A proposal to Erik van der Weijde “The reproduction as the raw material of a new work”

“The visit of the fair Paris Photo in 2014 made me ask myself many questions about several recurring topics, such as the obvious fetish art market for smooth surfaces or the still open question of whether photography is good art or not. From an artistic perspective, it made me want to show the work of some artists who use photography as a tool simply with reproductive capacity. So the works shown in this exhibition make sense in the context of photography, without any of the participating artists is a photographer (in the classical sense).

Photography, as well as the different stages that make up its process, are part of all successful works. It is sometimes used as a tool to implement a form of three two-dimensional; or to collect and archive images; or to reproduce an existing work. This photographic knows that each stage of the works is then highlighted or, conversely, rejected by their author and constructing the meaning of the works by successive layers. Added to this is the careful choice of the materials used, in agreement with the bias of each artist on the issue of reproduction. A common value that is found in these works is the use of reproduction, not simply to duplicate, but to create something new. ”

Erik van der Weijde


Philippe van Wolputte present a work from the series of Asbestos (“asbestos”). The larger-than-life reproduction of an advertisement for asbestos, made using photocopies, becomes a bitter comment on this toxic material sold in the past as a family and fun product.

The diptyque Stephan Keppel is a reproduction of the plants of photographs on paper sheets Pantone recovered. Stephan Keppel The photographs taken in the streets of Paris and continue to evolve made reproductions and successive repetitions.

The duo Linus Bill & Adrien Horni shows a way out large series of Mixed Media. Every time they sell one of their works on paper, Bill & Horni make a “copy” on canvas of the same size, to replace the original in future exhibitions of both artists. Screen-printed in black and white on canvas, the copy is made from a photographic reproduction in black and white of a work on paper in color.

The flower image of Pierre-Olivier Arnaud is pasted on the wall. This unique piece is made of one hundred copies of the same image screen printed, which will all be available to a prospective purchaser, except those already shown in glued in previous exhibitions.

Monotypes Erik van der Weijde are from his series Hiroshima. All photographs in this series were taken at the site of the residential complex of modernist Motomachi, the last piece of the reconstruction of Hiroshima. These fragile-looking prints are unique laser transfer printing, placed on marble pedestals.

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Installation view
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Installation view
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Philippe Van Wolputte, ‘Phase 2 – Appliance (Makes A Perfect Winter Scene)’, 2013, Mica paper, tape, spray paint, 186 x 95 cm. Photos: Aurélien Mole, courtesy the artist.
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Stephan Keppel, ‘Plants’, 2014, glass, Skiffy, plotter printing on paper Pantone Color Unicum, each element 51 x 66 cm. Photos: Aurélien Mole.
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Linus Bill + Adrien Horni, Mixed Media b / w 04, 2013, silkscreen on linen, 200 x 150 cm. Photos: Aurélien Mole, courtesy of the artists and gallery Allen, Paris.
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Pierre-Olivier Arnaud, ‘Untitled (Project: cosmos, flower 14)’, 2010 silkscreen on paper, 176 x 120 cm. Photos: Aurélien Mole, courtesy of the artist and Art: Concept, Paris.
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Erik van der Weijde, ‘Hiroshima’, 2015, mono-print and marble, each photograph is 20 x 15 cm. Photos: Aurélien Mole.
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Erik van der Weijde, ‘Hiroshima’, 2015, mono-print and marble, 20 x 15 cm. Photos: Aurélien Mole.
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Erik van der Weijde, ‘Hiroshima’, 2015, mono-print and marble, 20 x 15 cm. Photos: Aurélien Mole.
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Erik van der Weijde, ‘Hiroshima’, 2015, mono-print and marble, 20 x 15 cm. Photos: Aurélien Mole.
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Erik van der Weijde, ‘Hiroshima’, 2015, mono-print and marble, 20 x 15 cm. Photos: Aurélien Mole.