Yvon Lambert Gallery

108 Rue Vieille du Temple, 75003
Le Marais
Paris
Metro: Saint-Sebastien-Froissart
0033 1 42 71 09 33
http://www.yvon-lambert.com
paris@yvon-lambert.com
Tue - Sat 10am -7pm

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Exhibition

Oct 2011 Nov 2011 Dec 2011

Zilvinas Kempinas
Lucid Dream

Oct 20, 2011 - Nov 19, 2011
Opening reception:
Oct 20, 2011

Zilvinas Kempinas, Zilvinas Kempinas, Pool, 2011. Résine, bois et clous. Installation View.

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Courtesy of the artist and the gallery.

Zilvinas Kempinas expĂ©rimente les possibilitĂ©s de mouvements dans l’oeuvre d’art. Dans ses installations, il utilise des ventilateurs industriels dont le souffle fait flotter une ou plusieurs boucles de bandes magnĂ©tiques qui ondulent dans l’espace, dessinant des formes alĂ©atoires. La bande-vidĂ©o est utilisĂ©e non pour ses fonctions premiĂšres( l'enregistrement de sons et d'images) mais pour ses capacitĂ©s matĂ©rielles propres : la lĂ©gĂšretĂ© donc et sa capacitĂ© Ă  rĂ©flĂ©chir la lumiĂšre. Les bandes sont mises en scĂšne; leur mouvement donne naissance Ă  un jeu visuel et optique (lignes parallĂšles, colonnes, boucles...) plus ou moins alĂ©atoires ou gĂ©omĂ©triques selon le dispositif adoptĂ©.

Ces bandes connotent une mémoire, illisible désormais, mais latente, en suspend justement. Cette mémoire est celle du son enregistré, son inaudible, mais dont la suggestion est présente par le matériau employé.

A la galerie Yvon Lambert, Zilvinas Kempinas prĂ©sente des oeuvres statiques, dont une grande structure centrale qui reprend la structure architecturale de la verriĂšre. Des bandes magnĂ©tiques tendues depuis le plafond jusqu'au sol viennent rythmer l’espace, des lignes immobiles ponctuent alors l’etendue de la galerie. Lucid dream nous immerge dans un monde mĂ©taphorique, oĂč notre perception de l’espace se voit complĂštement altĂ©rĂ©e, nos reflets dans les oeuvres donnent Ă  voir des oeuvres changeantes. Alors que l’espace est absorbĂ© par l’aspect miroir des bandes magnĂ©tiques, la lumiĂšre rend visible le fil de pĂȘche qui constitue la grande rosace murale de l’exposition.

Il est Ă©galement question du temps dans ces nouvelles oeuvres, les bandes magnĂ©tiques extraites de cassettes VHS sont prĂ©sentĂ©es comme momifiĂ©es, tels des insectes dans l’ambre figĂ©s par le temps. FigĂ©es par de la rĂ©sine, les bandes magnĂ©tiques, dĂ©tentrices d’informations se voient alors paradoxalement conservĂ©es et dĂ©truites. L’aspect narratif des VHS ayant complĂštement disparu, Zilvinas Kempinas les transforme en un matĂ©riau abstrait rĂ©flĂ©chissant, mystĂ©rieux et poĂ©tique.

Cette importante installation transforme totalement le lieu, elle s’apprĂ©hende rĂ©ellement physiquement, certaines piĂšces lĂ  constituant nĂ©cessitent un rapprochement, alors que d’autres s’imposent au regard.
Notre perception modifiĂ©e de l’espace nous amĂšne dans un Ă©tat oĂč les repĂšres nous Ă©chappent.
Dans cette idĂ©e mĂ©taphorique d’un rĂȘve lucide, Zilvinas Kempinas plonge le spectateur dans une nouvelle vision du monde, comme dans un rĂȘve lucide le spectateur devient l’acteur principal d‘une nouvelle vision du rĂ©el.

Zilvinas Kempinas est nĂ© en Lithuanie en 1969, il vit et travaille Ă  New York. Flux (2009), est actuellement prĂ©sentĂ©e dans le collection permanent du Centre Georges Pompidou, jusqu’en avril 2011.


Nick van Woert
Anatomy

Oct 20, 2011 - Nov 19, 2011
Opening reception:
Oct 20, 2011

Nick van Woert, installation view.

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Courtesy of the artist and the gallery.

Yvon Lambert is pleased to present Anatomy, Nick van Woert’s first solo exhibition in Paris. Anatomy will feature new sculpture by the artist, inspired by Rembrandt's painting of 1632, " Leçon d’anatomie du docteur Tulp".

Van Woert!s practice is rooted in the artist!s interest in architecture, ancient history, and nature. Growing up in Reno, Nevada situated the artist between the city!s gaudy, over-accessorized buildings and the raw, unadorned natural landscape of the surrounding desert. The stark contrast between the way elements are made in nature!with the landscape constantly changing through erosion and accretion!and the way they are fabricated in the city provides both figurative and conceptual inspiration for Van Woert.

In college, Van Woert studied architecture, a discipline that greatly influences his work. For the artist, the focus is on the evolution of building materials (from stone to styrofoam), and using that to develop a material language. His architectural interests are diverse, including Vitruvius!s Primitive Hut, the Modernist school!s emphasis on being true to materials and not concealing structural forces, as well as the modified architecture of radical “backto-nature” groups. Van Woert even borrows material recipes from these ecoterrorists, using elements such as polyurethane, packing peanuts, steel, fiberglass, as well as hair gel and chlorine (which when mixed can become destructive).

In the majority of his work, Nick van Woert confronts the neo-classical esthetics to the ultra-contemporary material that he employs. His use of antique busts, for example, reassesses the codes of classical sculpture. Nick van Woert dismantles objects of the past to give them a strange and timeless appearance.Nick van Woert is convinced that what we are is influenced by our surroundings. He sees the body as the mirror of our environment.

Nick van Woert (b.1979, Reno, Nevada) lives and works in Brooklyn, New York. He has been featured in exhibitions at venues including Yvon Lambert, Paris; Yvon Lambert, New York; Collection Lambert, Avignon, France; Grimm Gallery, Amsterdam; Nevada Museum of Art, Reno, NV; Nudashank, Baltimore, MD; and Fourteen30, Portland, OR.


Stefan Bruggemann

Nov 25, 2011 - Jan 14, 2012
Opening reception:
Nov 25, 2011

Installation View

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Courtesy of the artist and the gallery.

Yvon Lambert is pleased to announce an exhibition of new work by internationally acclaimed artist Stefan BrĂŒggemann. This is the artist’s third solo show with Yvon Lambert.

Stefan BrĂŒggemann’s work focuses on contrast and contradictions. His practice is concerned with how and where mediation might occur, rather than placing an emphasis on the separateness of opposing positions. This is especially the case with language, which powerfully shapes and directs our existence. Language is envisaged in BrĂŒggemann’s practice as a fluid medium whose objects, structure and ideology are in a state of constant alteration.

In this new series of work, entitled ‘Untitled (Definition and Joke Paintings)’, BrĂŒggemann brings together Joseph Kosuth’s series ‘Art as Idea as Idea’ (1966-) and Richard Prince’s ‘Joke Paintings’ (1985-). Each work combines a single Joseph Kosuth definition with a Richard Prince joke, maintaining the scale and composition of each, as previous defined by these artists. Kosuth and Prince have both appropriated and repositioned language through existing tropes: the one referencing philosophy, or high culture, the other humour, or popular culture. BrĂŒggemann’s provocation in bringing together the pop and the conceptual sees an irrefutable confrontation of irony and logic.

Elegant and decisive in a formal sense this new group of paintings is nonetheless wholly and unequivocally conceptual. The artist’s intention is to relinquish all formal decisions to his sources. These references are not used as quotations, rather, BrĂŒggemann appropriates them in a literal, wholesale fashion, as a kind of physical and intellectual material, which is not refashioned but remains the same. BrĂŒggemann’s reappropriation of existing works and their linked concepts allows him to present conceptual art in an ever more liminal space, stripping his own decision making to bare functionality. Paradoxically, as he approaches dematerialisation, the works resulting from this process of elimination maintain a lush and striking presence.

Stefan BrĂŒggemann (b. 1975, Mexico City) lives and works in London and Mexico City. He has exhibited internationally at some of the most visionary institutions and private collections throughout the world. He has had solo shows at the Mies Van Der Rohe Pavilion, Barcelona; the Kunsthalle Bern and the ICA, London. He has been included in group shows at the David Roberts Art Foundation, London; the Museo Rufino Tamayo, Mexico City; the Fundacion Serralves, Porto; La Coleccion Jum.


Koo Jeong-A

Nov 25, 2011 - Jan 14, 2012
Opening reception:
Nov 25, 2011

Koo Jeong-A - Untitled, 2011. wood painted on white mat, cigarettes, 15 metal legs. 880 x 460 x 6.2 cm (346.46 x 181 x 2.44 in) . Copyright the artist. Courtesy Yvon Lambert, Paris

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Koo Jeong-A - Nyonte, 2011, photography on paper mat, 21 x 29.7 cm (8.27 x 11.69 in). Copyright the artist. Courtesy Yvon Lambert, Paris

Koo Jeong-A - Nyonte, 2011, photography on paper mat, 21 x 29.7 cm (8.27 x 11.69 in). Copyright the artist. Courtesy Yvon Lambert, Paris

Yvon Lambert announces the 7th personal exhibition of Koo Jeong-A at the gallery. Following the acclaimed solo exhibition presented at the Dia Art Foundation Koo Jeong-A present at the gallery an important new installation.

Koo Jeong-A’s work is an “archeology” of diverse materials, images and landscapes, excluded and forgotten in the present-day cultural domain, that we often consider non-artistic. Her work, always carried out in situ, is ephemeral. For each intervention, she seeks to assemble all sorts of objects, videos and drawings that she (re)exposes, sometimes hidden from the spectators! view. She accentuates and stages the infinitely small, even the invisible. She reveals the beauty and the poetry of the most common objects and moments.

The way in which it all comes together, the way in which the objects mutually relate to and condition one another, has nothing random about it. Instead, it follows an order, in which microcosm and macrocosm correspond.