22 500 affiches – 1994-2011
For his autumn’s exhibition, CCC has chosen to focus on belgian artist Michel François, one of the leading artists in the French Community of Belgium, which work is now being exhibited throughout the world. This is the first retrospective of the the large‐format posters created by the artist since 1994, for each new exhibition.
This event has been organised and co-produced with the MAC’s – Musée des Arts Contemporains du Grand-Hornu (Belgique) and brings together for the first time the whole of Miche François’s 45 posters, republished and printed in en edition of 500 copies for the CCC.
True to the artist’s philosophy, to enable the public to take a poste home with them, the CCC will make them available to visitors for the duration of the exhibition.
From the manner in which he takes photographs, we might easily guess that Michel François is a sculptor. The tension between the volumes, the contrasts of materials and density, the
rhythm as well as the arrangement of the forms always have a powerful, physical presence
in his pictures.
The photographic framing of his shots, sometimes rigorously constructed, sometimes
intuitive and spontaneous, contributes to a particular relationship with space, light and the
body; it involves slicing into the movement of life, extracting blocks of space and time from it
and making the tensions, vibrations and energy flows visible and almost tangible.
Throughout his works, hands knead, blend, grasp, clasp, embrace, mark, constrain and stack.
Michel François identifies or puts together “sculptural situations” that are normally not
identified in this genre; working a bar of soap into a lather between one’s hands, biting into
a block of chocolate, putting on a sweater, gripping a stone firmly before breaking it,
squeezing a belt around one’s waist, etc. For him, all of these movements are sculptural
actions and aesthetic gestures.
Michel François’s photographs, and in particular those which he turns into posters
distributed far and wide with no commentary, invite the spectator or passer by to no longer
be satisfied with a vicarious knowledge of life, with bartering images against sensations and
representation against experience, but to pitch into the world and reinvest his images with
their own observation.
A coproduction with the MAC’s – Site du Grand Hornu , Belgium
michel françois
born in Saint-Trond, Belgium in 1956. He lives and works in Brussels.
Michel François’s work developps itself since the 80’s using recycling as an operating method. Sculpture is a fundamental practice in his work, and covers photography, video, installation as well as performance to adresse issues of space, volume and balance, whatever the medium used.
Recurrent preoccupations ermerge from the heart of this proliferating, surging work : living material in all its forms, the ordering of forces and the metaphore of imprisonment. Michel François’objects, images and volumes ceaselessly change and bond, a replay of a growing natural process, and become transitory forms.
For his autumn’s exhibition, CCC has chosen to focus on belgian artist Michel François, one of the leading artists in the French Community of Belgium, which work is now being exhibited throughout the world. This is the first retrospective of the the large‐format posters created by the artist since 1994, for each new exhibition.
This event has been organised and co-produced with the MAC’s – Musée des Arts Contemporains du Grand-Hornu (Belgique) and brings together for the first time the whole of Miche François’s 45 posters, republished and printed in en edition of 500 copies for the CCC.
True to the artist’s philosophy, to enable the public to take a poste home with them, the CCC will make them available to visitors for the duration of the exhibition.
From the manner in which he takes photographs, we might easily guess that Michel François is a sculptor. The tension between the volumes, the contrasts of materials and density, the
rhythm as well as the arrangement of the forms always have a powerful, physical presence
in his pictures.
The photographic framing of his shots, sometimes rigorously constructed, sometimes
intuitive and spontaneous, contributes to a particular relationship with space, light and the
body; it involves slicing into the movement of life, extracting blocks of space and time from it
and making the tensions, vibrations and energy flows visible and almost tangible.
Throughout his works, hands knead, blend, grasp, clasp, embrace, mark, constrain and stack.
Michel François identifies or puts together “sculptural situations” that are normally not
identified in this genre; working a bar of soap into a lather between one’s hands, biting into
a block of chocolate, putting on a sweater, gripping a stone firmly before breaking it,
squeezing a belt around one’s waist, etc. For him, all of these movements are sculptural
actions and aesthetic gestures.
Michel François’s photographs, and in particular those which he turns into posters
distributed far and wide with no commentary, invite the spectator or passer by to no longer
be satisfied with a vicarious knowledge of life, with bartering images against sensations and
representation against experience, but to pitch into the world and reinvest his images with
their own observation.
A coproduction with the MAC’s – Site du Grand Hornu , Belgium
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