HYPERDRAWING : 1 exhibition, 3 places, 3 times
Hyperdrawing takes place in three locations :
— Frac Picardie
— Maison de la Culture d'Amiens
— Carreau du Temple - Drawing Now Art Fair.
Artists who participate in Hyperdrawing:
Emmanuel Béranger (FR), Juliette Green (FR), Sol LeWitt (EUA), Stéphanie Mansy (FR), François Morellet (FR), Boryana Petkova (BULG), Klaus Rinke (DEU), Eric Snell (RU), Thorsten Streichardt (DE), Katrin Ströbel (DE), Vassiliki Tsekoura (GR)
Drawing is often described as an intimate space of expression at the reduced scale of the sheet. Hyperdrawing reverses this notion and places the drawing within the real space of the exhibition, animated by the artist's body. The artists of the exhibitions reconnect with instruction-based drawing and performance art – as they emerged in the second half of the twentieth century – while simultaneously bringing a contemporary perspective to them, infused with a new contemporary angle.
Therefore, the works exhibited are the outcome of a performative gesture carried out during the exhibition, or in the space before the opening, following pre-determined instructions, or through an interaction with the viewer. Thus, the gestures that contribute to the making of the drawing - traditionally in the privacy of the studio - are placed at the heart of the exhibition.
The central axis of this project is the attention to the relational dynamics between beings and their living places expressed by a drawing in situ. The exhibition space thus becomes the surface of inscription where the drawing is made live. For some of the proposals, the drawing is permeable to the place itself, as well as to the interaction with the visitor or with the other artists.
Finally, Hyperdrawing echoes the notion of "hyperobject" of the philosopher of ecology Timothy Morton, who speaks of the world as a set of phenomena manifesting a part of a vast whole, in constant movement and without specific place, giving themselves to see as well as partially, by gestures, by traces.
What if drawing was the ideal language to manifest this relational ecology of the world?
Joana P.R. Neves, Artistic Director of Drawing Now Art Fair
and curator of the exhibition Hyperdrawing
HYPERDRAWING À Drawing Now Art Fair (May 19 – 22, 2022)
Hyperdrawing celebrated the fifteen-year anniversary of the show's existence by incorporating three historical works from the collection of frac Picardie (official partner of Drawing Now Art Fair). Indeed, the artists Sol LeWitt (USA), François Morellet (FR) and Eric Snell (UK) represent the historical turn of drawing towards instruction pieces, as well as its performative character. Their work has contributed to understand drawing as an action, realised by the draughtsperson. This extends to materials, which also perform. This is the case in Eric Snell's work, where the tension of a wire, held by magnets, recalls the performer’s muscles in action.
This muscular tension also evokes sport, a central reference for Emmanuel Béranger (FR), who has transposed his sports practice into art, while freeing it from the competitive element of measurement. Similarly, the work presented by Boryana Petkova (BULG) is an endurance event. It is realized with another artist of the exhibition: a glass device connects their hands, thus having to coordinate in order to draw until exhaustion. Katrin Ströbel (DE), for her part, creates an all-over drawing of female bodies in suspense or fall, making ornament a political statement about the ambivalence of both images and gendered bodies. The relationship between humans through drawing is led by Thorsten Streichardt (DE), combining graphic and sound expression in interaction with the audience. Juliette Green (FR), meanwhile, interviews visitors to the exhibition to create a diagram with the result of her research around the show. Finally, plant and mineral phenomena are, on the other hand, represented by Stéphanie Mansy, whose design is a kind of erosion applied to a wall surface through several heterogeneous techniques such as engraving and felt, inspired by natural ecosystems.
Artists present :
Emmanuel Béranger (FR), Juliette Green (FR), Sol LeWitt (EUA), Stéphanie Mansy (FR), François Morellet (FR), Boryana Petkova (BULG), Eric Snell (RU), Thorsten Streichardt (DE), Katrin Ströbel (DE)
Do the practices of drawing and sport have a common language?
Emmanuel Béranger's work proposes the line – trace of movement, delimitation of playing areas, and elementary figure of drawing – as a possible element of this shared lexicon. Following a series of jumping protocols, Emmanuel Béranger marks the trajectory of his body on the wall with charcoal.
When the action is denied and the performer is gone, the remnant of what took place remains in space as a trace. The artist thus separates performance and performing body through drawing in order to awaken the viewer from his contemplative torpor, and thus place him in space, in front of the beauty of a trace full of energy.
Juliette Green develops, throughout this edition of Drawing Now Art Fair, an investigation into the fair itself and its visitors.
She analyzes them on site in order to create her wall drawing through her observations during the show. Integrating this information collected on the spot, his drawings are situated between the linguistic symbols of comics, conceptual art and visual poetry. Juliette Green's drawing reflects the space in which it is located, but above all the lives of those who pass through it.
In 1968, Sol LeWitt made his first Wall Drawing at the Paula Cooper Gallery.
The exhibition space thus became the "sheet" of drawing, inducing a certain number of artistic behaviors and decisions to both the artist and the viewer. His murals started from premises, or protocols, and could be made by others. Sol LeWitt considered that these achievements with assistants were real collaborations.
Walldrawing attested by a certificate and a diagram dated 1968.
Collection Frac Picardie / n° inv. : 96-017
Stéphanie Mansy's work emanates from a sensitivity developed in different natural ecosystems to become one with them. Drawing is for her the vehicle of this incarnation.
Indeed, the artist moves into natural environments where life swarms to absorb the gestures of growth, proliferation – destruction or becoming. The vegetal, mineral, or aquatic world is incorporated into his practice of drawing.
For her in-situ drawings, Stéphanie Mansy produces a first layer of fine drawings in graphite or ink, to then scratch them, wipe them, spread them on the surface she works. A kind of engraving-erosion. Way, perhaps, to propose an encounter between the human and the non-human in their international life and their language of traces and scars.
Here, François Morellet uses the adhesive as the line of the drawing in direct interaction with the exhibition space in order to disrupt it. By extracting a shape from it, and then tilting it to a certain degree, the artist causes a feeling of tilting and dizziness through a geometric design reduced to its most essential element, the line.
From the series: Projects for adhesives on wall 280 x 620 cm
Black adhesive on wall of 5 x 3 m
Certified by certificate Collection Frac Picardie / n° inv. : 87-018
A glass element is placed horizontally. On either side of this glass line, two symmetrically placed screens show "handcuffed hands", one on each screen, which the glass object connects.
Two people off-screen in a frantic dialogue. Both hands in close-up try to draw. Two thoughts in action try to communicate. Two hands, two thoughts, here synchronized, and then there in arrhythmia, sometimes together and other times opposite, or even upset.
In this pendulum movement, the two cartoonists try to coordinate, to avoid breakage but also to provoke each other. These two forces cancel each other out, or multiply. Resist, submit. Impose, renounce.
Performance by Wura-Natasha Ogunji and Boryana Petkova
Camera: Kalin Serapioniv & Tilnamm Rodiger
Edited by: Kalin Serapionov
Thorsten Streichardt draws with pink and blue bold pastels on a column of paper.
Microphones placed on his hands record the sounds of the drawing and the environment. These sounds are digitally transformed, rhythmic and rendered by the speakers fixed on the paper. Thorsten Streichardt follows the noise he causes, but which he cannot control.
The drawing remains transitory, develops in contact with the public. Then, the melody of the Pink Panther slips into the performance. The artist is inspired by the Morris columns: in this performance, everything revolves around information, language, invitation, communication, seduction.
For the realization of this work the artist benefited from the help of the Goethe-Institut, France.
Katrin Ströbel's work is centered around drawing, often associated with installation (through wall drawing for example) and mechanical processes of image making and dissemination, using the performative gesture.
The artist considers drawing as an open medium, in search of links, connections. Here, she chose to focus on drawing as an all-over covering mechanism, by means of wallpaper, of which she drew patterns, as well as clothes of a potential performance (replaced every day by a new element).
Her work highlights a joyful and inclusive version of the female body, in direct opposition to patriarchal imperatives conveyed, among others, by the media.
Eric Snell uses a simple thread to draw. The use of several materials (wire, magnets) places the drawing in our three-dimensional space, rather than on the flat surface of the drawing, often used as a window where the eye and mind wander. In addition, this use of materials outside the tradition of drawing underlines the accessibility of this discipline.
Acquired by the Centre national des arts plastiques.
On deposit at Frac Picardie since 2015
Depositor No.: FNAC 89505.
Maison de la Culture d'Amiens "HYPERDRAWING : Emmanuel Béranger & Stéphanie Mansy"
Emmanuel Béranger & Stéphanie Mansy: with the works of the Frac Picardie collection by Klaus Rinke & Vassiliki Tsekoura.
Do the practices of drawing and sport have a common language? Emmanuel Béranger's work proposes the line – trace of movement, delimitation of playing areas, and elementary figure of drawing – as a possible element of this shared lexicon.
Following a series of jumping protocols, in particular, the artist marks the trajectory of his body on the wall and floor. Other actions are recorded by a line drawn or materialized by different objects. The drawing thus makes visible an effort, a tension, in short, a surpassing of oneself typical of athletics but also of performance and artistic practice.
Through this purification of athletic know-how, Béranger joined an abstract pictorial tradition, while reformulating it. It is close to the abstract language of the twentieth century, while rooting it in a philosophy of the recorded trace of movement. His expressive drawings, subtle installations and performative gestures emanate from a sensibility acquired elsewhere, opening up a dialogue between disciplines: sport, art, dance, measurement technology, performance and graphic expression, some focused on measurement and competition, and others on poetry, abstraction and the free expression of the body.
What relationship can drawing have with nature? Does it represent it or is it nature itself? Stéphanie Mansy's work is crossed by this question.
It emanates from a sensitivity developed in different natural ecosystems, becoming one with them. Indeed, the artist moves into environments where life swarms, not to draw, but to absorb the gestures of growth, proliferation and becoming nature in order to incorporate them into his drawing practice. It "collects and crystallizes in the form of drawings, accidents, injuries, protrusions, imprints of time, flows and rhytidomes left on trees".
If her work is at the limit of abstraction, it is because the artist does not represent nature, she makes him almost a collaborator. The hand, the heterogeneous drawing techniques and the vegetal and mineral swarming work together.
Stéphanie Mansy sometimes works in situ, in the exhibition space, preferring walls that have lived. This is the case of her intervention at the Maison de la Culture in Amiens where she creates a microcosm that could just as well represent natural events on a large scale. Moving from a global view to the smallest, his work is a proliferation of minimal organic forms or an overview well beyond our scale, through techniques specific to the tradition of drawing such as printmaking, lead mining and engraving.
Frac Picardie "HYPERDRAWING: a dialogue between Boryana Petkova and Katrin Ströbel"
Hyperdrawing talks about the expansion of drawing outside the sheet in the exhibition space through the artist's body.
Wall drawing, performance, and installation thus make up the exhibition, which is built as a dialogue between two artists, Boryana Petkova (BULG) and Katrin Ströbel (DE).
Drawing here is tracing an exploration of oneself through others and the world. Both living between several cultures – French and Bulgarian/German, in particular – Petkova and Ströbel are sensitive to how the foreign body takes place in a territory, a space, a culture. Thus, above each of the two doors that nevertheless lead into the same space, their names were written by the artists with drawing tools, thus demonstrating that the notion of belonging can be common and shared. For them, drawing is indeed a tool to communicate and share singular experiences, relying on the exhibition space and a broad conception of the discipline of drawing, including tattooing, wallpaper, performance and ephemeral wall drawing, among others.
A dialogue implies a face-to-face positioning, with opposing perspectives nevertheless joining in the center, a focal point however ephemeral. The center is everywhere and therefore nowhere. It is, in the end, where it is placed. This exhibition is the testimony of a dynamic and fluid dialogue with places and other humans, which reflects our condition, always in the making.
In order to dialogue, it is necessary to understand a perspective that is not ours, but also to position oneself.
This search for an identity is therefore built not only in us but with the bodies that form and influence us (urban body, human body, politico-social body), their places of life, as well as the parallax effort (getting out of one's own perspective) necessary to be in relationship with the world.
The conversation between Petkova and Ströbel is reflected in the way the works communicate with each other, in a free language, from the simple plot to the drawn portrait. This space-drawn conversation shows the dynamics of a possible relationship with others and the world, rather than portraying them as unfathomable, mysterious, or even threatening. Rather than keeping at a distance, the artists propose a committed positioning of critical immersion.
This is the feminist positioning of the artists and the curator of the exhibition, which is understood as a dialogical openness, an embodied psycho-social construction, made of differences that speak to and confront each other, of inclusion rather than exclusion.
Walldrawing: 1 invitation to 3 historical partners
Drawing Now Art Fair at carreau du Temple, ground floor and mezzanine
On the occasion of the 15th anniversary of Drawing Now Art Fair - from 19 to 22 May at Drawing Now Art Fair - three walls are made available to artists selected by our three historical partners: the Embassy of the Netherlands in France, the École des Beaux-Arts de Paris and the Pernod Ricard Corporate Foundation.
On this occasion, each of the partner structures invited one or more artists to produce a mural on the walls of the Carreau du Temple.
Discover the mural by the artist Marisa Rappard, invited by the Embassy of the Netherlands in France, that of Boris Kurdi, winner of the 22nd Prize of the Pernod Ricard Corporate Foundation and Léonie Porcher, laureate of the School of Fine Arts.
Marissa Rappard, invited by the Embassy of the Kingdom of the Netherlands
Marisa Rappard presents here a collage composed of rectangular elements that partially overlap. The installation is reminiscent of a computer desktop with many open tabs, in which a variety of perspectives on a topic are represented simultaneously, side by side.
The viewer moves from one opinion to another. Thinking about how we use the digital tool, Marisa Rappard's working method is explicitly analogous. Digital always goes through a technological medium, while there is nothing more direct than the act of drawing. By using lines drawn by hand on a medium as fragile as paper, she makes tangible the influence of technology on the meaning of human identity.
"Marisa Rappard is fascinated by the hope that man has placed in the technology after which he runs almost blindly. What are the dangers, when should we sound the alarm and does it perhaps also hide beauty?
The characters in Rappard's work often wander in anonymous spaces, entangled in colorful lines. Sometimes these lines literally come out of the paper and enter directly into the room, so that the visitor seems to enter the artwork and be part of the installation. Friso Wijnen, Cultural and Communication Counsellor at the Embassy of the Kingdom of the Netherlands
Boris Kurdi, winner of the 22nd Pernod Ricard Foundation Prize
An elongated figure almost two meters long is covered with starfish. "He's an endearing character, like a father who is covered with sand at the beach," says the artist. Nevertheless, the accumulation of objects on this motionless body reveals the strangeness of the situation.
What is going on? This almost mythological figure, seems afflicted by his own destiny and is one with the stars that cover it. At once sculptural, familiar and mysterious, this imposing scene is a drawn reverie. The artist proposes a possible reading: "we can also interpret the stars as the fatal ransom of a success; as when the fulfillment of Midas' vow becomes his punishment. It's not a recumbent: it's a transi."
Every year since 1999, the Pernod Ricard Foundation Prize rewards an artist from the young French art scene. During its 22nd edition, curator Lilou Vidal has chosen to present the work of Boris Kurdi in the exhibition "Bonaventure, Trafiquer les mondes".
Léonie Porcher, winner of the call for projects of the Beaux-Arts de Paris
Articulated around the imagination of the forest and plants, Léonie Porcher, in the third year of the Beaux-Arts de Paris, feeds on the different spaces of nature in the world. Belong to the world of the tree to better understand existence, but also the complex link that man has with nature.
Through different drawings, most often made in Indian ink, charcoal, or pastels, she represents her "fantasized" forest, we could talk about her "utopias", this representation is constantly changing, she responds to impulses, sensations and images that come to her, or shapes, textures, and techniques intertwine. Immerse the viewer in a world of plant architecture.
Embassy of the Kingdom of the Netherlands
7-9 Rue Eblé, 75007 Paris
+33 (0) 1 40 62 33 00
Pernod Ricard Foundation
1 Cr Paul Ricard, 75008 Paris
+33 (0) 1 70 93 26 00
École nationale supérieure des Beaux-Arts
14 Rue Bonaparte, 75006 Paris
+ 33 (0) 1 47 03 50 00