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Born in 1983, France. |
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Education: Ecole Nationale Supérieure des Beaux-Arts de Paris |
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Contact |
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Gallery: Sandy Brown |
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Solo and two persons exhibitions: |
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2020 |
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Émissions nocturnes, LVX, Pavillon der Volksbühne, Berlin |
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2018 |
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Promession® Dormitorium, Art Basel Statements with Sandy Brown |
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2016 |
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Débris Legacy, Sandy Brown, Berlin |
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Greenhouses, Cell Project Space, London |
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Minnow, with Gavin Kenyon, Topless, Rockway Beach |
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2015 |
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Crawler, Ginerva Gambino, Cologne |
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2014 |
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A BōAt[] A Promise, Kunstverein Nürnberg |
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Global Isolation Conference & Exhibition, with Marco Bruzzone, MJ Gallery, Geneva |
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2013 |
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Exposing: the Guest Rules, Favorite Goods, Los Angeles |
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2012 |
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Last Spring/Summer, with Juliette Bonneviot, curated by Elise Lammer in Les Urbaines, Lausanne |
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Hosting Works, Exposure Rules, Sandy Brown, Berlin |
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Yung Jung Stages, CEO gallery, Malmö |
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2011 |
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Len Jyan, Kwadrat, Berlin |
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2010 |
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Succubus with Juliette Bonneviot, PMgalerie, Berlin |
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Group exhibitions: |
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2020 |
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Studio Berlin, curated by Boros Foundation, Berghain, Berlin |
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"Relax — it's all online.", Lars Friedrich, Berlin |
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2019 |
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Futur, ancien, fugitif, curated by Franck Balland, Daria de Beauvais, Adélaïde Blanc and Claire Moulène, Palais de Tokyo, Paris
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Der Ring, Artemis Fontana, Paris |
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Growing Pains, curated by Christina Gigliotti, Polansky gallery, Prague |
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2018 |
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Title II, curated by Vie d'ange, Galerie Antoine Ertaskiran, Montreal |
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Our Thing, curated by Vie d'ange, Galerie Antoine Ertaskiran, Montreal |
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Crash Test, curated by Nicolas Bourriaud, La Panacée, Montpellier |
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2017 |
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A Good Neighbour, 15th Istanbul Biennial, curated by Elmgreen & Dragset |
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Rehoming, une une une, Perpignan |
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Shared Spaces, curated by Ellen Wagner, Neuer Kunstverein Aschaffenburg |
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Absent Bodies, curated by Francesca Gavin, OSL contemporary, Oslo |
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Hello World, ARS17, Museum of Contemporary Art Kiasma, Helsinki |
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2016 |
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Body pt.1 (zombie), Ginerva Gambino, Cologne |
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You Never Actually Own Anything, Lucas Hirsch, Düsseldorf |
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ME, INC., curated by Sabine Rusterholz Petko, Rotwand, Zurich |
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Overdraft, hotel-art.us, New York |
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2015 |
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Find your Beach, curated by Christina Lehnert, Gebert Stiftung, Rapperswill |
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A YES SCREAMING NO, curated by Cécile B. Evans, Barbara Seiler, SUNDAY, London |
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Co-Workers, Musée d'Art Moderne de la Ville de Paris |
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Whatever man built could be taken apart: Image / Order, Nassauischer Kunstverein Wiesbaden |
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Inside China, curated by Jo-ey Tang and Victor Wang, K11 foundation, Shanghai |
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Immunity Chorus, V4ULT, Berlin |
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Inside China, l’Intérieur du Géant, curated by Jo-ey Tang, K11 foundation, Hong Kong |
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2014 |
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Inside China, l’Intérieur du Géant, curated by Jo-ey Tang and Wang Chunchen, Palais de Tokyo, Paris |
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Traucum, Parc St Léger Hors Les Murs, Nevers |
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Union, Union Pacific, London |
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Today:Morrow, Balice Hertling at the Film Center, New York |
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Shift, Galerie Antoine Levi, Paris |
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Aftercare, Center, Berlin |
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Every Corner Holds a Cave, curated by Mark Soo, Ginerva Gambino, Cologne |
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Art Post-Internet, curated by Karen Archey and Robin Peckham, UCCA, Beijing |
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Apples and Pears, curated by James Clarkson, DREI, Cologne |
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Acid Rain, Island, Brussels |
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2013 |
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They Live, Shanaynay, Paris |
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Performing the Archive/Club Mode, curated by Gluey-C, Skogen, Gothenburg |
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Surface Tension, curated by Franklin Melendez, galerie Andreas Huber, Vienna |
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Time Machine, curated by Corentin Hamel, M-Arco, Le Box, Marseille |
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Brigadoon, curated by Céline Poulin, La Tôlerie, Clermont-Ferrand |
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Entretemps..Brusquement et Ensuite, 12th Lyon Biennale |
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Sallie Gardner, Michael Thibault gallery, Los Angeles |
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Sunbathers, 1857, Oslo |
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The Mediterranean Dog, curated by Elise Lammer, Cole, London |
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Guide to the Galaxy, curated by Attilia Fattori, Gloria Maria gallery, Milan |
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2012 |
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Glaze, curated by George Henry Longly, Chez Valentin, Paris |
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Oil on Water calming Effect, Skur 2, Stavanger |
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Crime is on Both Sides curated by Martha Kirszenbaum, Galeria Stereo, Poznań |
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Aude Pariset, Kate Steciw & Letha Wilson curated by David Harper, Toomer Labdza, New York |
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Peer One curated by Kari Altmann,The Walters Art Museum, Baltimore |
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2011 |
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Edge of Glory, CEO gallery, Malmö |
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Random Rotations, curated by Parker Ito, Berkeley Art Museum, Berkeley |
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Based in Berlin, PMgalerie, Berlin |
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100 Drawings Against Vietnam War, Komplot, Brussels & Le Commissariat, Paris |
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Metrospective presented by Program and the Future Gallery, Program, Berlin |
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2010 |
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Post Internet Survival Guide curated by Katja Novitskova, The Future Gallery hosted by Gentili Apri, Berlin |
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Etats de Choses, Darsa Comfort, Zürich |
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Nothing Political, Komplot, Brussels |
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Enchanted curated by Juliette Bonneviot, School of Development, Berlin |
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Ins Blickfeld Gerückt curated by Gaelle Boucand and Francisca Würz, Institut français, Berlin |
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Silverstein Photography Annual, Bruce Silverstein gallery, New York |
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2009 |
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KIT invite, deuxième édition, Paris |
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I'm so sad, my God, curated by Martha Kirszenbaum, ISCP, New York |
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2008 |
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Panorama de la jeune création, 4th Bourges biennale, France |
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Curatorial projects: |
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co-founder of Bcc |
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Bcc, OSLO10, Basel, May 2012 |
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Bcc, first edition, PMgalerie, 2011 |
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Etats de Choses, co-curated with Juliette Bonneviot, Darsa Comfort, Zürich, 2010 |
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Press: |
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Video interview by Palais de Tokyo about the installation presented in Futur, ancien, fugitif |
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Regards Vers le Futur, interview of Nicolas Bourriaud by Ingrid Luquet-Gad, Numéro Art, issue 3
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Feature in Sector Statements, by Emmanuelle Lequeux, Le Quotidien de l’Art, special issue Art Basel, June 2018 |
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The Worm Had Turned: At Art Basel, Aude Pariset Sets Little Creatures Loose, by Andrew Russeth, Artnews |
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Frieze Portfolio, Frieze online |
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Review of Greenhouses, by Jessie Bond, this is tomorrow |
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Review of Greenhouses, by Will Gresson, EyeContact |
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Mixt(e) magazine, issue 7 |
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Interview with Elise Lammer, Novembre magazine issue 7 |
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Feature in Symbol, art paper, issue 3 |
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Review of Les Urbaines by Natalie Esteve, Kaleidoscope blog |
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The Living Image, Amy Knight, Dazed Digital |
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2D Pushers, by Lori Zimmer, review of Aude Pariset, Kate Steciw & Letha Wilson, Artslant |
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Karen Archey's review of Len Jyan, Artinfo |
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