Presentation

Enigma is challenging.
Each piece is an antechamber, a waiting area where we are patiently awaited. Our secret and personal artwork interpretation, our communication with it and confrontation with ourselves make of it a unique work since enriched and renewed by the multitude of possible decodings. Each piece is a projection of an elsewhere produced by one’s thought, imagination and desire. Therefore, the work is in opposition to concept and time because it urges us to embrace the present so that we are fully focused on observation and dialogue.

Jean-Michel Fauquet shows to everyone the artist's great need to make forms happen. Their production due to succession of practices such as drawing, sculpture, painting and photography serves him to express what language cannot. The unusual forms (sculptures) confront with ordinary territories (landscapes) and sketch worlds (drawings) to invoke the off-screen. The essential is elsewhere. Jean-Michel Fauquet stops “working on a photography when it touches on reality”. And if once André Breton said “stop wanting me elsewhere”; Jean-Michel Fauquet, in his turn, constantly desires an elsewhere. Maybe, the ours. At least, the one where everyone can freely adjust his own access to the world.

As for his own world, Jean-Michel Fauquet creates it like an alternate reality in a real research laboratory. Creation isan endeavor. Involvement is total. Whether it is about shots in a darkroom or enlarging films on his own to enhance them after with oil and wax, or making sculptural forms from simple raw material, the studio becomes an arena of a fraternal and solitary struggle to make a form happen, a tension, a universe obeying the greatest artistic excellence. Since although the form construction or setup preparation are an integral part of creative process, the Jean-Michel's universe does not end there but just begins.

Jean-Michel Fauquet makes us think of a place, a beginning of a story where the essential is, perhaps, not so much an escape as a serene encounter with reality.

Audrey Bazin

Biography

Born in 1950. Lives & works in Paris.



SOLO SHOWS

2018
- The Lost Hills, La Galerie Particulière, Paris

2017
- Musée de la photographie Charles Nègre, Nice

2016
- Musée de la Vallée de la Creuse, Eguzon

2015
- Galerie Claude Bernard, Paris
- Traces of being, galerie WILLAS contemporary, Oslo, Norway

2014
- L’Oeil du Signe, Maison européenne de la photographie, Paris
- Galerie Conrads, Düsseldorf, Germany

2013
- Le Grand Séparateur, Rencontres Photographiques d’Arles
- Grande Chaudronnerie, Paris Photo, Paris

2011
- Poids et mesures de l’obscur, Maison d’art Bernard Anthonioz, Nogent-sur-Marne

2010
- Le Grand Séparateur, Galerie Pierre Brullé, Paris
- Images telluriques, Base sous-marine, Bordeaux

2008
- Château de Tours

2007
- Kaïros, Haim Chanin Fine Arts, New York, USA

2006
- M.T.P. - Le Festin de Balthazar, Galerie Pierre Brullé, Paris

2005
- Alliance Française, Sapporo, Japan

2004
- TICAV, Taipei, Taiwan
- Galerie Pennings, Eindhoven, The Netherlands

2003
- Le Chien Noir, Galerie Pierre Brullé, Paris

2002
- Centre des Arts, Enghien-les-Bains
- Maison des Arts, Conches

2000
- Galerie Pierre Brullé, Paris

1997
- Galerie Pierre Brullé, Paris

1996
- Rencontres photographiques, Solignac

1995
- Galerie Pierre Brullé, Paris

1993
- ODDC, Saint-Brieux


GROUP SHOWS

2018
- Paris Photo, Grand Palais, Paris

2016
- Photos, Galerie Claude Bernard, Paris

2014
- Confrontation, Galerie Le Minautore, Paris
- APC Pékin, China

2013
- Autoportraits 1929-2010, Galerie le Minautore, Paris
- APC Lishui, China
- Taipei Art Photo Show, Expo Dome Tapei, Taiwan
- Paris Photo, Galerie VU, Grand Palais, Paris

2012
- L’arbre et le photographe, ENSBA, Paris
- Paris Photo, Galerie VU, Grand Palais, Paris

2010
- Man Ray, Musée d’Art Moderne de Séoul, Korea

2009
- Masks, Sungkok Museum, Korea

2008
- Art Paris, Galerie Haim Chanin, Grand Palais, Paris

2007
- Art Paris, Galerie Haim Chanin, Grand Palais, Paris

2005
- Le Monde est rond, Espace de l’art concret, Mouans-Sartoux

2004
- Les Escargots se traînent méchamment, Galerie Luc Queyrel, Paris

2002
- Galerie Pierre Brullé, Paris
(avec Jean-Claude Bélégou, Régine Cirotteau et Jean Yves Cousseau)

2000
- Galerie Pierre Brullé, Paris
(avec Régine Cirotteau, Jean Yves Cousseau, José Ferrero et Caroline Feyt)

1999
- Galerie Serge Aboukrat, Paris

1998
- Biomorphies : la Beauté Organique, Galerie Pierre Brullé, Paris
- Photographie au présent, Bibliothèque nationale, Paris
- Qu’est-ce qu’une route ?, Maison européenne de la photographie, Paris


MONOGRAPHS (selection)

- Monts perdus, The(M) Editions, 2018
- Le Chien Noir, Filigranes, 2013
- Mes yeux sont d’aveugles ciels, Filigranes, 2012
- Le Mont Né, Filigranes, 2011
- Poids et mesures de l’obscur, Maison d’art Bernard Anthonioz, Nogent-sur-Marne, texte d’Annie Le Brun, 2011
- Le Grand Séparateur, Filigranes, 2010


BIBLIOGRAPHY (selection)

- ZIP (Zones d’Intervention Précaire), avec Francis Cohen, Filigranes, 2009
- Traviole n°15, Pierre Bergounioux
- Catalogue exposition Galerie Pierre Brullé, Paris, texte de Pierre Brullé, 2010
- «Jean-Michel Fauquet», Judith Brouste, artpress, n° 368, juin 2010
- Singeries pour Jacques Dupin, Francis Cohen, 2010
- Catalogue exposition Château de Tours, avec Pierre Bergounioux, 2008
- Kaïros de Jean Daive et Positive into negative de Lyle Rexer, cat. Haim Chanin Fine Arts, texte de Jean Daive, 2007
- M.T.P. - Le Festin de Balthazar, Pierre Brullé, texte de Francis Cohen, 2006
- «L’art et la matière de Jean-Michel Fauquet», Dominique Charnay, Le Cahier dessiné, n°4, Buchet Chastel, 2004
- «Les objets telluriques de Jean-Michel Fauquet», Jacqueline Caux, artpress, n°296, décembre 2003
- Le Chien noir, Pierre Brullé, texte de Jacques Laurans, 2003
- Ordalies, texte de Pierre Bergounioux, Filigranes, 2002
- Chronique du Carré, Francis Cohen, Fin, n° 9, Pierre Brullé, 2001
- Grande Nuit de Toussaint, texte de Sylvie Germain, Le Temps qu’il fait, 2000
- Au jour consumé, texte de Pierre Bergounioux, Filigranes, 1995
- Stravaganza, texte de Bernard Delvaille, Fata Morgana, 1994
- La Multiplication photographique, Fonds national d’art contemporain, 1988


FILMOGRAPHY

- Iddu, l’atelier de Jean-Michel Fauquet, d’Henry Colomer (52’)
- Retour à la base, d’Emérance Dubas (12’)
- Ouvre tes yeux, d’Anne Kerner (15’)

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