Jean-Marie Appriou (born 1986 in Brest, FR) lives and works in Paris.
He received his MFA from École régionale des Beaux-Arts de Rennes, FR.
Solo exhibitions of his work have been held at Villa Medici, Rome; Public Art Fund, New York; Fondation Louis Vuitton, Paris; Palais de Tokyo, Paris; Le Consortium, Dijon; Château de Versailles; C L E A R I N G New York, Los Angeles, and Brussels; MASSIMODECARLO, London and Hong Kong; Eva Presenhuber, Zurich;and Jan Kaps, Cologne.
His work has been included in group exhibitions at Musée d’Art Moderne de Paris; Lafayette Anticipations, Paris; Château de Versailles; Fondation Vincent Van Gogh, Arles; Les Abattoirs, Toulouse; Astrup Fearnley Museet, Oslo; La Loge, Brussels; David Roberts Art Foundation, London; MAK, Vienna; and the Amsterdam Sculpture Biennale.
Jean-Marie Appriou’s work belongs to the collections of Musée d’Art Moderne de Paris; Fondation Louis Vuitton, Paris; Boros Collection, Berlin; Zabludowicz Collection, London; Dib Museum, Bangkok; and Vanhaerents Art Collection, Brussels.
Chicago Cultural Center
78 East Washington Street, Chicago, IL
The Chicago Cultural Center serves as one of the main exhibition venue sites for CAB 5, featuring projects from more than 80 participants from ten countries.
Opened in 1897, the Chicago Cultural Center is a Chicago landmark building operated by the Chicago Department of Cultural Affairs and Special Events and is home to free cultural exhibits and programming year-round.
Jean-Marie Appriou’s deep fascination with the poetics of evolutionary processes unravels ideas around origin stories, speculative futures, science, magic, and mythology. The gravitational pull of all these concepts is anchored in Appriou’s exploration of the medium of sculpture both from material and historical perspectives. Appriou experiments with the textures, patinas, and reflections of materials such as aluminum, bronze, and glass. Sometimes, the works preserve marks of fingerprints and other ghostly gestures from the physical process of making and molding them. These vestiges subtly highlight how, even in a digitally permeated world, human touch is a powerful marker of transformation.
Transmitters depicts skinny, naked, androgynous humanoids that are always rendered wearing a glass helmet. These child astronaut characters, with their stunningly vulnerable presence, represent the inherited fragility of the future but also the persistence of hope and the necessity of courage. Flamingo 3 emphasizes deep time through their bird subjects’ ancient lineage. Like the astronauts, these beings migrate. The flamingos are also particularly significant here due to their preferences for living together in large colonies and for the environment in which they thrive: shallow, warm waters. Each character plays an important part in this primordial Flamingo Soup by emphasizing a return to the quintessence of life and humanity in order to open up the possibility of envisioning new worlds.
Courtesy of the artist and C L E A R I N G