Cornelia Baltes (b. 1978, Germany, lives and works in Berlin.)
Cornelia Baltes’ minimal compositions, often accompanied by larger murals, balance playfulness with subtle detail, where seemingly spontaneous brushstrokes are in fact meticulously applied with highly pigmented paint. Her paintings and installations oscillate between abstraction and figuration, where gestural lines of corporeal elements such as facial features, hands and feet are painted over solid fields or gradations of bright colour. Grounded in a lexicon of imagery that conjure the viewer’s personal memories, experiences and associations, Baltes’ paintings morph into a different narrative for each of us. Her practice also includes murals and permanent installations.
An extensive monograph on Baltes was released last year by DVC books. In spring 2025, Baltes will have a major solo exhibition at Fuhrwerkswaage in Cologne, followed by a solo show at our Paris gallery in October 2025.
Baltes’ work is to be found in prestigious private and public collections around the world. She received an MFA from the Slade School of Fine Art in 2011 and has exhibited at institutions such as The Royal Academy of Arts, London; Chapter Arts Center, Cardiff; Kunsthalle Nuremburg, Nuremburg, Walker Art Gallery, Liverpool; ICA London; Mostyn, Llandudno, Wales; Museum Folkwang, Essen, Germany; Kunstverein Ulm, Ulm, Germany; Museum Kunst Palast Dusseldorf.
Sabine Mirlesse (b. 1986, US, lives and works in Paris.)
Sabine Mirlesse is a Franco-American artist who lives and works in Paris. Her research focuses on the visibility of thresholds and the interiority of landscape, with a particular interest in how geological sites are divined, interpreted and narrated. Weaving its way through mineral narratives and cosmologies, Mirlesse's multidisciplinary approach manifests itself in an accumulation of layers, complementing sculpture with photography, installation, video and writing.
Through her series of Electric Prayer sculptures, consisting of lightning transcriptions in cast bronze embracing pieces of fulgurite*, all made with the reading of the landscape in mind, Mirlesse proposes a set of instruments to reflect on the oracular and the human desire to make manifest something that is otherwise invisible, through forms inspired by etymologies and poetics.
Mirlesse’s work is currently on show in Apocalypse. Yesterday and Tomorrow, (until June 8) at the Bibliothèque Nationale de France, curated by Jeanne Brun, chief curator of the Centre Pompidou, alongside great masters such as Vassily Kandinsky and Otto Dix, as well as contemporary artists such as Tacita Dean, Otobong Nkanga and Anne Imhof.
She will also be exhibiting from 12 April to 9 June 2025 at Château La Coste (Bouches-du-Rhône) in the group show Par quatre chemins. In May 2025, Sabine will present a new bronze piece at the Centre Wallonie Bruxelles in Paris as part of the group exhibition SYMBIOSIUM 2.. Also in May 2025, we are delighted to present Sabine's first ever international solo exhibition at our Stockholm gallery. The exhibition will run from 3 May to 28 June 2025 and will open in conjunction with Stockholm Art Week.
Mirlesse holds an MFA from Parsons the New School for Design in New York. She received a BA in History of Religion and English Literature from McGill University in Montreal, Quebec.
Xavier Veilhan (b. 1963, France, lives and works in Paris, France.)
In Xavier Veilhan’s recent series Landscapes, the artist explores different degrees of representation between the physical presence of the object and the virtual existence of the image with an idea of deconstruction. This tension in the transition between image and object is present in Veilhan’s new landscape works as well as in the marqueteries. A gradual shift from individual objects to a greater whole is taking place as individually coloured wooden pieces are assembled together, and when completed, give shape to a new motif.
“This new series of landscapes only works realistically when certain elements are taken into account, such as the horizon line or the reflection of the sky in the sea, or vice versa. I'm interested in exploring the art of the photographed landscape, and I'm thinking of photographers like Ansel Adams, who recomposed the image in the laboratory when developing the images, dosing light and dark, and here we're all the more aware of this in a black and white image that refers to a landscape that's more like that of Gustave Le Gray, for example, or Gerhard Richter.
Here, the way we break the image down into a few elements means that there's a kind of trick that works when you see the image from a distance, the distance is very important, it's what happens when you see a small image on your phone and it becomes even more coherent.” - Xavier Veilhan
Represented by Andréhn-Schiptjenko since 1993, Xavier Veilhan is arguably one of the most important artists of his generation. Veilhan’s work is multi-faceted, encompassing sculpture, installation, painting and photography, hybrids of all of these, and he is also engaged in performance work and filmmaking. Veilhan’s ongoing formal research into figuration and abstraction, as well as his interest in works that investigate both the second and third dimension, has led him to explore well-known categories such as portraiture, landscape, statuary and mobiles.
His work has been exhibited worldwide in acclaimed institutions including the FRAC Pays de la Loire, the Musée du Louvre, the Centre Georges Pompidou, the Phillips Collection in Washington, MAMCO Geneva, the Château de Versailles and in 2017 at the 57th VeniceBiennale, for which he transformed the French Pavilion into the critically acclaimed Studio Venezia.
Veilhan also frequently works in the public space. Inaugurated in the autumn of 2020, Vårbergs Jättar is Sweden’s largest public commission to date.
Veilhan’s work is present in a wide range of major institutions across Europe, Asia and the Americas and his practice has been the subject of well over two dozen monographic publications.
