Metamorphosis of the Psyche by Luisa Catucci

Maike Freess is an internationally renowned German artist whose artistic research during the years, while using different techniques and forms of expression, constantly revolved around the multifaceted psychological realm of the individual, triggered by personal, social, and political processes, with a particular attention to the response of the body to all this. Within her artistic process, subjects morph and transmute, unveiling hidden whispers of desire, blurring the lines between the tangible and the fantastical.

Maike Freess inquiry towards the corporeal domain, with its inherent imperfections, limitations, and instability, juxtaposed against its dynamic interaction with the psyche, leads her to explore the indissoluble connection between the human’s corporeal entity and its transcendental cognitive expansion—the mind. The body’s unavoidable imperfections yield precedence to the psyche in its multifaceted dimensions—spiritual, humoral, and intellectual. This symbiosis reflects an ancient Uroboros of the human condition. Freess dissects bodily forms, focusing on the genesis of a novel reality reminiscent of an artificial memoir—an outcome of the inextricable bond between the reshaped corporeal form and the intricacies of the human psyche.

To express her inner universe, Maike Freess spaces through various techniques, video, photography, installation, sculpture, but her main field, however, is drawing. Her virtuosic technique not only manifests a profusion of strong -at times hard- imaginative depth, but it also exerts an inherent magnetic force, almost assertively propelling the observer into her artistic realm. In her drawings, proficient in creating volumetric emphasis by strategically interrupting the density of her fine white lines on black paper, juxtaposed with incisive white delineations and judiciously applied colour, Freess confers upon the paper boundless possibilities. She thereby elevates the artistic substrate from mere materiality to a medium enhancing emotional resonance—a realm wherein her deconstructed reality achieves tangible vivacity.

While her hand maintains methodical and lucid control over the pencil, recent years have witnessed a perceptible abstraction in her oeuvre, previously accurately figurative.
This trajectory borders on surrealism, wherein her work conveys an impression of being engendered by a poetic vision. Substantiating this aesthetic is a profound psychological undercurrent, akin to an incision into the subconscious, where memory and awareness coalesce in a synthesis of subjective and universal dimensions.

Freess’s embrace of deconstructionism emerges as a response to the tumultuous events of recent years, marked by a global pandemic and ensuing conflicts in Europe and the Middle East. In the artist’s perception, this series of catastrophic events, coupled with what is often perceived as illogical, dishonest, and chaotic management, has effectively deconstructed the societal framework as we once knew it. The profound impact of these events has reverberated significantly in the individual psyche. The resultant reality now presents itself as an abstract reconstruction of the elements that once composed it, mirroring the essence of Freess’s latest work. Here, the abstraction of the body leaves behind mere traces of its figurative elements, culminating in a new and surreal reality. This artistic expression serves as a poignant commentary on the transformative nature of the contemporary world and the psychological repercussions experienced by individuals in the face of such profound disruptions.

Another interesting element that has emerged in Freess’s recent work is the incorporation of cuts. Her drawings are crossed by cuts, akin to sharp blades, or are cut and reassembled. The incisions within her artistic corpus metaphorically embody the fragmented mind, encapsulating conscious or subconscious lacunae in memory and psyche. Beyond the realm of rationality, these incisions generate sensations of discomfort, denial, and misapprehension. In the exhibition’s spatial configuration, these incisions traverse the delimited boundaries of individual artworks and bodies, expanding across walls and floors. This spatial choreography accentuates their unexpected and disorienting impact on the immediate surroundings and audience. Additionally, each individual becomes subject to broader social and political processes, further contributing to the morphologies and deformations of the body—now regarded by the artist as a site for historical inscriptions.  

When attending an exhibition by Maike Freess, one immediately discerns the pivotal role that sculptures play in her artistic production, serving as the focal point around which the entire showcase revolves. Her skill in crafting ensembles goes beyond defining spatial volumes; these sculptures cut directly into the surrounding space, injecting a dynamic quality into her work.
In her sculptural pieces, Freess adeptly taps into a background noise of emotional and mental states, offering a distinctive perspective on the human condition as the tragicomedy of a regulated society. Utilizing elegant silk tailored as straitjackets and portraying a deconstructed body turning in on itself, these sculptures go beyond aesthetic appeal. They become powerful conduits that capture shifts, unveil societal masks, and pose probing questions about established conventions, all while providing profound and insightful commentary.

The sensitive work of this German artist engages in profound contemplation of existential quandaries, probing into the constituents of humanity and the experiential aspects of being human. Her reflections encompass the influence of cognition, personal history, environment, and political context in shaping emotional responses and actions. Maike Freess’s dissected forms give birth to a reality that reads like an artificial memoir, a love letter between the corporeal and the ethereal, a waltz of spiritual, psychological, humoral, and intellectual dimensions.

The Split View by Beate Eickhoff – Von Der Heydt, Museum Wuppertal

Maike Freess works in many artistic media: photography, video, sculpture, and installation. Her main field, however, is drawing. Her central motif – in all of her media – is consistently the human figure – concentrating mostly upon the classic, anonymous head or full-length portrait. Some of her works on paper are of overwhelming dimensions, reaching up to three metres, a feature more familiar in paintings on canvas. In addition to this size, there is the impressive hyperrealism of her drawing style, which also possesses an extremely corporeal presence.
Maike Freess has staged her exhibitions in such a way that all media interact, incorporating the space as well, and not only occupying the visitor visually but drawing them into the work with their whole body. One is entirely unable to withdraw, becoming an agent oneself in correspondence with the protagonists in the spatial constructs of her pictures. In addition, the virtuoso handling of her drawing tools, together with the sheer, inexhaustible power of imagination, which finds and evokes new forms, motifs, and metaphors in every single sheet, has such a force that it is not aesthetic pleasure that makes one decide to look further into her works. Children, women, and men appear with expressive intensity, in spaces in which nothing is certain. They seem captured in dreamlike situations between waking and sleeping. They establish contact with their environment only hesitantly, feeling tentatively with their fingertips.

Maike Frees takes touchingly beautiful faces and well-proportioned figures as her starting point, yet in the process of drawing, in the touching of the paper by the artist so to speak, they start to transform. As if something repressed were being revealed there, a second nature that gets out of control: doll-like soldier figures march over a boy’s back, a woman’s stomach opens and all kinds of unappetising things emerge. The fantastic is mixed with the real. These are not surreal imaginings; rather, one receives the impression that these images are produced by a kind of [prophetic] x-ray vision. The skin of some beings comes loose as excrescences, spreading out in the image space. One sees limbs that grow apart from bodies, or foreign organs that adhere and attach themselves, distorted faces, people with artificial replacement joints. Spines and bones push through, some bodies are thin and seem literally not to be made of flesh and blood. Shadow creatures.

The texture of pencil on paper is partly to blame for this consistency. And then there are the double hands, and double arms that resemble afterimages (one is reminded of Muybridge’s locomotion studies!). The retarding interplay of limbs looks as if it were guided by higher powers. Hands and fingers play an especially important role in balancing the body, cautiously feeling ahead and exploring one’s own limits, and thus in the self-assurance of these beings within the visual frame. This also imparts a temporal succession to the picture, a sequence of movements, as if we were seeing a scene from a play. As the people in her earlier photographic works from 1999-2004, the clothing of the protagonists is somehow old-fashioned, historical, and certainly strangely difficult to classify, a sign that the situations are anonymised and removed from our present time.

Maike Freess deals with what goes on in our heads; with images that we dream, that we remember. In a half-awake state, we are adrift from our own, real bodies, and involuntarily experience the past in a world of memory. This is not a world of true images, of truth, but instead of looking into the future in general, and in order to be able to live, our feeling and thinking must be determined by the positive. The negative must therefore be suppressed, wiped out, overcome. The images recalled in the imagination are accordingly subjective. The exhibition in the Samuelis Baumgarte Galerie bears the title: “Corrected Memory”. This assertion is more of a question, an existential as well as a psychological one, which Maike Freess pursues artistically. Because the fundamental theme of her art is, as she herself formulates it, “the person in their imperfect, limited and unstable nature, their relationship to themselves, to their environment, to other people and society; the ambiguity of the human psyche”.

1 A picture series that Maike Freess shows under this head is entitled “The Inheritors”, in allusion to the inheritance of predispositions, the unwanted endowment passed on to us by our ancestors for our journey through life. We have to see what we can make of this, which is to say to retrieve our existence into the positive, as emancipated beings furnished with free will. We have to address our origins, our ancestors, time after time in order to recognise who we ourselves are and where our possibilities lie. It is not possible, however, to look into the present while turned toward the past. This is the dilemma that divides.

Maike Freess visualises this divided view using the artistic method of the “paper cutouts” or “cuts”, as she calls the paper collages she has invented. At first, these were strips of cut paper in black or white that make the drawing grow out from the plane of the image into the room. Cut with Constructivist severity, yet more of an Expressionist artistic form in their jagged lines, they traverse and criss-cross our view of the picture. One might think of those Cubist and Futurist experiments that took things apart in order to view them from different perspectives simultaneously. But that would be an excessively formal interpretation. It is much more the case that the “cuts” visualise the outside world, produce blank spaces, breaks and emphases in the continuity of presentation. The cuts” are at once facticity and suggestion. They describe turbulences and – in their defined form in the indefinite spatial structure – make visible the uncertainty and instability of a world in which there is more than one reality”.

2 In her most recent works, she elaborates on the idea of the “cuts”. In the portrait, picture halves shifted or askew from each other resemble a shattered mirror showing not one but many egos, and signifying a splitting of the personality. The brake lines also bring to mind a cracked photograph pane, cutting and injuring the picture it is meant to protect. One is reminded of the tragic figure of Narcissus, who wants to admire his beauty in its reflection upon the water, but the image melts away, he cannot hold on to it. One might also think of the lonely narcissist when viewing the full-length figures, which are imprisoned in a type of housing: “The very narcissistic person has erected an invisible wall around himself”, writes Erich Fromm, “he is everything, the world is nothing – or more accurately: he is the world.”

3 The next step from the “cut” leads to the collage. Fragments of reality or of dreams, souvenir pictures, are cut and new contexts, new unities are created through collage, entirely according to the will of the artist. For Maike Freess, it is a device that alludes to the possibilities of dealing with images. The souvenir pictures are arranged in new unity with the world – ad libitum and in the greatest subjectivity. In historical research this is called “Geschichtsklitterung”: historical misrepresentation using the “cut and paste” method. The film “Passage”, 2017, opens the exhibition and puts the visitors in the right mood for the profound emotional tension: ten couples welcome each other with an intimate embrace, separate again and leave the picture. The minimalist aesthetic with its concentration on the participants, the colouring following the colour circle, and the gentle sound in the background, indicate a relatedness to the “tableau vivant”, in which paintings are reconstructed by actors. The video is played backwards and at one-sixth speed. The welcome turns into separation, and it is possibly this which we recall as the most important aspect of an encounter. In memory, what has actually been experienced is “corrected”. At the centre of the exhibition “Corrected Memory” is a sculpture, as in her previous exhibition in Wuppertal “Of Blind Certainty”. In each of these cases, her work is closely related to drawing in its language of shapes and colour. Whereas in “Of Blind Certainty” it was a young girl with long blond hair, a grey pleated skirt, and an explosive belt around her waist, this time it is a little boy. A shroud of lead sinks heavily onto his shoulders, and despite this, he looks forward innocently and alertly. With a white, ironed shirt and red bowtie fastened around his neck, he is other-directed, smartened up for the great task. The overly long arms struggle forth beneath the lead, extending beyond their own limits. He feels his way into the world. But the soft, pink-white skin is already permeated with grey in some places. One associates the work with Hölderlin’s “leaden time”, thinks perhaps also of Degas’s dreaming “Little Dancer”. Perhaps the burden also means happiness, the title of the sculpture “The Inheritance” leaves this open. The surest certainty is accompanied by the greatest doubts.

1 Catalogue: Maike Freess. Von blinder Gewissheit, Von der Heydt-Kunsthalle Wuppertal, 2014

2 Thomas Hirsch, Catalogue: Maike Freess. Von blinder Gewissheit, Von der Heydt-Kunsthalle Wuppertal, 2014 p. 109.

3 http://fromm-online.org/narzissmus/

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Awards and Grants

2022
Scholarship NEUSTART KULTUR, Stiftung Kunstfonds, Berlin, Germany

2000
Honorable mention CYNETart 2000, Kunst Haus Dresden, Germany

1999
Prize 1999 ZWISCHEN DEN ZEITEN 2000, DigitalArt Gallery, Frankfurt/Main, Germany

1998
Bronze Prize Osaka Triennale 1998, Osaka, Japan
Hofgesellen, Lukashof, Halle, Germany

1997
Scholarship of Stiftung Kulturfond Berlin, Germany

1994
Prize Deutsche Telekom, Germany
Scholarship of Land Sachsen-Anhalt, Germany

1993
Scholarship of Stiftung Kulturfond Berlin, Germany

1992
1. Prize JEUNES ARTISTES AU FIAP, Paris, France

1991
Scholarship of Office franco-allemand pour la jeunesse, Bonn, Germany

Public Collections

2020
Ludwig Collection, Ludwig Museum Koblenz, Germany

2018
Fondation Maeght, Saint-Paul de Vence, France

2016
Von der Heydt-Museum, Wuppertal, Germany
COROART / Art Collection Coroplast, Wuppertal, Germany

2015
Musée d’Art Moderne et Contemporain / MAMCS, Strasbourg, France

2014
Von der Heydt-Museum, Wuppertal, Germany

2012
Kunstfonds, Staatliche Kunstsammlungen Dresden, Germany

2009
Collection du Fond National d’Art Contemporain / FNAC, France

2004
FDAC de l’Essonne, Domaine départemental de Chamarande, France
Collection Chamarande, France

2003
Collection du Fond Régional d’Art Contemporain / FRAC, Haute-Normandie, France

2001
Museum of New Art – MONA, Detroit, USA

1999
The Living Art Museum, Reykjavík, Iceland

1998
The Museum of Contemporary Art Osaka, Japan
Kunst am Bau / Lukashof Halle/Saale, Germany

1997
Collection du Fond Régional d’Art Contemporain / FRAC, Ile-de-France, France

1995
Art Collection Deutsche Bank, Halle/Saale, Germany
Art Collection Planungsbüro PAH, Halle/Saale, Germany

1994
Art Collection Norddeutsche Landesbank, Halle/Saale, Germany

1992
Art Collection STRABAG, Leipzig, Germany

Private Collections

Germany, France, Belgium, Switzerland, Netherland, Luxembourg, Sweden, USA, Canada

Biennales / Triennales

2022
19TH ASIAN BIENNALE BANGLADESH, National Art Gallery, Dhaka, Bangladesh (cat.)

2019
8TH BEIJING INTERNATIONAL BIENNALE, CHINA, National Art Museum of China, Beijing, China (cat.)

2014
BUSAN BIENNALE 2014 – Main Exhibition, Busan Museum of Art, South Korea, Artistic Director: Olivier Kaeppelin, (cat.)

2009
INTERNATIONAL TRIENNALE OF SCULPTURE, Zamek, Poznan, Poland, (cat)

1998
INTERNATIONAL OSAKA TRIENNALE 1998, Museum of Contemporary Art, Osaka, Japan (cat.)

1996
BIENNALE DE LA SCULPTURE CONTEMPORAINE, Geneva, Switzerland (cat.)

Solo Exhibitions

2022
VERHANDLUNGSMASSE (MATTER OF NEGOTIATION), NAGEL auction – Repräsentanz Berlin, in collaboration with Luisa Catucci Gallery, Berlin
VERHANDLUNGSMASSE (MATTER OF NEGOTIATION), Luisa Catucci Gallery, Berlin, Germany

2021
BALL DER ERBEN, Kulturhaus Karlshorst, Berlin, Germany

2020
THEATER OF SOLILOQUY, Luisa Catucci Gallery, Berlin, Germany
IN ABWESENHEIT DES WILLENS II (IN ABSENCE OF WILL II), one week / one studio visit -online-, Mazel Galerie, Brussels, Belgium
IN ABWESENHEIT DES WILLENS, -online-, Samuelis Baumgarte Galerie, Bielefeld, Germany

2018
GLI EREDI SILENTI, Federico Rui Arte Contemporanea, Milan, Italy, curated by Luisa Catucci

2017
KORRIGIERTE ERINNERUNG, Samuelis Baumgarte Galerie, Bielefeld, Germany (cat.)
UNE OEUVRE D’ART AU COLLÈGE, Collège Charles Péguy, Monsange sur Orge / Collection du FDAC de l’Essonne, France

2016
TRANSITION, performance, Musée d’Art Moderne et Contemporain / MAMCS, Strasbourg, France

2015
VON BLINDER GEWISSHEIT, Von der Heydt-Kunsthalle, Wuppertal, Germany (cat.)

2014
HYPNOTICS, Joyce Gallery, Shanghai, China

2011
DAS BLAUE VOM HIMMEL, Kunsthalle FRISCH – Halle am Wasser, Berlin, Germany (cat.)
VACUUM, Galerie Eva Hober, Paris, France

2010
LE DROIT DU PLUS FORT (with A. Sorbelli, Y. Liver, R. Labastie), Les Salaisons, Romainville, France

2008
EN FACE LE PIRE JUSQU’À CE QU’IL FASSE RIRE, Galerie Eva Hober, Paris, France

2007
DER TAG HAT KEINE SCHATTEN, dna Berlin, Germany

2006
HAUTnah, G. Barbier, V. Corpet, M. Freess, C. Kai-Yuen from the collection Jean & Christina Mairet, Paris, Pferdeställe Postfuhramt, Berlin /ART FRANCE BERLIN, Germany (cat.)

2004
INSOMNIA, Galerie Corinne Caminade, Paris, France (cat.)

2002
HALLUCINATION, Galerie Charlotte Moser, Geneva, Switzerland
I WISH I WAS HERE, Galerie Corinne Caminade, Paris, France
ART BRUSSELS, Galerie Corinne Caminade, Paris, France (cat.)

2001
LED BY PLEASURE – MULTIPLY DRAMA, Rencontres Vidéo Art Plastique, Centre d’Art Contemporain de Basse-Normandie, Hérouville Saint Clair, France (cat.)
LED BY PLEASURE – MULTIPLY DRAMA, Le Crédac, Centre d’Art Contemporain, Ivry-sur-Seine, France (cat.)
VOUS DANSEZ?, Institut Français de Berlin, Germany

2000
WHEN THE SUN IS SHINING, YOU CAN’T SEE THE STARS, Galerie Corinne Caminade, Paris, France

1999
YOU DON’T GET OUT OF MY MIND, Kunstraum Torstrasse, Halle, Germany

1998
TOUT IRA BIEN, Galerie Corinne Caminade, Paris, France

1997
SYMPTÔMES NATURELS, Galerie Corinne Caminade, Paris, France

1996
38:2, Cité Descartes, Marne-la-Vallée, France
X-PEOPLE, Galerie Corinne Caminade, Paris, France
SPACECUBE, Centre d´Art Contemporain, Rouen, France

1995
MAIKE FREESS – INSTALLATION, Grassimuseum, Leipzig, Germany (cat.)
MAIKE FREESS – INSTALLATION, Kulturhistorisches Museum Magdeburg, Germany (cat.)

1994
Galerie der Stadt Halle, Germany (cat.)
Galerie Efté, Paris, France

1993
FIAP Jean Monnet, Paris, France
Galerie am Wasserturm, Berlin, Germany

1992
Galerie Moderne Vergangenheit, Wiesbaden, Germany

Group Exhibitions

2023
BEING THERE, Palazzo Sarcinelli, Conegliano (TV)

2022
19TH ASIAN BIENNALE BANGLADESH, National Art Gallery, Dhaka, Bangladesh (cat.)
ARABESQUES / MÉTHAMORPHOSE II: FREIHEIT, deutsch-französisches Kulturfestival Hamburg
SALO X, 111 bis Boulevard Ménilmontant, 75011 Paris, France, curator: Laurent Quénéhen
MINDSCAPE, artists studios Yvonne Andreini, Berlin, curated by Luisa Catucci & Suzy Royal

2021
VISION UND SCHRECKEN DER MODERNE – INDUSTRIE UND KÜNSTLERISCHER AUFBRUCH, Von der Heydt-Museum, Wuppertal (cat.)
COV-ART, Copelouzos Family Art Museum, Athens, Greece (cat.)
GALERISTES, Carreau du Temple, Paris, with Mazel Galerie, Brussels -cancelled
BREAK THAT WALL, Mazel Galerie, Brussels
SALON DE LA MORT II, Galerie Christian Berst, Paris, curator: Laurent Quénéhen

2020

ART COLOGNE 2020, with Samuelis Baumgarte Galerie, Bielefeld, Germany -cancelled
L’ANTI-CHAMBRE, Hôtel La Nouvelle République, Paris, curators: Marguerite Pilven, Alta Volta (cat.)
UND WISSEN SIE WAS? 2020! EINE KÜNSTLERISCHE ZEREMONIE, Luisa Catucci Gallery, Berlin, Gemany
POSITIONS Berlin Art Fair 2020, Flughafen Tempelhof with Luisa Catucci Gallery, Berlin, Gemany (cat.)
SALON DE LA MORT, Espace Bertant Grimont, Paris, curator: Laurent Quénéhen (cat.)

2019
8TH BEIJING INTERNATIONAL BIENNALE, CHINA – A COLORFUL WORLD AND A SHARED FUTURE,
National Art Museum of China, Beijing (cat.)

ART BERLIN 2019 with Samuelis Baumgarte Galerie, Bielefeld, Germany (cat.)
1919 – 2019 / DIE SAMMLUNG DES VON DER HEYDT-MUSEUMS IM 20. UNS 21. JAHRHUNDERT, Von der Heydt-Museum, Wuppertal, Germany (cat.)
PAPER POSITION Francfort, Flare of Francfort, with Luisa Catucci Gallery; Berlin, (cat.)
PAPER, Mazel Galerie, Brussels, Belgium/Singapore
SALO VII, 111 bis Boulevard Ménilmontant, 75011 Paris, France, curator: Laurent Quénéhen

2018
Collection of FRAC Normandie Rouen, D’APRÈS LES CONTES DU JOUR ET DE LA NUIT, Château de Miromesnil, France
FLOWERS, Mazel Galerie, Brussels, Belgium/Singapore
Collection of FRAC Normandie Rouen, L’INVENTAIRE, VOL. 8., FRAC Normandie Rouen, France
VOM WINDE VERWEHT, Ventilator, Berlin, Germany

2017
BONJOUR MONSIEUR MAGRITTE !, Mazel Galerie, Brussels, Belgium/Singapore
GRANDART MILANO, Luisa Catucci Gallery, Milan, Italy
Book publications: Classiques Garnier, Paris: „Masques, corps, langues – Les figures dans la poésie érotique contemporaine“,
dir. Caroline Crépiat, Lucie Lavergne, Collection Rencontres, n° 284, Nov. 2017
Éditions L’Atelier Contemporain: „La Nue du Fond“, de Odile Massé / dessins de Maike Freess, Strasbourg, Dec. 2017
KUNSTSCHORLE, Ventilator, Berlin, Germany, curated by Axel Pahlavi
SALO V, Salon du dessin érotique, Galerie Episodique, Paris, France

2016
INTERMEZZO, Samuelis Baumgarte Galerie, Bielefeld, Germany
L’OEIL DU COLLECTIONNEUR / FOCUS 1: ÊTRE ET À VOIR – COLLECTIONJ+C MAIRET, Musée d’Art Moderne et Contemporain / MAMCS, Strasbourg, France (cat.)
FOTOGRAFISCHE SAMMLUNG 1. Teil, Schloss Kummerow, Germany (cat.)
DRAWING NOW PARIS, Focus – Maike Freess, Mazel Galerie, Carreau du Temple, Paris, France (cat.)
KUNST FINDET STADT, Kunst im öffentlichen Raum, Halle (Saale), Germany
Book publication: Presses Universitaires de France: „Autenticité du faux : Lectures Psychanalytiques de Murielle Gagnebin, June, 2016, France
SALO IV, Salon du dessin érotique, 24 Beaubourg, Paris, France

2015
ENGAGEMENTS – Collectionner/Partager – Privatsammlungen, Musée des Beaux-Arts Sainte-Croix de Poitiers, France (cat.)
FABRIQUER LE DESSIN – FRAC Haute-Normandie, France
L’AMOUR, LA MORT ET LE DIABLE – UNE COLLECTION PARTICULIERE, Galerie des Hospices, Limoges, France
LE NOIR & BLANC EN COULEUR, Centre de Cultures et de Ressources-LIZIÈRES, Epaux-Bézu, France
KORREKTUR – Maike Freess – Wuppertaler Performance-Nacht – Von der Heydt-Museum, Wuppertal, Germany
ART FAIR COLOGNE, Mazel Galerie, Germany
BLACKOUT, Mazel Galerie, Brussels, Belgium

2014
BUSAN BIENNALE 2014 – Main Exhibition, Busan Museum of Art, South Korea, Artistic Director Olivier Kaeppelin (cat.),
DIE NACHT DER PHILOSOPHIE, Maison de France / Institut Français, Berlin, Germany
VON 1900 BIS HEUTE – New presentation of the Collection, Von der Heydt-Museum Wuppertal, Germany
ELLES, Mazel Galerie, Brussels, Belgium
KENTUCKY KARAOKE, DMNDKT project space, Berlin, Germany
SALO 2, dessins érotiques, Les Salaisons, Romainville, France
SUR LE PAPIER, Mazel Galerie, Brussels, Belgium
DE LEUR TEMPS 4, ADIAF, private french collections, Musée des Beaux-Arts de Nantes / HAB Galerie, France (cat.)
ENCORE, 10 anniverary of Galerie Eva Hober, Paris, France

2013
SOON, Galerie Mazel, Brussels, Belgium
DE LEUR TEMPS 4, ADIAF, private french collections, Musée des Beaux-Arts de Nantes, Centre d’art – Hangar à Bananes, France, (cat.)
CODE NOIR, 30 ans de shopping, Curator: Lidewij Edelkoort and Trend Union, FRAC Haute-Normandie, France
DRAWING NOW, Carroussel du Louvre, Paris, Galerie Eva Hober, Paris, France (cat.)
SALO du dessin érotique, Les Salaisons, Romainville, France
DÉRANGE TA CHAMBRE 2, curator Museart Paris, Franconville, France, (cat.2)

2012
LIEBE, TOD + TEUFEL, Collection J & C Mairet, Von der Heydt-Kunsthalle, Wuppertal, Germany (cat.)
ANKÄUFE ZEITGENÖSSISCHER KUNST IM KUNSTFONDS 2012, Landesvertretung des Freistaates Sachen beim Bund, Berlin, Germany
WINTER GROUP SHOW, Galerie Eva Hober, Paris, France
WIN/WIN, Acquistions of Kulturstiftung des Freistaates Sachsen for Staatlichen Kunstsammlungen Dresden, Baumwollspinnerei Halle 14, Leipzig, Germany
MUSE, Gengenbach, curatet Aliseo Art Projects, Germany, (cat.)
LOOPINGSTAR 2012, video(art)festival Saarbrücken, Forbach, Germany
DÉRANGE TA CHAMBRE ! (1) – OU LE DÉSORDRE DOMESTIQUE DANS L’ART CONTEMPORAIN, Theatre Sarah Bernard, Goussainville, curatet Museart Paris, France, (cat.)

2011
MINE DE POUPÉES, SEMBLANT D’HUMAINS – Mannequins et poupées dans l’art moderne et contemporain, Centre d’art contemporain, Le Bourget, France (cat.)

2010
APRÈS / Christian Boltanski + Guests, MAC / VAL – Musée d’art contemporain du Val-de-Marne, France
QUAND L’ENFANT PARAÎT, Musée des Beaux-Arts, Bernay, France
VIENNAFAIR 2010, Galerie Eva Hober, Paris, France (cat)
FIGURE-TOI !, Collection of FRAC Haute-Normandie, Galerie La Passerelle Mont-Saint-Aignan, France

2009
INTERNATIONAL TRIENNALE OF SCULPTURE, Poznan, Poland, (cat)
FIAC Paris, Galerie Eva Hober, Paris, France (cat.)
HAIR DU TEMPS, Galerie d’art du Conseil Général, Aix-en-Provence, France
Salon du Dessin Contemporain, Paris, Galerie Eva Hober, Paris, France (cat)

2008

ÉCRIRE AU FÉMININ, works of collection FRAC Haute-Normandie,
Bibliothèque Elsa Triolet/Centre Georges Déziré, Saint-Etienne-du-Rouvray, France
AUF DES MESSERS SCHNEIDE, Collection Jean & Christina Mairet, Rudi-Dutschke-Straße 18, Berlin, Germany
FIAC Paris, Galerie Eva Hober, Paris, France (cat.)
Salon du Dessin Contemporain, Paris, Galerie Charlotte Moser, Geneva, Switzerland (cat)
A SONG OF LOVE & LIVING FOR LIVING, Centre Culturel Français, Tblissi, Georgia, curator: Laurent Quénéhen

2007

L’IMAGE DE LA FEMME DANS L’ART CONTEMPORAIN, Collection of FRAC Haute-Normandie,
CRDP Haute-Normandie, Mont Saint-Aigan, France
FIAC Paris with Galerie Eva Hober, Paris, France (cat.)
ART TORONTO, Canada with DNA Galerie, Berlin, (cat)
DE LEUR TEMPS 2, french private collections, Musée des Beaux-Arts de Grenoble, France (cat.)
LA GASTRONOMIE DANS L’ART: DE LA PEINTURE FLAMANDE À ANDY WARHOL, Artcurial, Paris, France (cat.)dc duesseldorf contemporary, dna Berlin, Germany
VIVRE POUR VIVRE, UN CHANT D’AMOUR, British Artists’ Film & Video Study Collection, Central Saint Martins College of Art and Design, London, United Kingdom
SIGNES DE NUIT, International Video Festival, Cinéma Balzac, Paris, France

2006
TRAITS POUR TRAITS, Artothèque de Caen, Caen, France
PLEASE WAIT, FRAC Ile-de France, Immanence, Paris, INHA, Paris, France
ART BRUSSELS with Galerie Charlotte Moser, Geneva, Switzerland (cat.)
AMOUR, GLOIRE & BEAUTÉ, Espace Art et Liberté, Paris, Charenton le Pont, France
VIVRE POUR VIVRE, video projection Gallery SAD, Moskau, Russia, curator: Laurent Quénéhen
UN CHANT D’AMOUR, ROMANCE, VIVRE POUR VIVRE, LE ROSE ET LE VERT, LOVE VIDEO, video projection Kunstverein Mataro, Barcelona, Spain, curator: Laurent Quénéhen

2005
FIAC Paris with Galerie Charlotte Moser, Geneva, Switzerland (cat.)
DESSINS ET DÉRIVÉS, Galerie Corinne Caminade, Paris, France
NUIT BLANCHE, 1. and 2. oct., Mairie du 4ème Arrondissement, Paris, France
1. oct. Espace Les Voutes, 13ème Arrondissement and open air projection, Paris, France
FEMMES DE TOUJOURS, Pôle International de la Préhistoire, Les Eyziers de Tayac, France
À TABLE(S), Domaine Départemental de Chamarande, Collection Chamarande, France (cat.)
LE MÉLANGE DES GENRES – CRÉATURES HYBRIDES ET MYSTÉRIEUSES, Musée des Beaux-Arts de Rouen, FRAC de Haute – Normandie, France
DETROIT VIDEO FESTIVAL, Museum of New Art (MONA), Detroit, USA
ART BRUSSELS with Galerie Charlotte Moser, Geneva
A TABLE(S) Collection Chamarande, Domaine de Chamarande, France
FEMMES DE TOUJOURS, Pôle International de la Préhistoire, Les Eyziers de Tayac, France
Les éditions LE MASSACRE DES INNOCENTS – Philippe Ducat / Mai du Livre d’Art, Librairie Passages, Lyon, France
UN CHANT D’AMOUR, Cinéma de Barbizon, Paris, France

2004
FIAC Paris with Galerie Charlotte Moser, Geneva
DE LEUR TEMPS, collections privées francaises, Musée des Beaux-Arts de Tourcoing, France (cat.)
INNOCENCE AND VIOLENCE, Galerie Museum Ar/ge Kunst, Bozen, Italy (cat.)
Festival CINE POBRE, Gibara, Holguin, Cuba
5éme Festival des Films International, Izmir, Turquie
JEAN MAIRET – UN PRIVÉ AU TRIAGE / ART ET VIE QU’ONT FONDU, Le Triage, Nanterre
TROIS COLLECTIONS PRIVÉES, École des Beaux-Arts, Nimes, France
MUESTRA NACIONAL DE NUEVOS REALIZADORES, La Havane, Cuba (cat.)
ART BRUSSELS with Galerie Charlotte Moser, Geneva / Galerie Corinne Caminade, Paris, France (cat.)
MON MANÈGE À MOI, Galerie ÉOF, Paris, France
UN CHANT D’AMOUR, Au Divan du monde, Paris, France
Galerie CAD, Moscou, Schusev State Museum of Architecture, Moscou, Russia
Club “Par”, Saint Petersbourg, Russia, Commissaire: Laurent Quénéhen

2003

BACKUP. AWARD, internat. Festival für neue Medien im Film, Weimar, Germany
DES OEUVRES, UN LIEU, FRAC Ile-de-France, Le Plateau, Paris, France
ROMANCE, Galerie CAD, Moscow, Russia
<Nuit Blanche>, École spéciale d’architecture, Paris, France
NACHTZEICHEN – Open Air, Gustav-Gründgens-Platz, Düsseldorf, Germany
ART BRUSSELS with Galerie Corinne Caminade, Paris, France
SIGNES DE NUIT, Cinéma Balzac, Paris, France
VOS PAPIERS !, Le Manoir, Cologny-Geneva, Switzerland
BLACK BOX, Video Festival Düsseldorf, Germany
COUPS DE COEUR, Galerie Charlotte Moser, Geneva, Switzerland

2002
MICHIGANow, Michigan Institute for the Arts (MIA), USA
CITOYENS BOHÊMES, Le Printemps, Paris, France, curator: Catherine Ormen
THE PLAYTIME FESTIVAL, Museum Africa, Johannesburg, South Africa
LES 7èmes VIDÉOGRAMMES – Vidéo à la carte, La Friche la Belle de Mai, Marseille, France
GROUP SHOW, Galerie Charlotte Moser, Geneva, Switzerland
DETROIT VIDEO FESTIVAL, Museum of New Art (MONA), Detroit, USA

2001
FEMMES, ETC., Abbaye du Ronceray, Angers, France (cat.)
LAS 24 HORAS, Centro Cultural Borges, Buenos Aires, Argentina (cat.)
RENCONTRES INTERNATIONALES PARIS / BERLIN, France, Germany (cat.)
NATÜRLICHKÜNSTLICH, Leipziger Jahresausstellung, Germany (cat.)
ART PARIS, Galerie Corinne Caminade, Paris, France (cat.)
CYNETart 2001, Medienkulturzentr. Pentacon, Germany (cat.)
ARTETVITRINES, Rougier et Plé, Paris, France

2000
CARNAVAL, polylogue 25, Paris, France
CONNEXIONS, Galerie Corinne Caminade, Paris, France
1999 ZWISCHEN DEN ZEITEN 2000, VT und Digitalart, Frankfurt am Main, Germany
CYNETart 2000, Medienkulturzentr. Pentacon, KunstHaus Dresden, Germany (cat.)
ART PARISwith Galerie Corinne Caminade, Paris, France (cat.)

1999
WONDERFUL CATCH, The Living Art Museum, Reykjavík, Iceland
PARCOURS DE SCULPTURE EN ILE DE FRANCE, FRAC Ile-de-France, Fondation de Coubertin, Saint-Rémy-lès-Chevreuse, France (cat.)

1998
OSAKA TRIENNALE 1998, Osaka, Japan (cat.)
ART BRUSSELS with Galerie Pierre Hallet, Brussels, Belgium (cat.)
St’Art 98, Strasbourg with Galerie Corinne Caminade, Paris, France (cat.)

1997
ART BRUSSELS with Galerie Pierre Hallet, Brussels, Belgium (cat.)
PLUSIEURS EN SOI, polylogue, Paris, France
RÉSONANCE, ApARTé, Paris, France
SKULPTUR HEUTE, Galerie Marie-Louise Wirth, Zürich, Switzerland (cat.)

1996
KUNSTART 96, Bockenheimer Depot, Frankfurt/Main, Germany (cat./CD-R)
BAIGNADE INTERDITE, Seyssel, France
L’ART DANS LES CHAPELLES, Bieuzy-les-Eaux, Morbihan, France (cat.)
ZEITGENÖSSISCHE SKULPTUR, Landeszentralbank Sachsen/Thüringen, Leipzig, Germany
MANIF, Seoul, South Corea (cat.)
BIENNALE DE LA SCULPTURE CONTEMPORAINE, Geneva, Switzerland (cat.)
SCULPTURE CONTEMPORAINE, Halle aux Toiles, Rouen, France

1995
SCULPTURES DANS LES JARDINS, Parc de Tancoquagnet, France

1994
1. INDEPENDENT ART FAIR, Naxos Union, Frankfurt/Main, Germany (cat.)
ASPECTS DE LA SCULPTURE CONTEMPORAINE, Musée des Beaux-Arts de Clermont-Ferrand, France (cat.)
SCULPTURES EN ÉCHO, Mairie de Lognes et CRDP de Créteil, Ministère de la Culture, Lognes, France (cat.)
KUNST AUS HALLE/SAALE, VEW AG, Dortmund, Germany (cat.)
DESSINS, Académie des Beaux-Arts, Paris, France

1993
EUROPÄISCHE KULTURTAGE, Karlsruhe, Germany

1992
Schloß Mainau, Bundesministerium des Innern, Bonn, Germany (cat.)