• "How sad to think that nature speaks
    and mankind doesn't listen."

    - Victor Hugo

    After having been displayed throughout the summer of 2022 under the vaults of the Collegiate Church of Saint-Pierre-le-Puellier as part of the partnership between the Metropolis of Orleans and Danysz Gallery, "Tumultes" is presented from January 28 to February 25, 2023 at Danysz Paris - Marais.
    Icy and Sot, Liu Bolin, Robert Montgomery, Charles Pétillon, Rero and Saype, invite us to a deep reflection on the place of human beings in the world we live in.


     

  • Questioning through very different techniques the relationship to Human and Nature and to the Living, as well as the defense of the Environment – a major stake in our contemporary era – these artists from rich and various universes are all engaged in the exploration and embodiment of these issues. Indeed, these citizens of the world enlighten each in their own way the ecological stake with their tool of predilection: Art in the form of video, photo, performance or installation. Different mediums marked by their sensitivity to the world that surrounds us, with the idea of a contemporary art that raises questions and conveys poignant emotions and messages.

    • Liu Bolin Sunflower No1 (large), 2012 Photography 135 x 180 cm Edition of 8 plus 2 AP
      Liu Bolin
      Sunflower No1 (large), 2012
      Photography
      135 x 180 cm
      Edition of 8 plus 2 AP
    • Icy And Sot Human Reflection on Ocean, 2017 Giclée print on Mosab Lasal photo Matte 230 gsm 76 x 114 cm 29 7/8 x 44 7/8 in Edition of 3
      Icy And Sot
      Human Reflection on Ocean, 2017
      Giclée print on Mosab Lasal photo Matte 230 gsm
      76 x 114 cm
      29 7/8 x 44 7/8 in
      Edition of 3
    • Icy And Sot Tenacity of Hope, collaboration with Spenser Little, 2019 Giclée print on Mosab Lasal photo Matte 230 gsm 76 x 114 cm 29 7/8 x 44 7/8 in Edition of 3
      Icy And Sot
      Tenacity of Hope, collaboration with Spenser Little, 2019
      Giclée print on Mosab Lasal photo Matte 230 gsm
      76 x 114 cm
      29 7/8 x 44 7/8 in
      Edition of 3
    • Liu Bolin Cancer Village (large), 2013 Photograph 100 x 300 cm Edition of 6 plus 2 AP
      Liu Bolin
      Cancer Village (large), 2013
      Photograph
      100 x 300 cm
      Edition of 6 plus 2 AP
    • Liu Bolin Screens in Rest (medium), 2017 Photography 112 x 150 cm 44 1/8 x 59 in Edition of 8 plus 2 AP
      Liu Bolin
      Screens in Rest (medium), 2017
      Photography
      112 x 150 cm
      44 1/8 x 59 in
      Edition of 8 plus 2 AP
    • Saype, World in Progress II, 2021
      Saype, World in Progress II, 2021
    • Liu Bolin Sea shepherd (AUSTRALIA), 2015 photograph 100 x 150 cm Edition of 8 plus 2 AP
      Liu Bolin
      Sea shepherd (AUSTRALIA), 2015
      photograph
      100 x 150 cm
      Edition of 8 plus 2 AP
    • Icy And Sot Human Reflection on Nature, 2017 Giclée print on Mosab Lasal photo Matte 230 gsm 76 x 114 cm 29 7/8 x 44 7/8 in Edition of 3
      Icy And Sot
      Human Reflection on Nature, 2017
      Giclée print on Mosab Lasal photo Matte 230 gsm
      76 x 114 cm
      29 7/8 x 44 7/8 in
      Edition of 3
    • Icy And Sot Nature's Reflection, 2017 Giclée print on Mosab Lasal photo Matte 230 gsm 76 x 51 cm 29 7/8 x 20 1/8 in Edition of 3
      Icy And Sot
      Nature's Reflection, 2017
      Giclée print on Mosab Lasal photo Matte 230 gsm
      76 x 51 cm
      29 7/8 x 20 1/8 in
      Edition of 3
    • Charles Petillon Igloo 1 (small), 2011 Pigment print 60 x 78 cm 23 5/8 x 30 3/4 in Edition of 5 plus 2 AP
      Charles Petillon
      Igloo 1 (small), 2011
      Pigment print
      60 x 78 cm
      23 5/8 x 30 3/4 in
      Edition of 5 plus 2 AP
    • Robert Montgomery Salvage Paradise, 2021 Recycled PVC, wood, copper and 12v LED 300 x 480 cm 118 1/8 x 189 in Edition of 5
      Robert Montgomery
      Salvage Paradise, 2021
      Recycled PVC, wood, copper and 12v LED
      300 x 480 cm
      118 1/8 x 189 in
      Edition of 5
    • Liu Bolin Forest (large), 2013 Photograph 100 x 300 cm Edition of 6 plus 2 AP
      Liu Bolin
      Forest (large), 2013
      Photograph
      100 x 300 cm
      Edition of 6 plus 2 AP
    • Icy And Sot Remains I, 2021 Alloy Steel Round Bar 53 x 50 x 38 cm 21 x 19 1/2 x 15 in
      Icy And Sot
      Remains I, 2021
      Alloy Steel Round Bar
      53 x 50 x 38 cm
      21 x 19 1/2 x 15 in
    • Robert Montgomery Woodcut Panel (One Day), 2019 Pure gold leaf, tarnished gold and gold paint on carved wood 100 x 100 cm 39 3/8 x 39 3/8 in Edition of 5
      Robert Montgomery
      Woodcut Panel (One Day), 2019
      Pure gold leaf, tarnished gold and gold paint on carved wood
      100 x 100 cm
      39 3/8 x 39 3/8 in
      Edition of 5
    • Icy And Sot Remains II, 2021 Alloy Steel Round Bar 44.5 x 38 x 30.5 cm 17 1/2 x 15 x 12 1/4 in
      Icy And Sot
      Remains II, 2021
      Alloy Steel Round Bar
      44.5 x 38 x 30.5 cm
      17 1/2 x 15 x 12 1/4 in
    • Charles Petillon Anarchitecture (Large), 2014 Pigment print 111 x 146 cm 43 3/4 x 57 1/2 in Edition of 5 plus 2 AP
      Charles Petillon
      Anarchitecture (Large), 2014
      Pigment print
      111 x 146 cm
      43 3/4 x 57 1/2 in
      Edition of 5 plus 2 AP
  • Icy And Sot, Tenacity of Hope, collaboration with Spenser Little, 2019
  • "Art definitely has the power to make change in our society. We believe the act of making art itself is political. We try to give the audience the opportunity to imagine a better world. The impact that a piece can have on someone’s day may be small, but it’s still an impact. We believe that the role of the artist is to deliver hope, advocate for freedom and raise awareness about the issues that are happening in their time."
    - Icy and Sot

  • icy and sot

    Icy And Sot, Plastic Ban, 2018

    icy and sot

    The Iranian brothers Icy And Sot blend in their work the testimony of their own migration and exile in the USA with current climate change and environmental issues. Through Tumultes, the duo of committed artists presents videos, photographs as well as an installation highlighting the climate emergency and the multiple imprints left by humans on nature.

     

    It is then a picture of our contemporary world with all its flaws, breakdowns and tragedies that paint the artists. However Icy and Sot are never guilty of resignation or fatalism. Their work is beaming with hope and resilience. The destiny of these two artists is already in itself one reason not to despair of the world, for Icy and Sot demonstrate that talent and perseverance sometimes have the power to overcome the trials of life.

     

    ICY (Saman, born in 1985) and SOT (Sasan, born in 1991) grew up in Tabriz in northern Iran. Their work has been shown in major institutions such as the Museum of Urban and Contemporary Art in Munich, the Southampton Arts Center in New York, the Museum of Fine Arts in Calais, France, the Mesa Contemporary Arts Museum in Mesa, USA, the Lancaster Museum of Art and History in Lancaster, USA, the NUART Festival in Norway, and the Modern, Contemporary and Street Art Museum in Amsterdam, among other places. They live in New York.

     

  •  
    Liu Bolin, Screens in Rest (medium), 2017 Photography
  • "Some would say that I disappear into the landscape.
    Personally, I would say that it is the environment that swallows me up."
    - Liu Bolin

  • Liu Bolin
    Liu Bolin, Forest (large), 2013 - Photography

    Liu Bolin

    Liu Bolin, artist known for his use of camouflage in order to blend into the landscape (unless it is the landscape that absorbs him), invites us to discover the photographs of his famous series "Invisible Man". A way to literally merge with nature and to sound the death knell of a binary vision of humans separated from their environment.

     

    "I use a sniper’s technique," said Liu Bolin in a TED talk in 2013, commenting on his famous series Invisible Man. A chameleon artist, through his own dissimulation Liu Bolin creates a tension in the image, a tension that calls for a response, a reaction from the viewer.

     

    In parallel with his photo-performances, Liu Bolin continues to practice sculpture, the medium with which he started as an artist - and creates human figures made of electronic components, motherboards, USB cables. This sculpture work completes, and in one way illuminates, the Invisible Man series. It proceeds from the same vision of humanity in jeopardy, and invites us to question whether our species isn’t perhaps on the path to being dissolved into the technological, economic and political structures of the contemporary age.


    Liu Bolin was born in 1973 in Shandong province, eastern China. He graduated with a Bachelor of Fine Arts from the Shandong Fine Arts University, and a Master of Fine Arts from the Central Academy of Fine Arts of China. His works are regularly exhibited in galleries and museums around the world. He lives and works in Beijing.

    • Liu Bolin Les Demoiselles d'Avignon (large), 2017 Photography 120 x 120 cm 47 1/4 x 47 1/4 in Edition of 4 plus 2 AP
      Liu Bolin
      Les Demoiselles d'Avignon (large), 2017
      Photography
      120 x 120 cm
      47 1/4 x 47 1/4 in
      Edition of 4 plus 2 AP
    • Liu Bolin No. 2 Mexico Magazine (small), 2015 Photography 90 x 120 cm 35 3/8 x 47 1/4 in Edition of 6 plus 2 AP
      Liu Bolin
      No. 2 Mexico Magazine (small), 2015
      Photography
      90 x 120 cm
      35 3/8 x 47 1/4 in
      Edition of 6 plus 2 AP
    • Liu Bolin Dance, 2017 Epson Glossy Photo Paper 100 x 150 cm 39 1/2 x 59 in
      Liu Bolin
      Dance, 2017
      Epson Glossy Photo Paper
      100 x 150 cm
      39 1/2 x 59 in
    • Icy And Sot Plastic Ban, 2018 Giclée print on Mosab Lasal photo Matte 230 gsm 76 x 114 cm 29 7/8 x 44 7/8 in Edition of 3
      Icy And Sot
      Plastic Ban, 2018
      Giclée print on Mosab Lasal photo Matte 230 gsm
      76 x 114 cm
      29 7/8 x 44 7/8 in
      Edition of 3
    • copyright Elodie Ponsaud
      Robert Montgomery
      Future is a Risk, 2021
      Oak, polymer and 12volt LED lights
      55 x 878 cm
      21 5/8 x 345 5/8 in
    • Robert Montgomery All Palaces are Temporary Palaces Photography 61 x 88 cm 24 1/8 x 34 5/8 in
      Robert Montgomery
      All Palaces are Temporary Palaces
      Photography
      61 x 88 cm
      24 1/8 x 34 5/8 in
    • Icy And Sot Our House Is On Fire, 2020 Giclee Print on innova Smooth Cotton Fine Art Paper 89 x 102 cm 35 1/8 x 40 1/8 in Edition of 3
      Icy And Sot
      Our House Is On Fire, 2020
      Giclee Print on innova Smooth Cotton Fine Art Paper
      89 x 102 cm
      35 1/8 x 40 1/8 in
      Edition of 3
    • Robert Montgomery You Are an Agent of Free Sunlight, 2021 Digital Animation NFT 3'33"
      Robert Montgomery
      You Are an Agent of Free Sunlight, 2021
      Digital Animation NFT
      3'33"
  • Robert Montgomery, The Sea Has No Name For America, 2018 - Fire poem performance Bombay Beach BIennale, California
  • I think melancholy is really interesting, because it is the creation of beauty from sadness…
    It's only when we begin to destroy the planet that we realize we were living in paradise.

    —Robert Montgomery

  • Robert Montgomery

    Robert Montgomery, All Palaces are Temporary Palaces, 2011

    Robert Montgomery

    British artist Robert Montgomery is interested in “what it feels like on the inside to live in Late-Capitalism”. Often poetic, many of his works are displayed outdoors in a variety of mediums: posters, LED signs, woodwork set on fire in the context of performances. In his studio, he turns to painting, watercolor or wood carving. Tinted with melancholy, his words are sometimes charged with a sense of existential doom. Sometimes also beaming with hope. Ecology, war, apathy, alienation are some of his recurrent themes, with this underlying idea that “art can be transformative”. The guest of honor at COP26, invites us to preserve the Earth and to rediscover the link that unites us to the world.


    Robert Montgomery was born in Chapelhall, Scotland, in 1972. He was selected to represent the United Kingdom at the Lyon Biennale of contemporary art (France) in 2011, the Kochi Biennale (India) in 2012, and the Yinchuan Biennale (China) in 2016. He has produced large-scale light installations in the public space in various European cities like Berlin, London, Paris, Athens, and more. His work has been presented at the Aspen Art Museum (USA), the Oklahoma Contemporary Arts Center (USA), or the Cer Modern Museum (Ankara, Turkey). His works are in the permanent collections of the Houston Museum of Fine Arts and the Albright Knox Museum (USA). He lives in London.

  • Charles Pétillon, Activités de plein air 2 (small), 2018
  • "These balloon invasions are metaphors. Their purpose is to change our perspective on things that we encounter every day without paying attention."
    - Charles Pétillon

  • Charles Pétillon
    Charles Pétillon, Mutations 1 (Large), 2014

    Charles Pétillon

    Influenced by Land Art, artistic movement of the 1960s where nature itself is used as a component of the artwork, Charles Pétillon intends through his work to highlight the imprint of humans on his environment, the complex relationships between nature and society.
     
    His interventions in places devoid of human presence or in the great outdoors, immortalized by his photographs, are akin to poetic, enigmatic and neatly articulated statements. They seek to bring to consciousness incongruities, odd circumstances, paradoxes of our time. They make us aware of situations that we might tend to forget or to ignore.
     
    Charles Pétillon excels in what we might call the art of visual haiku. With the short Japanese poems, his creations share the same inclination toward capturing a moment, toward the concise evocation of the elusive nature of the world, and the same deceptive simplicity.
     
    Born in 1973, Charles Pétillon is an artist known for his photographs and his large-scale in situ installations. His work is regularly shown in galleries around the world, as well as in museums such as the Maison de la Photographie in Lille, France. Often solicited for projects in the public space, his large-scale in situ works include a monumental installation made up of more than 100,000 balloons at the Covent Garden in London, in 2015, and one in Paris-Charles de Gaulles airport in 2020.
  • Rero, Nature Morte - Courtesy Rero
  • "Art does not aim to resolve problems, but to generate questions, surges of conscience regarding the myriad issues in our world. Hence, the ecological nature of artistic creation, Rero’s ethical exigency pertaining to the new generation, as a gesture of moral resistance. To depict the constructive desire to live and to reflect upon social and political drift, despite a chaos that is always irreversible."

    - Achille Bonito Olivia

  • Rero
    Rero, Still Life, 2012

    Rero

    With his intriguing work, Rero systematically uses Verdana font, one of the most widely used, to draw words or phrases that he immediately crosses out. A conceptual approach that allows him to state and contradict at the same time in order to better question the ambivalent nature of things and the codes of our contemporary societies.
     
    In his work, RERO puts down one way of thinking and then the opposite way of thinking, making a composition with synthesis but with open conclusions. The artist always writes three dots at the end of his works to start the conversation allowing the viewer to read it whether negatively or positively.

    I’m not trying to change the world; I try to show the contradictions, to understand and to live with them because there are many things we can’t change.
    - RERO

    RERO was born in 1983 and studied graphic design at the London College of Communication. His works have been shown in numerous public and private spaces, including Pompidou Center, Musée en Herbe and Musée de la Poste, Confluences in Paris and Antje Øklesund (Berlin). More recently, his work has been exhibited throughout France, the United States, Brasil, Germany, Italy and Switzerland. He lives and works between Paris and Rio de Janeiro.
  • Saype Les contrebandiers de l'amitié, 2019
  • "I am convinced that humanity will better face its challenges, especially climatic ones, by remaining united. We are living in a time of history when mankind is turning in on itself. Our world is hyper-connected, but this globalization is not synonymous with sharing and coming together. This idea of wanting to close the borders is a view of the mind..."
    - Saype

  • SAYPE
    Saype, World in Progress II, 2021

    SAYPE

    Self-taught, Saype is known today for his paintings on grass, made with eco-responsible paint. Certainly one of the most publicized artists in 2019, he was notably named by the famous magazine Forbes as one of the thirty most influential personalities under the age of thirty in the world having marked the universe of arts and culture. 

     

    The artist who distinguishes himself by his monumental interventions on the ground on thousands of square meters of grass, earth or sand, which reveal all their magnitude seen from the sky. With his works, ephemeral by nature, a combination between street-art and land-art, he questions our societies on their excesses while calling for more solidarity.

     

    Guillaume Legros alias Saype, passionate about philosophical and existential questions, explores issues around the human and nature. This approach leads to the creation of scenes in the most unexpected places with eco-responsible and biodegradable paint on grass.

     

    A fervent optimist, the land artist put his art at the service of humanity by launching the pharaonic project Beyond Walls in 2019, to symbolically create the largest human chain in the world, calling for a global movement to break down the walls that separate humans to emphasize the importance of our place on earth.

  • Dialogue with nature remains a condition for the artist sine qua non.

    The artist is man; he himself is nature, a piece of nature in the natural area.
    - Paul Klee

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