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Née en 1961 - Vit et travaille en région parisienne
Diplômée de l’École Nationale Supérieure des Beaux- Arts de Paris (1985)
EXPOSITIONS PERSONNELLES (sélection)
2013 - Istanbul / In Situ, Galerie Gama Istanbul TURQUIE
- Au Bord, Villeneuve-La-Garenne, (Textes du catalogue de Bernard Point, critique d’art et Jean-François Bouthors, éditeur et écrivain).
2012 - In Cité/In Situ, Palais du Luxembourg, Paris. (Textes du catalogue d’Esther Benbassa, sénatrice et de Bernard Point).
2011 - 3 keer Belgisch/Belge 3 fois, galerie Dubois Friedland, Bruxelles, BELGIQUE.
2010 - 3 keer Belgisch/Belge 3 fois. Trois expositions simultanées qui interrogent le territoire belge et ses divisions linguistiques et politiques. BOZAR (Bruxelles) ; Musée d’Art Moderne et d’Art Contemporain (Liège) ; Consulat général de France d’Anvers, BELGIQUE. (Textes du catalogue de Werner Moron, artiste et de Jean-François Bouthors).
2008 - Invitée à l’Institut Culturel Français d’Ukraine à Kiev, Lviv et Donetzk en UKRAINE.
2007 - Dans la Lumière du monde , Cergy. (Textes du catalogue de Christian Caujolle, fondateur de l’agence VU’ et Catherine Chalier, philosophe).
2006 - Einstein Forum, Potsdam, ALLEMAGNE.
- du Commencement, La Maison des Arts, Evreux (Texte du catalogue de Pascale Le Thorel).
2005 - Gallery Roman Petrovic, Sarajevo, BOSNIE-HERZEGOVINE. Invitée lors du festival d’Hiver de Sarajevo de 2005.
1998 - ReConnaisance, Maison Gérard Philipe, Cergy. (Textes du catalogue de Michel Crépu et Annie Ernaux).
EXPOSITIONS COLLECTIVES (sélection)
2014 – Epines d’Eden, Galerie Dubois – Friedland - Bruxelles, Belgique
2011 - Galerie Caroline Vachet, Lyon.
2002 - Exposition Franco-allemande On vient tous de quelque part, Eragny (commissariat de l’exposition).
1999 - Centre d’Art, Columbia (Maryland), ÉTATS-UNIS.
1995 - Le corps en personne, Saint-Ouen-l’Aumône. - MAC 2000, Paris.
1994 - Cité à Comparaître, Préfecture du Val d’Oise, Cergy-Pontoise (commissariat de l’exposition).
- Trois artistes français, trois artistes italiens, Fano, ITALIE.
RESIDENCES
2013 - Six semaines de résidences à Istanbul. Galerie Gama TURQUIE
2009 - 2010 - Collège Evariste Galois, Nanterre - Ecritures de Lumière du Ministère de la Culture.
2004 - 2005 - Résidence de six mois, association La Source créée par Gérard Garouste, au domaine de Villarceaux, Val d’Oise.
1999 - 2001 - Résidence d’un an et demi à La Caserne (Usine Ephémère), Pontoise.
COLLECTIONS PUBLIQUES
2010 - FotoMuseum de la province d’Anvers 2010 - Ville de Nanterre 1998 et 2007- Ville de Cergy (1998 et 2007). 1991 - Peinture murale de 120 m² pour la ville de Cergy, pont des Genottes.
PEDAGOGIE (sélection)
Depuis 2004 Fait régulièrement des ateliers avec l’association La Source créée par Gérard Garouste.
2004 – 2012 Ateliers tous publics, Abbaye de Maubuisson, Site d’Art contemporain du Val d’Oise.
2010 Mots-Lux, projet artistique avec une classe de 4ème (Programme Ecriture de Lumière du Ministère de la Culture), Collège Evariste Valois, Nanterre, Hauts de Seine.
GROUP SHOW
The Band THOMAS RASCHKE
Allagmas PATRICIA URFELS
19.11.2010 / 15.01.2011
Generating an amorphous form from a static material necessitates an understanding of the principles of inner structure and external cover-skeleton and skin. Similarly, the zeppelin demonstrates that a skeletal structure by itself can describe the shape and volume of the entire form. This may sound simple and obvious. (...) We often forget the high degree of abstraction occurring on a two-dimensional sheet of
paper: the curving horizontal and vertical lines suggesting a three-dimensional form to us, while supplying precise information about the border between the object and the external world. Lines are minimal shorthand for complex plastic forms.(...)
how can a plastic form be described by simple bent lines in space? The artist employs very different methods from those of the engineer or mathematician. To depict a bowl, he needs only an ellipse and an arc of a circle. The artist thrives on the confluence of abstraction and meaning. Unfortunately, laundry machines are much more complex than simple bowls. Computer design programs are useful in that they apply uniform net structures to objects--so-called wire frames. The superior descriptive powers of these lattices become obvious when the designed object is virtually rotated.. With a wire sculpture, while the circumstances are reversed--the object remains still while the viewer circles around it-- the optical effect is the same.(...) how many lines are necessary to describe the edges and surfaces of an object in space? There is always a compromise between the sum of lines and plasticity, the ideal balance lying somewhere between an austere economy and the luxury of detail. (...) In order to distinguish each part visually, we need to analyze the space where the material object ends and the surrounding air begins. As in technical drawings, clothing patterns, floor plans, and blueprints, the essential edges are depicted with lines. Any true visual penetration--one which includes all possible views and perspectives--is imaginable only if the object exists as a three-dimensional totality, as a drawing in space. Only this can enable the penetration of the world.
Thomas Raschke
Born in Schwäbisch Gmünd - Germany in 1961
Lives in Stocholm
1995-2001
artist group Die Weissenhofer with M. Beckmann, J. Mandernach, S. Rogler, U. Schäfer
1999
scholarship, Cité Internationale des Arts, Paris.
1995-99
lecturer at the Kolping Kunstschule Stuttgart and the Paritätisches Bildungswerk Frankfurt
1996
scholarship, Kunststiftung (Art Foundation)
since 1993 artists group Das deutsche Handwerk (German Artisans) with Sebastian Rogler (1994-98 with Frieder Rusmann)
1990
Goldsmith Master-School, Ulm, Würzburg, Master Degree
1979-82
Apprenticeship as Goldsmith, Schwäbisch Gmünd
Prizes, Awards
2004 WiRO-Kunstpreis Kunst für Brüssel
2002 Publikumspreis ( Prize of the Audience ) open eye Filmfestival, Marburg
2001 Förderpreis des Künstlerbundes Baden-Württemberg
1992 / 1993 Preis der Akademie, State Academy of Visual Arts, Stuttgart
1990 / 1992 Workart Award, Robert Bosch GmbH Stuttgart
1987 Prize for young Art in Ostwürttemberg
Solo exhibitions ( selected )
2010 "The Band", SAKAMOTOcontemporary, Berlin
2009 "Thomas Raschke", Yukihori Taguchi Weltraum, München
"Weltraum", Lothringer13 Städtische Kunsthalle München
"Fabulös! "Konstruktion des Imaginären, Kunstverein Villa
Streccius e.V. Landau
2008 "waschen/saugen/bohren/schmusen"
SAKAMOTOcontemporary, Berlin
2007 "Szenenwechsel", Jörg Heitsch Galerie, Munic, (with S.
Rogler)
"Flowing Times", Galerie Schüppenhauer, Cologne
"Copycats", Künstlerhaus Dortmund
2006 "wire lines," asperger gallery, Berlin
Sonderkoje der Art-Fair, Cologne
"drawing now!" Gallery, white trash contemporary,
Hamburg
2005 "Durchzug", Sony Center, Potsdamer Platz, Passerelle,
Berlin
"Passionen, ( Passions )"Galerie im Prediger,
Schwäbisch Gmünd,
"Eisenlinien, ( Iron Lines )" Kunstverein Schorndorf,
Galerien für Kunst und Technik
2004 "Heimarbeiten (Homework)" mit S. Hasslinger, E-Werk
Freiburg
2003 "Sperrmüll / Encombrants", Institut francais de Stuttgart if-s
2002 "DrahtArbeiten (WireWorks)". Städtische Galerie,
Heilbronn, Kunstverein, Biberach
2001 "Wire Frames". Galerie Angelika Wieland, Berlin
2000 "Die Durchdringung der Welt ( Penetration of the World)".
Galerie Rainer Wehr,Stuttgart
1999 "Schnittmuster (Cutting Patterns)" Graphothek im
Wilhelmspalais, Stuttgart
1998 "Meine erste, kleine Kunstausstellung (My First, Little Art
Exhibition)".
State Academy of Visual Arts, Stuttgart
1994 "Thomas Raschke." Galerie HP Schuster, Stuttgart
Sensitive Geometries
To combine happily the paths of minimalism with the paths of emotion comes from a rare and precious ability. Patricia Urfelss formal purism shows that the saying that considers structural rigour to be antinomic to emotive value is a lie. Her art forgets the futility of scoria and the distractions of anecdotes. Her constructions of series are declined in several meanings, from sociology to philosophy. Her pieces of work bring up the reality of European unification as well as the more ontological issue of the continuity of the being. The artist insists on the concept of the module, a functional unity which makes sense only when combined to others. One of the first modular structures which fascinated Patricia was the square. For our ancestors, it was the perfect geometrical shape. It enabled men to orientate themselves in space by turning chaos into an order linked to numbers symbolic. Its disconcerting how much the square in Patricia Urfelss work corresponds to the definition given by Orientals, i.e. the harmonious figuration of unity. This taste for the geometrical shape with pure lines led evidently the artist to the lozenge. Stretched square, which dances and shines, the lozenge becomes for Patricia the matrix of a new dialectic.
The use of light is another fundamental parameter. Several of the artists installations present modules of a dazzling white. White is the perfect mix of all the colours of the luminous spectrum. Its symphonic unity symbolises the opening to the out of frame and so, a total freedom. This conviction, which is relative to the importance of light as well as the situational vocation of a piece of work, led Patricia Urfels to the use of the neon tube. Not only, the light changes the space but also, when the neon becomes a letter, it turns into a uniting speech with immediate visual impact. The artist also produced a whole series of boxes which become the stages of thousands adventures, reminding us of Pandora. For Patricia Urfels, art is firstly an effort of reflection. Confronting the disintegration of values, she offers an artistic and societal project where the One becomes strong only thanks to the roots of the multiple.
Olivier Duquenne
THOMAS RASCHKE
THOMAS RASCHKE
PATRICIA URFELS
PATRICIA URFELS
BIOGRAPHIES