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Caroline Kennerson touche à tous les domaines, tels que la peinture, le dessin, la sculpture, la céramique, l'installation et l'art du paysage, et elle choisit ses médiums en fonction des projets. Le corps, ses mystères, ses fragilités et son lien avec son environnement en évolution sont tous les sujets de son travail qui continuent d'être explorés. Rencontrez l'artiste d'art contemporain en Île-de-france. Caroline Kennerson, artist Visual artist, she delves into various domains: painting, drawing, sculpture, ceramics, installation, and land art. She selects her mediums based on the projects. Her work explores the body, its mysteries, fragilities, and its relationship with a changing environment. Read more Future From November 12 to 17 : MacParis , Bastille Design Center, 74 bd Richard Lenoir, Paris 11th Opening on November 12 from 5 p.m. to 9 p.m. Free invitations on the site: www.macparis.org Discover Works The work of Caroline Kennerson questions the living. She creates improbable hybridizations by associating the animal, plant, and even mineral kingdoms to bring forth these invisible threads that connect us. Phone Exhibitions Caroline Kennerson has participated in several solo and group exhibitions, as well as contemporary art fairs and artistic journeys. Phone

Contactez Caroline Kennerson par mail ou via le formulaire de contact. Découvrez les oeuvres et expositions de Caroline Kennerson, l'artiste en art contemporain. Caroline Kennerson répondra à toutes vos questions. Contact Prénom Nom de famille E-mail Rédigez un message Envoyer Merci pour votre envoi ! Contact details caroline.kennerson@yahoo.fr

Depuis longtemps en Île-de-France, Caroline Kennerson exerce une carrière artistique et éducative en école d'art. Elle a participé à des salons d'art contemporain et des parcours artistiques, ainsi qu'à de nombreuses expositions collectives ou individuelles. Elle touche à tous les domaines tels que la peinture, le dessin, la sculpture, la céramique, l'installation et l'art du paysage, et elle choisit ses médiums en fonction des projets. BIO Born in 1975 in Haute-Savoie, Caroline Kennerson developed an interest in art from a young age. She enrolled at the University Paris I to pursue a comprehensive program in arts and art sciences. She earned her DEA with honors, following which she began her doctoral studies. She has since balanced a career as both an artist and an educator in art schools. Kennerson has participated in numerous collective and solo exhibitions, as well as contemporary art fairs and artistic journeys. From painting, drawing, sculpture, ceramics to installations and Land Art, she delves into various mediums based on her projects. Her work, in constant evolution, explores the body, its mysteries, fragilities, and its connection to the changing environment. Solo Exhibitions Whispers, with Céline Tuloup, Prieuré, Grez-sur-Loing (77), 2022 Mirrors of the Living, with Sophie Lecomte, EMAP, Vigneux-sur-Seine (91), 2022 Utopian Phylogeny, Conservatory of Arts, Montigny-Le-Bretonneux (78), 2018 From Memory..., Municipal School of Fine Arts, Vigneux sur Seine (91), 2016 A Different Perspective, Tabarly Space, Paray-Vieille-Poste (91), 2012 Portraits, La Passerelle, Lyon (69), 2011 Origins, Gallery Arts...point of Suspension, Florac (48), 2007 Space-Bodies, Theatre 347, Paris (75), 2001 Collective Exhibitions "Hors d'oeuvres 20 years, artistic journey and gallery, Camille Lambert Contemporary Art Space, Juvisy-sur-Orge (91), 2023" "Creators' Salon, ChamArt Place, Chamonix (74)" "Virtual exhibition francoiseartmemo" "RencArt Festival, Chamarande Departmental Domain, 91" "Champigny-sur-Marne Biennial of Contemporary Art, CRAC, 2020" "Hors d'oeuvres #8, Artistic journey and gallery, Juvisy-sur-Orge (91), 2017" "November in Vitry, International Painting Prize, Jean Collet Gallery, Vitry-sur-Seine (94), 2013" "Hors d’œuvres #6, Installations in situ and exhibition in the gallery of the Camille Lambert Contemporary Art Space, Athis-Mons and Juvisy-sur-Orge (91), 2013" "Participation in Marc Lathuillière's performance, Les dérivants, Attrape Couleurs, Lyon (69), 2013" "Released in nature, Condorcet Cultural Space, Viry-Châtillon (91), 2012" "30 times, 4 dimensions, installation, Château de Villandraut (33), 2011" "Hors d’œuvres #5, Installations, Paray-Vieille-Poste (91), 2011" "My place is a museum, installation, Paray-Vieille-Poste (91), 2011" "Residence Off, Le parcours des fées, installation, Crévoux (05), 2009" "Hors d’œuvres #4, Installations, Juvisy-sur-Orge (91), 2009" "Hors d’œuvres #3, Installations, Juvisy-sur-Orge (91), 2007" "18th May of Creators, Fine Arts Exhibition, Orly (94), 2007" "Montrouge Contemporary Art Fair, ephemeral painting (92), 2006" "Montrouge Contemporary Art Fair (92), 2005" "Ici et maintenant Festival, installation, City of Paris (75), 2004" "Off Festival, Cloître des Carmes, Avignon (84), 2001" "Itineraries, Jonquière Animation Center, Paris (75), 2000" "Talentbrut Evening, POPB, Paris (75), 2000" "Thuillier Gallery, Paris (75), 1998" "Contemporary Art Fair, Viry-Châtillon (91), 1997" "Galene, Borelli Gallery, Colombes (92), 1997" Publications & Grants 2020 Publication of a text by Aurélie Barnier in the magazine Point Contemporain Art Absolument, Special edition, 61 Artists, Talents to Discover, 2nd edition Catalog 17th Contemporary Art Biennale of Champigny-sur-Marne 2020, CRAC, City of Champigny-sur-Marne (94) 2017 Catalog Hors d'oeuvres #6, artistic journey, Camille Lambert Contemporary Art Space, Juvisy-sur-Orge (91) 2012 Catalog Released into nature, Department of Cultural Affairs, Viry-Châtillon (91) 2011 Catalog Hors d'oeuvres #5, artistic journey, Camille Lambert Contemporary Art Space, Juvisy-sur-Orge (91) 2010 Individual grant for artistic creation, General Council of Val de Marne (94) 2009 Catalog Hors d'oeuvres #4, artistic journey, Camille Lambert Contemporary Art Space, Juvisy-sur-Orge (91) Catalog The fairies' journey, artistic and poetic journey in the South Valley of Crévou, Parapaillon and Ubaye, Winter Fairies, Crévoux, (05) Interview as part of the exhibition Origins, Florac (48) 2007 Catalog Hors d'oeuvres #3, artistic journey, Camille Lambert Contemporary Art Space, Juvisy-sur-Orge (91) 2006 Catalog Salon de Montrouge, The ephemeral, the fleeting, and the multiple, Montrouge (92) 2005 Catalog, 50th Contemporary Art Salon of Montrouge (92) Education Ph.D. candidate, Fine Arts and Art Sciences, Paris I (75), 2000-2003. M.A. in Plastic Arts. With honors. Beneath a deluge of purple, the body... Paris I (75), 2000. Foundation Diploma in Applied Arts, ENSAAMA Olivier de Serres, Paris (75), 1994. Scientific Baccalaureate (High School Diploma in Science), Major in Life and Earth Sciences.

Découvrez les créations de Caroline Kennerson, une artiste spécialisée dans l'art contemporain, en Île-de-France. Le travail de Caroline Kennerson continue d'étudier le corps, ses mystères, ses fragilités et son lien avec son environnement en évolution. Works In memoriam Hybrid Biocenotheque, Art and Nature Trail I am vegetal “I am plant”, sculptures Choir Choir Drawings Engravings on x-rays Petri dishes Biocenotheque Blue like an orange prints My little cabinet of curiosities Portrait Genesis

Découvrez les expositions en Île-de-France de Caroline Kennerson, artiste en art contemporain. Caroline Kennerson a exposé individuellement et collectivement, ainsi que lors de salons d'art contemporain et de voyages artistiques. Exhibitions macparis Fall session 2024, collective exhibition of contemporary art Hors d'oeuvres 20 years Date: 2023 Locations: Camille Lambert contemporary art space Contemporary art tour Rustling noises Date: 2022 Locations: Le Prieuré, Grez-sur-Loing Duo exhibition with Céline Tuloup Mirrors of life Date: 2022 Locations: EMAP Vigneux-sur-Seine (91) Duo exhibition with Sophie Lecomte Contemporary Art Biennial Date: 2020 Locations: Champigny-sur-Marne Utopian Philogeny Date: 2018 Locations: Conservatory of Arts, Montigny-le-Bretonneux (78) Hors d'oeuvres #08 Date: 2017 Locations: Camille Lambert contemporary art space Contemporary art tour From memory... Date: 2016 Locations: EMAP, Vigneux-sur-Seine (91) Personal exhibition Françoise art Mémo https://francoiseartmemo.fr/artiste/caroline-kennerson/

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Retrouvez toutes les publications, articles et textes sur l'artiste d'art contemporain, Caroline Kennerson. L'artiste vous attend lors de ses prochaines créations dans des salles d'exposition en Île-de-France. Texts & Publications Exhibition "Mirrors of the Living," 2022 Caroline Kennerson and Sophie Lecomte, both artists in their own right, share a profound fascination with the essence of life itself. Their collective body of work intertwines unlikely combinations from the realms of the animal, vegetable, and mineral, unveiling the subtle threads that bind us together. They meticulously probe the surface—the skin—as well as its deeper layers, harmonizing the inner and outer, the microscopic and the cosmic, to unveil the elusive yet fundamental aspects that shape our existence. Drawing inspiration from folklore, myths, and the visual language of science, their artistic creations offer a glimpse into our ever-evolving world. Their art, crafted with meticulous patience, delves into the realms of intimacy, drawing attention to the fragility and interconnectedness inherent in all living species. These intricately woven universes beckon us to ponder upon our position within the grand tapestry of existence—an introspective journey that resonates profoundly within the context of our present times. ----------------------------------------------------------------- Chimeric Genetics Caroline Kennerson delves into interspecific phylogeny, delving into the study of relationships between living species. Merging art and science, the artist forges her unique genetic narrative by reinterpreting medical images (MRI, scanners, X-rays) or cellular sections observed under the microscope using mediums such as paint, ink, pencil, ballpoint pen, markers, or felt-tip pens. This art seamlessly blends fiction with real imagery, projecting emotions onto empirical elements. Concretely, Kennerson's artistic play with scientific representation materializes through animal cells appearing on human X-rays and vice versa. In her installations, the artist goes as far as replicating certain scientific devices—such as her round-shaped wall negatoscopes. Her experiments in hybridizing animals and humans, and even plants, aim to reveal certain similarities between species conventionally considered distinct. Kennerson intends not only to unveil the poetry of these bodily particles but also their undeniable connection to our emotions: in her explorations of the infinitesimally small, she delves deep into our flesh, probing our most buried mysteries and vulnerabilities. She reminds us that, much like our cellular system, whose functioning remains partially elusive despite advancements in science, our profound and intimate reality remains largely unknown. Perhaps it is through the experience of otherness, encountering the Living that mirrors us, that we may truly discover ourselves. Nora Hubert Art Absolutely, Special Edition 61 Artists, Discovering Talents ------------------------------------------------------------------- Phylogeny of Utopia, Caroline Kennerson Phylogeny (from the ancient Greek "phylon," meaning "race, tribe, species") is the study of relationships between living beings. Also spelled "philogeny," the term takes on a philosophical, even metaphysical, dimension resonating with what unfolds beyond, beyond the realm of sensible appearances. Through this exhibition of recent works encompassing drawings, installations, and sculptures, Caroline Kennerson invites us to physically and mentally contemplate the interdependence between animal species (considering humans as a particular type of animal) and plants. Etching fish or rat cells onto human X-rays or human cells onto dog X-rays, occasionally incorporating plant cells for their formal richness and suggestive motifs, the artist grasps notions of hybridization, chimeras, imaginary genetic manipulation, and artifacts. The artifact appears to be the linchpin of this meticulous work, both in conception and execution, subtly blending the distancing from medical representations that form the foundation of the pieces and the fierce desire to delve into the heart of the living, organic matter, to delve into their secrets as much as their poetry. Art and science converge in this word itself: the artifact of medical imagery allows the full play of the artist's visual artifact! The body is thus summoned here, the human body, the animal body, even the social body, through this essential, simultaneously gentle and forceful interrogation of what binds and separates species. To embody, what does it mean? And what constitutes embodiment, for each of us, for all of us? Medical images (MRI, scanner, X-rays) or cellular sections observed under the microscope are chosen primarily for their associations between human, animal, and plant motifs. The artist appropriates the concept and figure of arborescence—specifically pointed out in neurology's vocabulary and more broadly within neuroscience. The neuronal network consists of collections of neurons (several tens of billions in a human brain) closely interconnected—referred to as a "clique," reminiscent of a troupe or herd in human and animal organizations—and empty spaces between them (metaphorically termed "cavities" or "clearings" by some researchers). This complex organization, akin to fractal geometry, is reimagined by the artist, progressively contaminating medical imagery, reinventing it using multiple mediums: paint, ink, pencil, ballpoint pen, marker, felt-tip pen. Mixed techniques are favored for the small square formats of the Portraits series or for playing with brilliance and invisibility angles of observation for the Impressions series. The goal is to blur the image, the paths of perception and understanding, which could be overly literal. Scientific devices are replayed, outplayed by the artist: she etches with a needle (considering how medical vocabulary and that of art and craftsmanship converge when referring to needles, sewing, sutures, tissues…) recreates round-shaped wall negatoscopes or a backlit table, as if the vertical plane of medical cabinets were brought back to the observation of petri dishes on the horizontal benchtops of laboratories (especially in the Chimera and Going Green series), while traditionally, drawing is observed on both planes. The artist's and the viewer's gaze thus shifts from the skeleton to the organ, from the skull to neurons, from bone to brain tissue cells, from vein to chlorophyll molecule, from structure to filling: from what holds, what maintains to what constitutes matter, what constitutes embodiment, in essence. The play with scales, orders of magnitude, lies at the heart of the artist's approach, proposing, imposing an observation from scale 1 to the microscopic, bridging the macro to the micro, as the gaps are immense, and references are disturbed. Another notable disruption in the conception and production of the works concerns the engraving methods in Caroline Kennerson's pieces: she executes them from memory for the series of the same name but uses models for all others, to reinforce the coherence of the utopian discourse on phylogeny, which deepens over time. The series Blue Like an Orange thus gathers hyper-realistic drawings of vitamin C cell images, always colored in blue by scientists even though it could easily be in another hue. Starting from this artifact of dye chosen by biologists, the artist draws attention to the poetic, surreal nature of the image and its meaning by invoking in its title a verse from Paul Eluard: "The Earth is blue like an orange," extracted from the poem titled The Earth is Blue, published in the collection "Love, Poetry" in 1929. Caroline Kennerson thus creates a back-and-forth between the magic of invention, gentle reverie, and stark reality: the interior of organisms, usually discreetly concealed from sight and exploration for ordinary mortals, the reality of disease, degeneration, the body in general, and more singularly, the brain. Delving into one's depths, into the bowels of the living, always touches upon profound existential anxieties: the fear of death and oblivion, of oneself, of what constitutes our being, our humanity too. And as always when it truly concerns intimacy, that of the body, bodies, it is also about violence; attraction and repulsion; emptiness and fullness, abyss, and plenitude. By evoking at times the wild development of cells, even their uncontrollable frenzy, the artist subtly suggests that, ultimately, we are always and absolutely strangers to ourselves, regardless of the excellence of scientific knowledge and technological mastery. Or when science, rationality do not teach us the essential. Hybridization would then serve as a secret promise—perhaps not as utopian as it seems—passing through the other, this greater stranger yet, to discover a fragment of oneself. Aurélie Barnier 2018