FROM JANUARY 30 TO FEBRUARY 02, 2014

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BERTRAND LAMARCHE - Solo show ART INDIA 2014- Booth D7

PETIT JOURNAL | N.38 | WWW.GALERIEPOGGI.COM

GALERIE JÉRÔME POGGI

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GALERIE JÉRÔME POGGI, PARISN.38 | JANUARY 2014

+ For its first participation to India Art Fair, Jérôme Poggi is proud to premiere in INDIA one of the most renown and singular artist of his generation. Bertrand Lamarche, recently nominated for the Marcel Duchamp Prize, and the SAM Art projects.

Exploiting spatial and time distortions, Bertrand Lamarche presents four of his most major works. Born in 1966 in Paris where he lives and works, his work has been shown in many institutions, including the Pierre Bergé - Yves Saint Laurent Foundation (Paris), Agnes b Gallery (Paris), the Boghossian Foundation (Bruxelles), the Thread Waxing Space (New York), the Anthology Film Archives (New York), the Montreal Biennale, Hyde Park Art Center (Chicago), Museum of contemporary art (Detroit) the Palais de Tokyo (Paris), the Centre Pompidou (Paris), the FRAC Centre (Orléans)...

His works feature in many collections, among which Agnes B collection, the Fonds National d’Art Contemporain, the Centre Pompidou, the MAC/VAL, the Frac Centre, the Abattoirs in Toulouse, the Musée d’Art Contemporain in Rochechouart, the Plateau FRAC Ile de France, the Musée des Beaux-Arts in Nantes, etc.

«The giant hogweeds garden» is one of Lamarche most emblematic research field consisting in plan-ting giant hogweeds to create a wild garden, “of-fering a dramatic shift in scale’’ and thrusting the visitor into an Alice in-wonderland like landscape. This Umbelliferous plot is exclusively planted with giant Hogweeds, an invasive plant that exists in nature at different sizes ranging from few centi-meters to more than twelve inches (four meters). Research on the Plant led Bertrand Lamarche to create various works including monumental installa-tion, a digitally animated film a,d some graphic works.

The parc is large and dense enough that visitors can loose site of all visible bearings, beyond the ho-gweeds. However, it is possible to keep one’s dis-tance from the plants if one wishes, by staying on the alleys cutting through the park. They are necessary

THE GIANT HOGWEEDS GARDEN, 2014silkscreen, silver ink, nine layers, 120 x 90 cm ( 47 ‘‘x 35’’)Edition of 8 + 2 AP

because one must not touch the umbels. When in bloom, simple contact with the skin or rubbing the leaves or stems causes visible skin painful and persistent eruptions. A light but fully covering suit, with a hood, and gloves are advised when visiting the Umbelliferous plot. (text by François Piron, 2008).

PETIT JOURNAL | N.38 | GALERIE JÉRÔME POGGI

RÉPLIQUE, (Baphomêtre), 2008 Variable dimension, Installation, projector, refl ector, motor, Edition of 3 + 1 AP

« Réplique » is a machine for genera-ting organic forms that move between hypnotic ether and entropy. This sort of self generation looks like a simu-lation of mechanistic models of per-ception or even an involution of fl uid menbranes, algorythmic fi laria, liquid archi-tecture or a genetic exploration of archi-tectural form. Or even, the nerves cells of a brain, inchoate magma of form-matter, a biological transformation of organisms.

This formal and processual instability contrasts with the static nature of the mechanical system, which The perception of the work diff racts between the projec-tion of light, its recording system and its re-fl ection on a surface. The title of the work, « Réplique », again refers to the model. remains perfectly visible. The Replica in-

duces a repetition, the production of a life size model, whereas here, were are confronted with a mass of folds, folds of representation the model, an instrument of measure, has disintegrated into, in order to ex-plore the fl uctuations of a pre-fi gurative world in which, the infl exion of the fold operates the connection between light and shadow, the inside and the outside, and the iconic and the system.» ( text by Marie Ange Brayer, 2008)

Réplique is one one the Bertrand Lamarche hit exhibited in such prestigious contexts as the national mu-sem of natural history (Paris 2012), the FRAC Centre (Orléans), Le confort Moderne (Poitiers 2011), FIAC (Paris 2010), and Le Printemps de Septembre, (Toulouse 2008)

CYCLOCITY, 2012Video HD, 13 minutes, loop, soundedition of 4 + 1 AP

Produced for the Marcel Duchamp Prize, the architectural model “Cyclocity” focuses on a railway site, which repeatedly appears in Bertrand Lamarche’s work. On the one hand, the model pays attention to urban reality and its surroundings, in both their architectural and cultural dimensions. on the other hand, it breaks up this reality into fi ctional elements, that the artist then puts together and takes apart, as in a scenario. The head-on panoramic view shows a reality that has been partially erased after the disappearance of and the destruction of a portion of the «Centre de tri Postal» (the mail sorting center) built by a famous french modernist architect.

Shot in the mockup of the site, the movie is a static shot which focuses on the plexiglas and on lighthouse in the background. The light successively opens and closes the camera iris, and diff ractes itself into the pipe in rotation, resembling a wormhole. That creates a progressive blurring eff ect on the architecture on the right foreground, giving it a spectral and unreal aura. The opening and closing iris produces a cyclic light variation, as a night / day rythm, strenghtening the freezing time in which the building seems suspended between apparition and disapearance.

PETIT JOURNAL | N.38 | GALERIE JÉRÔME POGGI

BERTRAND LAMARCHEExploiting spatial and distortions, Bertrand Lamarche proposes a group of sculptural hypo-theses that are at once ecstatic and conceptual. His work is rooted in the amplifi cation and the potential for speculation of fi gures that have featured regularly in his oeuvre for nearly 20 years: the city of Nancy, Kate Bush, meteorology, giant umbellifers, revolving lights, tunnels, record decks.

A large proportion of his oeuvre is characterized by a desire for subjectivation and appropria-tion, sometimes almost demiurgic, of various areas or fi gures of reality (The Rotor, The Model). Through modelling, the artist takes over these entities, developing a set of propositions that unsettle viewers because they are generated by looping (Looping, Interview with Kate Bush), or present a mise-en-abyme (Lobby, A Hole in the Screen, La Réplique, Tore), or result from a loss of reference points in space-time (Double Time House, Cosmodisco) and/or distortions in scale (Le terrain Ombelliférique, Vortex).

Not necessarily employing video or mechanical means, his pieces evince a resolutely empirical approach to studio work whence the piece emerges in successive experimental phases through its intrinsic processes of realization. He develops a formally complex and diversifi ed corpus, including as it does installation (le Paratonnerre, Map), photography (Vue du Viaduc John Kennedy, Théorie de la jeune � lle), digital video (Le Terrain Ombelliférique), performance (Vor-tex), sculpture (le Haut du lièvre, la Maison Cosmique), and audio pieces (Try Me).

His works can be viewed as events or stages in a more global fi ction/script that sanctions the permeability of the pieces between each other, as well as an organic form of genealogy. In this respect, the work on the Nancy site is signifi cant for the rudimentary cinematographic pro-cesses it uses and for the series of successive scenarios it comprises, as in The Fog Factory, Autobrouillard, Cyclocity, or Methendal…

«Lobby (Hyper Tore) is a hollow torus formed by a length of fl exible aluminium ducting, laid on a plywood base. The object, equipped with a motor fi xed to two rotating discs that seal the duct ends, eff ects a full revolution, turning on itself. Animated by perpetual movement that gives an illusion of simultaneous retraction and regeneration, the device moves and gleams, ap-parently caught in a trap that tends to make it look like an organism on the verge of mutating .

The word lobby describes an entrance hall or corridor -in any case, a transitory place. As a reduced-model prototype of a changeover, Lobby (Hyper Tore), by dint of its hypnotic character, could well be an invitation to enter an enigmatic subterranean world fi guratively expressed by the dizzying, yawning gap of the torus: a fake vortex with ti high power of attraction.» ( text by Ann Lou Vicente, 2008)

LOBBY, (Hyper tore), 2004 49 x 39 x 17 cm, Aluminium crown tubular, engineEdition of 4 + 1 AP

GALERIE JÉRÔME POGGI The Jérôme Poggi Gallery essentially carries out a task of prospection orientated first of all towards young contemporary creation but also toward those figures already recognized, even historical, for whom it supports the process of recognition as much in economical, as in criti-cal and historical spheres, linking economic and critical values within a global equation where intellectual and economical speculation come to meet.

The gallery was founded by Jérôme Poggi in 2009, and is installed next to Gare du Nord in Paris. In 2014, a second space will open in Le Marais Paris, in front of the Centre Pompidou.“Objet de Production”, a production facility created by Jérôme Poggi in 2004, is associated to the gallery, developing special projects as well as private or public commission.

Convinced that profound mutations confronting the art world necessitate new tools of pro-duction, distribution and reflection, the Galerie Jérôme Poggi and Objet de Production have decided to become associates and thereby create a new hybrid tool, combining commercial and political, critical and pedagogical modes of action into a new economic model for contem-porary art, enabling the exploration of potential innovation within a commercial enterprise of our times. Acting thus on all levels of artistic and cultural processes, the combined action of both institutions will enable investing in public as well as private sectors.

The gallery today represents essentially twelve artists : Anna-Eva BERGMAN - Bertrand LAMARCHE - Cédrick EYMENIER - Georges Tony STOLL - Juliana BORINSKI - Julien CRÉPIEUX - Kees VISSER - Larissa FASSLER - Oleg TCHERNY - SOCIÉTÉ RÉALISTE - Sophie RISTELHUEBER - Vittorio SANTORO

PETIT JOURNAL | N.38 | GALERIE JÉRÔME POGGI

+115 - 117 RUE LA FAYETTEF-75010 PARIS+33 (0)9 5102 5188

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+ ART FAIRS 2014 ART ROTTERDAM, Rotterdam (NL) 06.02 > 09.02.2014 Group show : Juliana Borinski, Vittorio Santoro, Kees Visser, Société Réaliste

ARCO, Madrid (ES) - 19.02 > 23.02.2014 Solo show : Juliana Borinski

DRAWING NOW, Paris (FR) - 26.03 > 30.03.2014 Solo show : Georges Tony Stoll

ART BRUSSELS, Brussels (BE) 25.04 > 27.04.2014 Solo show : Wesley Meuris

+ GALLERY GARE DU NORD Until 02/02/2014 : Rendez vousGroup show : Juliana Borinski, Vittorio Santoro, Kees Visser, Société Réaliste, Bertrand Lamarche, Wesley Meuris

LE MARAIS / OPENINGMARCH 2014

JULIEN CRÉPIEUX - SOLO SHOW MARCH > APRIL 2014

SOPHIE RISTELHUEBER - SOLO SHOWMAY > JUNE 2014