ARCO Madrid 2025

With the influence of modern sciences, the work of Cyrielle Gulacsy evolves towards the representation of an imperceptible reality close to abstraction, revealing the invisible laws of nature. Space-time, electromagnetism and light diffraction are her fields of research and experimentation, she explores our perception of light through space and time, trying to reveal the matter that composes it. Each point, whether it is the measure of a particle or a celestial object, gives substance to an inaccessible reality and offers a point of view at the same time intimate and dizzying of the world which surrounds us.

Since the end of the 2000s, Marion Baruch has made a major artistic shift by taking an interest in left-overs of fabric from the textile industry. From this material, she has created artworks that are both sculptures and pictorial compositions. She notably emphasizes on the way the fabric reconstructs the space when it is hung. At the beginning of this new artistic cycle, she conceived her artworks by spontaneously quoting art history, from painting to more conceptual works. Le paysage n'est nulle part is an ironic nod to classical paintings. Marion Baruch uses its traditional horizontal format although there is nothing narrative about it. It is only a poetic reference.

Marion Baruch has, since the end of the 2000s, been intervening on fabric offcuts retrieved from the textile industry in Milan. The artist selects, sorts and arrange those materials, so as to transform those disregarded scraps from the industrial and urban society into forms characterised by a flexible geometry. Hung from the ceiling or pinned on the wall, her works reflect a history, as social and political as individual and sensitive.

Marion Baruch has, for the past ten years, been intervening on fabric offcuts retrieved from the textile industry in Milan. The artist selects, sorts and arrange those materials, so as to transform those disregarded scraps from the industrial and urban society into forms characterised by a flexible geometry. Hung from the ceiling or pinned on the wall, her works reflect a history, as social and political as individual and sensitive.

Marion Baruch selects the left-overs by touching them. Under the combined effect of chance and a minimal gesture, the fabric scraps become visual works, at once sculptures, portraits, sketches or architectural elements. Unheimliche Smiley represents a disturbing, even terrifying smile. In this work, the artist alludes to the mouth, symbol of sexualization in the patriarchal imagination.