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Very representative of the work of Neïl Beloufa, these wall sculptures are composed of dozens of printed pieces of cardboard, which are scraps from the artist’s studio such as packaging of tools and screws but also beer, coca-cola and cereal boxes or chocolate wrappings. These remnants of the artist’s production place are mixed with colored resins and mounted on a panel of white painted MDF, which is framed in aluminum. The frames also include electrical outlets, switches and various cables. The works are like “pictures” representing figurative images, which are observations of various situations from inside the artist’s workplace; they are Neïl Beloufa’s attempt to capture particular moments, a certain spirit specific to the universe of the studio.


Like in these works, the sculptural components of Beloufa’s work often exhibit a strong handmade, studio-based aesthetic with rough cuts of building materials attached to heavy metal framework. The autonomy of these materials and aesthetic endeavour contrasts any notion of smooth and seamless professionalisation of industrial sculptural production.


Neïl Beloufa
Balice Hertling Galerie, Paris
Through November 25

Here, in the building where Georges Bizet wrote his masterpiece Carmen in 1875, Matt Copson premieres a bildungsroman opera in three laser-projected parts: Age of Coming, Coming of Age and Of Coming Age. His opera tells the story of a baby at odds with a vengeful god, who tries to convince him that life is miserable and cruel, and nothing more. On view High Art, Paris
Sørlandets Kunstmuseum, Kristiansand
Der Tank of the Art Institute, Basel
Lafayette Anticipations, Paris
Kunsthalle Lissabon, Lisbon
JTT, New York
Édouard Montassut, Paris
Avant-Garde Institute, Warsaw