META

TOUS LES ARTICLES

• 

  Administrateur

  www.mathilderoussel.com

  Expositions

  Il y a 8 ans

  / À propos

  Expositions personnelles
  
  2016 : Atlas, Galerie Item éditions, Paris, FR
  2015 : Mass Production, The Invisible Dog Art Center, commissariat : Gaelle Porte, Brooklyn, US
  2015 : Training Session, Pioneer Works, commissariat : Gaelle Porte, Brooklyn, US
  2015 : Cuirasse, commissariat : Gaelle Porte, Galerie du Haut Pavé, Paris, FR
  2012 : Anatomia Botanica, Cheekwood Botanical Garden & Museum of Art, Nashville, US
  
  Expositions collectives
  
  2017 : Old Dream, collection Dorith et Serge Galuz, commissariat : Ann Stouvenel, Mains d'Œuvres, Saint-Ouen, FR
  2017 : Propositions inédites, Galerie Item, Paris, FR
  2016 : Petits Formats, Galerie du Haut Pavé, Paris, FR
  2016 : The Drawing Hand, Gallery Magda Danysz, Shanghai, CN
  2016 : La Main qui dessinait toute seule, Galerie Magda Danysz, Paris, FR
  2015 : Disparitions, Honoré, Galerie rueVisconti, Paris, FR
  2015 : A l’ombre d’Eros, commissariat : Marie Deparis & Magali Briat-Philippe, Monastere Royal de Brou, FR
  2015 : Ce n'est pas une heure pour les histoires de revenants. Rentrons., commissariat : Yannick Langlois, Villa Belleville, Paris, FR
  2014 : Solstices, Galerie ACY & Galerie DDC, Paris, FR
  2014 : Paper Biennial 2014, Museum Rijswijk, The Hague, NL
  2014 : FID Prize 2014, Drawing Box Gallery, Tournai, BL
  2013 : No limits just edges, Café A / Maison de l'architecture, Paris, FR
  2013 : D Dessin, drawing art fair, Galerie DDC, Paris, FR
  2013 : Kama e Sesso, Triennale Design Museum, Milan, IT
  2012 : Series of Lines, Galerie DDC exhibition at Laptop, Paris, FR
  2012 : Chic Dessin, drawing art fair, Galerie DDC, Paris, FR
  2012 : La Poétique de l'espace, Galerie DDC at Galerie Laurent Mueller, Paris, FR
  2011 : Prix de Sculpture de la MAIF, artist nominated, Le Bal, Paris, FR
  2011 : Matisse was there, Galerie DDC at Marc Lenot / “Lunettes Rouges”, Paris, FR
  2011 : 56ème Salon de Montrouge, commissariat : Stéphane Corréard, FR
  2010 : Crossing the Line FIAF Festival, FGH Theater, French Institute Alliance Française, New York, US
  2010 : Crossing the Line FIAF Festival, The Invisible Dog Art Center, Brooklyn, US
  2010 : Minds over Matter: Botanicals, The Old American Can Factory, Brooklyn, US
  2010 : Brooklyn Utopias: Farm City, Old Stone House Gallery, Brooklyn, US
  2010 : The Last Supper Salon, 3rd Ward, Brooklyn, US
  2009 : Dumbo Art Under The Bridge Festival, Brooklyn, US

  Suite

  
• 

  Administrateur

  www.mathilderoussel.com

  Démarche

  Il y a 8 ans

  / À propos

  Dans mon travail, je cherche à enregistrer les transformations du corps contemporain et à comprendre comment il s’adapte aux transformations du monde qu’elles soient culturelles, scientifiques ou environnementales.
  D’autre part, j’essaye de replacer le corps dans le contexte du monde vivant. La transmutation de structures organiques en formes minérales me permettent de travailler sur des formes de traces qui indiquent en volume le passage du temps biologique.
  Je travaille les matériaux que je sélectionne comme des organismes vivants à travers leurs différents états. Le papier plat ou broyé sous forme de pulpe est travaillé comme une membrane souple ou une chair qui durcit. Je cherche à donner du volume à la surface et de la surface au volume. Ces explorations me permettent de considérer le corps comme une enveloppe, une frontière à travers ses états de transformation.
  Par l’incision, l’ouverture, le recouvrement et la suspension je contrains les formes que je produis à trouver leur place dans l’espace, à exprimer et à révéler le mouvement qu’elles contiennent en elles. Les tissus musculaires m’intéressent particulièrement dans la relation qu’ils entretiennent avec la gravité. Le muscle est à la fois une forme passive et une forme active, capable de se soustraire de la gravité lorsqu’il se contracte ou au contraire de s’abandonner à son propre poids lorsqu’il se relâche.
  Incarnation
  Mes recherches tournent autour de l’idée d’incarnation, c’est à dire la manière avec laquelle la vie prend chair, comment elle rentre dans la forme. Par l’incision, l’ouverture, le recouvrement et la suspension je contrains les formes que je produis à trouver leur place dans l’espace, à exprimer et à révéler le mouvement qu’elles contiennent en elles. Les tissus musculaires m’intéressent particulièrement dans la relation qu’ils entretiennent avec la gravité. Le muscle est à la fois une forme passive et une forme active, capable de se soustraire de la gravité lorsqu’il se contracte ou au contraire de s’abandonner à son propre poids lorsqu’il se relâche.
  
  Transmutation
  Je travaille aussi autour de l’idée de transmutation, c’est-à-dire la manière avec laquelle la matière du vivant passe de l’organique au minéral ; du volume à la surface ; de la vie à la mort. Je travaille les matériaux que je sélectionne comme des organismes vivants à travers leurs différents états. Le papier plat ou broyé sous forme de pulpe est travaillé comme une membrane souple ou une chair qui durcit. Ces explorations m’amènent à considérer le corps comme une enveloppe, une membrane, une frontière.

  Suite

  
• 

  Administrateur

  www.mathilderoussel.com

  Matt Christy

  Il y a 8 ans

  / Textes

  

  Matt Christy, Arts Papers, July/August 2012
  
  The French artist, Mathilde Roussel's show Anatomia Botanica (March 24–May 13, 2012) at Cheekwood Botanical Garden and Museum of Art is an installation of sculptures and drawings that makes explicit the biological and anatomical relationship between plant life and the human body. Echology, 2012, is a series of large, clear, glass jars on pedestals with text etched into each one. A jar of bark is labeled "SKIN". A jar full of pollen is labeled "SPERM". A jar containing sap is labeled "BLOOD", and sticks represent bones. For Roussel this anthropomorphic view of nature is justified by an abundance of literal, linguistic, and metaphoric similarities.
  
  In 25.08.79, 2012, two bodies sculpted out of dirt and wire mesh seem to float in the gallery in dramatic gestures and are covered in green wheatgrass. Although most of their features are lost in the grass, the fingers are carefully crafted, long and thin. Their bodies are contorted as if they are falling or flying in ecstasy or in pain.
  
  In Fertile Landscape, 2012, Roussel put a series of white ceramic pods on the floor in the corner of the gallery with thin, green wheatgrass growing out of narrow holes in the tops of the pods. Their round shape subtly suggests breasts but their handmade loppiness made them look also like white onions.
  
  To bridge the gap between her audience and nature, Roussel recalls the old identification of nature as nurturing and feminine. To engage an audience severely alienated from their place in the natural world requires a certain mystification: the literal refashioning of plant bodies into shape of human bodies. An attempt at sympathetic magic, Anatomia Botanica recalls the ancient idea of earth as mother. But it is worth remembering that the conflation of nature with the feminine was also used by those in power to justify the exploitation of the land. Carolyn Merchant in her book The Death of Nature: Women, Ecology, and the Scientific Revolution describes how with the rise of mechanistic rationality and industrialized production came the view of feminine nature as wild, fecund, chaotic, and in need of control. The goal was no longer to take nature as an interrelated, organic whole but to redesign nature in the ostensibly rational image of man.
  
  It is perhaps Reste, 2011 – seven large cut-paper forms that droop on the wall – that best navigates the reenchantment between natural forms and human bodies. Black graphite covers both sides of the paper creating shiny, almost metallic surfaces. Roussel has cut the paper into thin-ribbed strips that creates delicate fern like forms. Some are as large as human bodies and protude from the wall, calling to mind a series of dual associations: the way human skin droops and folds or the way leaves curl, the lined stacking of muscle tissue or the repetitive layering of palm fronds. The title of the piece may refer to the shared elemental underpinning of all living things or perhaps to the etymological Latin root word of carbon, carbo, which means coal. The works are like relics or delicate fossils, burnt and blackened. These somber, ambiguous forms locate this interconnected relationship between human and plant in a shared bleak reminder that our future is bound to the fates and extinctions of nature.
  
  Over the span of the show, what started as idyllic, controlled growth began to age, grow and die. The grass became long and shaggy, and the materials in the jars began to rot. Roussel reminded me how wordless nature simply does things, while human culture obsessively symbolizes it, lending its gendered and all-too-human interpretation.

  Suite

  
• 

  Administrateur

  www.mathilderoussel.com

  Veronica Kavass

  Il y a 8 ans

  / Textes

  

  Veronica Kavass, September 2012
  
  Why do a number of Mathilde Roussel’s works exist in mid-air? The suspension of sewn handkerchiefs to represent memory, the wheatgrass sculptures that represent the growth and decay of life. Invisible strings restrict the gravitational pull, but when the materials are heavy such as with 25.08.79, with bits of the human body falling to the spotless gallery floor, the viewer becomes increasingly aware of gravity. Of gravity, of time, of existence, of limitation, of frailty. In all of her works, the artist depicts the restraints of possibility in the cycle of life: we are bound to this earth, this body, these patterns. Within that haunting reminder, the viewer wants to follow Roussel into the investigation of what makes this existence, for one, beautiful. Her work is not only about what is happening in the very instance that you see it, but about its history, the fading existence of the lives, memories, and energy that preceded the moment you are in. By floating her sculptures in mid-air or far enough away from the wall to cast shadows, Roussel is pausing life in order to observe it more closely. Through meditative stillness, she addresses transition.
  
  By March of 2012, Roussel had developed a steady relationship with her 25.08.79 sculptures that had initially brought her to Nashville (where I was introduced to her work). She knew how the gardeners would need to take care of them, what the potential dangers were in their constant state of suspension, the structural integrity of the armatures that were designed to decompose and, of course, when they would die. She had studied her “grass people” (as Americans like to call them) in various locations and had found a certain comfortability in distancing herself from them in that way creators do from their creations. In her investigation of the cyclical, Roussel constantly moves forward, but not without taking the time to focus on the details that propel her subject matter. By the time she had arrived in Nashville for her residency, she had just completed her first Reste series which consisted of paper covered in graphite, intricately cut to resemble the anatomical and botanical drawings she has been poring over for years in researching the basis of her work. Hanging against a white wall, appearing as though they’d fall into piles of soot, they represented the steady variable that unites all of her work.
  
  Recognizing the overarching principles and the scientific lexicon leads the viewer into another investigation: why does this artist strive to create a universal understanding of life and death in her work? Roussel certainly addresses fragility (of material, of life) in a manner that tugs at the curtain veiling “the invisible archive of our emotions”. In reviewing earlier works such as Floating Memory and Empreinte, when the artist used personal materials containing the tangible fabric of her own history, we find the root of her investigation. Throughout its evolution from this point, Roussel’s work gracefully steps away from the reconstruction of personal memory to observe the patterns that govern all of life. The starting point belongs to her, while the end belongs to everyone, insofar as we know that neither the beginning nor the end will ever be fixed.

  Suite

  
• 

  Administrateur

  www.mathilderoussel.com

  Mass Production

  Il y a 8 ans

  / Projets

  • 1 - mass production crop 2

  • 2 - mass production crop 1

  • 3 - mass production crop 3

  • + 4 media(s)

  Mass production
  2015
  collages, pulpe de papier, tubes en métal, matelas en caoutchouc
  
  Cet ensemble de sculpture et de collages est constitué autour d’une recherche qui établit un parallèle entre les cultures hydroponiques de légumes sous serres et la production musculaire dans le culturisme. Cette installation engage une réflexion autour de notre obsession pour la calibration et nos efforts de standardisation dans de nombreux domaines de la société.