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

 

A hopeful breath at the MCA with FEDERICO HERRERO

A hopeful breath at the MCA with FEDERICO HERRERO

Currently exhibited in the Museum of Contemporary Art Chicago, Federico Herrero has taken over the two-story entrance of the MCA space, with his Alphabet project a recurring motif of communicative and playful patches of colours from the wall to the reflection of coloured lights on the ground.

After a 10 months joint collaboration with the museum through an impressive mural installation, the occasion for an immersion into the colours and the vibrations of the room will soon be ending. Until May 5 2019 the international Costa Rican artist invites the visitor to penetrate the new environment created with enticing pastel colour blocks reminiscent of the flora and fauna of Herrero‘s tropical birthplace.


Observable from the painted windows of the atrium, the city’s buildings are covered and transformed with the artist bright blue, yellow, orange filters. The swift change of season in Chicago allows for a continuously mutable exploration of the relationship between nature and public urban culture, between art and social life.

 

 

Born in 1978 in the midst of the natural density of San Jose, Herrero was influenced by graffiti and urban art, media, and everyday city art but also recalls color field painters and Central America muralist tradition. From his first notoriety at the 2001 Venice Biennale as a young artist, his artwork gradually progressed into more abstract and less figurative forms. The artist has developed his oeuvre from canvas paintings to mural and monumental pieces, usually breaking free from the wall space, challenging usual space restrictions like grounds, corners, ceilings, and windows, in his artistic expression of a chaotic and joyful landscape.  

 

 

Although his paintings first appear as patterns of geometrical drawings or as the mental forms of a mapping process, his idea of linguistic chromatic shapes in the Alphabet exhibition comes across as the perception of living, “jumping from place to place” pigments, crossing boundaries and giving new life and vividness to the environment. He uses a conventional painting technique to produce a multicolored and visual sign language in order to engagingly interact with the architecture and the city of Chicago- directly through formal colours.

One of the world’s largest museum, the MCA was founded in 1967 and offers inventive displays for new contemporary artists, with a permanent collection including more than 2,000 works. The current installation is organized by MCA Associate Curator José Esparza and Pamela Alper Associate Curator.

 

Today, Herrero’s wide range of artworks can be seen worldwide from numerous exhibitions in museums or galleries to public installations and he has become one of the major figures in the Latin America contemporary art scene. This October he will be exhibiting at the James Cohan Gallery while his future solo shows will take place in Brazil at the Niterói Contemporary Art Museum in Rio de Janeiro in August 2019 and in São Paulo at the Pivô art center in 2020. In his native San José, Herrero will also show his projects at the Museo Nacional de Costa Rica in 2020.

 

5 artists from our “Contemporary Art in Israel” issue

5 artists from our “Contemporary Art in Israel” issue

Shai Kremer

Shai Kremer is an Israeli artist born in 1974. He studied at the Camera Obscura School of Arts in Tel Aviv where he obtained his M.A, later on going to the School of Visual Arts in New York where he obtained his Masters of Fine Arts. His artistic practice spans from landscape photography to more experimental creations such as his series Perception. His work was exhibited in reputable art fairs like Art Basel Miami, Art Chicago, Les Rencontres d’Arles, Paris Photo, The Armory Show, Tseva Tari and more. His work has been nominated to numerous prizes such as the BMW Paris Photo Prize, the Henri Cartier Bresson Award, the HSBC Photography prize, and has won the Photo Folio Review Prize at les Rencontres d’Arles. Furthermore, his works are in prestigious collections like in the Metropolitan Museum of Art
in New York, the San Francisco Museum of Art collection, the Museum of Contemporary Photography in Chicago, the Tel Aviv Museum collection, the Musée de la Roche-sur-Yon collection and more.

Atomic Mushroom, 2017

Raida Adon

Raida Adon’s work explores women’s condition and concepts such as belonging, border and the limitations of the body. In her videos she recurs to the colour red and black embodying death and femininity. She was born in Acre, Israel in 1972 and assisted the Bezalel Academy of Arts and Design in Jerusalem. Her first exhibition was in 1996 at the Artists House in Tel Aviv. Aside from her artistic career, Adon is also an actress working for television, theater and the film industry. In 2008, she won the Minister of Culture and Education Prize for Palestinian Art and in 2011 the Minister of Education Prize for most prominent Israeli Artist.

Michel Na’aman

Artist Michal Na’aman was born in 1951 at the Kvutzat Kinneret in Israel. Her oeuvre, often described as pertaining to conceptual art, delve in issues such as language and gender. She studied at the art College of Ramat Hasharon and later obtained her Bachelor of Arts at the Tel Aviv University. Her first solo exhibition was called “Vai Hai Oh” at the Yodfat Gallery in Tel Aviv in 1975. She continued to showcase her work all over the world in countries such as the United States, Germany, Switzerland, Greece, England, Italy, and more. She has won several prices and scholarships such as the Meir Dizengoff Prize for Painting and Sculpture in 1998, the Jacques and Eugenie O’Hana Prize for a Young Israeli Artist in 1981, the Sandberg Prize for Israeli Art in 2002, the Israeli Prize in the field of visual arts in 2014 and many others. Her work is in museum collections like the Tel Aviv Museum and the Israel Museum among other private collections. Since 2005, she is associate professor at the Midrasha Art School of Art in Kalmania.

Death of the Savior has Arrived, 2006, oil and masking tape on canvas, 130 x 100 cm.

Tanya Preminger

Tanya Preminger is a Russian artist living and teaching in Israel since 1972. She studied at the Surikov Academy Arts where she obtained her M.A in Sculpture. Her grandiose sculptures can be ascribed as land art as they engage organic materials and are to be found on the outdoors. She has participated in numerous residencies like at the Houston University residency program in the United States (2002), the residency program at the Pedvale Art Museum in Latvia (2009) or the Artis Grant for the Setuchi Triennale in Japan among others. Her work has been displayed in numerous international exhibitions in countries such as Argentina, Japan, South Korea, Italy, China, Russia and more.

Death of the Savior has Arrived, 2006, oil and masking tape on canvas, 130 x 100 cm.

Fatma Shanan Dery

Fatma Shanan Dery’s oeuvre focuses on realistic, large scale paintings where she depicts the village of Dreuze in Israel. Born in 1986, she studied at the Oranim College in Israel and with the artist Eli Shamir. She participated in numerous residency programs such as the Home Base Project in Jerusalem in 2014, the ArtPort residency in 2016 and the Peleh Fund Residency in California in 2017. In 2013 she won the Pais Culture Council Grant for her solo exhibition “a single Continuum”, the Artis project grant in 2016, the Haim Shiff Prize for Figurative-Realist art given by the Tel Aviv Museum of Art in 2016 and more. Among other collection, her work pertains to the Israel Museum collection, the Luna Art Fund in Tel Aviv and New York, the Rivka Saker and Uri Zucker collection and others.

Untitled, 2017, oil on canvas, 66 x 100 cm

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Motley’s the Only Wear

Motley’s the Only Wear

Tucked in the far right corner of the image, dressed in motley, specked with black dots is the artist duo Anthony Aziz and Samuel Cucher in clowning disguise as the silent observers in the woven chaos of Aporia. This iconography is a recurring motif to Aziz + Cucher’s work ever since its first appearance in their self-reflective work By Aporia, Pure and Simple in 2012 rather as an answer as artists to the question “how proceed?”. A significant culmination of their 26-year career and their aesthetic, Aziz + Cucher fully assumes their role as fools and as the vehicle to the viewer’s understanding of the truth to the realities of living.

Unassuming and ethereal, a peacock is captured in its full virility, in a moment of majestic sexual dominance surrounded at the same time by ritualistic ruins and modern urbanisation. Within a barren field, a bed of dandelions sprouted in the midst of figures screaming in silent, excruciating pain as if writhed by some other-worldly, imposing force. Five sheep look on as people hurry on with their nylon bags in search for a better settlement. The beasts’ docile innocence starkly contrasts with the ignorance of the selfie-takers. This is the aesthetic of violence prevalent in Anthony Aziz’s and Samuel Cucher’s tapestries – hypocrisy in our modern way of living, corruption of our natural habitat.

In Aziz + Cucher (A+C)’s Some People Tapestry Cycle (2014-2016), digital images taken from the duo’s travels to Israel, the Palestinian territories, Lebanon, and countries within the Balkans are electronically woven by their collaborators Magnolia Editions into Jacquard tapestries. The symbolic meanings to be studied in the featured animals, the Renaissance composition, and its employment to depict battlefields remain faithful to the historical functions of tapestry. Yet, in a stroke of genius, A+C’s artistic report on the current belligerent sentiments gives the medium a contemporary revitalisation, moving a topic so blatantly political onto the stage of an Absurdist theatre.

The violence in A+C’s work stems from the uncanny; it is the sight of familiar objects put in extraordinary circumstances. Considering A+C’s audience, they are the people who frequent the contemporary art milieu. Therefore, when we see building cranes in the background and ceremonial carvings on the wall in The Visitor, the peculiar positions that the figures are in with bags on their heads in The Road or limp bodies lying on the ground in Some People, our associative brains recall the horrific imageries perpetuated in the news. The effect of anxiety or even agoraphobia that plagues every single person in our globalised society does not require the artists to be specific like their predecessors, Paolo Uccello’s The Battle of San Romano (1440) comes to mind, but rather this question of land, home and humanity is mythicised and becomes universal in their tapestry.

Retrospectively, the evolution of A+C’s previous photographic and video oeuvre constructs a condition unique to their way of shaping the uncanny. Fairly early on in their first collaboration, Faith, Honor and Beauty (1992) evokes a strong sense of malevolence in how society views the human body. We see the subjects as the canon of beauty, yet there is a chilling impression to the photographs because the figures are without their sexual organs. The confrontation towards censorship in art, which was extremely polemical during the 90s culture wars in the United States, using literal self-censorship in their work was the first step A+C took to question the origins of our fears. From the dissolution of the body to the eeriness of the mechanical flesh in Plasmorphica (1997) and in Chimera (1998), to the architectural abstraction in Interiors (1999-2000), and again to the ecstasy, hallucinatory imagery in Synaptic Bliss (2003-05) and Scenapse (2007-2013), we see a trajectory against figuration or even anthropocentrism.

Aporia

However, a turning point came in 2006 in the form of the Israeli-Hezbollah War. With family ties in both Israel and Lebanon, the sense of ridicule and helplessness in the present complicated political realities gave impetus to A+C’s donning of the garb of jesters. While the duo confesses the self-deprecating image of the costumes, the interpretation runs deeper. The quintessential Shakespearean fool is a device, a motor that goes beyond giving comic relief to tragedies, but instead rendering deeply complex and traumatic scenes more understandable in their metaphorical resemblance to reality. The physical intervention of the A+C clowns, the artists’ departure from abstraction, and their subsequent change in the support of expression to tapestry in 2014 mark the duo’s questioning of the nature of power and the value of humanity sitting on this house of cards.

The unique tactility and the almost relief sensation in A+C’s design metamorphoses the moment captured in their digital images into sequences of movements.

This effective medium defines itself between the closeness and the distance with the viewer. The unique tactility and the almost relief sensation in A+C’s design metamorphoses the moment captured in their digital images into sequences of movements. The solemnity yet mystic fleeting fragility of the textile adds to the fear of contact dictated by the unspoken decorum in exhibitions and the romance of art. It is in itself essentially a symbol of the empty shell of power woven centuries after centuries.

Look closely at the tapestry Aporia, there is a severe expression of anxiety in the work’s narration: jet fighters across the tinged blue sky, scenes of struggle in the foreground, and undescriptive flags and gibberish signs waving in mid air. The centralised triangle with the male figure in a worker’s jumpsuit and a surgical mask as the apex of the tension and in the composition is unceremoniously skewed by the two odd figures on the right. The artists, as clowns, have the function of exposition in this storyline. They are not a physical demonstration of the silliness of the conflict, but rather a statement of truth, of the existence of such a conflict, the essence of which comes from us, the viewers looking at our reality in the third person perspective, from us looking at these figures as aliens and that we are aliens to them as well. While fools are a most unostentatious character in a play with a most pitiful ambition, it is through this pretense that A+C achieve catharsis in their personal tragedies and through which we, the viewers, recognise the cynicism of our phenomenal world.

FHB_Man-Woman

In our post-reality consciousness, all acts are political. Such is a great point of contention in the realm of the arts. In a moment of consideration, contemporary art can oscillate between propaganda and a reflection over calm waters. Ever since their first project together, Aziz + Cucher never cease to position their art in the current cultural and collective psyche, yet the relentless sensation of sterility muffles all conspicuous or personal commentary. Their ongoing tapestry series presents an even more eloquent demonstration of an abject anxiety under our warring times. The tapestry medium, from its historical to contemporary usages and manifestations, transmutes the inherent stirrings of the human soul into lasting forms.

A Matter of Blood

A Matter of Blood

In the Jewish religion, blood is a cornerstone embodying the religion’s precepts. From their diet to whom belongs to the faith, the red liquid is replete of numerous connotations. The Israeli artist, Sigalit Landau centers part of her artistic practice in blood and the land where she was born.

Navigating Israël allows the wanderer to understand the visual poetry and the significance of the symbols in the artist’s oeuvre. Starting with blood one can read her work as a metaphor of the violent events that have agitated the country from its creation in 1948. Growing during the Intifada years, Landau witnessed the commence of the brutality that continues – perhaps less deadly now – to shudder the region. As mentioned before her work favours red, her sculptures reminds us often of the Viennese actionism and of Francis Bacon taste for fleshy compositions.

 

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The Dining Hall a sculptural installation mimicking the interior of a house is flooded with structures with red and visceral textures. If there is amy similarity to the Viennese Actionism in this work is not by mere coincidence as Landau’s grandparents were very close to the movement during the 60’s. “I grew up inside some Viennese Actionists, my grandparents were very radical. (…) I’ve always been very interested in this, it’s in my DNA”, declared the artist during our conversation.

Human anatomy is dissected constantly in her work reflecting her background as a dancer. As she studies human body and gives it a political meaning, she touches upon femininity and the way it is viewed through the male gaze. Dead Sea for instance is a video in which the artist is floating naked on the sea with watermelons surrounding her body. The body here is freed and shamelessly presented in a natural context, it is acknowledged and put under the spotlight. Furthermore in her salt sculptures the spectator is introduced to feminine cloths reminiscent of Victorian fashion. During this period of English history, women were confined to the household, their rights were no less than non existant.

Starting with blood one can read her work as a metaphor of the violent events that have agitated the country from its creation in 1948.

The submersion of this dresses in salty water transforms them into crystalised objects mirroring the customs and values from that epoch, same that prevail and preserve women stigma. Another video exploring this is Barbed Hula wherein Landau dances the hula with a barbed wire. Although not directly mentioned during our exchange, the artist did alluded to the importance of pain in her artistic practice. The previously mentioned shows Landau dancing without any protection moving the barbed wire all over her naked body. While she examines feminine pain, she too delves on Jewish suffering.

 

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Symbols of Jewish traditions and rituals appear in Landau’s work, such is the case of salt and blood. As stated before, she submerges objects in the Dead Sea, a salty body of water so saline that no animal or living being can survive to the levels of salt. The Dead Sea is a symbol for both, Jordan and Israel and serves even as a border between the two countries. Traditionally, salt is used to dry and preserve food, and in the rituals rabbis recommended it to drain the blood from the meat which is a procedure to purify food and make it proper to eat according to the Bible, another term for this practice is Kosher. Sigalit Landau’s body of work manifest contemporary Israeli society, from its roots and its ideology, to its metamorphosis over the years.

 

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Sigalit Landau’s work touches upon different aspects on Israeli culture and lineage, it explores present day customs as well as subjects such as identity and the bridging of cultures. One of her most ambitious projects yet to date is to construction of structure joining Jordan and Israel through a salt bridge built with the salt of the Dead Sea. This particular enterprise testifies of the state of mind of Israeli contemporary artists encouraging dialogue and peace instead of deaf conflict. Through the prism of sharing, blood gains a different connotation as it units rather than tear apart.

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