Collective, Edinburgh, Scotland, UK
03.12.16 - 29.01.17
W.W.W. (Whole World Working) is an exhibition that brings together artworks and writings considering the possibilities of a world without borders. American architect and designer R. Buckminster Fuller’s 1968 Operating Manual for Spaceship Earth outlines that our understanding of the world is impeded by its division into nation-states and that demarcation by borders causes economic and social disparity. He argues that the computer, which can operate beyond financial and political practicalities, offers a solution to this disparity. Buckminster Fuller’s ideas have inspired much utopian and emancipatory thought in the wake of the development of the World Wide Web. In the exhibition W.W.W. Buckminster Fuller’s utopianism is explored in relation to our geopolitical reality, particularly given the renewed energy of nationalist and isolationist politics since 2008. Works and texts by Michel de Broin, Alessandro Di Massimo, R. Buckminster Fuller and Ben Russell with design by Kaisa Lassinaro, Yorgos Stavridis with Dimitris Aatos Ellinas invite us to focus on the contradictions between geopolitical restraints and allegedly borderless information technologies. This project has been developed by Anastasia Philimonos as Associate Producer for Satellites Programme 2016.
Volt, Oslo, Norway
The Imaginary Reader is both an anthology of invited texts by a variety of writers, artists, critics, art historians and philosophers and an exhibition in the form of a book presenting several commissioned artworks. The book is meant as a stimulus to thinking about the imaginary and the relationship between fiction and reality. By way of artworks, experimental texts and reflections it offers a range of angles and ideas on different aspects of the imaginary. The list of contributions include: Øystein Aasan, aiPotu, Andreas Angelidakis, BADco., Erick Beltrán & Bernardo Ortiz, Milena Bonilla, Michel de Broin, Barbara Casavecchia, Daniela Cascella, Jan Christensen, Phil Coy, Bojana Cvejić & Ana Vujanović, Judith Dybendal, Mette Edvardsen, Espen Sommer Eide, Tom Engels, Jan Freuchen, Stian Gabrielsen, Dora García, Andrea Geyer, Pedro Gómez-Egaña, Avery F. Gordon, Ane Graff, Luis Guerra, Mai Hofstad Gunnes, Johannes Heldén, Vlatka Horvat, Richard Ibghy & Marilou Lemmens, Institutt for Farge, Dimitris Ioannou, Ivana Ivković, Marte Johnslien, Cecilia Jonsson, Valentinas Klimašauskas, Brandon LaBelle, John Lely, Per-Oskar Leu, Lewis & Taggart, Isabell Lorey, Young Lunde, Kristin Nordhøy, Linn Pedersen, plan b, Alexandra Pirici, Mikkel Bolt Rasmussen, Hans Rosenström, Andreas Schlaegel, Ingerid S. Straume, Jon Benjamin Tallerås, Hans E. Thorsen, Ève K. Tremblay, Synnøve Marie Vik, Jacob Wren, Icaro Zorbar
Editor: Marie Nerland
Book design: Erik Johan Worsøe Eriksen
Hardcover: 24 x 33 cm
Hearn Power Station
10.06.16 - 26.06.16
For the second time, Luminato Festival presents One Thousand Speculations, a 7.9 metre in diameter ball made up of 1,000 mirrors. It is an extraordinarily large mirror ball that reflects light to transform the space where it is installed. This time it will be suspended inside the Hearn Generating Station on an existing bridge crane above the over 300 meter long Turbine Hall. It will provide an unexpected experience of the historic power station, reflecting light in all possible directions. The slowly turning sculpture scans the entire space of the decommissioned power station, highlighting detail after detail of this majestic building, bringing it to life again. Each singular speck of light moving along the walls offers a new read of the building. Looking closely at the fascinating shapes of light travelling like clouds in sky, one might spot sea animals, bacteria, faces, the infinite and the infinitesimal. Visitors are invited to play this “Pareidolia” game of perceiving hidden patterns in these abstract shapes. The word speculation comes from the Latin speculum, which means mirror. Mirroring the world is an attempt to represent it, to make sense of what exceeds our understanding. The Thousand Speculations gives a multitude of reflections to look upon.
Domaine Pommery, Reims, France
14.09.16 - 31.05.17
With the artists: Brook Andrew, Daniel Buren, Lilian Bourgeat, Vincent Carlier, Julian Charrière, Gaëlle Chotard, Michel de Broin, Choi Jeong Hwa, Bertrand Gadenne, Séverine Hubard, Guy Limone, Chaim van Luit, Soundwalk Collective, Pablo Valbuena, Enrique Ramirez, Su-Mei Tse, Iván Navarro, Stéphane Thidet, Lee Mingwei
Curator : Fabrice Bousteau
Division Gallery Toronto
29.10.16 – 25.12.16
An emphatic turn towards objects, the non-human, things, and their meaningfulness has swept contemporary philosophical discourse. Despite our phenomenal relation to everything we see and everything we touch (and what touches back, felt or not), a noumenal relation colours our world—or at least the discourse surrounding it. And so, it seems we must learn to thread a newly demarcated, yet unknowable, realm filled with objects personified, openly at play.
For the past two decades Michel de Broin has set up his studio in this shadowy world where objects and their social dramas are chief actors. While our current moment asks us to imagine the inanimate personified, de Broin has been doling out objects that lay bare their machinations over the course of his prolific career. These sculptures do not go so far as to dance on their own, much like Marx described the fetishized commodity doing, but their plastic, metal, painted shells certainly cannot contain their forms. Performing beyond their expected function, albeit poorly at times, these unsuspecting cousins demand a longer consideration than those objects bound to their meaning. In tour de force a tire wrapped into a concentric knot cannot power any motor vehicle, while no less recalling the immense and unknowable force of a black hole.
This and That’s accretion and accumulation of images and objects belies the vertical thrust of possession. Everywhere we turn a non-systemic torrent of relations is at play, connecting objects in an indeterminate network, one that bridges de Broin’s career from past to present. This uncanny field where objects are in conversation, confronting one another through a shared language of dysfunctionality, is one carved by alternative paths to meaning and value. -Loreta Lamargese
DIVISION GALLERY TORONTO
45 Ernest Avenue, Toronto M6P 3M7
Tues-Sat 10am to 6pm
Blowback, 2013, Steel, 10m x 4m x 4m
Core, 2016, Forton, wood, paint, wax, aluminum
This and That, 2016, Cyanotype
Head, 2016, Aluminium plated forton, painted wood base
Moon Watcher, 2016, Forton, fiberglass, headlights, aluminum frame
Drunkated I, II & III, 2016, Bronze
Étant Donnés, 2013, Sink, plumbing pipe, water, propane gas
May Be, 2016, Aluminum, plaster, cushion
This and That, 2016, Metallic objects, thermoform on wood panel
Dog Fight, 2014, Cement, polymers, aggregates, nylon fibers and steel structure
Endangered Species, 2016, Forton, wood, wax, steel, gold leaf
Sandbank, 2016, Light box
Logged On, 2015, Wood log, electromagnet, neon bulb, steel beam
Four Six One Nine, Los Angeles
07.07.16 - 07.08.16
Michel de Broin
Bronze, enamel paint
Opening Wednesday, July 6, 6-9pm
4619 W Washington Blvd, Los Angeles, CA 90016
Opening Hours 11am – 7pm Tues – Sat and by appointment
Contact: Sarah Belden 647-539-8104, firstname.lastname@example.org
Division Gallery is pleased to present our first exhibition in Los Angeles, under the auspices of Four Six One Nine (LA). Don’t Look a Gift Horse in the Mouth features new work by Canadian artists Brad Phillips, Chloe Wise, Michel de Broin, An Te Liu, Sarah Anne Johnson, Paul Butler, Jillian Kay Ross and Simon Hughes as well as works by LA-based Bjorn Copeland (China Art Objects), New York-based Rose Marcus and LA-based Sojourner Truth Parsons (both represented by Night Gallery).
Musée National des Beaux-Arts du Québec
Bronze, aluminium, glass, natural gaz
Interlude places fire in the heart of a remodelled television set: an homage to the domestication of fire 400 000 years ago. Devoid of its broadcasting function, the device is converted into a fireplace. Meaning “distant”, the prefix “tele” evokes the disconnection generated by media between its content and the viewer. Using this Palaeolithic innovation, Interlude attempts to reestablish the immediacy of communication, a presence that stands in contrast to the information networks distancing us from actual events. It invites us to huddle around its unmediated blaze.
Interlude met le feu au centre d’un téléviseur remodelé : un hommage à la domestication du feu il y a 400 000 ans. Destiné à diffuser son et images, le téléviseur se trouve détourné de sa fonction médiatique et transformé en foyer. Le préfixe «télé», qui signifie « au loin», évoque la distance produite par l’appareil entre le contenu représenté et le spectateur. En faisant appel à une innovation datant du paléolithique, Interlude tente de rétablir la communication immédiate qu’aurait interrompue la machine à images. Contrairement aux instruments d’information qui nous éloignent de l’évènement, Interlude rapproche les gens autour du feu, rayonnant sans média interposé.
BMO Project Room
01.04.16 - 30.11.16
Castles Made of Sand is a site-specific installation conceived to be temporarily installed in a small office space near the top of a skyscraper in downtown Toronto. The installation can be described as a production line that casts sand castles, dispatches them for a journey on a convoyer belt, and eventually sends them to crumble. The sand is then recuperated and recycled and a new castle created. The construction and destruction of the castle follows the position of the moon in the sky, which influences the tides on earth. These astronomical phenomena trigger the cycle and the passerby can witness the rise and fall of castles – ephemeral architectures that drift past the windows and topple down in front of the city skyline. The machine operates at a very slow pace. By decelerating the mechanical process the piece produces a contemplative experience in which the frail fortresses expose their temporal existence and their vulnerability, but also enable a recurrent new beginning.
Castles Made of Sand
Photo by Toni Hafkenscheid
500 x 160 x 200 cm
Conveyors, pneumatics, stainless mold, tide clock, automationcontrols, sensors.
Galerie Thomas Henry Ross Art Contemporain
23.04.16 - 04.06.16
Fire Hydrant, hose.
Pour cette première édition de la Nouvelle Biennale, les artistes invités sont: Vikky Alexander, Itziar Barrio, Catherine Bodmer, Catherine Bolduc, Sebastien Cliche, Sylvie Cotton, Michel de Broin, Julien Discrit, Steve Giasson, Eleanor King, Chris Kline, Dejode & Lacombe, Manuela Lalic, Daniel Olson, James Paterson, Marc-Antoine K. Phaneuf, Felicity Tayler, Lucille Uhlrich, Jonathan Villeneuve, Kim Waldron et Pavitra Wickramasinghe. Le commissaire de l’évènement est : Jean-Michel Ross.
05.12.2015 > 31.01.2016
« Objets inanimés, avez-vous donc une âme ? », se demandait Alphonse de Lamartine. Que penserait le poète aujourd’hui devant cet art contemporain augmenté par les nouvelles technologies ? Et nous, qu’en pensons-nous ? Y pensons-nous ? Loin des interactions ludiques auxquelles est souvent confiné l’art numérique, l’exposition de la Biennale se penche sur notre relation aux machines et objets qui nous entourent. La prosopopée est une figure de style qui consiste à faire parler des choses ou êtres inanimés. Ici, des artistes internationaux s’emparent des outils numériques pour donner une vision subjective ou fictive du monde.
Dans un appartement déréglé, un frigo et un radiateur se livrent à un combat ridicule. Ailleurs, des miroirs ou des affichages d’aéroports n’en font qu’à leur tête… Ne se livrant pas à une imitation de l’homme, les machines prennent leur autonomie. On ne se demande plus comment elles bougent mais pourquoi, leur conférant par cette question une pensée, une humanité, et même la capacité d’exprimer leur propre poésie. À nos risques et périls ! Jusque dans les recoins du CENTQUATRE-PARIS, le visiteur va de surprise en surprise, pas toujours rassurantes…
Avec Bill Vorn et Louis-Philippe Demers, Anish Kapoor, Krištof Kintera, Jacob Tonski, Robin Moody, Nonotak, Félicie d’Estienne d’Orves et Lara Morciano, LAb[au], Michel de Broin, Edwige Armand, Étienne Rey, Ei Wada, Guillaume Marmin et Fred Marolleau, Guillaume Marmin et Philippe Gordani, André et Michel Decosterd, Pascal Bauer, Bram Snijders et Carolien Teunisse, Jérémy Gobé, Fred Penelle et Yannick Jacquet, Maxime Damecour, Laurent Pernot, Anne Roquigny, Thomas Cimolaï, Samuel St-Aubin, Marck, Charbel-joseph H. Boutros, Benoît Labourdette, Rino Stefano Tagliafierro, Arcangelo Sassolino…
06.11.15 - 29.11.15
Rien ne va plus 
Site-specific sound installation
Rien ne va plus is a French phrase used by roulette croupiers before fatally spinning the ball into the wheel, to announce that no more bets are allowed on the table. However, Rien ne va plus also translates as “nothing works anymore”, transcending the gambling environment and alluding to the wider state of the world.
Rien ne va plus is a site-specific audio installation in one of the exterior ventilation grids of the FACT building. The sound of clinking coins and slot machines produce the illusion that the institution has been converted into a casino. Through this simple and playful gesture, Michel de Broin poignantly comments on the the prevailing economics and politics of free market neoliberalism, and the so-called “casino capitalism” of our financial system. At the same time, and in the spirit of institutional critique, the work sheds light on the current climate of public cuts in the cultural sector, and the ensuing pressure to prioritize commercialization over values such as knowledge generation or commonality. (Ana Botella, Curator)
MAC/VAL first opened in November 2005, so this year it is celebrating its tenth birthday: still young, but old enough to have a perspective over time, and to have put down roots in its territory. For this birthday, the new exhibition of works from the collection explores artists’ relation to history and its narratives, and our own relation as viewers to what went before us. (Alexia Fabre, 2015)
Black Whole Conference 
74 chairs, clamp system
440 x 440 x 440 cm
Collection of the Musée d’art contemporain du Val-de-Marne
This installation consists of a group of chairs attached to each other at the legs to create a sphere. In this utopian architecture, each element ensures and shares in solidarity with the others, the stability of the whole. This spiky structure forms a kind of immune system, a geometry configured in order to protect itself from the outside world.
Eva Meyer Gallery
24.10.15 - 05.12.15
Galerie Eva Meyer
5 rue des HAUDRIETTES / 75003 Paris
6 pm – 10 pm
Dissipation on a Turn marks the time of a double inauguration. A first collaboration between Eva Meyer and Michel de Broin and the installation in a new gallery space in Marais.
Dissipation on a Turn 
Metal stools, wood, metal clamps
The work that gives its name to the exhibition, Dissipation sur le virage(2015, “dissipation on the turn”) is an organism in itself, tentacular, seemingly endless, an almost coral-like concretion of metal stools. This rhizomatic structure foils the useful origin of its material to better project it into the universe of circulations and dynamics. From one turn to the other, the alternation of accelerations and decelerations generates a form of inebriation comparable to the energy expended to recover its balance. The dissipation of energy is also at work in the exhibition’s smallest piece, Embrase-moi (2013, “set me ablaze”, a play on words with embrasse-moi, “kiss me”), a small graphic electrical resistance set ablaze: anyone who comes up against it, burns himself on it. The artist knows how to sustain the feeling of necessity generated by his humorous stagings of the crisis of the real. (Bénédicte Ramade, 2015)
22.10.15 - 25.10.15
Speaking of controlled skidding, Drunkated Buckyball (2015) resembling a geodesic structure, would seem to be an unstoppable system. The cocktail stirrers that form it deregulate the ordered assembly with their animal and corporate ornaments, their cheerful colors of intoxication. A tightrope walker’s exercise, these fragile specimens of a collection signaling drift fool their world. Molded in bronze and painted, the delicate instruments have undergone a shaping that twists them. A modus operandi that is decidedly favored by the artist whose wanderings of the mind appear to be crystallized in the center of space in this metal circuit crossed by chromatic interruptions, between a memory card and a competition track. (Bénédicte Ramade, 2015)
left to right:
Drunkated Isocahedron , 90 x 90 x 90 cm
Drunkated ll (rising) , 8 x 8 x 140 cm
Drunkated lll (geodesic) , 30 x 30 x 30 cm
Drunkated I (explode) , 30 x 30 x 53 cm