Twitter Portraits Assembly, Media Network

Twitters portraits are work mixedmedia in the size format A3. They are realized from photos treated with a product of transfer .In this series of users' portraits of the network Twitter I address directly to a public by showing the result of a work on the network which incorporates at the same time of its realization its own communication. Twitters portraits join a conception which allowed me to realize pictures on the other subjects. (See artistic Approach) This approach questions the idea of projection of an image of a plan in the other one and its transposition according to various representative modes about various supports. The extreme presence of the surface confers an effect with its confrontation with support.

By putting on the same plan in a picture, the language and an image I apply in the field of the art a well-tried method in the media and advertising domain.

Twitters portraits are a serial work every picture of which is a case strongly connected to the others by an identity of forms. I adopt the logic of the network which is an infinite digital production, a combination of images and diverse and often repetitive texts. As the photography which was widely used as material by the artists in the 20th century. I use the flows of information of the networks which (hypertext, video photography) remain a field to be exploited so that they become work of art.

See the pictures on flickr

Twitter portraits - Not yet translated into NFT

Twitters portraits are paintings in A3 format. They are made from photographs processed with a transfer product and digital work. In this series of portraits of Twitter users I address myself directly to an audience by showing the result of a work on the network that incorporates at the time of its realization its own communication. The Twitters portraits are part of a design that allowed me to make paintings on other subjects previously. This particular approach adapted to NFT questions the idea of projecting an image from one plane to another and its transposition according to different representative modes on different media. The extreme presence of the surface gives a derealizing effect with its confrontation with support. By putting on the same plane in a painting, language and image I apply in the field of art a method proven in the field of media and advertising. The twitters portraits are a serial work of which each painting is an occurrence strongly linked to the others by an identity of forms. I adopt the logic of the network which is an infinite digital production, a combination of diverse and often repetitive images and texts. Like photography that was widely used as a material by artists of the 20th century I use the information flows of networks that (hypertext, video photography) remain a field to exploit so that they become art object.

MADEIN COMPANY

Galerie Nathalie Obadia is delighted to present the first exhibition in France by MadeIn Company, a “contemporary art company” founded in 2009 by the artist Xu Zhen, aged 35, a rising star in Chinese contemporary art, who comes from Shanghai.

The iconoclastic creation of a renowned artist who, in the age of the artist as star, has decided to forgo his personal identity, MadeIn is a unique entity on the contemporary scene, a kind of “unidentified artistic object” that challenges the sacrosanct notion of the author with intelligence and ironic humour. MadeIn Company is a genuine business which employs a score of men and women to ‘”research infinite cultural possibilities,” as its founding charter states. Moving been straight reality and parody, this application of the corporate model to art-making has resulted in the creation of a think tank capable of coming up with powerful and surprising artworks in a wide variety of media (paintings, sculptures, installations), which are always seen from a curatorial viewpoint.



For its first exhibition at Galerie Nathalie Obadia, MadeIn Company has thus put together an authentic conceptual programm announced by its manifesto-like title, Sleeping Life Away, which alerts visitors to the danger of collective anaesthesia in the age of mass consumption and the reign of communications (image over substance) in politics.

Six alluring and colorful large-format collages offer an alternative vision of human history. The combination of Chinese and western imagery gleaned from the Internet – traditional Chinese prints, French 19th-century caricatures, medieval images, exotic bestiaries – mediated through a patchwork of sensuous materials (fabric, feathers, sequins, beads, etc.) brings to mind the folkloric dimension of big traditional tapestries while distancing the epic yet ridiculous narratives of the dominant ideology.

In this same spirit of demystifying imperial, military and colonial propaganda, three series of imposing sculptures are installed in the gallery. These black, bulky pieces recalling primitive totems feature soldier figures: in one, a man with peaked cap advances proudly on the back of a lion, epitomizing the ambiguity of power which, while claiming to protect, becomes tyrannical. This ambiguity is heightened by the contrast between the grandiose dimensions of these icons, some of them over three meters high, and the insubstantial nature of the foam from which they are made – as insubstantial as these empty and deceptive mass representations.



MadeIn Company has exhibited in numerous international institutions, notably the Ullens Center for Contemporary Art in Beijing, Kunsthalle Bern, the Ikon Gallery in Birmingham, the S.M.A.K in Ghent, and the Minsheng Art Museum, Shanghai. MadeIn Company featured in the 8th Shanghai Biennale in 2008 and at the Busan Biennale (South Korea) in 2010.

With Sleeping Life Away, Xu Zhen is leading his “Company” (almost in the theatrical sense of the word) towards a productive act of emulation, prompting viewers to emerge from their existential torpor and question their assumptions about the world and its hallowed representations.

Rauzier Jean François Hyperphoto Gallery Bailly Paris

French artist, been born in 1952.

Fascinated since the childhood by the photography, Jean-François Rauzier integrates the National Louis Lumière school in 1976. For 30 years, he investigates various fields of the plastic arts: paint, sculpture, asphalt … Enriched by the grammar of the advertising photography which he(it) exercises, precursor of the digital assembly, he(it) invents the concept 'Hyperphoto' which is going to allow him(her) to succeed in its approach(initiative). Prize-winner of the prices Screenings of Berlin in 2006, Arcimboldo for the digital creation in 2008, APPPF in 2009, he exposes all over the world: New York, London, Los Angeles, Paris or Seoul …

Seen Hyperphoto

Fillot Emmanuel Gallery Mordoch in Paris

Collage Assembly

His works are collages, wooden assemblies, found on seaside, stones chosen, shells, glass fix a moment. he set is a meeting with a place, a geography which connects macrocosm and microcosm.

In galerie ArtPjm

Gallery Art collage Assembly

Welcome in the virtual presentation of the gallery Art Concept where you can discover the last creations and artists demonstrations, With commentaries on pictures, biographies.

Last artists : Lecointre jean Perter Lewis

Erotic and sex collage Stephanus - Debra Hampton

Portrait collage de Debra Hampton

Debra Hampton was born and raised in the suburbs of Los Angeles, California.


She began a diverse art education in the studio department of CSLA, later transferring to CSUF to complete a Bachelor of Arts degree in Art History focused on European papal portraiture and social/political murals of Latin America. Ms. Hampton moved to New York City in 1996 to obtain a Master of Art degree from New York University in Humanities and Social Thought with a certificate in Museum Studies. While at NYU, she was also an adjunct student at ITP further nurturing interests in the cross-sections of art, technology and collaborative media.

Her work has spanned various unconventional medium and process while investigating issues of commodity, identity and appropriation. She is best known for mixed-media mashup collage portraits which are created from 1000s of magazine cutouts, splattered ink, and intricately stippled shapes. Accompanying the portrait series are sculpted objects such as headdresses, talisman, and full-size armor. Recently, she was selected by the New York City Department of Transportation to design & implement a public mural spanning 600 feet of pedestian/bicycle pathways along the Brooklyn waterfront.


Ms. Hampton's work is in the collections of the Museum of Modern Art Permanent Drawing Collection, and The Frederick R. Weisman Foundation, and has been featured in publications such as ArtReview, the New York Times, New York Arts, FlavorPill, Queens Chronicle, Etapes Graphiques, and The New York Art World. She has been recipient of the Chashama AREA Studio Residency and an A.I.R. Gallery fellowship.

Represented by Priska Juschka Fine Art in New York and maintains a studio in Long Island City.

ARMAN Paris Centre Pompidou september january

Arman was born in Nice in New York in 2005. This retrospective offers a survey of his entire career through more than a hundred work Arman studied at the Ecole des Art Décoratifs in Nice and then at the ecole du LOuvre in Paris. He began as a painter, influenced by the abstraction then dominant in France, but rapidy turned to a form of art distinctively attuned to his own age, making use the manufactured society. With Yves Klein and Martial Raysse, he was one of the Niçois contingent of the Nouveaux Réalistes Movenment that crytallized around art critic Pierre Restany in 1960. Using rubbish, scrap and other materials, Arman made Poubelles (Trash Cans), Accumulations, Coupes (Sliced Objects), des Colères (Tantrum), Combustion Inclusion ect. reflections on mass production and invasion of environnement by garbage, but equally meditations upon time.
The idéa for Arman's first accumulation came to him in a flash as he was looking at box of valves he had collected. Boxes, pigeonholes, compartments, drawers, and the squares of the chequerboard or the game of Go (The artist being of keen player of this last were key elements not only of this artistic language but also of his personal relationship with the word. The exhibition has thus been designed on the basis of a grid visible on the floor, a materialisation of "Armanian territory" divided into seven thematic sections.
The major installations Conscious Vandalism an Day After illustrate the later development of procedures adpopted by the artist early in his career, while archive images and film document his major public actions.

1 - From the informal to the object
In 1950s Arman developed a non figurative-manner. I painting influenced by Serge Poliakoff and NIclas de Steal. After discovering the work of Hendick Nicolaas Wekmar seeing a number of painting by Jackson Pollock, and visiting the Kurt Schwitters exhibition at the Berggruen gallery in spring 1954, he have gaveup the brush for rubber stamp, imprinting the surface of paper or canvas with unpremeditated gestures and rapidly coming to adopt large formats and all-over composition. He then got to know the members of the groupe de recherches Musicales led by Pierre Schaeffer. Who had just invented ways of strechingout slowing down sounds, calling the result "Allure d'objets en musiques". Arman thus embarked on his own work on "gail" of objetcs, and not long after produced his "Colères" (Tantrums) in which the broken remains of a smashed objet were affixed to the canvas. the first time the object entered the space of the painting in 1959-60, Aramn collaborated with Jacques Brissot, a members of the GRM, to make the film Objets animés (Animated objects), based on this Allures Works but also featuring images of parts of the body and other elements from nature, skilfully cut together.

2 - The Poublelles and le Plein
Towards the end of 1959, Arman made his first, experimental Poubelle or Garbage tipping the contents of a household waste-bin into a glass box, making a number more on the same principale over the next three years. A few months later, he embarked on his series of Portraits-Robot (Profile Picture) assembling in a box articles provided by the subject . Such a protrait was no rebus or puzze, but rather an attempt to express the very essence of the person concerned. Then, i, 1960, after his friend Yves Klein's "le vide" at Iris Cler's Arman staged " the "plein" at tje same gallery filing it to the brim with rubbish and junk.
In the early 1970s, Arman discovered the technique of casting very fast-setting polymer allowing him him to embed objects on a considerably large scale. He returned to the trash Can series, this time incorporating all the garbage, enven the organic wasle. In 1972, he suggested to jean-Pierre Mirouze the idéea for Sanitation a film on the collection and handing of the garbage produced each day by the city of New York.

3 - The Critical mass of object
Arman recalled how the idea came to him for his first Accumulation, looking at the boxes of objects he had collected: "The deepest help radio valves, goden, silver, some of them black. It was full to the top. I looked at it, and I had a kind of impulse. I found a sheet of acetate, cut it to the size of the box and - bam ! bam ! bam ! - I nailed it to the edge of the box. Then I took a brush and black painted the sides of the box and about a centimetre ofacetate. I stood up straight, and there was ma first "Accumulation".

An Accumulation is a repetition in large numbers of of an object of the same type : It highlights the principle of mass production of identical objects, but also the singularity of each one, even in its similarity to the others.

Arman Thus registers industrial mass production as a new reality. The Accumulation also represents the artistic expression of a passion for collecting that the artist shared with the family of his birth.

In Accumulation naturelles, Nice 1960 a film by jean-pierre Mirouze, Arman is seen visiting garbage tips and junkyards outside Nice, in search of his favourite material : scrap.


4 - Colère and coupes
In 1961, Arman produced a first colère (Tantrum) in public, destroying Henry II style reproduction fuurniture 'Utitled, 1961). A second, NBC Rage (1961), was produced in front of NBC television news cameras. In earch case, the artist gesture was borrowed from the martial artist that he practiced and calculed to preserve in partthe indentity of the object. From 1963, Arman would conceoive spectacular Colères involving explosives . Later, on 5 April 1975, Arman carried out the action Conscious Vandalism, trashing a middle class apartment installed in the gallery space. Both vioentand sublime, the resulting environnement of broken objetcs effectes a poetic catharsis. The artist gesture itself is ambiguous, partially destroying the object and the same time perpetuating it in a new form.
With the coupe or slicing technique developed in 1961, Arman sought tograsp the internal structure of objet, which he de-structures in order to reorder its external appearance, so transforming te object - often effecting an anmorphosis in three dimensions - while alson establishing links with earlier movements, such as Cubism, constructivism, and the futurism of Boccioni and Carrà.
Jacques Brissot's Colère, 1976-2010, showw Arman making Coupes ans Colères of musical instruments.

5 - Archealogy of the Future
the use of such materials as resin and cement would allow Arman toprojectworks made from debris of various kinds. The embedding of objects in matter evokes fossils and archaelogical sites. the transparency of the resin suggests a Pompeian allegory. While the greyish blue tone of Emersions hints at contemporary ecologial disasters. Produced in parallel with there works, the combustion amso explore the sublime will to destruction. the fragility of the object captured at the moment of its perishingengages an aesthetics of ruin, invoking our relationship to time and is powerful philosophical implications. Arman thus produced in 1985 the monumental the Day After, a combustion of a whole room of furniture in the Louis XV style, cast in bronze in ecole de Nice, filmmaker Gerard Patris sets Arman's first Combustion of a piano in the contest of 1960s

6 - Arman, Renault and Industry
Collaborating with Renault, Arman was able to make works using that iconic product, the automobile. Confronted by a system of industrial production, he no longer worked with a finished object but with its elements, the parts that when assembled together go to make up a particulaly complex structure; the work with parts also accords with his long standing interest in the serial and repetitive. the result is a masterly renewal of the artistic language that has its origins in the accumulations. the works of this period the large sculptures in particular, revisiti the problem of formalism so crucial to contempory sculpture.
In carlos Vilardebo's TV documentary Accumulation d'Arman, 1969, the artist explains his approach; "at the beginning it was just a matter of making a 'peace' but other appetites were stimulated. I don't think I will work in the same way after this experience."

7 - I am a born again Painter
In 1966, Aramn made objects of paint and painting, embedding them in resin.
Twentyyears later, he would show off his genius for paint in the impressive works that marked his return to the gestural, collecting and then stamping upton a large number of tubes of paint. arman's Shooting proposes an alternative Pollock's drip-painting with another way of getting the paint onto the canvas. It Should be recalled that Aramn always kept in mind the pictorial aspect of his work, rarely straying far from the idea of the work as surface, and consistently engaging with all-over-technique and repetitive gesture of Jackson Pollock. Vincent Van Gogh remained a key reference throughout Arman's career ; the artist paid tribute to him in 1994 with his own versions of starry Night.
Filmed in Arman's studio in Vence between 1990 and 1991, jean Ferrero's Shooting painting document this period in the artist's work.

Wallace Berman

Wallace Berman was born in 1926, assembler artist, filmmaker, writer, who loves the Jewish tradition of Kabbalah and publisher of the magazine fit Semira office "poet laureate" for a group without proper form, including Edward Kenholz, George Herms and John Altoon. Berman is often described as the father of the assembly.

The assembly of his group is heavily influenced by Surrealism and to a lesser degree, by the Dada movement. But the art of Berman presents a reaction against the consumer culture product series and the American obsession with novelty, as much as a personal reverie animist, seeing the divine in all things.
It does not merely use the objects found, extracts of the World non artistic Utilities everyday objects: It discovered objects unusually dilapidated, dirty, rejected, worthless - waste - whose lamentable state gives them a power aesthetic evoking the obsolescence, the ruin, history and the strange feeling that their existence seems to transcend time. Yet, and this is the irony, most of its assemblies have survived thanks to the photographic recording, but its two-dimensional collages made the Vérifax (one of the first photocopiers) are what's closest.

They involve images taken by a myriad of sources and arranged in a grid representing transistors, as described by Anne Bartlett Ayres: "The image of radios and serves as a" base "is a collage receiver deities and demons , An issuer of talismans and secret codes: Hebrew letters, crosses of all kinds, locks, keys and doors; fragments of Greek and Eastern sculptures, photographs by contemporary religious leaders appeared in newspapers; naked women, portions of bodies, heaps of 'Stars; rifles and snakes and birds and roses and mushrooms.

In its brief and intense life Berman devoted this relentless pursuit of the unspoken and yet the "unscribed." in 1957, its first and only public exhibition at the Ferus Gallery, was closed by the LAPD and Berman was arrested for displaying what was then regarded as "pornography." As a result of the indignity to which he has undergone it withdraws from the scene of public art completely. Berman abandoned Los Angeles and moved to San Francisco, returning in 1963 to Topanga Canyon where he lived and worked until his death. Berman left Los Angeles and moved to San Francisco, back in 1963 in Topanga Canyon, where he lived and worked until his death in 1976.

According to Freedom of the Centre Pompidou exhibition Los angeles 1955 - 1985

Rauschenberg Robert

To make a work by need is a swindle compared to art. It seems to to me that to a large extent the urgency to be worked lies in the fact that one acts freely. To do something for which the need can be given only afterwards and which this judgement is prone to modification constantly. It is extremely important that art is justifiable. Robert Rauschenberg. After is studies of pharmacy and an engagement in the American marine during the Second World war, Rauschenberg registered in Kansas City Art Institute where it studies painting, the history of art, the composition, the sculpture, the music, the anatomy and the fashion of 1947? 1948. In 1948, it does art leave to study? Paris (? The Jullian Academy) what seems essential to him in the training of an artist. At the time, its meeting with Josef Albers will have a great influence on its tables. Later, it will meet Willem de Kooning, this meeting will be decisive for its work. In 1949 it leaves to study photography in Black Moutain College, in the North of California. It is there that it meets John Cage (type-setter) and Merce Cunningham (dancer) In 1950 it joined New York and Art Students League. It will change several times of workshop on New York before stopping in 1955 and divides then its workshop with Jasper Johns. 1951, First personal exposure to Betty Parson gallery of New York. It is the time of monochromic paintings where White Paintings Black Paintings and Red Paintings inspired by her friend John Cage who practised Buddhism. It leaves to make a stay in Europe and in North Africa in 1952 with the artist Cy Twombly, creates joinings which announce its method of combination of disparate topics whose majority of the reasons will take place in its iconographic register definitively. It is the obliteration of a drawing of Kooning into 1953 which will influence Rauschenberg deeply. It will create them? Combine Painting starting from an attempt at rewriting of art for art (by the total opening). It is estimated that it is at the origin of Pop Art `the instar of J. Johns. In 1959 it takes part in the first biennial one of Paris and will expose at Daniel Cordier. It starts to explore the technique of the transfer in its work of engraving since 1962. Its first personal exposure will take place in 1963 in Jewish Museum of New York. It receives the great price of XXXIIéme biennial of Venice in 1964. Then, in 1966, it melts them? Experiments in Art and Technology with (E.A.T.) or Rauschenberg Overseas Culture Interchanges with (R.O.C.I.) with engineer Billy Kléver. The purpose of this group is to facilitate an exchange between the artists and the engineers. What enabled him to attend the takeoff of Apollo 11 in 1969. During the following years, Rauschenberg explores the use of metal like support for painting, enamel and the screen printed images. The found images and objects return to the voyages of the artist, while polished metal surfaces reflect the immediate environment of works.

Man Ray

Many new artistic forms rest on the experiments of Man Ray which, after beginnings of draughtsmen advertising executive in New York, works since 1916 with Marcel Duchamp and will become one of the representatives of Dadaïste and surrealism.

For this reason it appears in this heading because it is regarded as the second inventor of the frame and that its work comprises many photomontage and joining (Boardwalk).

One can say that its work is the sensual expression poético thought of Marcel Duchamp. May Ray describes the invention of the frame like an action “automatic” unconscious, accomplished in darkroom, which connects its with the automatic writing of his/her surrealist colleagues Breton and Soupault. Its frames show completely ordinary, but transformed objects of appearance “so curious to observe to observe. He called already this photographic work of the rayographes.

Between 1920 and 1930, Man Ray makes party of the artists which presents a new type of photographs. The technical innovation leaves to the photographers a great freedom which the various artistic and literary currents irrigate. The photomontage open new ways, testify to the boiling and the abundance of research.

Max Ernst

Max Ernst was a painter German (or Franco-German for some) of mobility hobby-horse, surrealist then pataphysic. Max Ernst was born in Brühl, in Germany. In 1909, it starts to study philosophy at the university of Bonn, but it quickly gives up the courses to be devoted to its interest for art. In 1913, it meets Guillaume Apollinaire and Robert Delaunay and share for Paris, joining in Montparnasse of the artists coming from the four corners of the sphere. In 1918, it wife Shines Straus, historian of art. Their tumultuous relation will not hold. The following year, it returns visit to Paul Klee and creates his first paintings, impressions with the hand and joinings; it tries out various supports and materials. During the First World War, it is useful in the German army. After this one, filled of new ideas, it melts with Jean Arp and the social activist Alfred Grunwald the hobby-horse group of Cologne but two years later, in 1922, it turns over to the community of artists of Montparnasse to Paris. Testing constantly, he invents in 1925 the friction where he lets run a lead of pencil to paper on a sheet posed on an unspecified surface (parquet floor or another texture). This technique reveals more or less imaginary figures. It is connected with the automatic writing of the surrealist writers whom it côtoyait like Paul Eluard and André Breton of course. The following year, it collaborates with Joan Miro on the designs for Sergei Diaghilev. With the assistance of Miro, max Ernst launches out in the development of a new technique, scraping where it scrapes the pigment of the fabric. In addition to



The collages of Max Ernst rubbings after the World article Philippe Dagen

Max Ernst in 1925 invented "frottage" where he scribbles with a pencil and paper on a sheet placed on any surfaces (parquet or other texture). It shows figures more or less imaginary. It is not without similitide with automatic writing surrealist writers like knowing that Paul Eluard and Andre Breton. With the help of other artist, Max Ernst engages in the development of a new technique, scratching where it scrapes the pigment of the canvas.

Ay castle near Piacenza, in 1933, Max Ernst in Italy for three weeks, in a castle near Piacenza, it assembles 182 collages,

The french illustrated plates from the late nineteenth century black and white are for him as a subject inexhaustible. Iil in preparing the publication of five volumes, published from April to September 1934 editions of the gallery Jeanne Bucher.
The title of this graphic novel is A week of goodness or seven elements capital.

It is divided into days of the week, each characterized by a passion and a different element - water, air. The most bizarre dreamlike give them free rein, through symbols.


'A week of kindness is one of the major creations of surrealism. But the consultation of the original collages, it is capable of measuring the degree of control that Ernst at the art installation. They were exposed in 1936, in Madrid, at the initiative of Paul Eluard. They are finally again at the Albertina Museum in Vienna, loaned by Isidore Ducasse Foundation of New York, which houses the collection of Daniel Filipacchi. Exhaustive, introducing even a few collages that has not accepted for publication, the exhibition is a model of its kind. It opens with a sequence that leaves explanatory dreamer. The collages are presented in the company boards in which Ernst cut a naked woman, a shipwrecked, a riverside or bourgeois interior. The subtlety with which he agency images, to slide into each other and the suture is such that the eye perceives a perfect unity where there heterogeneity. Hybridization, the overthrow upside down, the breaking of scale imperceptible raise scenes where the unreal seem natural. Ernst makes the fantastic not only credible but normal.

This world in black and white live in fear and rage. The disasters are frequent, crimes too. The murderers have heads beasts and birds. The heroines are alternately threatening and overwhelmed - and mostly barren. This column fantasies and anxieties fascinates so, leaving rooms, we are all surprised that men should have the lion mufles and that Viennoises did not walk naked.

At present Exhibition Max Ernst to the Orsay Museum from June 30th till September 13th, 2009

Max Ernst, Albertina, Albertina Platz 1, Vienna. Tel.: 00-43 - (0) 1-534830. From 10 am to 18 pm; Wednesday up to 21 hours. Until April 27. € 9.50 .
Philippe Dagen

Numeric device

Numeric device

It is about a grid where are placed the shots of photos settled on graves of dead persons.
These images make share some seconds with these dead strangers quite a lot of time ago and a little forgotten. The past to look at these photos is deducted and carried(worn) in the knowledge of the regardeur.
It is a number of seconds which you passed with the photo of these strangers.
The past between the recording and the moment when you see photos is also deducted.

It is a time of the photography.