HUMAN BEING

CURATOR : EMMANUEL SAULNIER

/BLACK SOUNDBLACK HUMAN

/SOUND BEINGSOUND HUMAN

/BLACK BEING

Steeve BaurasTéo BétinFrançois BiancoSébastien Gschwind Emmanuel Saulnier

EXHIBITION FROM SEPTEMBER 7 TO OCTOBER 20, 2018

OPENING ON THURSDAY, SEPTEMBER 6, 2018

PRESS RELEASE

Galerie Les filles du Calvaire is delighted to present an exhibition curated by Emmanuel Saulnier entitled “Human Being, Black Sound, Black Human, Sound Being, Sound Human, Black Being”.

Following his exhibition “Black Dancing” at the Palais de Tokyo, Paris, from February to May 2017, Emmanuel Saulnier is now inviting four French artists, Steeve Bauras, Téo Bétin, François Bianco and Sébastien Gschwind, to exhibit with him around the multifaceted theme “HUMAN BEING / BLACK SOUND” at Galerie Les Fille du Calvaire, Paris.

This exhibition is freely inspired by “Four Quartets” by American poet T.S. Eliot. The four elements constitute the undertone of the poem. Its metrics and rhythm create a unique and suggestive human energy and space while bringing music to mind.

Exhibition from September 7 to October 20, 2018Opening on Thursday, September 6, 2018

Words move, music movesOnly in time; but that which is only livingCan only die. Words, after speech, reachInto the silence. Only by the form, the pattern,Can words or music reachThe stillness, as a Chinese jar stillMoves perpetually in its stillness.

“

Press request : s.borderie@fillesducalvaire.com17, rue des Filles-du-Calvaire 75003 Paris

+33 (0)1 42 74 47 05 / www.fillesducalvaire.com / paris@fillesducalvaire.com

EMMANUEL SAULNIEREmmanuel Saulnier is known for his mostly sculptural work in constant dialogue with the field of drawing. While glass is his favorite medium, the artist explores the potentials of matter in the broad sense. His work tackles issues like collective memory, presence and disappearance –Katell Jaffrès-

“I walk into the big room; I step into the work. Immediately, the vibes exuded from its disseminated limbs reach my organs. I stop around the center… the center? There is none. No periphery, no walls, no beginning or end, no before nor after, it is a compact space in motion, unclosed, both centripetal and centrifugal. A big tridimensional blank page covered with lines and shapes, the shadow of sentences sliding like clouds

Emmanuel Saulnier, Black Dancing, 2016 (Photo © Steeve Bauras ADAGP)

on hilly terrains. Impression of being swallowed inside an expending calligraphy. You see? Like the universe, a universe, in expansion.”

Pierre Hemptinne, «Round Midnight» entre sculpture et standard de jazz.

Pointculture.be, March 2017.

STEEVE BAURASPhotographer Steeve Baura is born in 1982 in Fort-de-France. This is where he started studying art in 2000, before entering the sculpture workshop of Emmanuel Saulnier at ENSBA Paris (Ecole Nationale des Beaux-Art) in 2004. Since then, he has explored the experimental music (or noise) scene of Paris and Berlin, enjoyed international exhibitions, travelled alone from Cracow to Dakar, and from Chile to Montreal, and produced mordant and meditative video clips directly inspired from his photographic practice for a psychedelic rock band (Wall of Death) created in 2010. Jean-Baptiste Mognetti

His eyes open, Steeve Bauras captures dark skies, ash grounds and featureless faces that seem to come from a nightmarish dream or fiction. Yet, these images are documentary fragments he edited and distorted via various reproduction techniques. Through these processes, he awakens images and takes them out of oblivion.

Elise Vandewalle

The dream screen. Bertram D. Lewin describes the ideal dream as a white screen representing the dreamer’s desire to sleep. In the “White Dreams” series, the white motifs of the images systematically fill up the lower part of the screen, leaving most of the upper part black. The random yet abrupt vignettes of the series unfold until a white glare happens, the disappearance of all images: the sleep finally possible.

Series White Dreams, 2007 - 2016 (Photo © Steeve Bauras ADAGP)With the support of YCOS-Project

TÉO BÉTINBorn in 1989, Teo Betin lives and works between Paris and Maputo (Mozambique). He graduated from ENSBA Paris (Ecole Nationale des Beaux-Art) in 2014. His sculptural work combines assemblages and photographs on glass. His constructions play on the notion inside/outside, and investigate the various types of space around us. Between architecture and object, Teo Betin’s sculptures question our lacks. He took part in the 2017 Guyana Forest Art and the Biennale of Dakar in 2018.

Is there less fragile shelter than a wood shed? Is there anything more permeable than overworked slates and timbers? Shapes are so worn out, when not simply burnt, that light passes through. Material almost disappears. Teo Betin’s sculptures shape voids, and mesh the space they occupy. We enter them only to feel the troubled by their surroundings.

The space is given as an enigma, casting doubt on what we thought to be the ceiling a few seconds before. Earlier we were not standing. We were not walking. We were only adapting to a bounded perimeter. Now we are filled with what exudes from these works. Téo Bétin calls it “Pure Spaces”: a space to inhabit.

Quentin Mornay

Villa I, from the series Off White, 2017Wood, paint, fire, fix-on-glass – 173 x 140 x 148 cm

4th Floor Building, wooden staircase, painting, photography fixed on glass, metal. 2017. 260 x 190 x

FRANÇOIS BIANCO

“Each material I use brings its own language and imagery. This hybridization allows me to built sculptural assemblages that can also be read as landscapes from the perspective of a poetics of passage. By working on sound material as a language in itself, I also try to capture the unreal dimension of antique landscapes. More than a reading modality, sound is a sculptural tool that creates interstices, expectation, rupture and breaks. This principle

Born in 1985 in Coulommiers, he currently lives and works in Arcueil. After studying graphic design, François Bianco entered the workshop of Emmanuel Saulnier at ENSBA Paris (Ecole Nationale des Beaux-Art) in 2009. Graduated in 2013, he developed his sound researches through several collaborations and cinematographic projects. François Bianco was featured at the 66th edition of Jeune Création and took part in the 63rd Salon de Montrouge. His work now takes up a hybrid form midway between sculpture and sound.

of resonance also applies to the elaboration of sculptural constructions. The fragmentary- or deliberately incomplete (meaning “essential lack of”)- aspect of these various shapes bring me to look for the “tuning” of what I call incomplete allegories. They open an immersive path through the physical, visual and sound environment of the exhibition.

Fata bromosa (detail)Strato sentiero, Melopée under the blade and Fata bromosa, 2016

SEBASTIEN GSCHWINDBorn in 1973, Sebastien Gschwind currently lives and works in Paris. Graduated from ENSA Nancy, he exhibited at the Palais de Tokyo, Paris, as well as in Tokyo and Seoul in the framework of Hermes corporate foundation artist residencies. He also took part in the Sculpture Biennale of Yerres as well as the OFF programming of the Istanbul Biennale of contemporary art. He teaches at the ENSAPVS (École nationale supérieure d’architecture de Paris Val-de-Seine).

Sébastien Gschwind’s pieces are both metaphorical and physical compositions. Through heterogeneous techniques and materials, the artist fosters a poetic relationship to space. “It is about bringing closer what seems taken apart. Sculpting means building relationships”. Based on elementary programmatic principles, sculpture interacts with real space and builds

Un genre humain, 2012. Wood, bull leather, ostrich, goat and croco-dilus porosus, carbon, stainless steel. 330 x 110 cm. Photo Marc Domage © Fondation d’entreprise Hermès

Origines des espèces, 2009, Plywood, cable ties, aerosol on canvas, acrylic on wood, variable dimensions. Photo DR.

a temporary relationship with the environment.

VISUELS PRESSE

Emmanuel Saulnier, Black Dancing, 2016Photo © Steeve Bauras ADAGPCourtesy Galerie Les filles du calvaire

Steeve Bauras, Series White Dreams, 2007 - 2016 Courtesy of the artist and Galerie Les filles du calvaireWith the support of YCOS-Project

François Bianco, Fuga, 2018(Wood, steel, copper. 165 x 45 x 35 cm)Courtesy of the artist and Galerie Les filles du calvaire

Sébastien Gschwind, Origines des espèces, 2009Courtesy of the artist and Galerie Les filles du calvaire

Téo Bétin, 4th Floor Building, 2016 Courtesy of the artist and Galerie Les filles du calvaireWith the support of Pascaline Mulliez

HUMAN BEING/BLACK SOUND

BLACK HUMAN /SOUND BEING

SOUND HUMAN /BLACK BEING