JARDIN DES TUILERIES

FIAC, in association with the musée du Louvre, presents its Hors les Murs outdoor exhibition in the Jardin des Tuileries, inaugurated in 2006. Some twenty artworks are displayed in different spaces within the garden, resonating with this heritage setting in the heart of Paris and responding to its scale, perspectives and history.

During FIAC week, a cultural mediation service is provided by students of the Ecole du Louvre.

EDITION 2021

© Ben 

Lilian Bourgeat

Double banc, 2018

aluminium, steel, wood

Edition de 5 + 2AP (Edition of 5, with 2AP)

240 x 500 x 170 cm

lange + pult, Zurich, Auvernier

 

Lilan Bourgeat was born in 1970 in Saint-Claude, France. He lives and works in Dijon. Enlarged by 2.5 times the original, integrated into the public space, this double public bench provokes an interaction between the object, the landscape, and the spectator. The latter can become an actor by sitting on the bench and thus assuming the functionality of the object. By this effort, he experiences a sensation of grandeur, of repositioning, of scaling the world around him. All the senses are activated, the landscape is poetized. The chosen scale of enlargement gives the bench the ability to blend into the urban landscape.

© Aaron Curry - Photo : Dan Bradica

Courtesy of the Artist and Almine Rech

Aaron Curry

Magic vs. Headache, 2020

Powder coated aluminum

214.6 x 113.7 x 90.2 cm

Almine Rech, Paris, Brussels, London, New York, Shanghai

 

“Aaron Curry’s sculptures engage with the viewer’s bodily presence. Calling on formal qualities found in the works of artists like Picasso and Calder, they gracefully and playfully engage with the force of gravity, which determines our own spatial and bodily experience and which dictates that we, and his quasi-figurative sculptures, find balance. Curry’s sculptures begin with drawings and handmade maquettes that are often then developed through digital modifications and subsequently fabricated at often-monumental sizes; rather than aiming for seamlessness, they maintain some of the qualities of the handmade, lending the works in FIAC’s Hors les Murs presentation a touch of whimsy despite their matte black surfaces.” Brian Boucher

© Aaron Curry - Photo : Dan Bradica

Courtesy of the Artist and Almine Rech

Aaron Curry

Heavy Negative, 2020

Powder coated aluminum

213.4 x 119.1 x 92.1 cm

Almine Rech, Paris, Brussels, London, New York, Shanghai

 

“Aaron Curry’s sculptures engage with the viewer’s bodily presence. Calling on formal qualities found in the works of artists like Picasso and Calder, they gracefully and playfully engage with the force of gravity, which determines our own spatial and bodily experience and which dictates that we, and his quasi-figurative sculptures, find balance. Curry’s sculptures begin with drawings and handmade maquettes that are often then developed through digital modifications and subsequently fabricated at often-monumental sizes; rather than aiming for seamlessness, they maintain some of the qualities of the handmade, lending the works in FIAC’s Hors les Murs presentation a touch of whimsy despite their matte black surfaces.” Brian Boucher

© Eric Fischl / Artist Rights Society (ARS), New York. Courtesy of the artist and Skarstedt, New York.

Eric Fischl

Tumbling Woman, 2002

Bronze Edition 4 of 5, with 3AP

94 x 188 x 127 cm

Skarstedt, New York, London, Paris

 

Eric Fischl was born in 1948 in New York, where he lives and works. A renowned painter of the human figure, he also embraced the sculptural medium in the early 1990s. Portraying a female body in an irreversible and vertiginous fall, Tumbling Woman highlights the vulnerable reality of the human condition. Conceived as a memorial to an event said to divide past and future, this figure is poised upon that dividing line, commemorating those lost on September 11, 2001. A powerful figure, yet falling under the influence of greater forces, the present work references La Rivière (1938) by Aristide Maillol, an emblematic sculpture of the Jardin des Tuileries. The first edition of Tumbling Woman is in the collection of the Whitney Museum of American Art, New York.

© Markus Hansen and Gandy gallery

Markus Hansen

The Empathy Flags, 2021

Supralon 115g Polyester

150 x 300 cm

Gandy gallery, Bratislava

 

Markus Hansen was born in 1963 in Heidelberg, Germany. He lives and works in London. These six flags are hybrids of national flags, layers of colours and forms that blend into one another, transforming the characteristics of national flags – objects of affiliation and identification – into a celebration of the scrambling of identities, in which form, colour, and movement are constantly shifting. These flags of profound alliances, secret marriages, and unfathomable complicities are like odes to dancing wherever the wind blows, suggesting stories of the identities, influences, and pathways that make us who we are.

© Le Portique, 2019 / Courtesy Galerie Laurent Godin

Sven 't Jolle

Out of Touch, 2019

Metal, plastic, resin, wood

Dimensions variables

Laurent Godin, Paris

 

Sven ’t Jolle was born in 1966 in Antwerp. He lives and works in Melbourne. In his work Sven ‘t Jolle mixes historical, political and social aspects. He feels connected to the working class and in his work exhibits outspoken criticism of capitalism, the demolition of the welfare state, the power of big business and the lack of humanity in migration policies. Out of Touch is an ensemble of mailboxes evoking the rural world: "I've always been fascinated by the custom mailboxes I've come across in the Australian countryside. The boxes evoke sculptures and are receptacles for stories. This work celebrates the artistic creativity of people. I began this work Out of Touch, as the Yellow Vests movement was emerging in France. This fueled the creative context."

© MALBUISSONART pièces d'été

Abdul Rahman Katanani

Chrysalide, 2021

Barbed wire

120 x 80 cm

Magda Danysz, Paris, Shanghai, Londres

 

Abdul Rahman Katanani was born in 1983 in the Sabra refugee camp, in Lebanon. He lives and works in Beirut. He develops a plastic vocabulary based on the recycling and assembly of salvaged materials. Corrugated iron, barbed wire, metal plates taken from oil barrels are some of the materials of predilection with which the artist expresses his vision of the world.

In Chrysalis, Katanani borrows a simple pattern from the animal world and nature, which he enlarges to human size to create an allegorical figure in which the barbed wire exudes an unexpected softness. Borders, metamorphosis, rebirth, identity: these are all themes that lie at the heart of the artist's work and run through his entire oeuvre.

© Galerie Elisabeth & Klaus Thoman

Michael Kienzer

Falter Vol. 4, 2020 Falter Vol. 6, 2020 Falter Vol. 7, 2021 Falter Vol. 9, 2021

Panneaux en tôle, laque

Dimensions variables 

Elisabeth & Klaus Thoman, Vienna, Innsbruck

 

Michael Kienzer est né en 1962 à Steyr en Autriche. Il vit et travaille à Vienne. Falter, qui signifie en allemand « dossiers » mais aussi « papillons », est une série de sculptures démarrée en 2018.

Des panneaux en métal simples et légèrement déformés, chacun peints d’une couleur différente, sont attachés les uns aux autres par leurs bords. Tableaux-devenus-sculptures qui révèlent, éparpillées en vrac, des dimensions architecturales spatiales. En raison de la connexion ponctuelle, à peine visible, entre les différentes zones de couleur monochrome, ils donnent l’apparence de se soutenir les uns les autres dans un équilibre précaire. Les Falter individuels entrent dans un dialogue, à la fois entre eux et avec l’architecture, et poussent les visiteurs à amplifier ce discours (Margareta Sandhofer).

Cécile Fakhoury, Abidjan, Dakar, Paris 

Jems Koko Bi

Empty, 2016

Oak wood

200 x 80 x 650 cm.

 

Jems Koko Bi was born in 1966 in Sinfra, Ivory Coast. He lives and works between Abidjan, Ivory Coast, and Essen, Germany. Both a sculptor and a performer, Jems Koko Bi mixes avant-gardist influences to his resolutely African history. In his oeuvre, he questions the notions of space and history, within a wider and ongoing reflexion on his own existence.

In the work Empty, many figures huddle together in a precarious balance on a boat. These faceless people evoke exiles of the past and the present, anonymous Africans deported and enslaved over the centuries, or the countless people we now call "migrants". In Koko Bi's work, the journey is not only physical, and this boat also takes us into deep interior spaces.

© The Estate of Norbert Kricke 2021 courtesy Aurel Scheibler 

Norbert Kricke

Raumplastik Grosse F.V, 1980

Stainless steel

650 x 864 x 626 cm

Aurel Scheibler, Berlin

 

Norbert Kricke was born in 1922 in Düsseldorf. He died there in 1984.  With his so-called Raumskulpturen, Norbert Kricke developed a new idea of sculpture from the line by turning it to a poetic symbol of space and time. His shift from the physical to the simple, elementary and nonetheless ambiguous is radical. His aim was to convey a feeling of freedom to people by depicting space and movement. From the first abstract sculptures in the early 1950s until his death, he remained loyal to the line as a design element. His collaboration with Yves Klein for the Theatre in Gelsenkirchen in 1959 became one of his best-known projects. Norbert Kricke is one of the most important representatives of German post-war modernism.

© The Estate of Norbert Kricke 2021 courtesy Aurel Scheibler 

Norbert Kricke

Raumplastik Grosse F.III, 1980

Stainless steel

961 x 765.5 x 506 cm

Aurel Scheibler, Berlin

 

Norbert Kricke was born in 1922 in Düsseldorf. He died there in 1984.  With his so-called Raumskulpturen, Norbert Kricke developed a new idea of sculpture from the line by turning it to a poetic symbol of space and time. His shift from the physical to the simple, elementary and nonetheless ambiguous is radical. His aim was to convey a feeling of freedom to people by depicting space and movement. From the first abstract sculptures in the early 1950s until his death, he remained loyal to the line as a design element. His collaboration with Yves Klein for the Theatre in Gelsenkirchen in 1959 became one of his best-known projects. Norbert Kricke is one of the most important representatives of German post-war modernism.

©Mehdi-Georges Lahlou

Mehdi-Georges Lahlou

Danse des sept voiles, 2021

Printing on fabrics

150 x 225 cm

Rabouan Moussion, Paris

 

Mehdi-Georges Lahlou was born in 1983 in Sables d’Olonne, France. He lives and works between Paris and Brussels. A French-Moroccan artist, a sweeping examination of heritage lies at the heart of his work, questioning some of the most deeply rooted cultural, religious, or moral fundaments of our societies. Danse des sept voiles [Dance of the Seven Veils] derives its title from an episode at the crossroads of history and sacred texts: the dance of Salome, who sealed the fate of the future Saint John the Baptist. Here, there is no head on a platter nor entrancing princess. The veils become banners raised on masts, adorned with zelliges, a moresque geometric design adopted well beyond Arab-Andalusian borders, which are progressively effaced, leaving only a white flag dancing. But this interpretation can change, depending on the wind direction.

©Charles Duprat

 

Vincent Laval

L’ombre des bambous, 2019

Plus loin dans la forêt ll, 2020

Wrought steel

865 x 100 cm

Wood

260 x 190 x 220 cm

Galerie Bertrand Grimont, Paris

 

Born in 1991, Vincent Laval lives and works in Paris. During his studies at the École Nationale Supérieure des Beaux-Arts de Paris and at the École Boulle, Vincent Laval oriented his research towards wood and trees. His work focuses primarily on forests. They are central to his creative process; the source of his inspiration and the raw materials that become his artworks. Through his sculptural and photographic work, he constantly deepens the connections between the forest and the viewer.

Laurent Le Deunff, Tête de chouette, 2020

©A. Mole. 

Laurent Le Deunff

Chouette des neiges, Chouette lapone et Hibou grand-duc, 2021

Concrete

128 x 50 x 50 cm (chaque)

Semiose, Paris

 

Laurent Le Deunff was born in 1977 in Talence, France. He lives and works in Bordeaux. The artist’s trompe l’oeil sculptures are based on the discrepancy between the materials and the object represented. These three owl totems, reworking the archetypes of animal sculpture, are located at the point of intersection between vernacular sculpture and the tradition of rocaille gardens – an art that dates back to the invention of cement, circa 1850, and whose apogee transpired under Napoleon III, when public parks became entirely decorated with rocaille. Through these artworks, Laurent Le Deunff seeks to combine his passion for gardens with his taste for the fake and decorative.

© jb guey / Courtesy Kokou Ferdinand Makouvia & galerie Sator

Kokou Ferdinand Makouvia

The Membrane, 2017

Resin, steel, rope, hessian, copper powder

145 x 250 x 95 cm

galerie Sator, Paris, Romainville 

 

Kokou Ferdinand Makouvia was born in 1989 in Lomé, Togo. He lives and works between Paris and Amsterdam. When one encounters The Membrane, the idea of chrysalis imposes itself and the obsession of shedding a skin pierces through and through, but any identification seems insufficient and pointless. Is this the shell of a revealed identity? Is this a corpse or an embryo?

The Membrane concentrates all contradictions. The resin rigidity counteracts the empiric flexibility of the transparency. The copper powder makes the harsh and hostile surface glow. The metal structure sways between dismembered remains and new skeleton being formed. The skin here is as much as possible a non-organic tissue.

Thing or being, The Membrane is the elusive condition of change, a nondescript of all transformations, the unknown in between. 

© Courtesy of the artist

Angelika Markul

Goolarabooloo, 2021

175 x 150 x 30 cm et 180 x 150 x 30 cm

Bronze 

Albarrán Bourdais, Madrid

Œuvre produite dans le cadre de La Littorale-Biennale internationale Anglet-Côte basque.

 

Angelika Markul was born in 1977 in Szczecin, Poland. She lives and works in Paris. She often associates true facts and fiction, or even science fiction, in her work. Regularly, she visits sites that are difficult to access, dangerous, or abandoned: the region of Chernobyl, the city of Fukushima, or the Kimberley Coast in Australia, where the Marella project began. The artist has taken samples of dinosaur prints from geological sites, which she later cast in bronze. According to the native legend of the Goolarabooloo people, these are the footprints of the god Marella – who was thought to have created the world, nature, and humans, before transforming into a bird, leaving only a few footprints on earth. These ancient traces convoke our origins and question the emergence of life on earth, at a time when we are experiencing the sixth mass extinction of living organisms. 

Vincent Mauger, Sans titre, 2016 et 2011-2019 ©Vincent Mauger / Courtesy Galerie Bertrand Grimont

Vincent Mauger

Sans titre, 2021

Glued polystyrene blocks

Dimensions variables 

Galerie Bertrand Grimont, Paris

 

Vincent Mauger was born in 1976 in Rennes. He lives and works in Nantes. Vincent Mauger’s approach is based on a search for materialisation, an expression in practical terms of what a mental space might be. Mainly comprising in-situ installations, drawings, and sculptures, his work often confronts a real space with a representation of the mental perception of another space. His works question the idea of architecture, urbanism, and organism, using construction materials to formulate fragments of landscape, playing on differences in scale and inviting the viewer to move. Through numerous solo exhibitions at museums, art centres, and foundations in France, his in-situ installations challenge our perception of space.

Bettina Pousttchi, Vertical Highways A 16, 2020, Steel, coated, 216 x 165 x 102 cm, Private collection

Courtesy of the artist and Buchmann Galerie Berlin

Bettina Pousttchi

Vertical Highways, 2021

Crash barriers, steel 

Variable dimensions

Buchmann, Berlin

 

Bettina Pousttchi was born in 1971 in Mainz, Germany. She lives and works in Berlin. For FIAC Hors les Murs, she presents three sculptures from her recent series Vertical Highways made from crash barriers that the artist mechanically deformed and arranged into single sculptural units. Even in their altered form the barriers remain recognizable and give an idea of the forces that have affected the steel. The fluid form lends the sculpture an anthropomorphic trait and the monochrome coloration blends the separate parts into a cohesive form. The vertical positioning of the normally horizontally placed elements provokes a shift in our spatial experience. The sequential use of the original object is a conceptual connection to Minimal Art and a reference to Marcel Duchamp's ready-mades.

© Ben 

Stefan Rinck

It Owl, 2021

Rabbiator (Hellboy Gaultier), 2021

460 × 150 × 150 cm

It Owl, 2021

430 x 140 x 130 cm

Limestone

Semiose, Paris ; Sorry We’re Closed, Brussels 

 

Stefan Rinck was born in 1973 in Hamburg, Germany. He lives and works in Berlin. Stefan Rinck’s stone figures form a motley and comical community made up of for the most part animals, but also chimeras and monsters. With this collection of fauna, the artist explores a comical, imaginary yet realistic vein, using a technique typical of the Middle Ages: sculpting his figures directly from stone. The two sculptures It Owl and Rabbiator (Hellboy Gaultier) stand proudly upright like vertical islets, imposing themselves through their sheer presence. For the first time, Stefan Rinck has placed his sculptures on carved pedestals, bringing together classical elements of Ionic columns or Corinthian capitals and more popular elements such as banana bag and Mickey Mouse feet.

© Studio Lionel Sabatté courtesy Ceysson & Bénétière

Lionel Sabatté

Chouette Chevêche des Tuileries, 2021

Cement, wire, rebar, pigments

500 x 300 x 300 cm

Ceysson & Bénétière, Saint-Étienne, Paris, Lyon, Luxembourg, Genève, New York

 

Lionel Sabatté was born in 1975 in Toulouse, France. He lives and works in Paris and Los Angeles. For FIAC Hors les Murs 2021, Lionel Sabatté has created a monumental on-site sculpture entitled Chouette Chevêche des Tuileries in the Jardin des Tuileries. This sculpture representing an Athene noctua owl made of rebars, cement, tow, and tinted pigments. It is erected as an open tower, a totem of this emblematic animal and symbol of Athena, the goddess of knowledge and protection. The owl figure stands at the top of the iron structure that forms its body as if she were placed atop the helmet of the Greek goddess.

In Lionel Sabatté’s sculptures, an economy of residual and raw materials converge with the artist’s physical commitment. 

Marinella Senatore, Bodies in Alliance, 2021 © Marinella Senatore 

Marinella Senatore

Alliance des corps, 2021

Aluminium, LED bulbs, wood and mixed media

274 x 340 x 95 cm

Mazzoleni, Torino, London 

 

Marinella Senatore was born in 1977 in Cava dei Tirreni, Italy. She lives and works in London and Berlin. Alliance des corps is a multi-coloured lighting installation inspired by the popular tradition of southern Italy. It is also a theatrical backdrop, a podium on which the public can express itself. A celebration of citizenship, a monument re-written in its profound meaning, devoted to people in cities who share the everyday social tissue through their actions, decisions, dreams, and visions. At a time when the world is emerging from confinement and social distance, this work seeks to celebrate, not the fallen of war or heroes of the past, but the people here and now, who through their effort, their individuality and sociality can build new ideas of collectivity and community.

© The artist and apalazzo gallery 

Augustas Serapinas

Standtune, 2021

Birch tree, screws

450 x 1300 x 500 cm

apalazzo, Brescia 

 

Augustas Serapinas was born in 1990 in Vilnius, Lithuania, where he lives and works. He seeks out and reveals stories that have been hidden from view, through research into the places that he invests and discussions with local people. In the framework of his project Secret Places, he creates in-situ installations indiscernible from their environment, such as By the Illuminator (2013), a site devoted to meditative solitude in a pipe close to a river, or Secret Space in the National Gallery (2014), a hidden and inaccessible coffee-break room of the National Museum in Vilnius. The work Standtune, entirely made of wood, was inspired by a standtune – a type of enclosure derived from the island of Gotland, in Sweden. Presented in the Tuileries Garden, it creates new pathways and invites the visitor to choose one.

©The Artist

John Torreano, Mega Gem, 1989, Metal, 220 x 340 x 220 cm, Permanent Collection of Indianapolis Museum of Art, USA

John Torreano

Mega Gem, 2021

Wood and acrylic gems on a inox base

230 x 265 x 205 cm

Thomas Brambilla, Bergamo

 

John Torreano was born in 1941 in Flint, Michigan, USA. American Post-Minimalist artist, he is best known for utilizing gems in a variety of mediums and methods in order to create a "movement-oriented perception" in his works. Mega Gem, an over-sized diamond in wood, is part of a series of site-specific outdoor installations done by the artist to question the idea of the preciousness of Art. John Torreano has developed an instantly recognizable sculptural language. Along with other Post-Minimalist artists, such as Lynda Benglis, Ron Gorchov and Elisabeth Murray, he challenged the rationalist and dogmatic intransigency of the Minimalism characterized by straight lines and cubes and monochromatic canvas.

© Majewski

Elmar Trenkwalder

WVZ 122 S, 1993

Bronze

170 x 60 x 60 cm

Galerie Bernard Jordan, Paris 

 

Elmar Trenkwalder was born in 1959 in Weisenbacham Lech, Austria. He lives and works in Innsbruck, Austria. This bronze sculpture by Elmar Trenkwalder was cast after an original in enamelled terracotta made in 1993. It shows a figure, male or female (difficult to identify), with a decidedly ecclesiastical appearance, dressed in a cloak falling to his feet. On closer inspection the upper part resembles the shape of a male glans and the bottom part of the cloak, which is folded in the center, is in the shape of a vulva. In Elmar Trenkwalder’s Work, WVZ 122 shows the foundations of everything he will develop in the following years. The figure’s presence, the male and female sexual organs are decorative and architectural elements of most of his sculptures.

Marion Verboom

Achronie 25, 2021

Green quartzite, Blue limestone of Hainaut, cast aluminum, Angola marble, Bugey stone, granite Labrador stone

290 x 62 x 45 cm

The Pill, Istanbul 

 

Marion Verboom was born in 1983 in Nantes, France. She lives and works in Paris. The Achronies series (2016 – ongoing) consists of columns made from a variety of natural and manufactured materials which create a spatial dialectique. They represent an amalgam of archaeological vocabularies, arranged as totems and steles recalling the evolution of human existence. These columns stack can be rearranged in new sequences by interchanging the modules.

Euridice Zaituna Kala, Installation "Up, Side, Down,Life containers", 2019, aquarium en verre et peinture, Perche-en-Nocé, dimensions variables/ © image : Teo Betin

Euridice Zaituna Kala

Rangement, de-Rangement, 2021

Steel support

Dimensions variables

anne barrault, Paris 

 

Euridice Zaituna Kala was born in 1987 in Maputo, Mozambique. She lives and works in Paris. Euridice Zaituna Kala is interested in cultural and historic metamorphoses, in its manipulations and adaptations. The artist seeks to highlight the multiplicity of historical periods and social relations, from a perspective of the African continent, which is at the heart of her reflection.

The installation conceived for the Jardin des Tuileries, Rangement, de-Rangement, highlights the language that is exercised between the typical French style « jeux d’eaux » and the vast areas of untamed waters, similar to those of Mozambique. In her installation, the water from the Seine dialogues with the terrestrial nature of the garden, inviting the disorderly into the orderly, and following a protocol that respects the French garden.