Sylvie Eyberg

trois rivières

Name: trois rivières - Sylvie Eyberg
Brand: Keijiban
Price: 11000.000000 JPY
Availability: InStock

2021-2022

Magazine printed in offset on Munken Lynx Rough (90 g), with two perforations on the top of each page

16 pages

31 × 23 cm / 31 x 46 cm (double-page spread)

Edition of 33 copies signed and numbered by the artist, plus 3 artist’s proofs, 3 publisher’s proofs, and 21 hors-commerce copies.

Price

€82.50

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The edition

trois rivières is, as its title suggests ["three rivers"], a work at the confluence of various streams. It brings together different sources of inspiration, materials, and motifs to tell a story whose conclusion remains resolutely open-ended.

In line with Sylvie Eyberg’s previous works, images and words coexist in an elaborate and elliptical manner. The texts are disseminated across double-page spreads, as if in a vaporous state, while found black and white images—the main material of Eyberg’s early print works—run alongside color photographs taken by the artist—which remind us of the more personal, quasi-autobiographical tone of her recent films.

These elements are combined through processes of repetition, echo, and transparency to create a musical and even lyrical composition, an “Invitation to the Voyage.” Although the human figures seem static, either lost in contemplation or stuck in sameness, the sense of passage and transience in these pages is constant—a paradoxical feeling perfectly embodied by the expression “courir dans un rectangle” [“running around in a rectangle”]. The notion of fluidity that pervades the magazine also echoes the writings of Virginia Woolf—one of Eyberg’s favourite authors—, in which the theme of water, symbol of constant mutability and reflection, appears as an analogy of consciousness.

The artist

Sylvie Eyberg シルヴィ・エイベルグ — Photo: Denicolai & Provoost

Sylvie Eyberg was born in 1963. She currently lives in Brussels (Belgium).

Since the late 1980s, Sylvie Eyberg has worked on the interplay of images and words. She is mostly known for her precise and enigmatic combinations of black and white or monochromatic pictures with fragments of texts. Both elements usually come from magazines, books, and other printed material, and are then carefully selected and reframed, sometimes enlarged.

In some way related to the tradition of photomontage, these works express a strong sense of composition. The black and white tonality and the scarcity of depicted elements also contribute to a sense of austerity. But at the same time, the viewers/readers will quickly find themselves absorbed into the very texture of images and words. Magnetized by the muffled indetermination that permeates the works, they try to make sense of the suspended gestures and accidental aphorisms, the dreamlike figures and the poetic stuttering.

In addition to these works made using a wide range of printing techniques (photography, silkscreen, heliogravure, inkjet, and offset, among others), the artist has produced a series of films that extend and displace her interest into the relation of images to literature. These films are also an affectionate homage to cinema, to its rich history and its ability to fire up our imagination.

Let us also mention that Sylvie Eyberg generously conceived the text-work that serves as Keijiban’s logo—a carefully carved paragraph from a text dedicated to Ozu’s Tokyo Story.

At the invitation of curator Thierry de Duve, she represented Belgium at the Venice Biennale in 2003, together with Valérie Mannaerts.

Her recent shows include Spatial Bias, Lesage, Brussels, Belgium, 2021; Vu.e de dos, Le Delta, Namur, Belgium, 2020; Half-title, Shanaynay, Paris, France, 2018; descendant, Institut de Carton, Brussels, Belgium, 2018; 2. bleu et vert, (SIC), Brussels, Belgium, 2014.

Sylvie Eyberg is represented by Galerie Greta Meert in Brussels.

The exhibition