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Exhibitions / Festivals 2024:
21 Nov 2024 - 21 Jan 2025
Collective exhibition with Aurelie Jourdain, Dominique Pouzol, Laetitia L’Heureux, Lala, Lou Lombard, Marie-Cecile Marques, Sandrine Loquet, Tessa Kugel, Victor Hamonic.
“Vrrraimant!” is the drawing festival organized by the Métaxu Art Space. On November 1, 2, and 3, 2024, 10 designers visited the gallery and the Place du Globe to produce for three days without restraint, surrounded by spectators.
For these artists who already have a professional background, it is often a first experience of drawing in public, but also a step aside in their practice, where the intensity of the situation and the effect of the collective push them to go beyond the usual comfort of the studio.
The exhibition shows selected drawings that summon spontaneous creative energy, the speed of bringing an idea to the medium, the intelligence of the collective game, and sometimes the irreverence shown to the medium. All the drawings were created during a weekend, reflecting the particularities of each artist, their techniques, their ease in tracing the sheet, and their desire to express their thoughts about the world. The métaxu offers a dive into this space-time as a testimony to a possible freedom where artists and audiences coexist in the heart of the city.”
*Text and Photos by METAXU
1, 2, 3 Nov 2024
“VRRRAIMANT! is the LIVING contemporary drawing festival.
10 designers present all weekend at the Place du Globe, on all surfaces with all media. A unique weekend of collective improvisation at the crossroads of graphic art, music, and performance. Every evening, concerts, question drawing, and music.”
At this festival, I created a participatory work. With my "Dream Drawing" series printed on many A4 sheets of paper, the visitors were allowed to cut and paste them on a large banner paper. Then I connected all the different parts that everyone had pasted with drawings to make a whole scene.
I also collaborated with another drawer Marie-Cecile Marques, and a Tunisian band, Orchestre Nour at the festival to improvise a drawing in the square.
27 Sep - 8 Nov 2024
Solo exhibition
In Oriental cultures, the circle symbolizes harmony, unity, and balance. This symbolism is frequently illustrated through the duality of yin and yang, as represented by the interplay of black and white. Additionally, the circle invokes concepts of eternity, completeness, and the cyclical nature of life, thereby reflecting the interconnectedness of all things.
For Run, the circle serves as both a starting point and a structural element in her work. Sometimes integral, it can enclose or restrict, guiding her playful and joyful drawings. This beginning establishes boundaries that foster freedom from realistic forms, allowing for a playful exploration of gravity and depth. Run's style exudes joy and apparent naivety, yet her depictions of figures and landscapes reflect deep emotional expression. Through intimate portrayals of the body and everyday life, she enables imagination to flow through shapes while adhering to her carefully crafted internal rules of composition.
Echoing Picasso's idea of "unlearning," Run strips away the unnecessary, achieving a seamless simplicity. Her circles and surrounding lines create a stage for emotions—sometimes contained; sometimes breaking free. Her drawings invite viewers into a world of wonder, curiosity, and joy, but also of sadness and fear, fostering connections with their inner world.
Having grown up and studied fine arts from an early age in China and later in France, Run Jiang’s use of the circle may be her way of finding unity within the traditions she was raised with, while simultaneously outgrowing the rules and reshaping them to carve out her own space in the world. In turn, the artist invites viewers to engage with her work, prompting the question: why (not) always start with a circle?
*Text by Charlotte Patoux
6 Jun - 29 Jun 2024
Solo exhibition
Run Jiang has been developing a set of works originating from intimate experiences, focusing on themes such as body and emotions, dreams, domestic life, and, more recently, the experience of being a mother, exploring areas of drawing, textiles, sculpture, and, above all, painting.
With unreserved honesty in confronting the intensity and, often, naivety of her emotions, Jiang seems to seek, through a schematic approach, to make clear what underlies her relationships with the world and the people closest to her, and even with herself, creating situations and scenarios, lived or fictional, to enhance a restructuring transformation.
In this new series of paintings presented here, you have the feeling of entering a world that is a little smaller, but, at the same time, a little bigger, as you imagine a child's world to be. The broad gestures, full canvases, and rich palette suggest that there is a whirlwind of things happening, one after the other, and there is a certain urgency to feel and eagerness to understand. A being is born, grows, and transforms every moment. Out of pure necessity, the mother becomes a daughter, the woman becomes a child. Not completely. Not through metamorphosis, but through openness and permeability. Daughter and child, wife and mother, inescapable in the fabric of love.
*Text by MingYu Wu