Summer show @galeriederouillon
#AnnabelleArlie #ElvireBonduelle #AmandineGuruceaga #nilsguadagnin #SadieLaska #PrzemekPyszczek #ClaudeViallat #SimoneZaccagnini #galeriederouillon #basedonatruestory,

Kiana Khansmith
Jules of Nature
will byers stan first human second
Claire Keane
let's talk about Bridgerton tea, my ask is open
KIROKAZE

Kaledo Art
todays bird
Cosimo Galluzzi

@theartofmadeline
wallacepolsom
noise dept.

tannertan36
hello vonnie
Xuebing Du
h
TVSTRANGERTHINGS
ojovivo
Stranger Things

seen from Malaysia

seen from Sri Lanka

seen from Iraq

seen from Japan

seen from United Kingdom

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States

seen from United States
seen from United States
seen from United States

seen from United States

seen from United States
seen from United States
seen from United States

seen from United States

seen from Singapore
Summer show @galeriederouillon
#AnnabelleArlie #ElvireBonduelle #AmandineGuruceaga #nilsguadagnin #SadieLaska #PrzemekPyszczek #ClaudeViallat #SimoneZaccagnini #galeriederouillon #basedonatruestory,

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
RGB
la Galerie Derouillon a pris des allures de jungle avec l’exposition personnelle d’Annabelle Arlie, qui a peuplé pour l’occasion l’espace de la galerie d’une forêt tropicale composée notamment de singes et oiseaux exotiques. Cette jungle est pourtant bien sage, pour ne pas dire complètement immobile et silencieuse : les perroquets et autres primates sont muets, montés sur des pattes en plastique et prothèses artificielles, les soudant de part et d’autre de l’espace. Les animaux sont réduits à n’être que leurs propres portraits 2D, de même que la forêt, compressée en tapisserie murale.
Annabelle Arlie représente la nature comme si elle n’existait déjà plus. Derrière la main de l’artiste, on imagine un univers de transhumains qui recréent de manière artificielle un trans-environement, où les technologies sont utilisées pour compléter et recréer les éléments de la forêt tropicale. Cette incrustation de la technique dans la nature révèle un paradis d’or perdu : faune, flore et traditions sont statiques, inactivables. Leurs sens et significations ont été oubliés, comme en atteste le métier à tisser, miniature et accroché au mur, ou encore ce qui apparait être des sièges en rotin, suspendus au plafond.
Entre l’exposition et ses publics, la temporalité diffère ; l’artiste se fait archéologue du futur en recomposant images et souvenirs d’un monde qui est déjà anéanti et transformé. Muséographe anticipatrice, Annabelle Arlie questionne de fait la mise en exposition des éléments du passé. Si la mise en scène est réalisée avec soin –comme ce perroquet trônant dans un coin du plafond de la galerie- le sens s’est quant à lui perdu au sein de cette immobilité froide. Nous évoluons alors dans une véritable banque d’images, sans queue ni tête, ces dernières étant construites à l’aide de supports en plastique et extensions technologiques. La temporalité du visiteur serait celle des prémices de la décrépitude de nos environnements et traditions. La perte de sens commence quand, par exemple, les images d’espèces d’animaux en voie d’extinction, s’ils ne sont pas d’ores et déjà disparus, survivent par le biais de leur utilisation à des vues publicitaires. Ces portraits d’espèces rares et spécifiques circulent en effet dans le monde entier, par le simple fait qu’ils ont été choisis comme image de marques pour représenter des cartouches d’encre. Comble du sort, l’encre contribue justement à l’extinction de ces espèces : la production d’une seule cartouche consomme plusieurs millilitres ou litres de pétrole, et une fois usagées, elles deviennent des déchets aux composants toxiques pour l’environnent et nocifs pour la santé. Le monde est RGB quand l’image devient indépendante de son propre sens originel.
Texte Laëtitia Toulout pour Point contemporain
Talk to me about your experience, 2016. Crutches and soaps.
Whitcher Projects, Los Angeles
Des caresses, ou l’art, ou le sphinx
Annabelle Arlie’s work speaks to the complex temporality of humankind. She assembles contemporary cultural objects with artisanal, primitive ones in a manner that can collectively reference the Totem—engaging the concept of a prior belief or symbol that has been reconstituted in an updated context and allowed to assume new meanings and significances as a result. These assemblages speak to the paradoxical nature of human existence and abide by what is sometimes referred to as the riddle of the Sphinx: « What walks on four feet in the morning, two in the afternoon and three at night?” Oedipus answered: « Man: as an infant, he crawls on all fours; as an adult, he walks on two legs; in old age, he uses a ‘walking’ stick. »

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
SAFETY NET
A exhibition featuring Annabelle Arlie (France) Per Mertens (Germany) Heath West (USA)
http://annabellearlie.com/ http://permertens.net/ http://heathwest.net/
Curated by Intimate project and Later galler
yhttp://theintimateproject.com/ http://latergallery.tumblr.com/
Opening Reception 6pm - 10pmThe gallery is open from the 4th until the 18th of December Wednesday to Saturday, 2pm - 6pm and by appointmentErratum Galerie
We put up a mirror in my room
when I moved in after Lucy
left Texas for New York
for a job or network
that isn’t Instagram. From a post online, she’s
found the room she’ll be staying in
and it belongs to a musician who our friends follow. I don’t
identify with his music any more aesthetically than I do
emotionally, but I’m awed
by acts of hospitality-- online or in situ associated style,
what constitutes the variant textures of living right now—
ethereal voices
streaming across the ocean. I get someone to Skype me
in. I’m used to the gradient of the screen, now there is
a touch of intimacy to its wavering.
2.
I’m thinking about Mexican candles as I do laundry.
The red ones Chloe suggested would be nice against the blue
walls, all my clothes weaving between the colors of the jackets
Lucy abandoned to me. Even if we weren’t really friends
there is a comfort in having known the previous resident
and whose space you are making yours. This room
is pleasing. All of my clothes accent
the walls. Lucy and I have a few good photos together
on Instagram, and today I was called
“Trendy,”
mostly in relation to who appears
in relation to me. I try to
explain it probably isn’t my style anyone likes, it’s just
that in being a part of a body of a city
at some joint a place knows you
you can rely on it, and it is edged with expectation and people
to follow because they are already following you.
“Honestly,” I tell Sam “all I care about is how things look together.
Just want to look at things together.”
3.
When
he comes over for the first time, I want him to
appreciate my collection of objects in the room:
I feel safe when someone
agrees with me, translates my joke. Translation
isn’t impossible— sometimes the two sides
make a soft fabric strong
by pulling the way water
does, can move and look like linen. Press text by Zoe Darsee
RESIDENCE BEL ORDINAIRE SEPTEMBRE 2015
http://annabellearlie.com/
MMS, 2015, windshield sun shade, glass door, metal, 210 x 105 cm.
Minimal Francis, 2015, vinyl record, aluminium, melanine coated chipboard, 83 x 54 cm.
Candle, 2015, wood baluster, carpet, gourd, rhum, vaporizer, glass, 196 x 7 x 7 cm.
Invited by Fabio Paris and Domenico Quaranta from the Link Art Center in Brescia, Italy, to participate in the event 6PM Your Local Time, Annabelle Arlie and Pierre Clément propose a one-night display of their most recent works at Glassbox, Paris, France. 6PM YOUR LOCAL TIME (6PM YLT) is a networked, distributed, one night contemporary art event taking place simultaneously in different locations, coordinated from one central venue and documented online via a web application http://www.6pmyourlocaltime.com/
Talkie-walkies, 2015

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Connecting flight, Annabelle Arlie & Mikky Massias
à l’Espace 29
Annabelle Arlie + Mikky Massias
vernissage - 8 avril
espace 29
Mémoire flash
Annabelle Arlie
Moaï, 2015, range-CD, impression lenticulaire, mousqueton, 20x40x148cm Tipp-Ex, 2015, éponge, moulure polystyrène, tube de dentifrice, 20x 207cm I’m glad that we worked together and i’m sure that we will again, 2015, pochette vinyl, disque, marbre, étagère, 90x54cm Soupline, 2015, rideau, tringle, equerre, boîte de trois pellicules photo, 14x150x65cm
Pierre Clément
S.T.E.A.M, 2015. Corrugated PVC, flat screen, video 29mn on loop, sound, 90 x 200 x 10 cm, courtesy XPO gallery.
After eight, 2015. Modelling clay, music stand, perspex, spray paint, carpet, iphone wrap, 170 x 120 x 115 cm, courtesy XPO gallery.
Sometimes it is interesting to think that the objects that populate the space of our home environment undoubtedly extend beyond their mere physical presence. We know (according to Baudrillard), an object is determined more by the sign and the symbolic value it represents rather than the concrete and material aspect of his existence. In this sense, desire or lack of interest that is felt for an object is more a matter of assumed idealism that blind materialism.
I take interest in this or that object because this object reminds me a particular memory to a particular meaning, a vector of a particular ideal.
It is in these degrees of value we attach to them, we transform these objects into receptacles and witnesses of our usages, our customs, our small daily rituals. Thereby loading the memory of our lives, we add to their inherently ordinary characters, successive layers of our personal histories, making them unique and singular.
By the mere presence of our desires, any cheap trinket becomes a kind of memory card from the owner and by extension the potential marker of it in a given time in a given culture. And even after the death of its owner or by the abandonment of the latter.
Although orphaned, the object remains in charge, at least until its own destruction.
Thus, we could imagine that in 20 or 30,000 years if humanity still exists, probably she will continue to scratch the ground in search of a past too distant to be understood.
Maybe in this hypothetical future archeology it will still make sense and our objects, so stupid as they are, will then become the only witnesses of our existence.
Maybe geologists will conduct these ancient times coring in famous Ikea fossilized career and cryptographers generations try in vain to understand the motives of our plastic flower-patterns table placemats.
Maybe on markets and flea markets of the year 24 236 will sell for gold few lol-cats video yet ready to be viewed, that companies with a good quotation at this time will be those able to adapt to the scarcity of plastic packaging stock after the 20 and 21th century (The latter previously becoming fossil fuel in fashion) and that we will build temples in memory of a disappeared Prophet named "Internet".
Perhaps, finally, that of a newly updated block of ice, we discover an unusual assemblage of strange and colorful objects or as a untouched hard disk discovered at the bottom of a radioactive waste mine, updating others curious pictures
So in the spirit of our distant descendants will come a time of great reason and interpretations.
And despite the consistent assumptions and Answers built on the existence of these objects, only remain Doubt ... doubt that memory left there, doubt of lost sense, doubt of an art of a world engulfed in abyss of time.
Irwin Marchal
·
du 5 au 25 mars 2015, Galerie SUN7

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Vue d’exposition : MATIÈRES À RÉCITS 2.0 à Lieu Commun du jeudi 15 janvier au samedi 21 mars 2015
Les tournesols, 2014. 165x163x59,5cm
Sans titre, 2015. Dimensions variables
Le golf, 2014. 172x89x42cm
Posture, 2014. 222x188x75cm