L’actualité à la galerie

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Maen Florin

Maen Florin

Maen Florin

Maen Florin

Maen Florin

Maen Florin

Maen Florin

Maen Florin

Maen Florin

Maen Florin

Maen Florin

IMG_1752bis

Maen Florin

Maen Florin

Maen Florin

Maen Florin

Maen Florin
Commedia, 2015-2018
Ceramics

(…) Because Maen Florin is able to blend all these reminiscences in each of her series of sculptures, she ensnares us with her psychological sophistication, while at the same time creating an impression of guilt-ridden lucidity. And yet her work is at no time moralistic: morality always has to do with a simplification of the psyche. She on the other hand shows us the poetic complexity, both of the imagination and of the appearance that bewilders. It is this that makes her sculptures at once so vulnerable and enormously powerful; they attract our gaze, they reject our gaze, they set up an unsettling exchange between our interest in them and their sudden appearing. Their childlike bodies shoulder the conscience of an adult world that has no intention of resembling them, but which, in the person of the viewer, knows full well that an image of buried inwardness is standing there before our eyes.
There is nothing else we can do, but submit to the oscillatory movement between our gaze from the corner of our eye and the closed or downcast gazes of these icons of the tormented inner life. It is a matter of the countless, unfathomable emotions and feelings that make up that entire domain of the impossible relation of the subject with itself. This also explains the appearing of our repressed interiority: of the demons, ghosts and childlike dwarves of our own stock of imagery. It is an interiority that impresses us as something completely ‘outside’ – as exteriority.
With this paradox we come perhaps face to face with the most urgent aspect of this work: that which originates in our deepest inner selves seems completely alien, almost obscene (in the sense of the Latin term obscaenus – that which appears on the mental scene from an unexpected quarter). And nonetheless it is recognizable in all these forms: they emerge as former family members of the hunchback. They occupy the twilight realm of morality, one that is dominated by riddling expressions but where there are no moral landmarks.
Pray for me, the hunchback murmurs to the young woman in the final verse of the folk song. He does not say why. But we know what it is that he does not tell the woman – namely that he is none other than the Self that is not understood. His hunchback is the mental rucksack that contains our elusive self-awareness.
Tat Tvam asi – this is the formula of the ancient Vedantic Sanskrit hymn: this is what you have always been, the ultimate stranger that you are for yourself, the image of the Self. The human awareness that suffers from its own appearance – also in the form of everything strange that human beings in our time are confronted with: the exotic fellow human, the person of ‘colour’, the foreigner, the refugee, the noble fool, the one with different religious or political views, the victim and the executioner, the immigrant and the homeless person, the beggar and the child washed up ashore on a deserted beach, or the face of the abused ‘in-between people’ who emerge out of the twilight of the repressed consciousness. These contemporary associations also lie concealed in the encyclopedia of expressions, forms and attitudes that the artist confronts us with. It is for this reason that, quite apart from its radical psycho-poetic and iconographically timeless character, I also experience the work of Maen Florin as being of contemporary social relevance. Not because it refers directly to our reality, but also because it opens an imaginary space in our own fundamental self, where the essence of what we find strange turns out to belong to our own deepest inner being.

Stefan Hertmans, januari 2017

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Maen Florin

Maen Florin
On the wall II, 2015
Ceramics, polystyrène, wood, iron, h. 84 cm

Maen Florin

Maen Florin

Maen Florin

Maen Florin

Maen Florin, Commedia, installation view, ceramics on wooden construction

Maen Florin

Maen Florin
On the wall, X / lamento, 2017
Ceramics, polystyrène, wood, iron. h. 85 cm

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Maen Florin

Installation view, ceramics on wooden construction

(…) En faisant fusionner avec virtuosité toutes ces réminiscences dans chacune de ses suites sculpturales, Maen Florin nous prend en otage au moyen d’un raffinement psychologique, d’une impression de lucidité coupable. Pourtant, son travail n’est jamais moralisateur : la morale entraîne toujours une simplification de la psyché. Maen Florin en revanche nous montre la complexité poétique de l’imagination aussi bien que de l’apparition troublante. C’est ce qui rend ses œuvres vulnérables et toutes-puissantes à la fois ; elles attirent notre regard, l’esquivent, provoquent une interaction déstabilisante entre notre attention et leur apparition inattendue. Leurs corps enfantins portent le poids de la conscience d’un monde adulte qui refuse de leur ressembler mais qui, en la personne du spectateur, sait parfaitement bien qu’il a devant les yeux l’image d’une profonde intériorité.
Nous n’avons donc pas d’autre choix que de nous soumettre au va-et-vient entre notre regard – oblique – et les regards baissés ou fuyants de ces icônes de la vie intérieure tourmentée, d’innombrables émotions et de sentiments insondables, tout ce domaine de la relation impossible que le sujet entretient avec lui-même. Et donc aussi : l’apparition de notre intériorité refoulée, des démons, fantômes et nains enfantins issus de notre propre arsenal d’images. Une intériorité qui nous apparaît comme une chose complètement « en-dehors » : comme extériorité.
Ce paradoxe nous met sans doute face à l’aspect le plus prégnant de cette œuvre : ce qui surgit de notre for intérieur, nous semble complètement étranger, obscène presque (dans le sens d’ob-scaenum : ce qui apparaît sur la scène mentale depuis un angle inattendu). Et qui, pourtant, est reconnaissable sous toutes ses différentes formes : celles-ci surgissent comme de vieux parents du petit bossu. Elles investissent le territoire crépusculaire en marge de la morale, là où règne une forme d’expression énigmatique, inexpliquée.
Priez pour moi, murmure le petit bonhomme bossu à la jeune femme dans la dernière strophe de la chanson populaire. Il ne dit pas pourquoi. Mais nous savons ce qu’il cache à la femme : qu’il n’est autre que le Soi incompris. Sa bosse est le bagage mental qui contient notre insaisissable conscience de nous-mêmes.
Tat tvam asi, dit l’ancienne incantation védantique en sanskrit – tu as toujours été cela : l’ultime étrange que tu es à toi-même, l’imagination du Soi. La conscience humaine souffrant de sa propre apparition – y compris sous la forme de toutes les choses étrangères auxquelles l’homme est confronté de nos jours : son prochain exotique, l’homme de couleur, l’étranger, le réfugié, le noble idiot, celui qui a des convictions politiques ou religieuses divergentes, la victime et le bourreau, l’immigrant et le SDF, le mendiant et le petit noyé rejeté sur une plage abandonnée, ou encore le visage des créatures intermédiaires maltraitées qui s’avancent dans la pénombre de la conscience refoulée. Ces associations contemporaines aussi se cachent dans l’encyclopédie d’expressions, de silhouettes et de postures auxquelles l’artiste nous confronte. C’est pour cette raison que l’œuvre de Maen Florin m’apparaît comme étant non seulement radicalement psychopoétique et iconographiquement intemporelle, mais aussi actuelle et pertinente socialement. Non pas parce qu’elle renvoie directement à notre actualité, mais parce qu’elle ouvre au fond de nous un espace imaginaire, où l’essence de ce qui nous est étranger se révèle appartenir à ce que nous avons de plus intime.

Stefan Hertmans, janvier 2017

Maen Florin

(…) Because Maen Florin is able to blend all these reminiscences in each of her series of sculptures, she ensnares us with her psychological sophistication, while at the same time creating an impression of guilt-ridden lucidity. And yet her work is at no time moralistic: morality always has to do with a simplification of the psyche. She on the other hand shows us the poetic complexity, both of the imagination and of the appearance that bewilders. It is this that makes her sculptures at once so vulnerable and enormously powerful; they attract our gaze, they reject our gaze, they set up an unsettling exchange between our interest in them and their sudden appearing. Their childlike bodies shoulder the conscience of an adult world that has no intention of resembling them, but which, in the person of the viewer, knows full well that an image of buried inwardness is standing there before our eyes.
There is nothing else we can do, but submit to the oscillatory movement between our gaze from the corner of our eye and the closed or downcast gazes of these icons of the tormented inner life. It is a matter of the countless, unfathomable emotions and feelings that make up that entire domain of the impossible relation of the subject with itself. This also explains the appearing of our repressed interiority: of the demons, ghosts and childlike dwarves of our own stock of imagery. It is an interiority that impresses us as something completely ‘outside’ – as exteriority.
With this paradox we come perhaps face to face with the most urgent aspect of this work: that which originates in our deepest inner selves seems completely alien, almost obscene (in the sense of the Latin term obscaenus – that which appears on the mental scene from an unexpected quarter). And nonetheless it is recognizable in all these forms: they emerge as former family members of the hunchback. They occupy the twilight realm of morality, one that is dominated by riddling expressions but where there are no moral landmarks.
Pray for me, the hunchback murmurs to the young woman in the final verse of the folk song. He does not say why. But we know what it is that he does not tell the woman – namely that he is none other than the Self that is not understood. His hunchback is the mental rucksack that contains our elusive self-awareness.
Tat Tvam asi – this is the formula of the ancient Vedantic Sanskrit hymn: this is what you have always been, the ultimate stranger that you are for yourself, the image of the Self. The human awareness that suffers from its own appearance – also in the form of everything strange that human beings in our time are confronted with: the exotic fellow human, the person of ‘colour’, the foreigner, the refugee, the noble fool, the one with different religious or political views, the victim and the executioner, the immigrant and the homeless person, the beggar and the child washed up ashore on a deserted beach, or the face of the abused ‘in-between people’ who emerge out of the twilight of the repressed consciousness. These contemporary associations also lie concealed in the encyclopedia of expressions, forms and attitudes that the artist confronts us with. It is for this reason that, quite apart from its radical psycho-poetic and iconographically timeless character, I also experience the work of Maen Florin as being of contemporary social relevance. Not because it refers directly to our reality, but also because it opens an imaginary space in our own fundamental self, where the essence of what we find strange turns out to belong to our own deepest inner being.

Stefan Hertmans, januari 2017

(…) Al conseguir Maen Florin que todas estas reminiscencias se superpongan virtuosamente en cada una de sus series escultóricas, nos secuestra con un refinamiento psicológico, con una impresión de lucidez culpable. Sin embargo, su obra no es en ningún momento moralista: la moral siempre tiene que ver con la simplificación de la psique. Maen Florin nos muestra, por el contrario, la complejidad poética tanto de la imaginación como de la aparición desconcertante, por eso sus esculturas son también tan indefensas y soberanas al mismo tiempo; atraen nuestra mirada, esquivan nuestra mirada, provocan una interacción perturbadora entre nuestra atención y su aparición inesperada. Sus cuerpos infantiles cargan con la conciencia de un mundo adulto que no quiere parecerse a ellos, pero que, en la persona del espectador, sabe muy bien que allí hay ante nuestros ojos una imagen de interioridad soterrada.
No queda más remedio, por tanto, que someternos al movimiento pendular entre nuestra mirada, de reojo, y las miradas abatidas o huidizas de estos iconos de la vida interior atormentada. Innumerables e insondables emociones y sentimientos, todo ese territorio de la relación imposible del sujeto consigo mismo. De ahí también, la aparición de nuestra interioridad reprimida, de los demonios, fantasmas y enanos infantiles de nuestro arsenal de imágenes particular. Una interioridad que nos resulta algo completamente «externo»: exterioridad.
Con esta paradoja nos encontramos tal vez ante el aspecto más urgente de esta obra: lo que surge de lo más profundo de lo interior parece completamente extraño, casi obsceno (en el sentido de obscaenus: lo que aparece desde un rincón inesperado en la escena mental). Y, a pesar de todo, es reconocible en todas estas figuras: surgen como viejos parientes del hombrecillo jorobado. Ocupan el territorio crepuscular de la moral, en el que impera la expresión enigmática, pero ninguna explicación moral.
«Reza por mí», murmura el hombrecillo jorobado a la muchacha en la última estrofa de la canción popular. No dice por qué. Pero nosotros ya sabemos lo que le oculta a la mujer: que él no es otro más que el propio Yo incomprendido. La joroba es la mochila mental en la que se esconde nuestra conciencia inaprensible.
Tat Tvam asi, dice el antiquísimo conjuro védico en sánscrito: tú siempre has sido eso como el definitivo extraño que eres para ti mismo, la imaginación del Yo. La conciencia humana que padece de la aparición de sí misma, también en la forma de todo lo extraño con lo que se ve confrontado el hombre de hoy en día: el prójimo exótico, el hombre de color, el extranjero, el refugiado, el noble idiota, el que tiene ideas religiosas o políticas distintas, la víctima y el verdugo, el inmigrante y la persona sin hogar, el mendigo y el niño ahogado en una playa abandonada de la mano de Dios, o el rostro de criaturas intermedias maltratadas que se nos presentan desde la conciencia reprimida. También estas asociaciones contemporáneas se ocultan en la enciclopedia de expresiones, figuras y posturas con las que nos enfrenta la artista. Es por esa razón que para mí la obra de Maen Florin, además de radicalmente psicopoética e iconográficamente atemporal, resulta actual y socialmente relevante. No porque se refiera directamente a nuestra actualidad, sino porque abre en el fondo de nosotros mismos un espacio imaginario donde la esencia de lo que nos es extraño termina por formar parte de nuestro interior más profundo.

© Stefan Hertmans, enero de 2017
© de la traducción Julio Grande, enero de 2018

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ARCO

La galerie Nadja Vilenne aura le plaisir de vous accueillir sur son stand 7B10

Galerie Nadja Vilenne is pleased to welcome you at booth 7B10

Maen Florin

MAEN FLORIN

ARCO MADRID – 36 INTERNATIONAL CONTEMPORARY ART FAIR
21 – 25 February 2017

Only professionals:
Wednesday 21 and Thursday 22, from 12 to 8 p.m.
Open to the public:
Friday 23, Saturday 24 and Sunday 25, from 12am to 8pm.
Official Inauguration: Thursday 22 at 10 am. By invitation of inauguration only.

Where:
FERIA DE MADRID
Halls 7 and 9

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Valérie Sonnier

Sans titre, 2017 (de la série Badeschloss)
Photographie NB, tirage sur papier baryté, 18 x 24 cm

Valérie Sonnier

Sans titre, 2017 (de la série Badeschloss)
Photographie NB, tirage sur papier baryté, 18 x 24 cm

Valérie Sonnier

Valérie Sonnier

Sans titre, 2017 (de la série Badeschloss)
Photographie NB, tirage sur papier baryté, 18 x 24 cm

Valérie sonnier

Sans titre, 2017 (de la série Badeschloss)
Photographie NB, tirage sur papier baryté, 18 x 24 cm

Valérie Sonnier

Sans titre, 2017 (de la série Badeschloss)
Photographie NB, tirage sur papier baryté, 18 x 24 cm

Valérie Sonnier

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Fiac 2017

Lili Dujourie

Lili Dujourie
Zonder titel (mannelijk naakt), 1977
Série de 6 photographies NB, tirages argentiques, (6) x 18 x 24 cm

Lili Dujourie

Lili Dujourie

Lili Dujourie

Lili Dujourie

Lili Dujourie

Lili Dujourie

Hommage à …I (from a series of 5 Hommages, 1972) is one of Lili Dujourie’s first video works. It belongs to the experimental stage of video art, when the technology was still in its infancy. In Hommage à …I, a naked woman – the artist herself – rolls around in white bed-sheets in slow motion. At first it seems that she’s asleep. But after a while she starts to move, rolls in and out of the bed, in a rhythm that makes one think of the twilight state between wakefulness and sleep. The piece is recorded in real-time, without editing. It shows a space that unfolds in time and a figure that’s caught there. Sensuality, the passage of time, boredom – here they go hand-in-hand. The video links to tradition of the female nude, one of art-history’s most venerable motifs. Lili Dujourie deliberately chooses a theme that had no place in the dominant conceptual art-scene of the 1970s. The artist is also her own model, and explains this choice as follows: “The woman has always been ‘the model’, and I wanted to do away with this – as a woman I could hardly manipulate another woman! (…) If you want to evoke the intimacy of the female nude, then you have to do it yourself, you can’t ask a model to do that for you.” Lili Dujourie redefines conventions regarding the relationship between model and maker, between who’s doing the looking and who’s being looked at. The title refers to a homage to art history. No so much one particular image as the whole of art history, all those images that keep resonating in the artist’s memory. The poses that Dujourie assumes are determined by recollections of nudes from art tradition, in her own words “a physical transformation of everything that I’ve seen in my life”.
In Madrigal and Enjambment a bare wooden floor fills the screen. The dressed figures – a woman and a man respectively – roll, fold and unfold themselves, in between alternating interludes. Madrigal is a continuation of the Hommages series, in which Lili Dujourie investigates the image of the naked body. In this series of videos the artist herself often plays the model. In this work, Lili Dujourie unexpectedly turns behind her back and stares into the camera with a foggy gaze. The image suddenly comes into focus, the overview disappears. A madrigal is a musical composition for several voices. The picking of this title is determined by the poetic quality of the word, by the associations and memories the concept of the madrigal evokes from the artist. In 1976 Lili Dujourie elaborated this idea, this time using a man as the model. There is hardly any difference. The man rolls over the floor, just like Lili in Madrigal, but it takes a while before you realize it is a man. The title ‘enjambment’ refers to the deceleration in the rhythmical progression of a love poem. With Enjambment the artist wishes to approach the male in all his fragility, not in his toughness or strength. She wanted to “capture something in the male nude which leans towards the female side of the male”.
Lili Dujourie uses the same model from het video Enjambement for this series of black and white photographs from 1977. The models rolls across the floor and it’s not always clear whether it’s a male or a female model. These photos are a precursor for the colour photos with female nudes that appear later. In her series Dujourie explores not just the sculptural qualities of the human body, but also its fragility.

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier
Sans titre, 2015-2017 (de la série Badeschloss)
Crayon, crayons de couleur et cire sur papier. (5) x 33,5 x 41,5 cm.

Fiac 2017

Jacqueline Mesmaeker

Jacqueline Mesmaeker

Jacqueline Mesmaeker

Jacqueline Mesmaeker
Péripeties, 2014 – 2017
Cartes postales, cartel, 43 x 61 cm

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Fiac 2017

Fiac 2017

Fiac 2017

Marie Zolamian
Sans titre (la boîte rose), 2016
Huie sur toile, 27 x 20 cm

Fiac 2017

Maen Florin

Maen Florin
On the wall 7, 2016-2017
Ceramics, polystyrene, cardboard, wood, iron, h. 90,5 cm

Jacques Charlier

Jacques Charlier
Sous l’arbre
Photos – Sketch, 1976
– Il y a des gens que l’on comprend aisément…
– Y en a d’autres qui font de l’art facilement
– Dans n’importe quelle circonstance, avec n’importe quoi
– Comme ça. Pouff !
– N’importe où. Là par exemple…

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Fiac 2017

Fiac 2017

Exhibitions views

Fiac 2017

Aglaia Konrad. Demolition City, 1992-2016,
20 épreuves à la gélatine argentine sur papier baryte.

Konrad’s photography plays with notions of «original » and « index, » « nature » and « culture, » with the fact that the original « stone » cannot be dated and with its « social » shaping in the historic present. This reversibility is further witnessed in Demolition City (1991/2016) the photographie series she made of the demolition of a terrace of houses on Rosier Faassenstraat in Rotterdam, which looks as if it might read either way, forwards or backwards, reiterating both the construction or deconstruction of walls, floors, and roofs.(…) (Penelope Curtis, From A to K)

Fiac 2017

Suchan Kinoshita, viewer desk, custumised viewers

Fiac 2017

Olivier Foulon
Sans titre (un citron), 2017
Sans titre (un citron), 2017

Fiac 2017

John Murphy

John Murphy
Cadere. Waste and Cadavers All, 2015
Photocopy, gouache, pen and ink on board, 46 x 54 cm

Fiac 2017

Fiac 2017

John Murphy
As high above as the ditch is deep, 2015
Stuffed Black Rooster, rope, variable dimensions

John Murphy

John Murphy
In the Midst of Falling: The Cry… 2016
C-print (Unique), Satin Float Glass and Gesso Wood Frame, 145.4 x 241.8 cm

Fiac 2017

John Murphy

John Murphy
Fall upward, to a height ( verso & recto), 2015
Photograph, pen and ink on board. (2) x 78 x 54 cm

(…) John Murphy has a similar respect for art from the recent past. His art resembles a pantheon of signs that transmit poetic experience. He engages with existing works from a modernist body of literature, painting and film, and particularly with a number of ‘authors’ who (re) invented Symbolism (Mallarmé, Magritte, Resnais). His work often comes in the form of delicate objects or images that sit or hang lightly in a space, like a spider’s web or celestial notations. In fact the physical space between the elements in his work is essential and signifies the mental space that opens up when a visitor tracks the (symbolical) lines that connect the elements, and when words, images and associations reveal themselves. Our exhibition features a body of works inspired by the notion of the fall, especially the fall from grace recounted in Genesis, when Adam and Eve are expelled from the Garden of Eden, as famously depicted by the Italian painter Masaccio in a fierce and moving fresco. Masaccio’s painting returns in Murphy’s epic, newly made photograph In The Midst of Falling. The Cry (2015), which derives from a charged image in Joseph Losey’s film Eve (1962), where a woman is transfixed in a hallway before a reproduction of the painting. Murphy is like a dancer aiming for a light gesture, because for him it is the most powerful conduit of experience. His titles, resourceful and full of sillent threat, create a world in itself.(…)

Fiac 2017

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Valérie Sonnier

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier
Sans titre, 2015- 2017 (de la série Badeschloss)
Crayon, crayons de couleur et cire sur papier. (7) x 33,5 x 41,5 cm.

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier
Sans titre, 2015 (de la série Badeschloss)
Crayon, crayons de couleur et cire sur papier. 33,5 x 41,5 cm.

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Maen Florin

Maen Florin

Maen Florin

Maen Florin

Maen Florin
Albino, 2017
Ceramics 1, 2, 3j, h. 46, 45, 45 cm

Maen Florin

Maen Florin

Maen Florin
On the wall, X / lamento, 2017
Ceramics, polystyrène, wood, iron. h. 85 cm

Maen Florin

Maen Florin

Maen Florin

Maen Florin
On the wall, XIII / lamento, 2017
Ceramics, polystyrène, wood, iron. h. 85 cm

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Valérie Sonnier

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier
Sans titre, 2015-2017 (de la série Badeschloss)
Crayon, crayons de couleur et cire sur papier. (5) x 33,5 x 41,5 cm.

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier

Valérie Sonnier
Sans titre, 2017 (de la série Badeschloss)
Photographie NB, tirage marouflé sur papier baryté, 105 x 158 cm. Edition 5/5

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Marie Zolamian

Marie Zolamian

Marie Zolamian
Between fantasy and denial / Entre fantasme et déni, 2012, vidéo, son, couleurs, 14 min

D’un séjour à Birzeit, en Cisjordanie, Marie Zolamian ramène une photographie souvenir, une singulière carte postale, trois oliviers étêtes, déracinés, ceps noueux et torchères fossiles. Leur stérilité, âpre, rugueuse, inquiétante, contraste avec la pyramide de fruits d’un étal de marché voisin. Elle ramène aussi ce film, ce long plan fixe, minimaliste et contemplatif, réalisé dans l’atelier mis à sa disposition. Devant l’objectif, il y a une tasse en verre posée devant la fenêtre ; y miroite une myriade de pigments dorés en suspension dans l’eau. «A travers le scintillement des paillettes qui composent le fluide précieux, on peut observer le coucher du soleil sur Birzeit, écrit Colette Dubois, dans le livret qui accompagne ce voyage. Les variations de la lumière déclinent toutes les couleurs de l’or et donnent au reflet qui se prolonge sur le rebord de la fenêtre tantôt des accents aigus, comme un fragment de soleil acéré, tantôt l’apparence d’une simple trace qui cherche à se fondre dans la surface».

Marie Zolamian

Marie Zolamian

Marie Zolamian
Interlope, 2017
Huile sur toile marou ée sur panneau, 43 x 31 cm

Marie Zolamian

Marie Zolamian
Croque mitaine, 2017
Huile sur papier entoilé, 14 x 29,5 cm

Marie Zolamian

Marie Zolamian
Sans titre (Défection), 2016
Huile sur papier, 32,5 x 25 cm

Marie Zolamian

Marie Zolamian

Marie Zolamian
Ribote, 2016
Huile sur papier, 17 x 24 cm

Marie Zolamian

Marie Zolamian
Sans titre (Ogre amoureux), 2016.
Huile sur papier, 32,5 x 25 cm.

Marie Zolamian

Marie Zolamian
Gigogne, 2016.
Huile sur papier, 24 x 17 cm.

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Maen Florin

Maen Florin

Maen Florin

Maen Florin
On the wall, XII / lamento, 2017
Ceramics, polystyrène, wood, iron. h. 89 cm

Maen Florin

Maen Florin
Albino, 2017
Ceramics 1, 2, 3 , h. 46, 45, 45 cm

Maen Florin

Maen Florin

Maen Florin

Maen Florin

Maen Florin

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Marie Zolamian

Marie Zolamian
Ribote, 2016
Huile sur papier, 17 x 24 cm

La Ville de Liège donne cette année encore un coup de projecteur sur le travail précieux des galeries et centres d’art dans le paysage culturel liégeois et ouvre la troisième édition de l’événement « en Piste » !
L’exposition sera accessible librement et gratuitement au public du 29 septembre au 1er octobre 2017, de 10h à 18h, Parc de la Boverie 3, à 4020 Liège.
Le vernissage aura lieu le jeudi 28 septembre à 18h à La Boverie.

La galerie proposera pour l’occasion un ensemble d’oeuvres de Marie Zolamian

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Maen Florin

Maen Florin

Maen Florin

Maen Florin
Remade II, 2015
Ceramics, polyester, foam, polyurethane, textile, rubber, iron. h. 108 cm.

Maes Florin

Maen Florin

Maen Florin

Maen Florin
On the wall, XIV / lamento, 2017
Ceramics, polystyrène, wood, iron. h. 85 cm.

Maen Florin

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