Sans titre (2016), Paris
Robert Brambora, Jessy Razafimandimby
Sans titre (2016) is pleased to present a duo presentation with a new body of work by German artist Robert Brambora and Malagasy artist Jessy Razafimandimby.
For their first collaboration on a joint presentation, the two artists invite the spectator to enter into their vision of intimacy and to walk around familiar elements. They are both designing living scenes on giving a sense of domesticity to the booth.
Robert Brambora (b. 1984) lives and works in Berlin, Germany. Through painting, ceramic and sculpture, the artist explores the effects of capitalist society upon private life and the individual. The artist depicts distinct points of views and perspectives, sometimes partially contradictory, in such a way inviting viewers to question their own relations with others, with the city, with themselves. Robert Brambora’s new painting series for Sans titre (2016)’s booth at Art-O-Rama is composed of copper-framed oil paintings on wood. They are all linked by the subject of intimacy, private life and interior of organic objects and elements such as sea shells, oysters or even flowers. The works take the form of the silhouette of an embrace which enhances the interior perspectives and refers to still life tradition. The images evoke different moments and sentiments linked to relationships, notably amorous ones, between individuals: sometimes painful, dark, luminous, outrageous… They are creating a feeling between attraction and repulsion. These allegories dredge up ambiguities that generate malaise.
Jessy Razafimandimby (b. 1995) lives and works in Geneva, Switzerland. His multidisciplinary production encompasses painting, drawing, installation and performance. Jessy Razafimandimby draws upon baroque imagery traversed by organic forms in which chimeric figures appear, producing simultaneously “dystopian and utopian” hallucinations. The artist is interested in interior design and ornament, while exploring the concept of “home”. Through his systematic study of decorative motives, he develops a critical discourse on the bourgeois, class-based system of taste and social conventions. He works at the intersection between painting and performance: his body enacts movements inspired by his visual art, while his drawings and paintings trap and fix physical motion. For Sans titre (2016)’s booth at Art-O-Rama, Jessy Razafimandimby is developing an installation by wrapping a central wall and hanging a new series of artworks combining antique and found materials with drawings. The works presented will follow his installation in the collective exhibition Lemaniana: Reflections on Other Scenes, on view at the moment at Centre d’Art Contemporain Genève.
