2020.02.09 - 2020.04.05
La main du magicien dans la froide lumière du jour
Musée d'art contemporain des Laurentides, Canada
2020.05.08 - 2020.06.29
Ruhr Ding: Climate
Urbane Künste Ruhr, Germany
2020.03.26 - 2020.06.21
Zero Emission
Museum Leipzig, Germany
2020.03.17
Courant Vert
Espace EDF, Paris
2020.02.11 - 2020.05.12
Thresholds
Palais des Congrès de Montréal, Canada
2019.10.31 - 2019.12.08
Montréal ~ Habana : Rencontres en art actuel / Encuentros de Arte Contemporáneo
Havana, Cuba
2019.09.09
Poetry Lies In Between
CityLeaks Festival Center, Cologne, Germany
2019.05.20 - 2019.05.24
CoExistence
2019 ICRA-X Robotic Art Program, Palais des congrès de Montréal, Canada
2019.05.04 - 2019.07.13
Revolution
Biennale d’architecture et de paysage Versailles, Paris
2019.03.08 - 2019.04.13
Salle des maquettes
Galerie de l'UQAM, Montreal
2019.02.07 - 2019.05.18
Bonne conduite
Angoulême, France (FRAC Poitou-Charentes)
2019.02.20 - 2019.06.09
Thresholds
Âjagemô art space, Ottawa (Canada Council for the Arts)
2018.11.02 - 2018.11.04
Man Ray, Michel de Broin, Juliette Goiffon & Charles Beauté
Artissima, Turin (Galerie Eva Meyer)
2018.10.20 - Work in progress
Deviations
Vancouver Biennale, Vancouver
2018.09.13 - 2018.11.17
La conduite des conduites
Galerie Division, Montreal
2018.07.07 - 2018.08.12
Natura Loci
Magasin Général, Sainte-Madeleine-de-la-Rivière-Madeleine
2018.03.26
Michel de Broin & Kim Gerdes – Machines organiques, machines textuelles
École Normale Supérieure, Paris, France
2018.03.08 - 2018.04.17
Elective affinities
Galerie Division, Montreal
2017.08.17 - 2017.10.15
Thresholds
KM3 - A Public Art Event, Quartier des spectacles, Montreal
2017.06.30 - 2017.07.04
Mille spéculations
Bordeaux, France
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Opening 2015.10.22
Dissipation on a Turn
Solo Exhibition
Galerie Eva Meyer, Paris

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.

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Dissipation on a Turn, 2015
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)

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