Lee Kit: Anticipated inertia (2 rooms)

British artist Jonathan Monk</a> presents An Italian in Paris, a subtly orchestrated exploration of originality, visibility and display – even perhaps of the gallery’s own purpose.</p><p>Operating one layer at the time, this new body of work begins with inkjet prints of Paris’s most iconic museum artworks: from Da Vinci’s Mona Lisa to Manet’s Olympia, Van Gogh’s self-portrait and Courbet’s L’Origine du Monde… the masters are all here.</p><p><br></p>" />

Kostianovsky presents a collection of works, some of which were created during her artistic residency in Chaïm Soutine's former studio at the Cité Falguière in 2024. The exhibition’s title, “À fleur de peau”, is not insignificant. It refers to a French expression that conveys a state of heightened emotion, where feelings are so intense they seem to rise to the surface, ready to emerge at the slightest touch. Through this evocative notion, the artist invites viewers to discover her work.</p><p>The exhibition opens with a striking and imposing piece: a dead bird, hanging by its feet, slowly rotating. With this creation, T. Kostianovsky directly pays tribute to the dead birds painted by the expressionist artist C. Soutine.</p><p>This choice of animal is deliberate. It is a vulture specialized in disposing of carcasses. Yet here, it falls into its own trap. Stripped of its natural function, it becomes a victim itself, eliminated by humankind. But the bird carries an even deeper symbolism. With its outstretched wings, it recalls Christian iconography, evoking the ultimate sacrifice: the crucifixion. The artist is fascinated by the rich iconographic variations within Christianity. She invites the viewer to reflect on the themes of the animal death and the concept of sacrifice. In this work, the vulture takes the place of Christ’s body. This substitution raises questions: could it be seen as a form of hope? A symbol of redemption within the animal’s very death?</p><p>Throughout the exhibition, panels reveal multicolored birds exuding a captivating energy. In stark contrast to the vulture, these works celebrate vibrant, exuberant life. To create these panels, the artist draws deep inspiration from colonial history. She takes an interest in the wallpapers produced by the French manufacturer Zuber, whose historical designs depict idealized landscapes filled with lush vegetation; images which in reality concealed the truth of colonialism. These colorful panels carry a powerful hidden message: they serve as a reminder not to forget history. The artist chooses to incorporate exotic birds from the Americas, many of which are now endangered, illustrating the lasting destructive impact of colonialism on flora and fauna.</p><p><br></p>" />