June 29, 2005

Galerie Marie Demange Paris 75004

Galerie d’Art > Paris 75004 > Galerie Marie Demange

Galerie Marie Demange, Paris 4e



Créée en 2004, la galerie Marie Demange constitue l’un des espaces d’expression pour l’art contemporain du quartier du Marais à Paris, dans le 4e arrondissement.

Marie Demange  prône  et entend oeuvrer à une “désacralisation raisonnée de l’art”. Marie Demange précise que cette dernière “permet une approche plus personnelle et désinhibée de cet univers en privilégiant le contact spontané et immédiat avec les oeuvres”.

La galerie Marie Demange entend également âtre “un lieu de vie, d’interactivité, d’échanges et de rencontres, un véritable espace de convivialité. Profanes ou initiés, amateurs ou collectionneurs, les visiteurs y découvrent un art contemporain accessible, où la sensibilité est privilégiée”.

Galerie Marie Demange
12, rue Beautreillis
75004 Paris


Mise à jour : Nouvelle adresse :



Marie Demange Agence de communication par l'art
Agence de communication par l'art
125, avenue de Versailles
75016 Paris


Site Web : galerie-mariedemange.com

Expositions actuelle et passées

Monica Mariniello, Sculptures, 26 mars – 6 mai 2005

NAFA Singapore Students Exhibition

Visual Art Exhibition

Nanyang Academy of Fine Arts (NAFA) graduates and students

‘art-reach one: to infinity and beyond’

ttc NAFA, Singapore

14 July 2005 - 14 January 2006

 

The first of a series of exhibitions that will run at the coffee boutique throughout 2005, ‘art-reach one’  kicks off an art outreach program which was first proposed by tcc, and jointly developed with students from NAFA.

A synergistic effort that aims to promote the works of budding artistes, art-reach hopes to reach out to a greater audience through showcasing their creations at accessible and informal public areas such as lifestyle coffee boutique tcc.  tcc, a supporter of the visual arts since it opened in mid-2003, will provide the space for these exhibitions throughout the entire program which will span the year 2005 and early 2006. 

Mr William  Lee, Director of tcc expressed his excitement on this project, “tcc’s move to sponsor this outreach program is part of our ongoing efforts towards promoting the arts. We are pleased that we can play a  part in promoting these budding talents and  through displaying these art pieces at our outlet, more people can be exposed to the fascinating world of visual arts.”

This ‘art-reach’ program provides a platform for budding artists to be seen and heard and both NAFA and tcc hopes that the upcoming line-up of exhibitions will allow more members of the public to engage in and appreciate visual arts.

President of NAFA, Mr Choo Thiam Siew explained more on this initiative, “The art-reach exhibition is coordinated by six students from the School of Visual Arts. It is a good opportunity for them to work as a team to bring together art works by students and graduates of NAFA to be shown at tcc café. Students can exercise their creativity in all aspects from art design, production, display, to working,  commissioning and collaborating with artists  in a commercial space. This experience can fuel  their future entrepreneurial drive and this collaboration is in line with NAFA's educational drive to develop our students in all aspects of  the arts."

‘art-reach: to infinity and beyond’ showcases several personal and highly introspective works of six artistes who explore concerns and issues on ‘space’, using medium such as oil on canvas, installation art and mixed media. All exhibits are thoughtfully placed within tcc NAFA to blend in with the surroundings so that customers can sit back, enjoy a cuppa and admire these pieces of art.

Renowned local actor-director Glen Goei will be the guest-of-honour officiating the launch of the exihibition on 14 July 2005.

 

‘art-reach one: to infinity and beyond’
tcc NAFA
80 Bencoolen Street, #B1-17/18
Singapore

7:30am > 11pm. Admission is free.

June 22, 2005

The Baltimore Museum of Art: New architectural master plan for the next 20 years

The Baltimore Museum of Art today unveiled an ambitious new master plan that charts the Museum’s architectural future for the next 20 years.

“The Baltimore Museum of Art is one of the greatest civic spaces in Baltimore,“ said BMA Director Doreen Bolger. “The long-term vision put forth in this master plan will help us enhance the Museum’s visibility as a cultural asset for the region and make it a must-see destination for the community and cultural tourists.”

Designed by renowned neoclassical architect John Russell Pope in 1929, the BMA has grown to encompass several additional galleries for the Museum’s world-class collections, a three-acre sculpture garden, a visitor entrance with an auditorium and restaurant, large special exhibition galleries, and most recently the West Wing for Contemporary Art, which was completed in 1994. The total footprint of the Museum is approximately 200,000 square feet.

The new architectural master plan designed by Baltimore-based Ayers/Saint/Gross Architects + Planners refers back to Pope’s original plan for the BMA by integrating the spaces throughout building, and also builds on the Museum’s mission, vision, and goals. Expansion and renovation opportunities include reopening the grand historic entrance, connecting the galleries with a glass-roof atrium, and reinstalling the collections in new gallery spaces—projects that will create more memorable art experiences for visitors and establish a stronger connection between the BMA and the surrounding community.

The plan also addresses the desire for more visitor amenities, such as dedicated parking, which will be available in a new underground garage at The Johns Hopkins University in 2007. A new North Entrance would create a direct connection to the BMA from the JHU garage, and also provide space for new study centers, classrooms, and an expanded library, providing students and scholars with first-hand opportunities to research the Museum’s remarkable collection.

The BMA Board of Trustees will review project phasing opportunities in the fall. The Museum anticipates having some of these changes in place by the 100th anniversary in 2014.

The Baltimore Museum of Art
www.artbma.org

June 10, 2005

Exposition Naissance de l’aquarelle - Musée Rodin

Exposition sur l’apparition de l’aquarelle chez Auguste Rodin

Naissance de l’aquarelle

Musée Rodin

28 juin - 18 septembre 2005

En l’espace d’une dizaine d’années, entre 1887 et 1899, les dessins de Rodin vont subir une métamorphose radicale : ce qui, jusqu’à cette date, était essentiellement lié à des études pour La Porte de l’Enfer, sujet grave et sombre inspiré de Dante, va se transformer en un furieux mouvement de recherches tous azimuts. Les dessins de type michelangesque, de petit format, fortement contrastés, aux tonalités noires et blanches, qu’on appelle les « dessins noirs », seront remplacés, au bout de cette période, par de grands nus, féminins pour la plupart, subtilement colorés de lavis d’aquarelle et de gouache. Petits dessins noirs et grands nus colorés sont comme les deux pôles de l’œuvre dessinée de Rodin.

Entre les deux, devenu un artiste reconnu, Rodin expérimente. D’abord, le croquis rapide de modèles en mouvement (danseuses de toutes sortes, les javanaises, Loïe Fuller, la danseuse américaine aux larges voiles). Ensuite, le dessin d’après nature de jeunes modèles, qu’il fait poser plus ou moins nues ou costumées (mantilles, masques, casques, robes à l’antique…) et l’utilisation des moments « morts » de la pose (déshabillage, rhabillage) comme des motifs dignes d’intérêt. Ce sont les dessins dits « de transition ».

Comme à son habitude, Rodin va se servir des motifs qui l’intéressent le plus comme des matrices réutilisables à volonté grâce au calque, pour en faire des figures dont il pousse plus ou moins l’étude selon différentes techniques : toujours la mine de plomb en base, la plume et l’encre, l’aquarelle et la gouache.

Ici, le plus remarquable, c’est l’apparition de la couleur : devenu léger, le sujet appelle des couleurs d’aurore, chaudes et pleines de gaieté, où domine le rose vif, le fuschia et le jaune d’or pour la chevelure. Rodin, d’ailleurs, a un goût prononcé pour la bichromie et, s’il utilise souvent une seule couleur, il n’en mélange jamais plus de trois.

Toutes les possibilités de la couleur sont explorées. De même format que les dessins noirs, de même technique —notamment en ce qui concerne l’utilisation de la plume—, d’une forte unité de couleur et de thèmes, ces dessins mal nommés « de transition » sont une étape à part entière de l’oeuvre graphique de Rodin. Après eux, Rodin gardera comme un acquis la couleur et l’utilisation libre des lavis pour rehausser ses dessins. Il n’utilisera plus, par contre, sauf très exceptionnellement, la plume.

En 1899, Rodin donne un dessin « de transition » comme frontispice au Jardin des Supplices d’Octave Mirbeau : une femme qui se déshabille, avec un lavis d’aquarelle rose et jaune. Mais dans les recherches de Rodin, il fait déjà partie du passé. La même année s’ouvre aux Pays-Bas sa première exposition monographique. Il y montre de grandes aquarelles de nus, où le lavis d’aquarelle épouse la forme des figures. Bientôt la couleur couvrira toute la surface de la feuille, au point d’en occulter, parfois, le motif. Elle tend à prendre le pas sur le dessin. Changement de format, de thèmes, de centre d’intérêt : c’est une nouvelle période qui s’annonce.

MUSEE RODIN
79, rue de Varenne
75007 Paris

Francis Bacon, Scottish National Gallery of Modern Art, Edinburgh

Francis Bacon: Portraits and Heads 
Scottish National Gallery of Modern Art, Edinburgh 
4 June - 4 September 2005 

A powerful new exhibition of Francis Bacon’s intense and forceful portraiture is the major summer show at the Scottish National Gallery of Modern Art in 2005. Francis Bacon is regarded as one of the greatest artists of the latter half of the twentieth century: this is the first museum exhibition to explore in depth his vivid and striking portraits of friends, lovers and other artists. Jointly conceived and organised by the Scottish National Gallery of Modern Art and the British Council, the exhibition comprises over fifty works, including self-portraits and portraits of Francis Bacon’s best-known sitters, on loan from public and private collections throughout the world.

Born in Dublin in 1909, Francis Bacon spent most of his life in London. He began working as a painter in the l930s and from then to his death in l992 the human figure remained the dominant subject of his art. Making portraits that reflected the intensity of his personal relationships was one of Francis Bacon’s abiding artistic preoccupations. This exhibition begins with small single heads from the late l940s, which echo the imagery of Three Studies for Figures at the Base of a Crucifixion - the painting which caused a sensation and effectively launched Francis Bacon’s career when it was shown in 1945. There follows a group of large single portraits, some full-length, in which the human figure is depicted as a more integrated whole; and finally – the core of the exhibition – small heads of friends from the artistic and social milieu of London’s Soho – Lucian Freud, Henrietta Moraes, Isabel Rawsthorne, and Francis Bacon’s lovers Peter Lacy and George Dyer.

The subjects in these captivating portraits are painted slightly under life-size and are seen from close to. Beginning in 1962, with Study for Three Heads, in which Francis Bacon’s own head is flanked by images of his lover Peter Lacy, who had recently died, these small canvases – each 14 by 12 inches, a format which Francis Bacon seems to have settled on in 1961 – are often grouped in threes. This format – the triptych – gave Francis Bacon the opportunity to show three different aspects of the same personality or to contrast images of two or more different people (including sometimes, himself). Like private, devotional portraits, these small heads open up a rich vein of intimacy in Francis Bacon’s art, and come as a surprise to those whose knowledge of the artist is restricted to his large-scale triptychs.

For a period in the late-Fifties Francis Bacon’s output of portraits was dominated by the image of Peter Lacy, with whom he enjoyed a tense and often violent relationship but who, it has been claimed, was ‘the one great love of his life’. Peter Lacy is the subject of five portraits in this exhibition, including two showing him asleep, which are remarkable for their tenderness and poignancy. The exhibition also contains a number of full-length portraits from the 1960s, their subjects shown standing, seated or reclining. Looking at these works one can understand what the artist Michael Andrews meant when he praised Francis Bacon’s ‘realism of palpable presence’ – the sitters appear so real that you feel they are in the room with you. Yet, while their blurred features evoke movement and life, they are also, perhaps, suggestive of dissolution and inevitable death.

Striking for their qualities of improvisation and immediacy, Francis Bacons’ portraits were painted from a combination of photographs and memory: ‘I don’t want to practise before [my subjects] the injury that I do them in my work. I would rather practise the injury in private by which I think I can record the fact more clearly.’ Increasingly, Francis Bacon himself became the main subject of his art, and the exhibition shows him in a variety of roles and states, from combative and self-assured to spectral and faint near the end of his life.

Francis Bacon: Portraits and Heads demonstrates Francis Bacon’s attempts to revitalise the art of portraiture, following the crisis in humanist values brought about by the Second World War. The exhibition includes important loans from many public collections, among them the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; the Centre Pompidou, Paris; the Nationalgalerie, Berlin; the Hamburg Kunsthalle; Tate, London; and the Thyssen Collection, Madrid, as well as rarely seen loans from private individuals. The exhibition has been selected by Andrea Rose, Director of Visual Arts at the British Council; Richard Calvocoressi, Director of the Scottish National Gallery of Modern Art; Philip Long, Senior Curator at the Scottish National Gallery of Modern Art; and Christoph Heinrich, Chief Curator of Contemporary Art at the Hamburg Kunsthalle. To be shown in Edinburgh during the International Festival, the exhibition will travel to the Hamburg Kunsthalle in the autumn.

A fully illustrated catalogue has been published, containing texts by Martin Hammer (Senior Lecturer at the University of Edinburgh and author of Bacon and Sutherland, 2005) and Richard Calvocoressi; published by the National Galleries of Scotland in association with the British Council. Special exhibition price: £9.95; normal price: £12.95.

SCOTTISH NATIONAL GALLERY OF MODERN ART  
75 Belford Road, Edinburgh
www.nationalgalleries.org

June 5, 2005

Birney Imes: Mississippi Delta Photo Exhibition

 

From the lobby of the Peabody Hotel in Memphis to Catfish Row in Vicksburg, the Delta is revealed as a source of strengths and vulnerability in The Mississippi Delta, an Intimate View: Photographs by BIRNEY IMES III. The body of works was the second part of a photography exhibition at The University of Southern Mississippi Museum of Art in Hattiesburg.

The exhibition originated from a photographic assignment commissioned to photographer Birney Imes III by the Mississippi Museum of Art in 1978 through a grant from the National Endowment for the Arts.

Intended as a survey of cotton farming and the Mississippi Delta, the project quickly grew in scope. Birney Imes intended to move the viewer through the contrasting pastoral landscapes juxtaposed against the brutal poverty of the people farming the land.

"It is a culture that grew and flourished in a climate of racism and poverty," Imes said. "It grew not so much in spite of this oppression, but in response to it. This is the culture that spawned the blues."

Traveling through communities like Panther Burn and Darling, Birney Imes contrasts the beauty of nature surrounded by the dilapidated juke joints, rusted automobiles and deserted communities that pepper the landscape.

"Imes felt that the story of the Delta could be narrated more poignantly through the lives of the people most affected by the agricultural industry: the discouraged farmers and their impoverished children," said René Paul Barilleaux, deputy director for programs for the MMA. "His portraits demonstrate the strength of character of the people in their plight against nature and cultural forces beyond their control."

The University of Southern Mississippi Museum of Art presented this exhibition as an Affiliate Member of the Mississippi Museum of Art. The Mississippi Museum of Art's Affiliate Network is funded through a grant from the National Endowment for the Arts.

 

University of Southern Mississippi Museum of Art

June – August 13, 2005