https://edmeelaurin.com Edmée Laurin Sat, 08 May 2021 19:24:26 +0000 https://edmeelaurin.com en https://edmeelaurin.com/Accueil Mon, 04 Feb 2019 14:43:29 +0000 Edmée Laurin https://edmeelaurin.com/Accueil https://edmeelaurin.com/WORKS Sat, 08 May 2021 19:24:26 +0000 Edmée Laurin https://edmeelaurin.com/WORKS <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/ad4a7117821ce5167c75d898c97aec61c43bc1b72d87108e274ddddb6a21ae41/Nid-d-amour-1.jpg" data-mid="107834588" border="0" src="https://freight.cargo.site/w/1000/i/ad4a7117821ce5167c75d898c97aec61c43bc1b72d87108e274ddddb6a21ae41/Nid-d-amour-1.jpg" /> <img width="4752" height="3168" width_o="4752" height_o="3168" data-src="https://freight.cargo.site/t/original/i/eeeb78254b8d5033e888ff33e7edb4a01160102339efe96423a08b07e75ef470/IMG_1655.jpg" data-mid="107842003" border="0" 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data-src="https://freight.cargo.site/t/original/i/4a31524031db86f43ba7dcc8180ea4f868d11529ba779d94185433a3c421f8ba/Some-room-for-a-window-4.jpg" data-mid="107841841" border="0" src="https://freight.cargo.site/w/1000/i/4a31524031db86f43ba7dcc8180ea4f868d11529ba779d94185433a3c421f8ba/Some-room-for-a-window-4.jpg" /> <img width="3168" height="4752" width_o="3168" height_o="4752" data-src="https://freight.cargo.site/t/original/i/c8621e6ea68e481a566dd89a70b94671d84267e820f8c7cbe7e2c8b4ac303b97/4-Some-room-for-a-window.jpg" data-mid="107844900" border="0" src="https://freight.cargo.site/w/1000/i/c8621e6ea68e481a566dd89a70b94671d84267e820f8c7cbe7e2c8b4ac303b97/4-Some-room-for-a-window.jpg" /> https://edmeelaurin.com/PUBLICATIONS-TEXTS Tue, 12 Feb 2019 00:45:40 +0000 Edmée Laurin https://edmeelaurin.com/PUBLICATIONS-TEXTS VENUS FLYTRAP Venus Flytrap est une exposition de sculptures dont le registre de forme convoque de prime abord un univers de sédimentations aquatiques, habité de coquillages et de fossiles. Mais ce qui frappe, c’est le grand écart dans la matérialité des pièces exposées : entre les formes molles des porcelaines émaillées, le plâtre patiné et laiteux ou encore le polyester brut, découpé en portions modulaires. La mise en contact de ces matériaux déploie un imaginaire qui s’adresse autant à une tactilité qu’au regard. Et dans l’intervalle entre ces techniques ancestrales et pétrochimiques, un pont temporel ouvre un récit. Le titre de l’exposition suggère Vénus – celle, peut-être, des tableaux d’Alain Jacquet, où la Vénus sortant des eaux de Botticelli apparait en superposition à une station d’essence Shell. Héritée du panthéon romain, Vénus participe à construire le récit d’un occident où l’amour est d’emblée associé à la notion de beauté comme nécessaire objet du désir, conditionné par le visuel. Comme si cette déesse en était réduite à cela. Face à cette idéalisation, en déplaçant le regard vers la figure du coquillage qui orne les représentations de Vénus, Edmée Laurin nous propose de repenser cette figure. Comme cette plante carnivore, la Dionée attrape-mouche, dont Venus flytrap est le nom anglophone, qui semble nous rappeler les pièges de la séduction facile. Les pièces en porcelaine, les come backsont réalisées par le réemploi d’un moule de vase trouvé sur un site industriel abandonné en Chine à l’occasion d’une résidence au Jingdezhen Ceramic Institute. Laissé au sol, à l’extérieur et exposé aux intempéries, ces moules en plâtres ont été altéré par l’érosion de la pluie qui a creusé des sillons et des rigoles. Ainsi rongés, les moules ont perdu leur valeur d’usage initiale et leur efficacité à reproduire un modèle. Bien au contraire, ils sont devenus propice à générer des accidents et des variations. Dès lors, chaque multiple visant à reconstituer un vase issu du moule était l’occasion de jouer sur le reproductible et sa mise en échec. Come backcomme un retour sur scène promis au succès de ces moules industriels. Comme la garantie de retrouver l’idole,&nbsp; – la Vénus – et sa forme étalon, le même qui maintient le flux de marchandises. Mais qui ici, soumise à l’entropie, libère la forme de l’étalonnage de l’industrie pour la rendre aux forces de la nature et du temps. Les vases obtenus à chaque tirage sont marqués par les traces de leur matrice érodée, et la tentative de reproduction transforme ces moules génériques en empreintes naturelles qui produisent autant de fossiles, singuliers, à l’image des coquillages marins. &nbsp;La pièce Venus&nbsp;se joue aussi dans cette tension entre le moule et son tirage, mais cette fois-ci, E.L confère aussi au moule (Flytrap) le statut de pièce. En rapprochant les relations de forme et de contre forme, en les nivelant, elle rend visible le processus d’un potentiel infini de copies. Ce moule, cette matrice, est elle-même un tirage, elle est réalisée en résine à partir d’un jouet en plastique. C’est précisément sa contre-forme, comme la tentative de retrouver la matrice de l’usine : un bac à sable pour enfant en forme de coquillage. Rejouer le moule de ce jouet, c’est ouvrir une bifurcation dans la chaîne de production et en questionner la raison d’être. Ici, c’est une façon de sonder cette étrangeté qui consiste à produire un objet en forme de coquille pour y placer du sable et permettre à un enfant d’y jouer. Un environnement réduit, un monde ou les rapports d’échelle et de relation sont inversés : le coquillage sur la plage devient le contenant de la plage en miniature, elle est domestiquée, simplifiée. Comme le dit Roland Barthes, «&nbsp;Les jouets courants sont essentiellement un microcosme adulte&nbsp;». Ce sont ces mythologies, ces récits qui semblent aller de soi, et que l’on absorbe tout au long de sa vie qui nourrissent en filigrane les oeuvres d’Edmée Laurin. Elle travaille les contradictions, entre une vision des œuvres comme de futures fossiles, et leur rattachement à une mythologies antique, objet qui porte leur trace d’un futur passé ou encore objet qui ravive un passé en oubli. Benoît GehanneMars 2023, texte de présentation pour Venus Flytrap à la galerie Le Passage Prép’art EN Venus Flytrap is an exhibition of sculptures whose form register, at first glance, summons a universe of aquatic sedimentations, inhabited by shells and fossils. But what is striking is the great gap in the materiality of the pieces on display: between the soft shapes of enameled porcelain, the patinated and milky plaster surfaces or even the raw polyester, cut into modular portions. Bringing these materials into contact unfolds an imagination that appeals as much to tactility as to the gaze. And in the interval between these ancestral and petrochemical techniques, a temporal bridge opens a story. The title of the exhibition suggests Venus – the one, perhaps, of the paintings of Alain Jacquet, where Botticelli's Venus rising from the waters appears superimposed on a Shell gas station. Inherited from the Roman pantheon, Venus helps to construct the story of a Western culture where love is immediately associated with the notion of beauty as a necessary object of desire, conditioned by the visual. As if this goddess was reduced to that. Faced with this idealization, by shifting the gaze towards the figure of the shell which adorns the representations of Venus, Edmée Laurin suggests that we rethink this figure. Like this carnivorous plant, the venus flytrap, which seems to remind us of the pitfalls of easy seduction. The porcelain pieces, the comebacks, are made by reusing a vase mold found on an abandoned industrial site in China during a residency at the Jingdezhen Ceramic Institute. Left on the ground, outside and exposed to the elements, these plaster molds have been altered by the erosion of the rain which has dug furrows and channels within them. Thus eaten away, the molds have lost their initial use value and their effectiveness in reproducing a model. On the contrary, they have become conducive to generating accidents and variations. From then on, each multiple aimed at reconstituting a vase from the mold was an opportunity to play on the reproducible and its defeat. “Come back” as a return to the stage promised to the success of these industrial molds. As the guarantee of finding the idol – Venus – and its standard form, the same one that maintains the mercantile flow of goods. But which here, subject to entropy, frees the form from the calibration of industry to return it to the forces of nature and time. The vases obtained in each print are marked by the traces of their eroded matrix, and the attempt at reproduction transforms these generic molds into natural imprints which produce as many singular fossils, like marine shells. The Venus piece also plays out in this tension between the mold and its print, but this time, Edmée Laurin also gives the mold (Flytrap) the status of a piece. By bringing together the relationships of form and counter-form, by leveling them, it makes visible the process of an infinite potential of copies. This mold, this matrix, is itself a print, it is made in resin from a plastic toy. This is precisely its counter-form, like the attempt to find the matrix of the factory: a child's sandbox in the shape of a shell. Replaying the mold of this toy is opening a bifurcation in the production chain and questioning its reason for existence. Here, it is a way of probing this strangeness which consists of producing a shell-shaped object to place sand in it and allow a child to play with it. A reduced environment, a world where the scale and relationships are reversed: the shell on the beach becomes the container of the beach in miniature, it is domesticated, simplified. As Roland Barthes said, “Common toys are essentially a microcosm of adults.” It is these mythologies, these stories which seem self-evident, and which we absorb throughout our lives, which implicitly nourish the works of Edmée Laurin. She works on the contradictions, between a vision of the works as future fossils, and their connection to ancient mythologies, an object which bears their trace of a future past or even an object which revives a forgotten past. Benoît GehanneMarch 2023, exhibition text for Venus Flytrap at Le Passage gallery Prép’art WHERE DOES “IT” COME FROM? Even if there are different and contradittory positions around the methodology of the understandment of the excavations findings, all archeologists agree that the nature of the informations extracted from the remainings depends on their state of preservation and that, in any case, the act of reading it could never be neutral, neither objective. This happen because “we add new strata of information and interpretation to object themselves characterised by considerable stratification of meaning over time” (L.Olivier). In this perspective, Edmée Laurin’s works have the same complex stratifications as archeological finds : a standing shape made of hair with human contours, vessels realized by industrial molds from a local factory disbanded in the 90s, stones made out of clay carved with words that reenacte in style the epigraph on the walls of the Italian capital during the Roman empire. All her pieces are deeply linked with the recent and antique past, both in form and matter, but at the same time, they are inseparable from our present. Through this paradox, Edmée Laurin encourages us to rethink our notion of time and to read her pieces as if they were archeological finds. What kind of informations can we deduce from them? Where do they belong ? If the viewers are brave enough to sharpen their sight, get closer and analyze the find, there is nothing left for them but surprise : strange limbs growing on surfaces as little breast coming out of a rock made out of a soft piece of clay. The juxtaposition of human body and natural elements and the apparent shifting of the materiality of clay creates mysterious post-human chimeras foundings that seem to be coming from a distopian, parallel reality. The concept of shifting, doesn’t just refer to the versatile polisemantism of the use of clay as a material, but also to the capacity of the artist through the creative act to shape our wildest fantasies. In the world created by Edmée Laurin, clay is an autonomous living material, able to breath, drink water, transform itself in fire and, as it moves from its reality to ours, it shows&nbsp;its true self in the exhibiton space.Raimonda da Ros November 2019 (JCI published Artist brochure) FR D’OÙ “CELA” VIENT-IL ? Même s'il existe des positions opposées et contradictoires autour de la méthodologie de compréhension des résultats de fouilles, tous les archéologues s'accordent pour dire que la nature des informations extraites de vestiges dépend de leur état de conservation et que, par conséquent, l'acte de les lire ne pourrait jamais être neutre ni objectif. Ce phénomène se produit car “nous ajoutons de nouvelles strates d'information et d'interprétation aux objets eux-mêmes caractérisés par une stratification considérable de sens dans le temps“ (L.Olivier). Dans cette perspective, les œuvres d'Edmée Laurin ont les mêmes stratifications complexes que les découvertes archéologiques: une masse de cheveux dressée aux formes humaines, des récipients réalisés au moyen d'un moule industriel issu des ruines d'une usine locale fermée dans les années 1990, des pierres en argile sculptées de mots qui font penser aux épigraphes sur les murs de la capitale italienne sous l'empire romain. Toutes ses pièces sont profondément liées au passé récent et antique, tant dans la forme que dans la matière, mais elles sont en même temps indissociables de notre présent. A travers ce paradoxe, Edmée Laurin nous encourage à repenser notre notion du temps et à lire ces oeuvres comme s'il s'agissait de découvertes archéologiques. Quel type d'informations pouvons-nous en déduire ? A quel espace appartiennent-ils ? Si le regardeur accepte cette invitation à s'approcher et analyser la découverte, il ne sera pas au bout de ses surprises : d'étranges membres humains colonisent les formes, de petits mamelons sortent d'un rocher en porcelaine, de cette pierre qu'on imagine froide et rigide au toucher imprimée dans le souple matériau qu'est l'argile. Cette juxtaposition du corps et d'éléments naturels pointe aux fondations de mystérieuses chimères post-humaines, qui semblent provenir d'une réalité parallèle dystopique. Le concept de déplacement ne se réfère donc pas seulement à la sémantique multiple et polyvalente de l’utilisation de l’argile comme matériau, mais aussi à la capacité de l’artiste à façonner nos fantasmes les plus fous. Dans le monde créé par Edmée Laurin, l'argile est une matière vivante autonome, capable de respirer, de boire, de se transformer en feu et en passant de sa réalité à la nôtre, elle montre sa vraie identité dans l'espace d'exposition. ETATS DE TRANSFORMATIONS Des matériaux composites qu’Edmée Laurin utilise pour ses œuvres, on s’attendrait plutôt à ce qu’ils soient sans nuance, qu’ils aillent droit au but, que leur dureté de résine acrylique, polyester ou de plastique thermo-moulable nous soit révélée immédiatement. Or c’est un vrai travail d’alchimiste qu’elle met en place, quand elle métamorphose des matières souples en matières rigides et inversement, renversant visuellement les caractéristiques premières des résines : les surfaces se font moussues, baveuses, liquides ou visqueuses.Bien que le corps ne soit jamais montré que par fragment ou par évocations délicates, il transpire de toutes ses productions : ce sont les seins qui émergent d’un moulage de ce qui semble être plutôt un emballage pour fruits sphériques, les gouttelettes immaculées en émail qui exsudent d’une céramique sombre, un matelas d’appoint en mousse qu’elle stratifie à la résine. Le merveilleux le dispute au monstrueux, la perle qui naît miraculeusement peut se confondre avec le kyste dont on ne peut empêcher le grossissement. L’envahissement guette, et on ne l’aura pas vu venir. “Quand on pense aux matériaux de synthèse, ils évoquent instantanément le monde de l'industrie, avec leurs formes utilitaires, froides, préformées. Lorsque je travaille avec ces matériaux, je porte une combinaison de protection, un masque, des gants et des lunettes : le rapport direct au corps est contraint. Toutefois, je cherche des changements d’état, pour figer des mouvements et des textures organiques afin d’évoquer le corps là où on ne l’attendrait pas. Je m’intéresse à l’empreinte, à la nécessité de dupliquer par moulage : mes pièces évoquent conjointement la plasticité et la peau, le fossile et le flexible. J’opère des déplacements, des effets de loupe : un chat allongé sur son coussin est à l’échelle d’un corps humain, des seins se démultiplient comme dans l’Artémis d’Éphèse, des gouttes de céramique se répètent sur le mur. Par leur apparence incertaine, leur identité mystérieuse, je leur crée une réalité alternative sans pour autant nier leur unicité : ils sont comme autant de fragments de corps ambivalents, entre érotisme, vie et mort.” Text from and remarks in conversation with Camille Paulhan(published in Felicità 17, catalog, Beaux-arts de Paris éditions) February 2018 EN From the composite materials that Edmée Laurin uses in her artistic practice one would expect them to be without nuances, straight to the point. Their polyester, acrylic, pre-formed plastic&nbsp;hardness should be instantly revealed to those who look at them. However, it is the work of an alchemist that is set before us, as she transforms flexible matters into hard ones and vice versa, reversing the first properties of resins : from the surfaces emerge&nbsp;foam, slime, they become liquidy and viscous. Even though the body is only shown by fragments or delicate evocations, it sweats from all of her productions : it is the breast coming out of a cast of what seems to be a pre shaped carton packaging for round fruits, the immaculate glaze drops exuding from a dark ceramic, a foam mattress that she stratifies with resin. The marvelous plays with the monstrous, the perl miraculously&nbsp;born can easily be mistaken for the cyst whose growth can not&nbsp;be stopped. Look out for the flood because we won’t see it coming. “When we think about composite materials they automatically remind us of the field of industry, with their cold, utilitarian and preformed aspect and shapes. When I work with those materials, I wear a protection suit, a&nbsp;breathing mask, gloves and glasses : direct contacts to the&nbsp;body are not allowed. However, I am looking for some&nbsp;material evolutions of states, to freeze some movements&nbsp;and organic textures in the purpose of evoking the body&nbsp;where its presence would not be expected. I am interested&nbsp;in the act of print, in the necessity to duplicate a&nbsp;form by casting it : my works talk simultaneously about&nbsp;plasticity and skin, fossil and flexibility. I am operating&nbsp;some transfers and magnifications: a cat on a pillow is asbig as a lying human body, breasts duplicate themselves as in the Artemia of Ephese, ceramic drops invade the wall. By their uncertain appearance and their mysterious identities I create for them an alternate reality, without&nbsp;denying each work’s unicity : They are like fragments of&nbsp;ambivalent bodies, between erotism, life and death.” <img width="3250" height="4596" width_o="3250" height_o="4596" data-src="https://freight.cargo.site/t/original/i/8789ccb43bea8285afa9b748feb941e704dae2267b750391494b1382c4b54e17/Edmee-BROCHURE_Page_3.jpg" data-mid="107841464" border="0" src="https://freight.cargo.site/w/1000/i/8789ccb43bea8285afa9b748feb941e704dae2267b750391494b1382c4b54e17/Edmee-BROCHURE_Page_3.jpg" /><img width="2481" height="3508" width_o="2481" height_o="3508" data-src="https://freight.cargo.site/t/original/i/9f5c518c94b00de750123261cf3d2c91a8be3fe15af86099f283c9fa4ff22f1b/Edmee-BROCHURE_Page_4.jpg" data-mid="107841465" border="0" src="https://freight.cargo.site/w/1000/i/9f5c518c94b00de750123261cf3d2c91a8be3fe15af86099f283c9fa4ff22f1b/Edmee-BROCHURE_Page_4.jpg" /> Brochure du Jingdezhen Ceramic Institute (texte de Raimonda da Ros) Portrait by Damian Rosellen https://edmeelaurin.com/VITA Mon, 04 Feb 2019 14:34:45 +0000 Edmée Laurin https://edmeelaurin.com/VITA &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; ︎&nbsp;contact : edmee.laurin@hotmail.fr &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Born in 1989 Lives and works in Paris and Düsseldorf SOLO EXHIBITIONS March 2023 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Venus Flytrap&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Le Passage galerie Prép’art, Paris, FR May 2019&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Futures Fossiles&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Salon4mains, Autun, FR December 2017 &nbsp; &nbsp;&nbsp; Curiosity killed the&nbsp;cat but satisfaction brought him back &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp;Anne Rochette Atelier, ENSBA, Paris, FR June 2016&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; Mio dorso a spinapesce&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Curated by W. Austermann&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Hotel Friends, Düsseldorf, DE&nbsp; March 2015 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Ma famille de pierres&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp;Figarella Atelier, ENSBA, Paris, FR COLLECTIVE EXHIBITIONS May - Sept 2023 &nbsp; &nbsp;&nbsp; The world beyond the house &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Lucien Degheus museum, Poperinge, BE Mars - April 2023&nbsp; &nbsp; The animal crawls around and exits &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; AURA Kunstraum, Düsseldorf, DE&nbsp; Sept 2022 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp;Twenty&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Galerie Perpétuel, Frankfurt am Main, DE July 2021&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Kunstspaziergang Kultur verussen, Rathaus für Kultur&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; In collaboration with D. Chaves et F. Schoch, Attic Kollectiv &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Liechtensteig, CH Jul - Sept 2020&nbsp; &nbsp; &nbsp; Rien ne se perd, rien ne se crée, tout se transforme&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; Curated by Reniere&amp;Depla &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; ArtAutun, Rolin Museum, Panopticon, Autun, FR Jun - Oct 2020&nbsp; &nbsp; &nbsp; Magie Noire &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; Musée du Four des Casseaux, Limoges, FR November 2019 &nbsp; &nbsp;时间 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Residency exhibition of the post-graduate KAOLIN program &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Jingdezhen Ceramic Institute (JCI), Jingdezhen, CN September 2019&nbsp; &nbsp;Sunbath - Your turn&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;Residency exhibition&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;Manoir de Soisay, La Perrière, FR June 2019 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp;Having been cheated out of some marvellous experience &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; &nbsp;duo show with Birgit Jensen&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Atelier Schoßjagerhof, Düsseldorf, DE July 2018&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Felicità&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Palais des Beaux-Arts, ENSBA, Paris, FR May 2018 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; under your thumb &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Collaboration with F. Schoch &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;bei Phini und Dao, Kaiserswerth, DE &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Fais ce qu’il te plaît ! &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Festival&nbsp;curated by WE DO NOT WORK ALONE &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;ENSBA, Paris, FR Oct - Nov 2017 &nbsp; &nbsp; &nbsp; Aus jedem dorf ein Hund&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Kunstlerhaus, Dortmund, DE&nbsp; Sept - Nov 2017 &nbsp; &nbsp; 71. Internationale Bergische Kunstausstellung &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Kunstmuseum, Solingen, DE May 2017 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Junge Kunst aus der Akademie, Follow up 2017 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Förderpreis, PwC, Düsseldorf, DE February 2017 &nbsp; &nbsp; &nbsp;&nbsp; Jeder ist sich selbst der Nächste nicht &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Klasse Gostner, Kunstakademie, Düsseldorf, DE July 2016 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Shopping, with Limited time offer (Installation and finissage performance) &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Collaboration with D. Chaves and F. Schoch, Attic Kollectiv&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; ArtWil 16, curated by collective Arthur Junior &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Obere Bahnhof St., Wil, CH DISTINCTIONS - RESIDENCIES&nbsp; April - June 2025&nbsp; &nbsp; Ateliers RAVI &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Artist residency, Liège, BE Dec 2023 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;ArToll Kunstlabor &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Artist residency, Bedburg Hau, DE May - Oct 2022 &nbsp; &nbsp;&nbsp; NEUSTART KULTUR Stipendium&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Scolarship, Stiftung Kunstfonds, Bonn, DE Sept - Dec 2019 &nbsp; &nbsp; Post-graduate program KAOLIN &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;JCI (Jingdezhen Ceramic Institute), Jingdezhen, CN July 2019 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Manoir de Soisay&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Artist residency, La Perrière, FR 2017 - 2018&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Kenza Foundation &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Scolarship, French institute, Paris, FR July 2016 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; ArtWil16&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Artist residency, Wil CH&nbsp; PUBLICATIONS 2020&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Rien ne se perd, rien ne se crée, tout se transforme &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Exhibition catalog, Snoeck editions&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 2018&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Félicità 18 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Exhibition catalog, Beaux-Arts de Paris, Les Éditions 2017 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Aus jedem dorf ein Hund &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Exhibition catalog, Kunstlerhaus Dortmund &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; 71. Internationale Bergische Kunstausstellung &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Exhibition catalog, Kunstmuseum Solingen &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Junge Kunst aus der Akademie, Follow up 2017 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Exhibition catalog, PwC EDUCATION 2013 - 2017&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Ecole Nationale Supérieure des Beaux-arts de Paris,FR &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Anne Rochette Studio &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;P2F Studio &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Kunstakademie Düsseldorf - Guest student, DE &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Martin Gostner Studio &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Thomas Grünfeld Studio 2011 - 2012&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Università degli Studi di Firenze - History of Art, IT 2010 - 2011&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Sorbonne Paris IV, Institut Michelet - History of Art, FR&nbsp; 2007 - 2010 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Esag Penninghen Paris - Interior Design, FR&nbsp;