“Nous ne gardons aucun souvenir de notre vie avant l’âge de quatre” is a series of drawings that revisits childhood scenes, real or imaginary, that are inevitably erased from our memory. It explores fragments of simple happiness, fleeting and elusive, that we rediscover as adults, as amazed spectators of this fantastic theater where the generation shaping tomorrow’s society blossoms.
Tatiana Wolska’s Belladonna exhibition nestles between the political and the intimate, offering a physical and cognitive experience where drawing merges with sculpture. Witches’ plant, good or magic weed known since ancient times, Belladonna, is both the remedy and the poison reminding us that its use requires subtle handling as well as great knowledge. Through the history of this plant, the exhibition promotes proliferation and dialogue in order to unite the familiar and the strange, lightness and ardor, suggestion and claim.
Non-Effective Drawing is an invitation to physical and mental performance in the realization of drawing. The act of drawing is an effort, a complete investment of the body for a given time, a feat.
In this exhibition, drawing becomes volume and architecture with the central work Ito Meikyū (a word invented from a collage of two words: ito meaning “thread” and meikyu meaning “labyrinth”). The immersive and interactive work invites the viewer to immerse themselves in a large animated fresco. It presents a heterogeneous collection of drawn, animated and sound scenes, which are taken from the digital material. In a way, she recreates a subjective world (inner and outer world) in the form of a labyrinth composed of fractal architectures, inhabited by plants, objects, animals, men, women, patterns and calligraphy.
In 2000, Aurelie Nemours decided to create an annual prize that bears her name. The Aurelie Nemours Prize rewards any artist, regardless of his discipline, whose work pursues the rigorous and spiritual plastic quest that has been his. She wrote: “Thinking that art is a struggle against the disarray of our civilization, I firmly believe that the spiritual charge of art is the only recourse and salvation.” In 2024, the winning artist is Susanna Fritscher.
In the great tradition of naturalistic illustration, Suzanne Husky invites us to reconsider the deep time of rivers through the geopolitical history of alliances between humans and beavers. An epic adventure, conceived with the collaboration of the philosopher-researcher Baptiste Morizot, which teems with tasty sketches, and re-anchors us in a world vaster and more wonderful than that of human history: the great history of life.
For Noémie Sauve, inspiration always begins in contact with a field. This exhibition presents works from two scientific expeditions – Tara (2017) and Vulcano (2021). On site, she collects data, samples, colours and shapes. Back in the studio, by exploring multiple formats and techniques, between drawing, sculpture and chemical reactions of materials, she seeks to recreate the invisible and threatened worlds of corals or the incandescence of a volcanic stone. Noémie Sauve navigates freely and without hierarchy between the naturalistic and fantastic registers to create works that, in the mode of analogy and diversion, invite us to wonder and inquiry.
The exhibition Ser uma mistura, um desenho, um desejo (To be a mixture, a drawing, a desire) is born from the desire for mixture, from the desire for encounters, natures and the ordinary feelings that run through us. What is your favorite animal? Why do we hug an object while thinking of someone? What drives our desire to build memories on this planet?
In 2000, Aurelie Nemours decided to create an annual prize that bears her name. The Aurelie Nemours Prize rewards any artist, regardless of his discipline, whose work pursues the rigorous and spiritual plastic quest that has been his. She wrote: “Thinking that art is a struggle against the disarray of our civilization, I firmly believe that the spiritual charge of art is the only recourse and salvation.” In 2023, two artists will be rewarded: graphic designer Irma Boom and painter Hans-Jörg Glattfelder.
The Pulp-e project questions the construction of the image, in its reappropriation, in its writing, in its transposition, includes the body, in order to make us wander through possible narratives. The title refers to the specific typology of pulp (popular comics) and the addition of the E proposes a concrete meaning, the pulp. A hybrid title, the exhibition will present several states: scenarios, set elements, films. The popular and folkloric forms taken up and drawn by Benjamin Hochart will go beyond the framework of the sheet of paper and the Drawing Lab will become the theatre of a new narrative whose various scenarios will be activated by the spectator.