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Marion Baruch

  • Artworks
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Sturm Und Drang, 2024
Sturm Und Drang, 2024
in order from left: polyester, nylon, polyester
170 x 700 cm (triptych)
Enquiries about work INV Nbr. MB2024001
Leading Lady, 2024
Leading Lady, 2024
Polyurethane coated polyester
330 × 146 cm
Enquiries about work INV Nbr. MB2024002
Sturm Und Drang, 2024
Sturm Und Drang, 2024
Polyester
166 × 277 cm
Enquiries about work INV Nbr. MB2024003
Prima di andare e dopo, 2023
Prima di andare e dopo, 2023
Polyester
295 × 149 cm
Enquiries about work INV Nbr. MB2023001
Ponte-Cattedrale, 2019
Ponte-Cattedrale, 2019
Cotton
120 x 128 cm
Enquiries about work INV Nbr. MB2019017

When Marion Baruch found the fabric remnants that would become Ponte-Cattedrale, she immediately thought of a hybrid structure between a cathedral and a bridge. By connecting these two elements, the artist produces a parallel between the random shapes of the textile and architecture. In this way, she emphasizes on the fact that both are reminiscent of human-sized constructions. Like the Surrealists, she humorously conceives a composite architecture that calls for a poetic and imaginary world.

Boetti, 2013
Boetti, 2013
Cotton
80,5 x 94,5 cm
Enquiries about work INV Nbr. MB2013001

After a long period practicing conceptual then relational art, Marion Baruch encountered physical difficulties linked to her advanced age. Hence, she operated a major turning point in her career at the end of the 2000s. She returns toward formal art, and discovers the pictorial potential of fabric remnants she collects from the textile industry. In this new artistic cycle, her first move is to link her work on these materials fated to oblivion with the great master of modern art who influenced her. Marion Baruch thus starts to name her artwork by dedicating them to artists she loves or she has loved, like spontaneous and free quotations to art history.

Le paysage n'est nulle part, 2020
Le paysage n'est nulle part, 2020
Cotton
100 x 154 cm
Enquiries about work INV Nbr. MB2020001

Since the end of the 2000s, Marion Baruch has made a major artistic shift by taking an interest in left-overs of fabric from the textile industry. From this material, she has created artworks that are both sculptures and pictorial compositions. She notably emphasizes on the way the fabric reconstructs the space when it is hung. At the beginning of this new artistic cycle, she conceived her artworks by spontaneously quoting art history, from painting to more conceptual works. Le paysage n'est nulle part is an ironic nod to classical paintings. Marion Baruch uses its traditional horizontal format although there is nothing narrative about it. It is only a poetic reference.

Pipistrello, 2019
Pipistrello, 2019
Cotton
49 x 42 cm
Enquiries about work INV Nbr. MB2019008

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.

Invitation, 2019
Invitation, 2019
Cotton
297 x 154 cm
Enquiries about work INV Nbr. MB2019004

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.

La vitesse des fleurs, 2019
La vitesse des fleurs, 2019
Silk
4 parts - 300 x 320 cm (approximatly) various dimensions
©Noah Stolz
Enquiries about work INV Nbr. MB2019019

Flowers remain a very rare subject in Marion Baruch's work because she does not particularly like their bucolic pattern. Originally, La vitesse des fleurs was supposed to depict kites. However, the artist was not convinced by this idea. When she hung them on the wall, she discovered that these shapes behaved like flowers with an ephemeral and ethereal aspect. The title accentuates the fleeting aspect of these plants, by including the notions of fragility and life, growth and evolution.

L'arresto del pensiero che è dinamico, 2019
L'arresto del pensiero che è dinamico, 2019
Cotton
165 x 155 cm
©Margot Montigny
Enquiries about work INV Nbr. MB2019011

Marion Baruch has, since the end of the 2000s, 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.

De l'espace du canapé, 2019
De l'espace du canapé, 2019
synthetic fiber
207 × 175 cm
Enquiries about work INV Nbr. MB2019023
Vie et mort des hypothèses, 2019
Vie et mort des hypothèses, 2019
Fabric
51 x 87 cm
Enquiries about work INV Nbr. MB2019009

Marion Baruch has, for the past ten years, been intervening on fabric scraps 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.

Sans titre #1, 2019
Sans titre #1, 2019
Cotton
60 x 117 cm
© Noah Stolz
Enquiries about work INV Nbr. MB2019005

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.

Il gioco delle contraddizoni, 2019
Il gioco delle contraddizoni, 2019
Silk (4 layers)
160 x 162 cm
Noah Stolz
Enquiries about work INV Nbr. MB2019002

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.

Contre les élites végétales, 2019
Contre les élites végétales, 2019
Cotton
335 x 136 cm
On the left of the photograph
Noah Stolz
Enquiries about work INV Nbr. MB2019003

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.

I piccoli sicuri di sé, 2019
I piccoli sicuri di sé, 2019
Satin
77 x 29 cm
Enquiries about work INV Nbr. MB2019015

Since the 2010s, Marion Baruch has produced artworks from fabric remnants collected in the Italian textile industry. They become sculptures as well as pictorial compositions. She selects forms and materials, and works on the way the fabric occupies and reconstructs the space. Literally meaning "the self-confident little ones", I piccoli sicuri di sé is an art piece that did not resonate with her at first. Nevertheless, the more she observed it, she grew attracted to its shape and small size. It inspired her this title, as she could not resist the self-confidence the artwork brought out.

Albero di carta, 2019
Albero di carta, 2019
Cotton and synthetic fiber
330 x 183 cm
crédit Noah Stolz
Enquiries about work INV Nbr. MB2019001

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.

Comprensione, 2018
Comprensione, 2018
Cotton
100 x 146,5 cm
Enquiries about work INV Nbr. MB2018005

Marion Baruch has been suffering from a sight-damaging disease since the 2000s. This physical constraint leads her to apprehend her artworks as a whole without really focusing on the details. She is interested in the general impression she has of the shapes generated by the passage of the textile industry on the fabric. She deciphers, invents and transcribes this particular language related to our society. The variations in the drawings, particularly the opposition between the frame and the cut-outs fascinate the artist who creates works that become sculptures as well as pictorial compositions.

Numérologie, 2018
Numérologie, 2018
Polyester veil
79,5 x 155 cm
Enquiries about work INV Nbr. MB2018004

Codes and language are very central to Marion Baruch's work. The scraps of fabric she uses to create her works are themselves a form of language that prints the body, but also reflects the productive and industrial society. Numérologie is part of a series named "variation" and refers to a set of beliefs that attributes characteristics to numbers, making interpretations vary according to the context. These minor variations interest the artist in her work. The seemingly regular patterns actually constitute a set of oscillations that dance differently depending on the space in which the work is hung. Chance is thus at the centre of the variation mechanism, producing a slightly different work each time it is shown.

Cristalli di carta, 2018
Cristalli di carta, 2018
Synthetic fibers
169 x 138 cm
Enquiries about work INV Nbr. MB2018003

Cristalli di carta is part of the series named Citta di carta, literally translated as "paper town". When Marion Baruch found this left-over of white fabric, she imagined a map of a city. The represented area looked ephemeral and fragile like paper, because of its delicate shapes. The title, in addition to evoking her subject, refers to a process in geography that consists of adding a fictitious city to a map to protect it from plagiarism. In this way, Cristalli di carta materially represents an imaginary and ephemeral city and creates a link between the remnants of fabric and a chimerical space fantasized by the artist.

Modélisation d'une reliance harmonieuse, 2017
Modélisation d'une reliance harmonieuse, 2017
Wool
550 cm x 330 cm
Enquiries about work INV Nbr. MB2017016

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.

Arroser l'ivresse, 2017
Arroser l'ivresse, 2017
Silk and cotton- 8 layers
140 x 107 cm
Enquiries about work INV Nbr. MB2017001

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.

Cloud - Chapeau volant, 2017
Cloud - Chapeau volant, 2017
Cloud
Double-faced synthetic fabric
175 x 286 cm
Enquiries about work INV Nbr. MB2017003

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.

Cloud- La sandale de Socrate, 2017
Cloud- La sandale de Socrate, 2017
Cloud
Cotton
258 x 206 cm
Enquiries about work INV Nbr. MB2017004

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.

Continent du vide, 2017
Continent du vide, 2017
Cotton
355 x 155 cm
Enquiries about work INV Nbr. MB2017012

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.

Rrose Sélavy, 2017
Rrose Sélavy, 2017
Série Lambeaux
Silk
145 x 145 cm
Enquiries about work INV Nbr. MB2017010

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.

Mon chat lui échappe à toute sorte de classification, 2017
Mon chat lui échappe à toute sorte de classification, 2017
Damask silk on a layer of acrylic fibers
33 x 135 cm
Enquiries about work INV Nbr. MB2017018

Mon chat, lui, échappe à toute sorte de classification is an artwork which looks like a cat. The latter is represented in the Cubist's way, as the paws and other elements composing its shape are recognisable. Representing at the same time an abstract pictorial composition and a sculpture,  this work is filled with a dose of humour which characterizes the artist and points out the unclassifiable aspect of her art.

Sotto lo sguardo dello sciamano alato, 2017
Sotto lo sguardo dello sciamano alato, 2017
Synthetic fiber veil - 17 layers
185 x 200 cm
Enquiries about work INV Nbr. MB2017017

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.

Dans le rêve, 2016
Dans le rêve, 2016
Fabric
250 x 150 cm
Enquiries about work INV Nbr. MB2016015

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.

Abramovic et Ulay, 2016
Abramovic et Ulay, 2016
Fabric - Diptych
160 x 60 cm (each)
Enquiries about work INV Nbr. MB2016018

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.

En plein, 2016
En plein, 2016
Tulle
92 x 53 cm
Enquiries about work INV Nbr. MB2016017

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.

Théâtre du vide, 2016
Théâtre du vide, 2016
Silk
95 x 64 cm
© Margot Montigny
Enquiries about work INV Nbr. MB2016019

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.

Les Masques, 2016
Les Masques, 2016
Polyester veil
95 x 155 cm
Crédit photo Yann Haeberlin
Enquiries about work INV Nbr. MB2016009

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.

Mon corps où es-tu ?, 2016
Mon corps où es-tu ?, 2016
jersey
199 x 186,5 cm
Enquiries about work INV Nbr. MB2016023

Marion Baruch's work on remnants from the textile industry refers to a certain nomadism associated with materials and especially fabric. Her sculptures capture the negative of clothes, designed for human and consumption. Nevertheless, this negative she uses follows a very different path, and travels in another realm it was initially supposed to. Positive and negative, emptiness and fullness are intimately connected and complementary for the artist. In Mon corps où es-tu ?, she refers to one of her performances of the similar name carried out in 2009 when she practiced relational art. She had emptied out her apartment in order to fill the place differently by inviting strangers. For her 80th birthday, she furnished a space with boxes of pharmaceuticals, emphasizing the evolution of her aging body. Actually, relationships with others and the body are permanent in Marion Baruch's work.

Yellow, 2016
Yellow, 2016
Cotton with coat of paint
240 x 151 cm
©Alexander Hana
Enquiries about work INV Nbr. MB2016001

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.

Jules et Jim et les deux Anglaises, 2016
Jules et Jim et les deux Anglaises, 2016
Polyester veil
180 x 160 cm
Crédit photo Yann Haeberlin
Enquiries about work INV Nbr. MB2016004

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.

Echo de mer et de soleil, 2016
Echo de mer et de soleil, 2016
Polyester veil
160 x 74 cm
Crédit photo Yann Haeberlin
Enquiries about work INV Nbr. MB2016002

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.

Au delà du nez, 2016
Au delà du nez, 2016
Cotton
202 x 46 cm
Crédit photo Yann Haeberlin
Enquiries about work INV Nbr. MB2016010

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.

Pleine détente, 2016
Pleine détente, 2016
Cotton
98 x 157 cm
Crédit photo Yann Haeberlin
Enquiries about work INV Nbr. MB2016003

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.

J.B, 2016
J.B, 2016
Mixed fabric
87 x 107 cm
Crédit photo Yann Haeberlin
Enquiries about work INV Nbr. MB2016005

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.

La tartaruga, 2016
La tartaruga, 2016
Terry towelling
44 x 167 cm
Crédit photo Yann Haeberlin
Enquiries about work INV Nbr. MB2016008

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.

Fontaine, 2016
Fontaine, 2016
Fabric
88 x 106 cm
Crédit photo Yann Haeberlin
Enquiries about work INV Nbr. MB2016006

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.

Stream, 2016
Stream, 2016
Reflecting synthetic fiber
73 x 152 cm
Crédit photo Yann Haeberlin
Enquiries about work INV Nbr. MB2016007

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.

Venant d'Orient, 2016
Venant d'Orient, 2016
Fabric
242 x 145 cm
©Margot Montigny
Enquiries about work INV Nbr. MB2016014

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.

Le philosophe de Lucerne, 2015
Le philosophe de Lucerne, 2015
Fabric
420 x 130 cm
Enquiries about work INV Nbr. MB2015004

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.

Tre Ovali, 2015
Tre Ovali, 2015
Bi-strech fabrics - triptych
48 x 119 cm
Enquiries about work INV Nbr. MB2015002

The triptych Tre Ovali, created in 2015 for an exhibition in Italy, consists of three scraps of fabric with empty ovals in their centre. Marion Baruch imagined these shapes as small objects intended for sale, conceptually creating a small shop. As often with the artist, this relationship between the void - here these three holes - and its imaginary function ironically creates a dialogue to make these scraps destined for oblivion into consumer products; or how to make fun of over-consumption by selling "nothing".

Mister Horror (L'Éternel Retour), 2015
Mister Horror (L'Éternel Retour), 2015
Cotton
223 x 226 cm
©Alexander Hana
Enquiries about work INV Nbr. MB2015001

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.

Collections of the Museum of Modern Art of the City of Paris

 


Arpa, 2014
Arpa, 2014
Cotton
133 x 55 cm
Enquiries about work INV Nbr. MB2014003

After a long period practicing relational art, Marion Baruch has made a major artistic shift by returning to formal art from the end of the 2000s. Creating artworks from remnants of fabric collected in the Milanese textile industry, she initiated this new artistic cycle by quoting the great masters of modern art who influenced her. She then turned to portraits and music references. In the Arpa series, the artist produces a resonance between the drawings of the fabric and the stringed instruments, thus emphasizing on the analogy between architecture and music.

Cage, 2013
Cage, 2013
Fabric
155 x 100 cm
Enquiries about work INV Nbr. MB2013003

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.

Fontana, 2013
Fontana, 2013
Cotton
37,5 x 157 cm
Enquiries about work INV Nbr. MB2013005

After a long period practicing conceptual then relational art, Marion Baruch encountered physical difficulties linked to her advanced age. Hence, she operated a major turning point in her career at the end of the 2000s. She returns toward formal art, and discovers the pictorial potential of fabric remnants she collects from the textile industry. In this new artistic cycle, her first move is to link her work on these materials fated to oblivion with the great master of modern art who influenced her. Marion Baruch thus starts to name her artwork by dedicating them to artists she loves or she has loved, like spontaneous and free quotations to art history.

Sans titre (Monitor), 1989
Sans titre (Monitor), 1989
Wood, glass, acrylic paint, wax and metal box
185 x 50 x 12,5 cm
©Elena Perlino
Enquiries about work INV Nbr. MB1989002
Sans titre (Monitor Trio), 1989
Sans titre (Monitor Trio), 1989
Triptych: wood, glass, acrylic paint, wax and iron box
various dimensions
Enquiries about work INV Nbr. MB1989001
Sans titre (Monitor Trio), 1989
Sans titre (Monitor Trio), 1989
Wood, glass, acrylic paint, wax and metal box
110,5 x 177,2 x 12,5 cm
©Elena Perlino
Enquiries about work INV Nbr. MB1989003
Superart, 1988-90
Superart, 1988-90
galvanized steel, sheet metal, mixed media
177, 5 x 90 x 48 cm
Enquiries about work INV Nbr. MB1988001
Sans titre (Bandiera), 1988
Sans titre (Bandiera), 1988
Wood, glass, acrylic, paint, wax
243 x 93,5 x 10,5 cm
Enquiries about work INV Nbr. MB1988002



Sans titre (Pedestal), 1987
Sans titre (Pedestal), 1987
Steel, plastic
40 x 40 cm
Enquiries about work INV Nbr. MB1987003
Sans titre (Bandiere), 1987
Sans titre (Bandiere), 1987
Wood, glass, acrylic paint
137 x 158 x 2,5 cm
Enquiries about work INV Nbr. MB1987002
Il corpo dell'uomo, 1982
Il corpo dell'uomo, 1982
Wood, acrylic color, mirror, gold foil
78,7 x 63,5 x 24,1 cm
©Elena Perlino
Enquiries about work INV Nbr. MB1982001
Marion Baruch
Il corpo dell'uomo, 1982
Wood, acrylic color, mirror, gold foil
78,7 x 63,5 x 24,1 cm
©Elena Perlino
Enquiries about work INV Nbr. MB1982001
Ron-Ron, 1972
Ron-Ron, 1972
Ultramobile, Production Gavina (Simon)
Color print booklet page
21 x 15 cm
Enquiries about work INV Nbr. MB1972001


Lorenz, 1972
Lorenz, 1972
Ultramobile, Production Gavina (Simon)
Color print booklet page
21 x 15 cm
Enquiries about work INV Nbr. MB1972002


Abito - Contenitore, 1970
Abito - Contenitore, 1970
9 photographs, original silver print, cut and taped on 3 cardboard pages
Image: 21 x 33 cm each
Enquiries about work INV Nbr. MB1970001

Abito-Contenitore, réalisé en 1970, fait partie des travaux de début de carrière de Marion Baruch. Cette série de neuf photographies argentiques disposées sur trois cartons souligne l'étroite relation entre le tissu et le corps féminin. Elle s'intéresse ici au rapport du corps à la société, dans un contexte marqué de libération de la femme. L'artiste porte son regard sur la manière dont le textile se construit en boite de dialogue avec l'extérieur, introduisant une conception artistique aux formes féminines. 
Le corps dissimulé sous l'étoffe oscille entre sculpture et performance, mettant en lumière le mouvement féminin au contact du tissu, et son importance au sein d'une société marquée par l'objectivation et l'instrumentalisation du corps des femmes. Ainsi, Marion Baruch dans cette oeuvre décrit une époque, en s'inscrivant dans la lignée de l'art féministe des années 1970.

Contenitore-Ambiente, 1969
Contenitore-Ambiente, 1969
Original silver print
18 x 24 cm
© Gianni Berengo Gardin
Enquiries about work INV Nbr. MB1969001

Provenance: artist's studio

Exhibitions :
- Marion Baruch, Retrospektive-Innenausseninnen,
Kunstmuseum Luzern, Luzern, Switzerland, 2020.
- Gigantisme - Art et Industrie
, Triennale 2019, Frac Grand Large - Hauts de France, curated by Keren Detton, Grégory Lang, Géraldine Courbe and Sophie Warlop, Dunkerque, France, 2019-2020.
- Life A User's Manual, Art Encounters
, Contemporary Art Biennial , Timisoara, Romania, 30th September- 5th November 2017.

Bibliography :
-  Gigantisme, Art et industrie, Frac Grand Large, Dunkerque, éditions BeauxArts, 2019, p.21.
- Artreview, Mai 2017, p. 80 - 81.

Sculptures en acier, parc de la Fondation Pagani, 1967
Sculptures en acier, parc de la Fondation Pagani, 1967
5 Original silver print photograph
Image: Various sizes (7 x 9,5 inches each approximatively)
Enquiries about work INV Nbr. MB1969002

Exhibitions :
- Marion Baruch, Retrospektive-Innenausseninnen, Kunstmuseum Luzern, Luzern, Switzerland, 2020.
-  « Le pressentiment de mon indiscipline »/ dialogue on the notion of line,
Galerie Anne-Sarah Bénichou, Paris, France, 2019.
- Life A User's Manual, Art Encounters
, Contemporary Art Biennial, Timisoara, Romania, 2017.

Marion Baruch
Sculptures en acier, parc de la Fondation Pagani, 1967
5 Original silver print photograph
Image: Various sizes (7 x 9,5 inches each approximatively)
Enquiries about work INV Nbr. MB1969002

Exhibitions :
- Marion Baruch, Retrospektive-Innenausseninnen, Kunstmuseum Luzern, Luzern, Switzerland, 2020.
-  « Le pressentiment de mon indiscipline »/ dialogue on the notion of line,
Galerie Anne-Sarah Bénichou, Paris, France, 2019.
- Life A User's Manual, Art Encounters
, Contemporary Art Biennial, Timisoara, Romania, 2017.

Marion Baruch
Sculptures en acier, parc de la Fondation Pagani, 1967
5 Original silver print photograph
Image: Various sizes (7 x 9,5 inches each approximatively)
Enquiries about work INV Nbr. MB1969002

Exhibitions :
- Marion Baruch, Retrospektive-Innenausseninnen, Kunstmuseum Luzern, Luzern, Switzerland, 2020.
-  « Le pressentiment de mon indiscipline »/ dialogue on the notion of line,
Galerie Anne-Sarah Bénichou, Paris, France, 2019.
- Life A User's Manual, Art Encounters
, Contemporary Art Biennial, Timisoara, Romania, 2017.

Marion Baruch
Sculptures en acier, parc de la Fondation Pagani, 1967
5 Original silver print photograph
Image: Various sizes (7 x 9,5 inches each approximatively)
Enquiries about work INV Nbr. MB1969002

Exhibitions :
- Marion Baruch, Retrospektive-Innenausseninnen, Kunstmuseum Luzern, Luzern, Switzerland, 2020.
-  « Le pressentiment de mon indiscipline »/ dialogue on the notion of line,
Galerie Anne-Sarah Bénichou, Paris, France, 2019.
- Life A User's Manual, Art Encounters
, Contemporary Art Biennial, Timisoara, Romania, 2017.

Marion Baruch
Sculptures en acier, parc de la Fondation Pagani, 1967
5 Original silver print photograph
Image: Various sizes (7 x 9,5 inches each approximatively)
Enquiries about work INV Nbr. MB1969002

Exhibitions :
- Marion Baruch, Retrospektive-Innenausseninnen, Kunstmuseum Luzern, Luzern, Switzerland, 2020.
-  « Le pressentiment de mon indiscipline »/ dialogue on the notion of line,
Galerie Anne-Sarah Bénichou, Paris, France, 2019.
- Life A User's Manual, Art Encounters
, Contemporary Art Biennial, Timisoara, Romania, 2017.

Marion Baruch is a significant artist, 90 years of age, whose work has recently been rediscovered for its true worth. It has recently been the subject of an international retrospective which was inaugurated at the Kunstmuseum of Luzern and continued in France at the Magasin des Horizons in Grenoble, at the Abattoirs in Toulouse, in Norway, Romania, Italy and Israel.
 
Born in 1929 in Romania, she now lives and works in Italy. She proposes a feminine, socially engaged and audacious work which constantly aims to question its own status by exploring endlessly new dimensions sometimes found at the margin of the art scene through the use of performance, installation and sculptures characterized by political and poetical anti-establishment positions. Her recent work pursues this dialectic research between art and society. Using left-overs from the textile industry, these fabric sculptures introduce a dialogue between two immaterial forces: space and memory. Dialogue as a form of creation; waste as a potential object; emptiness as a shape of the possible, and mediation as an act of creation are some of the rules of the game that Marion Baruch has always faithfully observed. In this way, the artist addresses themes related to body, production world and resources consumption.


Download Marion Baruch's press kit (pdf)

45 rue Chapon 75003 Paris - T. +33 (0)1 44 93 91 48 - galerie@annesarahbenichou.com