unpublished picture of 2014 #7

julienceccaldi

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view from the solo exhibition of JULIEN CECCALDI entitled Marie-Antoinette
presented at M J Gallery, Geneva
seen on Wednesday, May 14, 2014
image © wfw

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➝ read my post for Novembre about this exhibition here

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unpublished picture of 2014 #6

calderas-landquart

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sand installation entitled Calderas (2014) by NOHA MOKHTAR & LUCAS UHLMANN
seen at alte papierfabrik in Landquart, Switzerland
on Saturday, September 6, 2014
image © wfw

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unpublished picture of 2014 #5

schwarzwaldallee

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LA (2014) by NELLY HALITI
seen in the group exhibition Waldo presented at Schwarzwaldallee, Basel
on Saturday, January 25, 2014
image © wfw

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unpublished picture of 2014 #4

ed-atkins

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detail from this installation by ED ATKINS
seen at Kunsthalle Zürich
on Friday, April 4, 2014
image © wfw

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unpublished picture of 2014 #3

gaetano-pesce

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Cloud Lamp (2013) by GAETANO PESCE
seen at his solo exhibition entitled The Time of Diversity at MAXXI, Roma
on Sunday, September 28, 2014
image © wfw

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unpublished picture of 2014 #2

danielmangrane-crac-unpublished

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Untitled (2014) by DANIEL STEEGMANN MANGRANE
for his solo exhibition animal que no existeix presented at Crac Altkirch
seen on Wednesday, November 19, 2014
image © wfw

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➝ this exhibition is still on view until January 18, 2015

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unpublished picture of 2014 #1

tobias-madison-kassel-unpublished
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detail from OC (2013), an installation by TOBIAS MADISON
for the exhibition Speculations on Anonymous Materials presented at the Fridericianum in Kassel (Germany)
seen on Thursday, January 30, 2014
image © wfw

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→ read my post about this exhibition for Novembre Magazine here

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wfw weekend #170

exoexo-antoinedonzeaud

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works in progress by French artist ANTOINE DONZEAUD
seen at EXO EXO, Paris
on Tuesday, December 16, 2014
image © wfw

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wfw weekend #169

david-altmejd-flux-paris

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view from the solo exhibition* of Canadian artist DAVID ALTMEJD
seen at MaM, Paris
on Tuesday, December 16, 2014
image © wfw

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*Flux is on view until February 1, 2015 and will be also presented at MUDAM in Luxembourg from 7 March to 31 May 2015, then at MACM in Montreal from 18 June to 13 September 2015.

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Hubert Marot. The Blueprint

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HUBERT MAROT, The Blueprint
exhibition view at paris20, Paris, December 2014

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HUBERT MAROT, The Blueprint
exhibition view at paris20, Paris, December 2014

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Hubert_Marot_TheBlueprint_03

CY 5, 2014
cyanotype on canvas, 140 x 190 cm

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Hubert_Marot_TheBlueprint_04

CY 6, 2014
cyanotype on canvas, 140 x 190 cm

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CY 7, 2014
cyanotype on canvas, 140 x 190 cm

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HUBERT MAROT, The Blueprint
exhibition view at paris20, Paris, December 2014

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Sans titre (Fleurs), 2014
polaroid emulsion on glass, 20 x 30 cm 

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CY 3, 2014
cyanotype on canvas, 90 x 140cm

CY 4, 2014
cyanotype on canvas, 90 x 140cm

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outside: 9 chiens, 2014
inkjet print, 140 x 200 cm

all images: courtesy of the artist

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HUBERT MAROT is a french artist who has been making pictures since a couple of years that exploit the photography’s underlying properties. His working process is based on a combination of formal, conceptual, and historical concerns, that questions the material premises of photography and the nature of abstraction, as well as the production and valuation of art.

Titled The BlueprintMAROT‘ solo exhibition at paris20 featured a recent body of works that comprises cyanotype and Polaroid pieces. For example, CY (2014) is a series of five works on canvas that use the cyanotype process, a photographic technique referred to as ‘blueprint’, which was mainly used for scientific images. In this printing process a support coated with an iron-based light-sensitive chemical is exposed to light, which turns it blue. The canvas are exposed to incident light for a constant period of time, whereby ultimately the various external conditions are what produce the picture. These works, though photographs, have a painterly feel and therefore seesaw back and forth between gestural abstraction and dry conceptualism.

I have little respect for photography precisely because of this notion of reproduction, it makes me very uncomfortable. That’s why I’m very rigorous in the way I create an image, even in the most material sense. It is imperative that I place a sense of value in what I produce, and I am only able to see this value when I apply a rigorous and exacting process. – HUBERT MAROT in conversation with GUILLAUME BLANC for ASX Paris, April 2013

 

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