Carlos W. Desrosiers:  The Experience, an immersive exhibition in Paris

Carlos W. Desrosiers:  The Experience, an immersive exhibition in Paris

“When a piece is done, it always feels like a complete song to me.
There is no more instruments, notes, or tones needed.“

 

Carlos W. Desrosiers’ upcoming exhibition from June 23 to July 31 at VOS Paris challenges the status quo of exhibiting art on limited formulated canvas. The American self-taught artist from New York presents The Experience, revealing his original 9 paintings from his “What you see” The collection splashing out from their core basis and becoming materially alive in the entire space.  

 

 

Liberated from its frame, the vitality of the painting invades the room on various supports, which results in an augmented viewing experience. Like independent phenomenons emerging from the original work of his paintings, his ‘Figures’ take up space on the windows or walls. Fragments are hanged to the ceiling, while three-dimensional sculptural unities become autonomous living organisms. The jumping off point art piece multiplies itself through an explosion into other lives in the exhibition.

Through an organic body of work of installations, photographs, signed multiples, or prints, the artist cultivates his aesthetic of vibrant colors surge. He incorporates writings and natural elements as energies that assist the work in the creative process.

The exhibition is accompanied by music as a means to awaken awareness for the vibrations of the art. The artist becomes aware of the completion of the work when it resonates wholly, as both music and art can touch a higher frequency. The colors tones he applies frenetically, like music notes dancing on the drawings, interact with what is true to the soul, and trigger all the senses.  

On the main original canvas, the thick layers of paint are the essence of his “panning technique”, a process usually associated with audio recording. Infinitely adjustable and rotative, his works exceed the fixed gaze and suggest an expansive view and endless possibilities of interpretations.

 

 

The Experience is thus incredibly immersive and takes the individual into the heart of the latter’s self universe. Moving forms devoid of a figurative depiction, his collection of paintings morphs depending on what resonates to the viewer’s subconscious. Carlos W. Desrosiers is adamant about knowing what people perceive in his abstract landscapes, unfolding what is beyond our past and life experiences. He always seeks to manifest a different reality with innovative perspectives, and to truly engage with the everyday curious onlooker, stating that his work is “a clear mirror of self for the observer.”

Carlos W. Desrosiers’ artistic expression hinges indeed upon this notion of movement and collective subconscious. His genius resides in his creative power and spiritual overview, his belief that every object of the world possesses innate wisdom. Before considering himself as an artist 6 years ago, he had an inner desire to transfer his knowledge of the mind and “the esoteric and healing power of men” into a tangible way to awaken humanity.

 

 

Very passionate about all healing techniques including Taoism, self-development, and kinesiology, he was impacted from a young age by the “healing world” as his father is a naturopathic doctor. His thirst for knowledge, the consciousness of his self-awakening paved the way for the discovery of his real duty as an artist, and each crafted piece revealed him new techniques.

When first meditating on art history, he felt an immediate connection with Jackson Pollock’s artistic splattering as an intuitively free and uncontrollable process. What Carlos W. Desrosiers calls his “subconscious reprogramming” techniques takes on form in the painting act through losing control of his hands, leaving the physical element and unlocking his hidden potential.

 

“Beautiful images emerge out of the erratic and out of the chaos”

 

 

 

With parents coming from Haiti to America, Carlos W. Desrosiers was born in New York City in 1988. While not having an economically privileged background, Desrosiers worked at a golf course for 12 years only to later be emerged into the world of Rap music as an A&R manager at the age of 17. Developing a strong rapport with artist and working on different projects and albums, Desrosiers quickly became a key component to artists and their recording process. He has been evolving in the highest spheres of the Rap/Trap music industry, being very close to top renowned artists like Rihanna, Travis Scott, and Migos.

He created in 2012 his first body of art still in progress named “What You See Collection Private Experience”  including over 20 artworks exhibited at Art Basel Miami and at The Fearless Artist Art Basel Pop Up Gallery in December 2015. His “Living abstract” body of artworks and murals were shown in Lower East Side Manhattan, New York City in February 2016.

 

The Experience by Carlos W. Desrosiers
From 23 June to 31 July 2019
VOS Paris
21 avenue Kleber 75016 Paris

Mayasa Al Sowaidi : Revisiting the essence of Tea

Mayasa Al Sowaidi : Revisiting the essence of Tea

Bringing together historical narratives of the West and the Middle East and to demonstrate the cultural richness of Bahrain, Mayasa Al Sowaidi will be presenting her series Art of Tea” at the SOBERING Gallery,  in collaboration with Corinne Timsit Art Advisory (CT2A). From June 13 to July 13, more than 20 artworks will be exhibited in this exploration of the theme of tea, its transcendence and essence through its transformation as a tool for artistic creation and expression.

Mayasa Al Sowaidi builds metaphorical bridges between the art of ceremonial tea-tasting and aesthetical and visual art. Artifact of everyday life, tea is nevertheless one of the most fundamental products of globalization, historically significant and culturally important as a ritual experience, also spiritual, creating social unity.

“Tea is a drink of rich heritage. Just as a collage relies on the recycling of used materials, so the tea leaves were given another chance at immortality, by affixing them onto a canvas for us to taste in another form, to sip art differently.”

Like papyrus or parchments, the tea leaves are fully integrated on the eroded canvas, colored in imitation of the brewing water. Tea bags are covered by recurring motifs of static birds anchored on branches, or keys and locks images. They reveal themselves as symbols of freedom to reach in our materialistic world of over-consumption, as human beings or ‘non-beings’ reduced to numbers.

Mayasa Al Sowaidi had also been part of the Bahrain Art Week 2018 at the Grand Palais, showcasing many artists of the Bahrain art scene, growing with emerging talents and artistic energy. Far from misconceptions, the important position of women artists in Bahrain is not new, regarding the cultural and unique specificity of the island country globally renowned for its natural pearl production. While men went fishing for months to find pearls, the country’s responsibility was left to the female population who still hold today a great power in the society.  

Not solely a self-taught painter, Mayasa Al Sowaidi also has a Bachelor of Science degree in Mathematics from the University of Bahrain and is currently completing her doctorate – with her research paper focusing on emotional intelligence – at the Management School of Grenoble, France.

The artist explores in her artistic practice since 2005 her own freedom of expression and creativity, and the notions of harmony, balance, and order as components of her apparent fragile collages. Her pieces reflect her skills as a writer as well as that of an artist, each telling a unique story.

 

SOBERING Gallery
87 Rue de Turenne,
75003 Paris

 

The continuously blooming Contemporary African Art auction results

The continuously blooming Contemporary African Art auction results

The global art market is essentially characterized today by geographical regions, countries or continents. In that perspective, African art gaining momentum is reflected in the latest Sotheby’s London art sales of their new 2017 department on modern and contemporary African art. Already showcased worldwide in dedicated art fairs, exhibitions, foundations or museums, the contemporary African art scene is indisputably a hotbed of major talents. The most famous names under the spotlight are El Anatsui, Hassan El Glaoui, Skunder Boghossian, Ibrahim El Salahi, Ablade Glover, and Cheri Samba. With some entering auctions for the first time, they exceeded the price expectations, establishing new auction records for 11 artists. Congolese Cheri Samba’s painting “J’aime la couleur” from 2005 estimated around  £40,000-60,000 resulted in a £93,750 – $122,344 auction selling.

As expected, Ghana with the famous sculptural installation artist El Anatsui ranked at the top,  with the bottle tops tapestry  Zebra Crossing 2sold for about $1.5 million.

The works of the most recent and nonetheless swiftly growing artists like Congolese Eddy Kamuanga Ilunga are sought to become more and more in demand, and the current estimated prices are thus unlikely to remain the same.

Eddy Kamuanga -Illunga Palm

Morocco and Ethiopia’s art heritage are introduced with the paintings of Hassan El Glaoui “La sortie du Roi” and Alexander Skunder Boghossian “Harvest Scrolls”, the countries’ aiming to be the heart of Africa’s art, giving their national artists new platforms.

Nigeria, South Africa as major players already thrive through their own fine art auction houses, and through their artists’ international renown in the past years. (Nigerian artists like J.D. Okhai Ojeikere, Ben Enwonwu, Uzo Egonu were sold at the auctions)

The past sales by Bonhams had shown immense promise, but the London April 2 sales of over 75 lots are a testimony of a stratospheric rise, demonstrating the continuous chain effect for long-time celebrated masters but most importantly for young and booming contemporary artists. While native African collectors represented the majority of the buyers by far, Western collectors as well have shown a surge of interest for the important investment opportunities that the sales’ total of $3 million foreshadows. The interest from wealthy collectors and art institutions like Sotheby’s is influential in assessing once again that the African art market has a positive future and a global audience.

Kehinde Wiley : “A history of complicated gazing“

Kehinde Wiley : “A history of complicated gazing“

In the continuity of the history’s invisible, repressed figures or colonial controversial episodes, Kehinde Wiley’s upcoming exhibition at Galerie Templon in Paris, from 18 May to 20 July 2019 comes from his observations and works created in Tahiti this past year.

The exhibition will be showing a series of paintings and a video installation on Tahiti’s Māhū (‘‘in the middle’ of male and female) community, who had a spiritual and high social role until they were persecuted and banned by missionaries who implemented transphobic laws. Wiley will be reflecting on both the notion of identity and gender – as it refers to the traditional Polynesian classification of people of a third gender – but also echoing France’s art and tackling renowned and hailed Paul Gauguin’s works, nonetheless tinged with sexual objectification and a particular vision of the transgender Māhū figures portraits.

Kehinde Wiley on location filming in TahitiCourtesy Templon, Paris & Brussels, © 2018 Kehinde Wiley

Kehinde Wiley had exhibited in Paris for the first time at the Petit Palais with “Lamentation”, exploring religious iconography and revisiting church stain glasses through his own idiosyncrasy, with black Americans and hip hop culture.

His world is one of the interconnections and questioning the present. He composes his aesthetic by incorporating black figures in art history masterpieces, challenging, therefore, the academic portraiture canon, and politically exploring colonialism history through his vibrant and colourful works.  

After graduating from Yale University in 2OO1, Kehinde Wiley completed a residency at the Studio Museum in Harlem in 2002. He is mostly renowned for becoming in 2018 the first African-American artist to paint an official U.S. Presidential portrait, for the former U.S. President Barack Obama.

Portrait of Jazon Ralph, 2018 Oil on canvas182,9 x 152,4 cm / 72 x 60 in.
Photo B. Huet/ Tutti Courtesy Templon, Paris & Brussels, © 2018 Kehinde Wiley

Regarding Kehinde Wiley’s other projects, Black Rock Artists Residency is something not to miss. Launching it in Dakar, Senegal, the new multi-disciplinary artist-in-residency program comes from Wiley’s personal desire to create a workplace for West Africa and particularly Senegal where he instantly felt an intimate proximity when he first encountered Dakar in 1997. Black Rock aims to support the creation of a blend of international and multigenerational artists from hybrid fields (visual artists, writers, filmmakers etc). He intends to set a creative hotbed of talents in Africa, living immersively for a few months in the cultural richness of the city.

Image on the top:
Three Girls in a Wood, 2018, Oil on canvas, 274,3 x 366 cm / 108 x 144 in.
Courtesy Roberts Projects, © 2018 Kehinde Wiley

1968 – Sparta Dreaming Athens at Château de Montsoreau-Museum Contemporary Art

1968 – Sparta Dreaming Athens at Château de Montsoreau-Museum Contemporary Art

The late 60’s marked the rupture of painting, where artists started turning to alternative forms of expression as a reaction against the changes and tensions brought about by contemporary society, that which the exhibition ‘1968. SPARTA DREAMING ATHENS’ is a reflection of.

It is dedicated to the 50th anniversary “1968”of a monumental moment in art history which all these changes took place, and poses the question as to whether this rebellion against the established model gave rise to a new contemporary language. The exhibition takes one on a visual journey through major figures of Minimal Art, Pop Art and Conceptual Art, featuring the talent of Art & Language, Victor Burgin, Toni Smith, Dan Graham, Maria Marshall, Claes Oldenburg, Les Levine, Edward Ruscha, and Bernar Venet.

Edward Rusha

Edward Ruscha, Every building on the sunset strip

‘1968. SPARTA DREAMING ATHENS’ is an echo of the two mythical cities of Ancient Greece Sparta and Athens, offering a transversal reading of this period. Tackling two forces, two ideologies and two visions of society where the future clashes to give place to a new (dis) order, bringing hope, creative energy, and change. It presents works of art that have helped change the history of art draw a path between memory, reverie, and utopia, generating a movement dedicated to new forms of articulation.

Art & Language Collection

Housing the largest collection worldwide of the radical conceptualists Art & Language, Château de Montsoreau-Museum of Contemporary Art was founded in 2016 by Philippe Méaille, after having loaned his collection between 2010 – 2017 to the Museum of Contemporary Art in Barcelona (MACBA). The pioneering movement envisions a separation between the art object and the artwork, and the name was adopted in parallel with the creation of the magazine Art-Language created in 1968, which has profoundly influenced contemporary art. 20 years after its creation in 1986 the movement was nominated for the prestigious Turner Prize.

Listed as a UNESCO World Heritage Site and stretching for more than 2,000 m², the private museum remains a forward-thinking institution located in the Loire Valley with a cultural program that is organized around temporary exhibitions, events, meetings, concerts, and performances, breathing artistic life into the surroundings. Innovative, experimental and unexpected, these events and space as a whole mirror the creative wealth of today’s artists.

Dan Graham

Dan Graham, Rock My Religion

Art & Language includes artists such as Michael Baldwin, Mel Ramsden, Charles Harrison, Joseph Kosuth, Terry Atkinson, Harold Hurrell, David Bainbridge, Andrew Menard, Michael Corris, Ian Burn, Philip Pilkington, Kathryn Bigelow, David Rushton, Mayo Thompson, Sarah Charlesworth, Christine Koslov, Paula Ramsden, Preston Heller, Lynn Lemaster, Howard Graham, Sandra Harrison, Nigel Powell, Terry Smith, Nigel Lendon.

History of Château de Montsoreau

Holding the title as the only château in the Loire Valley built in the riverbed itself, Château de Montsoreau holds a lengthy history dating back to 1450 where it was originally commissioned by Jean II de Chambes, a close advisor to King Charles VII. The architecture of the Château de Montsoreau acted as a pioneer of the renaissance in France, being the first example of sailing architecture located in the heart of the Loire Valley, inspiring artists from Rodin to Turner and writers from Flaubert to Alexandre Dumas. Many famous figures have left their mark on its histories, such as Mary, Queen of Scots, Anne of Brittany, Claude of France, Henry IV of France and Francis I.

 

Manofim Festival Celebrates 10th Edition in Jerusalem

Manofim Festival Celebrates 10th Edition in Jerusalem

Launching the exhibition season in Jerusalem, Manofim Festival kicks off on October 23rd and runs for a period of 5 days until the 27th. This independent initiative run by Rinat Edelstein and Lee He Shulov is currently celebrating its 10th year, and will be showcasing a multiple array of events including exhibitions, performances, music events, film screenings, tours, conferences, parties, and workshops to name a few. Each evening the festival will move to a different part of Jerusalem, bringing art to unconventional places, ultimately reaching a broad audience boasting an all inclusive attitude by being open to the public and free of charge. Free shuttle buses transport visitors between locations during the vernissage. Celebrating the capital’s thriving culture, the festival acts as the flagship event of Jerusalem’s contemporary art scene.

 

 The Floating Life (2017), Ran Slavin at Manofim Festival in Jerusalem

The Floating Life (2017), Ran Slavin

 

By encouraging new creations, the festival generates a discourse and dialogue between artists and facilitates the accessibility of culture and art to residents and visitors, connecting the Eastern and Western sides of the city through art. The aim being to expose the contemporary art scene in Jerusalem to diverse crowds, as well as strengthen and empower Jerusalem’s artists. The festival is made possible with the support of Beracha Foundation, the Ministry of Culture and Sport, Jerusalem Municipality, Jerusalem Foundation, Mifal HaPais Council for Culture and Arts, Eden, and Manofim Friends Association. The project partners include all the contemporary art venues in Jerusalem, independent artist groups, culture institutions and artists from various disciplines.

 

‘Properties’: Exploring the Cultural Significance of Talbiya Neighbourhood

The main exhibition of the 2018 Manofim Festival entitled ‘Properties’ will take place in Talbiya neighborhood, located in the heart of Jerusalem on the edge of the city center. A green and leafy suburb, it also consists of many layers that store diverse historical narratives. It was established in the 19th century by wealthy Palestinian Arab Christians, reaching it’s architectural peak in the 1920’s. To this day Arab villas still stand, acting as a mark of historical significance. After the war in 1948, Palestinian residents that occupied the neighbourhood forcefully fled, and in due course, was populated mostly by Israeli Jews. Today its residents consist of mainly professionals, academics, diplomats, and government officials. It is also home to an unusual assortment of institutions that coexist in the same space including the President’s Residence, Prime Minister’s Residence, as well as various research and cultural institutions.

Newer Jerusalem and suburbs Talbieh, a Christian Arab community. Unknown Photographer, approx 1920-1933 at Manofim Festival in Jerusalem

Newer Jerusalem and suburbs Talbieh, a Christian Arab community. Unknown Photographer, approx 1920-1933 © American Colony collection

The exhibition aims to spotlight this diversity of the neighbourhood, held in various spaces – both public and private – creating a dialogue surrounding the contradictions that are present. Through various art actions, the exhibition will introduce critical questions that call for a reexamination of this exceptional, multi-faceted space whose residents may have come to see it as mundane and banal.

 

Manofim : Homage to Anna Ticho

Lifescape: The Work of Anna Ticho (b.1894 – 1980) presented at Ticho House, focuses on the depth and breadth of the artists work covering 70 years of her artistic endeavour. It showcases the range and richness of her oeuvre including early watercolour works from her days as a young girl in Vienna to her final works. The exhibition is complemented by the debut of Dorian Gottlieb’s new video, which acts as a homage as well as contemporary response to Ticho’s drawings of the historically significant Jerusalem hills. Anna Ticho: Rhythms in Landscape, another exhibition presented by The Jerusalem Print Workshop in collaboration with the Israeli Museum, highlights the artists landscape etchings, some of which were created at the workshop in the 70’s.

Judean Hills (1972), Charcoal on paper 100x70 cm, Anna Ticho at Manofim Festival in Jerusalem

Judean Hills (1972), Charcoal on paper 100x70 cm, Anna Ticho © The Israel Museum, Jerusalem

 

Themes of Displacement and Global Warming

Maries Gallery presents Plastik Arts, focussing on the dilemma surrounding the threatening impact of plastic on our environment, and the ghostly presence and ultimate worsening of global warming through over consumption. It explores the vast range of polymeric materials and products that are used in everyday life, and for the rest of our lives, exploring the impending fate of Earth. The exhibition offers an artistic and philosophical meditation on the gap between the “magic of synthetic ease” and the weight of its price. The group exhibition features the likes of artists Riva Pinski Awadish, Yoel Gilon, Alon Even Paz, Smadar Tsook and Hadar Amit amongst others.

‘Homes’ by Niv Rozenberg, an exhibition presented by The Photographic Communications Department at Hadassah Academic College, explores the body of work created by the artist between 2000 and 2018 – where he was inspired by changes in the urban landscape in which he was surrounded – namely New York and Tel Aviv. Taking a closer look by examining this familiar yet unknown environment with a conflicted gaze, his manipulated images create an aesthetic that shifts between photography, architecture, and graphic design with an emphasis on colour, shape, space, and time. It also underscores themes of displacement that are so prevalent in our current society regarding the conflict of war leading to the separation of people from their families, as well as their homeland.

 

Rina Nikova in a Contemporary Context

Rina Nikova (b.1897 – 1973), a pioneer of classical and biblical ballet in Palestine, will be celebrated at Hacubia gallery. She founded the Yemenite Dance Ensemble, engaged in ethnic and biblical choreography, and explored the link between dance and the land. A solo performance by dancer Shira Eviatar in collaboration with Eviatar Said, will be held at the exhibition. This visual story delineates a personal Yemenite cultural landscape: movements, dances, rhythms, gestures, values, and patterns of thought and communication that altogether compose a language practiced inside the home. When this language entered the public space, it was identified and labeled as “other.” On stage, Said, an immigrant in his own home, unravels and re-links physical memories of the past, bodies of knowledge, sensations and emotions, as he celebrates his existence as an independent body in the present.

Rina Nikova, prima ballerina, in Swan Lake,The Palestine Opera,1925-1928, Photographer Zvi Oron at Manofim Festival in Jerusalem

Rina Nikova, prima ballerina, in Swan Lake,The Palestine Opera,1925-1928, Photographer Zvi Oron © Courtesy of the Zionist Archives, Jerusalem