Paris

Em'kal Eyongakpa, Untitled 1, 2011
2011

Em'kal Eyongakpa was born in Cameroon in 1981. After obtaining a postgraduate diploma in Botany and Ecology, he decided to concentrate exclusively on visual and sound art. His use of poetic, symbolic and surrealistic imagery is often sprinkled with paradoxes that challenge the obvious. His work explores human conditioning over time in relation to information, ideological consumption, freedom and identity crises.

Em'kal Eyongakpa, Untitled 21, 2013
2013

Em'kal Eyongakpa was born in Cameroon in 1981. After obtaining a postgraduate diploma in Botany and Ecology, he decided to concentrate exclusively on visual and sound art. His use of poetic, symbolic and surrealistic imagery is often sprinkled with paradoxes that challenge the obvious. His work explores human conditioning over time in relation to information, ideological consumption, freedom and identity crises.

Dominique Zinkpè, Cosmos animiste, 2012
2012

Dominique Zinkpè's works with a wide range of materials, from jute to used cars to “hôhô” figures, which come from the Cult of Twins in southern Benin as a voodoo religion symbole of fertility. His portfolio is continually morphing between mediums and subjects, tackling issues such as intimacy, sex, the sacred and the profane while linking ancestral culture with the contradictions found in today’s world. These sketches of tumultuous human drama are infused with elements of irony and satire to reveal Zinkpè’s most disturbing and arresting constructs of the imagination.

Hayoun Kwon, Lake of evidence, 2011
2011

Lack of evidence is the account of a Nigerian called Oscar exiled in France, which confronts a historical and social reality with a personal and intimate testimony. Taking as a point of departure Oscar's request for asylum in France, this fictional document is a peregrination on the different levels of the reconstitution of memory and the subjectivity of its interpretation.

Köken Ergun, Ashura, 2012
2012

The Battle of Karbala was a military engagement that took place on 10 Muharram, 61 AH (October 10th, 680) in Karbala, situated in present day Iraq, when Hussein, the grandson of the prophet Muhammad, was killed. This battle is central to Shia Muslim belief in which Hussein's martyrdom is commemorated each year, in a celebration called Ashura which symbolises the birth of Muslim division still at issue today between the Shia and Sunni.

Paul Czerlitzki, Ohne tittle, 2014
2014

In this painting made in 2014, which is part of a series started in 2013, the artist dismantles the traditional painting process. Putting aside any formal intervention, the artist lets the membrane slowly soak up white monochrome paint through a transferring technique before removing it. In some places the structure of the canvas can be seen, while other places of the canvas are purposely blurred to evoke the texture of the material used.

Nora Schultz, City song of rug, 2013, installation (carpet, synthetic, foam, acrylic paint)
2013

Nora Schulz explores the relations between painting, sculpture, performance, and language. She tends to capture the moment where forms become signs and elements of language. She is interested in translation and in the shifts that occur when external realities and cultural patterns are readapted. She mainly works with industrial materials that she collects in the surroundings of her studio in Berlin (metal of all sorts, rugs, shafts, tubes, ropes). Process and shifting are the bases of her practice which concerns transformation within each context.

Hossein Valamanesh, Runner, 1999, installation (Sand, lotus leaf on canvas and Persian rug)
1999

Born in Teheran in 1949, Hossein Valamanesh immigrated to Australia in 1973 while going back regularly to Iran. His work is often made out of natural material or found objects such as Persian rugs, family photo albums or clothes. He is influenced by Persian poetry and Sufism, which brings a metaphysical questioning related to his personal reflections. He starts from his own cultural story as an emigrant; from his encounter with another culture to question the human condition. When he arrived in Australia he discovered Aboriginal art which made him decide to stay and settle in Australia.

Lee Kit, Tender, 2012, installation
2012

Lee Kit represented the Honk Kong pavilion at the Venice Biennale in 2013 where the exhibition was turned into a half functional private space. The visitor entered a neutral room, open and loose but precisely organized. The artist was searching to deliver both an atmosphere and a still image. In fact, the artist uses the term “setting” to define his paintings, ready-mades or performances. His work comments on the long-term dialectic between form and function.

2014

Marie Voignier’s work presents a subtle criticism of the transitory status of fiction within the social and political fields. One could think of her work as a documentary practice when it could rather be considered as fiction, which, beyond its collective inscription finds itself sent to the heart of the intimate, in a movement of individuation. Working on these boundaries, the artist flushes out the erring ways of a collective imagination.

Vivek Vilasini, Housing dreams walls, 2014
2014

First trained as a Marine radio officer at the All India Marine College in Kochi, Vivek Vilasini obtained a Bachelor’s degree in Political Science from Kerala University in 1987 before turning to art and studying traditional Indian craftspeople's sculpture. In his work Vilasini examines our existing social structures, adapting various expressions of cultural identity prevalent in society today to raise questions about the continually changing global scenario that every individual struggles to keep pace with.

Meschac Gaba, Hubert Maga, 2010-2011
2010

Over the past 20 years, through various bodies of works, Beninese artist Meshac Gaba has attempted to reframe contemporary African artistic identity, asking us to shed our preconceived ideas and re-imagine the African continent with a more valid contemporary image. Meschac Gaba emerged onto the international contemporary art scene in 1999 when he presented the Museum of Contemporary African Art in the exhibition “Mirror’s Edge” at Bilmuseet in Umea, Sweden. It marked the beginning of an expansive conceptual and virtual project based on the subjectivity of museum spaces.

The Paris Collection, established in 2001, is not bound by geography or media and consists of works by artists from many different regions. Its particularity is also to support artists through commissioned productions.

Besides the founding family members, and the Kadist-Paris staff, the Paris Collection committee comprises Jeremy Lewison, advisor, critic and curator, Rozenn Prat, Professor of Visual Arts, and Jean-Marc Prevost, director of the Carré d’Art, contemporary art Museum of Nîmes.