{"id":12383,"date":"2022-09-07T12:02:14","date_gmt":"2022-09-07T10:02:14","guid":{"rendered":"https:\/\/chroniques-biennale.org\/oeuvre\/les-etoiles-ne-dorment-jamais\/"},"modified":"2022-10-04T16:03:46","modified_gmt":"2022-10-04T14:03:46","slug":"les-etoiles-ne-dorment-jamais","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/les-etoiles-ne-dorment-jamais\/","title":{"rendered":"LES E\u0301TOILES NE DORMENT JAMAIS"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"noMarginBottom caps edge wp-block-heading\">LES E\u0301TOILES NE DORMENT JAMAIS<\/h1>\n\n\n\n<h2 class=\"caps wp-block-heading\"><strong>SOPHIE WHETTNALL<\/strong><\/h2>\n\n\n\n<div class=\"wp-block-columns singleOeuvreTopRow is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<h4 class=\"wp-block-heading\">Monographie<\/h4>\n\n\n\n<p><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<p>In this exhibition, Sophie&nbsp;Whettnall&nbsp;makes time stand still within a fragment of space, through a collection of works that creates a dialogue between landscape and light, between here and there, dynamic energy and serenity, dream and reality. <\/p>\n\n\n\n<p>Sophie&nbsp;Whettnall\u2019s&nbsp;work is an invitation to contemplation, from the Garden of the&nbsp;Pavillon&nbsp;de&nbsp;Vend\u00f4me&nbsp;Museum&nbsp;\u2013&nbsp;where a work composed of shadows that seems to be emerging from the depths of the forest lends the landscape a strangely real character&nbsp;\u2013&nbsp;to the interior spaces, where the installations give the viewer the impression of taking a stroll under a starry sky in broad daylight.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreInfosRow is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column infosPratiquesBlock is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/6468-1024x683.jpg\" alt=\"\" class=\"wp-image-12379\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/6468-1024x683.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/6468-300x200.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/6468-768x512.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/6468-1536x1024.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/6468-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Lydie Nesvadba<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"670\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/MG_8286-1024x670.jpg\" alt=\"\" class=\"wp-image-12375\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/MG_8286-1024x670.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/MG_8286-300x196.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/MG_8286-768x502.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/MG_8286-1536x1005.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/MG_8286-2048x1340.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Philippe de Gobert<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/MG_8258-1024x683.jpg\" alt=\"\" class=\"wp-image-12370\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/MG_8258-1024x683.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/MG_8258-300x200.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/MG_8258-768x512.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/MG_8258-1536x1024.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/MG_8258-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Philippe de Gobert<\/figcaption><\/figure>\n\n\n\n<p class=\"noMarginBottom\">Partagez cet \u00e9v\u00e9nement sur les r\u00e9seaux sociaux<\/p>\n\n\n<div class=\"socialLinks socialShare\"><ul><li><script>function fbs_click() {u=location.href;t=document.title;window.open('http:\/\/www.facebook.com\/sharer.php?u=https:\/\/chroniques-biennale.org\/en\/les-etoiles-ne-dorment-jamais\/&t='+encodeURIComponent(t),'sharer','toolbar=0,status=0,width=626,height=436'); return false; }<\/script><a rel=\"nofollow\" href=\"http:\/\/www.facebook.com\/share.php?u=<;url>\" onclick=\"return fbs_click()\" target=\"_blank\" class=\"facebookLink\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/li><li><a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&url=https:\/\/chroniques-biennale.org\/en\/les-etoiles-ne-dorment-jamais\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=LES+E%CC%81TOILES+NE+DORMENT+JAMAIS&amp;url=https:\/\/chroniques-biennale.org\/en\/les-etoiles-ne-dorment-jamais\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreArtistsRow is-layout-flow wp-block-group-is-layout-flow\">\n<h4 class=\"wp-block-heading\">Artiste<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><\/div><div class=\"artisteBlockRight\"><h2>Sophie Whettnall <sup>(BE)<\/sup><\/h2><div class=\"artistContactLine\"><a href=\"https:\/\/sophiewhettnall.com\/\" target=\"_blank\">sophiewhettnall.com\/<\/a><\/div><div class=\"artisteContent\"><p><span style=\"font-weight: 400;\">Sophie Whettnall Born in 1973, lives and works in Brussels (Belgium). Sophie Whettnall is a multidisciplinary artist using video, performance, drawing and painting. Her works oscillate between elegance, sensuality and energy. Since the nineties, the work of Sophie Whettnall offers a reflection on the forces that define our relationship to the world around us, by materializing and documenting them. Sophie Whettnall focuses on light and analyses its presence and zones of absence and passage. The aesthetic pieces of the artist prove simultaneously sensitive and powerful, resting on a dialectic tension and attempt to instigate a relation between contradicting concepts and perceptions: between softness and sensuousness, yin and yang, women and men. Her work also contributes to a form of autobiographical project. Sophie Whettnall won the Young Belgian Painting prize in 1999. Her works has been exhibited at the 52th Venise Biennal (Italy) ; Utah Museum of Fine Arts (Salt Lake City) ; MAC&#8217;S, Site du Grand Hornu (Hornu) ; DOT. Project (London) ; Leal Rios Foundation (Barcelona) ; Centrale for Contemporary Art (Brussels) ; BOZAR (Brussels) ; Museu de Arte Moderna Aloisio Magalh\u00e3es (Recife) ; CGAC (Santiago de Compostella) ; COAC (Barcelona) ; Vera Cortes Art Agency (Lisbon) ; Krinzinger Projekte (Vienna) ; L&#8217;Orangerie &#8211; Espace d&#8217;art contemporain (Bastogne) ; Fresnoy &#8211; Studio national des arts contemporains (Tourcoing). <\/span><\/p>\n<\/div><\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreCreditsRow is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<h4 class=\"wp-block-heading\">Cr\u00e9dits &amp; mentions<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\">\n<p>In coproduction with the Pavillon de Vend\u00f4me Museum, Aix-en-Provence.<\/p>\n\n\n\n<p>Artworks : Black Dust, Les \u00e9toiles, Midnight sun.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"featured_media":12380,"menu_order":0,"template":"","edition":[],"type_oeuvre":[28],"class_list":["post-12383","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/12383","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/12380"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=12383"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=12383"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=12383"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}