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Guillaume Désanges / 8 rue Perdonnet 75010 Paris, France

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Guillaume Désanges is a free-lance curator and art critic, founder and director of Work Method, a Paris based agency for artistic projects. He organizes international exhibitions projects and lectures.

Latest projects : Concrete Erudition (2009-2011, Le Plateau-Frac Ile-de France, Paris) ; Wander (2011, Centre Pompidou Metz) ; Amazing ! Clever ! Linguistic !, An Adventure in Conceptual Art (2013, Generali Foundation, Vienna, Austria) ; Gestures of the mind (La Verrière, Brussels) ; "A Universal Exhibition, documentary section (Louvain-la-Neuve biennale, Belgium, 2013).

Guillaume Désanges est critique d’art et commissaire d’exposition. Il dirige Work Method, structure indépendante de production. Il développe internationalement des projets d’expositions et de conférences.

Derniers projets : Concrete Erudition (2009-2011, Le Plateau-Frac Ile-de France, Paris) ; Erre (2011, Centre Pompidou Metz, avec Hélène Guenin) ; Amazing ! Clever ! Linguistic !, An Adventure in Conceptual Art (2013, Generali Foundation, Vienne, Autriche) ; Des gestes de la pensée (La Verrière, Brussels) ; Un exposition universelle, section documentaire (Louvain-la-Neuve biennale, Belgique, 2013).



LETRE - Benoît Maire

- September 6th - October 18th 2014 - Opening : September 5th 2014 (6 to 9pm)

La Verrière - Fondation d’Entreprise Hermès - Brussels

Curated by Guillaume Désanges

Benoît Maire’s prolific, wide-ranging work includes sculpture, drawing, painting, film, performance, and photography, together with lectures, workshops, publications and research papers. His fundamental approach centres on the practice of collage : images, documents, objects and texts are drawn together by a precise network of references drawn from philosophy, the sciences, psychoanalysis, film and literature. Maire’s quest for ultimate, concrete expression of the intellectual foundations of his work reflects that of other artists of his generation, seeking to renew the practice of conceptual art by quite deliberately looking beyond the schism between the object and the idea.

LETRE plays on the French homonyms of its title – lettre or ‘letter’ and l’être, a creature or being – as the pretext for a vast installation of sculptures, materials and collages arranged as a composition governed by no explicit rules, exploring sensation and the expression of thought as form.

Le travail proliférant de Benoît Maire, qui se décline en sculptures, dessins, peintures, films, performances, photographies, etc., se présente aussi sous la forme de conférences, workshops, publications et documents de recherche. Il s’agit fondamentalement d’une pratique du collage, agençant images, objets, documents, textes, le tout sous-tendu par un réseau précis de références empruntées aux champs de la philosophie, des sciences, de la psychanalyse, mais aussi du cinéma et de la littérature. Rendant extrêmement concrets ces fondements intellectuels, il appartient à une génération ayant renouvelé la pratique de l’art conceptuel par un dépassement volontaire de la séparation entre l’idée et l’objet.

L’exposition « LETRE » joue avec l’homophonie de son titre (entre « lettre » et « l’être »), prétexte à une vaste installation de sculptures, matières et collages agencés comme une composition aux règles non explicites, qui joue à la fois de la pensée mise en forme et de la sensation.

Fondation d’Entreprise Hermès - La Verrière, Bvd Waterloo 50, 1000 Bruxelles



- November 7th - December 13th 2014 - Opening : November 6th 2014

La Verrière - Fondation d’Entreprise Hermès - Brussels

Curated by Guillaume Désanges

Agency is the generic name of a Brussels-based collective initiative that was founded in 1992 by Kobe Matthys.

For Assembly (Gestures of the mind), Agency calls forth a selection from its list of things, speculating on the question : “How can commons get included within art practices ?” Many practices get classified as common. The "craftsmanship" or design of useful articles, no matter how satisfying, get exempted of copyright protection as works of art. Intellectual property law defines useful article as “having an intrinsic utilitarian function that is not merely to portray the appearance of the article or to convey information.” The craftsmanship or design of a useful article is considered artistic only if, and only to the extent that, such craftsmanship or design incorporates pictorial, graphic or sculptural features that can be identified separately from, and are capable of existing independently of the utilitarian aspects of the article. A selection of things will convene an assembly at Gestures of the mind in order to bear witness to this question.

Fondation d’Entreprise Hermès - La Verrière, Bvd Waterloo 50, 1000 Bruxelles


Ma’aminim (Les croyants) - Chapelle Vidéo

- December 6th 2014 - February 9th 2015

Curated by Guillaume Désanges

La chapelle de l’ancien carmel, Saint-Denis Musée d’Art et d’Histoire de St-Denis, 22 bis rue Gabriel Péri, 93200 Saint-Denis

Karel Miler

- December 2014

Curated by Guillaume Désanges

SVIT Gallery, Štefánikova 43a, 150 00 Praha 5, CzechRepublic


Talk With Naomi Beckwith and Matthieu Poirier

- September 19th, 2014 at 5:30 pm, at Chicago Art Fair

Navy Pier 600 E Grand AveChicago, IL60611

Le côté obscur de la forme -

- September 28th 2014 - 08:30 pm

In the continuation of "A History of Performance in 20 minutes", "Vox Artisti, his masters’ voices", and "Signs and Wonders”, three experimental conferences interrogating, in ideas and in acts, some recent history of art, "The Dark Side of the Form" is a new project. The idea is to explore, from a recent position of art critic and curator, the hidden, repressed or even ashamed part of the mechanisms that brings someone to contemporary art. For that, I made 5 sessions with a psychoanalyst, asking her to adapt her dialectical practice, folded only on one topic : a past and present specific relationship to contemporary art. A relation that has always been and remains problematic, indefinable, irresolute. It tackles questions of fascination and repulsion, fantasy and disappointment, social and intellectual ascension, will and sexual projection ; but also love, astonishment and cruelty.

Dans la suite de "Une histoire de la performance en 20 minutes", "Vox Artisti, la voix de ses maîtres", et "Signs and Wonders", trois conférences expérimentales interrogeant, en formes et en actes, certaines histoires récentes de l’art, "Le côté obscur de la forme » est un nouveau projet. Il s’agit d’explorer, à partir d’une position récente de critique et commissaire d’exposition, la part occulte, refoulée voire honteuse, d’une relation spécifique à l’art contemporain. Dans cette perspective, j’ai réalisé cinq séances avec une psychanalyste, focalisées sur mon rapport passé et présent à l’art contemporain. Un rapport qui a toujours été et reste problématique, ineffable, irrésolu. Il y est question de fascination et de répulsion, de fantasme et de déception, de volonté d’ascension sociale et de projection libidinale ; mais aussi d’amour, d’étonnement et de cruauté.

ESPACE KHIASMA 15 rue Chassagnolle, Les Lilas, 93260

Documenter la performance / Performer le document

- October, 4th, 2014 – 3:00pm

Talk with Olivier Marboeuf

Le Musée Commun 37/39 rue Saint-Blaise, 75 020 Paris

Rencontre avec Ismaïl Bahri

- November, 8th, 2014 – 3:00 – 6:00pm

Dans le cadre de l’exposition "Sommeils" de Ismaïl Bahri

ESPACE KHIASMA 15 rue Chassagnolle, Les Lilas, 93260

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