Born in 1963 in Lyon, France
Lives and works in Paris, France

Xavier VEILHAN

education

http://www.veilhan.net

1989 – 1990
- Institut des Hautes Etudes en Arts plastiques du Centre Pompidou (directed by Pontus Hulten)

1985 – 1986
- Hochschule der Künste, Berlin (with Georg Baselitz)

1982 -1983
- Ecole Nationale Supérieure des Arts Décoratifs, Paris

solo shows

2017
- French Pavilion for the 57th Biennal of Venice, Italy
- Galerie Perrotin, Paris, France

2016
- Light Machine, permanent installation at Galeries Lafayette, Paris, France
- Baron Triqueti - Centre des Monuments Nationaux, Abbaye de Cluny, France

2015
- Music, Galerie Perrotin, Paris, France
- Music,Galerie Perrotin, New York, USA
- Horizonte Verde, Galeria Nara Roesler, Sao Paulo, Brazil
- Cedar, Andréhn-Schiptjenko, Stockholm, Sweden
- The Skater, a permanent sculpture at Amore Pacific, Osan, South Korea

2014
- Bodies, 313 Art Project, Seoul, South Korea
- Architectones, Melnikov House, Moscow, Russia
- Architectones, Barcelona Pavilion, Mies Van Der Rohe, Barcelona, Spain
- Baron Triqueti - Centre des Monuments Nationaux, Abbaye de Cluny, France
- Maquettes - FRAC Centre, Orléans, France
- On/Off, la Galerie des Galeries, Paris, France
- Opening of the Château de Rentilly, in collaboration with Bona + Lemercier and Alexis Bertrand, Rentilly, France
- Pop Up, Siège des Grands Magasins, Paris, France
- 30 ans de Canal +, Palais de Tokyo, Paris, France
- Systema Occam, Show at Musée Delacroix, Paris, France
- Skulptur i Pilane, Pilane Heritage Museum Klovedal, Sweden
- Installation Le Corbusier, Miami Design District, USA

2013
- Architectones, Ste Bernadette du Banlay Church, Nevers, France
- Architectones, Unité d’habitation, Cité Radieuse, MAMO, Marseille, France
- Xavier Veilhan: Before, Parc culturel de Rentilly, Marne-et-Gondoire, France
- Mobiles, Galerie Perrotin, Hong Kong
- Architectones, Sheats-Goldstein Residence, Los Angeles, USA
- Jean-Marc, a permanent sculpture at the corner of the 53rd Street and 1330 Avenue of the Americas, New York, USA

2012
- Architectones, VDL Research House, Los Angeles, USA
- Architectones, CSH n°21, Los Angeles, USA
- (IN)balance Phillips Collection, Washington, USA
- Rays La Conservera, Murcia, Spain
- Veilhan at Hatfield : Promenade, Hatfield House, Hatfield, UK

2011
- Orchestra, Galerie Perrotin, Paris, France
- Spacing, Ilju Foundation, Seoul, South Korea
- Dark Matter, Andréhn-Schitptjenko, Stockholm, Sweden
- Free Fall Centre Culturel Louis Vuitton, Tokyo, Japan

2010
- Mobile, at Maison Louis Vuitton, New York, USA
- Le Carrosse, installation Place de la République, Metz, France
- Galerie Emmanuel Perrotin, Miami, USA
- Kukje Gallery, Seoul, Korea
- The Mount, Massachusetts, USA
- Gallery Andrehn Schiptjenko, Stockholm, Sweden
- Sorry we're Closed, Brussels, Belgium

2009
- Veilhan Versailles Château de Versailles, Versailles, France

2008
- Furtivo Galerie Emmanuel Perrotin, Paris, France
- Furtivo, Pinacoteca Giovani e Marella Agnelli, Turin, Italy
- Sophie’s installation, Costes Restaurant Sophie, Paris, France

2007
- Aérolite, composé et joué par Air, Centre Pompidou, Paris, France
- Andrehn-Schiptjenko, Stockholm, Sweden
- Metric, Gering&Lopez Gallery, New York, USA

2006
- Sculptures automatiques Galerie Emmanuel Perrotin, Paris, France
- Les Habitants, Palais des Congrès de la Communauté Urbaine de Lyon (Renzo Piano Building Workshop installation), Lyon, France
- Miami Snowflakes, Galerie Emmanuel Perrotin, Miami, USA

2005
- Le Projet Hyperréaliste, Rose Art Museum, Brandeis University, Waltham, MA;
exposition itinérante National Academy Museum, New York, USA
- People as volume, Andrehn-Schiptjenko, Stockholm, Sweden
- Fantôme, Centro de Arte Caja de Burgos (CAB), Burgos, Spain
- Éléments célestes, Chanel Joaillerie collection privée 2005, conception artistique, (exposition itinérante travelling to Taïwan, Paris, New York, Hong Kong, Tokyo)
- Mobile, Sandra Gering Gallery, New-York, USA
- Le Plein Emploi, Musée d'art moderne et contemporain, Strasbourg, France
- Le Lion, Place Stalingrad (projet public) Bordeaux, France

2004
- Keep the brown, Galeria Javier Lopez, Madrid, Espagne
- Light Machines, Fondation Vasarely, Aix-en-Provence, France
- Vanishing Point, Espace 315, Centre Pompidou, Paris, France
- Le Grand Mobile, Forum, Centre Georges Pompidou, Paris, France
- The Photorealist Project, National Academy Museum, New York, USA
- Xavier Veilhan, Projets pour l’espace public à Bordeaux, Lyon et Tours, école supérieure des beaux-arts, Tours, France
- Le Monstre, Place du Marché (projet pour l'espace public), Tours, France

2003
- Keep the Brown, Sandra Gering Gallery, New York, USA

2002
- Galeria Javier Lopez, Madrid, Espagne
- Galeria 1991 João Graça, Lisbonne, Portugal
- Barbican Centre, Londres, Grande-Bretagne
- Installation from the workshop, CCA Kitakyushu, Japon
- Göteborgs Konsthall, Göteborg, Suède

2001
- Galerie Andréhn-Schiptjenko, Stockholm, Suède
- Fundació Joan Miró, Centro d’Estudios d’arte contemporain, Barcelona, Espagne
- Pinksummer, Gênes, Italie
- Sandra Gering Gallery, New York, USA

2000
- La Ford T, (curateur: Lionel Bovier), Terrasse du 5ème étage, Centre Georges Pompidou, Paris, France
- Sandra Gering Gallery, New York, USA
- The Rhinoceros, (exposition itinérante),Yves Saint-Laurent, Wooster Street, New York, USA; The Fields, Sculpture Park, Art Omi International Arts Center, Ghent, Belgique; New York, USA
- Xavier Veilhan, (curateur: Yves Aupetitalot & Lionel Bovier), Le Magasin, Centre national d’art contemporain, Grenoble, France *

1999
- Gustave Eiffel, Studio Gio Marconi, Milan, Italie
- La Ford T, (curateur: Lionel Bovier), Musée d’art moderne et contemporain, Mamco, Genève, Suisse
- La Forêt, (exposition itinérante), Le Consortium, Dijon; Musée d’art moderne et contemporain, Mamco, Genève, Suisse
- Galerie du Stadt Schwaz, Austria
- Galerie Gio Marconi, Milan, Italie

1998
- Galerie Jennifer Flay, Paris, France
- Galeria Javier Lopez, Madrid, Espagne
- CCA, (curator: Akiko Miyake and Nobuo Nakamura), Kitakyushu city, Japon
- Centre d’art, Espace Jules Verne, (curateur: Xavier Franchesci), Brétigny-sur-Orge, France

1997
- Galerie Newsantandrea, Savona, Italie
- Sandra Gering Gallery, New York, USA

1996
- Galerie Jennifer Flay & Caroline Bourgeois, Paris, France
- Galerie Andréhn-Schiptjenko, Stockholm, Suède

1995
- CCC, Tours, France
- Sandra Gering Gallery, New York, USA

1994
- Galerie Jennifer Flay, Paris, France
- Galleri Riis, Oslo, Norvège

1993
- ARC, Musée d’Art Moderne de la Ville de Paris, Paris, France
- Galerie Andréhn-Schiptjenko, Stockholm, Suède

1991
- Un centimètre égal un mètre, organisée par le A.P.A.C., Centre d’art contemporain, Parc de Pougues-les-Eaux, Nevers, France*
- Galerie Jennifer Flay, Paris, France

1990
- Un peu de biologie, Galleria Fac-Simile, Milan, Italie

group shows

2017
- Jamaica Jamaica !, Philarmonie de Paris, France

2016
- Pierre Paulin, Galerie Perrotin, Paris, France
- Reshaped Reality. 50 Years of Hyperrealistic Sculpture, Museo de Bellas Artes, Bilbao, Spain / Museum Beelden aan Zee, Den Haag, Netherlands / Arken Museum of Modern Art, Ishoj, Denmark
- Troisième scène de l’Opéra de Paris, Fonds Hélène et Édouard Leclerc pour la culture, Landerneau, France
- 100 % Expo, Festival 100 %, La Villette, Paris, France

2015
- Architecture & Nature, Domaine du Muy, France
- TRIO Bienal, Rio de Janeiro, Brazil
- Matrix : Mathematics_Heart of Gold and the Abyss, National Museum of Modern and Contemporary Art, Seoul, Korea
- La Forme Simple, Mori Museum, Tokyo, Japan
- Le Baron Triqueti 2, Centre des Monuments Nationaux, Abbaye de Cluny, France
- Variations Le Corbusier, Château Carros, France
- Cinéma Plein Air, La Villette, Paris, France
- 5 Years of Intersection, Phillips Collection, Washington DC, USA
- Sculpture in the City 2015, London, UK

2014
- Grey Flags, BackSlash Gallery, Paris, France
- Sur la route, MAC, Brive, France
- Motopoétique, MAC, Lyon, France
- Histoires de l'Espai 10 & 13, Fondation Joan Miro, Barcelona, Spain

2013
- Happy birthday Galerie Perrotin/25 ans, Tripostal, Lille, France
-Les Pléiades - 30 ans des Frac les Abattoirs, Toulouse, France
- Dynamo - A century of light and motion in art, 1913-2013, Grand Palais, Paris, France
The Unpredictables – Norman Foster et l’art contemporain, Carré d’Art, Nîmes, mai – septembre
Collection Platform 4 : Emotion and Technology, PinchukArtCentre, Kyiv, février – avril

2012
- Triennale Beaufort 04, Wenduine, Belgium
- Futur antérieur, Galerie du Jour Agnès B., Paris
- The Deer Le consortium, Dijon, France
- Plaisirs de France, Fine Art Museum, Bakou, Azerbaïdjan
- Plaisirs de France, National Museum, Almaty, Kazakhstan

2011
- French Window: Contemporary French Art Scene/Seen through the Marcel Duchamp Prize,Mori Art Museum, Tokyo, Japan

2010
- Catch Me! Kunsthaus Graz, Autriche
- Art for the world (The Expo), The city of forking Path, Shangaï, China
- Le Mont Analogue Centro Cultural Metropolitan, Quito, Ecuador traveling to Montevideo
- Chefs d'oeuvres?, Centre Pompidou, Metz, France

2009
- Le sort probable de l'homme qui avait avalé le fantôme, Conciergerie, Paris, 21.10.09 - 13.12.09, France
- N' importe Quoi, Musée d'Art contemporain de Lyon, Lyon (commissaire: Olivier Vardot , Vincent Pecoil), France
- Dream Time, Les Abattoirs, Toulouse, France
- Tati 2 Temps 3 Mouvements, Cinémathèque française Paris

2008
- The Rebirth, Demolition party, Le Royal Monceau, Paris (commissaire: Hervé Mikaeloff), France
- Prospect. 1, New Orleans, Biennal of international contemporary art, New Orleans, 01.11.08 - 18.01.09, USA

2007
- Introvert, Galerie Catherine Issert, St Paul de Vence, France; curator: J.Armleder
- Air de Paris, (La cabane éclatée aux Paysages Fantômes, un projet avec Daniel Buren; Aérolite, un concert avec Air), Centre Pompidou, Paris, France
- Cabinet des Estampes, Genève, Suisse
- Galerie Rüdiger Schöttle, Munchen, Allemagne
- De leur temps 2 , Musée de Grenoble, France
- The Incomplete, Chelsea Art Museum, New York, USA
- Intrusions au Petit Palais, Fond Municipal d’Art Contemporain, Petit Palais, Paris, France

2006
- Best of de la Salle de bain, CAN, Neuchatel, Suisse
- Les artistes en Fance, 1999-2005, Grand Palais, Paris, France
- Kit O’Parts, CAN, Neuchâtel, Suisse
- Supernova : Experience Pommery # 3, Domaine Pommery, Reims, France
- Thank you for the music, Simon Lee Gallery, London, Anglettere
- Sol Système, Centre d’art Passerelle, Brest, France
- Les artistes en France : 1995-2005, Le Grand Palais, Paris, France
- Boucle, place du Trocadéro; Ville Nouvelle, Cour de l’Hôtel de Ville, Nuit Blanche, Paris, France
- InTRANSIT from Object to Site, David Winton Bell Gallery, Brown University, Providence, RI, USA

2005
- Galerie Emmanuel Perrotin, Paris, France
- Water (without you, I’m not) - Thoughts of a fish in the deep sea, 3 ème Biennale d'Art Contemporain, Valence, Espagne
- Maison Noire for Perfect Houses Project with Jousse Entreprise, Grand Palais, Paris, France
- Pour de vrai, Musée des Beaux-Arts, Nancy, France
- De Lo Realy Lo Ficticio. Arte contemporaneo de Francia, Museo del Arte Moderno de Mexico, 07/07-09/10; travelling to Bass Museum, Miami, Fl, USA

- Fundacion La Caixa Collection. 20 years with Contemporary Art. New Acquisitions, Caixa Forum, Barcelone, Espagne
- Le génie du lieu, Palais des ducs et Musée des Beaux-Arts de Dijon, France
- Drive, Galleria d'Arte Moderna, Bologne, Italie
- Biennale de l'Image en Mouvement, Saint-Gervais, Genève

2004
- Genesis Sculpture, Domaine Pommery, France
- Seltsam Vertraut, Sarrebruck, Allemagne
- Éblouissement, Galerie Nationale du Jeu de Paume, Paris, France
- Contrepoint, Musée du Louvre, Paris, France
- D’un pas…L’autre, Jinan, Chine
- None of the Above, (curateur: John Armleder) Swiss Institute, New York, USA

2003
- Coollustre, (curateur: Eric Troncy), Collection Lambert, Avignon, France
- 25th edition of International Biennial of Graphic Arts, (curateurs: Christophe Cherix et Lionel Bovier), Ljubljana, Slovénie
- Le Mur de Verre/Glass Wall, dispositif conçu à l’occasion de Faits et gestes, Atelier de
mécanique, Parc des ateliers SNCF (Trésors Publics, les 20 ans des FRAC, Arles),France
- C’est arrivé demain, (organisée par Le Consortium), 7ème Biennale d’Art Contemporain de Lyon, France
- Split, Sandra Gering Gallerry, New York, USA
- JRP Editions Selected Multiples, Galerie Edward Mitterand, Genève, Suisse
- JRP Editions Selected Multiples, Galerie Javier Lopez, Madrid, Espagne
- No.5: Une partie de pétanque, Galerie de multiples, Paris, France

2002
- Audiolab 2, Palais de Tokyo, Paris, France, (exposition itinérante: Cinéma Les Variétés, Festival de Marseille; Biennale du Design, St Étienne; Le Consortium; Festival Nouvelles Scènes, Dijon; Musée d'art Moderne, Centre Pompidou, Paris, France)
- Les animaux sortent de leur réserve, Centre Georges Pompidou, Musée National d'Art Moderne, Paris, France
- Sculpture now, (curateurs: Michael Rush, Light X Eight et le Jewish Museum, New York, USA), Palm Beach Institute of Contemporary Art, Palm Beach, USA
- 2002 Taipei Biennial : Great Theatre Of The World, Taipei Fine Arts Museum, Taipei, Taïwan
- La part de l'autre, Carré d'Art, Nîmes, France
- JRP Editions, Raum Aktueller Kunst, Martin Janda, Vienne, Autriche
- The Speed Art Museum, Louisville, KY, USA
- Optical Optimist, Galerie Simone Stern, Nouvelle Orléans, LA, USA
- Light X Eight, Jewish Museum, New York, USA

2001
- Métamorphoses et clonage, Musée d’art contemporain de Montréal, Canada
- Sandra Gering Gallerry, New York, USA
- A New Landscape, Galerie Javier Lopez, Madrid, Espagne

2000
- Jour de fête, Centre Georges Pompidou, Musée National d’Art Moderne, Paris, France*
- Xn00, (curateurs: Lionel Bovier en collaboration avec Elisabeth Lebovici, Jean-Charles Masséra, Stéphanie Moisdon Trembley, Hans Ulrich Obrist, assistés par Nicolas Trembley), Espace des Arts, Châlon-sur-Saône, France*
- Art Unlimited, Art’ 31, Basel, Allemagne
- L’œuvre collective, (curateur: Pascal Pique), Les Abattoirs, Toulouse, France
- Vivre sa vie, (curateur: Tanya Leighton), Tramway, Glasgow, Ecosse*
- Over the Edges, S.M.A.K., Gent, Belgique

1999
- Bú!, Palazzo delle Papesse, Sienne, Italie
- Flashes, Tendências contemporâneas. Collection Fondation
- Abracadabra, (curateurs: Catherine Grenier & Catherine Kinley), Tate Gallery, Londres, Grande-Bretagne
- La Forêt, MAMCO, Genève, Suisse
- Côté SUD... Entschuldigong, (curateur: Jean Louis Maubant), La Ferme du Buisson, Noisiel, France (exposition itinérante Nouveau Musée, Contemporary Institute, Villeurbanne, France)

1998
- A Máscara, Galeria 1991 João Graça, Lisbonne, Portugal
- Portrait. Human Figure, Galerie Peter Kilchmann, Zürich, Suisse
- Cloth-Bound, Laure Genillard Gallery, Londres, Grande-Bretagne
- Speed of Life, (curateur: Merge Magazine), Art Node, Stockholm, Suède (exposition itinérante: Bohuläns Museum, Uddevalla; Galleri Box, Gothenburg, Suède; Uppsala Konstmuseum, Uppsala, Suède; Bidlmuseet, Umeå, Suède)
- La ville, le jardin, la mémoire: 1. La ville, (curateurs: Laurence Bossé, Carolyn Christov-Bakargiev, Hans Ulrich-Obrist), Villa Médicis, Rome*, Italie
- Coté Sud…Entschuldigung, Nouveau Musée, Institut d’art contemporain, Villeurbanne,
France; exposition itinérante: La Ferme du Buisson, Noisiel, France
- Premises. Invested Spaces in Visual Arts, Architecture and Design from France, 1958/1998, Guggenheim Museum Soho, New York, USA
- Freie Sicht An Der Mittelmeer, (curateur: Bice Curiger), Kunsthaus, Zurich, Allemagne
- Monstrato, (curateur: Giacinto di Pietrantonio), Pescara, Italie

1997
- Coïncidences, (curateur: André Magnin), Fondation Cartier pour l’art contemporain, Paris, France
- Selections from the Collection, Fondation Cartier for Contemporary Art, Paris, Créer, Produire, Collectionner: Works from the Collection of the Caisse des Dépots
et Consignations, Musée du Luxembourg, Paris, France
- Xavier Veilhan and Matthew McCaslin: Places from the Morton J. Neumann
Collection, French Cultural Services, New York
- Artists and Photographs, Museum fur Litteratur, Karlsruhe, Allemagne
- 504, Braunschweig, Allemagne
- Need for Speed, Kunsthalle, Graz, Autriche
- Bienal Cetijne, Montenegro, Yugoslavia

1996
- Traffic, (curateur: Nicolas Bourriaud), CAPC, Musée d’art contemporain, Bordeaux, France*

1995
- Le Labyrinthe moral, Le Consortium, Dijon, France
- Beyond the Borders, (curateurs: Clive Adams, Kathy Halbreich, Jean de Loisy, Oh Kwang-su, Anda Rottenberg, Sung Wan-kyung, You Hong-june), Kwangju Biennale, Kwangju, Corée*

1994
- Taro Chiezo, José Antonio Hernandez-Diez, Michael Joo, Ben Kinmont, Xavier Veilhan, Part I, Sandra Gering Gallery, New York, USA
- Naked City, Galleria Massimo de Carlo, Milan, Italie
- Still Life, Barbara Gladstone Gallery, New York, USA

1993
- Christiane Geoffroy, Véronique Joumard, Xavier Veilhan, Le Consortium, Dijon, France
- Kinder, Galerie Rüdiger Schöttle, Munich, Allemagne
- Als het ware niet meer dan ontmoetingen / Comme rien d’autre que des rencontres / Nothing but encounters as it were, (curateurs: Florent Bex & Isabelle Vierget), Museum van Hedendaagse Kunst (MUHKA), Antwerpen, Allemagne

1992
- Claude Closky, Jean-Jacques Rullier, Xavier Veilhan, Galerie Jennifer Flay, Paris, France

1991
- No Man’s Time, (curateurs: Christian Bernard & Eric Troncy), Villa Arson, Nice, France

1990
- French Kiss. A Talk Show, (curateur: Eric Troncy), Halle Sud, Genève, Suisse

public collection

- Musée National d’Art Moderne, Centre Pompidou, Paris, France
- Fondation Cartier pour l’Art Contemporain, Paris, France
- New National Museum of Qatar, Doha, Quatar
- The Israel Museum, Jérusalem, Israel
- Fondation Ilju, Seoul, Corée du Sud
- MUDAM, Luxembourg
- Centre National d’Art Contemporain, Paris, France
- Koo Museum, Séoul, Corée du Sud
- National Museum of Contemporary Art, Séoul, Corée du Sud
- The Phillips Collection, Washington, USA
- MAC/VAL, Vitry sur Seine, France
- Musée d’Art Moderne de la Ville de Paris, Paris, France
- Musée d’Art Moderne et Contemporain, Genève, Suisse
- Fonds Municipal d’Art Contemporain (FMAC), Paris, France
- Musée d’Art Contemporain, Montréal, Canada
- Henry Art Gallery, University of Washington, Seattle, USA
- Musée d’Art Moderne et Contemporain, Strasbourg, France
- Europaisches patentamt, Munich, Allemagne
- Samuel P. Harn Museum of Art, Gainesville, FloridaCabinet des estampes, Genève, Suisse Fundaçió La Caixa, Barcelona, Espagne
- Le Consortium, Dijon, France
- Insititut Culturel Bernard Magrez, Bordeaux, France
- Fondation d’entreprise CMA-CGM, Marseille, France
- Fundacion ARCO, Madrid, Espagne
- DAP, Conseil général de la Nièvre & Drac Bourgogne, France
- Centre d’Art Contemporain, Brétigny-sur-Orge, France
- Institut d’Art Contemporaine, Villeurbanne / Rhône-Alpes, France
- Foundation for Contemporary Art Viktor Pinchuk, Kiev, Ukraine
- FRAC Ile de France, Paris, France
- FRAC Aquitaine, Bordeaux, France
- FRAC Bourgogne, Dijon, France
- FRAC Franche-Comté, Besançon, France
- FRAC Languedoc Roussillon, Montepellier, France
- FRAC Nord-Pas de Calais, Dunkerque, France
- FRAC Pays de la Loire, Carquefou, France
- FRAC Poitou-Charentes, Angoulême, France
- FRAC PACA (Provence-Alpes-Côte d’Azur), Marseille, France
- FRAC Haute-Normandie, Sotteville-lès-Rouen, France

Xavier Veilhan - "The Venetian Bill"

Xavier Veilhan - "The Venetian Bill"

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Xavier VEILHAN

Xavier VEILHAN

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Xavier VEILHAN - Xavier Veilhan at Hatfield - Promenade

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Xavier Veilhan - DVD - 256 jours

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Xavier Veilhan - Le plein Emploi

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Xavier VEILHAN - "Billet Moderniste"

Xavier VEILHAN - "Billet Moderniste"

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  • August 2017
    Air France Madame — 4 PAGES

  • July 2017
    Le Monde — 2 PAGES

  • July 2017
    Architectures Créé — 5 PAGES

  • July 2017
    AMC Le Moniteur — 2 PAGES

  • July 2017
    Archistorm — 4 PAGES

"Furtivo, the rational and the relational"

by Hélène Kelmachter

Press release:

Whether it be vision, intuition or thought, the idea is primordial in Xavier Veilhan’s work. Form then follows in its wake. This is probably why it is expressed in diverse materials and techniques selected for their suitability to the original idea. It is also the reason why the coherence does not lie in each of the elements taken separately, but in the link between them that creates a sense, in the spatial and temporal interstice which both connects them and sets them apart. The same holds true for Furtivo, an exhibition held in March 2008 in the two Parisian spaces of the Galerie Emmanuel Perrotin and the preview of a film projected on July 3 at the Lingotto test track in Turin, the primary set. With their similarities and differences, the exhibition and the film stand as two autonomous, yet intrinsically linked objects. Each work in the exhibition echoes the film, not as a physical manifestation of the images from it, but as a series of reminiscences, phantom images, appearances and residual forms, forming a complete entity. The parallel between these two artistic objects, the film and the exhibition, underscores the approach adopted by the artist in recent years: the exhibition as a work in and of itself. Whether he uses his own works—as in Le Plein emploi at the Musée de Strasbourg—or those of other artists—with Le Projet Hyperréaliste at the Biennale de Lyon in 2003 and the La Force de l’art at the Grand Palais in 2006—Veilhan supports the idea that the exhibition is a contemporary artistic object, beyond an installation. And Furtivo is a particularly singular demonstration of this. Using differences in scale, the artist lines up, in reverse perspective, the faceted sculpture of a small figure and the angular and threatening silhouette of a 5-meter-long shark. “Stepping out of actual size means entering thought,” for the artist who alternates sculptures measuring several dozen centimeters with monumental works. It’s a way of promoting the idea that the reality of a work depends on the viewer’s perception. In this case, the viewer must adjust his view to an environment created deliberately without artificial light. Light from overhead reflects on the faceted and metallic surface of the Shark, or those of the candles on the Chandelier, suspended by pulleys between the marine metaphor and the theatrical illusion, a strange and enigmatic, perfect and incongruous object—as is its presence in the film Furtivo, in which Sébastien Tellier appears on horseback, carrying the outsized wheel on his shoulder. The candles appear again in a series of Lithophanies, which reveal nebulae and identified spaces—from a Kyoto temple to the former Fiat plant in Turin—which are, in turn, abstracted into a mental landscape. Between paintings and sculptures, these works incorporate shadow and light, front and back, perception and the imperceptible. Something beyond the visible, which the artist tracks down using phenomena perceived by science that are unseen by the eye: the waves that wash through Amish Vibration, a carriage torn between a desire for movement and this community’s refusal of innovation, creating an unnatural immobility; or speed and movement, two themes favored by the Futurists, illustrated by one of this movement’s representatives, Umberto Boccioni who, ironically, died from injuries stemming from a riding accident. Horses crop up regularly in Veilhan’s work; this is probably because of their ability to illustrate speed: that of the disjointed gallop in the triptyph Furtivo I, 2 and 3, a tribute to the first chronophotographs by physiologist Etienne-Jules Marey. Indeed, his shadow haunts the exhibition in the form of a nocturnal and monumental silhouette, a two-dimensional image placed in the space like a sculpture, dialoguing with Air Hockey Table—an evocation of the kinetic sculptures of Calder, another artist who tamed perpetual movement. Veilhan’s work, whether symbolic or actual movement, is about shifts. The film Furtivo deals with this dream-like transfer of the former Fiat plants to the sea. A series of paintings of shadows and lights, reflections and flashes, provide traces: Ramp, Window, Stealth mark stages in this process, from the futuristic architecture of Lingotto to Gianni Agnelli sailboat, the ultimate object of desire and technology. For Veilhan, this technology is a way of giving form to an idea, as reflected in his “statues”: sculpted mechanically from beech using a 3D scanner, Pierre returns to the genre of portraiture and classical statuary, while remaining clearly in its technological era.

Through his portraits and landscapes, his bestiary and his architectures, Veilhan pursues a constantly regenerated reflection on the status of representation and materialization of the idea; a manufacturer of the visible, he reveals the invisible, inventing parallel works that hesitate between the familiar and the strange.


The City of Glass

by Andrew Berardini


The City of Glass rose mysteriously from the plains.

Arched and angled, blocked and striated, cut from pure shimmering color endlessly faceted, the city accumulated, stabbed, stacked, as if some geologic force thrust each perfect form slipping through earth. An elegant skyward rise, a knife stabbing the air.

The crystal grew slender spires sharp as needles and hard angled towers like abandoned stacks of boxes, in unwavering geometric certitude and odd, undulating shimmies. Either windowless or simply a single solid opaque block, an eruption of ancient stone from the deepest bejeweled caverns of the earth or advanced tech crafted by evolved humans or something stranger and exponentially more sophisticated. A gemmy crust that could cover the earth forever or a mirage that might vanish as quickly and silently as it appeared.

The color of the glass seemed both luminous and reflective, its chroma a liquid living force but hard in a way that no human stress or strain could snap. Ultramarine blues and skypure cobalts, sundropped yellows and dragon’s blood reds, Indian turquoise and milky amaranth, arboreal greens and uncompromising ebonies, decadent red and merciful amethyst, unblanched ecru and chocolate brown, the darkening orange of old flames and the blue-white of fresh snow. The colors come together in colonies the opposite of camouflage. Old gold and rust, saffrons and indigos enfold and cover one another like the limbs of lovers in a joyful orgy. Teals poke and jab fuchsias, oranges overrun and undermine, mints lend support and succor. The colors nurture, they obliterate. They assemble in perfect harmony like soft sounds in a mossy forest. They grid into formations for unknown sports and unwinnable battles. Each maintains a purity though, unalloyed and unadulterated. Shades like elements, prime numbers. Impenetrably dense and slickly incorporeal.

They are alive, these colors. Rich auburns and airy limes trip and fall in slippery wrestling matches ending in wet skin, wild laughter. They are free, even though freedom has its costs, any child can tell you. The colors trouble and smile, distant and involved, always itself and its opposite. Brilliant chartreuses and gleaming goldenrods, lavender and fallow fold and flow, the softest hues and the gentlest shades seemed to shine with a stubborn endurance that would outlast the mortal reigns of presidents and popes, kings and tyrants, scoundrels and fools who fatuously believed they could outlive such unfettered color.

To look from a distance, the city seemed to shiver and jolt, surging with electricity eyes could not quite contain. A flickering signal on an old tv, city buzzed with the silent energy of a nuclear reactor, the power of a newborn sun, all that dynamism contained in the flexions of its forms. The monumental shifts were always only almost seen. Shaping and folding, the towers changed but did not appear to. Long stares wrought stasis. Glance away and the every jutting piece might reverse or displace.

Time itself seemed to crash like water against the gleam. Days passed in minutes, minutes in days, a century, a millennium, an eon were found and lost in an instant. Only the observer physically unchanged could feel the spiritual weight of such vast time. Civilizations rising and falling in a blink. Apes into humans, humans into tribes, tribes into kingdoms, kingdoms into empires, empires into oligarchies and republics, and both into rubble than dust, and back again, happening so quickly the eras confused and overlapped. Bewildered apes bellowed at electronic billboards, a horde of bearded horsemasters rode recklessly through top-hatted bourgeois, the carriage of the powder-wigged monarch wheeled through primordial jungles. The castle gate opened into a painted cave, the corridor of marble deities and fluted columns emptied into a concrete bunker, the perfect cyan water of swimming pools waterfalled into a black river, toxic fires raging along its oozing surface, the smoke of coal stacks billow into the dust clouds from the wheels of charioteers racing towards the stone walls of the old citadel, suburban children bicycle past minivans, turbanned caliphs riding atop elephants with jangling bronze armor ride through hanging gardens into waiting spacecraft. All of that time caught in a shimmer of light in the hard, opaque surfaces of a single tower that shudders achingly with the sufferings and joys of billions over thousands of generations felt all at once.

To enter the city is to enter a dream of personal reveries and historical visions, shaped and colored by an obscure force. Each avenue granted strange solace and remembrance, even if the remembrance was another’s. Clear and shadowy allusions to other buildings jutted from the crystal, other cities, lost and entombed, preserved and enshrined and thus forgotten from their true and lively purpose. Perfectly balanced spaces plucked from Zen gardens and modernist study houses tucked within the plainly troubling and fiercely volatile force of living stone and organic chemistry. Form followed function, but the functions of the City of Glass were mysterious, arcane, perhaps nefarious. What purpose could form such a place? To defy a deity or to spark a civilization, to summon dimensional travellers or deviant intellectuals, to baffle, to delight, to channel forces beyond fathom? Each movement shifted time and space, whispers from beyond reality reflecting in the uncracking crystal. The material and its play only framed visions rather than controlling them. The City of Glass pedestaled dreams, giving space and material to the ethereal.

A man wandered the city and could be sighted close to its heart. A normal looking guy, except that when he swept his arms a tower disappeared, bending into itself like origami until the folds were a silvery shark that muscled and swam through the corridors as if the air were water. He might focus on a stack of blocks and they’d shuffle, a thousand silent angles cornering in, growing denser and instead blocks there’d be a man, or a carriage, or an animal. Lions, bears, and rhinos, an entire bestiary folding and unfolding.

With a subtle stroke in the air, a long angle curved and as his fingers danced, rays of light rushed over and became strings. He handled them from afar and the sweet cascades of a harp echoed off the crystal. Memories came and went. An open arcade revealed dancers and yoginis in blurring whirls and perfect postures. From a hidden grove, a naked woman beckoned, her sultry body carved from the same wood of the trees, the flow of her hair unshakable. Around a corner, a musician with a mischievous face leaned against a wall, his body composed of that perfect crystal and that glass carried the sound of his passing, the compositions that came from his living fingers survive as a subtle resonance in the material of his form. Come too close and the waves of sounds envelop. They did not diffract, but passed straight through every muscle and sinew, bone and cell. The difference between substance and sound indissoluble. Retreating from the crystal musician and the sound dissipated to a ghostly breath of tonal purity.

Along the corridors, assembly-line cars roll past without drivers, their bodies cut from a single stone. Unmanned bicycles roll in perfect unison past bladed vortices moved by floating cogs and gears failed to shift a breath of air, as if made for the joy of their shape rather than the purpose of their mechanisms.

The shadows and shapes of other makers, builders of the past arrived to stand within the creation, monuments and memorials, homages and simple statues. They perched fully formed and silhouetted, looking over the city or just casting their shadow over the immense edifices. Every move, every step and every shift of perspective changed the city. The city moves with each body, each body with the city in a dance.

The city had its own delights and desire, thrilled in its own material as if some intelligence unknowable to human minds activated its interior powers, compelled it to rest one form or another, perhaps even to appear enough like a city to invite humans to enter, to participate, perhaps merely to witness. For all its sinister grandeur, it loved and honored the fleshy frailties and soft tissues, the senses and affections of people. It needed them.

The man in the heart of the city welcomes strangers but only with a distant smile, and does not slacken his movements. Perfect spheres bubble from the hard glass and float away, dissolving again into the wall of glass. The perfection of forms startles, the gleaming surfaces attract, though a weird yearning fills all travelers to smear the glass with a greasy finger, to let the wet mess of a body mark its fetishy finish. Leaving the the city, walking back across the fields, anxiety fills each limb as if, like Lot and his unlucky wife, a backward glance will transform all bodies into crystal. Those who come never return.

Even removed across great distances, the city never departs its visitors.

In the folds of a dress, in the vibrations of music, in the curve and crease of every building, the crystal forms beneath their skin of perceived reality glimmer with an unfading light.


Emotional minimalism – yet seeking new modernity

by Yuko Hasegawa


Veilhan's pieces indicate intersections of disparate elements, such as the cusp between the digital/informational and material, where our art-historicist memory of "portraiture" cedes to universal human figuratism, structural ready-mades, elemental polygon forms (= the polytopes of computer graphics) from which any character can be derived. From micro (small reality) to macro (world structure).

At such junctures appear products (objects), and outputs (visualizations), different in form and medium. Neither object nor yet the final fruit of the project itself, these conceptual embodiments remain object destined-to-be, tested by experience. Prototypes. These, yet to be tested, proposed latencies, these trial production envisioned prototypes express the "transient-ness" of Veilhan's practice. The work demands the viewers exist within it, take is as their new “environment” -- as a residence, or a garden.

The environment Veilhan proposes has none of the messy chaos or noise of the real world. Rather, it is of a different, minimized order. With site-specific projects, his works function more as interventions, causing pre-existing spaces to appear within his organizations. -- For while it has a modernist cold distance, it's also intimate. This subtle temperature relies on the composition of his visual language.

Veilhan's visual language proposes a synthesis of embodiment, minimalism, and analytical forms seen within the digital control of imagery; within his analytical systematic methodology we find delicate and ephemeral sensations of emotional content. These familiar forms such as animals, or portraits, even though abstracted, as if half-modeled, they have achieved a familiarity common to toys, figures, and models. He disavows post modernism, yet confesses to attempting to extend the reaches of modernity. While it's true that yes, his practice follows some modernist methodologies, it is in a sense of being innovative, of embracing new technologies, and a futuristic vision. That each work stands alone, without falling into hybrids or representation, whether concrete form, geometric sculpture, or kinetic composition, is very modern too.

Then, where lies its claim to be new? Synthesis, action, conceptual actuation, each element exists within Veilhan's works. Vehicles, transportation, such as horse wagon or boat, archetypal animals, portrait sculptures of some bodies, forms made steric through polygons, interruptions of the objects' digital analysis. Refusing to reveal any insights, protected by smooth topographies, they are painted in monotones. Here object animal and human being are of equal value. Even at the informational level, controlled by variations, different stages, from polygon = anonymous, to detailed formation (reproducible as concrete sculpture) = particularity (specificity). (The object's informational layer is only revealed in its formal variations.) Xavier (hood) (2006) is the artist's sculptural self-portrait. Its head is etched in vertical layers, and although it's made with birch wood, it looks like an unfinished 3D printed fabrication, showing a fragment of reality in which the body becomes an atomized "3D" scanned object.

The portrait sculpture evokes Bruno Latour's Actor-network theory, the disengagement of subject through archetypal mapping of objects and relational points --- non-human and human on the same plane -- as equal actors. This subject, the transcendence of the dualist subject - object conception is key. In modernity, so many hybrids were produced: semi-subjects and semi-objects which couldn't be claimed through dualism, yet remained masked by modernism's own conceptual apparatus. Information technology simulators, self-actuating robots, even whales equipped with radar transmitters, gene synthesis machines, data banks, etc. By focusing on the network of relations between these semi-subjects and semi-objects, the different aspects of the structure of capitalist society are exposed. We might call it multiple laboratory aggregation.

And this is not only the observation of Latour. Speculative realism and new materialism too remain agnostic about humans, objects, and information. Each criticizes traditional systems of perception and conceptions relating micro phenomena within macro system theories, and emphasizes experience, transitioning from "language, text, token" to "material, object".

It becomes evident in his video work Furtivo. As the artist states "the object I want to build already exists and is suddenly accessible" (p18 Conversation with Xavier Veilhan, September 2012), the video is made to "convey", or "make accessible" to visualize already existing pieces in front of the viewer's eyes. The video serves as vehicle for transportation rather than for story or documentation.

The video features a man driving a car on the Fiat Lingotto, a famous test track circuit on the rooftop of a building in Turin, Italy, as well as the Stealth boat, a sculpture perfect in its own right. In-between the two is an iron ring, taken from a circle-shaped chandelier with candles erect. A man comes in a car, finishes the circuit, gets on a horse back holding an iron ring, crosses an ocean, reaches the boat, and attaches the ring as the steering device. Here, the three vehicles are connected: car, horse, and boat. Men and women, each engaged in the circuit, swim the ocean to reach the boat. Veilhan states that in order for them to act freely, he only shot them without recording their audio. Products, videos (information), human behaviors acting freely in the situations, are layered and united together, in Veilhan's flexible perspective.


Here again one feels the camouflaged generic pose, which is to say that what appears generic is in fact quite specific. In Furtivo the protagonist shaves Styrofoam to make a part of the boat, which looks like a partial archetype of a yacht, but later appears to be the actual figure of the Stealth. In the first scene, we see only a black surface, then a man's hand extending out and searchingly patting the screen (or rather the black surface inside the screen), causing simple generic graphic outlines of a car and boat to appear. And in contrast to those generic semantic patterns, the video later provides specificity, with the car running, and the boat sailing the ocean. This is not implying a process of the product. It is a reflection of our reality, alternating back and forth between the specific case and the generic archetype.

In the video piece Drumball, Veilhan performs a comparative reflection on painting, sculpture, sound, performance, and installation. A woman, rolling small metal spherical bodies on a table, proceeds to drip viscous black paint in a circle onto the table. Next, a naked woman is revealed supported by a three-point structure, as if suspended in air. The big balls are turning, reminiscent of a 3D printer. These elements serve to chaotically disturb the sound and the space, whether as a drummer ceaselessly playing drums, or people tossing Frisbees and balls into the space.

To make a thing in actuality, including painting production, means relating to gravity. The thickness of paint, its specific weight, depends on gravity, and the operation becomes atomic. Small spherical bodies become larger spherical bodies to occupy the space, and this makes sculptures into installations. At some point they become mobile, like Frisbees or balls, or turning into interactive performances, or the artifacts of the remaining balls left as an installation. By working on spherical bodies as one basic multi-faceted form, and with gravity, movement, and coincidental operations, the work exhibits formative classifications of art, in simplest yet stylish forms. The whole process of this piece are similar to the act of drawing simple and soft diagrams, an anatomy of forms, the minimal restructuring and repositioning, the system's style its art. 
The arrangement of time and event serves to compose video by similar coincidence in 3D space. The sense of spatial configuration is related to the pluralism and motility of randomly shifting perception. “For me, the exhibition space, for example, is like a kind of garden in which we can walk, and have different visual encounters.” (Veilhan)

This feeling of traveling by Veilhan is similar to the experience of touring a Japanese circuit style garden. For example in The Phillips Collection, a seesaw-shaped sculpture which moves by gravity (Le Balancier), a stick-like mobile trembling by ventilation (Mobile nr. 2), an automatic drawing by force of gravity (law of pendulum) (Pendule dripping), and a landscape image vaguely appear on photo video (Ghost landscape) are all combined together. This presentation creates a dreamy temporal space transitioning between physicality and information, from the diversity of physical objects to more image-generated, possibly painterly impressions. Visitors walk around 'Ma --- void', this area for imagination, and connect these up arbitrarily. Veilhan shoots photographs of the surroundings, and this reflects his interest in reality, or rather in the atmosphere that envelops them.

Veilhan's approach towards spatial scale, gravity, and lighting intensity, can be found in site-specific exhibitions at historic locations. Particularly the installation of rays using elastic wires (Rays) in Hatfield and Cité Radieuse, while following a delicate aesthetic on par with Brazilian artist Lygia Pape, Veilhan's interpositions formalize and add volume, while inscribing the space by visualizing light rays. Like a utopian annotation of modernist space, while at the same time providing a vail to simply stir the senses.

It is in the minimalism that we find his emotions, the dissolution of the elements as new modernity ––– the minimization and re-coupling at different levels, re-developed as new projects, through natural, social, cultural, and historical environments, as well as in soft and gentle contact. The elements such as the quantum motion of spherical bodies, the gravity of dripping and sculpting, the rays represented by elastic wires, each are appropriately applied to expressions of interchanging and transforming situations. The "invisible", visualized through his figures and voids, while keeping his cool of "0 degree token", these are new interchanges, and the transformations of relations, secretly taking place between these objects – their information – are human acts. The dissolution and blending of perception, the cognition and sensation, it comes like an avalanche, yet again happening there.

2006

Xavier VEILHAN

January 14 - March 11, 2006

paris

76 rue de Turenne 75003 Paris France

Sculptures Automatiques

Xavier VEILHAN

December 05, 2006 - February 03, 2007

miami

194 NW 30th Street Miami, FL 33127 US

Miami Snowflakes

2008

Xavier VEILHAN

March 15 - April 26, 2008

paris

76 rue de Turenne 75003 Paris France

Furtivo

2009

Lionel ESTEVE, Xavier VEILHAN, Iván ARGOTE, Daniel ARSHAM, Mathieu MERCIER, KOLKOZ, Daniel FIRMAN

December 01, 2009 - January 09, 2010

miami

194 NW 30th Street Miami, FL 33127 US

2010

Xavier VEILHAN

November 30 - December 11, 2010

miami

194 NW 30th Street Miami, FL 33127 US

2011

Xavier VEILHAN

September 10 - November 12, 2011

paris

76 rue de Turenne 75003 Paris France

Orchestra

2012

Takashi MURAKAMI, Sophie CALLE, Johan CRETEN, Wim DELVOYE, ELMGREEN & DRAGSET, Lionel ESTEVE, Bernard FRIZE, Bharti KHER, KOLKOZ, Klara KRISTALOVA, Guy LIMONE, Jean-Michel OTHONIEL, Paola PIVI, Claude RUTAULT, Michael SAILSTORFER, Xavier VEILHAN

March 10 - May 05, 2012

paris

76 rue de Turenne 75003 Paris France

Group Show

2013

Xavier VEILHAN

May 21 - July 06, 2013

hong kong

50 Connaught Road Central, 17th Floor - Hong Kong

Mobiles

Xavier VEILHAN

October 10, 2013 - January 12, 2014

lille

Tri Postal, Lille, France

2015

Xavier VEILHAN

February 26 - April 08, 2015

new york

909 Madison Avenue New York

Music

Xavier VEILHAN

March 07 - April 11, 2015

paris

76 rue de Turenne 75003 Paris France

Music

Pierre PAULIN, Mike BOUCHET, CESAR, John DE ANDREA, Tara DONOVAN, ELMGREEN & DRAGSET, Laurent GRASSO, Candida HOFER, KAWS, Bertrand LAVIER, Heinz MACK, Monir Shahroudy FARMANFARMAIAN, Jesús Rafael SOTO, Xavier VEILHAN

October 22 - December 19, 2015

paris

76 rue de Turenne 75003 Paris France

Paulin, Paulin, Paulin

2017

Xavier VEILHAN

September 07 - 23, 2017

paris

76 rue de Turenne 75003 Paris France

Flying V