Guitemie Maldonado

  • Gilles Saussier

    First of all, there are the photographs, among them four close-ups of women shooting rifles, flanked by the president of the Hunting Association of Timis (Shoot I–III, each dated 2004, and Shoot IV, 2005) and two of scenes deserted by their actors: a gallery with abstract sculptures lined up on shelves and glasses lined up on a table—Day of the Opening, 2005—and The Paupers’ Cemetery, 2005, a snow-covered graveyard on the outskirts of town, where a freshly dug ditch awaits the return of the gravediggers who have left their tools and other belongings there. Finally, two scenes with characters:

  • Jean-Marc Bustamante

    Jean-Marc Bustamante’s work has, since the ’70s, relied on a perceptual disconnect between image and subject, one he explores in every possible permutation—from early, fragmentary landscape photographs reminiscent of commercial advertising to more recent gestural drawings that are enlarged and silk-screened on to transparent wall-mounted Plexiglas. This exhibition, which follows on the heels of a similar show at the Kunsthaus Bregenz at the beginning of the year, expands on Bustamante’s installation in the French pavilion at the 2003 Venice Biennale, by bringing together

  • François Arnal

    François Arnal came to painting as an autodidact in 1947, practicing an informal and materialist abstraction, before constructing a pictorial universe of marks and imprints. In 1965, the everyday object entered his painting and brought him a step closer to the Nouveaux Réalistes: For each work in his “Bombardements” series, which he continued working on through 1971, one or several objects were placed on the canvas and the whole thing covered in spray paint (in French, peinture à la bombe aérosol); then the objects were taken away so as to preserve only the negative imprint, a white silhouette

  • Adel Abdessemed

    Adel Abdessemed, an Algerian artist now working in Paris, uses a wide variety of media without revealing a preference for one over another or a hierarchy among them. This show included staged photographs, drawings in colored marker on ripped-out sheets of notebook paper, animated films, a video, and sculptures. There is, nevertheless, a common point that unites all these apparently disjointed practices—the simplicity of the materials (paper, polystyrene, terra-cotta) and of the methods employed (folding, rudimentary animation techniques). This allows the viewer immediate contact with the work,

  • Vincent Lamouroux

    The installation, Grounded, 2005, conceived by Vincent Lamouroux for the lower level of Crédac, is situated in a very long room with a partly tilted floor that was originally intended to serve as a movie theater. In this windowless space, a wood-and-metal grid was suspended halfway down from the ceiling; it had a largely even, openwork design, except for a circle cut out of it toward the back of the room. A wide black band was painted around the walls, starting two feet above the floor and reaching a foot and a half below the height of the grid. With this intervention, Lamouroux continued his

  • Luigi Ghirri

    Luigi Ghirri (1943–1992) was one of the first artists, in the early ’70s, to practice color photography as a way of adhering to reality, a limitless reservoir of hieroglyphics to be deciphered. Forty original prints from 1970 to 1990 and eight new prints authorized by Ghirri’s widow, with the sea as their common theme, allowed for a good grasp of this artist at the crossroads of Pop and Conceptual art. Certain images record the signs of human presence (advertising or movie posters, signposts, decorations painted on the doors of beach cabanas) and, through the effects of cropping, reveal their

  • Printemps de Septembre

    Under the artistic direction of Jean-Marc Bustamante and co-organized with Pascal Pique, this year’s Printemps de Septembre, titled “In Extremis,” was situated squarely within contemporary investigations of the image—artistic and otherwise. Beyond the range of generations (from Giovanni Anselmo to Clotilde Viannay, a recent graduate of the Ecole des Beaux-Arts in Paris) and styles represented, the works, regardless of their medium, shared a reflection on the image in all its forms, and on representation and the infinitely complex relationships that art maintains with the real. Between Josiah

  • Bruno Perramant

    With an exhibition title, “Si je t’oublie Paris” (If I Forget Thee, Paris), that evokes the Old Testament, and Faulkner as well, through a simple change of scene—Paris replacing Jerusalem—Bruno Perramant brings to the fore something salient to his work: a system of elliptical references that shuttles between history (artistic, intellectual, religious) and contemporary reality, between memory and the present—a constant circulation, real and metaphorical. Painting is interrogated both in its constant features and in its increasingly complex relationships with the image, particularly the moving

  • Guillaume Paris

    Guillaume Paris thinks of the gallery as a “place of reflection” and his exhibitions as systems in which apparently heterogeneous objects set one another in motion and generate meaning through their arrangement. At first, one might be confused by the diversity of media put to use, from sculptural objects to video images, photography, and painting. What link can actually be established between the hermetic and vaguely disturbing inscriptions engraved on resin and Styrofoam stelae (Epiphanie 91a and 91b, both 2002), a mannequin of a child/angel encased in plastic (Infinite Justice, 2003), and a

  • Gabriel Orozco

    The gallery was transformed into a sort of marketplace: On metal trestles topped by worn planks, terra cotta objects were arrayed in fairly large quantity. Of various shapes—long cylinders, balls, circles, cakes, and crowns—they at times evoked containers, loaves of bread, animals, or human limbs; their color, in turn, was that of wood, dough, or skin. The evocative and troubling power of these objects was lodged precisely in their fundamental ambiguity, reinforced by the forms’ metamorphoses into projected shadows. The unnameable objects bore the stories of their making legible on their surfaces:

  • Patrick Faigenbaum

    Since 1999, guided by the historian Joan Roca, Patrick Faigenbaum has been photographing the outskirts of Barcelona, particularly Besòs, a waterfront neighborhood of mixed ethnicity that is in the midst of transition. From this methodical survey of the terrain come urban tableaux that sketch quasi-documentary descriptions of the area and its inhabitants—their habits (shopping at the market, the promenade at the end of the day), their gathering places (the café, the restaurant), and an endless number of unfinished narratives.

    As exhibited here, color images alternate with black-and-white,

  • Djamel Tatah

    Just inside the entrance, to the right, hung a very tall canvas. Its brick-colored ground was not smooth, but rather traversed by various traces: The brush marks revealed underlying layers of other colors, and the space thus created was at once tactile and vibrant, thanks to the way the matte mixture of oil and wax used by Djamel Tatah absorbs and diffuses the light that hits its surface. Cut off by the right edge of the canvas, a woman stands on the threshold. Just like her, the visitor entered the exhibition as if breaking in: transfixed for a moment, as if cautious to approach these half-length

  • Rémy Hysbergue

    Since the ’90s, Rémy Hysbergue has painted in series. He considers a series completed once he has exhausted the possibilities of the chosen protocol, after which he either abandons or modifies it. What connects one series to the next is the underlying inquiry, which bears at once on the means and effects of painting: the exploration of color, variations on the actions of covering or unveiling, the occupation of the surface, the potential of materials. For the last two years Hysbergue has been working on panels made of Komacel, a PVC foam used in construction. It is both solid and light and

  • Jean-Marc Bustamante

    Jean-Marc Bustamante's new photographs, part of the “Tableaux” he has been working on since 1970, were taken in 2001 on a trip to Japan. Developed in Cibachrome by a Swiss laboratory in the largest possible format (most often vertical), they are framed in dark wood. But don't look for anything picturesque; Bustamante's Japan is not the land of triumphant modernity nor of ancestral traditions but, as is his wont, that of the urban periphery, indeterminate zones where nature blends with human traces (roads, bridges, electrical pylons and power lines, banal or prefab architecture) in ways that

  • Robert Breer

    A “retouched self-portrait” published in 1962 presents Robert Breer—an American artist born in Detroit in 1926—with his face half-photographed and half-drawn, as though he were being absorbed little by little into his work; he sits at a table in his studio, surrounded by reels of film and strange objects virtually animated by little arrows. This, then, is the surprising and amusing universe that the artist has constructed in all his drawings, films, and objects since the late ’50s, one entirely ruled by movement, abstract figures, and forms come to life. within the lineage of Viking

  • Istvan Balough

    In 1999, Swiss photographer Istvan Balogh produced a series called “Città” (City): thirty photographs, all vertically oriented and of the same size, affixed to aluminum. The pictures had been taken in and around a university housing complex in Rome—a true city within a city. Close-ups of students going about their everyday activities and shots of architectural details from facades and interiors alternate with broader views of the setting and its inhabitants. As with his previous presentations of this series, Balogh here extended his dialogue with architecture to the exhibition space itself: A

  • Pascal Convert

    THE EXHIBITION BEGAN OUTSIDE, on the street: Drawings were painted on the gallery windows—long, multicolor, swirling, interlaced strokes. They were on the walls, too, one saw, once past the door. These traces belong to the series “Native Drawings,” which Pascal Convert began in 1997, based on his children's drawings (in the case of the works here, his daughter's). Sequenced and digitized, the scrawlings are projected as representations of three-dimensional objects. For each stroke, the artist selects a particular point of view and reconstructs the whole on the scale of the surface to be

  • Frédéric Lefever

    IN HIS RECENT WORKS, Frederic Lefever, a photographer born in Belgium in 1965, presents a journey through a nostalgia-tinted universe. The cohesion among these color photographs, printed matte, whose various formats are so precisely calibrated with respect to their compositions, resides in an objective gaze free of indulgence, as well as in the love of form and structure that animates each of these images.

    Lefever's work encompasses both a geographical trajectory through the towns of French, Belgian, and Italian provinces and a quasi-ethnographic investigation into a world and way of life that