kubaparis studio sh

Benedikt Bock, Leolie Greet, Tenki Hiramatsu, Marlijn Karsten, Geneviève Morin, Leontios Toumpouris, Noémie Vidonne

Splendore — joie, joie, joie...

Project Info

  • 💙 Fondation Fernet-Branca
  • 💚 Richard Neyroud
  • 🖤 Benedikt Bock, Leolie Greet, Tenki Hiramatsu, Marlijn Karsten, Geneviève Morin, Leontios Toumpouris, Noémie Vidonne
  • 💜 Richard Neyroud
  • 💛 Aurélien Mole

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Geneviève Morin, En-dessous du jour (L’infinité des possibles, L’animal plongeur & Monstre marin), 2015. Acrylics under Plexiglas. Courtesy of the artist.
Geneviève Morin, En-dessous du jour (L’infinité des possibles, L’animal plongeur & Monstre marin), 2015. Acrylics under Plexiglas. Courtesy of the artist.
Geneviève Morin, La Nébuleuse, 2010. Oil on cotton canvas. 60 × 50 cm. Courtesy of the artist.
Geneviève Morin, La Nébuleuse, 2010. Oil on cotton canvas. 60 × 50 cm. Courtesy of the artist.
Marlijn Karsten, exhibition view. Courtesy of the artist.
Marlijn Karsten, exhibition view. Courtesy of the artist.
Marlijn Karsten, It's just insects, 2023. Speakers, car radio, cardboard cups. Courtesy of the artist.
Marlijn Karsten, It's just insects, 2023. Speakers, car radio, cardboard cups. Courtesy of the artist.
Benedikt Bock, VIER MENSCHLICHE PROBLEME (Zeit, Zahlen, Zweifel, Zement), 2022. Plaster on polyurethane foam board. Leolie Greet, whether to fall or bow (part 3), 2023. Steel, cotton, ink, satin, sewing thread. Courtesy of the artists.
Benedikt Bock, VIER MENSCHLICHE PROBLEME (Zeit, Zahlen, Zweifel, Zement), 2022. Plaster on polyurethane foam board. Leolie Greet, whether to fall or bow (part 3), 2023. Steel, cotton, ink, satin, sewing thread. Courtesy of the artists.
Leolie Greet, a poem for maybe, 2024. Produced in collaboration with Gil Pellaton. Photographs, bag handles, plexiglas. 60 × 25 × 5 cm. Courtesy of the artists.
Leolie Greet, a poem for maybe, 2024. Produced in collaboration with Gil Pellaton. Photographs, bag handles, plexiglas. 60 × 25 × 5 cm. Courtesy of the artists.
Leontios Toumpouris, The Relevance of Exposures, 2022. Triptych, laser engraving on stainless steel, blown glass, chromed steel, plastic. Courtesy of the artist.
Leontios Toumpouris, The Relevance of Exposures, 2022. Triptych, laser engraving on stainless steel, blown glass, chromed steel, plastic. Courtesy of the artist.
Leontios Toumpouris, Studies on Safe Spaces (1:100), 2023. Baked clay (earthenware, earthen stone, terracotta and bentonite clay), wire. Courtesy Eins Gallery and the artist.
Leontios Toumpouris, Studies on Safe Spaces (1:100), 2023. Baked clay (earthenware, earthen stone, terracotta and bentonite clay), wire. Courtesy Eins Gallery and the artist.
Benedikt Bock, ANGST (50 poems about our time), 2024. 50 used sausage papers on photographic card, frame, glass 50 poems in German and English. 40 × 50 cm each. Courtesy of the artist.
Benedikt Bock, ANGST (50 poems about our time), 2024. 50 used sausage papers on photographic card, frame, glass 50 poems in German and English. 40 × 50 cm each. Courtesy of the artist.
Benedikt Bock, ANGST (50 poems about our time), 2024. 50 used sausage papers on photographic card, frame, glass 50 poems in German and English. 40 × 50 cm each. Courtesy of the artist.
Benedikt Bock, ANGST (50 poems about our time), 2024. 50 used sausage papers on photographic card, frame, glass 50 poems in German and English. 40 × 50 cm each. Courtesy of the artist.
Tenki Hiramatsu, Untitled, 2021. Oil and acrylic on wood. 50 × 60 cm. Leuchtturm, 2020. Oil and acrylic on wood. 110 × 120 cm. Nacht, 2020. Oil and acrylic on wood. 730 × 80 cm. Courtesy of the artist and Barbara Seiler.
Tenki Hiramatsu, Untitled, 2021. Oil and acrylic on wood. 50 × 60 cm. Leuchtturm, 2020. Oil and acrylic on wood. 110 × 120 cm. Nacht, 2020. Oil and acrylic on wood. 730 × 80 cm. Courtesy of the artist and Barbara Seiler.
Tenki Hiramatsu, Untitled, 2021. Oil and acrylic on wood. 50 × 60 cm. Courtesy of the artist and Barbara Seiler.
Tenki Hiramatsu, Untitled, 2021. Oil and acrylic on wood. 50 × 60 cm. Courtesy of the artist and Barbara Seiler.
Noémie Vidonne, exhibition view. Courtesy of the artist.
Noémie Vidonne, exhibition view. Courtesy of the artist.
Noémie Vidonne, Alsatian knot, 2024. Fabric, wood, pewter. Courtesy of the artist.
Noémie Vidonne, Alsatian knot, 2024. Fabric, wood, pewter. Courtesy of the artist.
Noémie Vidonne, Miss u, 2024. Wicker baskets, fabrics, ropes, various objects. Courtesy of the artist.
Noémie Vidonne, Miss u, 2024. Wicker baskets, fabrics, ropes, various objects. Courtesy of the artist.
Leolie Greet, a curtain's hesitation. whether to hide or show (parts 1 & 2), 2023-2024. Steel, cotton, ink, satin, sewing thread. Courtesy of the artist.
Leolie Greet, a curtain's hesitation. whether to hide or show (parts 1 & 2), 2023-2024. Steel, cotton, ink, satin, sewing thread. Courtesy of the artist.
Leolie Greet, THE TONGUE (licking words to pearls), 2023. Plaster, gouache, lacquer, iridescent pigments, elastic thread, steel. Courtesy of the artist.
Leolie Greet, THE TONGUE (licking words to pearls), 2023. Plaster, gouache, lacquer, iridescent pigments, elastic thread, steel. Courtesy of the artist.
Leolie Greet, CUT TO : another transition, 2024. Transformed scissors. Courtesy of the artist.
Leolie Greet, CUT TO : another transition, 2024. Transformed scissors. Courtesy of the artist.
Benedikt Bock, ROBERT ZWEIFEL — Es wäre schön, wenn du bleibst, 2024. HD video, color, sound. 13 min. Courtesy of the artist.
Benedikt Bock, ROBERT ZWEIFEL — Es wäre schön, wenn du bleibst, 2024. HD video, color, sound. 13 min. Courtesy of the artist.
Geneviève Morin, Lucky Spirits, 2023. India ink on canvas. 200 × 179.5 cm. Courtesy of the artist.
Geneviève Morin, Lucky Spirits, 2023. India ink on canvas. 200 × 179.5 cm. Courtesy of the artist.
Splendore — joie, joie, joie... With Benedikt Bock, Leolie Greet, Tenki Hiramatsu, Marlijn Karsten, Geneviève Morin, Leontios Toumpouris, Noémie Vidonne Curated by Richard Neyroud What if the name of a cocktail (1⁄2 Amaretto 1⁄2 Fernet-Branca) invented by Marcello Mastroianni during the filming of Splendor* could be the conception point for an exhibition to mark the reopening of the Fondation Fernet-Branca? What if this cocktail were also the name of a poem by P. P. Pasolini: O joy, joy, joy... Was there any joy left in this absurd night prepared for us?** A joyful cocktail is prepared, and we're no longer sure whether we owe this exhibition to the poem or to the film, or even to the name of the cinema in the small Italian town that is at the heart of Ettore Scola's film: a Splendor sign illuminates the front of a cinema that, in the late 1980s, was seeking its audience at a time when television screens predominated. It's at this moment that joy is needed to get the machine going again and, above all, to experience a collective adventure beyond all expectations: Splendore – joie, joie, joie... When Splendor takes on an e, it's the poem that speaks: Was there still joy in this absurd night prepared for us? An open question for the artists who responded to this invitation with the breath of the poem. This joy — at once protective, rebellious, and liberating — is professed at the heart of an exhibition featuring artists who see night, dreams and states of semi-consciousness between (re)awakening and sleep as possible extensions of reality, spearheads, or even tools of prediction. Richard Neyroud, May 2024. * Splendor (1989), film directed by Ettore Scola. ** Splendore (1943-1949), P. P. Pasolini, in Poèmes de jeunesse et quelques autres.
Richard Neyroud

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