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	<title>Hélène Padoux</title>
	<link>https://helenepadoux.com</link>
	<description>Hélène Padoux</description>
	<pubDate>Tue, 11 Apr 2023 16:03:30 +0000</pubDate>
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		<title>IMAGE ACCUEIL</title>
				
		<link>https://helenepadoux.com/IMAGE-ACCUEIL</link>

		<pubDate>Tue, 11 Apr 2023 16:03:30 +0000</pubDate>

		<dc:creator>Hélène Padoux</dc:creator>

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		<description>&#60;img width="4019" height="3347" width_o="4019" height_o="3347" data-src="https://freight.cargo.site/t/original/i/1f81764fecfbbd5080f19fa3647503c6718db1b74f7f284d97276e04f5d1737b/Cycles-2022--acrylic-on-denim--90x110cm-min.jpg" data-mid="176036828" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/1f81764fecfbbd5080f19fa3647503c6718db1b74f7f284d97276e04f5d1737b/Cycles-2022--acrylic-on-denim--90x110cm-min.jpg" /&#62;</description>
		
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		<title>Don't leave me waiting too long</title>
				
		<link>https://helenepadoux.com/Don-t-leave-me-waiting-too-long</link>

		<pubDate>Tue, 11 Apr 2023 15:55:07 +0000</pubDate>

		<dc:creator>Hélène Padoux</dc:creator>

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		<description>
Don’t leave me waiting too long Gaa Projects Colognesolo exhibition
March 28 - May 27 2023

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	Withered by-products of the capitalist entertainment machine lay discarded as relics in a thrift shop. Precious Moments dolls, resin cast bears, ceramic puppies, stuffed animals, babies dressed up as rabbits in pastel tones, long ears, puffy tails, and all. Greeting cards are adorned with flowers, hearts, slogans, and promises. Love is thick and deeply etched here, as are the condolences for loss and sickness. Alongside are the celebrations, birthdays, anniversaries, graduations, and holidays.
 On the racks hang air-brushed cotton t-shirts, painted leather jackets, and jeans patterned with bleach. There’s a plaque with a cat, wide-eyed, hanging from string tied to a tree on each side. In script, a text reads, “Hang in There”.
Influenced by European art history and globalized pop culture, Padoux’s visual universe resembles a dark fairytale tainted by ennui. Incorporating new and old images, sentimental objects, and a restrained pallet of velvety pink, brown, and yellow overtones, she uses familiar icons to address the power and subversion of cuteness.
Immersed in strange swirls of smoke, ribbon, and ivy, foreboding elements wrap around the inhabitants of Padoux’s paintings. Tattoo script spells out the messages of angels. A child-like figure, more doll than human, is dressed in a rabbit costume. Figures are grounded by cathedral windows and ambiguous suggestions of space. Inspired by Anne Geddes’ photographs of costumed babies, Padoux’s humanoid bunnies prompt questions about our past as humans and the psychological dimension of moving beyond the present and imagining the future. In her eerie renderings of babies swaddled in eggs cracked open, Padoux asks: what will the next generation be born into? What do the legacies of the past determine for future fertility and choice?
Imbued with romantic and gothic fantasy, Padoux’s work in Don’t leave me waiting too long expresses malaise towards the modern world. Nearly but not entirely nostalgic, her work bridges and seeks to upend the dualities of cute vs. serious, feminine vs. masculine. Revealing the multidimensionality of cuteness, Padoux insists on agency and dimensionality. With its requisite sweetness, she engages the subversive power, emotional claim, and resilience of cuteness to transform a hierarchical understanding of art, culture, and identity. 
Illustrating a blurred relationship to time, Padoux’s work presents a quest for reconciliation between loss and the search for an ideal.
	






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		<title>Club Paradiso</title>
				
		<link>https://helenepadoux.com/Club-Paradiso</link>

		<pubDate>Tue, 11 Apr 2023 15:55:08 +0000</pubDate>

		<dc:creator>Hélène Padoux</dc:creator>

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Club Paradiso Recyclart, Brussels (BE)

collaborative installation with Tristan Gac&#38;nbsp;



February 11th 2023stained glass paint, acrylic, PVC, MDF wood, variable dimensions

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		<title>Heartbroken x Isengard x Club Paradiso</title>
				
		<link>https://helenepadoux.com/Heartbroken-x-Isengard-x-Club-Paradiso</link>

		<pubDate>Tue, 11 Apr 2023 15:55:08 +0000</pubDate>

		<dc:creator>Hélène Padoux</dc:creator>

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		<description>Heartbroken x Isengard x Club Paradiso, Reset, Brussels (BE)*October 15th 2022Group show featuring
Tristan Gac, Chloé Arrouy, Arnaud Eubelen, Hélène Padoux and Gaspard Hers; audiovisual performances and music by Among the Limestones (Tristan Bründler, DVIANCE and Loïc Le Hecho), Heartbroken DJs, luca_borsato721, VINESSETT, estoc, CECILIA, and a talk by Victor Dermenghem



https://www.ofluxo.net/heartbroken-x-isengard-x-club-paradiso-group-show-at-reset-brusselshttps://kubaparis.com/submission/262826



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	On October 15th, three Brussels-based party-pushing, mostly music-centered cultural agents: He4rtbroken, Isengard and Club Paradiso, found themselves co-curating a day-defeating event (in the outside smoking area, it remained unclear whether it was 4pm or 9am), that bridged visual art and music, an exhibition and a party. You could say too – speaking of, well “interdisciplinary” – that the exhibition space grew into a party space as its visitors grew into a crowd. Beyond clearly being selected for their shared post-internet interests, paradoxically, giving way to seemingly pre-internet, neo-romantic sensibilities, it’s remarkable how each of the included artists dealt in their own way with the aesthetic or poetic of the lock.

Besides looking like form bent to break locks, Chloé Arrouy’s metallica appeared encased in an Arnaud Eubelen-designed lit-box. Circling around Hélène Padoux’s bleach-painted banners meant alternately locking and (with a heart-shaped key, that is) unlocking mysterious portals and melody-beaming books; an allegory of access “b2b” refused access to a believed-to-be-Gothic past. One of Tristan Gac’s drawings wasn’t just fixed in space with chains, the drawing in question depicts doves – doomed to a marble representation on top a drained fountain bowl – attached to a damaged heart with more chains; as if being ‘set in stone’ is not chained enough. So, too, in Gaspard Her’s drawings – hung because of a lucky lack of walls on the space’s pillars or detention-like doors – is the constant confusion of amorphous structures supporting each other, or in fact, struggling to undo themselves from one another. The lock that is about to break, about to open, though closed for now, ties in perfectly with a wide-spread hope of nightlife (re: the obsession with rave culture on TikTok) having the key to re-enchanting a disenchanted world. This might be why this new Romanticism seems less convinced of the sublime and its nowhere-going landscapes, instead cultivating restrained and distracting fantasies, the symbolical obstacles on the way to that sensational mountain top.

Not to try and point out one or the other “unlocked” meaning but neither mystifying the sheer amount of locks figuring in the looks of the event’s crowd, these figurations of the lock and its metallic guises can’t be seen independent of the traditions and
trends of a broader subculture of quote-unquote deconstructed music. A selection of art attuned to a club-oriented contemporar music scene, “emotional” in music’s often-found fleeting sense, the artworks on display saw the reserved beholders from the early afternoon switch into diverted dancers by night. This audience-specific change of perspective tells of a change of interest too. It reveals a larger and fairly recent preoccupation of Brussels’ nightlife players with the place of visual art and the question of
scenography (the second of Chloé Arrouy’s works on display was a set of steel stars overarching the stage). Reset proved
unspoiled enough for this smooth transition from dwelling between, to dancing around artworks. The latest of impressively empt Brussels buildings to serve as a site for music-adjacent experiments, the space is meant to, yes, house a police HQ soon.
	





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		<title>The Next time I am Dreaming, I Will Realize That I’m Dreaming</title>
				
		<link>https://helenepadoux.com/The-Next-time-I-am-Dreaming-I-Will-Realize-That-I-m-Dreaming</link>

		<pubDate>Tue, 11 Apr 2023 15:55:09 +0000</pubDate>

		<dc:creator>Hélène Padoux</dc:creator>

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The Next time I am Dreaming, I Will Realize That I’m Dreaming 
No Gallery, New York City, New York (USA)
curated by Philip Hinge
Artists: Fred Escher, Abby Lloyd, Mia Middleton, Oskar Nilsson, Hélène Padoux, Vincent TileyJune 23rd – August 7th 2022
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	Numbing is a gradual process. Over time feelings start to dull and the luster of sensation tarnishes. The first time you wake up to your arm asleep, your thoughts race and your heart rate elevates as you frantically try to understand what’s happened. Your synapses fire to no result. The fingers don’t twitch, the shoulder doesn’t rotate, and the arm remains limp. With your functional appendage, you reach across yourself to interrogate the lifeless limb. It has a weight you didn’t imagine something so slender could have. As you start to consider your life without the use of your arm, you feel the buzzing of blood as it starts to floo your veins. Quickly it travels down your shoulder and passes through your forearm before funneling into each fingertip. With all your concentration you make a loose fist for the first time sinc the panic of loss subsided. If anything, the experience has taught you that most things are temporary with the right mindset.

Fred Escher, who recently passed, left behind an expansive body of work that illustrates the eccentric mysticism of a complicated psyche. Scenes are translated through Escher rather than painted, with the work’s urgency and compulsive oddness being at the forefront of each picture. Standing opposite each other, Escher’s recurring pairs of orange-haired men wearin slacks admire each other with mouths slightly agape. Posed in staccato gestures, the figures mirror each other, standing at opposite edges of the canvas as pantomime columns amidst surrealist landscapes. Their complacency makes them semi-sweet; their attention is their own, and the viewer is left outside to wonder what exactly they’re talking about.

The work of the remaining five artists offers kindred affections through painting and sculpture, a dogged procession of like minds.
 Padoux and Nilsson utilize a lexicon of sentimental imagery. Ghosts and lonely pears timelessly lament the prospect of love yet to com and its inevitable passing. Tiley binds that sentiment with ropes, encircling and constricting that loss into an amalgam of formally compelling elements and abject construction. Lloyd’s doll refuses attention. Hiding in a brightly lit room, she channels trauma or executes a playful procedure; if I can’t see it, it can’t exist. Middleton expresses a darkly intimate style of painting, pursuing her small canvases with a grim economy of charged symbols.

These apparitions need no witness, as the circular nature of time abruptly confronts the rectangular edges of each canvas. Eccentric idiosyncrasies create a stage for a performance we’re all familiar with, each player exercising ruminations on grief, loss, humor, and a longing to exorcize an internal life.
	





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	<item>
		<title>Lichtung</title>
				
		<link>https://helenepadoux.com/Lichtung</link>

		<pubDate>Tue, 11 Apr 2023 15:55:09 +0000</pubDate>

		<dc:creator>Hélène Padoux</dc:creator>

		<guid isPermaLink="true">https://helenepadoux.com/Lichtung</guid>

		<description>
LichtungGaa Gallery, Provincetow, MA (USA)
Artists: Melissa Brown, Angelina Gualdoni, Adam Helms, Hipkiss, Heidi Howard, Kaylie Kaitschuck, Anina Major, Zoe McGuire, Hélène Padoux, Dan Schein, James Everett Stanley, Elizabeth Tibbetts, Lumin Wakoa, Autumn Wallace, and Erin WoodbreyApril 1st - July 3rd 2022

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	Lichtung, translating from German to English as glade or clearing, is a group exhibition which celebrates the exuberance an strangeness of the natural world. Often characterized by grassy meadows, a sunlit space of lower laying plant life, or an opening amidst a stand of tall trees, a glade is an open area within the landscape serving an ecological and aesthetic function. A space made by natural processes- the result of certain weather conditions, grazing animals, clearings create opportunities for
regeneration and sustenance for both plants, human and non-human animals.

In Lichtung we encounter the landscape through the soil, through windows, through glimpses of real and imagined places. We see clearings, both literal and metaphorical rendered in paint, graphite, textile, and in sculptural forms. In these works, nature is something we can see and prompts us to imagine the things that are hard to see. The minutia the human eye glazes over is captured and reinterpreted through image. Through art the complexities of nature are condensed and synthesized. Presentin an accumulation of moments, the artists in this exhibition portray themes of growth, decay, and transformation. Depicting decomposition and rebirth of plants, fungi, and insects, art takes in the cycles of nature and becomes an experience on its own. Through the attentive gazes of these artists one sees the things that time only reveals later.
	






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	<item>
		<title>Leave it all behind</title>
				
		<link>https://helenepadoux.com/Leave-it-all-behind</link>

		<pubDate>Tue, 11 Apr 2023 15:55:09 +0000</pubDate>

		<dc:creator>Hélène Padoux</dc:creator>

		<guid isPermaLink="true">https://helenepadoux.com/Leave-it-all-behind</guid>

		<description>
Leave it all behind 
Manuel Zoia Gallery, Milan, Italy (IT)
curated by Domenico de ChiricoArtists: Argišt Alaverdyan, Mattia Barbieri, Erika Hock, Margherita Mezzetti, Zsolt Molnár, Hélène Padoux, Michele Tocca, Edin Zenun
 December 16th - January 22nd 2022


https://tique.art/exhibitions/leave-it-all-behind/



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&#60;img width="3456" height="5184" width_o="3456" height_o="5184" data-src="https://freight.cargo.site/t/original/i/3fb3b8ce0bc8fe04209d3298de44552f253078b3fe609d80f9d4981d66bab63e/Fin-de-saison-2021---acrylic-on-denim--50x60cm-min.jpg" data-mid="174992516" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/3fb3b8ce0bc8fe04209d3298de44552f253078b3fe609d80f9d4981d66bab63e/Fin-de-saison-2021---acrylic-on-denim--50x60cm-min.jpg" /&#62;
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		<title> (in)visible hearts</title>
				
		<link>https://helenepadoux.com/in-visible-hearts</link>

		<pubDate>Tue, 11 Apr 2023 15:55:10 +0000</pubDate>

		<dc:creator>Hélène Padoux</dc:creator>

		<guid isPermaLink="true">https://helenepadoux.com/in-visible-hearts</guid>

		<description>(in)visible heartsSchinkestrasse 9, Berlin (DE)
curated by Sebastian PeterArtists: Rebekka Benzenberg, Emma Brunet, Alex Chalmers, Antonia Nannt, Hélène Padoux, Christin Rothe, Kim Schönauer
December 10th - 19th &#38;nbsp;2021
https://kubaparis.com/archive/invisible-hearts
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Photography ©Lukas Zerrahn


	At a time when we have become so accustomed to the heart shape that we no longer notice it, the works gathered in the group exhibition (in)visible hearts materialize the symbol that’s used so frequently in the digital realm. By dealing with the heart aesthetically and contentwise, they make it visible again, thus allowing it to be viewed in isolation. The exhibited works treat the heart as mere form and ornament, as symbol and trace, as emoji and emblem of cuteness. They transfer it to canvas and mold it out of silicone, cast it in resin and mill it out of wood, laser cut it into metal and cut it out of PVC. They take the heart’s color and subtly refer to it, decorate it and dissolve it, put it in chains and secure it under glass. Their conscious and critical treatment of the heart contrasts with its random use in everyday life, liquefying our notions of the faded symbol.
(excerpt from the intro text)
	





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	<item>
		<title>burden</title>
				
		<link>https://helenepadoux.com/burden</link>

		<pubDate>Tue, 11 Apr 2023 15:55:10 +0000</pubDate>

		<dc:creator>Hélène Padoux</dc:creator>

		<guid isPermaLink="true">https://helenepadoux.com/burden</guid>

		<description>
burden 
darkZone, Madison, NJ (USA)
curated by Philip HingeArtists: Sam Branden, Jesse Draxler, Vanessa Gully-Santiago, Erika Rios Hickle, Justin Ortiz, Hélène Padoux, Siggi SekiraJuly 2021

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	<item>
		<title>She Came to Stay</title>
				
		<link>https://helenepadoux.com/She-Came-to-Stay</link>

		<pubDate>Tue, 11 Apr 2023 15:55:10 +0000</pubDate>

		<dc:creator>Hélène Padoux</dc:creator>

		<guid isPermaLink="true">https://helenepadoux.com/She-Came-to-Stay</guid>

		<description>She Came to Stay Andrea Festa Fine Arts, Rome (IT)

Curated by Domenico de Chirico
Artists:&#38;nbsp;Bambou Gili, Emma Cousin, Nadia Waheed, Lucile Littot, Krista Louise

Smith, Sola Olulode, Zofia Pałucha, Astrid Terrazas, Ania Hobson, Hélène

Padoux, Mary Stephenson, Xiuching Tsay, Paula Kamps, Lise Stoufflet, Sara

Rahmanian, Nicolette Mishkan, Elizabeth Jaeger, Rewind Collective

June 1st - August 27th, 2021&#60;img width="1676" height="1127" width_o="1676" height_o="1127" data-src="https://freight.cargo.site/t/original/i/1840348a09c311edbb728aaff3732ea2c383002f27e8e1209e6843330f22b831/-tlchargement.jpg" data-mid="175899068" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/1840348a09c311edbb728aaff3732ea2c383002f27e8e1209e6843330f22b831/-tlchargement.jpg" /&#62;&#60;img width="1147" height="1472" width_o="1147" height_o="1472" data-src="https://freight.cargo.site/t/original/i/77e34afdf728a37258df97f80ab180c7e3210a3c4c7b65cb594b55774f715a0c/Hide-and-seek-inside-of-my-stomach-2021--ink--acrylic--polyester--canvas--60x50cm-re.jpg" data-mid="175899781" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/77e34afdf728a37258df97f80ab180c7e3210a3c4c7b65cb594b55774f715a0c/Hide-and-seek-inside-of-my-stomach-2021--ink--acrylic--polyester--canvas--60x50cm-re.jpg" /&#62;&#60;img width="1840" height="1280" width_o="1840" height_o="1280" data-src="https://freight.cargo.site/t/original/i/f631245f735f92ef960a5c8c3d4b7b73375de2631e5871a89f644f93fdd1b965/-She-Came-to-Stay-installation-view-2.jpg" data-mid="175899214" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/f631245f735f92ef960a5c8c3d4b7b73375de2631e5871a89f644f93fdd1b965/-She-Came-to-Stay-installation-view-2.jpg" /&#62;

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