Paris

Em'kal Eyongakpa, Untitled 1, 2011
2011

Em'kal Eyongakpa was born in Cameroon in 1981. After obtaining a postgraduate diploma in Botany and Ecology, he decided to concentrate exclusively on visual and sound art. His use of poetic, symbolic and surrealistic imagery is often sprinkled with paradoxes that challenge the obvious. His work explores human conditioning over time in relation to information, ideological consumption, freedom and identity crises.

Em'kal Eyongakpa, Untitled 21, 2013
2013

Em'kal Eyongakpa was born in Cameroon in 1981. After obtaining a postgraduate diploma in Botany and Ecology, he decided to concentrate exclusively on visual and sound art. His use of poetic, symbolic and surrealistic imagery is often sprinkled with paradoxes that challenge the obvious. His work explores human conditioning over time in relation to information, ideological consumption, freedom and identity crises.

Dominique Zinkpè, Cosmos animiste, 2012
2012

Dominique Zinkpè's works with a wide range of materials, from jute to used cars to “hôhô” figures, which come from the Cult of Twins in southern Benin as a voodoo religion symbole of fertility. His portfolio is continually morphing between mediums and subjects, tackling issues such as intimacy, sex, the sacred and the profane while linking ancestral culture with the contradictions found in today’s world. These sketches of tumultuous human drama are infused with elements of irony and satire to reveal Zinkpè’s most disturbing and arresting constructs of the imagination.

Hayoun Kwon, Lake of evidence, 2011
2011

Lack of evidence is the account of a Nigerian called Oscar exiled in France, which confronts a historical and social reality with a personal and intimate testimony. Taking as a point of departure Oscar's request for asylum in France, this fictional document is a peregrination on the different levels of the reconstitution of memory and the subjectivity of its interpretation.

Köken Ergun, Ashura, 2012
2012

The Battle of Karbala was a military engagement that took place on 10 Muharram, 61 AH (October 10th, 680) in Karbala, situated in present day Iraq, when Hussein, the grandson of the prophet Muhammad, was killed. This battle is central to Shia Muslim belief in which Hussein's martyrdom is commemorated each year, in a celebration called Ashura which symbolises the birth of Muslim division still at issue today between the Shia and Sunni.

Paul Czerlitzki, Ohne tittle, 2014
2014

In this painting made in 2014, which is part of a series started in 2013, the artist dismantles the traditional painting process. Putting aside any formal intervention, the artist lets the membrane slowly soak up white monochrome paint through a transferring technique before removing it. In some places the structure of the canvas can be seen, while other places of the canvas are purposely blurred to evoke the texture of the material used.

Nora Schultz, City song of rug, 2013, installation (carpet, synthetic, foam, acrylic paint)
2013

Halfway between a painting and an installation City Sound of Rug gathers found images, synthetic foam, painted metal plates, and prints placed on the floor. Rugs are elements representative of commerce and related to the idea of territory, handicraft and community. In City Sound of Rug, the rugs are used as surfaces upon which prints are manually made. The traces of paint on the synthetic foam and the paint transfers from one rug to another, enable the spectator to see the materials used as tools, elements that constitute the structure of the installation.

Hossein Valamanesh, Runner, 1999, installation (Sand, lotus leaf on canvas and Persian rug)
1999

In Runner there are two elements:a big painting and a rolled Persian rug. The rug refers to Iran’s cultural history. The travelling tribes used to transport rugs through the desert on camels or horses so that they would always have a comfortable place to sleep and dream. The oldest known rug is from the 6th century before J.-C. The rugs’ iconography is related to the mythical Paradise garden. The rug used  in Runner refers to the idea of moving in space to emigration and the artist’s story.

Lee Kit, Tender, 2012, installation
2012

The work Tender is composed of several elements: a porcelain spoon, a florescent lamp box, a small portable night light, a shelf with nearly invisible embossments of flowers and a jar of jam resting on a black plastic tray. The cardboard painting is made of acrylic and inkjet ink on which we can read Tender. Tender is a brand of extra soft tissue paper, it refers to an intimate comfort but results in a sentiment of melancholy and absence. This installation is made of universal elements.

Uri Aran, Game II, 2014, mixed media (Framed work: inkjet transfer, waterbased colour ink and china marker on photo paper)
2014

Like much of Aran’s work this sculptural installation is akin to a riddle. It has no exact meaning, and it can be somewhat frustrating, yet with careful inspection it begins to reveal unexpected information. In his 2014 exhibition at Peep-Hole, Milan, where this work was shown, Aran referred in a series of new works to Mancala games. These ancient pastimes (popular throughout the Middle East, Africa and Asia) typically employ a perforated board and pieces formed out of seeds or stones.

2014

Tourisme International was shot as the recording of a show on the scale of a country. In the urgency of perpetual travel, this tourist journey visits monuments, museums, institutions presented by North Korean guides whose voices we do not hear. Marie Voignier entirely redesigned the sound of each sequence in post-synchronization, making only the living experiences of footsteps and rustling of clothes audible, to create a new universe, disconnected from the official discourses.

Vivek Vilasini, Housing dreams walls, 2014
2014

In his work Housing Dreams Walls, the houses photographed are from a closely-knit locale in Kerala – a significant and rapidly popular pattern in this part of the country. The pattern of richly colored and aggressively decorated residences symbolizes prosperity and exudes a sense of security – both financial and social. Although the vocabulary of aesthetics can be termed kitsch, the idea is to understand the underlying expression in the ostentatiously and vibrantly decorated households and giving them some sense of individuality, reflecting their owners’ personalities.

Meschac Gaba, Hubert Maga, 2010-2011
2010

The headdresses, woven from artificial hair braids, symbolize historical icons including Martin Luther King, Kwame Nkrumah, Fela Kuti and King Guézo of Dahomey. The wigs portraying these grand figures also unambiguously recall Africa to mind. By declaring Cotonou, one of Benin’s cities, the Art Museum of Real Life, and by having thirty white-clad figures wearing Gaba's latest series of tresses cross through it, he draws attention to the urban space and its inhabitants’ strategies of survival and improvisation.

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.