The galerie Les Filles du Calvaire has the pleasure of presenting “ Y’a des jours comme ça ”, Zhuo Qi’s first solo exhibition at the gallery. Between tradition and humour, the artist suggests we rethink the secular art of ceramic.

Zhuo Qi est originaire de Chine (Fuxin), et se rend Zhuo Qi is from China (Fuxin), and often goes to Jingdezhen, a city that has produced pottery for over 1,700 years, an industry that also generates mountains of waste from which he often draws his raw materials. After studying at the École des Beaux-Arts in Le Mans and the Haute École d’Art et de Design in Geneva, he deepened his studies into ceramics at the École Nationale Supérieure d’Art in Limoges and carried out experiments in porcelain factory kilns. Zhuo Qi stokes his oeuvre with the linguistic and semantic misunderstandings he witnesses, and of which he is sometimes the victim, a state of tension between Chinese and Western culture: “I have no other choice than to work with these very common misunderstandings. They are an opportunity to extend language, to play with meanings and signs. I invent nothing, I transform and grasp for myself only what is already existing in the collective imagination.” The relationship with language and non-meaning are thus the constitutive elements of Zhuo Qi’s approach. The artist navigates from one language to another, gives form to misunderstandings.

The galerie Les Filles du Calvaire has the pleasure of presenting «La voix libre», the first solo exhibition of Emma Dusong at the gallery.  As is the case in her work, the artist envisages for the occasion artworks, venue and exhibition as a whole.

Combining works in an exhibition requires having La voie libre (the way clear), which is to say having overcome constraints, just as to be able to produce independent discourse requires having la voix libre (a free voice). By choosing this expression in the form of a portmanteau word by way of a title, Emma Dusong clearly demonstrates sensitive poetics – which infuse her entire oeuvre – but also manifests a liberating and almost libertarian statement. This title-slogan could be perceived as the determination to negate rules or, at least, to free oneself from them. It is possible to trace many filters of interpretation on an artistic production, and it would seem pertinent to examine Emma Dusong’s through this particular prism, which at first glance could appear distant.