Neil Beloufa L’Ennemi de mon ennemi Palias du Tokyo From 16/02/2018 to 13/05/2018 Photo (c) Palias du Tokyo In Paris, it is not every day that you are hit with a racist video on entry to an exhibition. But […]
Chris Wiley: For your retrospective All last year at the Guggenheim, you hung every work you’ve ever made from a massive armature in the middle of the rotunda. It was like a giant puppet show or an elaborate mobile—a work […]
Kathleen Buehler: How do your works relate to the world we’re living in or to the reality we perceive? Would you say that you depict a possible different world or a world we can dream about, or that you are showing […]
“The despot dies smiling, he knows that after his death, tyranny only changes hands, and servitude has no end “ Heinrich Heine, King David, 1851.
Conversation between Rodrigo Arteaga, Raisa Bosich and Pablo Rodríguez Wednesday February 17th, 2016
Julie Estève: Your works use leftovers, everyday items and sometimes even garbage. What direction do you push them in? Pascale Marthine Tayou: We are into incomprehension, so that’s where I push objects. Choosing an object allows me to give it […]
In Summa Theologica, Thomas Aquinas distinguished « the vice of curiosity » from « studiousness » as the reason is studiously focused on the object. Although « the knowledge of truth is good in itself, this does not prevent a man from misusing the knowledge […]
An object, a simple object of a daily life, what could be more mundane? What can it bring to our life apart from serving it’s purpose? How many pants do you own or how many shoes do you buy a […]
In L’Image ouverte1, Georges Didi-Huberman makes a distinction between the « visible » and the « visual ». The author warns against the superficiality of the visible, which attaches a screen to the visual, therefore the viewers are deprived of their own personal projection […]
The project 100 YEARS – 100 ARTISTS took place on October 29th at Hôtel de l’Industrie in Paris. At the occasion of the 100th anniversary of the Armenian Genocide, Patricia Kishishian, Sobering Gallery Director, decided to imagine two projects
Rodrigo Arteaga’s work deals with the degrees of nature representation. The artist’s creation process is at the intersection of disparate sciences or knowledges such as anatomy, botany, cartography and astronomy.
ANNUAL Magazine : “Aghet” means “catastrophe” in Armenian and it refers to the genocide of a million and a half Armenians within the Ottoman Empire organized by the nationalist Young Turk party (C.U.P) from 1915. At the occasion
ANNUAL Magazine : Your previous show at Sobering Gallery is entitled Screen Memories (March 12th – April 14th, 2015) as a reference to Sigmund Freud’s Psychopathology of Everyday Life. Do you consider the ambiguity
At the occasion of the Centenary of the Armenian Genocide, Sobering Galerie created an event entitled 100 YEARS – 100 ARTISTS. The gallery invited 100 international and emerging artists to give a work for a special auction
Twenty one Murano glass sculptures form the mysterious heart of Invisible Powers, the work and installation of Triny Prada for the Bembo Palazzo. Leaned against a long wall and placed on small white shelves in two rows, these soft
Paul Winstanley, who paints from photographs, uses a process of accumulation of images and then, removing some parts of it or drawing the eye of the spectator to a detail he highlights, he redesigns them entirely.
ANNUAL Magazine : Inspired by your imaginary travels, you create landscapes in which are superimposed plant and animal patterns, textures and techniques. Your technique explores the limits of the pictorial tradition