Paris Internationale - © Paris Internationale
Crèvecœur - © Paris Internationale
Crèvecœur

Xavier Antin, Erica Baum, Sol Calero, Julien Carreyn, Than Hussein Clark, Mathis Collins, Miho Dohi, Renaud Jerez, Jason Matthew Lee, Ad Minoliti, Shana Moulton, Yu Nishimura, Jorge Pedro Núñez, Mick Peter, Florian & Michael Quistrebert, Autumn Ramsey, Louise Sartor, Naoki Sutter-Shudo

Crèvecœur

9 rue des Cascades
75020 Paris – France

Anne Bourse

My practice is inhabited by elective affinities that make up the fictional community in which I work. Let’s say I’m a language interspeciesist with a slightly perverse bent. I address someone with something in order to secretly talk to someone else.

Anne Bourse

*Futur, ancien, fugitif,* 2019, exhibition view, Palais de Tokyo, Paris. - © © Aurélien Mole, Paris Internationale

Futur, ancien, fugitif, 2019, exhibition view, Palais de Tokyo, Paris.

*Futur, ancien, fugitif,* 2019, exhibition view, Palais de Tokyo, Paris. - © © Aurélien Mole, Paris Internationale

Futur, ancien, fugitif, 2019, exhibition view, Palais de Tokyo, Paris.

*Futur, ancien, fugitif,* 2019, exhibition view, Palais de Tokyo, Paris. - © © Aurélien Mole, Paris Internationale

Futur, ancien, fugitif, 2019, exhibition view, Palais de Tokyo, Paris.

*Futur, ancien, fugitif,* 2019, exhibition view, Palais de Tokyo, Paris. - © © Aurélien Mole, Paris Internationale

Futur, ancien, fugitif, 2019, exhibition view, Palais de Tokyo, Paris.

*Intérieur, pluie.,* 2020, exhibition view, Crèvecœur, Paris. - © © Aurélien Mole, Paris Internationale

Intérieur, pluie., 2020, exhibition view, Crèvecœur, Paris.

*Intérieur, pluie.,* 2020, exhibition view, Crèvecœur, Paris. - © © Aurélien Mole, Paris Internationale

Intérieur, pluie., 2020, exhibition view, Crèvecœur, Paris.

Anne Bourse was born in 1982 in Lyon. She lives and works in Paris. What remains in mind from her work are swirling lines and letters, something like burlesque cartoons or psychedelic frescoes that invade the surfaces of books, garments and papers of all types. But even though her practice is varied across different media, including painting, drawing, but also textiles or textual productions, it is above all rhythmed by the continual motion of a writing of the self.

Franck Balland, FUTURE, FORMER, FUGITIVE, A French scene, Magazine of the Palais de Tokyo.

Anne Bourse
*Chaque après-midi je me demande ce que tu fais ce soir quand le jour est presque fini*, 2019
Ink, silk dye, ballpoint pen, water marker, acrylic paint, digital print, silk, acrylic velvet fabric, foam, pillow, lampshades
190 × 90 × 170 cm - © © Aurélien Mole, Paris Internationale
Anne Bourse
Chaque après-midi je me demande ce que tu fais ce soir quand le jour est presque fini, 2019

Ink, silk dye, ballpoint pen, water marker, acrylic paint, digital print, silk, acrylic velvet fabric, foam, pillow, lampshades
190 × 90 × 170 cm

Available, 7 500 euros (excl. vat)
Inquire
Anne Bourse
*Stupid sun who can’t stop moving (LetsClub4Chemins)*, 2020
Felt-tip pen, pencil, typex and ballpoint pen on coated paper
47 × 32 cm - © © Aurélien Mole, Paris Internationale
Anne Bourse
Stupid sun who can’t stop moving (LetsClub4Chemins), 2020

Felt-tip pen, pencil, typex and ballpoint pen on coated paper
47 × 32 cm (57 × 42 framed)

Available, 2 000 euros (excl. vat)
Inquire
Anne Bourse
*Stupid sun who can’t stop moving (love is a jail)*, 2020
Felt pen, typex and ballpoint pen on coated paper
46 × 32 cm - © © Aurélien Mole, Paris Internationale
Anne Bourse
Stupid sun who can’t stop moving (love is a jail), 2020

Felt pen, typex and ballpoint pen on coated paper
46 × 32 cm (56 × 42 cm framed)

Available, 2 000 euros (excl. vat)
Inquire
Anne Bourse
*Stupid sun who can’t stop moving (Leash)*, 2020
Felt pen and ballpoint pen on coated paper
42 × 30 cm - © © Aurélien Mole, Paris Internationale
Anne Bourse
Stupid sun who can’t stop moving (Leash), 2020

Felt pen and ballpoint pen on coated paper
42 × 30 cm (52 × 40 cm framed)

Available, 2 000 euros (excl. vat)
Inquire
(infinity) tummy rubs. Claws for show only. 10/10 fanciboi - © Paris Internationale
Anne Bourse
(infinity) tummy rubs. Claws for show only. 10/10 fanciboi, 2019

Ink on silk, hand-sewn anorak
70 × 35 cm

Available, 2 500 euros (excl. vat)
Inquire
Mathis Collins

Self-portrait imposed itself by default. my own caricature and cross-dressing became a form of expression, my chaplin-like “thing”, that of a hybrid character, both staged and real. In the beginning, I used to come dressed as a clown to openings, just as a garment, and sometimes it was for performances, like at the inauguration of the clown shoe shop whose façade I renovated. I used this figure as a criticism even of his employment, because the clown is historically this ambiguous character, both servant of the state that he amuses and servant of the people who mock the power.

Mathis Collins

*Boulevard du crime*, 2019, exhibition view, Crèvecœur, Paris. - © © Aurélien Mole, Paris Internationale

Boulevard du crime, 2019, exhibition view, Crèvecœur, Paris.

*La Maison des artistes*, 2019, exhibition view, Crèvecœur, Marseille. - © © Jean-Christophe Lett, Paris Internationale

La Maison des artistes, 2019, exhibition view, Crèvecœur, Marseille.

*La Maison des artistes*, 2019, exhibition view, Crèvecœur, Marseille. - © © Jean-Christophe Lett, Paris Internationale

La Maison des artistes, 2019, exhibition view, Crèvecœur, Marseille.

*Mime*, 2020, exhibition view, La Criée, Rennes. - © © Benoît Mauras, Paris Internationale

Mime, 2020, exhibition view, La Criée, Rennes.

*Mime*, 2020, exhibition view, La Criée, Rennes. - © © Benoît Mauras, Paris Internationale

Mime, 2020, exhibition view, La Criée, Rennes.

*Mime*, 2020, exhibition view, La Criée, Rennes. - © © Benoît Mauras, Paris Internationale

Mime, 2020, exhibition view, La Criée, Rennes.

*Bar-None*, 2020, exhibition view, 15orient, New York. - © Paris Internationale

Bar-None, 2020, exhibition view, 15orient, New York.

*Bar-None*, 2020, exhibition view, 15orient, New York. - © Paris Internationale

Bar-None, 2020, exhibition view, 15orient, New York.

*Bar-None*, 2020, exhibition view, 15orient, New York. - © Paris Internationale

Bar-None, 2020, exhibition view, 15orient, New York.

Mathis Collins develops a practice mingling sculpture, performance and poetry. He works around popular objects and artisanal practices whose catalogue of forms he reinvests via collective experience and an absurdist approach. He alternates exhibition projects and workshops, thus placing collective creation at the heart of his practice.

Through his work, he questions the artist’s responsibility in a carnival society, torn between brutal individualism and the fantasy of a popular collectiveness, in which power has been transmuted into a show. He thus evokes, with a large dose of self-criticism, the place of the artist in the world of art itself in which the roles of puppets and puppet-masters seem to be constantly redistributed.

Mathis Collins
*The Olive*, 2020
Lime wood, pigments
90 × 54,5 cm - © © Renaud Jerez, Paris Internationale
Mathis Collins
The Olive, 2020

Lime wood, pigments
90 × 54,5 cm

Available, 5 000 euros (excl. vat)
Inquire
Mathis Collins
*Le buveur d’absinthe*, 2020
Lime wood, pigments
90 × 54,5 cm - © © Renaud Jerez, Paris Internationale
Mathis Collins
Le buveur d’absinthe, 2020

Lime wood, pigments
90 × 54,5 cm

Available, 5 000 euros (excl. vat)
Inquire
Bicornes (stand de tir) - © Paris Internationale
Mathis Collins
Bicornes (stand de tir), 2020

Lime wood, tint, motor
200 × 360 × 6 cm

Available, 24 000 euros (excl. vat)
Inquire
Mathis Collins
*Artiste policier cible de toutes les critiques, Artiste policier hué, Artiste policier mort de rire*, 2020
Lime wood, tint
200 x 360 x 3 cm - © © Benoît Mauras, Paris Internationale
Mathis Collins
Artiste policier cible de toutes les critiques, Artiste policier hué, Artiste policier mort de rire, 2020

Lime wood, tint
200 x 360 x 3 cm

Available, 22 000 euros (excl. vat)
Inquire

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