True to its vocation of promoting contemporary creation, driven by the desire to raise public awareness of the visual arts and to encourage the emergence of new collectors,association Carré sur Seine continues the Écoutez-Voir cycles.
We are happy to see you again for this new monthly cycle, from November 2021 to April 2022 in Boulogne-Billancourt!
Each month, in Boulogne-Billancourt or by videoconference, these meetings-projections with today's artists are unique moments of sharing. Écoutez-Voir is an opportunity to approach the work of artists in an original way, to discover the secrets of their approach and to question the elements of their work.
All artistic disciplines are covered, from painting to video, including sculpture, installations and photography. A great opportunity for artistic investigation, real moments of sharing and dialogue between artists, collectors and members of Carré sur Seine !
At the end of the conference cycle, the Jury of the Ecoutez-Voir Prize, composed of the members of Carré sur Seine, will choose a winning artist who will receive the Ecoutez-Voir Prize, accompanied by an endowment of 2,000 euros.
Three artists in the spotlight this Monday 14 March 2022
Yann Bagot - Drawing
Claire Fahys- Painting
Macha Pangilinan - Painting
19h00 : Welcome with a drink
7.30 pm: Screening Listen and See
8.30 pm : Meeting with the artists
Yann Bagot develops a drawing practice based on in situ experiences in contact with nature. During immersive residencies on the coast, in the forest, in the mountains, he seeks to be at one with the place, to live the intensity of the moment.
Put to the test in the field, his drawings explore the reactions between Indian ink, water and salt on paper. Drawing as close as possible to the rising tide, at nightfall, in the rain, immersing the drawings in the sea or under a waterfall: the constraints of the open air activate radical choices, natural movements erupt in the works and upset the lines. In a symbiotic exchange, ink and paper freeze their random and fleeting imprint.
Series of observational drawings seek to render nature present: rocks, trees, waves. Shaped in seawater, other series connect with the darkness of aquatic frontiers, composing a face of the distant and the inaccessible: glaciers, underground waters, abysses. Produced on the floor of the studio, series of large formats attempt to reproduce the immersive scale and physical intensity of natural elements.
Yann Bagot presents his work in solo and group exhibitions in France, Europe and Asia. In dialogue with the identity of the territories that welcome him in residence, his drawings are gathered in installations in places where human activity has crossed history: a Merovingian crypt, a medieval forge, a shelter from the First World War, a fountain or a semaphore.
He also devotes himself to engraving, the creation of artists' books and regularly collaborates with musicians and contemporary authors. In parallel to his personal creations, he draws within the artists' collective Ensaders with whom he participates in performances, exhibitions and conducts drawing workshops.
For more than 15 years I have been developing a work centred on the practice of painting. All of my research revolves around an essential idea: the landscape.
It is through landscape painting that we can grasp the various forms that our feeling of nature, our environment, our history or our intimacy has taken. Whether mental, imaginary or documented from real spaces, it is a way for me to manifest a state of consciousness and to express a current vision related to the context in which I evolve.
Fascinated by philosophical and spiritual issues ranging from transcendentalism to the ideas of Matthew B. Crawford, I refer to my flight as a means of expressing my own vision. Crawford, I like to refer to artistic trends such as symbolism or magic realism.
The autobiographical dimension in my work is a great source of inspiration. I have lived abroad a lot and the origin of the series of paintings presented here is Mexican.
I have decided to confront myself with the medium of painting, mainly in large formats, which not only contrasts strongly with the intimacy of the subjects, but also allows, when one is in front of it, to plunge entirely, almost physically into the space of the painting.
With the help of colour and its variations, I try to capture or restore an atmosphere with its subtleties and ambiguities, giving only a few hints to the viewer so that he or she can become involved in the work. One should not explain everything without delay, illusion or incompleteness appeal to the imagination.
Macha Pangilinan's research revolves mainly around the body and its sensual representation in different dramatic environments. Macha Pangilinan, a Russian-Filipino artist, is a graduate of the Moscow Fine Arts School.
This purely academic training has allowed her to subvert the codes of objectification of women in art history by using the language of classical and figurative painting, thus contributing to the rewriting of these iconic images.
In particular, the concept of female gaze, which manifests itself in the objectification of the male body, plays a very important role in the practice of the artist who grew up in a traditionalist and patriarchal Russian society.
The male nudity in her works makes the men exposed and vulnerable in their sensuality and beauty. The female gaze is placed on the man in the same way that the male gaze is usually placed on the female body.
Working in a multicultural, inspiring and lively context such as Paris has also allowed him to create his own artistic symbolic system, building his own mythology in his works. Her world is a surrealist dream, filled with neon colours, black holes and disturbing characters.
The beings that populate his works come from our world, but they are reborn when they enter the surface of his works by the pool. The pool, a recurring element in his work, becomes a scenographic centre and the link between the two worlds. It is the magical place of transformation, a void, a black hole. She strives to develop an intimate relationship, made of perceptions.
In order to do this, she must always be in search, conducting a phenomenological investigation, so to speak.
According to her, to be an artist, it is necessary to find a way to be a distant observer, almost like a scientist. This is why we speak of investigation, because Macha Pangilinan is in recurrent search of this distancing which allows to taste the real differently, outside the blunt framework of the habit.
The aim of her work is to make the imaginary real, i.e. to make it an object, a work, in order to preserve her relationship with this subject.
Personal message from the artist Macha Pangilinan :
I condemn Vladimir Putin's totalitarian government and its policy that endangers the whole world. The unjustified aggression towards Ukraine is a burning shame for many Russians. I am proud to be a carrier of the true Russian culture, a culture of hope and resilience.