Paris

Otobong Nkanga, Dolphin Estate, 2008, Photograph
2008

Born in 1974, Kano, Nigeria, Otobong Nkanga lives and works in Antwerp, Belgium.

Nkanga makes use of different mediums like drawing, performance, photography video or installation to put forward observations and sensations of the everyday influences in our social developments, environment and culture. Her works refers to autobiographical narratives and social ecological realities of spaces of her homeland and places she encounters.

CAMP, The Annotated “Gujarat and the Sea” Exhibition, 2011, Photographic Installation
2011

The Annotated "Gujarat and the Sea" Exhibition is a collateral project within the larger body of work around the Indian Ocean, entitled “Wharfage” (2009-13) which has included over the years a radio event, several books and a film. “Boat Modes” (2009-12) dealt with the modalities of maritime life on ships and in ports between UAE, Southern Iran, India and Somalia, using photographs, texts and film based on mobile phone videos made by sailors.

Haig Aivazian, At every sunset, I think of you, 2013, charcoal and pastel on paper
2013

This work is part of an ongoing project that looks at international sports competitions as a revealing element of nationalistic aspirations which present contradictions.

The starting point of this work was inspired by private companies which were responsible for the security of the Olympic Games in England and also supply equipment for immigrant detention camps and prisons.

Edith DEKYNDT, Dead Sea Drawing, 2010, video projection
2010

The raw materials used in Edith Dekyndt’s work are as intangible as the light, the wind, magnetic waves or the cold…
This artist has conceived works for many years, which she considers “neither spectacular, nor consumable”. She questions the relationship between the world of facts, science and experience on one hand and an eminently subjective approach to the world in what she calls a “universal search of subjectivity”.

Laure Prouvost, Stong Sory Vegetables, 2010, installation with vegetables and video, 3min20
2010

Laure Prouvost’s generous and abundant work combines language and images to tell stories, which are appealing and disturbing. Her work includes videos, paintings, ready mades and sound installations that explore the limits between fiction and reality. Using the narrative potential of objects and the stereotyped codes of cinema, the artist leaves open to the imagination what errors of translation can inspire and thus, questions the norms.

Marc Nagtzaam, Installation #1, 2014, wall drawings
2014

Nagtzaam’s medium is drawing and his repertory of forms varies from abstract hard-edge and wall drawing to the reproduction of written material that he collects from art magazines. The artist uses abstract architectural elements that he reproduces on the wall in which he inserts drawings, elements from photographs and drawings of texts collected from art magazines. The repetition, control and imperfection of the movements create a tension, a particular vibration in his geometrical drawings and in the drawings of texts.

Rachel Rose, A Minute Ago, 2014, video, 8’43”
2014

Rachel Rose’s work tackles the growing complexity of defining the limits between life and death. Focusing on contemporary zoos, robotic laboratories, Philip Johnson’s Glass House as well as the arrangement of publics parks in the 19th century, Rachel Rose uses video as a tool to put death in perspective. These places force us to confront our own vulnerability with respect to natural disasters and the impact of humanity on nature.

Fabien Giraud & Raphael Siboni, 2045 – The Death of Ray Kurzweil (Série « The unmmaned »), 2013-2014, Video, 26 min
2014

The collaborative work of Fabien Giraud and Raphael Siboni is lodged within a reflection on cinema history and that of sciences and technique. For them cinema is a technological invention that has fundamentally transformed man’s relation to the world. It’s simultaneously a “vision machine”, which alters our perception of the world, as well as a “reasoning project”, because it transforms our comprehension of the world.

Marwa Arsanios, Carlton Hotel project, 2008, installation
2008

Through a strategy of collecting and archiving, Marwa Arsanios examines historic traces relating to the modernization of the Arab states (Lebanon, Egypt…) Her work focuses on urban planning in Beirut, where, informed by gender studies, she interprets, specific buildings through a lens of feminism. Hovering over the boundary between reality and fiction, her research-led practice results in specific moments in works of different mediums such as installations, texts, films and performances.

Marwa Arsanios, I heard stories, 2008, video
2008

Through a strategy of collecting and archiving, Marwa Arsanios examines historic traces relating to the modernization of the Arab states (Lebanon, Egypt…) Her work focuses on urban planning in Beirut, where informed by gender studies, she interprets, specific buildings through a lens of feminism. Hovering over the boundary between reality and fiction, her research-led practice results in specific moments in works of different mediums such as installations, texts, films and performances.

Setareh Shahbazi, Spectral Days, 2013, print
2013

Setareh Shahbazi’s projects often begin with photographs: images from collections, snapshots taken by the artist, family photos, film stills, postcards and newspaper clippings. With a playful irreverence to the sanctity of a photograph as a mirror of reality, Shahbazi drains details out of images. Using digital manipulation, she breaks down images into visual components, and seamlessly reorders what she extracts into new compositions that are at once familiar and strange.

Etel Adnan, Untitled (Beirut), 2010-11, Oil on canvas, 24 x 30 cm
2010

Etel Adnan is a Lebanese artist born in 1925 of a Greek mother from Turkey, and an Ottoman father born in Syria. She has lived in Lebanon, in Paris and in the USA, particularly in California. Although, Etel Adnan’s parents spoke Turkish to each other she went to French schools in Lebanon and then studied at the Sorbonne, Berkeley and Harvard. She thus has a hybrid, multicultural ethnic background, which is somewhat reflected in her diverse careers: as a philosopher (she taught philosophy for many years), poet, novelist, documentary film scriptwriter and painter.

El Hadji Sy, No.13 Esprit de l’Univers, 1981, oil on canvas, 95 x 111 cm
1981

El Hadji Sy is an important figure in the critical movement that followed Lépold Sedar Senghor´s Négritude ideology. Senghor supported El Hadji’s work from the start and continued to follow it, but they came together again in another cultural policy initiative, inaugurated by Senghor: the famous Villages des Arts. The village is a co-operative for artists in Dakar where each one has a professional studio.

Andrei Monastyrski, Golden Lines, 2006, C-Print, 10 x 15 cm
2006

Andrei Monastyrski and Collective Actions (Kollektivnye Deistvia)

Collective Actions Group initially composed of four members, Andrei Monastyrsky, Lev Rubinstein, Nikita Alekseev, and Georgii Kizevalter and was formed in 1976 in Moscow. By 1979 the group grew to seven, and has expanded since. It was one of the more prominent performance groups of the late Soviet era, CA has conducted over 125 actions in the rural surroundings of Moscow. The group is still active today, meeting several times per year.

Andrei Monastyrski, Golden Lines, 2006, C-Print, 10 x 15 cm
2006

Andrei Monastyrski and Collective Actions (Kollektivnye Deistvia)

Collective Actions Group initially composed of four members, Andrei Monastyrsky, Lev Rubinstein, Nikita Alekseev, and Georgii Kizevalter and was formed in 1976 in Moscow. By 1979 the group grew to seven, and has expanded since. It was one of the more prominent performance groups of the late Soviet era, CA has conducted over 125 actions in the rural surroundings of Moscow. The group is still active today, meeting several times per year.

Andrei Monastyrski & Collective Actions, Aktionsplan (Map), 1992, copy paper and drawing, 102x129 cm
1992

Andrei Monastyrski and Collective Actions (Kollektivnye Deistvia)

Collective Actions Group initially composed of four members, Andrei Monastyrsky, Lev Rubinstein, Nikita Alekseev, and Georgii Kizevalter and was formed in 1976 in Moscow. By 1979 the group grew to seven, and has expanded since. It was one of the more prominent performance groups of the late Soviet era, CA has conducted over 125 actions in the rural surroundings of Moscow. The group is still active today, meeting several times per year.

Taus Makhacheva, Let Me Be Part of a Narrative, 2012, Three screen video installation
2012

For Taus Makhacheva, the wild, untamed side of human nature is often the foundation of many of her formal investigations. A leading voice of the younger generation based in Moscow, Makhacheva works with sculpture and installation while her preferred medium remains video. Her Dagestani (Northern Caucasian) roots draw her to this rugged land as her site of choice for many of her works. She digs into the cultural shifts and changes that overwhelmed this land during a state of post-soviet disorientation.

The Paris Collection, established in 2001, is not bound by geography or media and consists of works by artists from many different regions. Its particularity is also to support artists through commissioned productions.

Besides the founding family members, and the Kadist-Paris staff, the Paris Collection committee comprises Jeremy Lewison, advisor, critic and curator, Rozenn Prat, Professor of Visual Arts, and Jean-Marc Prevost, director of the Carré d’Art, contemporary art Museum of Nîmes.