Marianne Mispelaëre
We saw that there was nothing left to see
16 Feb - 13 May 2018
Marianne Mispelaëre, We saw that there was nothing left to see 2018
Exhibition view
© Palais de Tokyo, Paris
Exhibition view
© Palais de Tokyo, Paris
MARIANNE MISPELAËRE
We saw that there was nothing left to see
16 February – 13 May 2018
Curator : Adélaïde Blanc
Winner of the Grand Prix at the 62nd Salon de Montrouge
Marianne Mispelaëre observes, produces and reproduces with concise, simple, and precise gestures inspired by current social phenomena. In her drawings, she deploys energy, gestures, media and signs. These elements can be apprehended at various scales and through various media, from a sheet of paper to a wall, from video to performance. “With history as a basis, and a collective future as a horizon,” her work unveils a sensitive and vibrant vision of the world. Marianne Mispelaëre records and reveals through measured gestures “the porosity between the act and its environment,” between appearance and disappearance.
For her exhibition at Palais de Tokyo, Marianne Mispelaëre considers ghostly monuments, which, through their very absence, continue to inhabit the landscape. Destroyed for ideological reasons, these architectural and sculptural works leave behind a negative silhouette in the urban fabric, a void that attests to their amputation: “we saw that there was nothing left to see”, in the words of a journalist invited by the Taliban to bear witness to the destruction of the monumental Bamiyan sculptures in Afghanistan. Drawing on contemporary history, Marianne Mispelaëre explores the notion of absence as an intensification of disappearance and the relationship between global and local perspectives.
“What we see before us is always incomplete. I choose to adopt visual codes that have more to do with the invisible because I believe in what we read over and above what we see.” Marianne Mispelaëre
Marianne Mispelaëre
Marianne Mispelaëre was born in Bourgoin-Jallieu in 1988 and lives in Paris.
Her main area of action is drawing, through which she examines social relationships, language and communication systems, the role of the legible and of the invisible in our societies, as well as the porosity between an isolated action and its environment. How to take a collective part in the here and now, enter into a relationship with others, incite an action, provide an impulse? Marianne Mispelaëre’s research process focuses on the means of appearing, its issues and consequences, and indirectly disappearances, suppressions, blindness, silences.
She graduated from ÉSAL-Épinal (2009) and HEAR-Strasbourg (2012). Her work has been shown in France and abroad; she was awarded the Kunstpreis Robert Schuman (Trier, Germany, 2015), the Edward Steichen Award (Luxembourg, 2017), and the AWARE Prize (Paris, 2018). Marianne Mispelaëre has also won the prize of the Ville de Grenoble - Le Magasin CNAC (2016) and the Grand Prix du Salon de Montrouge 2017. In 2013, she co-founded the Pétrole Éditions publishing house, which in particular publishes the “transreview” TALWEG.
We saw that there was nothing left to see
16 February – 13 May 2018
Curator : Adélaïde Blanc
Winner of the Grand Prix at the 62nd Salon de Montrouge
Marianne Mispelaëre observes, produces and reproduces with concise, simple, and precise gestures inspired by current social phenomena. In her drawings, she deploys energy, gestures, media and signs. These elements can be apprehended at various scales and through various media, from a sheet of paper to a wall, from video to performance. “With history as a basis, and a collective future as a horizon,” her work unveils a sensitive and vibrant vision of the world. Marianne Mispelaëre records and reveals through measured gestures “the porosity between the act and its environment,” between appearance and disappearance.
For her exhibition at Palais de Tokyo, Marianne Mispelaëre considers ghostly monuments, which, through their very absence, continue to inhabit the landscape. Destroyed for ideological reasons, these architectural and sculptural works leave behind a negative silhouette in the urban fabric, a void that attests to their amputation: “we saw that there was nothing left to see”, in the words of a journalist invited by the Taliban to bear witness to the destruction of the monumental Bamiyan sculptures in Afghanistan. Drawing on contemporary history, Marianne Mispelaëre explores the notion of absence as an intensification of disappearance and the relationship between global and local perspectives.
“What we see before us is always incomplete. I choose to adopt visual codes that have more to do with the invisible because I believe in what we read over and above what we see.” Marianne Mispelaëre
Marianne Mispelaëre
Marianne Mispelaëre was born in Bourgoin-Jallieu in 1988 and lives in Paris.
Her main area of action is drawing, through which she examines social relationships, language and communication systems, the role of the legible and of the invisible in our societies, as well as the porosity between an isolated action and its environment. How to take a collective part in the here and now, enter into a relationship with others, incite an action, provide an impulse? Marianne Mispelaëre’s research process focuses on the means of appearing, its issues and consequences, and indirectly disappearances, suppressions, blindness, silences.
She graduated from ÉSAL-Épinal (2009) and HEAR-Strasbourg (2012). Her work has been shown in France and abroad; she was awarded the Kunstpreis Robert Schuman (Trier, Germany, 2015), the Edward Steichen Award (Luxembourg, 2017), and the AWARE Prize (Paris, 2018). Marianne Mispelaëre has also won the prize of the Ville de Grenoble - Le Magasin CNAC (2016) and the Grand Prix du Salon de Montrouge 2017. In 2013, she co-founded the Pétrole Éditions publishing house, which in particular publishes the “transreview” TALWEG.