For almost 20 years, I have developed a practice of painting that has gradually opened up to very diverse fields, from performance to monumental sculpture, from painting on silk to installation. Using various bases and developing reuse, assemblages and formal confrontations, I wish to show how the modern project resists in the body and materiality of its own representations. As the result of an intense activity as an iconographer, my work is based on an open practice of the form, quite the opposite of a nostalgic or referential re-reading, enabling the free exercise of the most unexpected visual combinations. The idea is for me to materialise images, literally making them concrete. Started in 1998, mainly through the practice of painting, my work gradually has become more characteristic, more specifically in recent years, with a large variety of means in play. Fuelled by more and more in-depth research, namely in connexion with the historical avant-garde, my painting work has moved outside of the frame to accompany in practice the confrontation of images and their models, or rather their reactivations. Classification and collage could be seen as the main guiding lines of my work, the drive of this protean activity that merrily defies categories, mediums, styles and genres. I am nevertheless a painter, including when I find myself on stage for example. A direct link connects a patchwork wall hanging to a multi-coloured suit, a set of silk scarves to a monumental décor. Beyond the painted images brought to light, it is this unifying pictorial link that I would like to make visible, through an effort of synthesis.
Painting would be the way to make synthesis possible.
Synthesis would be the way to make painting visible.
Karina Bisch, 2019
“Depuis près de 20 ans, je dĂ©veloppe une pratique de la peinture qui s’est progressivement ouverte Ă des champs très divers, de la performance Ă la sculpture monumentale, de la peinture sur soie Ă l’installation. Utilisant des bases variĂ©es et dĂ©veloppant des rĂ©emplois, des assemblages et des confrontations formelles, je souhaite montrer comment le projet moderne rĂ©siste dans le corps et la matĂ©rialitĂ© de ses propres reprĂ©sentations. Fruit d’une intense activitĂ© d’iconographe, mon travail repose sur une pratique ouverte de la forme, Ă l’opposĂ© d’une relecture nostalgique ou rĂ©fĂ©rentielle, permettant le libre exercice des combinaisons visuelles les plus inattendues. Il s’agit pour moi de matĂ©rialiser les images, de les rendre littĂ©ralement concrètes. CommencĂ© en 1998, principalement par la pratique de la peinture, mon travail est progressivement devenu plus caractĂ©ristique, plus spĂ©cifique ces dernières annĂ©es, avec une grande variĂ©tĂ© de moyens en jeu. Nourri par des recherches de plus en plus approfondies, notamment en lien avec les avant-gardes historiques, mon travail de peintre est sorti du cadre pour accompagner concrètement la confrontation des images et de leurs modèles, ou plutĂ´t leurs rĂ©activations. La classification et le collage pourraient ĂŞtre considĂ©rĂ©s comme les lignes directrices de mon travail, le moteur de cette activitĂ© protĂ©iforme qui dĂ©fie allègrement les catĂ©gories, les mĂ©diums, les styles et les genres. Je n’en suis pas moins un peintre, y compris lorsque je me retrouve sur scène par exemple. Un lien direct relie une tenture murale en patchwork Ă un costume multicolore, un ensemble de foulards en soie Ă un dĂ©cor monumental. Au-delĂ des images peintes mises en lumière, c’est ce lien pictural fĂ©dĂ©rateur que je voudrais rendre visible, par un effort de synthèse.
La peinture serait le moyen de rendre la synthèse possible.
La synthèse serait le moyen de rendre la peinture visible. “
Karina Bisch, 2019
Karina Bisch
Karina Bisch
Karina Bisch was born in 1974 in Paris, where she lives and works.
Since her studies at Ecole nationale superieure des Beaux-Arts, Paris (she graduated in 2000) and at Beeldende Rijksakademie van Kunsten, Amsterdam, in 2005 and 2006, she has developed a unique artistic vocabulary drawing extensively from geometric art, and also from fashion and dance, while developing her own personal take on modernity. Karina Bisch develops a unique artistic vocabulary employing numerous references to geometric art but also fashion or dance whilst cultivating a peculiar sensibility towards modernity. The artist looks closely at the historical avant-gardes’ aesthetic in order to twist and adapt it according to her needs. Above all, Karina Bisch considers herself as a painter yet she also works with sculpture, installation and performance.
Through her works and performances using a theatrical tone at times, Karina Bisch, always irreverent and pragmatic, reruns her 20th century by distorting the presumed universalism of modernism’s standards.
Solo shows (selection) : LOOK HARD, in collaboration with Nicolas Chardon, Kunstmuseum Bochum (2023) ; MODERN LOVERS, in collaboration with Nicolas Chardon, MACVAL, Vitry-sur-Seine (2022) ; Les Figures et Les Formes, galerie Thomas Bernard, Paris (2019) ; Les Tableaux Vivants, Centre d’art de L’Onde, VĂ©lizy (2017) ; La tĂŞte dans la couleur, Palette Terre, Paris (2016) ; ComĂ©die Moderne, Futura Art Center, Prague (2015) ; Arlequine, Galerie des Galeries, Paris (2015) ; La Moderne, Hilary Crisp gallery, London (2013) ; Cache - Cache, Nosbaum & Reding, Luxembourg, (2011) ; Mathematicus Groteske, FRAC Aquitaine, Bordeaux (2008) ; Geometric Final Fantasy, CREDAC, Ivry-sur-Seine (2005).
Group shows (selection) : Lignes de vies - une exposition de lĂ©gendes, MACVAL, Vitry-sur-seine (2019) ; L’Ecart Absolu, Le Quadrilatère, Beauvais (2017) ; Flatland / Abstractions narratives #1, MRAC SĂ©rignan (2016) ; L’esprit du Bauhaus, MusĂ©e des Arts DĂ©coratifs, Paris (2016) ; La maison cherche un amiral Ă louer, MNAC, Bucarest (2016) ; Et nous voici plus bas et plus haut que jamais, Chiso Gallery, Kyoto (2015) ; La Demeure Joyeuse II, Francesca Pia Gallery, Zurich (2012) ; Historia Mysteria, Renwick Gallery, New York (2011) ; Tableaux, Le Magasin, Grenoble (2011) ; Aires de jeux, L’Onde, VĂ©lizy (2010) ; Almeria, galerie Chantal Crousel, Paris (2010) ; Seconde Main, MusĂ©e d’Art Moderne de la Ville de Paris, Paris (2010) ; L’image cabrĂ©e, 11eme Prix Ricard, Fondation Ricard, Paris (2009).
Karina Bisch est née en 1974 à Paris, où elle vit et travaille.
Après des Ă©tudes Ă l’Ecole Nationale SupĂ©rieure des Beaux-arts de Paris et Ă la Rijksakademie van Beeldende Kunsten, Ă Amsterdam, Karina Bisch a dĂ©veloppĂ© un vocabulaire artistique unique usant de nombreuses rĂ©fĂ©rences Ă l’art gĂ©omĂ©trique, mais aussi Ă la mode ou Ă la danse, Ă©laborant une sensibilitĂ© particulière Ă la modernitĂ©. L’artiste examine de près l’esthĂ©tique des avant-gardes historiques qu’elle dĂ©forme et adapte en fonction de ses besoins. Par ses Ĺ“uvres et performances au ton parfois théâtral, Karina Bisch, toujours irrĂ©vĂ©rencieuse et pragmatique, rejoue son XXe siècle en dĂ©tournant l’universalitĂ© prĂ©sumĂ©e des canons du modernisme.
Expositions personnelles (sĂ©lection) : LOOK HARD, en collaboration avec Nicolas Chardon, Kunstmuseum Bochum (2023) ; MODERN LOVERS, en collaboration avec Nicolas Chardon, MACVAL, Vitry-sur-Seine (2022) ; Les Figures et Les Formes, galerie Thomas Bernard, Paris (2019) ; Les Tableaux Vivants, Centre d’art de L’Onde, VĂ©lizy (2017) ; La tĂŞte dans la couleur, Palette Terre, Paris (2016) ; ComĂ©die Moderne, Futura Art Center, Prague (2015) ; Arlequine, Galerie des Galeries, Paris (2015) ; La Moderne, Hilary Crisp gallery, Londres (2013) ; Cache - Cache, Nosbaum & Reding, Luxembourg, (2011) ; Mathematicus Groteske, FRAC Aquitaine, Bordeaux (2008) ; Geometric Final Fantasy, CREDAC, Ivry-sur-Seine (2005).
Expositions collectives (sĂ©lection) : Lignes de vies - une exposition de lĂ©gendes, MACVAL, Vitry-sur-seine (2019) ; L’Ecart Absolu, Le Quadrilatère, Beauvais (2017) ; Flatland / Abstractions narratives #1, MRAC SĂ©rignan (2016) ; L’esprit du Bauhaus, MusĂ©e des Arts DĂ©coratifs, Paris (2016) ; La maison cherche un amiral Ă louer, MNAC, Bucarest (2016) ; Et nous voici plus bas et plus haut que jamais, Chiso Gallery, Kyoto (2015) ; La Demeure Joyeuse II, Francesca Pia Gallery, Zurich (2012) ; Historia Mysteria, Renwick Gallery, New York (2011) ; Tableaux, Le Magasin, Grenoble (2011) ; Aires de jeux, L’Onde, VĂ©lizy (2010) ; Almeria, galerie Chantal Crousel, Paris (2010) ; Seconde Main, MusĂ©e d’Art Moderne de la Ville de Paris, Paris (2010) ; L’image cabrĂ©e, 11eme Prix Ricard, Fondation Ricard, Paris (2009).
Karina Bisch
Karina Bisch
Squid ink; blackberry; elderberry; methylene blue; velvet; silk; cotton; lead; polyvinyl chloride; charcoal; flowers; saffron; St John’s wort; wax; blue aragonite; voices; breath – a brief inventory of the stuff of Adélaïde Feriot’s work hints at her fascination with the sensorial experience of life and the wildness of nature. Feriot’s practice is a poetic and meditative exploration of the relationship between living beings, objects, and natural phenomena. Her poetically titled works variously take the form of tableaux vivants; delicately-cast lead sculptures suspended on coloured cotton; sumptuous velvet capes, and ethereal silk installations hand-tinted by the artist with a cocktail of plant pigments. Feriot’s works operate as double agents, as both objects to be displayed and engaged in active dialogue. The charged space between the art object and the spectator/performer is the space in which Feriot’s work oscillates freely.
