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Galerie Les filles du Calvaire

Current Past Upcoming
TOI700d, Galerie Les filles du calvaire, Paris, France

TOI700d, Galerie Les filles du calvaire, Paris, France

Virtual tour

TOI 700d

Curator: Fabien Danesi

Noémie Goudal, Cindy Coutant, Kim Farkas, Daiga Grantina, Antwan Horfee, Botond Keresztesi , Roy Köhnke, Claire Van Lubeek, Ben Rivers, Yan Tomaszewski

Exhibition from June 5 through July 24, 2021

[ Vernissage/opening Saturday, June 5, 2021 ]

In January 2020, NASA announced the discovery of a new exoplanet, visible near the red dwarf TOI 700. If it has joined a catalog that already includes 4000 celestial objects, this one has a particular quality: the distance with its sun could allow the presence of water, which potentially makes it a “habitable” land. The fact remains that the 100 light years that separate us from TOI 700d turns this information into real speculation. No one will be able to tread its hypothetical rocky ground. So you might as well take this name as an excuse to invent a biotope playing with differences and similarities with our knowledge to show how the powers of art are often at stake in transformation…

Press kit
TOI700d, Galerie Les filles du calvaire, Paris, FranceTOI700d, Galerie Les filles du calvaire, Paris, FranceBen Rivers, Look Then Below, 2019, 16mm/HD video<br /> Courtesy of the artist and Kate MacGarry Gallery, London<br /> <br /> <br /> Usually shot in 16mm, Ben Rivers experimental films offer open and non-linear narratives where animals, plants, and architecture participate in the vast parliament of things. Alternative lifestyles are one of the common threads of his works where time and space become true flexible materials.<br /> Tournés le plus souvent en 16mm, les films expérimentaux de Ben Rivers offrent des récits ouverts et non linéaires où animaux, plantes, et architectures participent au vaste parlement des choses. Les modes de vie alternatifs sont l’un des fils conducteurs de ses oeuvres où le temps et l’espace deviennent de véritables matières ductiles.Noémie Goudal, Satellite I, 2014<br /> <br /> While Noémie Goudal's photographs assume descriptive precision in the continuity of the Dusseldorf School, its abandon the objectivity of reality for the reconstruction of a universe of signs that escapes the transparency of the image. Between archeology and science fiction, immaculate nature and artificial landscapes, her representations project the viewer into an uncertain world where the animal strategy of mimicry replaces classic mimesis.TOI700d, Galerie Les filles du calvaire, Paris, FranceCourtesy Cindy Coutant<br /> Télédésir, film, 4K, 27', 2018<br /> Courtesy of the artist<br /> <br /> Whether in the form of videos, installations or augmented readings, Cindy Coutant's works lie at the heart of desire. Living things and technology take on hybrid appearances which are all possibilities to encrypt emotional states. Thus, her approach can be part of the genre of anticipation to better radiograph the contemporary mutations of our affects.Kim Farkas, 20-08 (HS), 2020<br /> Composite materials, LED system, electronics<br /> Approx. 100 x 15 x 11 cm<br /> Courtesy of the artist and Downs & Ross gallery<br /> <br /> Kim Farkas's sculptures present a biomorphic vocabulary that does not erase their industrial character. The design is used there as a reference to be diverted in order to produce objects combining utility and magic. It is a question here of encoding popular practices through esotericism which opens this production to new functions and appropriations.<br /> Courtesy of the artistRoy Köhnke, Suspended consumption #1, #2 et #3, 2019<br /> Plaster, steel, ethernet cables, variable dimensions.<br /> Photo credit: Salim Santa Lucia<br /> <br /> Roy Köhnke-Jehl's mutant pieces are like three-dimensional anatomical boards depicting species straight out of his imagination. Felt, plaster and elastomer are the materials used to deploy these unknown forms where the inside and the outside, the surface and the depth are designed from their tensions. It is about mass and gravity, movement and inertia, study and dissection.<br /> Courtesy of the artist<br /> Botond Keresztesi, Unidentified Flora and fauna 2, 2021<br /> 120x100 cm , Acrylic and oil on canvas<br /> Photo : David Biro<br /> Courtesy de l’artiste<br /> <br /> Botond Keresztesi offers precise paintings in acid colors that work like surreal collages. Objects from different worlds are brought together in scenes where commercial imagery meets Hollywood cinema and art history references. The cold fetishism of his detailed descriptions deconstructs the endless recycling of images in the internet age.Yan Tomaszewski, Khthon, 2019<br /> Glazed stoneware and porcelain, blown and thermoformed glass<br /> Courtesy of the artist<br /> <br /> At the crossroads of scientific research and mythical narrative, Yan Tomaszewksi's work articulates moving images and three-dimensional objects from an architectural perspective. Creation and destruction mingle in his anthropological investigations which question the demiurgic character of human activities. Rationality is tinged with a strangeness that can describe the psychic ambivalence of our desire to design the worldDaiga Grantina, Around green, 2020<br /> Fabric, wood, paint, wax<br /> 70 x 90 x 15 cm<br /> Courtesy of the artist and Emalin, London<br /> <br /> Daiga Grantina's sculptural work develops an abstraction where colors, lights and materials play out in multiple associations producing organic as well as machinic evocations. Borrowing from both lichens and cyborgs, her works convey the physical and mental density of a presence in the world for which formal autonomy and structural interdependence are no longer opposed.©Antwan Horfee / courtesy of the artist and Nino Mier Gallery<br /> <br /> Inspired by manga and animated movies, Antwan Horfee's paintings assume a dancing vocabulary where spray stains, acrylic solids or chalk lines promote a playful and colorful composition. All these patterns constitute a lacunar and unsystematic encyclopedia of the expressive possibilities of his medium worked by a logic of contamination. Digital and 3D images then proliferate, abandoning all perfection.Claire Van Lubeek, Trouble with the Surrealists, 2019<br /> Courtesy of the artist<br /> <br /> From an aesthetic of pop and saturated assemblage, Claire van Lubeek offers sculptural installations with strong narrative potential. Her sculptures have a dystopian quality where fear is not devoid of charm, where horror can become seductive. Such a contradiction testifies to an attraction for the figure of the monster, understood as the expression of a dislocation of the coercive structures of capitalism.<br />