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Fabienne VERDIER (Born in 1962)

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Fabienne VERDIER (Born in 1962) Fabienne VERDIER (Born in 1962) Education 1979-1983 Studied at the Ecole des Beaux-Arts de Toulouse 1982-1984 Studied Chinese at the Institut des Langues et Civilisations Orientales in Paris, France Awards 1982 Grand prize, Toulouse Municipal painting competition 1983 First scholarship for the study of Chinese in the context of the sister cities relationship between Toulouse and Chongqing, China. Excellence prize, Fine Arts Institute of Sichuan, China Selected Solo Exhibitions 2014 Crossing Signs, Hong City Hall, Hong Kong, China The Ink Discipline: A series of rare original prints by Fabienne Verdier, Hing Wai Centre, Hong Kong, China 2013 Objects and Paintings, David Kordansky Gallery, Los Angeles Fabienne Verdier, The Spirit of Painting: A Tribute to the Flemish Renaissance, at Groeninge Museum and Memling Museum (St. John Hospital), Bruges, Belgium Fabienne Verdier, Eloges, notes et etudes, Erasmus House, Brussels Art Plural Gallery, Singapore Patrick Derom Gallery, Brussels Galerie Jaeger Bucher, Paris 2012 Art Plural Gallery, Singapore 2009 Peinture, Galerie Jaeger Bucher, Paris Elles @ Centre Pompidou, Musée National d’Art Moderne Centre Pompidou 2007 Galerie Alice Pauli, Lausanne, Switzerland 2005 Galerie Alice Pauli, Lausanne, Switzerland 2004 Silvacane Abbey (Centre des Monuments nationaux et ville d’Aix-en- Provence) 2003 Ariane Dandois Gallery, Paris 2001 Chapelle des Beaux-arts, Paris 1997 Pacific Cultural Foundation, Taiwan 1996 Galerie Joyce, Palais Royal, Paris 1993 Centre for Contemporary Art, Hong Kong 1992 Maison de la Chine, Paris, France 1991 French Cultural Centre, Beijing 1990 French Embassy, Beijing, China 1989 Fine Arts Museum, Chongqing China 1983 Palais des beaux-arts, Toulouse, France Selected Group Exhibitions 2014 “Köningsklasse II”, Pinakothek der Moderne, Munich at Herrenschiemsee Palace, Germany “Formes simples”, Centre Pompidou, Metz, France “Flux”, Art Plural Gallery, Singapore 2013 The Hubert Looser Collection, Kunsthaus Zurich, Zurich, Switzerland 2012 My Private Passion – Foundation Hubert Looser, Kunstforum, Vienna, Austria. Waddington Custot Galleries, London Fine Art Asia 2012, Art Plural Gallery, Hong Kong Art Stage Singapore 2012, Art Plural Gallery, Singapore 2011 Regards Croisés: A Selection of Asian Contemporary Art, Art Plural Gallery, Singapore 2009 FIAC, Paris Elles@Centre Pompidou, Musée National d’Art Moderne, Paris 2008 Expansion Résonance, Galerie Jaeger Bucher, Paris 2006 Art Paris, Grand Palais, Paris Galerie Alice Pauli, Lausanne, Switzerland 1990 Contemporary Brushstrokes, Beijing Fine Arts Museum, China 1989 International calligraphy exhibition, Peking Fine Arts Centre Selected Commissions and Permanent Collections 2013 Commission for Majunga Tower, Paris 2010 Commission from the Palazzo Totrlonia Foundation, Rome 2009 Collection of Uli Sigg 2008 Collection of Beat Curti 2007 Collection of Musée National d’Art Moderne Centre Pompidou Collection of H.Looser Foundation 2005 Collection of François Pinault Collection of Barbier-Mueller 2004 Collection of Bruce Kovner 2003 Permanent collection of Musée Cernuschi Permanent collection of E. de Rothschild 2001 State commission for the official logo and visual conception of ‘Année de la Chine en France et Année de la France en Chine’ for the joint project of the French Foreign Ministry and the Chinese Ministry of Culture. 1998 State commission via the Centre national des arts plastiques for the creation of the official poster for the Avignon Theatre Festival, France .
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  • Fabienne Verdier Autour D’Un Timbre 21 November 2019 – 18 January 2020 38 Avenue Matignon, 75008 Paris
    Fabienne Verdier Autour d’un timbre 21 November 2019 – 18 January 2020 38 avenue Matignon, 75008 Paris Itinérance, 2019, acrylic and mixed technique on canvas, 137 x 178 cm Most of Fabienne Verdier’s paintings are large format. Life size, they are reflecting her body in movement. Typically, a painter sits at her easel on her stool, painting signs that are the abstract image of things seen from afar. Fabienne Verdier has shattered this approach. Her paintings are the real and immediate trace left on the canvas, itself placed on the floor, of the dance of her body which guides the giant, hanging paintbrush, laden with its weight of pigment. The method is similar to that of Jackson Pollock, but on another scale. Far from the spidery dripping of the American, this is a telluric force at work. Of course, this gesture does not come out of nowhere, but neither does it mimic any pre- existing form. It is inspired by the natural forces that surround us, lightning in the sky, currents in a river, the vein of a rock, the twist of a branch, the burst of a bud, an entire living or static world. These charge the spirit and the body of the painter, move her and course through her until she expels, like a volcano with its lava, the energies bubbling inside her. It would have been paradoxical and misleading to try and translate in postage-stamp size such a physical and mental experience. That is why rather than making an integral but miniaturised version of her painting, the artist preferred to magnify a detail which preserves the energy and the vital flows that gave rise to the original work.
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  • Fabienne Verdier Rhythms and Reflections
    FABIENNE VERDIER RHYTHMS AND REFLECTIONS A COMET Do all roads that lead to truth lie underground? Do all depths lie in darkness? dostoevsky And is the word Truth anything else but snow? One day, as I went round a gallery, luminous like an artist’s studio where work is left exposed to its own light, I happened on a painting by Fabienne Verdier. To me, her painted line seemed like the branch of a tree, broad as an artery, a tunnel in a badger’s sett, a cocoon in air, and at the same time like none of those things, but a thing of mystery whose exacting gaze takes your breath away! A reptile whose hiss lingers around the walls. Then it disappears, it loses itself elsewhere, leaving you with the feeling nonetheless that you were there the very moment its untamed presence so unexpectedly appeared. Of course, such an event never occurs twice. It was the painting that arrested the flight of this fugitive presence for an instant, like water holding on to air, yet expressing an instant of perception and the path taken to grasp it. As if, in fact, all the patience of the world had transformed into a lightning flash – the watchfulness of a lighthouse-keeper who knows to be neither fully awake nor asleep. Whenever solitude is put to the creative test, it becomes the key to a world. How to describe the solitude that is a crowd, unable to bloom into thousands of individuals. How to describe the crowd that blooms into a single world.
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  • (Exhibition Catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin
    SOL LEWITT SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2018 American Masters 1940–1980 (exhibition catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin. Canberra: National Gallery of Australia, 2018: 186–187, illustrated. Cameron, Dan and Fatima Manalili. The Avant-Garde Collection. Newport Beach, California: Orange County Museum of Art, 2018: 57, illustrated. Destination Art: 500 Artworks Worth the Trip. New York: Phaidon, 2018: 294, 374, illustrated. LeWitt, Sol. “Sol LeWitt: A Primary Medium.” In Auping, Michael. 40 Years: Just Talking About Art. Fort Worth, Texas and Munich: Modern Art Museum of Fort Worth; DelMonico BooksꞏPrestel, 2018: 84–87, illustrated. Picasso – Gorky – Warhol: Sculptures and Works on Paper, Collection Hubert Looser (exhibition catalogue). Edited by Florian Steininger. Krems an der Donau, Austria and Zürich: Kunsthalle Krems; Fondation Hubert Looser, 2018: 104, illustrated. Sol LeWitt: Between the Lines (exhibition catalogue). Texts by Francesco Stocchi. Rem Koolhaas and Adachiara Zevi. Milan: Fondazione Carriero, 2018 Sol LeWitt: Wall Drawings. Edited by Lindsay Aveilhé. [New York]: Artifex Press, 2018. 2017 Sol LeWitt: Selected Bibliography—Books 2 The Art Museum. London: Phaidon, 2017: 387, illustrated. Booknesses: Artists’ Books from the Jack Ginsberg Collection (exhibition catalogue). Johannesburg, South Africa: University of Johannesburg Art Gallery, 2017: 129, 151, 221, illustrated. Delirious: Art at the Limits of Reason 1950–1980 (exhibition catalogue). Texts by Kelly Baum, Lucy Bradnock and Tina Rivers Ryan. New York: Met Breuer, 2017: pl.21, 22, 23, 24, illustrated. Doss, Erika. American Art of the 20th–21st Centuries. New York and Oxford: Oxford University Press, 2017: fig. 113, p.178, illustrated. Gross, Béatrice.
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  • Fabienne Verdier Sur Les Terres De Cézanne Aix-En-Provence Dossier De Presse 21 Juin — 13 Octobre 2019 Musée Granet Pavillon De Vendôme Cité Du Livre
    Fabienne Verdier sur les terres de Cézanne Aix-en-Provence Dossier de presse 21 juin — 13 octobre 2019 Musée Granet Pavillon de Vendôme Cité du Livre Musée Granet | Aix-en-Provence museegranet-aixenprovence.fr 4 Préface de Maryse Joissains Masini, Maire d’Aix-en-Provence 5 Préface de Bruno Ely, Conservateur en chef et directeur du musée Granet COMMUNIQUÉ DE PRESSE 6 Trois lieux et une « saison » 7 Une artiste contemporaine à l’aventure sur les terres de Cézanne LES EXPOSITIONS 8 Musée Granet : Exposition rétrospective 16 Musée du Pavillon de Vendôme : Atelier nomade 18 Cité du Livre, galerie Zola : Sound Traces, installation LA SAISON FABIENNE VERDIER 20 Événements 24 Le catalogue des expositions 25 Le livre Passagère du silence 26 Fabienne Verdier, repères biographiques 28 Infos pratiques 3 PRÉFACES Permettre à tous ceux qui le désirent d’accéder à l’art Une aventure artistique et humaine C’est dans la conviction et le partage, dans la curiosité et qui frissonnent sous le vent, ces nuages traversant le ciel, La rencontre d’un artiste vivant avec un musée est toujours plus fins connaisseurs de l’œuvre de l’artiste, je recevais l’aide à la découverte par le grand public, dans l’empathie des traces de neige sur les rochers, des lignes de crêtes à une aventure. Nous ne nous doutions pas que cette aven- l’ouvrage L’Esprit de la peinture, hommage aux maîtres à l’égard d’une œuvre et dans sa pédagogie, que prend l’horizon, les mouvements ininterrompus de l’eau et les flux ture, forcément et naturellement artistique, puisse devenir flamands, publié à l’occasion de l’exposition au musée tout son sens l’action culturelle publique.
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  • Fabienne Verdier on the Organ
    GRATIS met de City Card naar evenementen die met dit icoon zijn aangeduid GRATUIT avec la City Card pour tous les événements qui sont indiqués par ce logo / Juillet / July KOSTENLOS mit der City Card für alle Veranstaltungen die mit dieser Ikone angegeben werden Juli FREE ENTRANCE with the City Card to all events marked with this symbol Met de City Card minstens 25% korting op evenementen die met dit icoon zijn aangeduid Avec la City Card au minimum 25 % de réduction sur les événements qui sont indiqués par ce logo Mit der City Card mindestens 25% Ermäßigung auf Veranstaltungen die mit dieser Ikone angegeben werden 2013 With the City Card a minimum 25% discount on events marked with this symbol ZATERDAG ZONDAG DONDERDAG SAMEDI DIMANCHE JEUDI 12, 13 &14/07 CACTUSFESTIVAL 2013 29/0703/08 KLINKERS 2013 VAMA VECHE SAMSTAG FEDEKAM TAPTOE BRUGGE SONNTAG NAVY DAYS DONNERSTAG BURGROCK 06 SATURDAY 07 SUNDAY 11 THURSDAY Het 32ste Cactusfestival kiest opnieuw voor een eclectisch programma, weg van trends Gratis zomerfestival in het Astridpark met muziek, pop-up bar, Platendraaiers, perfor- 26ste editie van de Fedekam Taptoe op de Burg van Brugge. FR 26ième édition de Fe- Twee dagen lang hop je begeleid door Belgische en internationale matrozen van het Gratis muziekfestival. Optredens van geselecteerde jonge muziekgroepen in een rock- Meerdaags en hypes en over de grenzen van genres en generaties heen. Met aandacht voor zowel mance, film, expo, foodsie, ... De perfecte cocktail voor een geslaagde zomerweek! FR dekam Taptoe sur le Burg de Bruges DE 26. Ausgabe des „Fedekam Taptoe“ auf der Brügger Burg.
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  • Fabienne VERDIER (Born in 1962)
    Fabienne VERDIER (Born in 1962) Fabienne Verdier is an internationally celebrated artist who bridges the dialogue between Eastern and Western artistic traditions, being one of the very few Western artists to have mastered traditional Chinese ink painting. Having spent 10 years studying traditional ink painting under a Chinese master in Chongqing, China, Verdier has since created an iconic pictorial language that merges these traditional painting techniques with influences from Western art history. Working standing up, Verdier uses a giant suspended animal hair brush, not unlike the calligrapher’s vertical brush that links heaven and earth, to create her works. The process is both meditative and performative; as Verdier moves with the brush, she responds to the forces around her, transmitting these universal truths and energy into her work at the point of equilibrium. Born in Paris in 1962, Verdier graduated from the Ecole des Beaux-Arts of Toulouse in 1983 while studying Chinese at the Institut des Langues et Civilisation Orientales in Paris. In 1984, she went to the Sichuan Fine Arts Institute in Chongqing, China, to study traditional Chinese painting and calligraphy. She spent 10 years as an apprentice to a Chinese master before returning to France. Verdier’s works have been widely exhibited in Europe and Asia including the Musée National d’Art Moderne Centre Pompidou, France and Kunst Museum Wolfsburg, Germany. Verdier’s solo exhibitions include the Chongqing Fine Arts Centre, China; Peking Fine Arts Centre’s international calligraphy exhibition, The French Embassy, Beijing; Center for Contemporary Art, Hong Kong; Pacific Cultural Foundation, Taiwan; Erasmus Museum, Belgium; Memling Museum, Belgium and Groeningemuseum, Belgium.
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  • Report Mary Crenshaw Copy 3
    Dislocation and Materiality Mary Crenshaw Dislocation and Materiality A report submitted in partial fulfilment of the requirements of the School of Arts and Digital Industries, University of East London for the degree of Professional Doctorate in Fine Art Mary Crenshaw UEL 1426103 April 2018 Cover image: Mary Crenshaw (2017) New to the City, oil, on canvas, 110cm x 100cm. i Acknowledgements I would like to express gratitude to my supervisor and lead programme tutor Karen Raney, my supervisor Lesley Logue and lead programme tutor Eric Great-Rex for their unrelenting support and direction. Also, thanks to my husband Lucio and our sons Andrea and Elia for their encouragement and affection. ii Contents page Abstract 2 Introduction 3 Personal and Creative Context 5 Creative Practice and Theory 14 Anselm Kiefer 15 Fabienne Verdier 23 Julie Mehretu 29 Dislocation 35 Experimentation with Painting Supports 36 Body Parts as Metaphor for Social Change 48 Figure and Landscape 58 Communicating with a Personal Visual Vocabulary 71 Materials and Meaning 79 Retaining Immediacy 85 Professional Practice 88 Summary 96 Bibliography 98 List of Figures 102 Appendices 106 Viva Exhibition 135 1 " Abstract Dislocation, and Materiality is the culmination my three years of research into artists and theorists, whose work provided me with a clearer direction in my practice as a painter. My research has enabled me to become more aware of the reasons for my current approach to painting that includes: relying on my physical energy, the inherent properties in the material/paint, defining space, memory of place that suggests urban landscape and its inhabitants.
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  • Bollettino Periodici
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  • If Everything Is Moving Where Is Here?
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  • Agnes Martin Selected Bibliography Books
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  • Fabienne Verdier
    FABIENNE VERDIER Biography 1919196219 626262 Born in Paris 1983 Graduates from Ecole des Beaux-arts de Toulouse 1984 Awarded a post-graduate scholarship at the Sichuan Fine Arts Institute, China 19841984----93939393 Studied painting, aesthetics and philosophy at the Sichuan Fine Arts Institute, China, with some of the last great traditional masters 1989 Graduates from Sichuan Fine Arts Institute, Excellence Prize Elected to Calligraphers Association Sichuan 19891989----91919191 Cultural attaché at the French Embassy, Beijing 2003 Publication of Passagère du silence, dix ans d’initiation en Chine (Passenger of Silence: Ten Years of Initiation in China), Albin Michel, Paris — a memoir of her years of apprenticeship with Master Huang Yuan Entered permanent collection of Musée Cernuschi, Paris 2005 Solo exhibition at Galerie Alice Pauli, Lausanne, Switzerland 2007 Publication of monograph Between Heaven and Earth and Entretien avec Charles Juliet (Albin Michel, Paris) Four large works commissioned by Hubert Looser Foundation in dialogue with selected American abstract and minimalist artists from the collection (John Chamberlain, Donald Judd, Willem de Kooning, Ellsworth Kelly and Cy Twombly) Entered permanent collection of Musée National d’Art Moderne, Centre Georges- Pompidou, Paris 2008 Group exhibition, Expansion Résonance , Galerie Jaeger Bucher, Paris 2009 Group exhibition, Elles@Centre Pompidou , Musée National d’Art Moderne Centre Pompidou, Paris Solo exhibition, Peinture , Galerie Jaeger Bucher, Paris 2010 Commission of two monumental
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