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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
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.»
Born in 1983 in Sagua la Grande, Cuba, Gustavo Díaz Sosa graduated in 2002 with a Degree with Honors from
San Alejandro’s Fine Art Academy of Cuba, where he was teaching painting from 2000 until 2004.
In 2004 he came to Donostia-San Sebastián, Spain, thanks to a scholarship granted by Arteleku. He studied
engraving, lithography and serigraphy between 2004 and 2007. In 2022 he worked as a visiting professor at the
Drawing Workshop of the University of Darmstadt, Germany.
Gustavo Díaz Sosa’s artistic goal is “to describe a lost, anonymous, global, surrendered and desperate society
functioning in a system which presumes to exist as a democracy on a global level.”
His characters “continue to run towards nowhere looking for doors or exits from the monumental walls that
keep them trapped under the burocratic and established rules.”
The artist uses architecture in his works like a tool or a symbol of power. “Architecture has always been used to
protect man, but also to dominate him”, states Gustavo Díaz Sosa. “Religion, myths, politics have always
relied on huge temples in order to confirm man’s fragility when faced to power. My intention is to get the
viewer to reflect upon these issues.”
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.
Was born in 1972, in Seoul, South Korea.
Lives and works in Paju, si, South Korea.
Sung-Rea Kim majored in sculpture at the Alessi Veselli Studio of the
Prague National Academy of Arts. While attending the Prague National
Academy, she did residency at the Bezelle Academy of Art, Hebrew University
of Israel, and her learning in other cultures had a great influence on her work.
In particular, the 911 terrorist attacks, which occurred while she was residing
in Israel, reminded her of how seemingly unrelated events on the other side
of the world affect her life now. Her experiences have influenced her work to
this day, and she is working on the theme of solidarity of minorities against
hate and violence.
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
2020 72nd Great Swabian Art Exhibition, In the H2- Center for Contemporary Art
2019 10th Korean International Ceramic Biennale, Korea
Was born in 1978 in South Korea
Works and lives in France since 2001.
Artist’s approach :
The artist’s work has been strongly influenced by the work of Thomas Ruff and
Andreas Gursky, as well as Bernd and Hilla BECHER, the founders of photographic
The artist captures a moment of reality that we often forget in our daily lives.
However, this moment is not a common image that we see. Sometimes geometric,
sometimes perceived as enig-matic or mysterious. Of course, sometimes it looks
beautiful or indifferent. The artist believes that this is the power of photographic art.
Through this exhibition <It’s Play time>, the artist has fun «playing soccer» in his
own way among the images encountered so far. It doesn’t matter if it is a football
or not. The various appearances that one easily encounters in everyday life remind
the artist of soccer, and for that reason alone,
the artist enjoys playing.
Lino Lago was born in 1973 in Redondela, in Spain.
He lives and works in Madrid, Spain.
He graduated from the Fine Arts University of Madrid Complutense University, painting section.
Lino Lago has always been a painter. From an early age, he dedicates him to his vocation.
When he returns to university, he will be deeply shocked by the idea of «death» of painting,
which has spread over twenty years in contemporary art. Since then he has been tirelessly
questioning his status as an artist and his production.
Since 2015, the artist expresses his questions through two séries.
The first «Fake Abstract» confronts the minimalism of a monochrome with a detail of a masterpiece.
The overlay is unveiled by the trace of a child’s finger that would have erased the second layer of paint,
revealing a look, a mouth. With a humor that borders on the absurd, Lino puts in tension the
concept of beauty, in the aesthetic sense of the term. On the one hand, the canon sought by the
classic masters takes hold of the woman and brush it in details until splendor, on the other
the modernism of the 1970s seeks beauty in an «art that excludes the superfluous «(Carl André).
This juxtaposition creates a vibratory effect and raises the question of what beauty is today.
The second series, Pintura sobre Pintura, leaves more room for the master canvas. The viewer
must move away to understand the superposition. Painted in negative, a dog’s head holds in its
fangs the classic beauty. The beast eats the beautiful.
Lino Lago seems to be accompanied by the works of the old masters to understand and
apprehend contemporary issues. As if asking us to reconsider them, he paints them through a
keyhole, creating a whole new attraction. This fragmentation of the portrait opens our eyes to
Lino Lago is an international renown artist. His paintings are in several public and private collections.
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
ater 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 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
The bronze material takes under the fingers of the artist a lightness, which makes the sculptures
alive, one could almost feel their pulse.
Was born in Jinnampo-si, North Korea in 1950.
Leaves and works in Tanhyon-myon, Paju-si, South Korea
Oh, Sang-Il(1950~) was born in Jinnampo-si, refuging from North Korea during the
Korean War and arrived in Busan by U.S troopship. After moving to Jeju, Geojae, and
Jinhae, he settled down in Incheon spending his childhood. From the first solo exhibition
in Gallery Hyundai, he has been constantly active as an artist by joining various group
exhibitions in the U.S, China and Japan.
As an artist and educator, he has been committed to figurative sculpture and installation
about the human body. His earlier work is in academic boundary based on faithful depict
of real figures, which was flown to the subject matter of human hardship, anguish,
isolation, greed, death, irony, and absurdity in the middle stage.Through massive and
melting down human figure, we can peep into his deep concern about human existence.
By different media of video and installation ex- panded from sculpture, he challenges a
new aesthetic experiment.
In 2012, one of her works of the V.I.T.R.I.O.L. series sent her on the path of hidden symbols,
which led her to Alchemy (and C.G. Jung) or, in simple terms, to the philosophy of nature,
of the universe. An inexhaustible source of information and inspiration.
She integrates this symbolism and philosophy only in her way of thinking and not in the
first visual layer of her works.
You will realize that all of her concepts are interconnected, even if they look different.
This visual difference is partly explainable by the fact that the chosen medium is a function
of the concept and not vice versa.
The common thread in her work is to show us the ingenuity of nature, allow us to reflect a
bout details that escape us because of their so-called obviousness.
Mireille Robbe, 1962, Brussels. Lives and works in Louvain (Belgium).
Born in 1976, Madrid
Leaves and works in Madrid Spain)
Carlos Tárdez is a multidisciplinary artist who could be framed in figurative
art but with the added bonus that his paintings hide a deep symbolic layer behind an appearance
of everyday life. As Tárdez himself explains, «My work is born out of my experiences. I try to
always keep in mind the banality of what I do, because only from unpretentious sincerity does t
he idea arise. Every day new elements appear and reappear. That’s why I don’t set myself any
objectives. I paint out of an inner need. It is from my own work that new questions arise, new projects».
Both in painting and sculpture, he has achieved a high level of quality that has earned him,
among many other awards, the BMW Medal of Honor in 2010 and 2018.
Both in his paintings and his in sculptures there are mythological connotations, double meanings
and great irony in the reinterpretations of everyday scenes and objects.
This fact is particularly evident in his sculpture (in this case, in addition to the polychrome resins,
there are also pieces made of bronze), where he uses a preconceived idea or an object associated
with a meaning and turns it upside down.
On the canvas he tries to express the idea in the most direct way possible, his pictorial technique
and the realism employed are careful, generating simple and emphatic compositions in which
emptiness takes on a meaning and, in many cases, carries the conceptual weight in a treatment of s
pace that drinks directly from abstract painting.
Color also has a direct relationship with the distribution of space, atmosphere and depth. The
psychological influence and symbolic value of color are given great importance. It is also common
to see horizontal or vertical bands of matt black appearing in his paintings that delimit the space.
It is a symbolic figuration, with a series of resources that have enriched its own iconography.
The title of each of the works suggests and reinforces the idea on many occasions, always leaving
open the subjective interpretation of the viewer.
Was born in 1972. He is a Lithuanian painter. He lives and works in Vilnius since the late 1990s.
In 1998 he graduated from the Vilnius Academy of Arts, majoring in
painting and theatre set design. For several years he has been setting movie
design and painting at the same time. His most acclaimed work included creating
sets for the 2001 Werner Herzog film Invincible.
In 2004, he has devoted himself solely to painting.
‘The paradox is what I still like very much. An unexpected proposition is always very interesting.
Things that combine contradictory features or qualities lead to re-thinking. Looking at something
new makes us angry, nervous, sometimes happy. For me, a paradox means making an impact’,
Vytautas creates his story by counterposing small to large, bright to fuzzy,
colored to black and white, calm to expressive. ‘I like it so much and consider it
as means of expression. Dozens of colorful exotic birds in the landscapes of an
industrial city, graffiti-stained yaks in front of the mountains speak reminds us
about a changing world that we do not notice when we drown in our daily routine’,
In 2008 Tomaševicius was awarded First Place prize at the Baltic Art Biennial in
In 2019 he won an Excellence Award in the Open Category at the third Art Olympia
Biennale in Tokyo, with his work A Still Life with Two Objects (2016), the
painting was exhibited at the Metroplitan Museum of Art, of Tokyo the same year.
Tomaševicius is the first Lithuanian artist to be awarded this honor.
Photographer, Film Maker and Publicist. Born in 1978 at Seclin, France .
Leaves and works in Paris
The Work of Nicolas Demeersman, often debated, gathers pictures where col- lide the genres :
the elegance and the trash, the seriousness and the absurd, the reality and the fiction ...
Considering that it is as well important to please as to displease, he approaches contemporary
subjects to deceive values, aprioris and visual codes. Beyond the esthetics, he stages «the agreed»
pushed in its extreme, wishing to question us about our positions and their internal logic.