{"id":3812,"date":"2025-06-06T20:09:46","date_gmt":"2025-06-06T20:09:46","guid":{"rendered":"https:\/\/paulmaheke.com\/projets\/?p=3812"},"modified":"2025-06-06T20:11:12","modified_gmt":"2025-06-06T20:11:12","slug":"capc-bordeaux","status":"publish","type":"post","link":"http:\/\/paulmaheke.com\/projets\/capc-bordeaux","title":{"rendered":"CAPC, bordeaux"},"content":{"rendered":"\n

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Le langage des ombres (2017-2024), 2025
exhibition views: Arthur Pequin

ENGLISH –
Already during his studies at the Beaux-Arts de Cergy (2007\u20132011), Paul Maheke was experimenting with painting and sprayed pigments on canvas or silk. Later, he began printing textiles (often white) to use as flags and banners (Les \u00e9tendards, swaying bodies<\/em>, 2009). These works existed both in public spaces and within the gallery. In 2015, for the exhibition Odradek<\/em> at Instants Chavir\u00e9s (Montreuil), he collaborated with artist Maxime Bichon on a printed tablecloth (Ask for Trouble<\/em>, 2015).<\/p>\n\n\n\n

It was for his first solo exhibition at South London Gallery, I Lost Track of the Swarm<\/em>, in 2016 that Paul Maheke produced his first curtains.<\/p>\n\n\n\n

Le langage des ombres<\/em>, 2017\u20132024 (2025), presents for the first time a series of nine sets of curtains spanning eight years of Paul Maheke\u2019s artistic production. Installed chronologically, their layering allows us to trace the consistency of the artist\u2019s aesthetic vocabulary while also grasping its variations. While the texts evoke bodily fluidity, a longing for community, or potentials for healing, the figures and faces that emerge are attempts to capture ghosts\u2014invocations of spirits, each in their own way.

by Cedric fauq

FRAN\u00e7AIS –
D\u00e9j\u00e0 lors de ses \u00e9tudes aux Beaux-Arts de Cergy (2007-2011), Paul Maheke exp\u00e9rimentait avec de la peinture et des pigments pulv\u00e9ris\u00e9s sur de la toile ou de la soie.\u00a0Plus tard, il commence \u00e0 imprimer des textiles (souvent blancs) pour les utiliser comme drapeaux et \u00e9tendards (Les \u00e9tendards, swaying bodies<\/em>, 2009). Ces \u0153uvres existaient \u00e0 la fois dans l\u2019espace public et dans celui de la galerie. En 2015, pour l\u2019exposition \u00ab\u00a0Odradek\u00a0\u00bb aux Instants Chavir\u00e9s (Montreuil), il collabore avec l\u2019artiste Maxime Bichon sur une nappe imprim\u00e9e (Ask for Trouble<\/em>, 2015).\u00a0

C\u2019est pour sa premi\u00e8re exposition personnelle \u00e0 la South London Gallery \u00e0 Londres \u00ab\u00a0I Lost Track of the Swarm\u00a0\u00bb (J\u2019ai perdu la trace de l\u2019essaim) en 2016 que Paul Maheke produit ses premiers rideaux. Visuellement, ces \u0153uvres font la jonction entre les pi\u00e8ces textiles de l\u2019artiste am\u00e9ricain d\u2019origine cubaine Felix Gonzalez-Torres (1957-1996) et les exp\u00e9rimentations graphiques de l\u2019Am\u00e9ricain Lawrence Weiner (1942-2021)\u00a0: elles marquent \u00e0 la fois des interstices, affectent la lumi\u00e8re, et font flotter des mots.\u00a0

Depuis 2016, les expositions de Paul Maheke contiennent quasi-syst\u00e9matiquement des rideaux. S\u2019ils \u00e9taient d\u2019abord des supports pour des mots et des moyens d\u2019adoucir la duret\u00e9 des espaces d\u2019expositions, ils ont \u00e9galement \u00e9t\u00e9 des surfaces de projection, et des parois fragiles entre lesquelles l\u2019artiste a perform\u00e9. D\u2019abord diaphanes, color\u00e9s, et unis, ils sont ensuite devenus des toiles \u2013 opaques \u2013 sur lesquelles l\u2019artiste apposait de la javel, ou qu\u2019il pouvait traiter avec diff\u00e9rents pigments (comme du th\u00e9).

Le langage des ombres, 2017-2024<\/em>\u00a0(2025), pr\u00e9sente pour la premi\u00e8re fois un ensemble de 9 s\u00e9ries de rideaux qui couvrent 8 ans de production artistique de Paul Maheke. Install\u00e9s chronologiquement, leur superposition permet d\u2019effleurer la constance du vocabulaire esth\u00e9tique de l\u2019artiste tout en appr\u00e9hendant ses variations. Si les textes \u00e9voquent la fluidit\u00e9 des corps, le d\u00e9sir de communaut\u00e9 ou encore des potentiels de gu\u00e9rison, les figures et visages qui y apparaissent sont des tentatives de capture de fant\u00f4mes, comme autant d\u2019invocations d\u2019esprits.<\/p>\n\n\n\n

featuring: \u00a0

The dancefloor could never be a story with one voice. The dancefloor is packed with stories all pulsating with their own experiences and needs<\/em>, 2017
The River Asked for a Kiss (to Pateh Sabally)<\/em>, 2017
A fire circle for a public hearing<\/em>, 2018
Feeling the Tides Within the Fluids of My Body<\/em>, 2019
oolo\u00ef (OlOi)<\/em>, 2019
OOLOI, 2019
Letter to a Barn Owl<\/em>, 2018
As Saturn and Jupiter Conjunct<\/em>, 2021
Vert P\u00e9tri d\u2019Eau<\/em>, 2024<\/p>\n","protected":false},"excerpt":{"rendered":"

Le langage des ombres (2017-2024), 2025exhibition views: Arthur Pequin ENGLISH – Already during his studies at the Beaux-Arts de Cergy (2007\u20132011), Paul Maheke was experimenting with painting and sprayed pigments on canvas or silk. Later, he began printing textiles (often white) to use as flags and banners (Les \u00e9tendards, swaying bodies, 2009). These works existed […]<\/p>\n","protected":false},"author":1,"featured_media":3819,"comment_status":"closed","ping_status":"closed","sticky":true,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[],"class_list":["post-3812","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classe"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"http:\/\/paulmaheke.com\/projets\/wp-content\/uploads\/Web_Capc_Academie_des_Mutantes_052025_photo_Arthur_Pequin_M5A4393_ICON.jpg","jetpack_shortlink":"https:\/\/wp.me\/p4E7Fe-Zu","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/posts\/3812","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/comments?post=3812"}],"version-history":[{"count":1,"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/posts\/3812\/revisions"}],"predecessor-version":[{"id":3818,"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/posts\/3812\/revisions\/3818"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/media\/3819"}],"wp:attachment":[{"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/media?parent=3812"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/categories?post=3812"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/tags?post=3812"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}