The Myth of the Eternal Return is a show which explores the concept of the loop, or the closed cycle. The exhibition combines various works which, each in a distinctive way, are organised around the idea of the loop. Still, while the earlier works, such as Phoenix, were looped as a playful and formal experiment, the later projects, such as The Alder King or The Bunker, acquire a social, environmental or even political context. As if the amusing and intellectually stimulating form of the closed cycle stopped from being a mere game, to enter the realm of reality.
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The Myth of the Eternal Return
Opening : Saturday November 26, 2022 at 12:00
Show open until January 28, 2023
Alarcon Criado gallery
Velarde 941001 Sevilla, Spain
info@alarconcriado.com
Phone: +34 954 22 16 13
The Le Corbusier Foundation presents the exhibition LCAXN by Nicolas Grospierre, architectural photographer awarded the Golden Lion at the Venice Biennale in 2008.
In LCAXN, he has taken the axonometric drawings of LeCorbusier’s unbuilt projects and brought them to life by telling the imaginary story of these buildings in his photomontages.
This exhibition opens an artistic dialogue between the Maison La Roche – Le Corbusier’s first purist house – and the works of Nicolas Grospierre.
10 square du Docteur Blanche, 75016 Paris
Entrance by 55, rue du Dr Blanche
Open to the public
Tuesday, and Thursday to Saturday, 10:00-18:00
Opening of Nelly Agassi and Nicolas Grospierre exhibition Longue durée, in the frame of Warsaw Gallery Weekend, September 20-22, 2019
Pola Magnetyczne,
Londyńska 13,
03-921, Warsaw, Poland
In Longue durée, Nelly Agassi and Nicolas Grospierre develop a visual dialogue which revolves around time, architecture, and the physical absence of light. “Longue durée” – the long run – should be seen as a view on things, perceived over a long period of time, and focusing on the longstanding and imperceptibly slow changing events and their consequences, and understood as perhaps the most fundamental aspects of reality.
In Heliography, Nicolas Grospierre’s new body of works, the photographer abandons one of his favourite topics, architecture, to deliver works that could be seen as the antithesis of Cartier Bressons’s concept of “decisive moment”. It is indeed the long perspective that is essential in Heliography, which could be described as photography without film, without camera, and even without paper: geometric patterns created by the sun over colorful velvet canvases, exposed over a period of five months.
The long run is equally essential in Nelly Agassi’s practice, and her re-interpretation of architecture. In Longue durée, Nelly Agassi deals with the the biography of the building housing the Pola Magnetyczne gallery. Plein-Air, one of her minimalist yet masterful interventions, revives architectural elements once integral to the house, and which have disappeared: the windows of the gallery space. Marking the absence of these windows allows her to connect with the long history of the house and explore erasure, preservation, and architecture’s capacity to change and repurpose by its users and by time, while at the same time echoing Grospierre’s Heliography, by referring to the absence/presence of light which the window allow, and which is fundamental in Grospierre’s works.
Born out of the visual exchange between two autonomous artistic sensitivities, Longue durée eventually hints at notions of time, memory and immanent change, often imperceptible to the naked eye.
Photography of Architecture after the Digital Turn.
Curated by Pedro Gadanho and Sergio Fazenda Rodrigues
MAAT
Museum Art Architecture Technology
Av. Brasília, Central Tejo, 1300-598 Lisboa
Opening: March 19 at 7 PM
On show until August 19, 2019
Fiction and Fabrication gathers nearly 50 artists who build and manipulate images of architectural objects and spaces. Marking 30 years since Photoshop was invented, and digital tools invaded photographic production, this exhibition focuses on the imagery of architecture as a central theme to an expanded practice of photography in contemporary art. From the seminal works of Andreas Gurski, Thomas Ruff, Jeff Wall or Thomas Demand to the fictional creations of Beate Gütschow, Oliver Boberg or Isabel Brison, the show offers a panorama of architectural photography that evades objective approaches and favours fictionalised takes on reality between cinematic gazes, image deconstruction and more politicised narratives. At a time when digital tools preside over the making of architectural images for media consumption, fictions stemming from the art world appear here as a critical alternative that questions and expands the concept of architecture.Participant artists:
Doug Aitken, Olivier Boberg, Isabel Brison, Rita Sobral Campos, James Casabere, André Cepeda, David Claerbout, Celine Condorelli, Mafalda Marques Correia, Gregory Crewdson, Hans Op de Beeck, Mónica de Miranda, Thomas Demand, Filip Dujardin, Roland Fischer, Carlos Garaicoa, Dionisio Gonzalez, Nicolas Grospierre, Andreas Gursky, Beate Gütschow, Patrick Hamilton, Sabine Hornig, Veronika Kellndorfer, Lucia Koch, Aglaia Konrad, Jonathan Lewis, Inês Lombardi, Tatiana Macedo, Edgar Martins, Antoni Muntadas, Anja Niemi, Erwin Olaf, Rodrigo Oliveira, Bas Princen, Olivier Ratsi, Teresa Braula Reis, Nick Relph, Martha Rossler, Thomas Ruff, Philip Schaerer, Evandro Soares, Hanna Starkey, Gerold Tagwerker, Wolfgang Tillmans, Pedro Tudela, Jeff Wall, James Welling.
OPENING A Subjective Atlas of Modern Architecture, March 1st, 2019, in Warsaw’s Fort Institute of Photography.
Instytut Fotografii Fort
Published by Prestel (London), Modern Spaces complements a previous opus, Modern Forms, but it is this time focused exclusively on modern interior design. As in Modern Forms, the photographs are organised neither chronologically nor geographically, but formally, and they therefore create a visual flow of shapes and designs. With the earliest photographs taken in 2004, this album is a sum of 15 years’ work on modernist interiors.
ul. Młocińska 5/7, 01-065 Warsaw, Poland
Published by Prestel (London), Modern Spaces complements a previous opus, Modern Forms, but it is this time focused exclusively on modern interior design. As in Modern Forms, the photographs are organised neither chronologically nor geographically, but formally, and they therefore create a visual flow of shapes and designs. With the earliest photographs taken in 2004, this album is a sum of 15 years’ work on modernist interiors.
ul. Młocińska 5/7, 01-065 Warsaw, Poland
OPENart 2018 in der ARCHITEKTURGALERIE MÜNCHEN im BUNKER
THE BEST POSSIBLE CITY
Nicolas Grospierre / Fthenakis Ropee
THE NEXT POSSIBLE CITY
Positions of young architects in Munich
Herzliche Einladung zur Eröffnung am Donnerstag, 13. September um 19 Uhr
Cordial invitation to the opening on Thursday, September 13 at 7pm
Nicola Borgmann Architekturgalerie Munich
Nicolas Grospierre Artist and Photographer
Alexander Fthenakis Fthenakis Ropee Architekten
more info HERE
opening of
Город, которого нет / The City which does not exist
at Peresvetov Pereulok gallery in Moscow, on Wednedsay 25 april 2018 at 7 PM
The exhibition is curated by Daria Kravchuk
This exhibition revolves around imaginary architecture: ideal buildings, fictitious housing estates, hypothetical urban schemes. It features a selection of large scale photographic objects, installations and photomontages, created over the last decade.
Peresvetov Pereulok Gallery
Peresvetov Lane, 4/1,
The exhibition is open until June 10, 2018
Opening of
HELIOSOPHIA
September 29, 2017 at 8.30 PM
Galeria Alarcon Criado
C/ Velarde nº9 41001,
Sevilla
+34 954 221 613
info@alarconcriado.com
Show open until 18.11.2017
More info here
NICOLAS GROSPIERRE
Heliosophia
The ancient Greek believed that Helios, the god of the sun, rode a fiery chariot through the sky, in this manner illuminating the world. However, when Helios let his son Phaeton lead the carriage, the inexperienced rider lost control over it, threatening to crash on earth and destroy the world. Zeus had to strike Helios’ chariot, killing Phaeton by the same token.
As is often the case, Greek mythology provides an accurate yet simple narration to apprehend man’s relation to the world around him. Echoes of this story are found in Nicolas Grospierre’s latest exhibition at Alarcon Criado: Heliosophia.
Composed of two distinct yet interdependent parts, Heliosophia brings forward works which develop an ambiguous relation to the sun, and light in general, as a creative means, but also perhaps as a destructive agent.
The first set of works, Heliographia, are abstract geometric compositions which seem to have been drawn on large velvet canvases. What looks like a print is in fact the direct action of the sun over several months. During this time, lightproof caches were placed over the velvet, and periodically moved, the sun burning out the exposed parts. It is a kind of photography without paper, without film, without camera even, the sun being the sole creative power.
Heliopolis is a set of photographs of modernist buildings from different parts of the world, whose common denominator is that they all have been destroyed, each time for different and specific reasons. However, the prints are tricked. Their photographic process has purposefully not been fixed, in such a way that when shown to the public, i.e. when exposed to light, they begin to black out. Here the sun is a destructive force, erasing structures which have already been torn down.
However, and upon closer examination, things are not as simple as they seem. Both works provide canny examples of the paradox of creative destruction, i.e. when the symbolic capital of the destruction of an object is greater than its material value.
One may indeed consider that the Heliographic compositions are in fact, from a technical point of view, the deterioration of an originally virgin piece of velvet.
On the other hand, the Heliopolis photographs are probably more than a simple set of images. One may indeed venture that it is their very fragile nature, their self- destructive quality – that the more one looks at them, the more they become difficult to perceive – which provides a truly genuine artistic experience.
Ultimately, Heliosophia is therefore not only about the sun, but about the complex and intertwined relation between the creative and destructive processes at work in any manly work.
Opening of
KRYSTIAN JARNUSZKIEWICZ <- NICOLAS GROSPIERRE
TO MY DEAR MIKOŁAJ
on Saturday, June 10 | 18:00
Pola Magnetyczne
ul. Londyńska 13
03-921 Warszawa
www.polamagnetyczne.com
exhibition open until | 16.09.2017
opening hours:
wed-fri 15:00-19:30
sat 13:00-17:00
opening of
LATE POLISHNESS
curators: Ewa Gorządek and Stach Szabłowski
Centre for Contemporary Art Ujazdowski Castle, Warsaw
31/03 – 06/08/2017
The project Late Polishness is dedicated to the forms which Polish contemporary identity assumes. Acting as the main space for deliberations is the exhibition, which consists of more than a hundred works and projects from dozens of contemporary artists working in the fields of visual arts, cinema, and theatre. The themes underlined in the show will be expanded on through a rich program of discussions, lectures, and screenings.
MODERN FORMS EXHIBITION OPENS AT NGV INTERNATIONAL, MELBOURNE
NGV INTERNATIONAL
180 ST KILDA ROAD, MELBOURNE
Opening March 17, 2017
Nicolas Grospierre’s Modern Forms project is being exhibited at NGV International as part of Melbourne Design Week and features brand new work taken by Grospierre in Australia. Presented as a series of geometric shapes, the bold architectural forms photographed by Grospierre are an expression of modernism’s achievements and failures in delivering a better world.
Opening of
LIFE. A MANUAL
An exhibition inspired by the work of Georges Perec
An exhibition curated by Jadwiga Sawicka
Opening : Friday, February 3, 2017 at 7 PM
Until 23.04.2017
Zachęta – National Gallery of Art
pl. Małachowskiego 3
00-916 Warsaw
The exhibition Life. A Manual was inspired by one of Perec’s most well-known novels Life a User’s Manual— a multi-layered story about the inhabitants of a Paris building. Constructed according to the principles of combinatorics and the rules of chess, it met the postulates of the experimental literary group OuLiPo, Perec belonged to since 1967.
Authors of books: Sophie Calle, Jonathan Safran Foer, Cristina de Middel, Joan Fontcuberta, Michael Landy, Chris WareMore information here