For the main sector of Paris Internationale, Galerie Derouillon will present a new set of works by Mathilde Albouy (French, b.1997), Julian Farade (French, b.1986) and Vojtěch Kovařík (Czech, b. 1993). The booth will bring together a set of new works produced especially for Paris Internationale 2024, emphasizing multidisciplinarity: installations, sculptures and paintings. The three artists have been brought together because their practice addresses, through different forms, contemporary questions about gender, new kinds of narratives, and the representation of violence.
Informed by feminist science fiction, Mathilde Albouy uses the fictions generated by her pieces as political tools to challenge an established and binary reality. We are not sure whether the encounter with her sculptures is an act of seduction or predation. By hijacking scales and materials, objects - sometimes sharp or toxic - become individuals in their own right, characters in new narratives. Albouy reveals how the beauty of so-called feminine objects conveys prejudices and patterns of oppression.
Mathilde Albouy, Les favorites (I might protect you) (II), 2024
Courtesy of the artist and Galerie Derouillon,
Mathilde Albouy
Les favorites (I might protect you) (II), 2024
Les favorites (I might protect you) (I), 2024
Courtesy of the artist and Galerie Derouillon,
Booth view of Galerie Derouillon, at Paris Internationale 2024
Featuring Mathilde Albouy, Les favorites (I might protect you) (I), 2024
Mathilde Albouy, Les favorites (I might protect you) (I), 2024
Courtesy of the artist and Galerie Derouillon,
Mathilde Albouy, The unfaithful, 2024
Courtesy of the artist and Galerie Derouillon,
Booth view of Galerie Derouillon, at Paris Internationale 2024
Featuring works of Mathilde Albouy and Julian Farade
Mathilde Albouy, The young girl (Marguerite), 2024
Courtesy of the artist and Galerie Derouillon,
Booth view of Galerie Derouillon, at Paris Internationale 2024
Featuring works of Mathilde Albouy and Julian Farade
Mathilde Albouy, They left without looking away, 2024
Courtesy of the artist and Galerie Derouillon,
Mathilde Albouy, They left without looking away, 2024
Courtesy of the artist and Galerie Derouillon,
There is a performative relationship to the act of painting in Farade’s practice, which he sees as a hand-to-hand encounter with the canvas. The vibrant figures - the usual crocodile, bird, grid, ovoid grapes, etc. - are signs of a new vocabulary invented by the artist. Farade seeks to transcribe the immediate force of an emotion through straightforward line and color, tracing open jaws, claws and hands capable of grasping us. Farade’s practice is nourished by a rage described in the writings of Audre Lorde or bell hooks, rooted in a specific post-colonial context of struggle against racism and misogyny.
Booth view of Galerie Derouillon, at Paris Internationale 2024
Featuring works of Mathilde Albouy and Julian Farade
Julian Farade, Tout ça pour toi, 2024
Courtesy of the artist and Galerie Derouillon,
Julian Farade, La nuit, je mords, 2023
Courtesy of the artist and Galerie Derouillon,
Booth view of Galerie Derouillon, at Paris Internationale 2024
Featuring works of Mathilde Albouy, Julian Farade and Vojtěch Kovařík
Julian Farade
Je décide, 2024
La marelle, 2024
Interdiction, obligation, 2024
Courtesy of the artist and Galerie Derouillon,
Julian Farade, Je décide, 2024
Courtesy of the artist and Galerie Derouillon,
Julian Farade, La marelle, 2024
Courtesy of the artist and Galerie Derouillon,
Julian Farade, Interdiction, obligation, 2024
Courtesy of the artist and Galerie Derouillon,
Vojtěch Kovařík draws on the strategies of national socialist art, using the same logic of simplicity and clarity, but replaces the glorious workers with a pantheon where the Greek gods are crushed by the weight of their symbol. Today, Kovařík makes violence-laden myths his own, particularly those concerning women, and questions their fundamental representation in Western culture. Without sublimating or trivializing it, the violence in his paintings is no longer merely symbolic, but gains in contemporary relevance. Beneath the paint on Kovařík’s canvases are also hidden phrases, like invisible incantations, which transform them into an emotional landscape, like an allegory of his own life.
Vojtěch Kovařík, Portrait of Tantalos, 2024
Courtesy of the artist and Galerie Derouillon,
Booth view of Galerie Derouillon, at Paris Internationale 2024
Featuring works of Mathilde Albouy, Julian Farade and Vojtěch Kovařík