
Eladio Aguilera, Sosthène Baran, Taisiia Cherkasova, Max Fouchy, Misha Gudwin, Clémence Mars, Pierre-Alain Poirier, Iuliia Skromnaya
De la Tendresse, vol.II
Project Info
- 💙 Placement Produit @ Poush Manifesto
- 💚 Eliott Paquet
- 🖤 Eladio Aguilera, Sosthène Baran, Taisiia Cherkasova, Max Fouchy, Misha Gudwin, Clémence Mars, Pierre-Alain Poirier, Iuliia Skromnaya
- 💜 Eliott Paquet
- 💛 Eliott Paquet
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Clémence Mars Applique Mini 3 & 4 resin, LED 60 x 20 cm 2023
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Exhibition view

Taisiia Cherkasova In the pines, where the sun don’t ever shine Wood, leather, tissus, wax, inks 230 x 140 x 160 cm 2024

Sosthène Baran Pensées Oil and acrylic on wood & wood piece 48 x 29 cm 2024

Max Fouchy Sam Video loop 6 min 42 sec 2024

Scenography by Taisiia Cherkasova & Sosthène Baran

Exhibition view

Pierre-Alain Poirier Nuit noire (série des Boites noires) birdcage, metal, rambling leather jackets, carboard 39 x 23 x 30 cm 2023

Eladio Aguilera Pintor español sobre chimena MDF, book and dry flowers 140 x 140 x 30 cm 2024

Iuliia Skromnaya Fairies in the house Faience (handmade), wire 19 x 40 cm 2024

Pierre-Alain Poirier Lygia / les années 70 / J+A / des inconnus - boite/guillotine Metal, magnets, print, screws Goutte (bout d’arbres / bout du ciel de Magny / bout du visage de L) - boite/guillotine Metal, magnets, print on paper, screws

Exhibition view

Sosthène Baran sans titre Oil and acrylic on bedhead 190 x 140 cm 2021

Installation view of Misha Gudwin

Misha Gudwin Birthday Cake Cake, 5 grams of marijuana, rolling paper Variable dimensions 2024 / deep fried toys Plastic, breading, containers Variable dimensions 2024

Taisiia Cherkasova Orange kitten and the rat Acrylic inks on wood 18 x 30 x 3 cm 2024

Exhibition view

Scenography by Sosthène Baran & Taisiia Cherkasova

Misha Gudwin Magic Mirror Paper mache, aluminium, acrylic 110 x 130 cm 2024

Clémence Mars Lustre Resin, metal, LED 55 x 55 x 35 ou 65 x 65 x 35 cm 2024
In direct continuity with the first part of the De la Tendresse exhibition, the
project takes as its starting point the desire to produce an absolutely anti-critical
exhibition devoid of irony. A parallel is proposed between the tenderness
experienced between beings within the home and that experienced with everyday
objects: the home slides from symbolic space to materiality.
The artists confront the post-industrial space of POUSH - typical of artists’
studios in the Paris basin - with sensitive works invoking the domestic universe;
they become shepherds of a set of gestures that are part of the field of everyday
tenderness, like hyphens between beings and artefacts.
Eliott Paquet