Engaged Drawing

La collection de l'artothèque en dialogue avec
LOOK&LISTEN / Schema Project NY / Atelier Tchikebe
Armelle De Sainte Marie, Audrey Stone, Brent Hallard, Catherine Haggarty, Claire Colin-Collin, Claude Viallat, Didier Petit, David Ambrose, Enrico Gomez, Ernest Pignon-Ernest, François Morellet, Gabriele Herzog, Gary Peterson, Izabela Kowalczyk, Jeremie Delhome, Joris Brantuas, Jeremy Laffon, Ken Gray, Ky Anderson, Laura Charlton, Lawrence Swan, Mary Judge, Matt Kleberg, Meg Lipke, Nelio, Paula Overby, Philippe Chitarrini, Rieko Koga, Richard Van Der Aa, Rob de Oude, Robert Otto Epstein, Oriane Stender, Shawn Stipling, Tilman, Ward Schumaker, Yifat Gat.

Opening 26.4.2016 @ Artothèque, Miramas.
Drawing as a form of commited engagement, politicly as visually.
Co-Curated with Beatrice Bea.
Expo till 28.5.2016



Have a look at Gabriela's INSTALL VIEW & AVAILABLE WORKS from her residence.

One of my favorite things is talking to painters about what we do. I dont mean the big fancy words, i mean down to earth, clear, simple 'shop talk'. here's another round :


Yifat Gat - Gabriele Herzog / photos by Julia Gat

YG : When did you first knew you wanted to be a painter ?

GH : Maybe when i was 14. i spent two weeks at a brilliant art summer camp which was run by art tutors from the Basel school of art. i totally loved it. i then entered art school when i was 16.

YG : When were your recent painter ‘happy moments’ ?

GH : Now here - at this amazing artist residency - working in an inspiring space and meeting you, your family and your friends. installing my work and taking part in the exhibition at SMAHK in Assen, Holland last autumn. taking part in your ‘black and white’ project at Look&Listen. being involved in several exhibitions in the last couple of years. meeting in person, many new artists all over through Facebook. i always feel happy when i paint (I do of course have ‘big-doubt-days’) and recently figuring out more what my painter language is, is a nice ‘happy painter moment’.

YG : What impact did your family life had on your work (parents, partners, kids) ?

GH : I guess like for everyone who has kids, it did have a big impact on restructuring how i arranged a good work/family balance. but all that has brought me to where i am today.

YG : Looking back, when were your biggest challenges to get where you are today, and how did you overcome them?

GH : I think my biggest challenge has always been to find the time to paint. due to finance space and time. there were long stretches of time when i didn’t paint. as i got older i understood more how to ‘just do it’. i feel fortunate that i have been/still am now, able to do it at all.

YG : What are your current projects in or outside the studio ?

GH : Just painting in my studio in London and also in Berlin. trying to push my work. i get bored very easily with my work and so i always try to find new and uncomfortable ground. i am currently working on another artist’s book of mine to be self-published soon. and thinking about organizing/curating an exhibition in Berlin.

YG : Would you like to share about your practice? color-support-forms ?

GH : For now i mostly stretch my own smallish canvases with untreated cotton canvas. sometimes i use primed bought canvas as well, mainly when i want to work on a larger format. i paint with acrylic gesso gouache oil-stick and spray-paint. and during this residency i have been working only on paper (thank you :)) pushing me to work larger and faster.


YG : Can you elaborate on how social media influence your work ?

GH : Social media has transformed my life as an artist. i love the artist community on Facebook and Instagram. i feel very inspired and in awe by so many artists there. all the exhibitions and artist’s projects i have been involved in over the last two years are linked to fb in one way or another. social media is an incredible tool and platform.

YG : Anything else ?

GH : This residency has been so good for me and my work. to be in an unknown space opens up so many new possibilities i would never think of otherwise! i walk around the pretty village, sit in the beautiful and mysterious studio, look at the sky, the caves behind the house...... wow!!!

thank you Yifat for asking me about my work and thoughts.

* Gabriele stayed at St-Chamas for two weeks in Feb 2016. ( Merci Agathe ! ) The fruits of her residency where exhibited at the library gallery at Cornillon-Confoux. 

Co-edition with 'Atellier Tchikebe'

+ The B&W Co-Edition series with Atelier Tchikebe includes 60 copies signed and numbered by 6 artists:

Rob de Oude (NY), Ky Anderson (NY), Yoav Efrati (TLV), Didier Petit (FR), Yifat Gat (FR), Armelle De Sainte Marie (FR).

Olivier & Julien Ludwig-Legardez, Atellier Tchikebe, Marseille.


meeting Olivier & Julien Ludwig-Legardez, from Atellier Tchikebe, is one of the reasons i love Marseilles. to me its mysterious and filled with surprises, I never expected we could have such a great print shop here - isnt that great?

The B&W project @ SLUICE, London, 2015.


We where working on the b&w book for the SLUICE art fair when i thought to myself, why not have a mini series of our own?
i asked 5 artists to join me, and we made an edition of 60just black on white.
the prints are 30x30 cm, on a 32x35 cm paper ( the extra room at the bottom is for signing officially, but the truth is it also reminds me of a stamp shape ,and of my father that used to collect them)
as for the paper -  i just couldn't help printing them on my favorite , 300 gr Bristol. i use this paper for my own work, i buy it from the same press house for years now, and even though its not a 'traditional' artsy paper , to me it made more sense that way. "i like the 'blue', 'cold' quality of this kind of white", Olivier approved...

Rob de Oude


Choosing the artists is like solving a crossword : 3 boys, 3 girls, 2 Marseille , 2 Tel-Aviv, 2 New-York. I was looking for line painters, since there wasn't going to be any colors , click on their blue names to see the final result ...

Rob De Oude was a natural choice, his work looks great on paper , and we already showed a b&w work by him at the b&w expo , so we knew it will work...

ky Anderson - i love her work but she is a pure colorists,  no one more distance than working b&w than here - so i enjoyed challenging her :)

Armelle De Saint Marie

as for the French, Didier petit was my first duo expo partner when arriving to France, he draws by cutting paper, and i always thought his work could be made into great prints...

Armelle showed a large grid ink drawing at the B&W show we had at the L&L gallery at St-Chamas , her work has the same elegant smart presence the she has

Yifat Gat

As for TLV artists, well there's me and Yoav.  my proposition is taken from a series of pottery i was working on at the studio at that time, i remember visiting Tokyo, they have pottery stores with piles of pottery floor to ceiling. all black ! i was impressed by how useful pottery was considered, everyday like, this series reminds me of those.

Yoav Efrati was one of my idols living in Israel , he is completely free with his lines, and he doodles on a 10 meter walls or a 10cm paper same way, following humans big efforts or magical moments with dark humor & compassionate heart, i was so happy he agreed to contribute

The B&W project @ Fos


L'Artothèque intercommunale de Ouest Provence, LOOK&LISTEN et le Théâtre de Fos SCENES ET CINES Ouest Provence presents:

Orgenized by Beatrice Beha

Wall works by Yifat Gat
who also curated a selection of b&w works out of the Ouest Provence Collection.
+ presentation of the b&w book
+ the b&w co-edition with tchikebe was bought for the collection

This Artothèque collection is an art library : privates, schools and enterprises are welcome to borrow art for up to three months at a time ,in a yearly price of a cup of coffee !

L'Artothèque intercommunale de Ouest Provence, LOOK&LISTEN et le Théâtre de Fos SCENES ET CINES Ouest Provence vous invitent au vernissage lundi 09 novembre 2015 à 18h30 de l'exposition


Yifat Gat

Du 6 novembre au 13 décembre 2015 au Centre Culturel Marcel Pagnol à Fos-sur-Mer

En 2015, l'artothèque fait l'acquisition de 6 estampes éditées par LOOK&LISTEN, des sérigraphies en noir et blanc réalisées dans le cadre d'une collaboration avec Tchikebe, imprimeurs et éditeurs d'oeuvres d'art marseillais.

En préfiguration de l'exposition des nouvelles acquisitions de l'Artothèque, dont feront partie les estampes noir et blanc de LOOK&LISTEN, l'artiste est venue choisir dans la collection de l'Artothèque une trentaine d'œuvres en noir et blanc.
A partir de ces œuvres, elle élaborera sur les murs et les vitres de la salle d'exposition du centre culturel un dialogue entre les œuvres sélectionnées et sa pratique du dessin. 
Œuvre in situ, "THE B&W PROJECT" sera la proposition d'une image hybride et éphémère correspondant à la représentation en dessin du rapport que l'artiste éprouvera avec les œuvres.

Dans la collection de l'Artothèque il y a des œuvres en couleur mais il y en a aussi beaucoup en noir et blanc. Ce projet est une belle occasion de les mettre en valeur.

"The B&W project" SLUICE art fair , London


The B&W Project - Instillation view at SLUICE

The B&W project poster in the middle of our special B&W co-edition made for the sluice fair , with Atelier Tchikebe, Marseille.

Lydia Rump going over the Sluice catalog designed by Daniel Devlin

we showed around 30 artists from the 100 in the THE B&W PUBLICATION

Rieko koga looking at the THE B&W PUBLICATION at the opening night

The SLUICE talks program was organized by Ben Street . The art world as an open system talk. participating : Erin Lawlor, Enrico Gomez and Yifat Gat.

Marble dust on windows by y.gat

"The quintessential installation of the fair curated by Charlie Levine - Sluice director, incorporated works by Yifat Gat (who also runs the Black & White Project) and Katherine Di Turi . Using marble dust, Gat created delicate emblems in the mullioned windows of the space that ranged around three sides of a large room. Di Turi installed small, black-and-white photographs of antique mirrors on the walls between some of the windows. In each instance, what was seen within the framed pieces of glass was doubled, and still images were paired with moving. Gat’s Marble dust overlaid views of central London, bringing what was outside of the room inside. The glass protecting Di Turi’s photographs also reflected figures as they moved about, placing the space of the room within the confines of her frames. experienced that last-noted installation with only a handful of other viewers present, and we all commented on the magic of its rough simplicity. That is, of course, what distinguishes Sluice from Frieze. At the former, roughness and simplicity are contrivances that provide a whiff of “authenticity,” when Frieze truly legitimizes what money can buy or is willing to endorse. Sluice offers the possibility of art actively transforming your time with it — no money required." Janet Tyson of Hyperallergic