art contemporain - Galerie Nathalie Béreau
Home page > English > Past Exhibitions > Exhibitions 2011

Exhibitions 2011


IN PARIS

Cutlog 2011, Paris
Bourse de Commerce
october 20-23, 2011

Mats Bäcker, Mermaid
Mats Bäcker, Mermaid

Galerie Nathalie Béreau+6, Mandel, Paris
Stand D1

Photographer : Mats Bäcker, Sweden First exhibition in France Fairytales serie, 2005-2010, first time in exhibition

To see more Mats Bäcker

Fairytales by Mats Bäcker
We all have our fairytales within us. Archetypes that we inherit through generations. The same stories emerge in different cultures around the world. The characters change and the context is of course tied to the sorroundings of the people that tell them. I grew up in a small town in the deep woods of Western Sweden. We had the nature close to us all times. As a child I was told the stories of the different creatures who lived in the woods surrounding us. For me, those stories was just as real as the elks and bears that really lived there. As Jung has described, many of these characters symbolizes different parts of our consciousness and the psychological and social contexts that form us as humans.
All the images have been photographed in The Biological Museum in Stockholm. The walls show different nordic landscapes as back-drops for stuffed animals and dried and preserved plants. Built in 1893, the idea of the diorama was used in a big format for the first time. The background landscapes were painted by Bruno Liljefors, at the time one of Sweden’s most renown painters. Large scale dioramas like the ones in Stockholm, were later used in similar museums in for example New York and Chicago.
The Biological Museum in Stockholm consits of only one large room with natural light seeping through the ceiling windows. The Biological Museum is primary a scientific institution built to show the fauna within walking distance for the urban dweller. Here art and science has come together in a rare mix, creating a national symbol that shows the idea of the landscape as ”something to exhibit” a simulacrum where nature is tamed and organized. The Biological museum gives us an example of how nature was regarded and ideologically used in the late 19th century.
The National Romanticism was expressed within the architecture of the building, the artworks of Bruno Liljefors and the animals and plants from the territories of Sweden. The connection to biology and science: made the set-up truthful and serious. But it is with no doubt a massive contribution to a nationalistic movement where beauty, mysticism and sentimentality play important parts in the show.
In the dioramas I have put Swedish dancers as fairytale characters. They add to the national romanticism, but disturbs the perfectly made settings with their appearance. As if they have sneaked in from another time, space or dream.
What you see in these pictures is the Nordic Romanticism re-visited. Very different to the romanticism in Catholic culture. The predominant theme in the Nordic imagery is a panteistic idea of nature where the "wild" and rural meet. Where everything is alive and has a will. Worship of the wilderness in the Scandinavian culture is about what we cannot controll but what also hosts possibilities. Mysticism and the idea of the Sublime is at the same time fearful and joyful.
One may state that the pagan myths are still alive in Scandinavia. Sweden was quite late urbanised, which makes the nature a glorified element in the art at the turn of the century.

All the pictures are photographed on film with a negative format of 6 x 12 cm. The final prints are 70 x 140 cm, mounted on thick glass. The glass refers to the glass windows at the museum. The prints are all analog and nothing has been altered in the photo by computer.

Story of each picture :
Swan Lake, 2005
The first picture I took was of a famous prima ballerina, Anneli Alhanko. She was for many years the best-known dancer in Scandinavia. This photo was taken a few years after she retired. It is inspired from the fairytale The Swan Lake. The white swan Odette is betrayed by the evil Von Rothbart. He makes his own daughter Odile look like Odette to steal her love, prince Siegfried. In this picture we can see the dancer almost hidden, looking down into the pond. Like the dying swan looking at its own reflection in the water, the aging dancer is staring into the mirror, contemplating the short life-span of an intense career.

Black bird, 2006
The third picture I made was of the Black Bird. It was a way to illustrate the dark side in each one of us. Our jealousy, desire for revenge, our mistrust and all other dark demons of our conscious minds, which can sometimes be unknown to us, when hatred has poisoned us completely. The bird that makes everything in our minds become dark. Mirco Andreani is the model of this.
The pregnant mermaid is a little riddle. How are mermaids made? How can anything be conceived and grow in there and even stranger, get out of there? The model is a premier dancer from the Royal Ballet, Jenny Nilson. She is also an actress and I made a short film with her some years ago ” Amour Fou”. The mermaid, being half fish and half human, is she a mammal or something else?

Plupp, 2007
The second picture of the series I made of a child book character Plupp. If you ask people who have grown up with the stories of Plupp, whether it is a boy or a girl, you will most probably get different answers. Plupp is invisible to humans, and its best friend are the lemming, Lemming and the ermine, Ermine. Plupp lives in the Lappish part of the very North of Scandinavia.
The model I used for making my Plupp is Anna Vnuk. A modern dancer and choreographer from the North of Sweden. She is half of Indian origin and the first time I met her I immediately saw she was my Plupp.

Mermaid, 2010
The pregnant mermaid is a little riddle. How are mermaids made? How can anything be conceived and grow in there and even stranger, get out of there? The model is a premier dancer from the Royal Ballet, Jenny Nilson.
She is also an actress and I made a short film with her some years ago ” Amour Fou”. The mermaid, being half fish and half human, is she a mammal or something else?

Faun, 2010
The Faun, relaxing in the forest. Half human the faun may represent the lust and the animal side of each one of us. Always ready for mischief and seduction. Just like many of these characters, he embodies a part of our psyche, that is often either hidden or repressed. The faun or satyr is a character that has been in stories as far back as we can trace. At least back to the Ancient Greeks.
My Faun is Piotr Giro, a dancer and mime artist.

Mats Bäcker, Faun
Mats Bäcker, Faun



Arnaud Laval
Commedia
Variations about Shakespeare, about the theater and about the play
Drawing and engraving

Exhibition from January 20th till March 05th, 2011

Arnaud Laval, Commedia, 2010, drawing, Indian ink and color on paper, Ht 45 x 38 cm

Arnaud Laval, Commedia, 2010, drawing, Indian ink and color on paper, Ht 45 x 38 cm

On the occasion of the second personal exhibition of the artist Arnaud Laval in 6, Mandel, Paris, we discover amazed its talent in the service of the theater, particulary the one of Shakespeare that each of us is familiar with one way or another. Indeed, it sounds with our culture, but also with our memories of reading or theater direction.
The artist chose specifically 4 plays : Hamlet, The Storm, Macbeth, Romeo and Juliette. But, he possesses a precise sense of the direction (to have younger practiced theater) and his compositions go beyond a literal interpretation of the theatrical text.
His color palette is joyful, the movements are lively, the dense, abundant, exuberant compositions. The composition discerns by far and closer is allowed detail : we scrutinize then the slightest line of a shadow, infinite interlacings, multiple heads become a landscape while hair become a flown away bush, etc.

6, avenue Georges Mandel 75116 Paris
M° Trocadéro
(entrance : 1, rue Greuze)
From tuesday to saturday, from 2:30 to 7 pm (except on private event)
www.6mandel.com
Exhibition curator : Galerie Nathalie Béreau, Chinon

To see more about exhibitions at > Le 6, Mandel



IN CHINON

> Exhibition from September 4th till November 19th, 2011
La vi(ll)e en rose :
Valérie Belmokhtar, painting and etching
Thierry Breton, sculpture
Florent Chopin, painting
Jean-Pierre Favreau, photography
Atsuko Ishii, etching
Maryline Pomian, relief and sculpture
Isabelle Tournoud, drawing and sculpture

Chai Pierre and Bertrand Couly
Rond Point des Closeaux, Route de Tours
37500 Chinon
Phone number : 02 47 93 64 19
Schedules of the exhibition : free admission from Monday to Saturday :
10h30-12h30 / 14h00-18h30
www.pb-couly.com
contact@pb-couly.com
Commissioner of the exhibition : Nathalie Béreau

" La vi(ll)e en rose " / "Pink City" or "La vie en rose" - as the famous song by Edith Piaf…

In 2010, the city of Chinon has inaugurated a rose for the town called Rosa Chinon, a creation by Elsie de Raedt.
This botanist of Belgian origin, settled in Touraine since 1999 is expert in former roses.
She created specially for the city a botanical, climbing rose, with flowers of a light delicate pink with a foliage in a light green color.
In 2011, Dominique Marchès, the cultural manager of the city of Chinon has established a dialogue between contemporary creation, culture and heritage through various courses in the city on the theme "Take colors". It is in this double perspective that gallery owner Nathalie Béreau imagined the second exhibition in the wine storehouse Couly, selecting works of contemporary artists on the theme of the rose at once as flower and as color.
Indeed, in french langage, the word "rose" can be used for the flower but also for pink color. So we played on this two meanings. Some of the selected artists created works specially for the exhibition. The rose is a strong symbol in the western and oriental culture, from the Greek mythology until our days with the appropriation made by certain political or revolutionary movements. And if we look towards the art history, painting, literature, poetry, art of stained-glass window making, the rose was always a big source of inspiration, having been widely represented, used, diverted. The exhibition will thus present works bound to a free interpretation of the flower, as at Thierry Breton, with new oversized ceramic sculptures enamelled.
With the photographer Jean-Pierre Favreau, the rose seems to be discreet or harmless but is in fact the center of the composition of two black and white photos taken in Lisbon and in India.
In the works of Maryline Pomian, the spotless white paper cigarette, becomes then stiff, losing its fragility and becoming the support to the evocation almost abstracted of a rose or from its thorns.
The pink color, as for it, is often associated in painting with the nude, with the flesh thus, but also often with the garment, feminine in particular. In the XXth century, artists gave to the pink word another dimension: almost sublime like Yves Klein, either returning to originally meaning of the word as at Marcel Duchamp with his play on words Rrose, Sélavy (= Eros is life).
Not exhaustive, all our references remain thus vain to have a quick overall look because this color can conjure up other universes like childhood, greed, kitsch, etc.
In the exhibition, Arnaud Franc seizes it to define a new vision of nude, male this time, sensual and fragile. Isabelle Tournoud, Atsuko Ishii either Valérie Belmokhtar will take us each to their way make a journey for the country of the pink color, playing with feminine codes.
As for Florent Chopin who appropriates himself the color to redraw, by an hybrid assembly of objects or words, what is the symbol of a city - the Eiffel Tower for example - in a vision both poetic and kitsch.
Nathalie Béreau, 2011

To see more about the artists >
Artistes représentés
Estampes



Variations on a theme
from April 12th till August 7th, 2011

Muriel Moreau, engraving and video
Thierry Breton, sculpture and drawing
Arnaud Laval, drawing
Gérard Omez, painting

The wine growers Pierre and Bertrand Couly made build a new wine storehouse in Chinon by the architect Bertrand Penneron, ultra contemporary in his conception towards the tradition of cellars.
This place of œnotourisme is also their working tool for the wine making.
And so also joins the will to present exhibitions of contemporary art.
The principle of this inaugural exhibition is to follow between the lines certain key points of the architectural project and the concept of reception, while playing on a theme, that of the variation.
This first exhibition in this new wine storehouse wants to be a dialogue between the art of works, the architecture and the outside space.
Nathalie Béreau

To see more about exhibitions at Chai Pierre et Bertrand Couly, Chinon

Pierre and Bertrand Couly new wine storehage, Chinon (37)
Pierre and Bertrand Couly new wine storehouse, Chinon (37)



 
Home page | Contact | Site Map | Colophon | ©Nathalie Béreau | facebook Facebook |   English | Follow-up of the site's activity RSS 2.0