Aglae Cortés

Aforismos visuales: Silencio ortogonal No.3

2012
Ed. 5 + 2 A.P
Archival pigment print

50 x 75 cm

More
View in Room
inquire

Her oeuvre explores space and time as concepts covering what we call ​reality, ​becoming a process of abstract landscape experimentations. Cortés makes an approach to a direct knowledge of our surroundings, to disarticulate them in fragments, as elements of a immaterial space. In her series ​Aforismos Visuales ​(2011 - 2017), ​the photography, instead or being a mimetic instrument, is more a glance’s analog tool to register and construct an alternate reality which disappears to the view and can only stay in the image. Over time, her work has become a visual depuration to remove and remove elements; at first on the architecture, then on the body and landscape, and finally in the minimalists forms of the space. “I think on the photographic process as the dematerialization of the captured space, which once materialized again in a new image, nevers came back the same. This very decomposition is something new that maybe does not have a name yet. The real space only manifest itself for an instant, when it loses its referent, before the connotations and the denotations.”

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Aglae Cortés

Aforismos visuales: No gesto No.2

2012
Ed. 5 + 2 A.P
Archival pigment print

50 x 75 cm

More
View in Room
inquire

Her oeuvre explores space and time as concepts covering what we call ​reality, ​becoming a process of abstract landscape experimentations. Cortés makes an approach to a direct knowledge of our surroundings, to disarticulate them in fragments, as elements of a immaterial space. In her series ​Aforismos Visuales ​(2011 - 2017), ​the photography, instead or being a mimetic instrument, is more a glance’s analog tool to register and construct an alternate reality which disappears to the view and can only stay in the image. Over time, her work has become a visual depuration to remove and remove elements; at first on the architecture, then on the body and landscape, and finally in the minimalists forms of the space. “I think on the photographic process as the dematerialization of the captured space, which once materialized again in a new image, nevers came back the same. This very decomposition is something new that maybe does not have a name yet. The real space only manifest itself for an instant, when it loses its referent, before the connotations and the denotations.”

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Aglae Cortés

Aforismos visuales: Fracción No.41

2011
Ed. 5 + 2 A.P
Archival pigment print

30 x 45 cm

More
View in Room
inquire

Her oeuvre explores space and time as concepts covering what we call ​reality, ​becoming a process of abstract landscape experimentations. Cortés makes an approach to a direct knowledge of our surroundings, to disarticulate them in fragments, as elements of a immaterial space. In her series ​Aforismos Visuales ​(2011 - 2017), ​the photography, instead or being a mimetic instrument, is more a glance’s analog tool to register and construct an alternate reality which disappears to the view and can only stay in the image. Over time, her work has become a visual depuration to remove and remove elements; at first on the architecture, then on the body and landscape, and finally in the minimalists forms of the space. “I think on the photographic process as the dematerialization of the captured space, which once materialized again in a new image, nevers came back the same. This very decomposition is something new that maybe does not have a name yet. The real space only manifest itself for an instant, when it loses its referent, before the connotations and the denotations.”

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Aglae Cortés

Aforismos visuales: Fracción No.5

2015 - 2017
Ed. 5 + 2 A.P
Archival pigment print

110 x 42 cm

More
View in Room
inquire

Her oeuvre explores space and time as concepts covering what we call ​reality, ​becoming a process of abstract landscape experimentations. Cortés makes an approach to a direct knowledge of our surroundings, to disarticulate them in fragments, as elements of a immaterial space. In her series ​Aforismos Visuales ​(2011 - 2017), ​the photography, instead or being a mimetic instrument, is more a glance’s analog tool to register and construct an alternate reality which disappears to the view and can only stay in the image. Over time, her work has become a visual depuration to remove and remove elements; at first on the architecture, then on the body and landscape, and finally in the minimalists forms of the space. “I think on the photographic process as the dematerialization of the captured space, which once materialized again in a new image, nevers came back the same. This very decomposition is something new that maybe does not have a name yet. The real space only manifest itself for an instant, when it loses its referent, before the connotations and the denotations.”

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Julie Escoffier

Tend à se dire

2018
Diptych: Approx 38 x 122 x 3 cm
Ed. 1/5 + 1 A.P
Mixed media

More
View in Room
inquire

“Tend à se dire” (2016-2018): this plaster diptych depicts a conflict of matter product of the contact of a fresh plaster board prepared with a mixture of photographic chemicals and a dry plaster board. After separation, this gesture gives rise to a negative-positive couple whose forms induce the transfer relationship that one possesses with the other. The title in french is a play on word with the expression «Tant à se dire» (Too much to Say) that sounds exactly the same as «Tend à se dire» (Tending to Say) to poeticcally shift the meaning towards the idea of an oscillation between an attempt of a dialogue and its excess.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

MANUEL H. MARQUEZ

Eres un fantasma: Untitled

2016
Archival pigment print
Ed. 5 + 2 A.P.

130 x 88.66 cm

More
View in Room
inquire

Eres un fantasma (You are a ghost) ​(2016) constitutes a collection of forms photographed in the public space during urbans derives. “Thinking the city as a place charged with symbols, my recent work is an affirmation on how it is possible to connect with allegorical situations, archetypes and even myths through photographic practice”. This way Márquez makes of the “space practice and the wander, a way to reveal another order of the world. The oeuvres from ​Eres un fantasma cultivate a tension between the photographic register and the sculpture, making visible the potential of the ordinary objects to transform themselves in disconcerting structures. Our perception of the space is dominated by the images that can surpass the physical experiences, then stays the doubt if it would possible to live in the images

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

MANUEL H. MARQUEZ

Eres un fantasma: Untitled

2016
Archival pigment print
Ed. 5 + 2 A.P.

58 x 72.4 cm

More
View in Room
inquire

Eres un fantasma (You are a ghost) ​(2016) constitutes a collection of forms photographed in the public space during urbans derives. “Thinking the city as a place charged with symbols, my recent work is an affirmation on how it is possible to connect with allegorical situations, archetypes and even myths through photographic practice”. This way Márquez makes of the “space practice and the wander, a way to reveal another order of the world. The oeuvres from ​Eres un fantasma cultivate a tension between the photographic register and the sculpture, making visible the potential of the ordinary objects to transform themselves in disconcerting structures. Our perception of the space is dominated by the images that can surpass the physical experiences, then stays the doubt if it would possible to live in the images

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

MANUEL H. MARQUEZ

Eres un fantasma: Untitled

2016
Archival pigment print
Ed. 5 + 2 A.P.

88 x 58 cm

More
View in Room
inquire

Eres un fantasma (You are a ghost) ​(2016) constitutes a collection of forms photographed in the public space during urbans derives. “Thinking the city as a place charged with symbols, my recent work is an affirmation on how it is possible to connect with allegorical situations, archetypes and even myths through photographic practice”. This way Márquez makes of the “space practice and the wander, a way to reveal another order of the world. The oeuvres from ​Eres un fantasma cultivate a tension between the photographic register and the sculpture, making visible the potential of the ordinary objects to transform themselves in disconcerting structures. Our perception of the space is dominated by the images that can surpass the physical experiences, then stays the doubt if it would possible to live in the images

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

PAUL MPAGI SEPUYA

Mirror Study

2016
Ed. 5
Archival pigment print

86.36 x 129,54 cm

More
View in Room
inquire

Mirror Study ​(2017) Those works are part of ​“Figures, Grounds and Studies,” Paul Mpagi Sepuya current project which “lays bare an interdependent formal relationship between my gaze, the subject depicted and the viewer’s (or audience’s) presence within a history of eroticized and racialized photographic constructs.” Sep​uya extends beyond ​traditional studio portraits including photographs of photographs, arranging or ​collaging two-dimensional works with the material around him ; his work tends to be both abstract and representational. By working with his close circle of friends, ​he establishes the artist’s studio as a place where life and art intersect and let his aura appear, even when he stays behind the camera.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

PAUL MPAGI SEPUYA

Mirror Study for Joe

2017
Ed. 5
Archival pigment print

86.36 x 116,84 cm

More
View in Room
inquire

Mirror Study ​(2017) Those works are part of ​“Figures, Grounds and Studies,” Paul Mpagi Sepuya current project which “lays bare an interdependent formal relationship between my gaze, the subject depicted and the viewer’s (or audience’s) presence within a history of eroticized and racialized photographic constructs.” Sep​uya extends beyond ​traditional studio portraits including photographs of photographs, arranging or ​collaging two-dimensional works with the material around him ; his work tends to be both abstract and representational. By working with his close circle of friends, ​he establishes the artist’s studio as a place where life and art intersect and let his aura appear, even when he stays behind the camera.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

PAUL MPAGI SEPUYA

Mirror Study

2017
Ed. 5
Archival pigment print

86.36 x 129,54 cm

More
View in Room
inquire

Mirror Study ​(2017) Those works are part of ​“Figures, Grounds and Studies,” Paul Mpagi Sepuya current project which “lays bare an interdependent formal relationship between my gaze, the subject depicted and the viewer’s (or audience’s) presence within a history of eroticized and racialized photographic constructs.” Sep​uya extends beyond ​traditional studio portraits including photographs of photographs, arranging or ​collaging two-dimensional works with the material around him ; his work tends to be both abstract and representational. By working with his close circle of friends, ​he establishes the artist’s studio as a place where life and art intersect and let his aura appear, even when he stays behind the camera.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

ELLIE DE VERDIER

2017
Ed. 3 + 2 A.P.
Archival giclée print

42 x 63 cm

More
View in Room
inquire

En Soft no (2017), Ellie de Verdier usa tubos de ventilación como sujetos, employing sus inherent flexibilidad para crear situaciones de tensión y fascinación para el público que se coloca frente de esos coloridos part-individuos en potencia; híbridos entre animales, instrumentos técnicos o aparatos del cuerpo humano. Con esta serie, la artista propone una reflexión sobre “los desplazamientos sutiles, la intrínseca conformidad, y la atracción”, de esa manera nos cuestiona sobre lo que estamos viendo, interrogando indirectamente los modos de responsabilidad y de culpabilidad. Los ángulos a través cuales fotografía, crean una posible incomodidad y nos confrontan a nuestra relación con la imagen, con el sujeto - percibido entre pasivo y activo - así como a la condición fotográfica que describe el estado en cual vivimos.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

ELLIE DE VERDIER

2017
Ed. 3 + 2 A.P.
Archival giclée print

42 x 63 cm

More
View in Room
inquire

En Soft no (2017), Ellie de Verdier usa tubos de ventilación como sujetos, employing sus inherent flexibilidad para crear situaciones de tensión y fascinación para el público que se coloca frente de esos coloridos part-individuos en potencia; híbridos entre animales, instrumentos técnicos o aparatos del cuerpo humano. Con esta serie, la artista propone una reflexión sobre “los desplazamientos sutiles, la intrínseca conformidad, y la atracción”, de esa manera nos cuestiona sobre lo que estamos viendo, interrogando indirectamente los modos de responsabilidad y de culpabilidad. Los ángulos a través cuales fotografía, crean una posible incomodidad y nos confrontan a nuestra relación con la imagen, con el sujeto - percibido entre pasivo y activo - así como a la condición fotográfica que describe el estado en cual vivimos.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

ELLIE DE VERDIER

2017
Ed. 3 + 2 A.P.
Archival giclée print

42 x 63 cm

More
View in Room
inquire

En Soft no (2017), Ellie de Verdier usa tubos de ventilación como sujetos, employing sus inherent flexibilidad para crear situaciones de tensión y fascinación para el público que se coloca frente de esos coloridos part-individuos en potencia; híbridos entre animales, instrumentos técnicos o aparatos del cuerpo humano. Con esta serie, la artista propone una reflexión sobre “los desplazamientos sutiles, la intrínseca conformidad, y la atracción”, de esa manera nos cuestiona sobre lo que estamos viendo, interrogando indirectamente los modos de responsabilidad y de culpabilidad. Los ángulos a través cuales fotografía, crean una posible incomodidad y nos confrontan a nuestra relación con la imagen, con el sujeto - percibido entre pasivo y activo - así como a la condición fotográfica que describe el estado en cual vivimos.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

ELLIE DE VERDIER

2017
Ed. 3 + 2 A.P.
Archival giclée print

42 x 63 cm

More
View in Room
inquire

En Soft no (2017), Ellie de Verdier usa tubos de ventilación como sujetos, employing sus inherent flexibilidad para crear situaciones de tensión y fascinación para el público que se coloca frente de esos coloridos part-individuos en potencia; híbridos entre animales, instrumentos técnicos o aparatos del cuerpo humano. Con esta serie, la artista propone una reflexión sobre “los desplazamientos sutiles, la intrínseca conformidad, y la atracción”, de esa manera nos cuestiona sobre lo que estamos viendo, interrogando indirectamente los modos de responsabilidad y de culpabilidad. Los ángulos a través cuales fotografía, crean una posible incomodidad y nos confrontan a nuestra relación con la imagen, con el sujeto - percibido entre pasivo y activo - así como a la condición fotográfica que describe el estado en cual vivimos.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

ELLIE DE VERDIER

2017
Ed. 3 + 2 A.P.
Archival giclée print

42 x 63 cm

More
View in Room
inquire

En Soft no (2017), Ellie de Verdier usa tubos de ventilación como sujetos, employing sus inherent flexibilidad para crear situaciones de tensión y fascinación para el público que se coloca frente de esos coloridos part-individuos en potencia; híbridos entre animales, instrumentos técnicos o aparatos del cuerpo humano. Con esta serie, la artista propone una reflexión sobre “los desplazamientos sutiles, la intrínseca conformidad, y la atracción”, de esa manera nos cuestiona sobre lo que estamos viendo, interrogando indirectamente los modos de responsabilidad y de culpabilidad. Los ángulos a través cuales fotografía, crean una posible incomodidad y nos confrontan a nuestra relación con la imagen, con el sujeto - percibido entre pasivo y activo - así como a la condición fotográfica que describe el estado en cual vivimos.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

 

Making Appear / 6 february - 15 april

Aglae Cortés, Mexico

Julie Escoffier, France

Manuel H. Márquez, Mexico

Paul M. Sepuya, USA

Ellie de Verdier, Sweden

Curating:  Aurélie Vandewynckele, France.

 

 

The collective exposition Making Appear examines the illusory territories that occur inside and outside of the image, producing a slightly unsettling environment. In their works, the five invited artists explore the interfaces between the photographic and the sculptural.

“We know what we are; but not what we may be”; the famous statement by Shakespeare — used here for not only what it expresses, but also for what it conceals — echoes the idea of the spectrum: what is not yet, or what has yet to be. This idea surrounds the faded contours of the pieces and is reflected in their spatial and visual strategies.

In this way, the artists’ images address the shifting variations that occur between space and body, suggesting the deconstruction of realities, and approaching the invisible. This deconstruction crosses fragmented narratives of different temporalities, which expand and contract, consolidating different planes of the physical and the material.

Making Appear questions what “goes beyond” the photographic space. Placed in the play of its edges and shadows, we encounter the ambiguity between substance and phenomenon.

Aurélie Vandewynckele, January 2018.