Galerie Bart Amsterdam – Marleen Sleeuwits (Images 1)
“Last year Marleen Sleeuwits (1980, NL) was approached by Centre Photographique in Rouen (FR) for a residency and tasked with delving into local cultural heritage. The result was presented together with her previous work in Centre Photographique. This new work, which she is showing at Art Rotterdam with Galerie Bart, focuses on geology in its broadest sense. She looked at the typical type of limestone found along the Seine. To do this, she visited local abandoned mining caves along the Seine and gothic architecture made from the stone. Marleen then translated these into her signature style. With her bold use of colour and abstracted architectural structures, she creates a poetic visual narrative.”
Galerie Bart
1016 TW Amsterdam
www.galeriebart.nl
+31 20 320 62 08
Galerie Binome Paris – Laurence Aëgerter, Marie Clerel, Corinne Mercadier, Lisa Sartorio
Over the past 12 years, Galerie Binome has established its position on the art market through its research into new forms of photography. Interested in experimentations with the materiality and media of the image, the selection of works establishes dialogues with sculpture and drawing, or with traditional materials such as textiles.
For its fourth participation at Art Rotterdam, Galerie Binome brings together works by four women artists, all established figures on the French and international scene. All of them currently have works in institutional exhibitions.
Laurence Aëgerter 1972 (images 2)
Laurence Aëgerter’s work is particularly well known in the Netherlands, collected in numerous institutions. Currently, the Museum van de Geest in Haarlem is presenting her latest tapestry, over 35 meters long! Two tapestries from this project will be on show at the fair. Accompanied by her photographic compositions in tribute to the skies and clouds painted by van Ruisdael.
Marie Clerel 1988 (images 3)
The exploration of the Sky continues with Marie Clerel. With a great economy of means, and without a camera, she creates works of evocative power. Her full-moon photograms and midnight-blue cyanotypes summon our senses and observation of
the elements. Her work was recently presented at C/o Berlin and at Rencontres internationales d’Arles 2022 in the exhibition Songs of the Sky.
Corinne Mercadier 1955 (images 4)
Corinne Mercadier began her photographic career in the 1980s, recognised as a pioneer of experimentation in the medium. Combining drawing, painting on glass, volume work and staging, she constructs fictional spaces where the real is diluted by the imaginary. The universe of night and dreams that characterizes her work will also be featured in early 2024 in the exhibition “O Night O Eye” at the new SAMoCA – Saudi Arabian Museum of Contemporary Art – in Riyadh, Saudi Arabia.
Lisa Sartorio 1970 (images 5)
Lisa Sartorio’s sculpted photographs are paradoxically delicate and beautiful, compared with the shadows of history, wars and massacres that are at the heart of her work. Through a process of disfiguring and transforming images, she gives them substance, restoring a surface of expression and experience in contrast to the dematerialized circulation and sanitized mass consumption of documentary images. The exhibition “Épreuves de la matière” at the BNF – French national library – until February 2024 also highlights the singularity of this artist.
Galerie Binome
75004 Paris
www.galeriebinome.com
+33 (0)1 42 74 27 25
Galerie Caroline O’breen Amsterdam – Satijn Panyigay & Jaya Pelupessy
Satijn Panyigay 1988 (images 6)
Presentation of Satijn Panyigay consists of the new work from the series ‘Higher Ground’ and ‘Deep Space’. In ‘Higher Ground’, transformation takes central stage as the artist witnesses the construction of new apartment buildings and the restoration of a historic municipal monument, which once housed a Dutch bank and is now being repurposed for multifunctional use. The series captures spaces in their transitional and vacant state, distinctive of Panyigay’s artistic approach. Deep Space I is the first chapter of a series made in subterranean spaces. The old post office’s basement has been thoroughly renovated to become the depot of the Dutch museum Van Bommel Van Dam.
Jaya Pelupessy 1989 (images 7)
With Jaya Pelupesyy, we will show new works from the ‘Manufactured Manual’ series and his recent biggest piece to date. In this project, Pelupessy invites us to reflect on how images are constructed and what this means for our perception of the world around us. He uses the photosensitive principle of screen printing and has developed special photosensitive colour emulsions. The artist creates an image directly on the silkscreen, using multiple exposures in different colour layers. In this way, the screen is no longer a means of reproducing images, but becomes the work itself. This is typical of Pelupessy’s way of working, where the creative process is evident in the finished product.
Galerie Caroline O’Breen
1016 SR Amsterdam
www.carolineobreen.com
+31 0647104484
Galerie Fons Welters Amsterdam – Juliette Blightman 1980 (Images 8)
The relationship between art and life is essential in Juliette Blightman’s (lives and works in UK) practice, which is based on observations and impressions of her everyday life. With different media such as photography, drawing, painting, video, performance and text Blightman creates a continuous stream of images as from a diary, capturing moments of her family life, friends, parties, travels, exhibitions and more. Blightman involves the viewer in her daily life while reflecting on the self, amidst the backdrop of broader world events. Exploring a combination of voyeurism with a sense of melancholy, her work pushes the boundary between private moments and shared intimacy.
Solo/duo presentations include: Lafayette Anticipations (FR, 2023); Vleeshal (NL, 2021), Kölnischer Kunstverein (DE, 2020), Western Front, Vancouver (CA, 2018), Kunsthalle Bern (CH, 2016), South London Gallery (UK, 2016), Badischer Kunstverein (DE, 2015).
Galerie Fons Welters
1016 LJ Amsterdam
www.fonswelters.nl
(+31) 20 423 30 46
Galerie Maubert Paris – Nicolas Daubanes. 1983 (Images 9)
We are showing the work Tonnerre (2023), a diptych of photograms on silver paper revealed by steel sparks.
Iron filings are at the heart of this work. It is one of Nicolas Daubanes’ favourite materials, and he uses it to make drawings on paper (the iron filings are magnetised to the paper) or on glass (incandescent filings are projected onto the glass and embedded in it).
In these photograms, a drawing on glass is placed on photosensitive paper. Iron filings are used throughout the photographic process: the light source, which enables the photosensitive paper to be exposed, comes from sparks of incandescent iron filings projected by the artist onto the photosensitive paper. In places, black streaks can be seen on the photograms: these are the traces of the sparks from the iron filings passing over the paper.
The work depicts a forest in the Vercors region, a battleground for the French Resistance and the German army during the Second World War. The forest appears in positive and negative as if to evoke the temporality of photography, but also of the passage from day to night. On the glass of the frame, inlays of iron filings, oxidised in places, add to this temporality and evoke leaves falling from the trees.
Iron filings have a particular significance for the artist: they are a material that evokes liberation. Nicolas Daubanes regularly works in places of confinement, to reveal how the constraints on human expression only fuel ingenuity and creativity. He highlights stories of transgression, particularly those that tell of revolts against injustice. The delicate iron filings used to create drawings, sculptures and ephemeral situations symbolise both the vulnerability of human activity and the desire for freedom.
Galerie Maubert
75003 Paris France
www.galeriemaubert.com
+33 (0)1 44 78 01 79
John Devos
Correspondent L’Œil de la Photographie/The Eye of Photography
john.devos01(a)gmail.com
