project
Fossile et psyché
Mathieu Kleyebe Abonnenc
08.11.2018 - 26.01.2019, opening 08.11.2018
Exhibition view
Exhibition view
Exhibition view
Exhibition view
Mathieu Kleyebe Abonnenc
Un second morceau de chair arrachée aux os des envahisseurs, 2018
Native american bone flute, natron
Variable dimensions
unique
Un second morceau de chair arrachée aux os des envahisseurs, 2018
Native american bone flute, natron
Variable dimensions
unique
Mathieu Kleyebe Abonnenc
Etudes pour la chambre de la rançon (Atahualpa) (3), 2018
copper frame, oil tempera, cinnabar
50 x 75 x 2 cm
unique
photo : Aurélien Mole
Etudes pour la chambre de la rançon (Atahualpa) (3), 2018
copper frame, oil tempera, cinnabar
50 x 75 x 2 cm
unique
photo : Aurélien Mole
Mathieu Kleyebe Abonnenc
Etudes pour la chambre de la rançon (Atahualpa) (4), 2018
copper frame, oil tempera, cinnabar
50 x 75 x 2 cm
unique
photo : Aurélien Mole
Etudes pour la chambre de la rançon (Atahualpa) (4), 2018
copper frame, oil tempera, cinnabar
50 x 75 x 2 cm
unique
photo : Aurélien Mole
Mathieu Kleyebe Abonnenc
Wacapou, un prologue ou Une pièce dans la maison de ma mère, 2018
super 8 film transferred to HD
25 min
ed 5 + 1
Wacapou, un prologue ou Une pièce dans la maison de ma mère, 2018
super 8 film transferred to HD
25 min
ed 5 + 1
Mathieu Kleyebe Abonnenc
Fossile et Psyché, 2018
black and white A4 print, plexiglas
21 x 29,7 cm
ed 5 + 1
Fossile et Psyché, 2018
black and white A4 print, plexiglas
21 x 29,7 cm
ed 5 + 1
Mathieu Kleyebe Abonnenc
Le veilleur de nuit, pour Wilson Harris (2), 2018
turtle shell, gallium
70 x 58 x 22 cm
unique
photo : Aurélien Mole
Le veilleur de nuit, pour Wilson Harris (2), 2018
turtle shell, gallium
70 x 58 x 22 cm
unique
photo : Aurélien Mole
Mathieu Kleyebe Abonnenc
Sans titre , 2018
Mooring buoy, cast iron dishes, coffee maker, stove, candlestick, soil
variable dimensions
unique
Sans titre , 2018
Mooring buoy, cast iron dishes, coffee maker, stove, candlestick, soil
variable dimensions
unique
Knowledge, with Mathieu Kleyebe Abonnenc, is not far from being a performance of dream. Each time he gets closer to materials and to their complex operations, one can’t help but think that he also gets closer to dream. This learning of dream, which the artist uses on a daily basis in order to evolve, involves asserting parallel lives, of which we know at least two striking sides: the life of the researcher, always seeking to bring together his family of thinkers and artists, and that of the explorer, using his body to gain access to his own memory, partially buried in the ground of the Guyanese forest.