Welcome PageRESEARCHART CURATIONThe clarity of the labyrinth DetailsBettina SamsonClaire-Jeanne JézéquelJeppe HeinPierre LabatStéphanie NavaRémy RivoireChristine SibranFACULTY EXHIBITIONS TEACHINGDESIGN PROJECTSCV

Research practice based in Paris, and Sydney
Reflections on art, architecture and public space

Sheffer Gallery, Sydney
11-20 April 2018
Artists: Eric Stephany, Maxime Thieffine, Claire-Jeanne Jezequel, Sarah Tritz.
Curator: Laurence Kimmel
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January 2017
Warehouse of art collector Tristan Guilloux, Lyon, France.
Curator: Laurence Kimmel
Vesna Trobec, Drifters, Carbon pencil on paper, 2016
Michael Tawa, Anatomy of atmosphere, video, 2014
Katrina M Simon, multiple works from 2010 until 2016
This exhibition is a bridge between countries (France and Australia) and also a bridge between disciplines, as the three artists are also architects or landscape designer.
The drawing Drifters, by Vesna Trobec (artist and architect) is made in relation of the movie Werckmeister Harmonies by Béla Tarr (2001). She did project the movie on the paper, and made the drawing as a performance. The shadow of the artist might have intertwined with the profiles of the characters of the movie “The work is about the transformation of physical and psychic geometries between one self and another while moving through space” says VesnaTrobec.
Michael Tawa (Professor at the Faculty of Architecture of Sydney University) presents a video displaying the notion of atmosphere in architecture through a montage of poetical sequences, sometimes linked to moments of his personal life. A set of photographs (stills from the video) and a constellation of definitions of words (Atmosphere and other related words) create a work as sensitive and philosophical journey.
Katrina Simons medium is the materiality of painting. As an artist and landscape architect, she explores two key areas: the visual language of cartography and the socially sanctioned spaces of bodily disintegration, like cemeteries. This exhibition displays an array of paintings that gets a status of map. A cut map (through different networks) becomes three-dimensional in a vase. Some paintings made through a print gesture are displayed, and present in a minimalist way what can also be seen as an spreading on the floor.
September 2016
Sheffer Gallery, Sydney
Selected for Sydney Design Week 2016
Curator: Laurence Kimmel
Claire-Jeanne Jezequel
Marie Reinert
Geraldine Trubert
Vesna Trobec
Michael Tawa
Samantha Donnelly
This exhibition is a bridge between disciplines architecture, cinema, art and between countries France and Australia. Based on the idea of DRIFT, a selection of drawings, paintings, videos, and texts have been on display at Sheffer gallery.
One part of the exhibition presents work by French artists Géraldine Trubert, Marie Reinert and Claire-Jeanne Jézéquel. A version of the exhibition was shown in Berlin in JulyAugust 2015, and is visible on the website of the gallery: http://www.lage-egal.de/exhibitions/ungefaehr-vier/. These three French female artists have never exhibited in Aus-tralia before.
The second part of the exhibition presents works resulting from a research through art making and writing of essays. Works relate to the notions of shift and drift in architecture in film or in architecture of film, and in particular in two movies: The Conformist by Bernardo Bertolucci (1970) and Werckmeister Harmonies by Béla Tarr (2001).

Claire-Jeanne Jezequel, Still movie 2, 2016
Geraldine Trubert, PLANTÉS LÀ, 2013
Notebooks with 20 drawings, black pencil, Hahnemühle paper, 140g - 21 x 29.7 cm
Geraldine Trubert, Métal et béton, 2013-15
Drawings on trace paper, print on alusheet, 9 x 12,5 cm
3 numbered and signed sets
Marie Reinert, Fouille, 3 videos (6mn15), 2007
Vesna Trobec, Drifters, Carbon pencil on paper, 2016
The work is about the transformation of physical and psychic geometries between one self and another while moving through space.
Samantha Donnelly, Il Conformista_#01 to 21, photocopy, pastel, pencil, 2016
Laurence Kimmel, Radical, 2013
Michael Tawa, Anatomy of atmosphere, video, 2014
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03 July- 21 August 2015
Galerie Lage Egal, Berlin, Germany
Visiting curator: Laurence Kimmel
Claire-Jeanne Jezequel
Geraldine Trubert
Lorraine Pellegrini
The artists united in the exhibition #UNGEFÄHR VIER question the architectural qualities of places: opening the drawings space, opening the gallerys space, and reconfiguring them through new radical intensities and structures. From the dissemination, even disappearance of limits, emerge new strong materialities of lines and plans. The intervention in space is led with radical means and gestures. The punk elegance of the artists could not be better expressed than in Berlin.
The drawings and watercolours on paper by LORRAINE PELLEGRINI, "De la mouche à l'asticot" (from the fly to the worm) were conceived around simple lines and colours "in crisis with the threatening void". The writings convene literary space in the drawing, the references to art history are disseminated in it, especially the ones that are essential for the artist, like Kafka.
With her installation "Still movie", CLAIRE-JEANNE JÉZÉQUEL deconstructs the wall, divides it, opens it by the arrangement of metallic profiles. She creates a new horizon which unites and divides space. The volumes of plaster she usually uses have pure materialities and colours, who reveals the environment by a set of point and counterpoints, in particular by coloured oppositions. The black spayed trace opens here another space, and strangely a space of photographic images, and also of film images through the unrolling of trace. In her work, these terms have to be taken in the material, plastic, and concrete sense.
GÉRALDINE TRUBERT's series of pictures "Métal et béton" (2013/2015) shows different points of view and scales, and at the same time a drawing gesture which builds an architectured space and puts the elements of the series in tension. The rhythm of the city is taken in an immobility, which still maintains the tensions between points of view. The black spray on trace used by Claire-Jeanne Jézéquel fixes also this immobility, this fusion of images. It shifts towards the timeless fuzziness of images. A note is held, like in music, by radical plastic choices. Bertold Brecht ordered us to maintain simple and radical gestures inside a complex critical work. That's maybe the only way.
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Artists are chosen based on their work on space, through sculpture or installation. Artists united in this exhibition are exploring spatial matters in the gallery space in Sydney, in a broader context of a geographic or cultural link with France.
Eric Stephany is exploring the sense of virtual by the means of tangible sculptures and installations. The virtual is taken in the sense of Elizabeth Grosz: a potential to expand and transform our real space. This potential has in the field of architecture premises in history, like for example with representation in section. A section represents the inside of walls as we will never see them in real space. The same happens with elevations, but sections are especial-ly challenging, with its gap from the real. Architect Jean-Jacques Lequeu did explore sections in an artistic way, and artist Eric Stephany based some of his works on Lequeu's exploration, seen under the lense of Marcel Duchamp. Eric Stephany will create an installation for this exhibition that will challenge the relation between interior and ex-terior of the gallery space. He will explore the geographic link between France and Sydney through his spatial installation, materialized by a spatial axis.
Artist Maxime Thieffine projects a video on the ceiling, and gives the impression to open the gallery space. With the works Holothuroidea and Comatulida, he explores the material and sculptural aspects of scanning and printing devices. He creates pictures out of scanned pixel like real materials, like glitter or make up. The image of feminity is at play. The intertwining of scanned objects and lines of the scanning device creates like textile threads.
Directions on the works on sculpture and collage led by Sarah Tritz are inspired by surrealist artists, and create new virtual perspectives and spatial intensities in the gallery space through the use of heterogeneous low-tech materials.
Sarah Tritz, Untitled, 2011
L'exposition porte sur le thème du labyrinthe résultant dun travail sur le pli. Au début de son ouvrage Le pli Leibniz et le baroque (1988), Gilles Deleuze décrit le labyrinthe comme « multiple, étymologiquement, parce quil a beaucoup de plis. » De micro-événements sociaux à léchelle de larchitecture et du paysage, lexposition se concentre sur les images mentales créées par les œuvres exposées. Dans ces images, le labyrinthe nest pas symbolique mais juste esquissé, plein des évocations de mouvements et dimaginaires abstraits. Que ces labyrinthes soient physiques, mentaux, appréhendés à la petite ou à la grande échelle, dans une « petite histoire » ou par le biais de la « grande histoire » des quartiers de la ville contemporaine, les artistes explorent librement ces topologies dans lespace de la galerie, ouverte elle-même sur le ciel de la ville par une succession de niveaux et dambiances. Laspect "piranésien" coexiste avec la "clarté" corbuséenne des formes sous le soleil méditerranéen.

L'exposition sest accompagnée de conférences:
Jeudi 6 mai 2010 : 19h Véronique Fabbri, philosophe : Le labyrinthe chez Walter Benjamin.
Samedi 15 mai 2010 : 17 h Karen Tanguy et Albane Duvillier (foldedspace), commissaires dexpositions.
6 au 29 mai 2010
Galerie des grands bains douches de la Plaine, Marseille, France.
organized during 'Printemps de l'art contemporain', 14/15/16 Mai 2010 in Marseille.
curator: Laurence Kimmel
Jeppe HEIN (sculpture)
Claire-Jeanne JEZEQUEL (relief)
Pierre LABAT (installation)
Stéphanie NAVA (dessins et installations)
Rémy RIVOIRE (installation)
Bettina SAMSON (sculptures)
Christine SIBRAN (photographie).
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June 2015
Creative Space, Sydney
Curator: Jerome Diacre
Organization and exhibition setting: Laurence Kimmel
David Renaud
Frederic Lecomte
Jeremie Bruand
Sammy Engramer
Sanjin Cosabic
Geoffroy Gross
Maud Vareillaud-Bouzzine