Exhibition views, "Here and Elsewhere" by Irene Kopelman, exhibition "
La Fabrique du Nous #1 / Quels territoires ?", from 3 March to 30 April 2022, at l'Institut d'art contemporain, Villeurbanne/Rhône-Alpes.
Photos by Thomas Lannes
Exhibition views, "Quaternary unfolded 2.0", Galerie Jocelyn Wolff, 2021. Photos by Chloé Philipp
Irene Kopelman, "Gully K", 2020, oil on canvas, 300 x 125 cm. Photo by François Doury
Irene Kopelman, "Nematostella", 2021, silkscreen on glass, 21 x 30 x 5 cm. Photos by François Doury
Irene Kopelman, Cárcavas, 2020, oil on canvas, 12 paintings: 20 x 20 cm each
Irene Kopelman, Cárcavas, 2020, (detail), oil on canvas
Irene Kopelman, Cárcavas, 2020, (detail), oil on canvas
Irene Kopelman, On Yellows, 2019, ceramic, 2 x 250 x 260 cm
Irene Kopelman, On Yellows, 2019, (detail), ceramic, 2 x 250 x 260 cm
Irene Kopelman, On Yellows, 2019, (detail), ceramic, 2 x 250 x 260 cm
Irene Kopelman, The Levy’s Flight, reliefs, 2009, black clay, variable sizes (smallest: 10×45×10 cm, largest:80×70×12 cm)
Irene Kopelman, The Levy’s Flight, reliefs, 2009, black clay, variable sizes (smallest: 10×45×10 cm, largest:80×70×12 cm)
Exhibition views, "Here and Elsewhere" by Irene Kopelman, exhibition "
La Fabrique du Nous #1 / Quels territoires ?", from 3 March to 30 April 2022, at l'Institut d'art contemporain, Villeurbanne/Rhône-Alpes.
Photos by Thomas Lannes
Exhibition views, "Here and Elsewhere" by Irene Kopelman, exhibition "
La Fabrique du Nous #1 / Quels territoires ?", from 3 March to 30 April 2022, at l'Institut d'art contemporain, Villeurbanne/Rhône-Alpes.
Photos by Thomas Lannes
Irene Kopelman
Born in 1974 in Córdoba, Argentina
Lives and works in Amsterdam, The Netherlands
One of the main aspects of nature is its perpetual change. By creating new forms, new patterns and new variations, Irene Kopelman has been able to access this landscape as an artist, establishing what to draw in places that have been studied and explored from top to bottom, criss-crossed by civilisations and represented in every possible way. Whilst being exposed to such constraints, the process of drawing (real and metaphorical) has gradually become one of the essential aspects of Kopelman’s practice.
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