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& Graff Mourgue D'Algue >17.11.2011>05.02.2014>

 

Artists

Mathis Altmann
Stéphane Barbier Bouvet
Vittorio Brodmann
Dewar & Gicquel
Flora Klein
Charles Irvin


 

Exhibitions

Mr I / John M Armleder

Opening 09-Jan-14, 6 PM

JOHN M ARMLEDER

omega Zone

sans titre, 1967–2014

 


Mr I / Marie Karlberg & Jeanne Graff

November 13th 2013
at 8pm

MARIE & JEANNE
JEANNE & MARIE

in New York, October 2013

Mr. I - General view, November 30th 2013



 

13.11.2013

Mr I / John M Armleder

Opening 08-Nov-13, 6 PM

JOHN M ARMLEDER

ailleurs

Mr. I - General view, November 30th 2013



 


 

Mr I / John M Armleder

Opening 12-Sep-13, 6 PM

JOHN M ARMLEDER

with
BLAIR THURMAN

Change de couleur devant vos yeux

Mr. I - General view, November 2nd 2013

John M Armleder, Change de couleur devant vos yeux, 2013


 


 

Mr I / John M Armleder

Opening 27-Jun-13, 6 PM

JOHN M ARMLEDER

with
BLAIR THURMAN
PHILIPPE DECRAUZAT
KAISER KRAFT

Excuse me, I've just seen you passing by,
what time is it?

Mr. I - General view, June 28th 2013

John M Armleder, Carl Gustav Krevatseveau (FS) 2013

John M Armleder, Le sapin (FS) 2013

John M Armleder, Le sapin (FS) 2013

John M Armleder, Puzzle (FS 219) 1988-2012

 

Mr I / Vittorio Brodmann + Dewar & Gicquel

Opening 28-Mar-13, 6 PM

VITTORIO BRODMANN + DEWAR & GICQUEL

with
BLAIR THURMAN
PHILIPPE DECRAUZAT
KAISER KRAFT

Flyer

Mr. I - Vittorio Brodmann + Dewar & Gicquel, General view, 28th March 2013

Mr. I - Vittorio Brodmann + Dewar & Gicquel, General View

Mr. I - Vittorio Brodmann + Dewar & Gicquel, General View

Mr. I - Vittorio Brodmann + Dewar & Gicquel, General View

Vittorio Brodmann, Only Human, 2013, gouache on paper, 24 x 17 cm

Dewar & Gicquel, Mixed Ceramics (no 11), 2012, porcelain, stoneware, earthenware

Vittorio Brodmann, No horses but beans and whisky, 2013, oil on canvas 40 x 79 cm

Vittorio Brodmann, Slippery Slope, 2013, oil on canvas, 36 x 64 cm


Mr I / Dewar & Gicquel

Opening 17-Jan-13, 6 PM

DEWAR ET GICQUEL

Excuse my french
Il est temps de changer ton poisson d'eau.
Si tu creuses une douve c'est qu'il va y avoir de l'eau.
Quand on voit ce qu'on voit et qu'on sait ce qu'on sait, on a bien raison de penser ce qu'on pense.
Tous les fous n'ont pas été ramassés.
Je vais faire une niche à chien avec ta gueule.
La reine est elle protestante?
J'ai le cerveau comme un bulot.

Flyer

Mr. I - Dewar & Gicquel, general view, 17th january 2013

Dewar & Gicquel. Garden Tiger, 2012, ink, silk, 200 x 110 cm
Kaiser Kraft, Blue Steel, 2013, painted steel, 200x30x23 cm

Dewar & Gicquel, Motorcyclist, 2011, animated GIF, 3 seconds loop

Dewar & Gicquel, Mixed Ceramics (n° 11), 2012, porcelain, stoneware, earthenware


Dewar & Gicquel, Mixed Ceramics (n° 11), 2012
Kaiser Karft, Blues Brothers, 2013, 100x200x74 cm, painted steel, wood

Dewar & Gicquel, Mixed Ceramics (n° 11), 2012
Kaiser Karft, Blues Brothers, 2013

Dewar & Gicquel, Mixed Ceramics (n° 11), 2012


Mr I / Mathis Altmann

Opening 6-Dec-12, 6 PM

MATHIS ALTMANN
SCHONUNGSLOSE REPORTAGEN AUS DER SZENE

with
BLAIR THURMAN
PHILIPPE DECRAUZAT
KAISER KRAFT

Flyer

Mr.I, General view, December 6th 2012

Mathis Altmann, Schonungslose Reportagen aus der Szene, General View

Mathis Altmann, Schonungslose Reportagen aus der Szene, General View

Mathis Altmann, Schonungslose Reportagen aus der Szene, General View


Mathis Altmann, Kabellos unglücklich, 2012, mixed media, 300 x 20 cm
Mathis Altmann, Heiter weiter!, 2012, 28 cardboard boxes, variable dimensions

Mathis Altmann, Viral grown living waste, 2012, mixed media, 300 x 20 cm

Mathis Altmann, An apple a day keeps the doctor away, 2012, mixed media, 300 x 20 cm

 

Mathis Altmann, Viral grown living waste, 2012, mixed media, 300 x 20 cm

Mathis Altmann, Heiter weiter!, 2012, 28 cardboard boxes, variable dimensions

 

Mr.I, General view, December 6th 2012

 

Mr I / Flora Klein

Opening 13-Sep-12, 6 PM

FLORA KLEIN

with
BLAIR THURMAN
PHILIPPE DECRAUZAT
KAISER KRAFT

Mr I. se déroule sur une année. Kaiser Kraft, Philippe Decrauzat et Blair Thurman, ont été invités à réaliser une œuvre en rapport avec l'architecture de la galerie pour créer un climat, une exposition presque invisible. Ces interventions, réalisées en collaboration avec les artistes, soulignent des éléments existants par le dédoublement ou la répétition; le display des corps de chauffe de la vitrine attenante à la galerie, un banc sur la rue, une peinture murale reprenant le motif des catelles du sol. Les oeuvres varieront en parallèle des expositions tout au long de l'année.

Le néon de Blair Thurman Misty Mountains reprend autant un élément caractéristique du paysage environnant que le display de la vitrine de l'atelier de réparation attenant à la galerie. Presque invisible la journée, il influence la lumière de la vitrine, de la rue, et de la galerie la nuit, créant deux boîtes lumineuse donnant sur la rue. La peinture murale de Philippe Decrauzat, réalisée en collaboration avec Graff Mourgue D'Algue, va s'intensifier et assombrir la galerie au court de l'année. Le motif est un dédoublement et un agrandissement des catelles du sol de la galerie, et rappelle aussi bien un zoom fait sur un dégradé d'une de ses peintures et qu'un plan d'un de ses films. Kaiser Kraft travaille toujours à partir d'une commande, mettant au service de son client un catalogue de compétence aussi bien technique que théorique. Pour Mr.I, Kaiser Kraft a construit un banc sur la rue, répétition de celui situé à l'entrée de la galerie.

L'exposition de Flora Klein s'ajoute à Mr.I; avec une peinture dans la vitrine, et une peinture dans la galerie. Les motifs abstraits, des superpositions de couches liquides, évoquent autant un motif de tuning que les mouvements de brosse, des flammes et des vagues.


Mr I. will evolve over a year. Kaiser Kraft, Philippe Decrauzat and Blair Thurman were invited to provide work that relates to the gallery architecture, to create a climate, an almost invisible exhibition. These interventions, made in collaboration with the artists, highlight existing elements by using duplication or repetition; the window display of heater elements adjacent to the gallery, a bench on the street, a mural repeating the pattern of the tiled floor. The artworks will vary parallel to the exhibitions throughout the year.

Blair Thurman's neon Misty Mountains is characteristic of the surrounding landscape as much as the window display of the repair shop next to the gallery. Almost invisible during the day, at night it influences the light of the window display and of the street and of the gallery, creating two light boxes overlooking the street. The mural painting by Philippe Decrauzat, made in collaboration with Graff Mourgue d'Algue, will intensify itself and darken the gallery during the year. Its pattern, a duplication and expansion of the design of the gallery's tiled floor, recalls a close up of a gradient found in one of his paintings or perhaps a still of from one his films. Kaiser Kraft always work from a specific order by providing his customers a catalog of skills, both technical and theoretical. For Mr.I, Kaiser Kraft built a bench on the street, a repetition of the one at the entrance of the gallery.

Flora Klein's exhibition is added to Mr. I.; a painting in the window and a painting in the gallery. The abstract patterns, constructed of liquid layers and basic brush movements, evoke tribal imagery as well as flames and waves.

Blair Thurman (1961) lives in New York since 1988. Philippe Decrauzat (1974) Flora Klein (1988) lives in Lausanne. Kaiser Kraft - Stéphane Barbier Bouvet (1981) and Benjamin Valenza (1980) - live between Saint. Cyr, Amsterdam and Lausanne.

Flyer

Mr.I, General view, September 13th 2012

Blair Thurman, Misty Mountain, 2004
Flora Klein, Untitled 13, 2012

Flora Klein, Untitled 12, 2012



Mr I

Opening 25-Aug-12, 6 PM

BLAIR THURMAN
PHILIPPE DECRAUZAT
KAISER KRAFT

Mr. I

Mr. I has lived in the neighborhood forever.
He often passes by this street, thinking about what he sees, again and again.
Looking out of the window, walking into a shop, eating on a public bench.

He may loose his mind in blurry thoughts, taking the same route, again and again.
Is Mr. I blind ? He has sharp eyes and a clear vision but, sometimes, likes to live in the dark.

Mr. I is so often there than nobody sees him anymore.
Mr. I has forgotten his name and wears the same clothes every day, without really knowing why.

Mr. I wishes to be invisible.
He fills all the places he walks into.
Mr. I is here.

Flyer

Mr. I, General view, 25th August 2012

Mr. I, General view

Mr. I, General view

Mr. I, General view


New Directions in Alchemy

10-May/17-Jun-12
Opening 10-May-12, 6 PM

CHARLES IRVIN

Los Angeles-based Irvin deals with inner landscape and scenery constructed from common icons such as pyramids, jesus, aliens or the misfits skull. His education and personal experience impregnated these images into his subconscious. Raised as a Catholic in Fundamentalist Christian North Texas, he developed an affinity for Christian imagery.

In New Directions in Alchemy most of the paintings are haunted by crescent moon figures. Sometimes they are depicted as alien divinities lounging on a pyramid, sometimes they perform scatological rituals in sterile rooms. The ensemble is blue suspended in space, a parallel universe where you'll be enlightened by an infinity fountain and where rock hard vanities emerge through vaginas. We never would have believed these new directions where possible to initiate, but we felt they were there somewhere in our very own alchemy. Irvin's work constantly clashes the subconscious and the conscious.

Charles Irvin's work was included in exhibitions at the Hammer Museum in Los Angeles, White Columns in New York and the Museum of Modern Art in Luxembourg and currently in The Art Of Cooking curated by Hanne Mugass.

Flyer

New Directions in Alchemy, General View, May 10th 2012

New Directions in Alchemy, General View

New Directions in Alchemy, General View

New Directions in Alchemy, General View


Misfits Vagina, 2011, oil on canvas 121.9 cm x 101.6 cm
Fountain Face, 2011 oil on canvas 76.2 cm x 63.5 cm

Midnight Moon Room, 2012, oil on wood, 61.0 cm x 50.8 cm
Pyramid Powers, 2012 oil on canvas 121.9 cm x 101.6 cm

Aztec Moon Men, 2012, oil on canvas, 61.0 cm x 61.0 cm
Rosy Fingers, 2011, oil on canvas, 121.9 cm x 101.6 cm

 

Rosy Fingers, 2011, oil on canvas, 121.9 cm x 101.6 cm

Aztec Moon Men, 2012, oil on canvas, 61.0 cm x 61.0 cm

Fountain Face, 2011 oil on canvas 76.2 cm x 63.5 cm

Midnight Moon Room, 2012, oil on wood, 61.0 cm x 50.8 cm

Pran Sutra, 2012, inkjet and acrylic on canvas, 124 cm x 112 cm


L'esprit de Genève

15-Mar/21-Apr-12
Opening 15-Mar-12, 6 PM

VITTORIO BRODMANN

Two fox brothers meet again after not having seen each other for a long long time.
It is christmas and they are at their parents house.
They talk about old times. Remembering stuff.
"Remember Mr. Bunny?", one brother asked the other.
"OF COURSE", said the other, "that was fun!"
"We used to ring his door. When he wore his slippers, we would beat him up. When he didn't wear his slippers we left him alone. Remember?".
"Oh yeah! That's exactly how it was. You know what? Let's go over to Mr. Bunny's house right now and ring his door."
"OK, let's do it."

So they went over to Mr. Bunny's house and rang the door.
He opened the door.
"He's wearing slippers!"
BAM BABAM DENG BAM TSCH
And they beat him up.
The next day they were still laughing about it.
"Hey, you know what?", said one of the brothers, "let's go over to Mr. Bunny's house again today. But instead of the slippers, we ask him for chocolate. If he gives us black one, we leave him be.
If he gives us white one, we beat him up."
"That's a great idea! Let's do it."

So they went over to Mr. Bunny's house again.
They rang his door. He opened the door.
"Good afternoon. Do you have chocolate for us?", asked one of the brothers.
"Black or white one?", answered Mr. Bunny.
"HE'S WEARING SLIPPERS!"
BAM BABAM DENG BAM TSCH

V.B.

Flyer

L'esprit de Genève, General View, 20th March 2012

L'esprit de Genève, General View

L'esprit de Genève, General View

L'esprit de Genève, General View


Plat du jour, 2011, acrylic on canvas, 34 cm x 42 cm
Pizzeria Tedesco, 2012oil on canvas34 cm x 46 cm

Plat du jour, 2011, acrylic on canvas, 34 cm x 42 cm
Pizzeria Tedesco, 2012, oil on canvas, 34 cm x 46 cm
Tirelire, 2012, paper, adhesive tape and coins

L'esprit de Genève, General View

 

L'esprit de Genève, General View

L'esprit de Genève, General View

Out of cigarettes, 2012, oil on canvas, 30 cm x 40 cm

Fuente de allegria, 2012, oil on canvas, 31 cm x 54 cm

Generation Gap, 2012, acrylic, watercolor and oil on canvas, 34 cm x 42 cm

Moule frites, 2012, oil on canvas, 34 cm x 44 cm

Toujours Rigol, Jamais Travail, 2012, oil on canvas, 36 cm x 30 cm

Gossip, 2012, oil on canvas, 40 cm x 54 cm

Tirelire, 2012, paper, adhesive tape and coins

Tirelire, 2012, paper, adhesive tape and coins


Standard & Poor's

19-Jan/25-Feb-12
Opening 19-Jan-12, 6 PM

STÉPHANE BARBIER BOUVET

Stéphane Barbier Bouvet développe un travail qui n’est pas uniquement spécifique à l’objet, mais qui inclut aussi son contexte. Le résultat de sa démarche est lié à la notion de commande, de contrat, et de manière plus générale, une réponse à une situation. Son champ de recherche inclut le design, l’art, plus particulièrement le contexte d’exposition et les systèmes de monstration. Les formes produites semblent en suspens. Les matériaux sont pauvres, et poreux à leur entourage. L’économie de gestes tend vers une simplification de l’objet, dont la forme serait le résultat de sa fonction autant que de son matériau – vers une définition première. Ce système s’applique aussi bien aux objets qu’aux contextes crées par Barbier Bouvet. Ces formes résultent de déplacements en un état intermédiaire, crées par une situation donnée, par définition temporaire, et vouée à changer.
Standard & Poor’s est un titre d’emprunt. Une compagnie qui développe depuis 150 ans un système de notation d’entreprise, dont l’écho dans les médias s’est accentué ces dernières années. Standard & Poor’s est ici utilisé textuellement comme le comportement envers ce projet. Une exposition (des oeuvres dans une galerie) et un intérieur (une salle de rendez-vous pour laquelle le projet a été imaginé, puis sera critiqué) se superposent en une réponse donnée à la proposition d’un client, Graff Mourgue d’Algue.

)))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))

Stéphane Barbier Bouvet works in an extended practice, not only specific or limited to the object, but also including its context. Consequently the notions of commission, contract, and generally, the response to a particular situation, are important matters in his work. His preoccupations include design, art, and more specifically, the questions of exhibition and display.

The forms generated are as if suspended. The materials are poor, and porous to their surroundings. His economy of gesture and material tends towards a primary definition, a simplification of the object, the shape of which is the consequence of both function and material. This system similarly applies to objects and contexts created by Barbier Bouvet. Created by a given situation, a temporary definition, and committed to change, these forms are the result of displacements towards an intermediate state.

Standard & Poor’s is a borrowed title. The name of a company that has been developing a rating system for companies for over 150 years, and which media resonance's has been increasing over the past few years. Standard & Poor’s is used here « as such », as an attitude toward the eponymous project. An exhibition (some artworks in a gallery space) and an interior (a meeting room for which the project was thought, and will then be discussed) overlapping with the response to a client’s commission.

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Stephane Barbier Bouvet (born 1981 in Marseille) studied design in Ecal, Lausanne. In 2006, He opened 1m3, an exhibition space in Lausanne, with Benjamin Valenza, Jeanne Graff, and Adrien Missika. He has been working in the context of both design and art for the five last years and is involved in education through the Baba School, a project he co-founded in Paris with Daniel Dewar and Lili Reynaud-Dewar, and the Sandberg Institute in Amsterdam. He has designed space and objects for the Federal Office of Culture in Switzerland, the City of Hyères and the Villa Noailles, Centre Pompidou, Centre d’art contemporain of Geneva, Mudac, Musée des Beaux Arts de Lausanne, Head Geneva (Haut école d’art et de design), and Centro Culturale Svizerro di Milano among others.

Flyer

Standard & Poor's, General View, 23rd January 2012

Standard & Poor's, General View, 23rd January 2012

Standard & Poor's, General View, 23rd January 2012

Standard & Poor's, General View, 23rd January 2012


Standard & Poor's, General View, 23rd January 2012

Standard & Poor's, General View, 23rd January 2012

Contract, (chairs), 2011, acier inoxydable, 76 x 41 x 46 cm

 

Contract, (chairs), 2011, acier inoxydable, 76 x 41 x 46 cm

Standard & Poor's, General View

Contract, (hooks ), 2012, acier inoxydable, 10 x 3 x 1,5 cm
Untitled (light), 2012, ø 22 cm
Contract (console), 2012 + Traffic (pictures), 2012, acier inoxydable, béton, 66 x 24 x 2 cm, plaque de plâtre, 125 x 200 cm

Untitled (light), 2012, ø 22 cm

Untitled (light), 2012, ø 22 cm

Contract (console), 2012 + Traffic (pictures), 2012, acier inoxydable, béton, 66 x 24 x 2 cm, plaque de plâtre, 125 x 200 cm

Traffic (pictures), 2012, plaque de plâtre, 125 x 200 cm

Standard & Poor's, detail

Untitled (light), 2012, ø 22 cm
Contract, (coffee table), 2012, acier inoxydable, béton

Contract, (table), 2012, acier inoxydable, béton HD, 180 x 90 x 4 cm
Contract, (chairs), 2011, acier inoxydable, 76 x 41 x 46 cm
Contract (bin) 2012, acier inoxydable

Contract (bin) 2012, acier inoxydable


Mr C?

18-Nov-11 / 07-Jan-12
Opening 17-Nov-11

KIM SEOB BONINSEGNI, VITTORIO BRODMANN, ISABELLE CORNARO, STEPHANE DAFFLON, DAS INSTITUT, CHARLES IRVIN, KAISER KRAFT, SHAWN KURUNERU, ADRIEN MISSIKA, GUILLAUME PILET, ULRICH WULFF

Mr. C?
Have you seen Mr. C? What is he doing? What are her skills?
He can do this, or she can do that.
Mr. C is messy. He likes to rearrange things and build objects. To understand them, she sometimes needs to attach them one to another with a string.
Mr. C has the faculty to split herself in two, simultaneously revealing his insides and her own flesh. Each part stares at– and is the reflection of– the other. They are always a bit different; they discover unexpected things.
Mr. C walks funny. She has no shadow. He can read minds, and turn dreams into reality.
Mr. C speaks a thousand languages, but understands none of them. She lives in a different place everyday. Always in motion; from city to forest. Mr. C has a house built on stilts, surrounded by clouds. ¨
Mr. C travels through time and space and has a removable face. He flies at high speed, high in the sky, and dives deep in the ocean, always looking for something.

Flyer

Mr. C? General View, 30th November 2011

DAS INSTITUT, Excerpt #1, 2011
Untitled, from Viola, When You See Me Again It Won’t Be Me Series, photo credit: Viola Yeşiltaç


ISABELLE CORNARO, Moulages sur le vif (vide-poche), 2011

GUILLAUME PILET, Due figure fuggendo dalla continutà dello spazio, 2011
KAISER KRAFT, Très rare objet sur la terre, 2011
KIM SEOB BONINSEGNI, Desert Island 5, 2011
VITTORIO BRODMANN, Dirty dishes, skip dinner, 2011

ADRIEN MISSIKA, Aube, 2007
KAISER KRAFT, Très rare objet sur la terre, 2011
CHARLES IRVIN, Maggot Brain, 2007

GUILLAUME PILET, Due figure fuggendo dalla continutà dello spazio, 2011

SHAWN KURUNERU, Untitled, 2011

KIM SEOB BONINSEGNI, Desert Island 5, 2011


ULRICH WULFF, Nr. 12, Nr. 77, 14, 2011
STEPHANE DAFFLON, AST 186, AST 187, AST 188, AST 189, 2011

STEPHANE DAFFLON, AST 186, AST 187, AST 188, AST 189, 2011

DAS INSTITUT, Excerpt #1, 2011
Untitled, from Viola, When You See Me Again It Won’t Be Me Series, photo credit: Viola Yeşiltaç

 


 

Truth and Consequences