Camille Lichtenstern Jean-Vincent Simone Iseult Labote Mari Kim Im Jibin Jeong Woojae. Autumn Contemporary Collection

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1 Camille Lichtenstern Jean-Vincent Simone Iseult Labote Mari Kim Im Jibin Jeong Woojae Autumn Contemporary Collection

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3 Camille Lichtenstern Jean-Vincent Simone Iseult Labote // Mari Kim Im Jibin Jeong Woojae 49 Albemarle Street London, W1S 4JR mobile tel

4 CAMILLE LICHTENSTERN Coquillage et Crustacé I 100 x 100 cm (39 x 39in) Acrylic on Canvas 2015

5 Coquillage et crustacé II 100 x 100 cm (39 x 39in) Acrylic on Canvas 2015 Coquillage et crustacé III 100 x 100 cm (39 x 39in) Acrylic on Canvas 2015

6 JEAN - VINCENT SIMONET (left) Maldoror #1 60 x 45 cm (24 x 18in) Inkjet Print on Baryté Paper Mounted on Aluminium (3mm) under Acrylic Glass Edition of Maldoror #6 60 x 45 cm (24 x 18in) Inkjet Print on Baryté Paper Mounted on Aluminium (3mm) under Acrylic Glass Edition of

7 Can I Try Your Looking Glass 60 x 72 cm (24 x 28in) Inkjet Print on Baryté Paper Mounted on Aluminium (3mm) under Acrylic Glass Edition of

8 ISEULT LABOTE Radieuse; sourire à Le Corbusier 30 x 90 cm (12 x 36in) Yellow Neon 2013

9 Anatomie II 125 x 185 cm (49 x 73in) Silver printing process, Diasec 2004

10 MARI KIM (left) Farewell My Concubine 4 Blue Ultra Chrome Ink Printed on Canvas 125 x 90cm (49 x 35in) 2015 The End of the Perfect Utopia which was Made up of Reason Green Graffiti Mix with Ultra Chrome Ink Printed on Canvas 125 x 100cm (49 x 39in) 2015

11 Would You Go With Me If There Is An Extra Ticket? Transition 1 Ultra Chrome Ink Printed under Lenticular 120 x 100cm (47 x 39in) 2015 Would You Go With Me If There Is An Extra Ticket? Transition 2 Ultra Chrome Ink Printed under Lenticular 120 x 100cm (47 x 39in) 2015

12 IM JIBIN How s Your Day Today? Car Paint on Plastic Set of 50: 20 x 160 x 160 cm (8 x 63 x 63 in) Individual: 20 x 15 x 15 cm (8 x 6 x 6 in) edition of

13 Slave Sacrifice Car Paint on Plastic 65 x 50 x 35cm (25.5 x 20 x 14in) 2011

14 JEONG WOOJAE Gleaming Touch The Blue Oil on Canvas 91 x 162cm (36 x 64in) 2014

15 The Moment Take #1 Oil on Canvas 89.5 x 130cm (35 x 51in) 2015

16 Gleaming Cover Me Oil on Canvas 54 x 91cm (21 x 36in) 2015

17 The Gleaming Fall In Light Oil on Canvas 89.5 x 145.5cm (35 x 57in) 2014

18 Camille Lichtenstern Jean-Vincent Simone Iseult Labote Camille Lichtenstern was born in 1989 in Lyon. Her parents are Swiss and thanks to her diplomat father, she spent her childhood and teenage years traveling the world (Brasilia, Athens, Berne, Hong Kong, San Francisco). Her intention is to create something new from existing forms while drawing or by reusing everyday objects. The interest of the artist lies in the impact that causes the encounter of common objects in the sensory or emotional stimulation they evoke and the intimate connection she herself has with them. These become meaningful, evidence of a moment, a time, just like an archaeological or ethnological document. With a semblance of lightness, this assemblage of ideas and forms questions the very status of the art object and is part of the resonance of the readymade. Camille Lichtenstern shines a light on ordinary objects, rebuilds, appropriates, thus emphasizing the meanings and associations of our mass culture, both collective and individual. Exhibitions 2015 Freeze, Ganioz Project Space, Le Manoir, Martigny 2014 Super Clean, Atelier des Rats Collectif, Vevey Lupanar, FORMA Art contemporain, Lausanne Imago, carte blanche à Myriam Ziehli, FORMA, Lausanne De la Skholè au Chill: repenser le temps libre..., Lausanne ECAL Diplômes 2012, ECAL, Lausanne Do you read me, ELAC, Lausanne Leçons de Mode, Le Bon Marché, Paris Publications 2015 TRANS Magazin,Trans 26: Lust 2013 Mock up x 36, ECAL 2012 Ecal Yeabook, ECAL Prizes 2014 Fondation Alice Bailly Award 2012 Fondation Ernest Manganel Award Jean-Vincent Simonet (born 1991, Lyon) graduated with high honours from ECAL in 2014 before starting his career mixing editorial, fashion and experimental photography. His personal work was exhibited at Pla(t)form 2015 in Fotomuseum Winterthur. He had his first solo show at Foam in Amsterdam and won a Swiss Design Awards in Basel this year for his work Maldoror. He is also part of the Foam Talent selection He lives and works in Lausanne where he juggles between commissioned photography and personal explorations. Selected Exhibitions 2015 Foam Talents, Paris Photo Festival, Atelier Néerlandais, Paris Foam Talents, UNSEEN festival, Amsterdam Maldoror, First Solo Show, Foam 3h, Amsterdam Swiss Design Awards, Basel Plat(t)formes, Fotomuseum, Winthertur Quottom Exhibition Opening : Realität und Verzweiflung, Zurich PhotoBooth, Spacio d el Orso, Milano LOW_RES, Kunstraum Toni Areal, Zurich Fahrenheit 39 art book fair, Ravenne 2014 L art se livre, Musée des Beaux-Arts, Le Locle 8 Jeunes photographes, Galerie 4Quatre, Paris Peinture Fraiche, Galerie Le Huit, Paris ECAL Diplômes, ECAL Hall Kudelski, Lausanne Rencontres Photographiques d Arles, La Galerie du Club, Arles ECAL Photography, Gallery Carla Sozzani, Milano ECAL Photography, Gallery Corso Como, Shanghaï La nouvelle photographie suisse, Salon du livre, Geneva 2013 ECAL Photography, Elac, Lausanne Prizes ECAL Photography, Galerie Azzedine Alaïa, Paris Sharks Eat Monkeys, Galerie Urgent Paradise, Lausanne 2015 Swiss Design Award 2014 Elinchrom Award La Foncière Award «Das Auge und der Stein» Of Greek and Swiss descent, Iseult Labote, was born in Geneva and studied Art History and political science at the University of Geneva. Her passion for photography, first revealed in adolescence, drove her to make several study trips abroad: she stayed in Athens, Florence, Rome, Moscow, New York and Singapore. Iseult Labote s photographs, created without any artificial intervention or staged set-up, explore the aesthetic of the contemporary industrial world. In the heart of transit locations, construction sites, warehouses, factories locations permeated by temporality the artist guides her attention towards the feeling of intense presence, which emanates from them. By freezing the materials, structures, and surfaces, Labote finds and brings forth the hidden poetry and sensuality stemming from abandonment and destruction. Selected Solo Exhibitions 2013 KMA92 Contemporary Art, Berlin, Urban Fotos 2010 Y&DC Gallery, Geneva, 50 JPG Triennale de la photographie, Paysages urbains, 2007 Salon de la Haute Horlogerie, Bâle, Pavillon De Witt 2006 CalartActual, La Granja, Segovia, Spain, Paisajes industriales & La caldera Luxardo Gallery, Rome, Paesaggi Urbani 2005 Gallery Schlassgoart, Arcelor Group, Luxembourg nd International Human Rights Film Festival FIFDH, Geneva Selected Group Exhibitions 2014 Gallery Artvera s, Genève, Swiss photo Thessaloniki Biennale of Contemporary Art: 4, Everywhere but now 2013 Gallery Daniel Varenne, Geneva, 7 chez Varenne 2012 Artgenève, Simon Studer, Geneva, Collective Espace L, Carouge, Switzerland, Onde, curated by Adon Peres 2011 Musée Rath, Geneva, Rathania s, curated by F. Gygi Simon Studer Art, Geneva, Tutti Frutti 2010 Villa Dutoit, Geneva, Performance autour de Elise Arnheim Gallery Fallet, Geneva, au revoir 2008 Gallery Fletcher, Shanghai

19 Mari Kim Im Jibin Jeong Woojae Mari Kim was born in South Korea in She studied a Master s Degree in Creative Media at RMIT University in Melbourne, Australia, where she lived for ten years. Now based in her hometown of Seoul, Mari Kim works as Professor of BA Digital Media at the Catholic University, South Korea, alongside her art practice. Mari Kim s wide-eyed, pretty, porcelaneous characters, also known as Eyedolls, pay service to Japanese manga and anime culture. Often direct representations of wellknown political and historical figures, super heroes, or fairy tale characters they are instantly recognisable icons, popularised by western media. Mari Kim s training in animation is understood through her use of bright, bold colours, simplified form and idealised features. With petite mouths and small noses her portraits confront fixed ideas and misogynist expectations of beauty and femininity projected by mainstream media and contemporary culture. The inhumanly large eyes are an obvious focal point in all her portraits. Decorated with Kaleidoscopic patterns, they have an almost hypnotic quality, that offer the viewer an alternative view of the world. They become windows into Mari-Kim s all-seeing eye where reality and the virtual world are divided. The dolls do not engage with their audience, instead they look through us, distracted by a material culture that afflicts the young and impressionable of East Asia, perhaps more than any other group on the continent. Mari-Kim has enjoyed numerous solo shows throughout Korea and continues to enjoy phenomenal international success. Her work is included in the Seoul Museum of Art Collection and the Gyeongnam Art Museum. Goods that we casually consume have a variety of implicit ideologies in them. The commodities are now no more an object that simply has a use value; it is long since they became a complex item that involves various aesthetic systems in the consumer society, as was early pointed out by the German sociologist Wolfgang Fritz Haug (1936-). To consume a commodity is the realization of desire based on a kind of fantasy. The useless illusion that one can prove his existence or be happy by possessing goods seems to be almost a religion in this present age. According to Im Jibin, Be@rbricks that are different only in their clothes but not in their shape and form, like many and unspecified persons, closely resemble modern humans. Recently, he presents a series of works inspired by the decorative deer head hanging on the door of his home he says he used a real buffalo horn in this series. There is an emotional affinity between the modern man s preoccupation with possession of commodities and the act of displaying the stuffed heads and horns of a variety of hunted animals. On the whole, possession and control are a kind of accumulated emotion that has developed in long human history. It is a phenomenon in which what causes desire is increasingly transferred to objects. One word repeatedly appears in the titles of his works: slave. It is a keyword to reflect the psychological state of modern man. The process in which the commodity is transformed into a symbol brings about the counter transference that man does not possesses the commodity, but simply reveals himself through it (or an object). The commodity is not consumed in it self, but structuralises the consumer s needs and desires. A consumer is, therefore, not the subject of desire, but an element incorporated in the system. The modern man s excessive obsession and desire for possession is a kind of fetish based on the capitalist fantasy. Fetish is an age-old habit of the human race, which originated in the naive belief that an object had the supernatural power to fulfil their wish. And this belief that possession will bring happiness now consumes the consumer in the structural system of post capitalism. Im s work provides a delightful reflection on these distorted desires of modern people, or, the blind possession of fetishes commodities. Jeong Woojae was born in Korea in He has a BA in Fine Art at Chugye University and an MA in Fine Art from Hong-Ik University. Jeong Woojae was born in Korea in He has a BA in Fine Art at Chugye University and an MA in Fine Art from Hong-Ik University. Jeong s paintings are charming and playful expressions of the bond between humans and their animals. At first glance, they might appear to be a straightforward celebration of their animal subject, yet the works go beyond mere realism a spell shattered by the playful reversal in the size of his figures. For Jeong, each ingredient in his composition has a symbolic resonance; his animal compositions are the vocabulary through which he addresses a particular contemporary malaise. Concerned by the increasingly unfeeling nature of our fastpaced society, Jeong maintains that humanity needs to rekindle our former nature and embrace a kind of purity of state something that continues to exist in our animals. Although outwardly the relationship is one of human superiority, each pet provides its owner with a source of comfort. Jeong s work attempts to address the inner human contradiction that comes with owning an animal at once it evidences our emotional insecurity and need for support, and yet it simultaneously resolves this craving, providing the healing and solace that makes us stronger. For Jeong, the prevailing emotional emptiness of modern society enhances the importance of these relationships, inflating or reliance on them and allowing them to be hyper-realised. In other imagery, the magnified size of the dog might feel menacing, yet Jeong s painting it is clearly celebrated as protector and guardian. Jeong uses the character of the girl in his paintings, poised in adolescence, to mirror his own self. Caught between the dependency of childhood and self-assuredness of adulthood, she encapsulates the artist s own anxieties about the burgeoning responsibilities and anxieties of independence. Working from photographs of actual locations in Seoul, the specificity of the backgrounds anchor these scenes in the real world, yet their deserted nature ensures that the focus of the composition is always on the bond between the subjects. A painter of exquisite technique, Jeong s work is remarkable for the delicacy of his colours and the mastery of his brushstrokes. His incredible deployment of light becomes a literal expression of the warmth of the fellowship between the girl and her dog.

20 49 Albemarle Street London, W1S 4JR mobile tel JEONG WOOJAE The Moment Take #2 Oil on Canvas 91 x 91cm (36 x 36in) 2015