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Mark Geffriaud

Biography

Mark Geffriaud Born in 1977 in Vitry sur Seine. Lives and works in Paris.

Solo exhibitions

2012

Opening, The Gardens, Vilnius

2011

All that is said is true / all the time / all the time / All that is said is true / all the time / but times change / Genesis P-Orridge /in The Ballad of Genesis and Lady Jaye /a film by Marie Losier /released on October the 26th, gb agency, Paris

Alex Cecchetti et Mark Geffriaud : The Police Return to the Magic Shop, programmation Satellite 4, Jeu de Paume, Paris

2010

Who I am entering the house my brother?, gb agency, Artissima, Torino, 2010

et Mason, EMBA, Galerie Manet, Gennevilliers

et Dixon, Zoo Galerie, Nantes

2009

Robert Breer & Mark Geffriaud, Art Premiere, gb agency, Art 40 Basel

Si l'on pouvait être un Peau-Rouge, gb agency, Paris

2008

Polka Dot, Palais de Tokyo, Paris

Group exhibitions

2012

L’entremet, Capri (cur. Géraldine Longueville)

Les établis, Centre Régional d'Art Contemporain, Sète

2011

Le sentiment des choses, Le Plateau, Frac Ile de France, Paris (cur. Elodie Royer and Yoann Gourmel)

There must be "a right way", Mosquito Coast Factory ; Ecole des Beaux-arts, Brest (cur. François Aubart & Benoit-Marie Moriceau)

Radical Autonomy / nieuwe werelden van niks, Netwerk, centrum voor hedendaagse kunst, Aalst, Belgium

Tableaux Parisiens, Do Right Hall, Marfa

Speech Objects, Musée de l’Objet, Blois

Kaleidoscope Arena, ROMA, The Road to Contemporary Art, Roma

Une traduction d'une langue à l'autre, Cneai, ParisRadical Autonomy / nieuwe werelden van niks, Netwerk, centrum voor hedendaagse kunst, Aalst, Belgium

2010

Prospective XXI siècle, Le Plateau, Frac Ile de France, Paris

Things slowly curve out of sight until they are gone. Afterwards only the curve remains, Hermes und der Pfau, Stuttgart, (cur. Elodie Royer & Yoann Gourmel)

Beyond the Dust – Artists’ Documents Today, De Vleeshal, Middelburg ; Fabbrica del Vapore, Milano ; Fondation d’entreprise Ricard, Paris

The Reading Room, Nomas Foundation, ROMA The Road to Contemporary Art, Roma

Les Interlocuteurs, EPISODE 2 Ecrire dans les marges, Printemps de Septembre, Toulouse

The Crystal Hypothesis, GAMeC, Bergamo, (cur. Elodie Royer & Yoann Gourmel)

Alchemy Box, Maison d’art Bernard Anthonioz, Nogent-sur-Marne

Collecter / Recycler, Centre Photographique d’Île de France, Pontault- Combault

Che Cosa Sono Le Nuvole, Museion - Museum of modern and contemporary art, Bolzano

Double Bind / Arrêtez d'essayer de me comprendre, Villa Arson, Nice, (cur. Eric Mangion, Dean Inkster, Sébastien Pluot)

cf, Galerie Art & Essai, Rennes, (cur. François Aubart)

2009

The Object of the attack Part II, David Roberts Foundation, London

Three by 3, FormContent, London

Hypno Show, Kadist Art Foundation, Paris, cur. Raimundas Malasauskas

Là où les eaux se mêlent, chapitre 3, gb agency, Paris

L’image cabrée, 11e Prix Ricard, Fondation d’entreprise Ricard, Paris

Antidote 5, Galerie des Galeries, Paris

Nord, Nord-Ouest, gb agency, Paris

Clifford Irving show, Ciné13, Paris, cur. Raimundas Malasauskas

Deux fois la même ville, Nevers, cur. Géraldine Longueville

The Happy Interval, Tulips and Roses, Vilnius

Au pied de la lettre, Domaine de Chamarande, Chamarande

Nous tournons en rond dans la nuit..., Musée Départemental, Chateau de Rochechouart, Rochechouart

Paris/Berlin, gb agency at Croy Nielsen, Berlin

Paper Exhibition, Artists Space, New York, cur. Raimundas Malasauskas

2008

Notorious, Frac Île-de-France, le Plateau, Paris, cur. Xavier Franceschi

Les Feuilles, Super et Palais de Tokyo, Paris, cur. Elodie Royer & Yoann Gourmel

Crisi. Contra les aparences, angels, Barcelona

Le Spectrarium, Pavillon Suisse, Cité Internationale, Paris, cur. Samuel Dubosson, Mélodie Mousset & Tatiana Rihs

Effondrement de l’onde de probabilité (Stretch & Narrow), Zoo Gallery, Nantes, cur. Patrice Joly & Aude Launay

Palimpseste, galerie Xippas, Paris

L'anomalie d'Ararat, IrmaVepLab, Châtillon sur Marne, cur. Elodie Royer & Yoann Gourmel

Ce qui revient, galerie ACDC, Brest, cur. François Aubard

Faces, gb agency, Paris

La Marge d'Erreur, Centre d'art la Synagogue de Delme, cur. Le Bureau

220 jours, gb agency, Paris, cur. Elodie Royer & Yoann Gourmel:

186 000 fins par seconde

Katamari

...excepté peut-être une constellation

2007

Le Jardin de Cyrus, EMBA Manet, Gennevilliers, cur. Yoann Gourmel

Speed Dating 2, Zoo Galerie, Nantes, cur. Patrice Joly & Aude Launay

Crosswords, Analix Forever, Genève, cur. Michele Robecchi

220 jours, gb agency, Paris, cur. Elodie Royer & Yoann Gourmel:

Rien n'aura eu lieu que le lieu...

All we ever see of stars are their old photographs

Prologue

00's, Lyon contemporary art biennial, Lyon, cur. Pierre Joseph

The Tent Show, Centre d'art contemporain Nikolaj, Copenhagen

The Man who shot Liberty Valance, La Galerie Extérieure, tour in the USA, artist and curator in collaboration with Géraldine Longueville

2006

Please Wait, Immanence, Paris

Nuit Blanche 06, Paris, cur. Géraldine Longueville

...with bizarre rooms in whimsical shapes (the Library), cur. Elodie Royer & Yoann Gourmel, gb agency at Villa Warsaw, Warsaw

La Galerie Extérieure n°3, Paris, cur. Géraldine Longueville

Gemütlich-kite, Münzstrasse 10, Berlin

Le Spectre des Armatures, Glassbox, Paris, cur. Elodie Royer, Mathilde Villeneuve & Yoann Gourmel

2005

Sans Titre, Galerie Vasistas, Montpellier

Autant de Mathématiques que de Petites Filles, Galerie Aperto, Montpellier, cur. Patrick Perry

Is/Sud, Galerie ESCA, Nîmes

2004

Royal Wedding, MAMCO, Genève, cur. Ecole du Magasin

2002

L'École Temporaire, in Import/Export, Villa-Arson, Nice, cur. Pierre Joseph

Bibliography

Click on the underlined parts to download the texts in pdf

Press articles and publications

2011

Les Inrockuptibles, #834, Un temps pour tout, text by Judicaël Lavrador, Nov 23

Mousse, # 28, Agenda (text by Julia Koropoulos), April

Exhibition catalogue, Alex Cecchetti et Mark Geffriaud : The Police Return to the Magic Shop. La Guerre, Le Théâtre, La Correspondance, programmation Satellite 4, Jeu de Paume, Paris (text by Raimundas Malasauskas)

Paris-art.com, Prospective XXIème siècle (text by Céline Piettre)

Artforum.com, critics' picks, Alex Cecchetti et Mark Geffriaud (text by Rahma Khazam) April2010

Palinsesto, #0, catalogue Artissima 17, 2010

Art Review, Mise en Scène, (text by Chris Sharp), March

Zérodeux online, Ecrire dans les marges, à l’Ecole des Beaux Arts de Toulouse, July

Exhibition catalogue, The Crystal Hypothesis, GAMeC, Bergamo, (text by Elodie Royer and Yoann Gourmel)

Exhibition catalogue, Alchemy Box, Maison d’art Bernard Anthonioz, Nogent-sur-Marne (text by Christophe Gallois)

Exhibition catalogue, cf, Galerie Art et Essai, Editions Zédélé, (text by François Aubard)

Zérodeux online, cf, review by Aude Launay, February

Les Inrockuptibles #732, et Dixon, review by Judicaël Lavrador, April 28

Mouvement online, Les aventuriers du temps perdu, review by Lucille Uhlrich, April

Exhibition catalogue, Che Cosa Sono Le Nuvole?, Museion, Bolzano, Kaleidoscope, (text by Yoann Gourmel)

Exhibition catalogue, Au pied de la lettre, Domaine de Chamarande, Presses du Réel, (text by Yoann Gourmel)

2009

Mousse Magazine, #18, interview with Francesca di Nardo, April - May.

Artforum, review by Joanna Fiduccia, avril.

Semaine, review par Karen Tanguy, mars- mai.

Flash Art International, review par Chris Sharp, mars - avril.

Particules, #23, "Centrales Périphéries", interview with Stéphane Corréard, February - March.

Exit Express, #41, “Mark Geffriaud”, by Guillaume Désanges, February.

Artforum.com, "Critics' picks", by Emily Verla Bovino, February.

Le Journal des arts, #296, “Multiplier les points de vue”, interview with Frédéric Bonnet, 6 - 21 February.

Les Inrockuptibles, #688, review by Judicaël Lavrador, 3 - 9 February.

Les Inrockuptibles #687, Artiste mille feuilles, par Judicaël Lavrador, 27 janvier - 2 février.

Le Journal des arts, #295, Faire son cinéma, par Frédéric Bonnet, 23 janvier - 5 février.

2008

Artecontexto, #19, L’Anomalie d’Ararat, par Catalina Lozano, automne.

Zérodeux, #47, "Drôles de médiums", by Mathilde Villeneuve, Automn.

Art 21, # 17, "Tout le reste", by Yoann Gourmel, May - June.

Art 21, # 17, "220 jours", by Rémi Parcollet, May - June.

Les Inrockuptibles, #643, "220 jours de fête", by Judicaël Lavrador, 25 - 31 March.

Flash Art, # 258, review par Joanna Fiduccia, janvier - février.

2007

Exhibition catalogue, 00's, L'histoire d'une décennie qui n'est encore nommée, Biennale de Lyon, catalogue, Les Presses du Réel, Dijon.

Works

The light that moves against the wind

The light that moves against the wind, 2011 is an installation composed of four lenses of blown glass filled with water, a light and a paper screen. The spectator, by penetrating into the space, slightly moves this paper screen which receives the refraction of the enlightened objects. Thanks to the movement in the space, the shapes reflect on paper waves. Again, there is a correspondence between the artist's breath and a draft provoked by the spectator, between an image and a sculpture, between a scientific object and the chance of a movement.

The light that moves against the wind, 2011 is an installation composed of four lenses of blown glass filled with water, a light and a paper screen. The spectator, by penetrating into the space, slightly moves this paper screen which receives the refraction of the enlightened objects. Thanks to the movement in the space, the shapes reflect on paper waves. Again, there is a correspondence between the artist's breath and a draft provoked by the spectator, between an image and a sculpture, between a scientific object and the chance of a movement.

Shelter

Geffriaud suggests with Shelter the construction of a house. He imagines a method in progress ; in every new exhibition, he will be able to build a part of this house environment: a room or an architectural element, defined by the measurement and the economy of the space which receives it. This architecture will be built day by day, in a simultaneous discussion with others, in which everyone will bring his own competence, in gb agency the first stone has been conceived and realized with the artist Cyrille Maillot. Once assembled, these modules can find the right place to welcome the set. Having taken the imprint of a space to create the other one, it will be necessary to find a correspondence to fit into it. The system of correspondence floats between a concept of economy and an art market one, between a project with friends and the realization of a piece of art.

Geffriaud suggests with Shelter the construction of a house. He imagines a method in progress ; in every new exhibition, he will be able to build a part of this house environment: a room or an architectural element, defined by the measurement and the economy of the space which receives it. This architecture will be built day by day, in a simultaneous discussion with others, in which everyone will bring his own competence, in gb agency the first stone has been conceived and realized with the artist Cyrille Maillot. Once assembled, these modules can find the right place to welcome the set. Having taken the imprint of a space to create the other one, it will be necessary to find a correspondence to fit into it. The system of correspondence floats between a concept of economy and an art market one, between a project with friends and the realization of a piece of art.

Geffriaud suggests with Shelter the construction of a house. He imagines a method in progress ; in every new exhibition, he will be able to build a part of this house environment: a room or an architectural element, defined by the measurement and the economy of the space which receives it. This architecture will be built day by day, in a simultaneous discussion with others, in which everyone will bring his own competence, in gb agency the first stone has been conceived and realized with the artist Cyrille Maillot. Once assembled, these modules can find the right place to welcome the set. Having taken the imprint of a space to create the other one, it will be necessary to find a correspondence to fit into it. The system of correspondence floats between a concept of economy and an art market one, between a project with friends and the realization of a piece of art.

Geffriaud suggests with Shelter the construction of a house. He imagines a method in progress ; in every new exhibition, he will be able to build a part of this house environment: a room or an architectural element, defined by the measurement and the economy of the space which receives it. This architecture will be built day by day, in a simultaneous discussion with others, in which everyone will bring his own competence, in gb agency the first stone has been conceived and realized with the artist Cyrille Maillot. Once assembled, these modules can find the right place to welcome the set. Having taken the imprint of a space to create the other one, it will be necessary to find a correspondence to fit into it. The system of correspondence floats between a concept of economy and an art market one, between a project with friends and the realization of a piece of art.

Tide

The Police Return to the Magic Shop

Mire

Spear

Herbier, pages 249 - 250

Syzygy

et MAson et Dixon

Anti Dumpty

Wooden falls were collected in various workshops of several corporate associations, architects, cabinet makers, joiners, then were assembled on the ground so as to recompose a geometrical shape.

Anti Dumpty

The pieces of a hoarse vase were restuck, composing a new shape, half a sphere. It is arranged quoted of two grooved panels on which the ordered letterings write both words Anti Dumpty.

Cyrus

Cyrus, 2009 is the name by which Mark Geffriaud indicates an object which he stole from the artist Eric Stephany in 2009. They agreed that it could stay in Mark Geffriaud's possession as long as its owner would not know what he was missing. Once Eric Stephany realizes the existence of the missing object, he will immediatel­y restitute it and the work will no longer have a material existence. They will not speak about it anymore and it will disappear gradually to fall again into the oversight. For now the object is sometimes confined to a curator, a museum attendant or to someone else present, with the instruction to keep it in its pocket during the exhibition duration.

Cyrus, 2009 is the name by which Mark Geffriaud indicates an object which he stole from the artist Eric Stephany in 2009. They agreed that it could stay in Mark Geffriaud's possession as long as its owner would not know what he was missing. Once Eric Stephany realizes the existence of the missing object, he will immediatel­y restitute it and the work will no longer have a material existence. They will not speak about it anymore and it will disappear gradually to fall again into the oversight. For now the object is sometimes confined to a curator, a museum attendant or to someone else present, with the instruction to keep it in its pocket during the exhibition duration.

Figure

Two video projectors connected to a single channel player.

One surface double the size of the image projected.

The projection space has to be darkened enough for the images to be clearly visible.

The execution of the Figure requires two interpreters. The minimum distance between them is the length of their open arms.

Wherever the projectors are located, they have to produce, on the given surface, images of the same size.

Procedure:

Each interpreter holds, in his arms, one projector. When the images appear, and for the entire duration of their presence, the interpreters are required to juxtapose the two images within the frame of the given surface. The partition ends when the images disappear.

'Good Heavens', he said to himself...

Herbarium

Untitled

Untitled

La Fourmi de Langton

Correspondances

Untitled

A River Twice

If one were only an Indian / cross dissolve

If one were only an Indian / for Susan

If one were only an Indian / for Henri

If one were only an Indian / looking forward

If one were only an Indian / table d'orientation

Nord Nord-Ouest

Sculptures inside a sculpture, bits and pieces of a rubber are inserted into a piece of Plexiglas which takes the shape of a pile of sheets of paper.

Sculptures inside a sculpture, bits and pieces of a rubber are inserted into a piece of Plexiglas which takes the shape of a pile of sheets of paper.

Untitled

Polka Dot

The projection of the first photograph of the sun scans the room back and forth, lighting up stock footages from various origins like a theatre spotlight. The focus is made on the back wall, allowing the picture to be seen for itself for a brief moment. At the end of each rotation, the light remains for a while during which it is reflected by a mirror onto the center pages of a book standing upright on a shelf. Tiny holes in the pages let the light go through the other side, engaging the photos in a back to back conversation.

Mires

Herbarium

The light of slide projectors (moving according to the slide shows) goes through the holes in the wall behind the framed pages revealing different parts of the images on the other side.

Roche

Blue, red and orange monochromes are projected onto a copy of Compact — polyphonic novel written by Maurice Roche in which every voice is associated with a specific color — intensifying or erasing different parts of the text.

Les Renseignements Généraux

Les Renseignements Généraux (named after the French secret service, literally meaning “global information”) is a book never intended to be either finished or published and which can take many forms. Its existence is only revealed through a series of photos which give a glimpse of its content : combinations of illustrations meant to back up an absent text. The more or less loose associations provide the raw material as well as the illustrations of the book I would dream of reading one day if ever someone was willing to write it for me.

Les Renseignements Généraux

"Les Renseignements généraux" (named after the French secret service, literally meaning "global information") is a book never intended to be either finished or published and which can take many forms. Its existence is only revealed through a series of photos which give a glimpse of its content : combinations of illustrations meant to back up an absent text. The more or less loose associations provide the raw material as well as the illustrations of the book I would dream of reading one day if ever someone was willing to write it for me.

Alpabeth

The letters of all the alphabets in use on earth today were mixed up together and reclassified according to their shape, in this way designing an evolving wallpaper pattern.

Mercator-sur-mer (les frasques du patatoïde)

A new version of the terrestrial planisphere was created by unfolding a paper ball on which the drawing of the continents and oceans had been previously transferred.

Present Perfect

The lights hitting the naked walls anticipate the next exhibition, pointing out the future location of the works to come. The light flickers as fast as a wink of an eye every 15 to 50 seconds (which corresponds to the perception of the immediate present).

Greetings from an easy world

A diagram conceived by an origamist allows the reproduction of the same crushed paper ball.

Everything he had left aside was suddenly firing back like millions of stars

You Would Have Seen It Happen If You Hadn't Been Looking Somewhere Else

Pride

Pride was born in 1904 with the golden age of oil industry. The city kept on growing until 1947 when due to the lack of a major road, it started to decline and finally disappeared. On the deserted site, 300 pounds of tar were poured (spread) on the road raising its height by a one inch lump.

Milky Ways