Presentation

« Laurent Millet likes method and yet his work is not enslaved to a system: the poetic side of method always gains the upper hand and constitutes a sort of framework devoted entirely to the metaphor of thought. Hence this strange presence of intellect in his art: everywhere there is a whiff of speculation, which instead of vanishing transmutes into forms…
These are not objects but spatial masses, elementary buildings, structures being built and taken down, antimatter and sometimes vestiges. This is the part of Laurent Millet’s corpus that most links him to the generation of monumental sculptors. But behind these references is a real attempt to distinguish what is behind much of his work: an ongoing experience of the visual plane. Because Laurent Millet works on the principle of perception, showing that photography constitutes a workspace by the very fact that it involves vision through planes – due to the perspectivist regulation offered by optical machinery. As the eye takes in the scene, the mechanical optics plan the view. This technical maxim enables us to observe the technique introduced by Laurent Millet through the delimitation of forms in a space ».

             
Michel Poivert
(Extract from catalog Enfantillages Pittoresques, ed. Filigranes)


Laurent Millet is born in 1968 in France.
He is the Prize-winner of the prestigious Niepce Award 2015 and of the Nadar Prize 2014  that awards a photography catalog : Enfantillages Pittoresques, ed. Filigranes.

Laurent Millet’s work is included in private and public collections either in France or in the United States : Chicago Art Institute, Los Angeles County Museum, San Francisco mOma, Houston Museum of Fine Arts, Fonds National d’Art Contemporain, Maison Européenne de la Photographie, Bibliothèque Nationale de France, artothèques d’Angers, Grenoble, La Rochelle, Lyon, Vitré, Pessac, Caen...

Agenda

Les Enfantillages Pittoresques

17.05.2014 - 16.11.2014

Biography

Born in 1968. Lives & works in Rochefort.



SOLO EXHIBITIONS   

2014 - «Somnium», La Galerie Particulière, Paris
          «Enfantillages pittoresques», Fine Arts Museum, Angers
          «L’Herbier», Vol de Nuit, Marseille

2013 - «Drawing Shadows to Earth», Art Sociates, Bandung, Indonesia
          «De la même étoffe que nos rêves», Estivales, Imagerie de Lannion

2012 - «Les Zozios», La (deuxième) Galerie Particulière, Paris
          «Je croyais voir un piège», Musée de la Chasse & de la Nature, Paris
          «Déconstruction», CAUE, Limoges

2011 - «Projection/Déconstruction», Ribérac Culture Center, at the occasion of the manifestation L’art est ouvert
           Médiathèque de Narbonne, Festival Identiterres
          «Déconstruction», Moulin du Roc, Rencontres Photographiques, Niort

2010 - «The Last Days of Emmanuel Kant» - Robert Mann Gallery, New York

2009 - « Les Tempestaires » Rencontres d’Arles. Discovery Award
          « Les derniers jours d’Emmanuel Kant», Art Library of Grenoble
          « Les Zozios », Musée de Vladikavkaz, Republic of North Ossetia, Russia
          « Les derniers jours d’Emmanuel Kant», Media Library Michel Crépeau, La Rochelle

2008 - «Travaux récents», Museum of Bagnères de Bigorre

2007 - Festival FOTOKINO, Fine Arts School Gallery, Marseille
          «Travaux Récents», Cultural Center of Visitation, Périgueux
          «Un estuaire et ses mirages», Saint Palais sur Mer (17)
          «Inevitabile Fatum», Mai photographique, Quimper
          «Dieux d’Eau», Art School, Châtellerault
          Laurent Millet, Fine Arts School, Lorient

2006 - «l’Emploi du Temps», Le Renaudin Agricultural High School, St Germain de Lusignan (17).
          «Travaux récents», Art Library of Vitré
          «Bestiale Rivière», Art Library of Pessac
          «Petites Machines à Images», CGAI, A Coruna, Santiago de Compostela, Spain

2005 - Camera Obscura, Paris
          Robert Mann Gallery, New York
          «Les Zozios», Spectrum Sotos, Zaragoza, Spain

2002 - «La Méthode», Robert Mann Gallery, New York
    
2000 - Le Château d’Eau, Toulouse

1999 - «The Petites Machines & The Wind Traps» - Robert Mann Gallery, New York
          Laurent Millet, Fine Arts School, Santa Fe, USA
         «Abbadia ou Le Cabinet De L’arpenteur», Media Library, Hendaye, France
         «Petites Machines Littorales», Carré d’Art, Bayonne
         Laurent Millet, Robert Mann Gallery, New York

1998 - «Petites Machines A Images», Galerie Michèle Chomette, Paris
          «Petites Machines Littorales», Galerie L’ OEil Ecoute, Limoges

1997 - Peintures, Galerie Art Set, Limoges

1994 - Portuaires et Autres Mondes, Villa des Arts, Grenoble
          Portuaires, Art Library, Grenoble

1993 - Portuaires, Landerneau Cultural Center

1992 - Portuaires, Rencontres Photo, Voiron

1991 - Portuaires, Le Quartz, Brest



GROUP EXHIBITIONS   

2013 - Art Paris, La Galerie Particulière, Paris

2012 - «Les Amitiés Végétales», Saline Royale d’Arc et Senans

2011 - «At the Water’s Edge», Robert Mann Gallery, New York
          «Trucville», Chapelle du Géneteil, Château Gontier

2010 - MAPAMUNDISTAS 10 - Sala del Polvorín de la Ciudadela, Pamplona

2009 - «Les nuages… là-bas… les merveilleux nuages» - Malraux Museum, Le Havre
          Description et image PhotoDimensional - MoCP -
          The Museum of Contemporary Photography, Chicago
          Raymond Meeks / Laurent Millet - Camera Obscura, Paris
         
2007 - A New Reality: Black-and-White Photography in Contemporary Art - Jane Voorhees
          Zimmerli Art Museum, New Brunswick, NJ
          Epilogues, Robert Mann Gallery, New York
          Treinta - Spectrum Sotos, Zaragoza, Spain

2006 - «OOTOE -One or Two of Each», Jack Fischer Gallery, San Francisco
          « Réinventer le Visible », MEP collection, MEP, Paris
          «La Vidéo s’Installe à Mortagne», curator Jean-Paul Fargier
          «Don Quichotte», Espace Encan, La Rochelle

2005 - L’Hôtel des Arts Hors les Murs, Villa Aurélienne, Fréjus, France
         «Dedans-Dehors», Portugal through Photographs. Caixa Geral de Depositos Collection

2003 - Quinzaine Photographique, Nantes
         «Le Pire est à Venir», Nièpce Museum, Châlon sur Saône
         «Histoires Naturelles», Natural History Museum, Paris

2002 - « Idea Photographic:after Modernism». Santa Fe Museum of Fine Arts, USA

2001 - Chapelle de la Sénatorerie, Guéret

2000 - Family Tree/ 5 Artists. Robert Mann Gallery, New York

1999 - American Pictorialism : From Steiglitz to Today, Catherine Edelman Gallery, IL, USA
          Conscious Line, Anne Reed Gallery, ID, USA

1998 - Blind Spot, n° 10, SoHo Triad, New York, USA

1997 - Pruchases, Art Library, Annecy

1996 - Tout doit disparaître, Library Grenoble
          La vie des Métiers, Nièpce Museum, Chalon sur Saône
          Four solo Shows, Carrie Haddad Gallery, Hudson, USA
          Acquisitions, Art Library, Caen
          Pinhole Landscapes, France, Johan Westenburg Gallery, Great Barrington, USA

1995 - Essuyage des plâtres, galerie de Forum, Toulouse

1994 - Acquisitions, Galerie du Château d’Eau, Toulouse

1990 - Image de l’Entreprise, Rencontres Photo ,Carcassonne



VIDEOS

2011 - Equivalent (38') Production Région Poitou-Charentes.
2008 - La Constellation des Choses (60') Production Nièpce Museum & Camera Lucida Productions
2006 - O gué ma mie, ô gué (7’)
2004/05 - Le Miroir des Simples Âmes (43’)
2004 - Take me up (1’)
          Janine (20’)


AWARDS

 

- Prix Niépce 2015, prize awarded by the Association Gens D’Image.
- Prix Nadar 2014, prize awarded for the photography book «Les Enfantillages Pittoresques» by the Association Gens D’Image.

 

SCENOGRAPHY

2002 - «Machines Célibataires», Nièpce Museum, Chalon sur Saône.



COLLECTIONS

Los Angeles County Museum, USA
San Francisco Museum of Modern Art ,USA
Museum of Fine Arts, Houston ,USA
Chicago Art Institute, USA
Museum of New Mexico, Santa Fé, USA
Santa Barbara Art Museum, USA
Museum of Fine Arts, Santa Fé, USA
Boise art Museum, Boise, USA
Center For Creative Photography, University of Arizona, Tucson, USA
Maison Européenne de la Photographie, Paris
Fonds National d’Art Contemporain, Paris
Musée Nicéphore Nièpce, Châlon sur Saône
Bibliothèque Nationale, Paris
Art Libraries of Toulouse, Grenoble, Annecy, Caen, Lyon, Pessac, Vitré, La Rochelle, Angers
Galerie du Château d’Eau, Toulouse
Fonds d’Art Contemporain du Limousin, Limoges
CGAI, A Coruña, Spain
Caixa Geral de Depositos, Portugal



FELLOWSHIPS, RESIDENCIES

2009 - Fellowship for creation, Région Poitou-Charentes.
2007/09 - Member of la Casa de Velazquez.
2007 - Residency, Mai Photographique de Quimper.
2006 - Fellowship for publishing, Région Poitou-Charentes.
          Command, Lycée Agricole Le Renaudin, Région Poitou-Charentes
          Residency, Lycée Agricole Le Renaudin, with the association  Echancrures et la Région Poitou-Charentes
          Fellowship, Musée Nièpce, with the project «Une Saison en Inde»
2005 - Fellowship for installation, DRAC Poitou-Charentes.
2003 - Residency, Musée Nièpce,Chalon sur Saône
2002 - Residency, Theater La Passerelle, Gap.
2001 - France Founcation, Project: le Moulin de La Baysse, Excideuil, France
2000 - Residency in Portugal (thanks to the Ministry of Culture) with the project «Grandola Vista». Grandola, Portugal
1999 - Residency, Domaine d’Abbadia, Conservatoire du Littoral, Hendaye, France
1997 - Residency, Musée Niepce, Chalon sur Saône, France
1989 - For 1st exhibition, Fol du Tarn

 


PUBLICATIONS

2014 - Catalog «Les Enfantillages Pittoresques», text by Michel Poivert, Musée des Beaux-Arts             d’Angers, Ed. Filigranes
2012 - Cat. «Je croyais voir un piège», Ed. des Cendres
2009 - Cat. «Là-bas les merveilleux nuages», Musée Malraux, Le Havre
          Darchitecture, no 181, pages 20/21, by Olivier Namias.
2008 - Chroniques de La BNF, no 41, by Anne Biroleau
          ArtKopel, Ed. papier, «Laurent Millet, l’Emphase du Diaphane», pages 103 - 151.
          Cat. « Petites Machines à Images », text by François Seigneur, Ed. Filigranes
          Artkopel.com, «Laurent Millet, l’Emphase du Diaphane»
2007 - Turbulences Video, text by Jean-Paul Fargier, no 55, pages 80 - 85
2006 - Blind Spot 32, «A Tribute to Kim Zorn Caputo», New York
          Photos Nouvelles, no 40
          Le Monde 2, «100 raisons d’Être Optimiste», february
          Blind Spot Magazine, New York, no 31
2005 - Libération, december 17th
          Cat. «Dedans-Dehors», Portugal through Photographs. Caixa Geral de Depositos Collection.
          The New Yorker, october
          Art On Paper, september
          La Croix, august 19th
          L’Humanité Hebdo, june 16th
          Le Figaro, june 28th
          Cat. «Laurent Millet , les Lieux de l’Instant» Isthme Ed., with the support of CNDP
2003 - Télérama, august 13th, page 17.
          Cat. «Les Monolithes», text by Muriel Pic, Abstème et Bobance, Paris.
2002 - The New Yorker, september 23rd
           New York Times,october 18th
           Poîesis, no 14, Toulouse
           L’actualité Poitou-Charentes, no 57
           Cat. «La Trasura», with the support of Abbaye aux Dames, Saintes.
           Cat. «La Methode», Ed. Filigranes
2001 - Libération, november 9th
           L’Humanité, july
           La Croix, july 19th
2000 - Blind Spot Magazine, no 15
          Cat. «Laurent Millet», Galerie du Château d’eau,Toulouse
1999 - Art on Paper, New York, july-august, page 63
          New York Times, april 23rd
          Cat. «Théâtre de la mémoire», Fine Arts Museum, Santa Fe, USA
          Cat. «Abbadia ou le Cabinet de L’Arpenteur»
          Le Festin, Bordeaux
1998 - Blind Spot Magazine, New York, no 10
1997 - La Longue Vue, Bordeaux
1996 - La Vie du Rail
1992 - Le Havre De Grâce, book published by Le Port du Havre

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Texts

ArtForum
Michael Wilson, october 2010


The title of Laurent Millet's fourth solo exhibition at this gallery, "The Last Days of Immanuel Kant," may have led some viewers to anticipate a po-faced Conceptual deconstruction of the Critique of Judgement, but the French artist's photographs are surprisingly light and playful affairs, requiring little if any knowledge of eighteenth-century epistemology. In fact, the show's moniker is borrowed from a novella by Thomas De Quincey that traces the tail end of the eminent philosopher's life through the gradual waning of his once-acute senses. Millet's shots of his own sculptural tableaux mirror the premise of the book insofar as, by exploiting quirks of light, focus, and perspective, they cast doubt on the reliability of perception.

That said, Millet's images are never fully illusionistic but rather hint at the gaps in our understanding of the visual world through the judicious use color and translucency, and by siting abstraction in apparently real space. The artist's decision to include unvarnished details of his sculptures' studio setting encourages us to see them as products of ongoing creative process, contributing to a sense of thought made flesh would surely have pleased Königsberg's most famous son. Some even seem to have a scientific bent: In Calmez-vous Mr. Kant and Doucement Mr. Kant, both 2009, primary-colored blocks and balls are shown threaded onto wires in configurations that suggest atomic models in progress.

In other works, such associations are joined by echoes of other artists' work. Ne vous fatiguez pas Mr. Kant, 2009, for example, depicts a row of tubes, pieced together from multicolored gels, leaning against a white wall and illuminated by a spotlight that is also included in the shot. The form of the sculpture and the softened matrix of chromatic light it casts are both immediately reminiscent of the attempts Spencer Finch has made to approximate the conditions of particular times and places - real and imagined - by tinting fluorescent bulbs. In Pas si vite Mr. Kant, 2009, the tubes crop up again in the form of a framelike square that, draped as it is trailing electrical cords, evokes a pimped-out reworking of Eva Hesse's Hang Up, 1965-66. And where there's a hint flourescent light, there's a hint too of Dan Flavin.

It is hard to deliberately engineer shadows without veering into special-effects showiness or campy atmospherics-but in Allons Mr. Kant and Une Illision Mr. Kant, both 2009, Millet just about manages not to over-egg the pudding. In the former, two clear boxes, attached to each other and the wall by a single thread, are rendered visible primarily through the gentle shade they produce. In the latter, a stack of transparent cubes is piled on a stool while planing light from a nearby window reveals intracacies of edge and surface. The shadow cast seems to transform the arrangement from three dimensions to a sketched-out two and, in a twist of perspectival confusion, fives a the impression that the stack is more than just precarious but actually impossible.

Also offering unexpectedly engaging variations on the overfamiliar are two sets of photographs depicting generic houses. In the nine-part trompe l'oeil Les Vacances de Dusseldorf, 2006, the abodes are delineated via lengths of yarn pulled taut across studio corners, the scratchy black-and-white prints then partly colored with flat fields of opaque acrylic. And in six entries from the "Grand Village," 2006, a set of tabletop models is shot in hazy focus, the process lending the forms a dreamlike ambiguity and, for once, glossing over the details of their construction. Sharing the use of a recognizable archetype to initiate simple experiments in representation, these groups made effective bookends to a quietly invigorating show.
 

The title of Laurent Millet's fourth solo exhibition at this gallery, "The Last Days of Immanuel Kant," may have led some viewers to anticipate a po-faced Conceptual deconstruction of the Critique of Judgement, but the French artist's photographs are surprisingly light and playful affairs, requiring little if any knowledge of eighteenth-century epistemology. In fact, the show's moniker is borrowed from a novella by Thomas De Quincey that traces the tail end of the eminent philosopher's life through the gradual waning of his once-acute senses. Millet's shots of his own sculptural tableaux mirror the premise of the book insofar as, by exploiting quirks of light, focus, and perspective, they cast doubt on the reliability of perception.

That said, Millet's images are never fully illusionistic but rather hint at the gaps in our understanding of the visual world through the judicious use color and translucency, and by siting abstraction in apparently real space. The artist's decision to include unvarnished details of his sculptures' studio setting encourages us to see them as products of ongoing creative process, contributing to a sense of thought made flesh would surely have pleased Königsberg's most famous son. Some even seem to have a scientific bent: In Calmez-vous Mr. Kant and Doucement Mr. Kant, both 2009, primary-colored blocks and balls are shown threaded onto wires in configurations that suggest atomic models in progress.

In other works, such associations are joined by echoes of other artists' work. Ne vous fatiguez pas Mr. Kant, 2009, for example, depicts a row of tubes, pieced together from multicolored gels, leaning against a white wall and illuminated by a spotlight that is also included in the shot. The form of the sculpture and the softened matrix of chromatic light it casts are both immediately reminiscent of the attempts Spencer Finch has made to approximate the conditions of particular times and places - real and imagined - by tinting fluorescent bulbs. In Pas si vite Mr. Kant, 2009, the tubes crop up again in the form of a framelike square that, draped as it is trailing electrical cords, evokes a pimped-out reworking of Eva Hesse's Hang Up, 1965-66. And where there's a hint flourescent light, there's a hint too of Dan Flavin.

It is hard to deliberately engineer shadows without veering into special-effects showiness or campy atmospherics-but in Allons Mr. Kant and Une Illision Mr. Kant, both 2009, Millet just about manages not to over-egg the pudding. In the former, two clear boxes, attached to each other and the wall by a single thread, are rendered visible primarily through the gentle shade they produce. In the latter, a stack of transparent cubes is piled on a stool while planing light from a nearby window reveals intracacies of edge and surface. The shadow cast seems to transform the arrangement from three dimensions to a sketched-out two and, in a twist of perspectival confusion, fives a the impression that the stack is more than just precarious but actually impossible.

Also offering unexpectedly engaging variations on the overfamiliar are two sets of photographs depicting generic houses. In the nine-part trompe l'oeil Les Vacances de Dusseldorf, 2006, the abodes are delineated via lengths of yarn pulled taut across studio corners, the scratchy black-and-white prints then partly colored with flat fields of opaque acrylic. And in six entries from the "Grand Village," 2006, a set of tabletop models is shot in hazy focus, the process lending the forms a dreamlike ambiguity and, for once, glossing over the details of their construction. Sharing the use of a recognizable archetype to initiate simple experiments in representation, these groups made effective bookends to a quietly invigorating show.

 

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Press

Une encyclopédie imaginaire

Une encyclopédie imaginaire

27.03.2015

Arts Libre - La Libre Belgique

Praesentia

Praesentia

27.03.2015

L'Express - Le Vif

Laurent Millet en lignes de connivence

Laurent Millet en lignes de connivence

19.09.2014

Journal des Arts

L'âme glaneuse de Millet

L'âme glaneuse de Millet

09.08.2014

Libération

Laurent Millet

Laurent Millet

01.06.2014

L'Oeil

Plein la vue

Plein la vue

14.05.2014

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