the masters of the reinforced concrete and the vacuity of the Haussmann order.
    And because it is also a game, the spectator is urged to click three times on his smartphone to obtain a night even
    more mysterious, even more poetic, even more fantastic, urban vision of the landscape.
  • . Yanne Kintgen
  • . Anna Dorothéa Klug

    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
    Naspa Wiesbaden
    Grassimuseum Leipzig
    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

    2020
    72nd Great Swabian Art Exhibition, In the H2- Center for Contemporary Art

    2019 10th Korean International Ceramic Biennale, Korea

  • . Michel Laubu and...

    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

    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.

     

     

    Traduction: C.Peers.

  • . Sylvie Mangaud

    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.

  • . Fernando Suarez Reguera

    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