Laurence de Leersnyder

The shapes of Removal

| Laurence de Leersnyder | Biography, Cv and sculpture | Un-Spaced |

photo LDL2

Profil

Born in 1979. Lives and works in Paris.
Website : laurence-de-leersnyder.com

The shapes of Removal

A three-termed equation

It is a three-termed equation that Laurence De Leersnyder reformulates at each invitation: a piece of material, a gesture, a space. In her studio she experiments with the connections between simple gestures and materials. In the spaces where she is invited to intervene, she projects a form and makes it her own.

No prior ideas, no underlying concept, but a strong attention to the act of doing. No such thing as luck either: it is no longer a question of letting the material do what it wants. The artist chooses said materials for their physical properties, symbolic or aesthetic, which she then thwarts and tires. Wood, concrete, plaster, earth, within others, often playing against themselves. As her projects move along, the walls of her studio fill with bits of wax, plaster and fragments of the workshop that she presents, arranged on architectural shelves, as in the exhibition of Grey Matter. These experiments are the witnesses of what De Leersnyder defines as “empirical knowledge”, a “know-how that is clean”. From here, procedures are established and several series are elaborated, without mixing the procedural dimension of the work with a “posture in progress”. The final shape, achieved and perfected, is the heir of the Antiform, where the material trips over, literally and figuratively, the geometry of the volumes and the simplicity of the work.

But what are they, these works, these manipulations of nature? We could darken two pieces of paper from a “list of verbs”, following the example of Richard Serra: dig, rip, turn etc. We could also simply take one single verb: remove. Always, somewhere, remove: whether it be physically, mentally, metaphorically. To draw a cross with polyurethane foam in a square mold, to fill the cracks that rest with plaster, then to take away the foam and the formwork. To dive the hand into the earth, humor the shape of a cavity then fill this mold with the material of a volume to come. To compress this earth into a rectangular parallelepiped, then separate the pillar of earth from its wooden mold, sometimes to bring out a ridge in bas-relief on plywood panels, and other times to erect friable steles with no destination in mind. To aggregate an amount of asphalt on top of a surface, like the artificial imprint of a pot-hole in the road, to remove from the wall this estrange topography, islander, steep and volcanic. In a nutshell: De Leersnyder elaborates the shapes and forms of removal, in every meaning of the word.

Marie Cantos

Parcours

PERSONAL EXHIBITIONS

2017
– 40mcube, Perspective de fuite à l’anglaise, Jardin du Thabor, Rennes
– L’H du Siège, Ce qui reste, ce qui continue, Valenciennes

2016
– galerie laurent mueller, La Fonte des sables, Paris

2015
– Le Cyclop, Assourdi par la formidable cataracte, with Zoé Paul, Milly-la-forêt

2014
– galerie laurent mueller, Grey Matter, with Sebastian Gögel, Paris
– Domaine de Kerguéhennec, Un ciel renversé sur la terre, Bignan
– NuN, What the snow does in the North, the sand does in the South, Berlin (DE)

2012
– galerie laurent mueller, La dame de Byblos, Paris

2011
– Galerie 14, Gâteries Suaves, Paris

COLLECTIVE EXHIBITIONS

2017
– Studio la Citta, Vedere l’invisibile, Verone, Italie, curator Andrea Lerda (IT)
– GDM, galerie de multiples, A road is a road is a road, Paris
– Galerie Jeune Création, Fantôme, Paris, curator Sarah Mercadante

2016
– Musée Cognacq-Jay, Loups, Paris, curator Jean-Christophe Arcos
– LaTôlerie – Espace d’Art Contemporain, L’Inconnue de la Seine, un songe, Clermont-Ferrand,

2015
– Katzen Arts Center, Transformer, Washington, USA (US)
– LaTôlerie – Espace d’Art Contemporain, Réparer à l’endroit de l’accroc le tissu du temps, Clermont-Ferrand, curator Marie Cantos
– Glassbox, Un Parc, Paris
– Look&Listen, Noir/Blanc #2, Marseille
– HEC – Espace d’art contemporain,Vestiges Ephémères, Jouy-en-Josas

2014
– FIAC-Hors les murs, Jardin des plantes, Paris
– Palais des Beaux-Arts, CHOICES PARIS, curator Nicolas Bourriaud
– Galerie Edouard Manet, Le Corps Invisible, Gennevilliers
– La Maison Abandonnée [Villa Caméline], Abandon en perspective, Nice – Hôtel Burrhus, Supervues, Avignon

2013
– Cutlog, System of a down, Paris
– Le 6B – Lieu de création et de diffusion, Transgression, Saint-Denis
– galerie laurent mueller, Salle d’attente III, Paris

2012
– Club 7.5, Commissariat pour un arbre, Paris, curator Mathieu Mercier
– Maison d’Art Contemporain Chaillioux, 3 en Un, Fresnes

2011
– Le 6B – Lieu de création et de diffusion, Translithes, Saint-Denis
– Voyons Voir, En ce lieu ou presque, Aix-en-Provence

2010
– Printemps de Septembre, Kimindi Gotiga, Toulouse, with Collectif KIT – Palais de Tokyo, Modules, Coulis de Framboise, Paris
– Galerie Frédéric Giroux, J‘partirais bien à la campagne, Paris
– Institut Français, Ins Blickfeld Gerückt, Berlin (DE)

2009
– Cité Internationale Universitaire, Le Complexe de Rittberger, curator Glassbox, Paris
– Artmandat – Les Perles, Space Mountain, Marseille
– Mains d’oeuvres, Opération Tonnerre, Saint-Ouen, performance du collectif KIT
– Chan Arte Galleria, Inauguration, intervention dans la ville de Gènes (IT)

2008
– Espace de la Ligue, Meeting Point, Nice
– Kunstraum Niederösterreich, Austausch, Vienna (AT)
– Villa Arson, Acclimatation, Nice, performance du collectif KIT

2007
– Biennale de l’UMAM, Galerie Sainte Réparate, Nice – Museaav, Tumbleweed, Nice
– White Club Space, Shuttle, Salzbourg (AT)
– Galerie de la Marine, Génération 2007, Nice

2006
– Béton Salon – Museums Quartier, Views from inside, Vienna (AT)
– Galerie AREA 53, Female positions toward sculpture, Vienna (AT)
– Wind Art Festival, War and Peace, Cheju, Corée du Sud (KR)
– Académie des Beaux Arts, Imported, Vienna (AT)
– Musée des Arts Appliqués, Real Presence 5, Belgrade (RS)

PRESS (selective)

France Culture, 05/05/2017, Les Carnets de la création, émission radiophonique par Aude Lavigne
Le Quotidien de l’art N°1246, 10/03/2017, Art et monde du travail, article par Philippe Régnier Ouest France, 22/03/2017 et 09/12/2016, articles par Agnès Le Morvan
La critique.org, 14/03/2017, Fantôme, article par Victor Mazière
La Voix du Nord, 17/02/2017 et 08/10/2016, articles par Jean Paul Plichon
Revue point contemporain, 11/2016, Loups, article par Alex Chevalier
Connaissance des Arts, 28/06/2016, Les finalistes du Prix Maïf pour la Sculpture, article par Maximilien Renard Artaïssime N°13, 05/2016, L’inconnue de la Seine-Un songe, un si doux sourire, article par Marie Gayet
Revue point contemporain, 06/2016, L’inconnue, article par Lisa Toubas
Artpress.fr, 09/10/2015, Les Échos du Cyclop, article par Mathilde Roman
La Belle Revue, 07/2015, Réparer à l’endroit de l’accroc le tissu du temps, article par Marie Chênel
Artaïssime N°8, 09/2014, Des artistes invisibles, article par Marie de la Fresnaye
Le Monde Magazine N°133, 05/04/2014, L’élite prend l’art, article par Roxana Azimi

(audio and vidéo)

Interview France Culture, Les Carnets de la création, émission radiophonique de Aude Lavigne, mars 2017 Prix Maïf pour la Sculpture, Cire Perdue, projet naliste, vidéo 2”, septembre 2016
Interview du Muséum d’Histoire Naturelle, L’envers du vide, vidéo 2,50”, octobre 2014

Series
Laurence de Leersnyder
Empreinte de poussière

 

 

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