LE MONDE
MARCH 2024

Le Monde J.A

THINGS AND SOMETHING TO REMEMBER BEFORE DAYLIGHT
ALMINE RECH . PARIS . FRANCE
MARCH 8TH – APRIL 17TH. 2024

Curator : Jérôme Sans

Exceptionally, the show brings together Joël Andrianomearisoa’s extraordinarily diverse variety of preferred media to, in a sense, lay bare his vocabulary. Neon lights, sound, poetry, paintings, tapestries, sculptures, everyday objects – like so many elements of his visual language, brought together in a narrow relationship with handicrafts. The exhibition is not so much a celebration of savoir-faire than an investigation of faire, or the act of making, in what appears as an ode to manual work rather than the prefabricated or industrialised. In keeping with the cold, timeless aesthetics of Minimalism, the artist – albeit paradoxically – successfully includes gesture, individuality, voice, poetry and emotion.

© Nicolas Brasseur

Each of the gallery’s spaces appears like a territory serving to investigate new approaches to painting, through the many ways in which textiles can be worked by hand. Cut and sewn, spun and woven, knotted or embroidered, textiles become a thread running through the exhibition, linking one room to the next. Like so many reflections and works on memory and on the human hand, the materials are stuck together and transformed to tell new stories. Here, by manipulating textiles as much as words, the artist comes up with new possibilities – things and something to remember before daylight, as the show’s title poetically suggests – whose invention suggests an interweaving of dreams after nightfall.

Like sound scores animating the space with new energy, his large curtain-paintings redesign the gallery rooms. These non-rigid walls seem to remap the space and open up new ways of moving around, new perceptions. Made up of a variety of textile strips, mixed together and transformed into multilayered abstract paintings, these collage-like hanging elements imbue the exhibition space with a sensory dimension that invites the beholder on a journey from one world to another, like airlocks leading to new entries. The curtains’ near-Proustian quality conveys many memories, sensory remembrances harking back to other scenarios, like distant echoes. The material speaks out in the shadow of itself, in its own silence.

Here, nothing is instantly crystal-clear: the works must be discovered along the way, through the fabrics. Andrianomearisoa turns the exhibition space into his own labyrinth, his own formal laboratory, to reflect the inherent plurality and complexity that lies within each of us, and in the world around us.

The dainty, double-sided curtain-paintings express the brittleness and vulnerability of human experience, but also all our oft-conflicting layers of thoughts and feelings. The two sides, in keeping with the diversity of works on show and their compositional polyphony, are a poetic nod to the plurality of beings and emotions, to their endless shades. Halfway between two timeframes, two romanticisms, two sentimentalities, Joël Andrianomearisoa plays with the poetry of duality. Things and Something to Remember Before Daylight shines light on in-between states and turns the gallery into a threshold space where two realities may coexist: dreams and reality, day and night, time and multifarious, almost indescribable spaces.

His works are produced in Madagascar, Tunisia, Belgium or France; they constantly travel between worlds and languages, naturally switching between French, Malagasy and English. On the borders of many worlds, Joël Andrianomearisoa constantly cross-fertilises territories, know-hows, interstitial spaces and the diverse voices that make up everyday life.

Soundtracked by the exhibition’s title, the large room is home to Camelia Jordana’s whisperings; two neon lights, “Things” and “Something”, ambiguously suggest an open-ended poem, like clues, hints of hidden meanings. Six large paintings, in the same vein as series Les Herbes folles du vieux logis – the title is a tribute to Madagascan poet Maurice Ramarozaka (1931-2010) – recreate imaginary landscapes. In the next room, monochrome Aubusson tapestries – these are woven – appear. Hidden behind a curtain in a small room, embroidered texts are sporadically scattered around. Minimal sculptures made of plant fibres pervade the space. Materials become the re-arranged outline of a new story, like ledgers, like supports for text. Buried in the knots, hidden in the shadows, words are like a mystery waiting to be discovered.

In conclusion, Joël Andrianomearisoa – as ever – brings art into the real world with object editions that are sure to make the show go viral. Lined up on white shelves, many everyday objects: for the home, to wear, to give, to lose… they can find their place in the day-to-day lives of those who pick them up – a potential extension of the exhibition time.

Like a slogan or a poetic statement, Things and Something to Remember Before Daylight can be read in several ways, like a space with multiple entrances that has no start or finish. By brazenly changing the direction of reading, Andrianomearisoa encourages viewers to lose themselves in the intricacies of his paintings and words, to penetrate the mysteries of an impending sunrise, in the suspended hours of nighttime when everything is the stuff of dreams, reverie and sentimentality.

Jérôme Sans

BEAUX ARTS
MARCH 2024

beaux arts

HARPER’S BAZAAR
MARS 2024

BAZAR

CÔTÉ PARIS N°90
MARCH 2024

Côté paris

Y SI MADRID FUERA MI CASA
SABRINA AMRANI GALLERY . MADRID . SPAIN
FEBRUARY 17TH – MAY 11TH. 2024

Curator : Joël Andrianomearisoa

Narrating geographies
Those of other geographies but especially those of the intimate.
This is beginning of the proposition Y SI MADRID FUERA MI CASA.

A process that Joël Andrianomearisoa has been implementing for some time around the globe, in the cities close to his heart.
After Paris… Antananarivo… and Chicago,
Now Madrid.

A formula in which he is more than an artist.
He becomes above all the host of a house!
An he invites his friends, his companions and his accomplices to his home,
to invade space,
to build the house of dreams and desires,
to discuss around the world and time.

In Madrid, in a spanish breath, la Maison becomes la Casa,
sensual, spiritual, conflictual, timeless and eternal.
A house of time is installed in Madrid.
Within time, the time of time.

LE CRÉPUSCULE DES PROMESSES ÉTERNELLES
FLOW GALLERY . ANTANANARIVO . MADAGASCAR
2023

This exhibition is the first chapter in a cycle that Joël Andrianomearisoa is unfolding across time and geography. This cycle begins here in Antananarivo, his hometown, where his last exhibition was held several years ago. In this exhibition, he brings together the hallmarks of his visual and artistic identity, drawing the strength of his aesthetic not only from the poetry and musicality of words, but also from materials such as textiles, paper and metal.

© Kevin Ramarohetra

ALMOST HERE
ALMOST THERE
ALMOST HOME
MARIANE IBRAHIM GALLERY . CHICAGO . UNITED STATES OF AMERICA
2023

Curator : Jérôme Sans

Mariane Ibrahim is pleased to announce a group exhibition curated by Jérôme Sans, “Almost here, Almost there, Almost home” presenting work by Joël Andrianomearisoa, Alexandre Gourçon, Mwangi Hutter, and Tony Lewis, whose vocabularies converge on a minimalist aesthetic to explore complex emotions.
© Mariane Ibrahim Gallery

Like a landscape, a musical score, or a notebook on which writing drips and overturns meaning, his three textile works Geometry and tales of our desires play with an ambiguity between rigidity and liquidity, presence and absence. A series of 10 of his eponymous drawings accompany these works, like sketches, echoes of the roughly drawn, almost dancing, black lines. Terrain de tous les possible showcases his emblematic black vocabulary, while demonstrating another use of textile which focuses on cuts, folds and the suggestiveness of materiality to convey sentimental meanings. Comprised of 200 Beldi glasses and 30 ceramic plates which each hold a unique drawing by the artist, Almost Here, Almost There, Almost Home is produced in Morocco, underlining local production that blends art and craft. Combining textile, paper, glass and ceramics, all characteristic elements of the artist’s language, the works reveal a world of vibrations and ambiguities, both sensitive and poetic.

HIRAFEN
ATELIER DU CENTRE TECHNIQUE DU TAPIS ET DU TISSAGE . TUNIS . TUNISIE
2023

Curator: Ludovic Delalande

The group exhibition curated by Ludovic Delalande fosters a unique dialogue between contemporary art and Tunisian textile craftsmanship. Nineteen multidisciplinary artists were invited to draw from the fields of thread and fiber crafts to create a specific work as part of a research and production residency in the Tunisian territory.

© Nicolas Fauqué . © Studio Joël Andrianomearisoa

FORBES
OCTOBER 2023

FORBES

THE ART NEWSPAPER
OCTOBER 2023

_PRESSBOOK DIPTYQUE 2023 (glissé(e)s) 2

NUMÉRO ART
OCTOBER 2023

Numéro

BEAUX ARTS
OCTOBER 2023

beaux arts

ARCHITECTURAL DIGEST
OCTOBER 2023

AD

VOGUE
OCTOBER 2023

Vogue

CRASH
OCTOBER 2023

CRASH

LE QUOTIDIEN DE L’ART
OCTOBER 2023

QDA_2023-10-19

UN AUTRE MONDE . 2023

Un autre monde . Carte blanche by Diptyque
Joël Andrianomearisoa

 

Graphic design : Studio Joël Andrianomearisoa

L’AUTOMNE BRÛLANT D’UN PAYS LOINTAIN

Paris + par Art Basel . Almine Rech Gallery . 2023
Courtesy of the artist and Almine Rech Gallery
© Nicolas Brasseur

DIPTYQUE X JOËL ANDRIANOMEARISOA
UN AUTRE MONDE

Paris + par Art Basel . 2023 

For its first participation in Paris+ by Art Basel, Diptyque is continuing the collaboration it began 2 years ago with artist Joël Andrianomearisoa as part of the Grand Tour. The Maison has given him carte blanche to create a work in which imagination, real or dream journeys and the fragrance L’Autre take center stage.

The installation is an invitation to imagine a new, infinite elsewhere, unique to each person according to their own desires and intimate geography.

The first proposition is a monumental metal sculpture-poem that calls the gaze and summons the imagination. The second is a black silk paper collage exuding the scent of L’Autre, like an abstract evocation of a garden. The third is a printed manifesto, a collection of multiple stories revealing the artist’s intimate universe.

SERENADE SERENADE
SERENADE AND THE TRIUMPH OF ROMANCE

Paris + par Art Basel Hors les murs . 2023
Courtesy of the artist and Almine Rech Gallery
© Nicolas Brasseur

LITANIE DES HORIZONS OBSCURS
ALMINE RECH GALLERY . FRONT SPACE . PARIS . FRANCE
2023

In line with Joël Andrianomearisoa’s work and his recent artistic interventions based on evolution and constant change, such as the recent exhibition “Decay: An Ode to the Impermanent” at the Buro Stedelijk in Amsterdam, the Malagasy-French artist takes us on a journey through the history of his “Litanies des horizons obscurs” through 3 chapters during his presentation with Almine Rech.

First: the word. An emblematic figure in the artist’s work, the word is presented with the launch of a collection of poems, “Sentimental whispers”, in collaboration with Almine Rech Editions. This first chapter is complemented by the exhibition of three works featuring the artist’s verses.

© Nicolas Brasseur

The second chapter consists of three historic textile works. One set of 24 pieces ‘Labyrinth of Passions’ 2018, and a large piece ‘La Dérive des Sentiments II’ 2016. Joël Andrianomerisoa was awarded the 4th Audemars Piguet Prize for his work, ‘The Labyrinth of Passions’, exhibited at VIP ARCO-Madrid 2016, becoming the first non-Spanish artist to receive this award.

The third chapter is devoted to drawing. A medium that allows Joël to let himself be completely carried away by his intuition. These works, a selection of which was presented by the gallery at Art Brussels 2023, reflect the authenticity of the artist’s practice as well as his formal restlessness.

“Les Litanies des horizons obscurs” will round off this experience, during which visitors will live different stories through this evolving display. These textile pieces, presented at MACAAL in Marrakech, reflect Joël’s desire to return to the sources, as well as his interest in craftsmanship, by rediscovering ancestral techniques and bringing them to the forefront of contemporary art.

PASSAGE TO PROMISE
GREGOR PODNAR GALLERY . VIENNA . AUSTRIA
2023

Curator : Dr. Kirstin zu Hohenlohe

The exhibition “Passage to Promise” shows four different artistic positions from southern Africa: Usha Seejarim, Thania Petersens, Joël Andrianomearisoa, and Jared Ginsburg. The exhibition borrows its title from a work by Usha Seejarim and creatively references Homi Bhabha‘s post-colonial concept, The Third Space. In his book “The Location of Culture”, the social theorist argues that cultural identities are neither fixed nor essential, but are always constructed through processes of negotiation and interaction. The Third Space is an “in between” space of cultural hybridity that arises when different cultures come into contact. It is a space of ambiguity, where dominant and marginalized cultures intersect, creating new meanings and identities. A space that challenges and destabilizes established categories, opening up new and transformative possibilities.

Joël Andrianomearisoa’s work is always dealing with the idea of duality, between light and darkness, passion and fragility and the space between us, creating Labyrinths of Passion. He explores concepts of time and physicality in a fine, inside-out approach. Activating the latent, emotional power of the material world, he transcends the boundaries of video, fashion, architecture, sculpture, installation and photography. Black plays a prominent role in his textile works, which hover seductively between ephemeral and permanent. These works are partly sculptural, partly left to chance and to the randomness of the material.

SENTIMENTAL WHISPERS . 2023

Sentimental Whispers . Almine Rech Editions . 2023
Joël Andrianomearisoa

 

Graphic design : Studio Joël Andrianomearisoa . Almine Rech Editions

DECAY : AN ODE TO THE IMPERMANENT
BURO STEDELIJK . CENTRAL SPACE . AMSTERDAM . THE NETHERLANDS
2023

Curator : Azu Nwagbogu and Rita Ouédrago

Falling, crumbling, rotting and decomposing so as to grow. What are the ethics we bring to concepts of preservation and decay? We nourish and flourish through embracing the discomfort of decay. Decay as the fruitful ground upon which we stand. The ongoing process of decay, of rebuilding and blossoming. Matter changes, time changes. We embrace the discomfort of the unknown and the experiment, and observe what grows. Death not as the end but rather as the precursor of life. Through this notion of decay, we want to reimagine and reorient the institution. Decay in this respect could provoke discomfort, but it is precisely this feeling of discomfort that we wish to encourage people to become more comfortable with.

© Studio Joël Andrianomearisoa

“why decay ?
A state or
A process of decomposition to a statement of hope or desire
From the darker side of our sentiments there will be a new beautiful melody
From destruction we can a built a new emotions.
From tragedy there will be certain kind of perfection.
À partir d’une perte il y a toujours des retrouvailles
Inside absence there is always a presence

To confirm all of those declamations perfume is the medium.
Perfume comes from the process of decomposition
And from this decay we can create new fantasies.
Rano maso rano masina rano manitra.

Process
10 paintings
61 days
61 fragrances
1 space

At the beginning each painting will be almost virgin. Black lines on the new playground.
Everyday each painting will be sprayed with one perfume chosen from the library of fragrances.
The idea is to create from the decomposition of the perfume and the painting a new visual aspect of hopes and desires.
The audience will deal with the evolution of all the installation and
Again from dirt we can create beauty and from decay we can build peace. ”

Joël Andrianomearisoa

PRESTIGE SINGAPORE
THE CRAFT ISSUE
MAY 2023

Prestige Singapore May 23 Art – Joël Andrianomearisoa

FORBES
APRIL 2023

Forbes

FÊTONS LE PRINTEMPS
SAINT-VINCENT-DE-PAUL . PARIS . FRANCE
2023

A monumental artwork QUAND SOUDAIN LA MÉLANCOLIE DU PRINTEMPS RÉVEILLE LE TERRAIN DE NOS CŒURS by the artist Joël Andrianomearisoa, specially conceived for the event, exhibited throughout the weekend as part of the second edition of the festival “Fêtons le Printemps”.

© Studio Joël Andrianomearisoa

OUR LAND JUST LIKE A DREAM . 2023

Our land just like a dream . MACAAL . 2023
Joël Andrianomearisoa

 

Graphic design : Baptiste Piguet . Studio Joël Andrianomearisoa

 

JOSEP THE WORLD AND I . 2023

Josep the world and I . Centre Grau-Garriga d’Art Tèxtil Contemporani . 2023
Joël Andrianomearisoa

 

Graphic design : Studio Joël Andrianomearisoa . Anna Bustins

 

LE QUOTIDIEN DE L’ART
FEBRUARY 2023

QDA_2023-02-01

 

LE QUOTIDIEN DE L’ART
FEBRUARY 2023

QDA_2023-02-01

MY HEART BELONGS TO THE OTHER
CHURCH PROJECTS . CAPE TOWN . SOUTH AFRICA
2023

The other is a conversation  with the land on the other side.
Land Madagascar.
Land not only perceived as a territory but also as an intrigue.
Rather a scenario named the other.
A display around the desire towards the other, the vital dependance towards the other.

© Studio Joël Andrianomearisoa

The other is a mystery yet the other attracts us
The other is intriguing yet the other inspires us
The other is a stranger yet the other calls out to us
The other is a geography and this land is calling us
The project itself is a metaphor
without giving the land its name
Thus the presence of the other, of others
The other of names full of symbols
To read, to quote, to dress and undress
The other is a blind map drown in the darkness of our desires.

LEGENDS OF DAYLIGHT

Mandarin Oriental Marrakech . 2023
Courtesy of the artist
© Studio Joël Andrianomearisoa

 

 

CHRISTIAN DIOR : DESIGNER OF DREAMS
MUSEUM OF CONTEMPORARY ART . TOKYO . JAPAN
2023

Curator : Florence Müller

Echoing this presentation (Dior Coloroma), a work by the Malagasy artist Joël Andrianomearisoa is also featured, made of 1,000 Dior scarves, which creates a poetic landscape using textile and colour as a universal language.

© Studio Joël Andrianomearisoa

Joël Andrianomearisoa’s The Labyrinth of Passions is an immersive installation presented in this year’s Audemars Piguet VIP lounge at ARCOmadrid 2016. It consists of large paper pieces suspended in such numbers so as to saturate the room, obliging visitors to force their way in. It evokes games of impossible love, ultimate caresses of black or white fabrics, with no other frustration that innacessible body.

With conceptual references to Oscar Wilde’s letter to his lover De Profundis, The Labyrinth of Passions represents the futility of love to reveal itself “from the depths”. It speaks to obscurity and death, failure and ultimately disappointment; in short, the very fabric of contemporary life. The transition is complete, and the obscured subject is manifested only as crack or a broken mirror that forbids representation. A distant memory cries in the dark.

Leading the viewer almost blindly through a journey from light to darkness, from the primeval dawn of life to mysterious, indescribable loss, Andrianomearisoa continues his earlier engagement with the realities of love, their crude manifestations of borderless desire bound up with the most abysmal faces of the world: violence, domination, longing, cruelty, effacement.

In this strange journey, surfaces become the warm archi-textures of a condition, in a site of contradictions. The black and white monochromes are for Andrianomearisoa not a terminal end, but a monologue and a diary of personal stories tightly sewn into compact wholes by words and gestures – a universality of sentiments. Wilde’s De Profundis, written under emotional isolation and the endurance of physical labor, is more than a testament to love and devotion; it is also an epic of liberation in the midst of discrimination, criminal libel, and exclusion. The artist, inspired by the naturalism of the Victorian age, is keen to describe the complexities of love – and of the world – as dark forces, following Wilde more in the rhythmic pattern of the letter, through a desperate cry of life.

As an artist, Andrianomearisoa proceeds in the manner of a surveyor and ethnographer: mapping out categories of thought and social reality sculpted into immersive environments that simultaneously flatter and deceive. The materials are raw, but infinitely delicate, almost to the point of breaking, in a self-contained chaos ready to overflow an entire universe of experience. This experience, however boundless, is not circumscribed by aesthetic purity or formal properties: It is compromised by the dramas of the political body, the global economy and contemporary alienation. The work attempts to confront us with the emotional vacuity of an uncertain, liquid world.

This object-book Labyrinth of Passions, was designed by the artist as a memory of the project, and a tribute to life itself. It is a tactile and visual experience that celebrates the present moment and the ones to come, gathering in its central body a poem by the artist that contains the concepts that inspired his monumental installation.

Sabrina Amrani

 

NIRIN
2020

nirin

RACING THE GALAXY
2019

racing

 

AFRICAN METROPOLIS
2018

africanmetropolis

 

EATS AT LES ABBATOIRS
2018

spoerri

BIENALSUR
2017

bienalsur 2

ESSENTIEL PAYSAGE
2017

essentiel

AFRICA NOW
2014

africanow

TEXTILE LANGUAGES
2014

textie languages

A COLLECTIVE DIARY
2010

collective

IN CONTEXT
2010

incontext 2

 

FLOW
2008

flow

AFRICA REMIX
2005

africaremix

ROUBAIX PHARE TEXTILE
2004

roubaix

ON A NEVER ENDING HORIZON A FUTURE NOSTALGIA TO KEEP THE PRESENT ALIVE
NOOR FESTIVAL . RIYADH . SAUDI ARABIA
2022

Curator : Hervé Mikaeloff

From Antananarivo to Paris, from mixed-media installation to Dior collaboration, Andrianomearisoa’s work is simply magnetizing. Inspired by the cadence of the city, his textural work triggers an emotional response in audiences of all ages. Unsurprisingly, he has been invited to collaborate with some of the world’s greatest names over the years.

ON A NEVER ENDING HORIZON A FUTURE NOSTALGIA TO KEEP THE PRESENT ALIVE

Using neon lights and metal, On a never ending horizon a future nostalgia to keep the present alive was commissioned for Noor Riyadh and speaks of love, hope and dreams. Or to use the artist’s words: “a sign, a light, a poem… The horizon is the playground for our eyes, but most of all, our dreams. Here lies the theatre of our affections, but most of all, our hopes. On the horizon is where we call for a new future whilst we dance on the wave of the present time, following the moment’s steps. Light is the essential ingredient that allows us to dream of other worlds, other times.”
With this installation, Andrianomearisoa invites you to question time, your horizons and, as always, your emotions and desires.

Hervé Mikaeloff

© Ammar Abd Rabbo

THE ART OF AFRICAN FASHION
1998

africanfashion