[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.16″ custom_margin=”|auto||auto||” use_custom_width=”on” width_unit=”off” custom_width_percent=”100%” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”20f6a6d8-5302-4b67-bf52-c719f9e7fa0b” custom_margin=”||1em||false|false” custom_padding=”||||false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n
ARLES DRAWING FESTIVAL<\/strong><\/h3>\nAntoine de Galbert Collection<\/em>. 12.04\/11.05.2025<\/strong>. \u00c9glise Saint Anne, Arles. <\/p>\n<\/em><\/strong><\/p>\n[\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”20f6a6d8-5302-4b67-bf52-c719f9e7fa0b” custom_margin=”||1em||false|false” custom_padding=”||||false|false” global_colors_info=”{}”]<\/p>\n
SABINE BAYASLI GALLERY<\/strong><\/h3>\nPochette Surprise<\/em>. 02.02\/01.03.2025<\/strong>. Curator Marc Molk. <\/p>\n<\/em><\/strong><\/p>\n[\/et_pb_text][et_pb_text _builder_version=”4.27.4″ text_font=”||||||||” text_line_height=”2em” link_font=”||||||||” header_font=”||||||||” header_text_align=”left” header_3_font=”|700||on|||||” header_3_font_size=”12px” header_3_letter_spacing=”5px” header_3_line_height=”1.8em” max_width_tablet=”70%” max_width_last_edited=”off|phone” animation_style=”zoom” animation_intensity_zoom=”5%” header_3_font_size_tablet=”” header_3_font_size_phone=”” header_3_font_size_last_edited=”on|desktop” text_text_align=”left” global_colors_info=”{}”]<\/p>\n
<\/span><\/p>\nNews and press<\/a><\/p>\n[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”20f6a6d8-5302-4b67-bf52-c719f9e7fa0b” custom_margin=”||1em||false|false” custom_padding=”||||false|false” global_colors_info=”{}”]<\/p>\n
MUDAC <\/strong><\/h3>\nSolar Biennale #2 – <\/em>21.03\/21.09. 2025<\/strong>. From equinox to equinox. MUDAC<\/strong>, Lausanne, Switzerland.<\/p>\n[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”20f6a6d8-5302-4b67-bf52-c719f9e7fa0b” custom_margin=”||1em||false|false” custom_padding=”||||false|false” global_colors_info=”{}”]<\/p>\n
MAC VAL Val-de-Marne Museum of Contemporary Art<\/strong><\/h3>\nThe Ideal Gender. <\/em>From 21. 03. 2025. <\/strong><\/p>\nCurated by Nicolas Surlapierre.
Co-curated by Yuan-Chih Cheng, Ana\u00efs Linares,
Margaut Segui and MAC VAL teams.<\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Work” _builder_version=”4.27.2″ background_enable_image=”off” background_size=”initial” background_repeat=”repeat” custom_padding=”0px||||false|false” global_colors_info=”{}”][et_pb_row custom_padding_last_edited=”off|phone” _builder_version=”4.16″ background_position=”bottom_center” custom_padding_tablet=”17vw||17vw||false” use_custom_width=”on” width_unit=”off” custom_width_percent=”100%” locked=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.0″ _module_preset=”8f5ee6b5-14e8-48e8-a7fd-9354fcc5b479″ header_3_text_color=”rgba(0,0,0,0.35)” header_3_font_size=”12px” header_3_letter_spacing=”5px” header_3_line_height=”2em” text_orientation=”center” max_width_tablet=”70%” max_width_last_edited=”off|phone” header_2_font_size_tablet=”” header_2_font_size_phone=”” header_2_font_size_last_edited=”on|phone” header_3_font_size_phone=”10px” header_3_font_size_last_edited=”off|desktop” module_alignment_last_edited=”off|desktop” global_colors_info=”{}”]<\/p>\n
Overview<\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.2″ text_font=”||||||||” text_line_height=”2em” link_font=”||||||||” header_font=”|700|||on||||” header_text_align=”right” header_font_size=”16px” header_line_height=”1.3em” header_2_font=”|700|||on||||” header_2_font_size=”16px” header_3_font=”|700||on|||||” header_3_font_size=”12px” header_3_letter_spacing=”5px” header_3_line_height=”1.8em” text_orientation=”right” max_width_tablet=”70%” max_width_last_edited=”off|phone” animation_style=”zoom” animation_intensity_zoom=”5%” header_3_font_size_tablet=”” header_3_font_size_phone=”” header_3_font_size_last_edited=”on|desktop” text_text_align=”left” global_colors_info=”{}”]<\/p>\n
Gilles Barbier portfolio<\/span><\/a><\/h1>\n[\/et_pb_text][et_pb_code _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]
![\""One](\"https:\/\/www.studio-gilles-barbier.fr\/wp-content\/uploads\/2024\/09\/serie-dessins-noirs-One-of-theses-wetting-agents-is-not-a-wetting-agent-2011-gouache-papier-123-x-190-gilles-barbier.webp\")
<\/a> Black drawings.<\/a> <\/span> Paintings<\/a><\/span><\/div>![\""The](\"https:\/\/www.studio-gilles-barbier.fr\/wp-content\/uploads\/2024\/09\/gilles-barbier-installation-terrier-2004-685x1024.jpg\")
<\/a> The Burrow.<\/a> <\/span> Installations<\/a><\/span><\/div>![\""Locataire](\"https:\/\/www.studio-gilles-barbier.fr\/wp-content\/uploads\/2024\/09\/gilles-barbier-sculpture-habiter-meuble-1993-2.webp\")
<\/a> Locataire Mobilier (Furniture Tenant).<\/a> <\/span> Sculptures<\/a><\/span><\/div><\/div> [\/et_pb_code][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ custom_padding_last_edited=”off|desktop” admin_label=”Art Show” _builder_version=”4.27.2″ background_enable_image=”off” background_position=”top_center” custom_padding=”0px||||false|false” global_colors_info=”{}”][et_pb_row _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”8f5ee6b5-14e8-48e8-a7fd-9354fcc5b479″ global_colors_info=”{}”]<\/p>\nBiography<\/h2>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ custom_padding_last_edited=”off|phone” _builder_version=”4.16″ background_position=”bottom_center” custom_padding_tablet=”17vw||17vw||false” use_custom_width=”on” width_unit=”off” custom_width_percent=”100%” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.2″ text_font=”||||||||” header_font=”||||||||” header_2_font_size=”56px” header_2_line_height=”1.3em” header_3_font=”|700||on|||||” header_3_font_size=”12px” header_3_letter_spacing=”5px” header_3_line_height=”2em” transform_translate_linked=”off” max_width=”700px” max_width_tablet=”70%” max_width_last_edited=”off|phone” module_alignment=”center” header_2_font_size_tablet=”40px” header_2_font_size_phone=”26px” header_2_font_size_last_edited=”on|phone” header_3_font_size_phone=”10px” header_3_font_size_last_edited=”off|desktop” module_alignment_last_edited=”off|desktop” global_colors_info=”{}”]How do you get into Gilles Barbier’s work?<\/strong> It’s a question asked of most artists. And historians will be quick to answer: from the beginning. Whereas semiologists will tell you: by its structure (its signifier). But that’s all a misreading. Gilles Barbier’s approach refuses to do that, and his network of burrows dug and surveyed by worms can be approached from any direction. I understand that this will disconcert some people who have been brought up on unifying linear methods. But we must insist: enter from wherever you like: the worm, the cosmos, the black, the comic bubble, the copy, the fold, the cloning, the escape, the suicide, the hole, etc. Enter and exit, that is the way it is. Enter and exit<\/em>, is Barbier’s injunction, dig into the earth and spring up into the sky<\/em>. In other words, a fierce, almost foetal territorialisation (the mother’s womb as a breeding ground) and the surging deterritorialisation of blackness. The worm could block desire at the bottom of a dead-end hole, but the surfboards, cousins of spaceships, rise up into the black azure and release that same desire in proliferating words. The subterranean and aerial worm is made of the same gothic line without beginning or end, a rhizome, an interlacing. Something like the illuminations of the Celts, the noodles of 1900s architecture, Pollock, all pulsing on the web. <\/p>\nAs for the question: where to start? Anywhere? There are a thousand entrances to Gilles Barbier. His work never ceases to appear riddled and tentacular. You wouldn’t ask such a cephalopod to hold out his right hand to you… (…) Above all, don’t start at the beginning by unrolling the works along the conventional slope of chronology. To begin at the beginning is always to foresee the end. Art suffocates and dies from an excess of historicity. History of art, history of philosophy, history of science and so on. By teaching only that, we always miss the immanence of paintings and texts. Gilles Barbier, you have to enter it like that, by the path that offers itself, the painting-connection of the moment. Then we’ll see how to map his overabundant arsenal of images and ideas. The more heterogeneous his work, the more multiplicities intertwine, and the more entrances there are. There’s no end, no beginning: just a middle ground. <\/p>\n
<\/em><\/strong><\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”20f6a6d8-5302-4b67-bf52-c719f9e7fa0b” custom_margin=”||1em||false|false” custom_padding=”||||false|false” global_colors_info=”{}”]<\/p>\n Pochette Surprise<\/em>. 02.02\/01.03.2025<\/strong>. Curator Marc Molk. <\/p>\n <\/em><\/strong><\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ text_font=”||||||||” text_line_height=”2em” link_font=”||||||||” header_font=”||||||||” header_text_align=”left” header_3_font=”|700||on|||||” header_3_font_size=”12px” header_3_letter_spacing=”5px” header_3_line_height=”1.8em” max_width_tablet=”70%” max_width_last_edited=”off|phone” animation_style=”zoom” animation_intensity_zoom=”5%” header_3_font_size_tablet=”” header_3_font_size_phone=”” header_3_font_size_last_edited=”on|desktop” text_text_align=”left” global_colors_info=”{}”]<\/p>\n <\/span><\/p>\n News and press<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”20f6a6d8-5302-4b67-bf52-c719f9e7fa0b” custom_margin=”||1em||false|false” custom_padding=”||||false|false” global_colors_info=”{}”]<\/p>\n Solar Biennale #2 – <\/em>21.03\/21.09. 2025<\/strong>. From equinox to equinox. MUDAC<\/strong>, Lausanne, Switzerland.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”20f6a6d8-5302-4b67-bf52-c719f9e7fa0b” custom_margin=”||1em||false|false” custom_padding=”||||false|false” global_colors_info=”{}”]<\/p>\n The Ideal Gender. <\/em>From 21. 03. 2025. <\/strong><\/p>\n Curated by Nicolas Surlapierre. [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”Work” _builder_version=”4.27.2″ background_enable_image=”off” background_size=”initial” background_repeat=”repeat” custom_padding=”0px||||false|false” global_colors_info=”{}”][et_pb_row custom_padding_last_edited=”off|phone” _builder_version=”4.16″ background_position=”bottom_center” custom_padding_tablet=”17vw||17vw||false” use_custom_width=”on” width_unit=”off” custom_width_percent=”100%” locked=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.0″ _module_preset=”8f5ee6b5-14e8-48e8-a7fd-9354fcc5b479″ header_3_text_color=”rgba(0,0,0,0.35)” header_3_font_size=”12px” header_3_letter_spacing=”5px” header_3_line_height=”2em” text_orientation=”center” max_width_tablet=”70%” max_width_last_edited=”off|phone” header_2_font_size_tablet=”” header_2_font_size_phone=”” header_2_font_size_last_edited=”on|phone” header_3_font_size_phone=”10px” header_3_font_size_last_edited=”off|desktop” module_alignment_last_edited=”off|desktop” global_colors_info=”{}”]<\/p>\n Overview<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.2″ text_font=”||||||||” text_line_height=”2em” link_font=”||||||||” header_font=”|700|||on||||” header_text_align=”right” header_font_size=”16px” header_line_height=”1.3em” header_2_font=”|700|||on||||” header_2_font_size=”16px” header_3_font=”|700||on|||||” header_3_font_size=”12px” header_3_letter_spacing=”5px” header_3_line_height=”1.8em” text_orientation=”right” max_width_tablet=”70%” max_width_last_edited=”off|phone” animation_style=”zoom” animation_intensity_zoom=”5%” header_3_font_size_tablet=”” header_3_font_size_phone=”” header_3_font_size_last_edited=”on|desktop” text_text_align=”left” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_code _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”] [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ custom_padding_last_edited=”off|phone” _builder_version=”4.16″ background_position=”bottom_center” custom_padding_tablet=”17vw||17vw||false” use_custom_width=”on” width_unit=”off” custom_width_percent=”100%” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.2″ text_font=”||||||||” header_font=”||||||||” header_2_font_size=”56px” header_2_line_height=”1.3em” header_3_font=”|700||on|||||” header_3_font_size=”12px” header_3_letter_spacing=”5px” header_3_line_height=”2em” transform_translate_linked=”off” max_width=”700px” max_width_tablet=”70%” max_width_last_edited=”off|phone” module_alignment=”center” header_2_font_size_tablet=”40px” header_2_font_size_phone=”26px” header_2_font_size_last_edited=”on|phone” header_3_font_size_phone=”10px” header_3_font_size_last_edited=”off|desktop” module_alignment_last_edited=”off|desktop” global_colors_info=”{}”]How do you get into Gilles Barbier’s work?<\/strong> It’s a question asked of most artists. And historians will be quick to answer: from the beginning. Whereas semiologists will tell you: by its structure (its signifier). But that’s all a misreading. Gilles Barbier’s approach refuses to do that, and his network of burrows dug and surveyed by worms can be approached from any direction. I understand that this will disconcert some people who have been brought up on unifying linear methods. But we must insist: enter from wherever you like: the worm, the cosmos, the black, the comic bubble, the copy, the fold, the cloning, the escape, the suicide, the hole, etc. Enter and exit, that is the way it is. Enter and exit<\/em>, is Barbier’s injunction, dig into the earth and spring up into the sky<\/em>. In other words, a fierce, almost foetal territorialisation (the mother’s womb as a breeding ground) and the surging deterritorialisation of blackness. The worm could block desire at the bottom of a dead-end hole, but the surfboards, cousins of spaceships, rise up into the black azure and release that same desire in proliferating words. The subterranean and aerial worm is made of the same gothic line without beginning or end, a rhizome, an interlacing. Something like the illuminations of the Celts, the noodles of 1900s architecture, Pollock, all pulsing on the web. <\/p>\n As for the question: where to start? Anywhere? There are a thousand entrances to Gilles Barbier. His work never ceases to appear riddled and tentacular. You wouldn’t ask such a cephalopod to hold out his right hand to you… (…) Above all, don’t start at the beginning by unrolling the works along the conventional slope of chronology. To begin at the beginning is always to foresee the end. Art suffocates and dies from an excess of historicity. History of art, history of philosophy, history of science and so on. By teaching only that, we always miss the immanence of paintings and texts. Gilles Barbier, you have to enter it like that, by the path that offers itself, the painting-connection of the moment. Then we’ll see how to map his overabundant arsenal of images and ideas. The more heterogeneous his work, the more multiplicities intertwine, and the more entrances there are. There’s no end, no beginning: just a middle ground. <\/p>\nSABINE BAYASLI GALLERY<\/strong><\/h3>\n
MUDAC <\/strong><\/h3>\n
MAC VAL Val-de-Marne Museum of Contemporary Art<\/strong><\/h3>\n
Co-curated by Yuan-Chih Cheng, Ana\u00efs Linares,
Margaut Segui and MAC VAL teams.<\/p>\nGilles Barbier portfolio<\/span><\/a><\/h1>\n
<\/a> Black drawings.<\/a> <\/span> Paintings<\/a><\/span><\/div><\/a> The Burrow.<\/a> <\/span> Installations<\/a><\/span><\/div><\/a> Locataire Mobilier (Furniture Tenant).<\/a> <\/span> Sculptures<\/a><\/span><\/div><\/div> [\/et_pb_code][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ custom_padding_last_edited=”off|desktop” admin_label=”Art Show” _builder_version=”4.27.2″ background_enable_image=”off” background_position=”top_center” custom_padding=”0px||||false|false” global_colors_info=”{}”][et_pb_row _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ _module_preset=”8f5ee6b5-14e8-48e8-a7fd-9354fcc5b479″ global_colors_info=”{}”]<\/p>\nBiography<\/h2>\n