The exhibition The Sowers\u00a0<\/em><\/strong>presents 26 artists and takes the form of a dialogue between clay and thread<\/strong>. These two elements become a space of<\/strong> cross-pollination for rituals, crafts<\/strong> and the aesthetics of survival as well as the dimension of recycling in order to highlight\u2014through materials and usage\u2014 plural forms, all imprinted with a universal ecological consciousness<\/strong>.<\/p>\n The Foundation is conceived as a community space within a poetic and spiritual atmosphere. The exhibition begins with the paradigm of weaving, the labor of childbirth, revealing\u2014in visual language\u2014\u201cthe mysterious anatomy of humankind.\u201d The materials deployed by the artists thus become instruments of destiny, akin to silks that spin our future.<\/p>\n The exhibition continues with a festive and luminous installation characteristic of tropical imagery: composed of fantastic embroideries with exotic landscapes and hybrid sculptures, oscillating between private and public space. These sculptural forms are inspired by modernism, popular culture and specific historical moments. They principally explore the poetic use of objects and utilitarian works. To conclude, the main room of the Foundation is dedicated to clay\u2014which recalls, through its form, ancient spiritual places\u2014and is inspired by the iconography of fertility. The floor hosts synergies of signs, beliefs, energies and materials integral to a \u201csanctuary,\u201d summoning the past and universal questions.<\/p>\n Gabriel Chaile<\/strong> has developed a visual language rooted in both ancient and modern forms, indigenous craftsmanship and social advocacy. For this new series of unique drawings, his process with pigments on a charcoal background enables him to draw out mystical shapes from the darkness. Drawing is an essential component, a pictorial vehicle for his research into the indigenous cultures of South America.<\/p>\n Ang\u00e8le Guerre<\/strong>\u2019s work\u2014which questions the memory of textures and motifs\u2014provides another way to examine surfaces through rhythm and movement, lacerating leather skins colored with pigment then covered with paper, notched to evoke a tribal look. Belinda Blignaut<\/strong>\u2019s performance work connects directly to the earth. Through an interplay of body movements, the artist incorporates everything on site. For the exhibition, Blignaut performs Mud Rites<\/em>: \u201cThis is an act of abandon to the land, where art and rituals enable us to express the intuitive in a visceral and visible way. Placing my body in the earth speaks of transformation, death and continual rebirth.\u201d<\/p>\n Fatiha Zemmouri<\/strong>\u2019s \u201cLandscape\u201d series seems cut from plowed soil, a symbol of renewal, germ of all possibilities. It is presented vertically, immediately imbuing these bits of earth with a particular aesthetic value: a physical link that one can have with sculpture.<\/p>\n Julie Monot<\/strong> will perform Before It Was Water<\/em>, featuring a hand-crafted kimono bearing motifs inspired by various types of single-celled organisms. Folded over a metal bar suspended from the ceiling, the work will be worn by a performer during the opening.<\/p>\n Desire Moheb-Zandi<\/strong> ceaselessly explores handicrafts and weaves using recycled materials. The artist draws from her diverse cultural roots (Turkish, Iranian) and from having observed her Turkish grandmother to integrate her personal history within a wider cultural one. From neon tubes salvaged in Pontal de Maceio in Brazil to industrial plastic retrieved in New York, joining composite pallet yarns, she unifies raw materials. Rather than making sketches beforehand, she composes a textile piece using a range of bright colors. These mix with Julian Farade<\/strong>\u2019s universe; he dreamed up an inverted stitch, allowing him to create tapestries of flat colors and shapes, collapsing foreground and background. \u201cThe works lean neither towards good nor evil\u201d\u2014rather, one discovers wild, fantastic animals drawn from the artist\u2019s imagination.<\/p>\n Clay and thread are witnesses to the evolution of cultures and peoples, to their tangible and intangible cultural heritage. They make it possible to understand the gestures of earlier peoples\u2014be they in ritualistic or domestic contexts\u2014and from these arise a symbolic language linked to materiality. The Sowers examines the tension and temporal intersection of two stories, clay and thread: from the mystical ritual in which the artist engages with the process of transformation to its functionality within daily human life. Our relationship to these two elements is linked to their mythological dimension, shaped by their presence amidst both world cultures and the quotidian.<\/p>\n Anissa Touati and Nathalie Guiot, curators<\/strong><\/p>\n <\/p>\n Practical information<\/strong><\/span><\/p>\n Exhibition from September 9 to December 5, 2021 <\/p>\n PERFORMANCES AND ARTWORKS ACTIVATION AROUND THE EXHIBITION\u00a0<\/strong><\/p>\n Wednesday 8 September from 4pm to 8pm<\/strong> Saturday 2\u00a0October 5pm\u00a0<\/strong> Saturday 6 November 4pm<\/strong> <\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n <\/p>","protected":false},"excerpt":{"rendered":" The exhibition The Sowers\u00a0presents 26 artists and takes the form of a dialogue between clay and thread. These two elements become a space of cross-pollination for rituals, crafts and the aesthetics of survival as well as the dimension of recycling in order to highlight\u2014through materials and usage\u2014 plural forms, all imprinted with a universal ecological […]<\/p>\n","protected":false},"author":2,"featured_media":16776,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[39],"tags":[180],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/posts\/16122"}],"collection":[{"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/comments?post=16122"}],"version-history":[{"count":78,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/posts\/16122\/revisions"}],"predecessor-version":[{"id":17913,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/posts\/16122\/revisions\/17913"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/media\/16776"}],"wp:attachment":[{"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/media?parent=16122"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/categories?post=16122"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.fondationthalie.org\/en\/wp-json\/wp\/v2\/tags?post=16122"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nEarth and the Process of Metamorphosis<\/strong><\/p>\n
\nJasmine Little<\/strong>\u2019s installation was created from a unique formula of clay. Little sculpts directly into still-damp earth, encrusting it with additional materials such as porcelain, gravel, and clinker bricks salvaged from a house in Pasadena, California, where she lives. Little\u2019s work is iconoclastic and highlights a shifting between eras and artistic movements.<\/p>\n
\nJute Juxtaposed with Embroidery<\/strong><\/p>\n<\/div>\n<\/div>\n
\nSol Calero<\/strong>\u2019s installation \u201cDaybed Melon Yellow\u201d showcases non-canonical, non-traditional popular art forms, which are generally excluded from Western art history. By looking at how Latin American cultures are perceived and exported, this work conveys to the viewer the processes of exoticism inherent in imagery and narratives of \u2018other\u2019 culture. In the stairwell, the work produced by the designer Alexander Marinus <\/strong>for the purpose of this exhibition, highlights the potential of jute, the most widely grown raw fibre in the world after cotton. Placed on a bookcase, Anila Rubiku<\/strong>\u2019s embroidery work is outfitted in colorful Geta sandals, a nod to the Japanese culture from which the artist draws her inspiration. She\u00a0shares the space with Rapha\u00ebl Tiberghien<\/strong>‘s “Satala” series, eight earthenware pieces riddled with letters from old printing works that invite us to explore the edges of language and plastic forms.<\/p>\n
\nHand-Crafted: Threading Our History, or \u2018The Woven Self\u2019<\/strong><\/p>\n
\nNiyaz Azadikhah<\/strong> is an artist who has led sewing workshops as community projects for women in Tehran. The artist\u2014whose images are systematically banned in Iran\u2014uses embroidery as a means of expression, to sketch out observations or ironic comments on her day-to-day. Her embroideries slowly metamorphose and mutate, gently drifting into the form of plants, which transform into flowers in bloom.<\/p>\n
\nArtists:\u00a0<\/strong>Sylvie Auvray (France), Niyaz Azadikhah (Iran), L\u00e9na Babinet (France), Belinda Blignaut (South Africa), Pauline Bonnet (France), Paloma Bosqu\u00ea (Brazil), Sol Calero (Venezuela), Gabriel Chaile (Argentina), Jasmine Little (United States), Pauline-Rose Dumas (France), Julian Farade (France), Ang\u00e8le Guerre (France), Alexander Marinus (Belgium, in collaboration with MAD Brussels),\u00a0<\/b>Kristin McKirdy (United States),\u00a0<\/b>Hana Mileti\u0107 (Croatia), Desire Moheb-Zandi (Germany), Julie Monot (Switzerland), Elise Peroi (France), Jacqueline Surdell (United States), Anila Rubiku (Albania), Lei Saito (Japan), Livia Spinga (France), Rapha\u00ebl Tiberghien (France), Lucille Uhlrich (France), H\u00e9ctor Zamora (Mexico), Fatiha Zemmouri (Morocco)<\/b><\/p>\n
\nFrom Wednesday to Sunday, 2pm to 6pm and by appointment
\nEntrance 7\u20ac \/ 5\u20ac* \/ Free** (on presentation of suitable evidence)
\n*Teachers, -26, job seekers, SMART members
\n**Students and children up to 12
\nFree entrance every first week-end of the month
\nExceptional closure of the exhibition on Thursday 11 November
\nEvery Saturday, the entrance ticket gives you access to a guided tour at 3pm and 5pm\u00a0<\/span>
\n<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\nBelinda Blignaut, Mud Rites<\/em>
\nJulie Monot, Before it was water +<\/em>\u00a0See Double<\/em>
\nL\u00e9na Babinet, Ce qui reste<\/em>, Apr\u00e8s r\u00e9sonance<\/em><\/p>\n
\nJulie Monot, See Double<\/em>
\nL\u00e9na Babinet, Ce qui reste +<\/em>\u00a0Apr\u00e8s r\u00e9sonance<\/em>
\nElise Peroi, Seuil
\n<\/em>Commented tour by Nathalie Guiot (6:30 pm)<\/p>\n
\nElise Peroi, Seuil
\nJulie Monot, Before it was Water<\/em>
\nL\u00e9na Babinet, Ce qui reste +<\/em>\u00a0Apr\u00e8s r\u00e9sonance<\/em>
\n<\/em>Commented tour at 5 pm<\/p>\n<\/div>\n<\/div>\n<\/div>\n
\nSaturday 4 December 4pm-7pm<\/strong>
\nClosure of the exhibition \/ Commented tour by curators Nathalie Guiot and Anissa Touati at 5:30 pm<\/strong>
\nL\u00e9na Babinet, Ce qui reste +<\/em>\u00a0Apr\u00e8s r\u00e9sonance<\/em>
\nJulie Monot, See What + Before It Was Water<\/em>
\nElise Peroi, Seuil<\/em><\/p>\n
\nWith the support of\u00a0F\u00e9d\u00e9ration Wallonie-Bruxelles, Eeckman art & insurance, Brussels Drawing Week and Maison Ruinart<\/strong><\/p>\n![\"\"](\"https:\/\/www.fondationthalie.org\/wp-content\/uploads\/2020\/04\/FWB_VERTI_NOIR-380x364.png\")
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