• Fenêtre du studio, 2023, exhibition view, Dvir Gallery / Paris. Photo credit: Axel Fried (Larger version of this image opens in a popup).
    Fenêtre du studio, 2023, exhibition view, Dvir Gallery / Paris. Photo credit: Axel Fried (Larger version of this image opens in a popup).
    Fenêtre du studio, 2023, exhibition view, Dvir Gallery / Paris. Photo credit: Axel Fried (Larger version of this image opens in a popup).
    Fenêtre du studio, 2023, exhibition view, Dvir Gallery / Paris. Photo credit: Axel Fried (Larger version of this image opens in a popup).
    Fenêtre du studio, 2023, exhibition view, Dvir Gallery / Paris. Photo credit: Axel Fried (Larger version of this image opens in a popup).
    Fenêtre du studio, 2023, exhibition view, Dvir Gallery / Paris. Photo credit: Axel Fried (Larger version of this image opens in a popup).
    Fenêtre du studio, 2023, exhibition view, Dvir Gallery / Paris. Photo credit: Axel Fried (Larger version of this image opens in a popup).
    Fenêtre du studio, 2023, exhibition view, Dvir Gallery / Paris. Photo credit: Axel Fried (Larger version of this image opens in a popup).
    Fenêtre du studio, 2023, exhibition view, Dvir Gallery / Paris. Photo credit: Axel Fried (Larger version of this image opens in a popup).

    Fenêtre du studio, 2023, exhibition view, Dvir Gallery / Paris. Photo credit: Axel Fried

  • Aysha E Arar

    Aysha E Arar

    Aysha E Arar uses painting, language, video and poetry and turns spaces into arenas where she expresses herself. She paints on paper, on canvas and on the wall, moving from narrative to abstract painting, and combines imaginary creatures based on Palestinian legends in contrasting colors such as red versus blue and yellow ver-sus black. Arar covers her personal biography as a woman in a patriarchal society and touches on questions of tradition, freedom of choice and liberation.
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  • Aysha E Arar, a worm in love

    Aysha E Arar

    a worm in love
    Aysha E Arar (born in 1993) lives and works in Jaljulia. In 2018, she received her BFA with honors from the HaMidrasha Faculty of Arts - Beit Berl College. During her studies, she won the Boaz Arad Excellence Award and the America Israel Cultural Foundation Award.
     
    She has had solo exhibitions at Dvir Gallery, Tel Aviv & Brussels (2023); Beit Hagefen, Haifa (2023); Hayarkon 19, Tel Aviv (2022); Givat Haviva Art Gallery (2021). In January 2024, the artist will have parralel solo show at Sans titre and Dvir Gallery, Paris. 
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    • Aysha E Arar, My Child, 2018
      Aysha E Arar, My Child, 2018
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    • Aysha E Arar, Adam and Eve, 2018
      Aysha E Arar, Adam and Eve, 2018
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  • Miroslaw Balka

    Miroslaw Balka

    Miroslaw Balka born 1958, Warsaw, Poland where he lives and works. 
    Comprising installation, sculpture and video, Balka’s work has a bare and elegiac quality that is underlined by the careful, minimalist placement of objects, as well as the gaps and pauses between them. Balka’s work deals with both personal and collective memories, especially as they relate to his Catholic upbringing and the collective experience of Poland’s fractured history. Through the investigation of domestic memories and public catastrophe, Balka explores how subjective traumas are translated into collective histories and vice versa. His materials are simple, everyday objects and things, but also powerfully resonant of ritual, hidden memories and the history of Nazi occupation in Poland. The artist brings the viewer into a position of experience and absorption and as less of an observer and more of a witness. He create spaces where it is pertinent to acknowledge what it means to remember.
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    • Miroslaw Balka, And skull, 1993
      Miroslaw Balka, And skull, 1993
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    • Miroslaw Balka, Armpit, 1993
      Miroslaw Balka, Armpit, 1993
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    • Miroslaw Balka, Legs, hands and sex/woman, 1993
      Miroslaw Balka, Legs, hands and sex/woman, 1993
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  • Marianne Berenhaut

    Marianne Berenhaut

    Marianne Berenhaut born 1934, Brussels, Belgium. Lives and works in Brussels and London.
    Berenhaut has been gathering, curating, transforming objects found in her immediate surroundings creating powerful yet delicate sculptures and installations. Her work addresses longing, trauma, absence, and memory. Through her vast body of work, spanning through 60 years, Marianne Berenhaut has created a unique visual language.

    Having graduated the Académie du Midi and Atelier de Moeschal in the sixties, she had various solo exhibitions in different art spaces and institutions: La Maison des Femmes (Brussels), Island (Brussels), Belgium Jewish Museum (Brussels), MAC’s Grand Hornu (Belgium) as well as in Isy Brachot Gallery (Brussels), and Nadja Vilenne Gallery (Liège). She has been part of several group exhibitions as in Maison Grégoire (Brussels), Gladstone Gallery (Brussels), Bureau des réalités (Brussels) and Carl Freedman Gallery (Margate, UK). In 2020 she had a solo exhibition at M HKA (Museum of Contemporary Art Antwerp) and a retrospective at CIAP (Genk) in 2021.
  • Marianne Berenhaut, Carnets-Collages, from 1997 until now, 2022

    Marianne Berenhaut

    Carnets-Collages, from 1997 until now, 2022

    Carnet-Collages is an ongoing series of works that Berenhaut has been making in parallel to her sculptural practice. They can be considered as sculptures on paper. Over time, this very intuitive and free activity has de-veloped into a kind of ongoing haiku. Like keeping a diary, each page is its own universe going from funny to ridiculous, from sadness to joy.

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  • Mircea Cantor

    Mircea Cantor

    Mircea Cantor born 1977, Oradea, Romania. Lives and works on Earth.
    Cantor makes films and sculptural installations that often elaborate on uncertainty, countering prevailing notions that everything can be known or predicted. His work, which regularly offers subtle critiques on the architecture of power, is equally centered on unveiling methods of empirical engagement with objects and images through a sustained long-term examination. More recently Cantor has taken up the question craftsmanship and tradition to relating the “intuitive” energy that tests how different fields of knowledge might make sense of human creation and the multiplicity of perspectives that inform our understanding of our relationship to time, consciousness, and experience. 
  • Mircea Cantor, Don't Judge Filter Shoot, 2012

    Mircea Cantor

    Don't Judge Filter Shoot, 2012
    mixed media
    200 x 200 cm
    unique
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    • Mircea Cantor, Rosace, 2018
      Mircea Cantor, Rosace, 2018
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    • Mircea Cantor, Don't judge, filter, shoot, 2012
      Mircea Cantor, Don't judge, filter, shoot, 2012
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  • LATIFA ECHAKHCH

    LATIFA ECHAKHCH

    Working in painting, sculpture and installations, the Moroccan-born artist Latifa Echakhch (El Khnansa, 1974) chooses easily recognisable objects invested with a domestic and/or social burden, which she silences through destruction, deletion or by restoring them. This thereby deprives them of their usage value - pushing their function into oblivion - in order to free the memories attached to them. She summons memories and frees the ghosts that emerge from these objects. The work of Latifa Echakhch is simultaneously conceptual and romantic, both political and poetic. Echakhch won the Marcel Duchamp Prize in 2013 and  represented Switzerland at the 59th Venice Biennale in 2022. She was the invited artist on Metzelplatz during Art Basel 2023, in Basel.
  • Latifa Echakhch, Sans titre (jardin exotique), 2018

    Latifa Echakhch

    Sans titre (jardin exotique), 2018
    In ‘Sans-titre (jardin exotique), Latifa Echakhch used the perspective of a cinematographic sequences. The images are taken from old black-and-white and coloured postcards of Monaco’s Exotic Garden. The photographs were projected onto pieces of canvas coated with concrete and the image partially painted. The coating was then broken in previously defined zones. The work was not therefore developed in the manner of a painting but as a performance, through the scraping and removal of the paint layer. This relationship with the matter harmonises with the creation and illusionist laying-out of the exotic garden during the 1930s, in which a setting of rocks was created almost entirely with the use of concrete, which in some way heralded the development of the monegasque cityscape during the reste of the century.
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  • Latifa Echakhch, Nude (8), 2017

    Latifa Echakhch

    Nude (8), 2017
    concrete, acrylic paint
    200 x 150 x 3 cm
    unique
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  • DOUGLAS GORDON

    DOUGLAS GORDON

    Douglas Gordon is a Scottish artist who creates work that questions the complexities of memory and perception. Gordon works across a wide range of media including film, photography, text, and audio. Born in Glasgow in 1966, Gordon studied at Glasgow School of Art from 1984 to 1988 and continued his studies at Slade School of Art in London, graduating in 1990. He currently works and lives between Glasgow, Berlin and New York. Among others, he won the Turner Prize in 1996, the Premio 2000 at the 47th Venice Biennale in 1997 and the Hugo Boss Prize in 1998.
  • Belongs to…

    Belongs to…

    ‘Belongs to...’ are a rhythmic score of new paintings by Gordon, in which vital images, their material support, and the technique that generates them are transformed into elastic apparitions unfolding in real time and space. Gordon’ s new paintings utilize acetone printing to transfer provocative softcore images from early 1960s issues of Playboy magazine onto burnt, unlevelled, and asymmetrical canvases marked by biomorphic drips of wax, acrylic paint, and unknown liquids. The transfers dilute the visibility and definition of the images to the point they become a semi-transparent superfluous tissue evaporating through the interlaced threads of the canvas that both consumes and materializes them. The new paintings juxtapose the cyclical movement of time conducted by the intermittent appearance and disappearance of the images with a sense of change and extension implied by the vague contours and positions of the canvases and the flowing drips of wax and paint.The unpredictable topography is further intensified when observing the mirror panels against which the canvases are placed.
     
    In almost every work, segments of mirror exceed the unraveled edges of the canvas or are revealed through holes in the canvas. Incorporated into the topography of the works, the mirrors expose the backside of the images and canvases as well as reflecting the dynamic scenery in front of them. The mirrors unveil the void concealed within the works, the void they emerge from and are in danger of falling into. They create an illusion of an abysmal space behind the surface which lends the images the quality of an ex-nihilo, primal emergence.
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    • Douglas Gordon, Belongs to…, 2020
      Douglas Gordon, Belongs to…, 2020
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    • Douglas Gordon, Belongs to…, 2020
      Douglas Gordon, Belongs to…, 2020
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  • SIGALIT LANDAU

    SIGALIT LANDAU

    Sigalit Landau born 1969, Jerusalem, Israel. Lives and works in Tel Aviv, Israel.
    Landau is an interdisciplinary artist who works with installation, video, photography and sculpture. Her ongoing Dead Sea art project, a magnum opus, comprises artworks in diverse media. These works become a physical reality hovering between life and death, subsequently transformed into salt. In Landau’s creative process the materials change states, transgress cultural categories of obedience, and are doomed eternally to salt. In the Dead Sea, to be turned into salt is to be turned into the opposite state of the living. Her art pieces are cultivated with salt crystals, like an oyster farm, using an organic process to transform mundane, everyday, usually useless artifacts into objects of mesmerizing and haunting beauty. For Landau, the Dead Sea is a mystical, enchanted site. One with significance from her past, dominating her presence, and marking the future. It is where creative rituals are performed that transform her used objects into works of art.
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    • Sigalit Landau, Carlibaba, 2020
      Sigalit Landau, Carlibaba, 2020
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    • Sigalit Landau, Full Moon, 2015
      Sigalit Landau, Full Moon, 2015
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  • Yudith Levin

    Yudith Levin

    Yudith Levin born 1949, Ein Vered, Israel, where she lives and works.
    Levin is considered one of the key figures in Israeli art. Over an artistic career spanning over more than four decades, she has been creating paintings on both traditional and nontraditional supports, covering canvases as well as scraps of discarded plywood found on the streets of Tel Aviv with expressive, gestural brushstrokes and semi-abstract figures and landscapes. By combining abstraction and figuration and using deliberately vague titles, Levin makes evocative works that are open to varied readings. The artist confronts the viewer with a borderline painting – in-between nothingness and a whole universe, between chaos and diamond, between a dump and flight. One of the places where Levin’s work deviates from the rational is the lack of distinction between figurative and abstract. Her figurative paintings are created like abstract paintings, from gestures which are not underlain by any figurative plan or intention.
    • Yudith Levin, Untitled , 1998
      Yudith Levin, Untitled , 1998
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    • Yudith Levin, Untitled, 1998
      Yudith Levin, Untitled, 1998
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  • David Maljkovic

    David Maljkovic

    David Maljkovic born 1973, Rijeka, Croatia. Lives and works in Zagreb, Croatia.
    Maljkovic’s work questions repeatedly the status of the studio, creating a different visual dialog with it. Using the studio as raw material for the creation of new relations, peeling the content and recycling the form, the methodology of image-building becomes more important than the content, rejecting the notion of a motif as a completed issue. Driving the investigation to the border between architecture, painting and sculpture, Maljkovic practice takes the shape of two-and three-dimensional works of different medium: prints on canvas or archival cardboard, wooden, plexiglas and plastic structures, films, photographs and collages. 
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  • David Maljkovic, The Missing Master, 2023

    David Maljkovic

    The Missing Master, 2023
    oil on canvas
    70 x 50 cm (unframed)
    87 x 67 x 7 cm (framed)
    unique
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    • David Maljkovic, An Ancient Visitor, 2022
      David Maljkovic, An Ancient Visitor, 2022
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    • David Maljkovic, Forthcoming, 2021
      David Maljkovic, Forthcoming, 2021
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    • David Maljkovic, An Ancient Visitor, 2022
      David Maljkovic, An Ancient Visitor, 2022
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  • Jonathan Monk

    Jonathan Monk

    Jonathan Monk born 1969, Leicester, Great Britain. Lives and works in Berlin.
    British artist Jonathan Monk replays, recasts and re-examines seminal works of Conceptual and Minimal art by variously witty, ingenious and irreverent means. Speaking in 2009, he said, “Appropriation is something I have used or worked with in my art since starting art school in 1987. At this time (and still now) I realized that being original was almost impossible, so I tried using what was already available as source material for my own work.” Through wall paintings, monochromes, ephemeral sculpture and photography he reflects on the tendency of contemporary art to devour references, simultaneously paying homage to figures such as Sol LeWitt, Ed Ruscha, Bruce Nauman and Lawrence Weiner, while demystifying the creative process.
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  • EXHIBIT MODEL ONE - TWO - THREE - FOUR -SIX, 2016 - 2019 Playing with the idea of how we...

    EXHIBIT MODEL ONE - TWO - THREE - FOUR -SIX, 2016 - 2019

    Playing with the idea of how we normally interact with art and exhibitions, be it through printed material, websites, seeing it in person or increasingly by following people on Instagram, the work takes on the idea of the “installation view” - the images that attempts to document the exhibition as a whole. An effective way of being able to concretely understand how things (or works of art) and positioned within a space, the installation view of an exhibition or work allows us to absorb not only the work in itself, but how it affects its immediate surroundings. Providing a way of understanding how the exhibition functions in its entirety, these kinds of images function as a means to indirectly try and recreate the experience of actually being physically present.
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  • Jonathan Monk, A Copy Of Deflated Sculpture V, 2009/2020

    Jonathan Monk

    A Copy Of Deflated Sculpture V, 2009/2020
    stainless steel
    43.2 x 90.2 x 47 cm
    Version 2/2 + 1AP
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  • Florian Pumhösl

    Florian Pumhösl

    Florian Pumhösl born 1971, Vienna, Austria, where he lives and works.
    Pumhösl’s work is constituted by a constellation of historical references encoded within a visual language that appears purely formal. The apparent abstraction of his paintings, films, and installations is anchored by specific archival sources: 17th-century kimono designs, avant-garde typography, WWI military uniform patterns, cartography, Latin American textiles, and early dance notations. Through the selection, reduction, rearrangement, and reproduction of his source materials—unsystematic and subjective modes of transcription—the artist arrives at a vocabulary that is at once abstract and semiotically motivated. Through attention to the social, political, and geographic genealogy of given forms, his works reveal the modernist fantasy of complete self-referentiality haunted by irreducible specificity and cultural instability. 
    • Florian Pumhösl, fidäl study, 2016
      Florian Pumhösl, fidäl study, 2016
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    • Florian Pumhösl, fidäl study, 2016
      Florian Pumhösl, fidäl study, 2016
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    • Florian Pumhösl, fidäl study (Land), 2016
      Florian Pumhösl, fidäl study (Land), 2016
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    • Florian Pumhösl, fidäl study (My air), 2016
      Florian Pumhösl, fidäl study (My air), 2016
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    • Florian Pumhösl, fidäl study (My horse), 2016
      Florian Pumhösl, fidäl study (My horse), 2016
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    • Florian Pumhösl, fidäl study (My land), 2016
      Florian Pumhösl, fidäl study (My land), 2016
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    • Florian Pumhösl, fidäl study (My water), 2016
      Florian Pumhösl, fidäl study (My water), 2016
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    • Florian Pumhösl, Monochrome, 2016
      Florian Pumhösl, Monochrome, 2016
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  • Sarah Ortmeyer

    Sarah Ortmeyer

    Sarah Ortmeyer born 1980, Frankfurt am Main, Germany. 
    Many of the themes in Ortmeyer’s work draw from her keen interest in — and uncanny understanding of — cultural, human, and political interrelations, whether contemporary or historic, highbrow or lowbrow, academic or punk. Years of working on her publications about chess have taken her on a world library tour de force (Mexico City, New York, Reykjavík, Paris) and have equipped her with a scientific rigor that is rare among contemporary artists. But rather than taking a purely analytical approach, Ortmeyer marries her scholarly inclinations with an inquisitive and sometimes biting naïveté, allowing her to effortlessly break down the most complex intricacies of the human psyche in what may otherwise seem benign or platitudinous contexts. And in all her ongoing quest to discover deeper universal truths, she never compromises her unapologetic passion for beauty … and for love. 
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  • Sarah Ortmeyer, ARCUS, 2019

    Sarah Ortmeyer

    ARCUS, 2019
    aluminium, binder, pigment
    280 x 100 cm
    unique
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    • Sarah Ortmeyer, DIABOLUS (PROTECTOR), 2019
      Sarah Ortmeyer, DIABOLUS (PROTECTOR), 2019
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    • Sarah Ortmeyer, DIABOLUS (PROTECTOR), 2019
      Sarah Ortmeyer, DIABOLUS (PROTECTOR), 2019
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    • Sarah Ortmeyer, MONSTER XI (in collaboration with Kerstin Brätsch), 2016
      Sarah Ortmeyer, MONSTER XI (in collaboration with Kerstin Brätsch), 2016
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    • Sarah Ortmeyer, MONSTER IV (in collaboration with Kerstin Brätsch), 2016
      Sarah Ortmeyer, MONSTER IV (in collaboration with Kerstin Brätsch), 2016
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  • ARIEL SHLESINGER

    ARIEL SHLESINGER

    Ariel Schlesinger’s (Israel, 1980) work unfolds through a poetic gesture into a post-minimal conceptual practice, de-functionalizing everyday objects by sensible interventions. Using a kind of destructive-constructive strategy in many of his works, Schlesinger pushes and transforms the object, creating new possibilities of understanding and enables surprising discoveries for the viewer within something that seemed utterly familiar. In Ariel’s work it seems he wants to point towards what is already gone to a new mate-rial existence and rescue it from disappearing into a new presence through precise interferences. His numerous works using gas and flames also explore risk and neuter a hazardous situation into one that is beautifully controlled.
    • Ariel Schlesinger, For those who haven't (6), 2022
      Ariel Schlesinger, For those who haven't (6), 2022
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    • Ariel Schlesinger, Untitled 2 (Turkmenistan Carpets VI), 2013
      Ariel Schlesinger, Untitled 2 (Turkmenistan Carpets VI), 2013
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    • Ariel Schlesinger, Untitled (Burnt Canvas 7), 2016
      Ariel Schlesinger, Untitled (Burnt Canvas 7), 2016
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  • Ariel Schlesinger, Untitled (Burnt canvas), 2022

    Ariel Schlesinger

    Untitled (Burnt canvas), 2022
    Untitled (Burnt Canvas) merges the two major themes and source of inspiration of Ariel Schlesinger. The first, a continuous metaphor for love and relationship as can be seen in his earlier pieces such as ‘L’Angoisse de la Page Blanche’, a set of two papers dancing, at times touching each other and at times alone and ‘Me and Nathalie’, two carved sculptures made to look like bent pencils next to one another. The second, creation through destruction and more specifically through fire. The canvases are forever burning each other and at the same time holding one another, thus creating an endless dance of pain and love.
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  • FENÊTRE DU STUDIO

     
    OCT 15 – DEC 2, 2023
     

    AYSHA E ARAR, Miroslaw Balka, MARIANNE BERENHAUT, MIRCEA CANTOR,

    LATIFA ECHAKHCH, DOUGLAS GORDON, SIGALIT LANDAU,YUDITH LEVIN, 

    DAVID MALJKOVIC, JONATHAN MONK, SARAH ORTMEYER, 

    FLORIAN PUMHÖSL,ARIEL SCHLESINGER