VERTIGE
Marion ARTENSE GELY (b.1995)Miguel CHEVALIER (b.1959) Alice GRENIER NEBOUT (b.1993)Jennifer WESTJOHN (b.1981)Kataryna WIESIOLEK (b.1990)
On view until 2024.07.20
DUMONTEIL Contemporary
8 rue d'Aboukir 75002 Paris
杜梦堂荣幸在巴黎空间DUMONTEIL Contemporary呈现群展 "Vertige", 这是继"PANEL Blue"和"PANEL Pink"后「PANEL」系列的第三次展览，此次展览由Manon Hasselmann策划，汇集了20位关注不同领域、不同创作媒介的艺术家，展现他们多样的思维方式、艺术方法和技巧。DUMONTEIL is pleased to present "Vertige" at DUMONTEIL Contemporary Paris, the third edition of the "PANEL" exhibition series which devotes to a single color as the theme each time. Curated by Manon Hasselmann, this GREEN edition features artworks from 20 artists interested in varied fields and media, bringing together their diverse ideas, techniques, and artistic approaches.
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Vertige installation view at DUMONTEIL Contemporary, ParisPhoto : Diane Arques / ADAGP, Paris, 2024
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Marion ARTENSE GELY
She sings in the Dark I | 她在黑暗中歌唱 I195 x 130 cm
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Marion ARTENSE GELY
Ceramic Totom, Axis Mundi | 陶瓷图腾, Axis MundiEarthenware and luminescent enamels 陶器和上釉珐琅 150 x 50 cm
Marion ARTENSE GÉLY（1995年出生）于2020年毕业于巴黎-塞尔吉国立高等艺术学院（ENSAPC），目前在巴黎生活和工作。她的作品融合了绘画、摄影和雕塑，展示了人类印记从被追逐的领土中消失，揭示了一种缺席感。图像的复杂时间性，描绘了一个新的世界，在这里，元素以独特的本质展现。这种显现可能会超越人类世的时间边界，重新想象神圣。
Marion ARTENSE GÉLY (b.1995) lives and works in Paris. She graduated from the École nationale supérieure d’arts de Paris-Cergy (ENSAPC) in 2020. Her work flourishes at the crossroads of painting, photography, and sculpture, depicting a human imprint fading from coveted territories, revealing a disturbing absence. The temporality of the images unfolds in its complexity, sketching a new world where elements manifest with a unique essence. This emergence could transcend the temporal boundaries of the Anthropocene, in a deliberate attempt to reimagine the sacred.
(b.1986)
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Basile BOON
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Basile BOON
Untitled, to the damned | 无题，致被诅咒的人75 x 50 x 40 cm
Basile BOON
Basile BOON (1986年出生)对材料的专注源于他对动手创作的需求。粘土成为他的媒介，使其创造出既坚固又脆弱的作品，将他的建筑梦想与童年幻想融合在一起。他的陶瓷作品讲述了结合过去意象和当代生活的故事，创造出跨代叙事。Boon的作品起到了宣泄情感的作用，通过古典神话、考古学和现实生活的混合，揭示了深藏在内心的情感。
Basile BOON (b.1986) shifted his focus to materials driven by a need to work with his hands. Clay became his medium, allowing him to create objects that blend solidity and fragility, merging his architectural dreams with childhood fantasies. His ceramics tell stories that combine past imagery with present life, creating intergenerational narratives. Boon's work serves as a catharsis, revealing deep-seated emotions through a mix of classical mythology, archaeology, and real-life moments.
塔玛丽·伯瑞利 (b.1987)
Tamaris BORRELLY | 塔玛丽·伯瑞利Fruits and Jewellry | 果实与宝石Watercolors on gampi paper 甘比纸上水彩65 x 65 cm
塔玛丽·伯瑞利（1987年出生）的作品围绕由生命构成的世界展开，展现着它的蜕变、它的脆弱性和持久性。景观和梦境是伯瑞利作品的核心。她通过对万物融合的探索，质疑现有的物种体系和生物关联性。正如科学家对普世真理的追寻，伯瑞利则寻求创造一个能够通往别样世界的空间。Tamaris BORRELLY’s (b.1987)work revolves around the living world, its metamorphoses, its fragility, and its durability. Landscape and dreaming are at the center of Borrelly’s work. She questions the relationships between species and the biological links through her search for the fusion of matter. Like the scientist seeking to contribute to universal knowledge, she seeks to create a space opening onto another world.
Miguel CHEVALIER
Artificial Paradise | 人造天堂cibachrome under plexiglass 有机玻璃下的彩霸冲印100 x 81 cm
Miguel CHEVALIER（1959年出生于墨西哥城）自1978年以来一直是虚拟和数字艺术领域的开拓者，专注于将计算机作为艺术媒介。他的实验性多学科作品通过计算机工具重新诠释艺术史，探索自然、人造、流动、网络、虚拟城市和华丽设计等主题。Chevalier的作品深刻洞察了人类身份及与世界的联系，确立了他作为当代最重要艺术家之一的地位。Miguel CHEVALIER (b.1959, Mexico City) has been a pioneering figure in virtual and digital art since 1978, focusing exclusively on computers as an artistic medium. His experimental and multidisciplinary oeuvre reinterprets art history through computer tools, exploring themes such as nature, artifice, flows, networks, virtual cities, and ornate designs. Chevalier's work offers profound insights into human identity and our connection with the world, establishing him as one of the most significant contemporary artists.
Daniel DAVIAU
丹尼尔·达维欧 (b.1962)
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Daniel DAVIAU | 丹尼尔·达维欧 (b. 1962)Hedgehog | 刺猬
Patinated bronze, signed, Bodin foundry N° 8/8, 13 x 16 x 12.5 cm
丹尼尔·达维欧（1962年出生）长期专注于铜雕创作，并以濒危物种为创作主题。其动物雕塑作品具有强烈的个人风格，非常现代，生动、细腻而充满情感，并且在技术层面展现了精湛的铜雕表面处理工艺。
达维欧以幽默的雕塑语言表现动物的尊严, 捕捉它们的灵动神态。简洁清晰的线条, 细腻典雅的设计, 无不体现他作为杰出动物主题艺术家前辈中最为才华卓越的代表。
Devoting himself to bronze sculptures, Daniel DAVIAU (b.1962) focuses on representing animals, especially endangered species. Distinctly recognizable, Daviau’s sculptures are modern, sensitive, and full of emotions, with pure lines and composed elegance, demonstrating the superb quality of both bronze casting and "patina" handling skills.
The artist expresses with humor the majesty and captures the caricature attitude of his bestiary. The purity of his lines and the subtle elegance of his design made him one of the most talented representatives of the old and illustrious family of the Animalists.
(b.1985)
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Andrew DRDOS
Claw (the aleph) | 爪（阿勒夫）
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Incantations (green light purple reduction) | 咒语（绿光紫减）
2024
Blown Glass and cast glass | 吹制玻璃和铸造玻璃
70 x 56 x 48 cm
Andrew ERDOS（1985年出生）是一位在布鲁克林工作的新媒体艺术家和雕塑家。他的跨学科作品经常将吹制和铸造玻璃、视频、摄影和装置艺术结合在一起。艺术家精心制作的物体和环境反映了技术、自然、时间、物理和信仰之间相互依存且常常矛盾复杂的关系。
Andrew ERDOS (b. 1985) is a new media artist and sculptor based in Brooklyn. His multi-disciplinary works often combine blown and cast glass, video, photography and installation. The artist’s meticulously-fabricated objects and environments reference the complexity of the interdependent and often conflicting relationships between technology, nature, time, physics and faith.
Rubén FUENTES
鲁本·福恩特斯 (b.1980)
Rubén FUENTES | 鲁本·福恩特斯 (b. 1980)
The Trip to Kassel | 卡塞尔之旅
Rubén FUENTES | 鲁本·福恩特斯 (b. 1980)
Shamanic journey through a Patinir landscape | 卡塞尔之旅
Acrylic and oil on canvas鲁本·福恩特斯（1980年出生）的作品作品结合了丙烯、油彩和传统水墨等技法，以独特的自然景观描绘生命的起源及其蕴含的强大能量，同时展现了艺术家长期作为生态捍卫者的探索与思考。艺术家对主流话语以人为本的可持续发展提出质疑，并试图通过其受东西方绘画传统影响的诗意描绘，在神话和线性时间之间创造一个别样世界。Rubén FUENTES's (b.1980) works, combining acrylic, oil and traditional ink techniques, depict the origin of life through unique natural landscapes while demonstrating his long-term exploration and reflection as a defender of ecology. The artist questions dominant discourses of human-centred sustainability and attempts to create an otherworldly space between mythical and linear times with his poetic depiction influenced by Eastern and Western painting traditions.
Alice GRENIER NEBOUT
Entre chien et loup (At Twilight) | 晦明之间114 x 140 cm
Alice GRENIER NEBOUT
Alice GRENIER NEBOUT（1993年出生）是一位法裔加拿大艺术家，现在巴黎生活和工作。她于2017年毕业于伦敦中央圣马丁艺术学院，获得美术学位。通过她的绘画、壁画和素描，她重新诠释了大自然带来的感官体验，创造出一个迷人、感性且色彩斑斓的未完全失落的天堂。她对神话和生物多样性感兴趣，并密切关注野生世界和静谧的森林。Alice GRENIER NEBOUT (b.1993) is a French-Canadian artist living and working in Paris, graduated from Central Saint Martins in London with a degree in Fine Arts in 2017. Through her paintings, murals, and drawings, she reinterprets the sensations evoked by nature, creating a hypnotic, sensual, and colorful vision of a paradise not entirely lost. Passionate about mythology and biodiversity, she pays close attention to the wild world and silent forests.
查尔斯·哈斯科埃特 (b.1985)
Charles HASCOËT | 查尔斯·哈斯科埃特 (b. 1985)
查尔斯·哈斯科埃特（1985年出生）擅长用直觉式的绘画分享其生活日常，思想和情感。艺术家将自己的个人经历化为充满趣味的谜题，使观众置身于真实与想象不断碰撞的思维状态之中。在以章鱼为主角的画作中，这种神奇生物的绝佳变形能力与画面律动的色彩相辅相成。Charles HASCOËT (b.1985) shares his daily life, thoughts, and emotions through his intuitive paintings. The artist weaves his personal experiences into intriguing puzzles that guide the viewers on a journey between the tangible and the imaginary. In the paintings portraying the octopuses, the mimicry and camouflage ability of this magical creature are matched by the rhythmic colours of the picture.
Yanis KHANNOUSSI
雅尼·卡努西 (b.1996)
Yanis KHANNOUSSI | 雅尼·汗努西 (b.1996)
Untitled | 无题
Paint and varnish on resin
Yanis KHANNOUSSI | 雅尼·汗努西 (b.1996)
Untitled | 无题
Paint and varnish on resin
雅尼·卡努西（1996年出生）对工业图像的技术和材料有着浓厚的兴趣，逐渐发展出在模制树脂上以手势和色彩为主导的绘画技巧，把自己从画布上的二维图像创作中释放出来。随后，艺术家将气枪融入到他的实践中，使最终创作接近工业制造的精工标准，将艺术家的“笔触”和其他自身的”印记”彻底消解。同时，通过强调对形式和色彩的沉浸体验，艺术家试图为难以物化的抽象概念创造类比，如地平线、光的折射等。Having an asserted interest in the techniques and materials used in industrial iconography, Yanis KHANNOUSSI (b.1996) gradually developed his painting techniques predominated by gestures and colors on molded resin, liberating himself from the two-dimensional pictorial creations on canvas. Later the artist has integrated the pneumatic gun into his practice, which imitates the finishing criteria of the bodywork of industry, and de-materializes the gestures and any other “imprint” of the artist. Through accentuating the contemplative experience of form and color, the artist attempts to create analogies for abstract concepts hard to materialize, such as the horizon, the refraction of light, etc.![]()
Checked Out | 退房
Charcoal, oil, and oil stick on canvasHein KOH（1976年出生）是一位布鲁克林的艺术家，她的异想天开的雕塑和绘画作品以拟人化的水果和蔬菜为特色，探索心理健康和社会评论。Koh毕业于达特茅斯学院和耶鲁大学，使用氨纶和乙烯基等材料创作出色彩鲜艳、卡通风格的作品，挑战性别刻板印象和社会规范。她的女性化、挑衅性的角色，如哭泣或吸烟的西兰花，将童年、纯真和性主题与独特的个人幽默相结合，使她与朱莉·柯蒂斯和创世纪·贝兰格等当代女性超现实主义艺术家相呼应。Hein KOH (b. 1976) is a Brooklyn-based artist whose whimsical sculptures and paintings feature anthropomorphic fruits and vegetables to explore mental health and social commentary. A graduate of Dartmouth and Yale, Koh uses materials like spandex and vinyl to create vibrant, cartoonish works that challenge gender stereotypes and societal norms. Her feminized, provocative characters, such as crying or smoking broccoli, blend themes of childhood, innocence, and sexuality with a distinct personal humor, aligning her with contemporary female surrealists like Julie Curtiss and Genesis Belanger.
Eric PILLOT
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Eric PILLOT | 埃里克·裴欧 (b.1968)
Perched Monkey 1906 | 歇脚的猴子 1906
Photography, pigment ink print on fine-art matte paper, pasted on aluminum
埃里克·裴欧（Eric PILLOT，1968年出生）以独特的摄影视角，研究人与自然以及周围环境的关系。他作为工程师的教育背景为其创作增添了一份独特的数理美感。他坚持以“纯粹摄影”的方式，在展现主体本来面貌的同时，创造出另一个充满诗意的图像世界。裴欧广为人知的摄影系列包括：2010年至今的《此处 IN SITU》，2012年至今的《地平线 HORIZONS》，2015年的《此处-美国 IN SITU USA》，以及2016年至今的《隔墙 PAROIS》。Born in 1968, Eric PILLOT is devoted to studying the relationship between humans, our surroundings, and nature through his unique perspective of photography. Pillot's engineer background adds a unique sense of mathematical and scientific aesthetics to his works. He prefers to use "straight photography" to show the subject as it looks, but at the same time to bring you elsewhere, poetic and pictorial. Pillot's well-recognized series include IN SITU (since 2010), HORIZONS (since 2012), IN SITU USA (since 2010), and PAROIS (since 2016).
(b.1990)
Leo NATAF
Guardian of the DJebel | 杰贝勒守护者
Oxidized ceramic, cellular concrete, pigments, aerosol14 x 17 x 66 cm; 25 x 17 x 125 cmLéo NATAF（1990年出生）的作品让观众沉浸在一种触觉体验中，使用泡沫、金属和有机物质，这些材料会滴落、渗出和起泡。他相信：“重要的不是最终的形式，而是材料；它是活的，就像我们呼吸一样。” 他的艺术充满了矛盾和不可预测性，由最初的直觉驱动。纳塔夫刮擦、破坏和揉捏他的材料，将起源与现在融合在一起。他那密集、可见的世界不在于标记时间，而在于触及时间，他的作品以空间或反射的形式呼吸。正如黛博拉·古特曼所说，“绘画是我的灼伤。”
Léo NATAF's (b.1990) work immerses viewers in a tactile experience with materials like foam, metal, and organic matter that drip, ooze, and blister. He believes, "It is not the final form that matters, but the material; it lives, just as we breathe." His art is marked by ambivalence and unpredictability, driven by his initial intuition. Nataf scratches, wrecks, and kneads his materials, merging origins with the present. His dense, visible world is not about marking time but touching it, with his works breathing in the form of spaces or reflections. As Déborah Gutmann aptly puts it, "painting is my burn."
Ugo SCHILDGE | 雨果·席德
Lemon Tree | 柠檬树
2024
Plaster, concrete, pigment and wood
石膏，混凝土，色粉，木材
150 x 180 cm
雨果·席德（1987年出生）独特的创作手法以天然色粉、木材、石膏和混凝土等为主要材料，模糊了绘画和雕塑、画布和媒介、控制和自由之前的界限，同时赋予了作品无与伦比的质感和流动性。他使用的混凝土、石膏和木材等工业建筑材料是人类为谋求城市发展不断侵占、毁坏自然的“帮凶”，但在席德的创作中，它们被用来创造森林、繁花与群鸟，以及大自然中各种脆弱、短暂的生命。Using natural pastels, wood, plaster, and concrete as his primary materials, Ugo SCHILDGE's (b.1987) unique approach blurs the boundaries between painting and sculpture, canvas and medium, control and freedom, while giving the works an unparalleled texture and fluidity. Schildge contrasts the raw materials of construction sites — concrete, plaster, and wood — with generally delicate, fragile, ephemeral, or incandescent subjects. This same concrete, the accomplice of modern urbanism that hinders nature, is used to create a flower, a bird, or a tree. WENG Jijun | 翁纪军
2022
Chinese lacquer, ramie fabric, gold leaves
大漆，苎麻，金箔
26 x 22 cm
WENG Jijun | 翁纪军
Constellation 2020-13 | 集聚 2020-13
2020
Dry lacquer, silver leaves
干漆，银箔
60 x 60 x 5 cm
翁纪军（1955年出生）以大漆为媒介，从大漆自身特性和传统漆艺中汲取灵感，以见微知著的方式将不同维度的世界相互连结。近年来，翁纪军开始更多地关注人对未知世界探索的渴求，用作品折射出科学棱镜之外宏观与微观世界之间的联系。对漆艺的精通则让他能够将所谓的传统“图案”、“纹样”转化为对生命起源的探寻和宇宙形态的描绘。
Drawing inspiration from lacquer, its characteristics, and its tradition, WENG Jijun (b.1955) provides an alternative for us to re-examine our connection with the world in a way that bridges its different dimensions.
In recent years, Weng Jijun has begun to focus more on the human desire to explore the unknown, using his works to reflect the connections between the macro and micro worlds beyond the prism of science. His mastery of lacquer art has enabled him to transform the traditional 'patterns' and 'motifs' into a search for the origins of life and a depiction of cosmic forms.
Jennifer WESTJOHN
Echo | 回声
Fine art print, baryta 艺术微喷，钡地纸Limited edition of 3
140 x 105 cm
Jennifer WESTJOHN（1981年出生）是一位法国自学成才的艺术家，利用摄影媒介探索精神问题和自然界的神秘维度。她热衷于捕捉转瞬即逝的瞬间和自然及人类中的“他处”，她广泛旅行，收集令人难以置信的风景。她的作品旨在揭示万物中的精神，试图探索和达到灵魂的更高境界。
Jennifer WESTJOHN (b.1981) is a French artist who uses the media of photography to bring forth spiritual questions and dive into the sublime depth offered by our natural world in its most mystic dimension. Self-taught, with a passion for the Elsewhere in nature as well as in people. She travels and collects incredible landscapes crystallized in the fleetingness of the moment.Katarzyna WIESIOLEK
ÉCHO X
Dry pigment and pastel on paper 纸上色粉和粉彩Katarzyna WIESIOLEK
LAZ I
Katarzyna WIESIOLEK
Aureoli IV
Katarzyna WIESIOLEK（1990年出生于波兰诺沃加德）先在弗罗茨瓦夫学习，后于2018年毕业于巴黎美术学院，目前在巴黎生活和工作。她主要专注于绘画和摄影，她的作品既不是报告，也不是虚构或叙述，而是关于情感。通过她选择的绘画这一亲密媒介，她唤起了忧郁、无常和转瞬即逝的感觉。
Katarzyna WIESIOLEK (b.1990, Nowogard, Poland), who lives and works in Paris, first studied in Wrocław then graduated from the Beaux-Arts de Paris in 2018. Focusing mostly on drawing and photography, her works, neither report, fiction, nor account, is essentially about emotions. Using the intimacy of her chosen medium, drawing, she evokes melancholy, impermanence, and transience.俞杨 (b.1989)
Yesterday’s Letter| 昨日信
130 x100 cm
俞杨 (Nisky, 1989年出生于上海）的绘画作品源于其对美术、音乐、文学与电影的多元理解。“超拼贴”是Nisky近年来从创作体验中提炼出的一个新概念。“超拼贴”超越了拼贴的界限, 在重构原始材料的“语法结构”的基础上, 把不同范畴的两种材料整合成一个“更高层次的统一体”, 达到“完全的渗透”。艺术家选择具有“丰富的矛盾”的材料, 保留这种“争斗”来避免与传 统相互隔离, 让传统以此得到全新的生命力。
Nisky YU's works are the result of an ever-lasting cross-disciplinary interest in fine arts, music, literature, and cinema. “Metacollage” is a new concept evolved from the artist’s practice on paper and canvas — an attempt to “surpass the limits of collage” and to form a “superior unit” between painting and other art forms, based on the “syntactic structure” of different materials through a chain of chemical reactions, ultimately to attain a “complete osmosis”. For this creative enterprise, the artist opts for materials that are rich in contradictions and struggles, thus revisiting traditions while moving forward.
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