Le ciel est joli comme un ange
27th January - 24th February 2024
Double-faced synthetic fabric
175 x 286 cm
Marion Baruch has, for the past ten years, been intervening on fabric offcuts retrieved from the textile industry in Milan. The artist selects, sorts and arrange those materials, so as to transform those disregarded scraps from the industrial and urban society into forms characterised by a flexible geometry. Hung from the ceiling or pinned on the wall, her works reflect a history, as social and political as individual and sensitive.
150 x 130 cm
Signed, titled and dated at the back
85 x 63 cm
Signed, bottom right
©Fred Froum / La Nouvelle Babylone
42 x 59 cm
Signed
© Grégory Copitet
" Un couloir creusé dans la roche. Avant, on pouvait l'escalader à mains nues. Il y a une échelle de corde mais un jeune homme l'a déjà empruntée et elle se balance au-dessus du vide sans que je puisse la saisir. "
Image: 130 x 102 cm
Frame: 134 x 108,8 cm
It was in the night of Elea, an ancient Greek city near Naples, that Parmenides first supposed that the moon reflected the light of the sun or that the earth was a sphere. By seeking the logic at work in nature through his observations rather than from mythological accounts, he, along with other pre-Socratic philosophers, contributed to building a new way of understanding the world.
This photograph of the sky of Elea was taken nearly 2500 years after Parmenides, by fixing a camera on a motor synchronized with the rotation of the Earth, allowing the tracking of the stars' movements and creating a perfectly still image of the celestial vault.
Ordinarily, regardless of where in the world they are taken, photographs capture sunlight reflecting on the world around us. However, in this photograph, the captured light does not come from our sun, but from thousands of distant suns.
Image: 30 x 90 cm
Paper: 42 x 102 cm
Broken Horizon is part of a research on the perception of reality. The landscape, located in a minimalist universe on the Black Sea, becomes a space of projection of a state of crisis. It represents a feeling of failure, the horizon of all expectations is closed on itself, it breaks, like a "liquid Ararat of isolation."
Paper: 47,5 x 121 cm
Frame: 50 x 123,5 cm
The Thing #1 émane des recherches de Decebal Scriba sur la nature de la matière et de son intérêt pour la physique et l'espace. À partir de photographies de pierres, l'artiste manipule l'image en convoquant une esthétique scientifique et projette un objet terrestre commun dans l'espace, de sorte à suggérer des astéroïdes étranges.
156 x 117 cm
156 x 118 cm
Image: 39 x 53 cm
Frame: 40 x 54 cm
Signed, titled, dated at the back
Since the emergence of the first particle, matter assembles itself thanks to light, forming increasingly complex objects, stars, galaxies, thus generating ever more light. Light is what links us to the cosmos, bringing us informations, from the origin of the known universe to the appearance of life. It turns out that life itself is among the most luminous objects the universe has produced. This idea, developed and calculated by the astrophysicist David Elbaz in his book “La plus belle ruse de la lumière” (“The most beautiful trick of light”) is at the origin of the “terrestrial light” series. In this series of photography, we can distinguish a multitude of bright dots distributed in space like the constellations of a starry night. But these light sources are much closer to us, on earth. This is the thermal signature of bees.
The heat they emit radiates as infrared light and is then captured by a thermal camera. Using the cyanotype technique developed by astronomer William Herschel in 1842 to print these photos, the invisible light from the bees' heat is made visible by the daylight needed for the cyanotype to reveal itself.
Human genius is sending increasingly sophisticated telescopes equipped with infrared cameras into deep space to observe extremely distant celestial objects, often invisible, moving away from us due to the expansion of the universe. In this series, the same infrared cameras are used to look this time in our close environment, objects which far from being invisible are however gradually disappearing from the field of our collective attention. This series marks a turning point in the work I was doing until now by introducing living being, while keeping exploring light. But this time, terrestrial light.
Image: 39 x 53 cm
Frame: 40 x 54 cm
Signed, titled, dated at the back
Since the emergence of the first particle, matter assembles itself thanks to light, forming increasingly complex objects, stars, galaxies, thus generating ever more light. Light is what links us to the cosmos, bringing us informations, from the origin of the known universe to the appearance of life. It turns out that life itself is among the most luminous objects the universe has produced. This idea, developed and calculated by the astrophysicist David Elbaz in his book “La plus belle ruse de la lumière” (“The most beautiful trick of light”) is at the origin of the “terrestrial light” series. In this series of photography, we can distinguish a multitude of bright dots distributed in space like the constellations of a starry night. But these light sources are much closer to us, on earth. This is the thermal signature of bees.
The heat they emit radiates as infrared light and is then captured by a thermal camera. Using the cyanotype technique developed by astronomer William Herschel in 1842 to print these photos, the invisible light from the bees' heat is made visible by the daylight needed for the cyanotype to reveal itself.
Human genius is sending increasingly sophisticated telescopes equipped with infrared cameras into deep space to observe extremely distant celestial objects, often invisible, moving away from us due to the expansion of the universe. In this series, the same infrared cameras are used to look this time in our close environment, objects which far from being invisible are however gradually disappearing from the field of our collective attention. This series marks a turning point in the work I was doing until now by introducing living being, while keeping exploring light. But this time, terrestrial light.
Image: 39 x 53 cm
Frame: 40 x 54 cm
Signed, titled, dated at the back
Since the emergence of the first particle, matter assembles itself thanks to light, forming increasingly complex objects, stars, galaxies, thus generating ever more light. Light is what links us to the cosmos, bringing us informations, from the origin of the known universe to the appearance of life. It turns out that life itself is among the most luminous objects the universe has produced. This idea, developed and calculated by the astrophysicist David Elbaz in his book “La plus belle ruse de la lumière” (“The most beautiful trick of light”) is at the origin of the “terrestrial light” series. In this series of photography, we can distinguish a multitude of bright dots distributed in space like the constellations of a starry night. But these light sources are much closer to us, on earth. This is the thermal signature of bees.
The heat they emit radiates as infrared light and is then captured by a thermal camera. Using the cyanotype technique developed by astronomer William Herschel in 1842 to print these photos, the invisible light from the bees' heat is made visible by the daylight needed for the cyanotype to reveal itself.
Human genius is sending increasingly sophisticated telescopes equipped with infrared cameras into deep space to observe extremely distant celestial objects, often invisible, moving away from us due to the expansion of the universe. In this series, the same infrared cameras are used to look this time in our close environment, objects which far from being invisible are however gradually disappearing from the field of our collective attention. This series marks a turning point in the work I was doing until now by introducing living being, while keeping exploring light. But this time, terrestrial light.
Image: 39 x 53 cm
Frame: 40 x 54 cm
Signed, titled, dated at the back
Since the emergence of the first particle, matter assembles itself thanks to light, forming increasingly complex objects, stars, galaxies, thus generating ever more light. Light is what links us to the cosmos, bringing us informations, from the origin of the known universe to the appearance of life. It turns out that life itself is among the most luminous objects the universe has produced. This idea, developed and calculated by the astrophysicist David Elbaz in his book “La plus belle ruse de la lumière” (“The most beautiful trick of light”) is at the origin of the “terrestrial light” series. In this series of photography, we can distinguish a multitude of bright dots distributed in space like the constellations of a starry night. But these light sources are much closer to us, on earth. This is the thermal signature of bees.
The heat they emit radiates as infrared light and is then captured by a thermal camera. Using the cyanotype technique developed by astronomer William Herschel in 1842 to print these photos, the invisible light from the bees' heat is made visible by the daylight needed for the cyanotype to reveal itself.
Human genius is sending increasingly sophisticated telescopes equipped with infrared cameras into deep space to observe extremely distant celestial objects, often invisible, moving away from us due to the expansion of the universe. In this series, the same infrared cameras are used to look this time in our close environment, objects which far from being invisible are however gradually disappearing from the field of our collective attention. This series marks a turning point in the work I was doing until now by introducing living being, while keeping exploring light. But this time, terrestrial light.
32 x 24 cm
Signed and dated at the back
32 x 24 cm
Dated and signed at the back
18 x 14,5 cm
Signed at the back
Le refuge is a reproduction of a photograph of a street lamp located in front of the house where Maxime Verdier grew up. In the dark night and on a deserted country road, the blazing light appears as a reassuring and warm lighthouse. The drawing is also the memory of a place where the artist liked to come and think, lying in the greasy grass at the foot of the lamp post.
24 x 18 cm
signed and dated on the back
The source image of Sucre glace comes from a detail of a photograph of a T-shirt stained with icing sugar. The white of the sugar creates a sort of constellation on the surface of the navy blue fabric. The framing is so tight that you can make out the knits of the garment. The subject is unrecognisable and evokes at first glance the pattern of a wave. Thus the painting becomes almost abstract and its object remains deliberately enigmatic.
8,2 x 5,7 inch
Dated and signed on the back
Chourouk Hriech frequently takes inspiration during her travels. In this series, she depicts a journey in Thailand which becomes the central subject of her drawings. These artworks become a travel diary where the artist captures the essence of her subject with quick strokes, illustrating buildings, streets or objects that interested her during this journey.
Watercolour
39,5 x 31,5 cm
Dated and signed at the back
Watercolour
39,5 x 31,5 cm
Dated and signed at the back
The title of this sky-themed collective exhibition is taken from Arthur Rimbaud's poem Bannières de mai.