From the forests (Steps, Panorama and After earth), 2019

Jezy Knez

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Jezy Knez, «Depuis les forêts, Marches», 2018, Contre forme, L'Atelier, Nantes, view of the exhibition with the works of Lucie Le Bouder and Eva Nielsen, photographie : Philippe Piron
Jezy Knez, «Depuis les forêts, Marches», 2018, wood, balsa, synthetic glass, sand, aluminium, Contre forme, L'Atelier, Nantes, photographie : Philippe Piron
Jezy Knez, «Depuis les forêts, Marches», 2018, wood, balsa, synthetic glass, sand, aluminium, Contre forme, L'Atelier, Nantes, photographie : Philippe Piron
Jezy Knez, «Depuis les forêts, Marches», 2018, Contre forme, L'Atelier, Nantes, view of the exhibition with the works of Lucie Le Bouder, Eva Nielsen and Alexis Judic, photographie : Philippe Piron
Jezy Knez, «Depuis les forêts, Panorama», 2018, wood, cardboard, plastic, mirrors, earth, Contre forme, L'Atelier, Nantes, with the work of Alexis Judic, photographie : Philippe Piron
Jezy Knez, «Depuis les forêts, Panorama», 2018, wood, cardboard, plastic, mirrors, earth, Contre forme, L'Atelier, Nantes, with the work of Alexis Judic, photographie : Philippe Piron
Jezy Knez, «Depuis les forêts, Panorama», 2018, wood, cardboard, plastic, mirrors, earth, Contre forme, L'Atelier, Nantes, photographie : Philippe Piron
Jezy Knez, «Depuis les forêts, After earth», 2018, Contre forme, L'Atelier, Nantes, view of the exhibition with the work of Ann Veronica Janssens, photographie : Philippe Piron
Jezy Knez, «Depuis les forêts, After earth», 2018, wood, synthetic glass, sand, glass beads, steel, neons, Contre forme, L'Atelier, Nantes, photographie : Philippe Piron
Jezy Knez, «Depuis les forêts, After earth», 2018, wood, synthetic glass, sand, glass beads, steel, neons, Contre forme, L'Atelier, Nantes, photographie : Philippe Piron

From the forests (Steps, Panorama and After earth), 2019

l'Atelier Nantes presented as part of the group exhibition Contre forme commissionership MPVite

Presentation text of the exhibition by Romain Boulay :

The architecture is functional, it shelters the bodies.

To host Art is to exhibit.

The Contre Forme * exhibition brings together architecture. The artists are not gathered here to evoke a theme but because this art serves as their vector, thought, pure form. Architecture becomes a material, a language device, an emergency …

It is by no means intended to be exhaustive, but rather to question singularities.

Defining would leave us in the impasse of the movement that thought impresses.

Contre Forme here tends to twist architecture by neutralizing its primary function.

Get lost from romantic ruin to poetic utopias.

Strolling from materiality to the figure of the architect.

Wandering from dystopia to raw, concrete reality.

Find your way in what lives in all of us.

Where we take shelter …

 

* The title of the exhibition refers to the term Contreforme (ou contre-forme) which, in typography, is the white interior space of certain letters. This space is generally closed, but by extension, open spaces are also called counterforms, thus marking the full and the empty to create the letter. It is the space that defines in hollow the shape that remains open.