PARIS.- In the vast spectrum of expressive possibilities offered by contemporary artistic language, a multiplicity of techniques, approaches, and materials shape sculptural practices that are not univocal nor bound by strict conventions. Installations that engage with space, videos, and performances interweave and expand the definition of contemporary sculpture, which is continuously evolving.
Building on this premise, On and Beyond seeks to explore the nuances and complexities of the multifaceted world of contemporary sculpture through the works of artists Christian Fogarolli, Luciana Lamothe, Marie Lelouche, Fritz Panzer, Michelangelo Penso, and Esther Stocker.
Although he works across various media, including photography and video, Christian Fogarolli (IT, 1983) primarily focuses on sculpture and installation as his preferred means of artistic expression. Often using found objects, his works invite viewers into a profound and singular exploration of psychological distress. The theme of the individual and their identity is central to his practice, beginning with archival research and extending into the present, where the intersection of artistic and scientific inquiry becomes a pivotal point of reflection. In the exhibited works, the concept of care, along with the interplay between instrument, body, and soul, occupies a central role.
A line that transcends the confines of the two- dimensional plane, expanding into the third dimension and occupying space; industrial materials like steel and pentane: these are the core elements of the works by Venetian artist Michelangelo Penso (IT, 1964), whose practice translates scientific researches into artistic expression. The Magnetic nanoparticles Genesis (2024) installation, placed at the center of the exhibition space, transforms complex studies on the medical potential of magnetic nanoparticles into a multi-sensory experience.
The viewer's eye, tracing the enveloping lines of Penso’s installations, will recognize a visual resonance with the three-dimensional wire drawings of Austrian artist Fritz Panzer (AU, 1946). The void of Panzer’s sculptures becomes perceptual substance of everyday objects, replicated on a 1:1 scale, offering the viewer the opportunity to have a renewed experience of them.
The relationship between lines and the third dimension is also central to the artistic poetics of Esther Stocker (IT, 1974). Starting from the pictorial canvas, her research expands into three- dimensional sculptures—placed on the floor, mounted on walls, or suspended from the ceiling. Her practice takes also shape in immersive installations that completely transform spatial perception. The distinctive black, white, and gray palette is a defining feature not only of her canvases but also of her sculptures on display, demonstrating how Esther Stocker’s existential geometry permeates every medium she engages with.
Synaesthetic perception and sculpture are central to the work of French artist Marie Lelouche (FR, 1984), who combines in-depth technological knowledge with the materiality of her sculptures, creating an osmotic balance between external and internal experience. Visitors are invited to engage with the perceptual experience of the sculptures from the Failed to Synchronize series, accompanied by a sound piece created by the artist, to be listened to through headphones. In this way, the sculptural medium becomes a gateway to an expanded exploration of the self and the space.
A dynamic interplay of flexible wooden forms and bodies defines the video performance Amorfa (2023) by Luciana Lamothe (ARff, 1975), in which the tensive relationships typical of the Argentine artist’s sculptures take on both shape and movement within the public space. Core concepts of her practice, such as trans materiality, the relationship between body and material, and the viewer-work interaction, are expanded into an environmental dimension.
Also on display are two drawings in which chaos and order coexist, engaging in a dialogue with the sculpture Untitled (2024), made from steel, clamps, and charred branches. This work references the site-specific installation Lamothe created for the Argentine Pavilion at the 2024 Venice Biennale.
