FABIENNE VERDIER

soundscapes - t h e j u i l l i a r d e x p e r i m e n t

Patrick Derom Gallery

exhibition from december 1st 2016 to FEBRUary 11th 2017

FABIENNE VERDIER soundscapes - t h e j u i l l i a r d e x p e r i m e n t

Patrick Derom Gallery Brussels

Rue aux Laines 1, 1000 Brussels, t. +32 2 514 08 82 - f. +32 2 514 11 58 [email protected] www.patrickderomgallery.com

t a b l e o f c o n t e n t when music and painting meet bernard foccroulle page 12 the depths of silence marc collet page 17 to the young musicians fabienne verdier page 22

catalogue page 29 breath columns page 30 silences page 36 sound traces page 44 miniatures page 56 homage to elliott carter page 64 cerulean page 78 jazz page 90

biography - bibliography - exhibitions page 108 public collections page 109

credits technical notes to the catalogue page 112 b u t w h e r e d a n g e r l i e s , s a l v a t i o n g r o w s t o o

When music and painting meet

painting and music engage with time and How can contemporary painters and musicians abstraction nonetheless: it brings to mind space in fundamentally different ways; as come together to explore new expressive the work of choreographer Trisha Brown, a such, they come together only rarely. Plenty forms? First, through silence, without which great artist whose stagings of of paintings depict musicians or musical music cannot unfold. Music is born of silence, opera (notably Monteverdi’s Orfeo) are based instruments; more rarely, a musical work will and inhabited by silence: the painter under- on an exceptional alliance of abstraction reference the art of painting (Mussorgsky’s stands and feels this with particular intensity, and expression, rooted in the work’s drama, Pictures at an Exhibition, for example). But by the very nature of her work. the meaning of its words, and the power of can we really think of this in terms of dialogue? Second, through abstraction. Abstraction its music, in equal parts. Drawing on her wide-ranging background lies at the heart of music in all its forms. It Painters and musicians talk readily about and first-hand experience of Chinese painting, comes as no surprise, then, that an artist rhythm. Fabienne Verdier’s work is especially artist and music-lover Fabienne Verdier who engages profoundly with abstraction eloquent here, it seems to me: her paintings orchestrates an unprecedented encounter should develop an expressive language that at the Juilliard School are suggestive of musical between the two art forms. Working in resonates with the world of music. scores, bearing the rhythmic imprint and residence at The Juilliard School in New York, Third, through expression – a trickier concept, accents of the music that inspired them. she was able to explore, experiment and and a dangerous, thoroughly loaded term Colour is another element linking painting create new works resonating with the medium that brings a risk of complete misunder- and music – a connection explored less in of sound itself. standing. But a word I like to associate with Fabienne’s paintings, it seems, perhaps

page 14

because working in colour is more time- virtuoso ‘gesture’, brilliantly described by accept the need for personal jeopardy.’ consuming. Nonetheless, the textures in Luciano Berio, and imprinted throughout Reaching out to others – other individuals, her work – sometimes in black and white, his work (not least the magnificent Sequen- other cultures – is surely one of the great- sometimes polychromatic – come very zas) and that of so many of his contempo- est challenges we face in today’s world, close to the textures of music, it seems to raries. I see the same virtuosity in Fabienne marked by migration, war, fanaticism, and me, whether jazz or ancient polyphonies. Verdier’s work, her improvised gestures, cultural and religious conflict. I like the When I think of Paul Klee, one of the most and the marks of time and tempo. notion that to encounter others we must musical of the great 20th-century painters, It will be fascinating to follow Fabienne engage in a parallel quest for enhanced I see a kind of kinship – or parallelism? – Verdier’s work as it evolves in the years self-knowledge. The idea appeals because with Fabienne Verdier’s work: both capture ahead, to see just how far she takes the it applies to individuals and communities the mark of time in their paintings, espe- making of painterly, creative gestures in alike, perhaps even to entire nations. cially in the rhythm and explosive, splashy resonance with music. That an artistic experiment can open our quality of certain textures. ‘To encounter others, you first have to eyes to such questions confirms the inti- Virtuosity: I’m suspicious of this well-worn counter your own self,’ writes Fabienne mate connection between artistic creativ- concept, too often associated with facile, Verdier in her dedication to the young ity and the major issues of our time. spectacular but superficial forms of virtu- musicians she met at the great New York osity. But I am a profound admirer of the institution. ‘In other words, you have to bernard foccroulle, spring 2016

The depths of silence

the genesis of fabienne verdier’s musical York – inspired by the essentially musical experiment at new york’s juilliard school quality of her work – invited the artist to is closely, and logically, connected to the make new paintings in response to music genesis of her invitation to the groeninge- played live at the school. museum in . ‘I’ve always understood a painted line in terms Experiments in pictorial light and depth of a line of music. And in soundlines, I’ve through the use of transparent glazes; a quest always seen a kind of painterly, pictorial for spirituality of a kind: at its most essential structure’, says Verdier, who was attracted level, Fabienne Verdier’s work possesses to themes from the world of music very early something of the Flemish primitives, and it on in her career. Fugue de Bach (‘Bach Fugue’, is for this reason that the 1992), Cinabre et Sérénade (1997) and Hom- invited her to work in situ, and to exhibit the mage aux variations sans thème de Yehudi results, in its Old Master galleries. Menuhin (‘Hommage to Yehudi Menuhin’s Just as the Groeningemuseum offered Variations Without a Theme’, 1997) are some Verdier the chance to create new work in of the earliest manifestations of this in her response to the paintings in its historical work. More recently, in 2011 and, especially, collections, so the Juilliard School in New in 2013, Verdier’s Polyphonie series is a daz- page 18

zling assertion of her interest in thought as Pierre Boulez comments extensively on Klee’s unfold, each different from the next. We are iconic works of John Cage, the power of sound: polyptychs presented in the great hall approach in his study The Fertile Land. But reminded of how canvases by Mark Rothko silence is an essential characteristic of 20th of the Hôpital Saint-Jean in Bruges feature authentic examples of the influence of music immerse the viewer in profound depths of and 21st-century music. Feldman’s work is motifs resonating with the imagery of the on painting are still rare. Inevitably, an overly silence – a phenomenon Morton Feldman one of its purest manifestations. building’s stained glass windows. literal transcription from one realm to the understands very well. Feldman was invited Counterpoint is another, more traditionally Painting and music have exerted an evident, other is a creative dead end. Verdier knows by the Ménil Foundation to write a musical musical quality present in Verdier’s work. mutual fascination since their earliest begin- this: rather, her sense of the painterly value work to be premiered in Houston at the Chapel Since the early 1990s, she has applied a seal nings, but the most pertinent examples of of a correlation to musical composition is housing fourteen specially-comissioned whose form and colour specifically enact musical influence on the visual arts came at derived from her appreciation of the two art works by Rothko – a work that acts as a kind the concept of punctus contra punctum, the the dawn of the 20th century, with the move forms at their most profound, essential level. of extension of their silence. We remember, most elementary definition of counterpoint. into abstraction. While Kandinsky’s close If we can identify one intrinsic, properly too, that Feldman composed the music for Since the early 2000s, this ‘counterfoil’ func- engagement with ‘musical’ composition and musical quality in Verdier’s work, it is the Hans Namuth’s 1951 film about Jackson Pol- tion in her work has shifted to the traces left the works of Arnold Schoenberg is well known, silence and resonance contained in the mul- lock. And the extraordinary effect of the by flows of ink, anticipating or accompanying it is Paul Klee who springs most readily to tiple layers forming the backgrounds of her harmonics and cello pizzicati accompanying the artist’s action on the canvas. mind in this context – he who succeeded in canvases. The transparent glazes create a the trickles of paint on glass, filmed from It is in this context – the daily practice of silence, incorporating musical constructions and resonant space that seems to emerge from the reverse of the transparent pane. the qualities of resonance and contrapuntal modes of thought into his teaching on painting. silence itself, across which multiple lines From Anton Webern to Arvo Pärt and the depth – that Verdier’s new experiment at the Juilliard School takes on its fullest meaning. in Verdier’s work reflect the temporality of waves of sound, Verdier captures vibrations Paradoxically, however, the essential musicality ‘I try to capture a moment of reality instantly, music, moving and ‘reading’ from left to right. which she transcribes passively on canvas, of Verdier’s work has its most subtle expression as it unfolds in space, in that eternity of the Beyond the preparatory traversing of the like a seismograph. Conscious of the poten- in the ascetic Silence series. Here, for the moment, and to live wholly in the exact canvas with traces of dripped paint (contra- tially limiting impact of her capacity ‘to go far first time, flows of black paint on canvas moment at which I traverse the space of my puntal elements that also echo the musical enough in the variation of these resonances’, constitute the sole form of painterly expres- canvas with the brush’, as Fabienne Verdier stave), Verdier invests the picture space as a she has constructed new, extremely broad sion: Verdier lulls the viewer with the gentle, explains to Daniel Abadie in his book about whole from left to right, guiding our reading wild boar-hair brushes, designed to be more rhythmic pull of the same undertow that her encounter with the Flemish primitives. of the work in the same direction as the ‘nervous’ and responsive, ‘alert to the slight- animates the mature works of Feldman, What better definition of her new experiment reading of a musical score. est vibration’. These brushes have introduced transporting us to the frontiers of the inex- at the Juilliard School of Music? As Verdier The uppermost parts of the canvas are, it a new repertoire of forms: the Sound Board pressible, the depths of silence. says herself, she needed to ‘dare to trans- seems, directly suggested by the ‘texture’ series, evoking dense, polyphonic script. form’, and to ‘let herself be penetrated by of sounds that inspire Fabienne Verdier in In her extraordinary, intricately intertwined the very essence of sound.’ the making of her strokes. This vertical script motifs inspired by jazz quintets, Verdier allows In the Sound Trace series, or the Notations is also characteristic of Verdier’s works under herself to be suffused by the particular timbre based on Elliott Carter’s Figment, it is inter- the title Breath Column, inspired by the human of each instrument, inspiring strokes of var- esting to note how painterly and musical space voice and breath, in which the artist is borne ying thicknesses and ultimately, introducing converge. We see how the lines and strokes along by the energy of sound. Traversed by colour into her work. marc collet, autumn 2016

the decision of fabienne verdier to the young musicians page 22 to leave the comfort zone of her painting studio by accepting The Juilliard School’s One needs to travel for one’s mind to brush up invitation to work with musicians during an against and be polished by the thinking of others. entire semester was a leap of faith. No one could have predicted the outcome of her Montaigne’s words come to life for me as I stand, working with you, that one must first between music and painting, between the efforts to attune her pictorial work to the tell this “traveler’s tale.” For, ironically, my learn to disengage from the self in order to line of sound and the line of picture, where sound of instruments and voices. It turned residency at the Juilliard School was trans- think differently. Moreover, numerous artists one would not be subservient to the other, out to be a challenging but successful adven- formed into a journey. You allowed me to have demonstrated the need for such a depar- but where, on the contrary, an “interplay” ture, which would change the artist’s work discover that a painter could apply her brush ture from self, the need for an obsessive sort would produce a spontaneous concomitance, profoundly. Looking back at that semester to the piano, the saxophone, or the voice; of thinking against the self, to discover unex- a spontaneity that expresses a certain facet Fabienne Verdier wrote the following words that she could perhaps even blend her palette plored territories. I realized, there too, that of life and that is an essential constituent of to the thank the musicians with whom she with an orchestral score. to enter into an encounter with others, one both music and painting. In the course of our worked so closely and who were willing to After John Cage’s very intimidating 4 minutes first has to leave oneself behind. In other work sessions, we observed that it was pos- explore those uncharted territories with her: 33 seconds of silence, or Marcel Duchamps’ words, to put oneself at risk. This is Hölderlin’s sible to communicate without recourse to famous Fountain, it is still possible to create. contention: “But where danger lies, salvation words, but rather via abstract forms that Man’s abiding need to express his sensibility grows too.” seemed to emerge directly from experience and to approach the world and the things This is something I had already experienced and from memory. When on these “journeys,” that surround him in a spirit of adventure when I traveled to , not long after the I often thought of Schumann, who claimed cannot be taken away from him. In the future, cultural revolution, to study and work with he could understand and even converse, artists will be able to create only if they dare the last of the master painters. In the course through music, between two silences. to confront new challenges, only if, in this of those ten years, I had to abandon many of More broadly, I was able to note that musi- spirit of adventure, they initiate encounters my conditioned responses, in order to cians not only listen, they see; that the such as have not previously been approached immerse myself in a radically different world painter not only looks, but listens. As the between the arts, thus illustrating the possib­ and way of thinking. This encounter profoundly eye listens, so too the ear can see. This pos- ility of inhabiting the world poetically. changed my perception of the world, and sible but oft-doubted synchronism between I had the good fortune to be invited, as an even my way of painting. During the months music and painting was thus at the heart of artist, to enter the heart of a talent pool of of my Juilliard residency, I had to rise to a our experimentation. the most gifted musicians. I came to under- similar challenge: how to implement a dialogue fabienne verdier, spring 2016

the faculty members, staff and students of the juilliard school Darrett Adkins Reuben Allen Kenny Barron Avery Amereau Stephen Carver Paolo Benedettini William Christie Joey Chang Alexandra Day Dan Chmielinski Ray Drummond Patrick Doane Aaron Flagg Greg Duncan Gloria Gottschalk Lukas Gabri Elizabeth Hurley Bryony Gibson-Cornish Philip Lasser Robon Giesbrecht Joseph Mastrangelo Alexander Liebermann Amanita Nicolas Namoradze Pleasant-Heird Melody Nishinaga Benjamin D. Soslan Aaron Plourde Martha Sterner T.J. Tario Robert Taubbi Jordan Young Edith Wiens c a t a l o g u e b r e a t h c o l u m n s 1.1 1.2 1.3 page 32 oil pastel on Moulin du Gué paper, 62 x 80 cm paper, Gué du Moulin on pastel oil - 2014, mn u ol reath C B reath Edith Wiens class, December 2014 December class, Wiens Edith

1.4 1.5 page 34 oil pastel on Moulin du Gué paper, 62 x 80 cm paper, Gué du Moulin on pastel oil - 2014, mn u ol reath C B reath Edith Wiens class, December 2014 December class, Wiens Edith

s i l e n c e s 2.1 2.22.3 pa 38 SILENCES 1/5, 4/5, 5/5 - 2016, acrylic and mixed media on canvas mounted on panel, 101 x 48 cm (each panel 33 x 48 cm) ge

2.4

2.5 pa 40

ge Silence - 2014, acrylic paint on Moulin du Gué paper, 38,8 x 54 cm 2.6

2.7

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2.9 pa

42 2.10 Silence - 2014, acrylic paint on Moulin du Gué paper, 38,8 x 54 cm ge

2.11

s o u n d t r a c e s 3.1 page 46 cm acrylic and mixed media on canvas mounted on panel, 90 x 180 panel, on mounted acrylic canvas media on mixed and - 2016,

V II

/ I BOARD SO U ND

3.2 page 48 acrylic and mixed media on canvas mounted on panel, 90 x 180 cm panel, on mounted acrylic canvas media on mixed and - 2016,

V II

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3.3 page 50 , 2014 th acrylic paint on Moulin du Gué paper, 80 x 122 cm paper, Gué du Moulin acrylic on paint - 2014, nd TRACE S o u nd Notation of November 4 November of Notation

3.4 page 52 , 2014 th acrylic paint on Moulin du Gué paper, 80 x 122 cm paper, Gué du Moulin acrylic on paint - 2014, nd TRACE S o u nd Notation of November 4 November of Notation

3.5 page 54 , 2014 th acrylic paint on Moulin du Gué paper, 80 x 122 cm paper, Gué du Moulin acrylic on paint - 2014, nd TRACE S o u nd Notation of November 18 November of Notation

m i n i a t u r e s 4.1 page 58 acrylic paint on Moulin du Gué paper, 38,8 x 54 cm each paper, Gué du Moulin acrylic on paint - 2014, nd T race S o u nd adriptych adriptych Q u

4.2 4.3 page 60 acrylic paint on Moulin du Gué paper, 31,5 x 51 cm paper, Gué du Moulin acrylic on paint - 2014, B lack B one in u re M iniat

4.4 4.5 page 62 acrylic paint on Moulin du Gué paper, 31,5 x 51 cm paper, Gué du Moulin acrylic on paint - 2014, R Umbe Bu rnt in u re M iniat

h o m a g e t o e l l i o t t c a r t e r 5.1 page 66 acrylic and mixed media on canvas mounted on panel, 150 x 243,5 cm panel, on mounted acrylic canvas media on mixed and - 2015,

White MELODY White Signed, situated, titled and dated on verso on dated titled and situated, Signed,

5.2 page 68 acrylic and mixed media on canvas mounted on panel, 166 x 137 cm panel, on mounted acrylic canvas media on mixed and - 2016,

TRIPTYCH

RED . INSTALLATION . CARTER ELLIOT Signed, situated, titled and dated on verso on dated titled and situated, Signed,

pa 5.3 70

Homage to Elliott Carter - 2014, acrylic paint on polyester film, 92 x 203 cm ge Notation n°11 of December 9th, 2014 - Music: Elliott Carter, Figment for cello alone (1994) - Cello: Darrett Adkins

5.4 page 72 acrylic paint on polyester film, 92 x 203 cm polyester acrylic on paint - 2014, , 2014 - Music: Elliott Carter, Figment for cello alone (1994) - Cello: Darrett Adkins Darrett Cello: - (1994) alone cello for Figment Carter, Elliott 2014 - Music: , th arter C arter E lliott to H omage Notation n°15 of December 9 December of n°15 Notation

5.5 page 74 Figment for cello alone (1994) - Cello: Darrett Adkins Darrett (1994) - Cello: alone cello for Figment acrylic paint on polyester film, 92 x 203 cm polyester acrylic on paint - 2014, Carter, Elliott , 2014 - Music: th arter C arter E lliott to H omage Notation n°17 of December 9 December n°17 of Notation

5.6 page 76 Figment for cello alone (1994) - Cello: Darrett Adkins Darrett (1994) - Cello: alone cello for Figment Carter, Elliott acrylic paint on polyester film, 92 x 203 cm polyester acrylic on paint - 2014, , 2014 - Music: th arter C arter E lliott to H omage Notation n°20 of December 9 December n°20 of Notation

c e r u l e a n pa 6.1 - 2016, 80 WHITE NOISe acrylic and mixed media on canvas mounted on panel, 180 x 272 cm ge Signed, situated, titled and dated on verso

pa 6.2 - 2014, 82 Cerulean. Deep Blue acrylic paint on polyester film, 92 x 203 cm ge Notation n°2 of November 22nd, 2014 - Piano: Nicolas Namoradze

6.3 page 84 acrylic paint on polyester film, 92 x 203 cm polyester acrylic on paint , , 2014 - Piano: Nicolas Namoradze Nicolas , 2014 - Piano: nd - 2014 e u e eep B l D eep C er u lean. Notation n°3 of November 22 November n°3 of Notation

6.4 page 86 acrylic paint on polyester film, 92 x 203 cm polyester acrylic on paint , , 2014 - Piano: Nicolas Namoradze Nicolas , 2014 - Piano: nd - 2014 e u e eep B l D eep C er u lean. Notation n°7 of November 22 November n°7 of Notation

6.5 page 88 Study in “C” in Study acrylic paint on polyester film, 92 x 203 cm polyester acrylic on paint , . Namoradze Nicolas , 2014 - Piano: nd - 2014 e u e eep B l D eep C er u lean. Notation n°9 of November 22 November n°9 of Notation

j a z z Jazz Quintet - 2014, oil pastel on polyester film, 92 x 203 cm pa 7.1 92 Notation n°03 of December 9th, 2014 - Tenor saxophone: Lukas Gabric - Bass: Paolo Benedettini - ge Drums: Jordan Young - Guitar: Greg Duncan - Piano: Reuben Allen - coached by Kenny Barron

7.2 page 94 , 2014 - Tenor saxophone: Lukas Gabric - Bass: Paolo Benedettini - - Benedettini Paolo - Bass: Gabric Lukas saxophone: , 2014 - Tenor th oil pastel on polyester film, 92 x 203 cm film, 92 x 203 cm polyester on pastel oil , - 2014 intet Q u intet Jazz Drums: Jordan Young - Guitar: Greg Duncan - Piano: Reuben Allen - coached by Kenny Barron Kenny by - coached Allen Reuben - Piano: Duncan Greg - Guitar: Young Drums: Jordan Notation n°04 of December 9 December n°04 of Notation

7.3 page 96 , 2014 - Tenor saxophone: Lukas Gabric - Bass: Paolo Benedettini - - Benedettini Paolo - Bass: Gabric Lukas saxophone: , 2014 - Tenor th oil pastel on polyester film, 92 x 203 cm film, 92 x 203 cm polyester on pastel oil , - 2014 intet Q u intet Jazz Drums: Jordan Young - Guitar: Greg Duncan - Piano: Reuben Allen - coached by Kenny Barron Kenny by - coached Allen Reuben - Piano: Duncan Greg - Guitar: Young Drums: Jordan Notation n°01 of December 9 December n°01 of Notation

7.4 page 98 , 2014 - Tenor saxophone: Lukas Gabric - Bass: Paolo Benedettini - - Benedettini Paolo - Bass: Gabric Lukas saxophone: , 2014 - Tenor th oil pastel on polyester film, 92 x 203 cm film, 92 x 203 cm polyester on pastel oil , - 2014 intet Q u intet Jazz Drums: Jordan Young - Guitar: Greg Duncan - Piano: Reuben Allen - coached by Kenny Barron Kenny by - coached Allen Reuben - Piano: Duncan Greg - Guitar: Young Drums: Jordan Notation n°02 of December 9 December n°02 of Notation

7.5 page 100 : John Coltrane, Count Down Count Coltrane, : John , 2014 - Music th oil pastel on polyester film, 92 x 203 cm film, 92 x 203 cm polyester on pastel oil , - 2014 Jazz Jazz Notation n°03 of October 29 October n°03 of Notation

7.6 page 102 : John Coltrane, Count Down Count Coltrane, : John , 2014 - Music th oil pastel on polyester film, 92 x 203 cm film, 92 x 203 cm polyester on pastel oil , - 2014 Jazz Jazz Notation n°06 of October 29 October n°06 of Notation

b i o g r a p h Y - BIBLIOGRAPH Y - EXHIBITIONS

1962 Born in . 2004 Solo exhibition, Abbaye de Silvacane, 2011 Group exhibitions Art of Deceleration, from Caspar 1983 Graduated from Ecole des Beaux-Arts de Toulouse. La Roque d’Anthéron. David Friedrich to Ai Wei Wei, Kunstmuseum, Solo exhibition, Palais des Beaux-Arts, Toulouse. 2005 Solo exhibition, Galerie Alice Pauli, . Wolfsburg; Not for Sale, Art Center Passage 1984 Awarded a post-graduate scholarship at 2007 Publication of Between Heaven and Earth de Retz, Paris. the Sichuan Fine Arts Institute, , China. (Albin Michel, Paris) by Fabienne Verdier and 2012 Group exhibitions My Private Passion - Foundation 1984-1993 Studied painting, aesthetics and philosophy Entretien avec Charles Juliet (Albin Michel, Paris). , Kunstforum, . at the Sichuan Fine Arts Institute with some of Four large works commissioned by Hubert Looser Publication of Fabienne Verdier - Painting Space by the last great traditional masters. Foundation to dialogue with selected American Doris von Drathen (Edizioni Charta, Milano/New York). 1989 Solo exhibition, Fine Arts Museum, Chongqing, China. abstract and minimalist artists from the collection 2013 Documentary film by Mark Kidel: Fabienne Verdier, 1990 Group exhibition Contemporary Brushstrokes, (John Chamberlain, , Willem de Kooning, peindre l’instant. Fine Arts Museum, Beijing. Ellsworth Kelly and ). Solo exhibitions: Fabienne Verdier, L’Esprit de la 1991 Solo exhibition, French Cultural Center, Beijing. The painting Pélerinage aux monts des intentions pures Peinture, Hommage aux Maîtres Flamands, Groeninge 1992 Solo exhibition, Maison de la Chine, Paris. enters the permanent collection of Centre national Museum and Museum, Bruges (with 1993 Solo exhibition, Contemporary Art d’art et de culture Georges Pompidou, Paris. accompanying publication by Daniel Abadie, Center, Hong Kong. Solo exhibition at Galerie Alice Pauli, Lausanne. Albin Michel, Paris). 1995-1996 Solo exhibition, Galerie Joyce Ma, 2009 Solo exhibition Peinture, Galerie Jaeger Bucher, Paris. Fabienne Verdier, L’Esprit de la Peinture, Notes et Palais Royal, Paris. Group exhibition Elles@, Centre Carnets, Erasmus House, Brussels; 1997 Solo exhibition, Pacific Cultural Foundation, Taipei. national d’art et de culture Georges Pompidou, Paris. Fabienne Verdier. Fioretti, Patrick Derom Gallery, 2003 Publication of Passagère du silence (Albin Michel, 2010 Commission of two monumental works for Brussels. Paris) - a memoir of her years of apprenticeship the Palazzo Torlonia, . Group exhibition The Hubert Looser Collection, with Master Huang Yuan. Documentary film by Philippe Chancel: Fabienne Kunsthaus, . Hommage aux variations de Yehudi Menuhin enters Verdier: Flux, on the creation of the commissioned Collaboration with architect for the permanent collection of Musée Cernuschi, Paris. works and accompanying publication by Eric Fouache the National Art Museum of China (NAMOC) Solo exhibition, Galerie Ariane Dandois, Paris. and Corinna Thierolf (Editions Xavier Barral, Paris). project in Beijing. p u b l i c COLLECTIONS [ s e l e c t e d ]

2014 Solo exhibition Crossing Signs, Le French May Arts Centre national d’art et de culture Georges Pompidou, Paris Festival at City Hall, Hong Kong. Group exhibitions Formes Simples, Centre Cernuschi Museum, Paris Pompidou-Metz, Metz; Köningsklasse II, of , Herrenschiemsee Palace, Foundation Hubert Looser, Zurich Herrenchiemsee, . Publication of La Traversée des signes (Albin Michel, Pinakothek der Moderne, Munich Paris) by Daniel Abadie. Monumental work commissioned by Unibail-Rodamco, Foundation François Pinault, Paris and Venice Majunga Tower, La Défense, Paris. Artist-in-residence at the Juilliard School, New York Palais de l’Assemblée Nationale, Paris (for the fall semester). 2015 Solo exhibition L’Œil écoute, Galerie Alice Pauli, Majunga Tower, Unibail-Rodamco, La Défense, Paris Lausanne. 2016 Aquisition by the Pinakothek der Moderne, Munich, Centre National des Arts Plastiques, Paris (commissionned of a series of seven paintings, Mélodie du réel - 2014. by the Festival d’Avignon) Group exhibition The Looser Collection, Folkwang Museum, Essen. Ministère de l’Equipement (Direction de l’Architecture), Paris Release of Fabienne Verdier. The Juilliard Experiment, a film by Mark Kidel. Ministère des Affaires Etrangères, Paris

Chinese Ministry of Culture, Beijing

Honda Group, Tokyo

CREDITS & TECHNICAL NOTES TO THE CATALOGUE

Fabienne Verdier, Ghislain Baizeau and Patrick Derom Gallery would like to address a special thank to bruce kovner, Chairman of the Board of The Juilliard School, joseph polisi, President of The Juilliard School daniel abadie, Art Historian as well as to the faculty members, students and staff of The Juilliard School

All works by Fabienne Verdier © 2016 Fabienne Verdier

© Texts Marc Collet, Bernard Foccroulle and Fabienne Verdier

Translation from French to English Louise Lalaurie Rogers

© PHOTOGRAPHS OF WORKS Inès Dieleman

© BLACK AND WHITE PHOTOGRAPHS Mark Kidel (film still from the Juilliard Experiment)

Graphic Design [ S I G N ] * Brussels, Franck Sarfati colour separation Horizon, Brussels

Printing Impresor-Ariane, Brussels

Dimensions Measurements are given in Catalogue numbers Refer to the works Whenever technique and dimensions are identical for a series centimeters. Height precedes width. illustrated on the same or opposite page, in order. of works, one legend applies to all catalogue numbers.