THE OTHER LOOK
28 o c t o b r e organizes temporary exhibitions of works of art.
Discover our artists and their works.
Self-taught, Mourad CHERIFI is inspired by mid-20th century street photographers such as Garry Winogrand, Sabine Weiss, Henri Cartier Bresson, Viviane Maier, Elliott Erwitt, Martine Franck, Saul Leiter...
For him, the street is the place par excellence where a form of choreography unfolds, anchored to the social codes in force, but also to very personal imaginary elaborations.
The human context of the images occupies a major place in his photographic approach, as well as the obscure games of light. Motion blur is one of the techniques he likes, giving the image an intriguing, fictional, even supernatural character.
Mourad CHERIFI also approaches the photographic portrait in an experimental and narrative way, not hesitating to stage a domestic drama, willingly addressing the notion of loneliness, age and confinement. On another, lighter theme, he pays homage to the work of Irving Penn by giving it his own artistic vision...
Né en 1988, il grandit entre Paris et St Rémy de Provence. Après avoir vécu à Ibiza, il intègre une école de design industriel à Barcelone. Il y restera jusqu'à son retour à Paris où il complétera son cursus scolaire à Esmod et obtiendra une licence en tant que styliste modéliste.
Bergstein est donc habitué au croquis instantané à des fins matérielles, il s'est peu à peu affranchi de cette discipline pour devenir dessinateur à part entière. De l'esquisse, qui représente le premier témoignage artistique concret sortant de l'imaginaire du styliste, il en a fait son terrain d'évolution et d'expérimentation, en accumulant les silhouettes et en recréant des univers empruntés à la mode. Le dessin n'est alors plus le support ni l'outil de travail pour une étape suivante mais devient le miroir d'une recherche purement esthétique. Ce n'est pas un hasard si l'artiste réalise la majeure partie de sa production sur toiles à patron. Ce tissu qui lui servait auparavant pour la réalisation de ses prototypes, est devenu son support principal et le moyen de donner des effets à la fois authentiques et innovants à sa technique de dessin.
Le travail de Bergstein s'inscrit dans une trajectoire transdisciplinaire et offre ainsi une lecture transversale entre deux disciplines majeures, plaisante pour un oeil averti et attrayante pour les néophytes.
Bastien Bernini's approach strives to deconstruct the figures to bring out an essential, an emotion. Explode the preconceived images and in a gesture, try to bring out the fragility and the power of the subject. Halfway between the abstract and the figurative, his work does not require any particular culture, and no references either. It is accessible, immediate.
Passionate about music, David worked for 15 years in a record company, he became a carpenter and designer in 2007.
Regularly called upon to restore old furniture and seats, he has also perfected his skills in the use of colors and varnishes.
He works with all species, combines old techniques and modern tools according to the constraints imposed by the wood and the desired finishes.
Since 2016, David has been developing a project of original creations that he called SL! GHT. Sensitive to design and decoration and particularly to the treatment of light, he is seduced by the properties offered by a new material - stone sheet - discovered thanks to one of his former interns from the Boulle school.
SL! GHT is available in a square or rectangle version (wall lights or metal base), the stone sheets are selected to create diptychs. All creations are unique models.
Pascal Rostain and Bruno Mouron, the famous paparazzi, plunge into the waste of stars, or anonymous people of the planet, to make unusual paintings. In truth TRASH is neither more nor less than the collection of the small miseries of the stars who practice the facelift of their image as if they were the big burns of the news. TRASH contributes both to an archeology of contemporary globalized waste, to a catalog of the aesthetics of packaging for consumer goods and to a sociology of neuroses. However, these neuroses belong to an idealized population of which we should know nothing of the banality of their habits and customs; because revealing that they also consume popular products while their image is used for the promotion of luxury or elite products is undoubtedly more obscene for them than to have people write that they were victims of incest in their childhood . Here lies the limit of identification ...
The journey, which most often seems "a dream walk" is a subject in which Romain Rivierre experiments and refines his technique: the furtive jets of light, red horizons, transparencies, the play of emptiness / fullness show the interest of the photographer for the deformation of reality until reaching disorder, which is for him the means of reaching the reverse of appearances.
Romain Rivierre is a kind of genius. This is what we have heard the most and it is also what we have asked ourselves.
The Cabinet October 28 succeeded in convincing Romain Rivierre to agree to exhibit his work and there remains the link that our Cabinet and the artist have forged.
This photographer is shy and far removed from his genius and that is why he had to be convinced to exhibit. If he looked at his work with our eyes, he would definitely be reassured. There is this accuracy of his gaze, the precision of the positions he takes, the humility that surrounds him and the brilliance he puts on his prints even when they are dull.
https://www.instagram.com/rrphotographe/
Thierry Deroche's double life began in a unique place, in the Parisian suburbs: a space where humans are almost absent and the machine ubiquitous, autonomous.
A few years ago, the management controller of the time, in this auto parts factory, knew his first invitation to creation. He began to collect some parts, often industrial waste, which today are transformed into robotic rebuses ... Thierry Deroche has now exchanged his briefcase for a toolbox. In his hands, the metal parts are assembled, bolted, and screwed to find a second life, reincarnated in a playful and unique sculpture resembling ROBOTS.
Roboted, Robbyted & Co (his works) are beautiful, useless, no shrill noises, no blinding lights, just a glimmer of tenderness, nostalgia and a touch of irony.
BLABLA: DEFINITION OF LITTLE LAROUSSE: INVARIABLE MALE NAME .ONOMATOPEE. EMPTY SPEECH OR LYING INTENDED TO BE DREAMED.
THE RECURRING CHARACTER FROM BLA'S WORLD IS A RIGOLO CROCODILE. LIKE ALL OF HIS LEAVE, HE SEEMS TO HAVE A HUGE MOUTH BUT TINY LITTLE PAWS TO DO WHAT HE SAYS. THE OFFICIAL LANGUAGE OF THE WORLD OF BLA IS NATURALLY BLABLA. BLA'S CURRENCY IS THE CREVARD. BLA'S POLITICAL REGIME IS MEGALOCRACY, HIS RELIGION NEOLIBERALISM AND HIS NATIONAL ANTHEM “IN BLA WE TRUST”. THE PREFERRED MATHEMATICAL FORMULA OF THE INHABITANTS OF BLA: PROFITS = MORE REVENUES AND LESS COSTS!
www.walksasshethinks.wixsite.com/monsite4/walksasshethinks-biography
Jérôme Btesh uses objects, understands noble materials, sees ordinary materials, makes invisible what is obvious, cancels out the visible, fixes his attention on the unobservable, multiplies the singular, disobeys the laws of gravitation, thwarts curves , fools what fools us. Endlessly he writes without words, cuts out the void, unfolds what is smooth, complicates the simple. His rage against materials is that of a man who disorganizes reality the better to be surprised. Why ? Renan, a book sculptor, said it better than anyone: "It could be that the truth was
Géraud Mordin is a plastic painter who knows how to give a rather surprising second life to the toys of our childhood. He draws his inspiration from the studies of philosophy that he followed and this leads him to create very original works. Over the years, a style becomes clearer, especially in his portrait work.
These "faces" present a very personal design and make up an iconography which combines religious iconology, the pagan universe of ethnic masks and that of the super heroes of Marvel.
A new "plastic" orientation of his work has manifested itself in recent years with works that take on relief by the addition of recovered objects staged using different techniques. He himself defines his works as the result of "work on play and formal paradoxes".
http://www.oeildusouffleur.com/les-artistes/illustrateurs/geraud-mordin/
For Katrin Bremermann, the canvas, "it is my little white room that I seek to be comfortable, where I can completely disconnect". For her canvases, she begins by painting geometric shapes and then comes the images. Baseball players, unexpected architectures, innocuous details are photographed, worked on on the computer and then cut on the canvas, thus forming a figurative photograph.
Refusal of an inherited realism, the painting so withdrawn by Katrin Bremermann opposes different lights. Elegies of melancholy and loss, his paintings affect not to destroy an already fragile world, bursts of disorder each time named in the titles given to his works.
For her, learning to look means changing her vision of the world.
Tiphanie Spencer was born in Paris in 1974. She studied in France, the United States and Mexico before moving to New York in 1997, where she made a photographic documentary on nightlife. She worked at the Center International de la Photo (ICP) then in an advertising agency while participating in several individual or group exhibitions. In 2000, Tiphanie moved to Paris and worked for 3 years with photographer Yann Arthus-Bertrand to organize the exhibition "The Earth Seen from the Sky" in France and abroad. Then she devoted herself full time to drawing and painting. The work of Tiphanie, of which we find Cubist and surrealist influences, leaves a large part to the subconscious. Lines and architectural forms, theatrical or animal, mingle with images inspired by primitive art.
