Biography
| EDUCATION | ||
| 1996 | Agrégation d’Arts Plastiques | University of Fine Arts, Saint Etienne |
| 1993 | Maîtrise d’Arts Plastiques | University of Fine Arts, Saint Etienne |
| ONE PERSON EXHIBITIONS | ||
| 2016 | Unsettled Areas | Gallery Fifty One, Anvers |
| 2015 | Madge Donohoe, Skotographs | Galerie Sator, Paris |
| 2015 | Die Weltmeister | Galerie Aperto, Montpellier |
| 2013 | The Shadow Line | CHARLIE SMITH LONDON, London |
| 2012 | Klinikum Weilmunster | Olivier Houg Galerie, Lyon |
| 2009 | Explorations | Olivier Houg Galerie, Lyon |
| 2006 | La guerre c'est simple | Maison des Expositions de Genas, Lyon |
| SELECTED GROUP EXHIBITIONS | ||
| 2016 | Zones Poreuses | Galerie C, Neuchâtel |
| 2015 | (Dé)figurations | Galerie Domi Nostrae, Lyon |
| 2015 | YIA Hors les Murs | Archives Nationales, Paris |
| 2015 | Faces of Conflict: the impact of the First World War on art and facial reconstructive surgery | Royal Albert Memorial Museum, Exeter |
| 2015 | Die English Kommen! New Painting from London (curated by Zavier Ellis) | Galerie Heike Strelow, Frankfurt |
| 2014 | Saatchi’s New Sensations and THE FUTURE CAN WAIT (curated by Zavier Ellis, Simon Rumley & Rebecca Wilson) | B1, Victoria House, London |
| 2014 | Cultus Deorum (curated by Zavier Ellis) | Saatchi Gallery, London |
| 2014 | 1914, la mort des poètes | Bibliothèque Nationale Universitaire, Strasbourg |
| 2014 | La vengeance de Mathilde | Galerie C, Neuchâtel |
| 2014 | La mémoire et la guerre | Musée d’Histoire du XXème Siècle, Estivareilles |
| 2014 | A feu et à sang | Le 19 CRAC, Montbéliard |
| 2014 | 1914, la mémoire at la guerre | Musée d’Histoire du XXème Siècle, Estivareilles |
| 2014 | Cultus Deorum | CHARLIE SMITH LONDON, London |
| 2014 | Shown or To Be Shown | Galerie Houg, Lyon |
| 2014 | The Great War | CHARLIE SMITH london, London |
| 2014 | Drawing Now Paris | Olivier Houg Galerie, Lyon |
| 2013 | Selected Gallery Artists | CHARLIE SMITH LONDON, London |
| 2013 | War and Trauma | Musée du Docteur Ghislain, Ghent |
| 2013 | Pratique 2, la coleur (code noir) | Frac Haute-Normandie, Sotteville-lès-Rouen |
| 2013 | Dans les Ruines | Galerie Incognito, Paris |
| 2013 | Prop Vol.1 | Galerie Houg, Lyon |
| 2013 | Erinnern | Kunsthalle, Göppingen |
| 2013 | Saatchi Gallery & Channel 4’s New Sensations and THE FUTURE CAN WAIT (curated by Zavier Ellis, Simon Rumley & Rebecca Wilson) | B1, Victoria House, London |
| 2013 | Paper | Saatchi Gallery, London |
| 2013 | Drawing Now Paris | Olivier Houg Galerie, Lyon |
| 2012 | Saatchi Gallery & Channel 4’s New Sensations and THE FUTURE CAN WAIT (curated by Zavier Ellis, Simon Rumley & Rebecca Wilson) | B1, Victoria House, London |
| 2012 | Anthology | CHARLIE SMITH LONDON, London |
| 2012 | Dreams and Ruins | Galerie d'Art Moderne, Sarajevo |
| 2012 | Drawing Now Paris | Olivier Houg Galerie, Lyon |
| 2012 | Local line 10 | MAM, Saint Etienne |
| 2010 | Figure Toi! | FRAC Haute-Normandie, Rouen |
| 2010 | Fake! | Stedelijk Museum, Alost |
| 2009 | L'Afrique en Noir et Blanc | Musée Senlecq, l’Isle-Adam |
| 2009 | Fragile | Museum of Art, Mannyun-dong Seo-gu Daejeon, Corée |
| 2008 | Salon du Dessin Contemporain | Olivier Houg Galerie, Paris |
| 2006 | 1914-1918 | Musée d'Histoire du XXème Siècle, Estivareilles |
| 2005 | Par Amour | Olivier Houg Galerie, Lyon |
| 2005 | Focalise, les voies de l'optique | Musée d’Art et d’Industrie, Saint Etienne |
| 2003 | Eric Manigaud | L’Embarcadère, Lyon |
| 1995 | Art dans la Ville | Saint Etienne |
| 1994 | Art dans la Ville | Saint Etienne |
| 1993 | Moins de tout, plus de rien | Biennale off d’Art Contemporain, Lyon |
| AWARDS & RESIDENCIES | ||
| 2012 | Anthology (Winner) | CHARLIE SMITH LONDON, London |
| COLLECTIONS | ||
| Saatchi Gallery, London | ||
| The SØR Rusche Collection, Oelde / Berlin | ||
| FRAC Haute-Normandie, Rouen | ||
| Landesmuseen Scloss Gottorf, Schleswig | ||
| Paul Dini Museum, Villefranche-sur-Saône | ||
| Van Der Mieden Gallery, Brussels | ||
| Julian and Stephanie Grose, Adelaide | ||
| Randal J. Kirk, Virginia | ||
| Private collections in Belgium, France & United Kingdom | ||
| FILMOGRAPHY | ||
| 2003 | Un fond de terroir | Colour video documentary about Le Petit Musée du Bizarre, Lavilledieu Ardèche (35m) |
| 2002 | Se noyer dans un verre d’eau | Colour video (2m) |
| 1993 | Le musée Hyacinthe Rigaud de Perpignan | Hi8 colour video documentary (9m) |
| 1993 | Le visage écran | Hi8 colour video montages (4m25s) x3 |
| 1992 | Time out | Hi8 colour video (5m) |
Press Release | 2013
| ERIC MANIGAUD | The Shadow Line |
| Exhibition Dates : Friday June 28th – Saturday July 27th 2013 |
| CHARLIE SMITH LONDON is delighted to present Eric Manigaud with his first one person exhibition in London. Eric Manigaud, French born and based in St Etienne, is recognised for his impeccably rendered large scale drawings in pencil and graphite dust. Often reaching 180cm in height or width, every piece represents an obsessive accomplishment of technical expertise and takes two to four months to complete. As the French art critic Philippe Piguet states: Everything in his work is of a degree of minutiae taken to an extreme, which propels the model he uses into a kind of meta-reality exceeding the details…He is an accomplished artist gifted with an astonishing virtuosity which competes with a rare expressiveness. In parallel with such a commanding deployment of technique is a brutal choice of subject matter, where the power of the image combines with its realisation to create an overwhelming and emotive presence. Manigaud searches relentlessly in order to source second hand imagery, where an instinctive discovery will trigger a new series of work. Selecting only historical images that refer unintentionally to the evolution of the modern age, Manigaud reveals empathy for mankind and simultaneously critiques its progress. Bombed cities, murder sites, asylums and the African interior are all theatres where modern man has faltered. Manigaud’s depictions of 19th century asylum inmates express unparalleled pathos whilst recalling the Salpêtrière Hospital in Paris, where a young Sigmund Freud (1856-1939) studied under Jean-Martin Charcot (1825-1839), the accepted founder of modern neurology. Latterly Michel Foucault (1926-1984) would discuss the Salpêtrière Hospital when tracing the history of the treatment of the insane in Madness and Civilization. Manigaud’s drawings of murder victims are based on photographs by the criminologist Alphonse Bertillon (1853-1914), who introduced photographic anthropometry into the judicial system by devising classification techniques that enabled the cataloguing of criminals and crime scenes. Similarly, photographs taken on expedition to the Ivory Coast by Marcel Monnier (1853-1918), grandfather of Roland Barthes (1915-1980), are used in Manigaud’s jungle series. Taken during Mission Binger, the expedition was designed to help delineate the frontier, being redolent therefore of 19th century European imperial ambitions that would be realized in the catastrophic World Wars of the 20th century, from where Manigaud derives his series of war victims and bombed cities. Taken together, these series draw on the archival to represent an intertwined history of culture, science and politics. Specifically, they are touchstones to significant events and developments in the modern French period, but which resonate universally. |
Press Release | 2017
| Eric Manigaud | Service Special |
| EXHIBITION DATES Saturday 09 September – Saturday 07 October 2017 |
| CHARLIE SMITH LONDON is delighted to present French artist Eric Manigaud in his second one person exhibition at the gallery. Manigaud is recognised for his impeccable photo-realist drawings made after original, archival photographs. Working in series, he investigates profound, historical themes including injured World War I soldiers; bombed World War II cities; 19th century murder victims; and asylum inmates. His subject matter, therefore, is commonly brutal and uncompromising. In this exhibition Manigaud has focused entirely on the Paris massacre of 1961, when the French National Police attacked a peaceful demonstration of pro-National Liberation Front (FLN) Algerians, which resulted in the ruthless and intentional murder of numerous unarmed demonstrators (estimated between 200 and 300 despite the French government eventually acknowledging only 40 deaths in 1998). A witness, Makhlouf Aouli, stated recently, “Algerians were drowned, strangled and dropped from planes into the sea.” The repression took place in the context of the Algerian War (1954-62), at a time when the FLN had recently resumed its bombing campaign against the French police in its effort to gain independence for Algeria. The demonstration was a direct response to a police dictum that had introduced a curfew that ‘prohibited just “French Muslims from Algeria”…from going out between 20h30 and 05h30, from driving a car and from walking together in groups, at the risk of being immediately arrested.’ The Chief of the Paris Police at the time was Maurice Papon, who that year was awarded the Legion of Honour by French President Charles de Gaulle. Latterly, in 1998, he was convicted of crimes against humanity for his participation in the deportation of more than 1600 Jews to concentration camps during World War II under the Vichy Government. The savage response by Papon’s police force to the demonstration was racist (anyone with olive skin was targeted including those of Tunisian, Moroccan, Spanish and Italian origin); premeditated; and redolent of his collaborationist past. 11,000 people were arrested and transported to locations including Parc des Expositions and Le palais des sports (previously Vélodrome d’Hiver), sites which were used as internment centres by the Vichy Government. This collection, therefore, is a continuation of Manigaud’s preoccupation with historical atrocity, where he encourages his audience to remember, or acknowledge, and inadvertently pays homage to its victims. Manigaud also affirms the enduring power of imagery and importance of visual documentation. It is most often the testament of photographic evidence - in this case Georges Azenstarck or Georges Ménager – that comes to define our lives and times, and Manigaud’s compelling drawings add profoundly to this visual history. Please contact gallery for images and further information |