The artwork features a vibrant and expressive use of color, with bold brushstrokes and a dreamlike, surreal quality. The central figure, a nude woman, appears to be in a state of ecstasy or transcendence, with arms raised and a serene expression. The overall composition is dynamic and evocative, suggesting themes of spirituality, emotion, and the human experience. The artist's distinctive style and technique, with a focus on expressive, gestural painting, contribute to the work's powerful and captivating presence. This artwork may explore the artist's personal or cultural perspectives on the human condition and the inherent complexity of the human experience. ...
Martin Dammann directs his attention towards the multifaceted and often contradictory relationships of pictures to that which they depict, and thus to that which they (the pictures) themselves are not. These relationships are particularly palpable when the contents of the pictures prove to be difficult, or even encumbered. The latter is the case, for example, with war photography, which has come to serve as an essential point of departure in Dammann's works. Dammann uses such photos in a large number of media, whether in his large-scale watercolours, drawings, or photographic works, as well as videos, frottages, and installations. In the process, the individual elements of these works - the manner of painting, the contents, format and title - are each emphasized, and their contradictions contrasted with one another, in such a way as to create a kind of balance in which no interpretation alone is any longer capable of uniting all of those elements.
The concern is thus less with conveying a message to the viewer; instead, the viewer is empowered to observe and investigate their own reactions and interpretations of the subjects depicted.Apart from the structural interest, there is also an interest in what could be called the -contentuality- of the works in the narrower sense, in the actual subjects. Here, questions of history, identity, authenticity, value systems and clichés come into play. Every one of these categories is understood as part of the pictorial structure. The focus here is less on the presence of photography as a medium, however than on its inherent emotional or evocative possibilities, which themselves are placed at the viewer's disposal in their functionality. ...
Founded by Fabienne Leclerc in 2001, In Situ began in the 13th district of Paris alongside a group of galleries in rue Louise Weiss. After seven years in the 6th, the gallery moved to the Marais in November 2013, then to the Stalingrad district in January 2017.
Since October 2019, In Situ - fabienne leclerc has moved into a new space in Romainville, accompanied by Air de Paris, gallery Jocelyn Wolff, gallery Sator the FRAC Ile-de-France as well as the Fiminco Foundation.
The ambition of In Situ - fabienne leclerc is to promote young and emerging artists in France and internationally, and to support its established artists in the long term. The gallery strives to support and promote the work of its artists in the gallery, in associated museums and institutions, and to produce and edit artist catalogues and books. ...
