In Your Head
Series of paintings, ceramics and sculptures
1 IN YOUR HEAD NELLA TUA TESTA David Cohen
4 5 Small head Bronze 20 x 20 x 30 cm
IN YOUR 8 HEAD 9 NELLA TUA TESTA David Cohen Head with black hairs Clay and enamel 32 x 32 x 45 cm
Acknowledgment I wish to thank; My loyal art companions Renato Bonetti (sculptor), Ivo Poli (ceramist), Simone Giannini (ironworker), Lucarini’s brothers (bronze worker) My friends and authors François Ansermet, Michel Blachère, Barbara Safarova, Mikaela Zyss Those who in various ways supported the project: Mario Pissacroia, Jean-François Rabain, Christian Croset, Benedetta Pellizzi, Eric Ghozlan, Marc Illouz, Cecilia Rofena, Olivier Kha- yat, Isabelle Babilaere, Linda Sroussi, Agnès Dahan My reviewers Ariane Bailey, Caroline Thompson, Tiziana Della Rocca, Fabia Arnaud Book design: Amira Parree 10 11 Ringraziamenti Vorei ringraziare I miei fedeli compagni d›arte Renato Bonetti (scultore), Ivo Poli (ceramista), Simone Giannini (fab- bro), fratelli Lucarini (fonditore) I miei amici e autori Michel Blachère, François Ansermet, Barbara Safarova, Mikaela Zyss Tutti coloro, che, a vario titolo, hanno sostenuto questo progetto: Mario Pissacroia, Jean-François Rabain, Christian Croset, Eric Ghozlan, Marc Illouz, Cecilia Rofena, Olivier Khayat, Isabelle Babi- laere, Linda Sroussi, Agnès Dahan I miei recensore Ariane Bailey, Caroline Thompson, Tiziana Della Rocca, Fabia Arnaud Book design: Amira Parree
14 TesTe 15 HeadsProgetto preliminare Preliminary project
16 17 Testa blue ross Blue head and red, 2005 Oil and fabric on canvas 120 x 100 cm
18 19 Blue head and leaves, 2002 Oil and leaves on canvas 100 x 100 cm
20 21 Couple with two heads, 2000 Oil on canvas 100 x 150 cm
22 23 Head and red eyes, 2001 Self-portrait blue, 1998 Oil on canvas Series Writings 81 x 60 cm Oil on canvas 100 x 150 cm
24 variazione sculTurale 25 sculpTural variaTion Progetto preliminare Preliminary project
Variations around a found object Variazioni attorno a un oggetto trovato Mikaela Zyss Mikaela Zyss It begins with an insignificant finding: a piece of failed piece will heal to leave room for the sap of life on the Inizia con una scoperta insignificante: un pezzo di Le ferite insanguinate che si distinguono nel primo pez- tree on a beach in Italy where David Cohen spends series of sculptures that will be performed. albero appogiato su una spiaggia in Italia dove David zo guariranno per lasciare spazio alla linfa vitale della his summers since adolescence. The end of the tree is Cohen trascorre le sue estati sin dall'adolescenza. La fine serie di sculture che verranno eseguite. entwined with a kind of floating wood liana. Waited by From the crystalline stone, the bronze that oxidizes and dell'albero è intrecciata con una specie di liana di legno the appearance of dry, thirsty, long-limbed stems, he whose patina is allied with the vegetable color, through galleggiante. Commosso dall’aspetto di steli secchi, as- Dalla pietra cristallina, il bronzo che si ossida e la cui removes the trunk. They have almost a human form, his burned clay of ocher tones, saffron, faded roses, to setati, lunghi, rimuove il tronco. Hanno una forma quasi patina si combina con il colore vegetale, attraverso la sua entangled, clinging to each other in a desperate round so the ceramics that dyes cobalt blue, yellow golden button, umana, impigliati, aggrappati l'uno l'altro in un giro terra bruciata da toni ocra, zafferano, rose appassite, alla as not to fall into the abyss of disappearance. tender green pigments, it perpetuates what remains of disperato per non cadere nell’abisso della scomparsa. ceramica che tinge i pigmenti blu cobalto, bottone giallo David Cohen is an autodidact artist with an atypical ca- the plant. The structures are made either of a block like dorato, verde tenero, perpetua ciò che rimane della pi- reer since he is also a child psychiatrist. He cannot resist that in pink travertine, or are erected on beautiful marble David Cohen, artista autodidatta con una carriera atipica anta. Le strutture sono fatte di un blocco simile a quello the temptation to heal the sick object in order to bring pebbles with the roundness of pebbles coming from the poiché è anche un psichiatra del bambino, non può del travertino rosa, o sono erette su bellissimi ciottoli di him back to life. river which flows in the village – Pietrasanta – which resistere alla tentazione di guarire l'oggetto malato per marmo con la rotondità di ciottoli provenienti dal fiume overhangs the place where David Cohen lives in summer. riportarlo in vita. che scorre nel villaggio – Pietrasanta – che sovrasta il Not related to a specific artistic movement, although luogo in cui David Cohen vive in estate. strongly influenced by Kandinsky›s compositions and The saturation and the luminance of the colors on the Non correlato a uno specifico movimento artistico, Miro›s colors, David Cohen continues his work mainly sculptures are chosen according to the chromatic percep- sebbene fortemente influenzato dalle composizioni di La saturazione e la luminosita dei colori sulle sculture 26 with paintings that incorporate plants, textiles and car- tion of the artist who thinks in bright colors and would Kandinsky e dai colori di Miro, David Cohen continua sono scelte in base alla percezione cromatica dell'artista 27 casses with a predilection for the branches of olive trees. undoubtedly have wished that there is still more tones il suo lavoro principalmente con dipinti che incorpora- che pensa in colori vivaci e senza dubbio avrebbe volu- than cannot offer a color chart. He goes so far as to give no piante, tessuti e carcasse con una predilezione per i to che ci fossero ancora più toni di quanti non possano Driven by a quest for reincarnation, he will raise from an ultimate new breath to the initial piece by integrating rami dell'olivo. Spinto da una ricerca per la reincarnazi- offrire una cartella colori. Si spinge così lontano da dare these vines that are one, a real altar to the memory of it, as he is accustomed to doing in his artistic production, one, solleverà da questi liane che dinventano uno solo, un ultimo respiro nuovo al pezzo iniziale integrandolo, what remains of the tree, reproducing it as much as on a canvas by rendering it his original «form»; that of a un vero altare al ricordo di ciò che rimane dell'albero, come è abituato a fare nella sua produzione artistica, possible in a multitude of textures. Instead of diverting, tree of life on a background of orange, a predominant, riproducendolo il più possibile in una moltitudine di su una tela rendendola sua «forma» originale; quello di the object returns it in the direction of the return to life. warm and stimulating color that often collects the favors tessiture. Invece di deviare, l'oggetto lo restituisce nella un albero della vita su uno sfondo di colore arancione It transforms the thing while leaving it recognizable, it of the artist in his work and whose famous painter direzione del ritorno alla vita. Trasforma la cosa las- predominante, caldo e stimolante che spesso raccoglie i will have no other use than to be there, to be alive again Vassily Kandinsky writes of orange that he «looks like ciandola riconoscibile, non avrà altro scopo che essere lì favori dell’artista nella sua opera e il cui famoso pittore and to be venerated. Even if the remainder remains a man sure of its strengths and consequently gives an per essere di nuovo viva e per essere venerata. Anche se Vassily Kandinsky scrive di arancio che «sembra un inanimate, his life will be revealed by the sparkle and impression of health». David Cohen in making such a il resto rimane inanimato, la sua vita sarà rivelata dallo uomo sicuro dei suoi punti di forza e di conseguenza dà brilliance of the colors. canvas with a generous lyric flight takes up the theme of splendore e dalla brillantezza dei colori. un’impressione di salute» 1. David Cohen nel fare una the tree that has staked his work for many years, branch- tale tela con un generoso volo lirico riprende il tema First, he makes an impression of the object imagining es stretch all their splendor, arise as if by magic from In primo luogo, realizza un'impronta dell'oggetto che dell'albero che accomagna il suo lavoro da molti anni, i variations from the positive and the negative of the a mail bag, a marble trunk or even here a tree remains immagina variazioni dal positivo e dal negativo del legno rami allungano tutto il loro splendore, sorgano come per wood found. Then he produces a first work: his branch is thunderstruck and found. trovato. Quindi produce una prima opera: il suo ramo è magia da uno sacco postale, un tronco di marmo o anche skinned alive, suspended on metal bars as exposed for an scolpito vivo, sospeso su barre di metallo come esposto qui un albero rimane folgorato e trovato. anatomy lesson, it is the backbone of what will become per una lezione di anatomia, è la spina dorsale di quel- an astonishing variation around the found object, assur- la che diventerà una sorprendente variazione intorno ing him thus a survival. The sick object will be healed, all'oggetto trovato, assicurandolo quindi una soprav- (re) incarnated and multiplied into various materials. 1. Du spirituel dans l›art, Paris, Denoël, coll. « Folio essais » vivenza.L'oggetto malato sarà guarito, (re) incarnato e 1. Du spirituel dans l’art, Paris, Denoël, coll. « Folio essais » The bloody wounds that are distinguished in the first (no 72), 1989, p. 162. moltiplicato in vari materiali. (no 72), 1989, p. 162. Mikaela Zyss è editore di foto e curatrice. Tra l’altro, ha or- Mikaela Zyss is photo editor and curator. Among others, she ganizzato la grande retrospettiva del foto-grafo Gilles Caron organized the large 2017 retrospective of Gilles Caron’s nel 2017 in Israele e ha collaborato alle due ultime Biennale photographer in Israel and collaborated to the last two Dakar’s di Arte Africana di Dakar. Il testo seguente è stato scritto per Biennale of African Art. The following text was written for la mostra 2017 che David Cohen ha consegnato alla Galerie the 2017 exhibition that David Cohen had at Galerie XXI in XXI di Parigi presentando la serie Variazioni Scultoree, Paris presenting the series Sculptural Variations also called by anche chiamata dalla rivista Art Absolument Partizione Vege- Art Absolument review Vegetal Partitions. tale.
28 29 Variation Fela, 2015 Variation Bonga, 2015 Liana and Roots Liana and Roots Wood, iron and oil Clay and enamel 30 x 30 x 80 cm 10 x 10 x 33 cm
30 31 Variation Brown, 2015 Variation Franco, 2015 Liana and Roots Liana and Roots 23 x 20 x 63 cm Clay and crystalline 50 x 50 x 120 cm
32 impronTa 33 imprinT Performance Detail
Imprints of absence About the works of David Cohen François Ansermet Masks, canvases, sculptures, casts, but also leather, olive This is what gives a unity to the diversity of his produc- Cohen›s perspective is to give life to these traces, to find wood, jute bags, those used by the post office, bronze, tions: enabling us to encounter them as infinite varia- their shape, to make an impression of it, to wrap their ceramics, bones, lianas, or steel, to name but a few of the tions as on the same theme. contours, to grasp their life beyond what rest. To revive ways and materials at play: David Cohen’s works are di- what is no longer, to me this seems to be David Cohen’s verse, his techniques are plural, his effects are surprising. David Cohen’s works revolve around the tension be- perspective in his poetic works, which are indeed the tween loss and memory. Between traces and footprints, it fabrication of life from different inanimate materials. Something seems to insist through repetitions, changes, is the loss that torments his works. But that›s also what variations, as we say of musical variations. Something ? gives them their momentum. He finds life in the object, This doesn’t happen by itself. Beyond memory and its What? A thing ? The Thing - «das Ding» - in the sense he gives life to lost objects. David Cohen runs after the footprints, joy is there first and foremost: it is what is of Freud in his Sketch, when he brings up this term to trace: that is what gives life to his most evident in his productions - as in his personality 1 designate what is distinct from any object . The Thing creations. for those who know him. A certain exaltation, far from lies beyond perception, it points towards what is incompre- convention, free of codes, including those of his other hensible, elusive and unassimilable in the object 2. This is why his quest is never ending, like memory, profession, that of professor of child and adolescent which always reveals the infinity of what could have psychiatry. Traces left by the experience, traces of the object, traces been lost, of what could have disappeared forever, which, of absence: that’s what remains in memory. The memory perhaps, has even been forgotten. Faced with disappear- This joy is what allows the transmission. And that is 34 is made of mnemic traces, that is to say, a profusion of ance, in the face of oblivion, there is no other solution also what is transmitted. It is passion to transmit that 35 absences always present. What is no longer will always than creation. We create from loss, forgetfulness, ab- bring together his art, his teaching and his clinical work. be. What constitutes memory is what is no more. This is sence, even if we show the absence present in what we The challenge is to pass on what escapes, including what the paradox of memory. It is also the paradox of David show. What the course of his work reveals is that we do cannot be captured through representation: to catch Cohen’s works which turns what has disappeared or – not find the object: we find it, but it is always another up urgently, with insistence, to capture its imprint, by in the process of disappearing – into footprints. These object. Hence the insistence of series, pictorial or sculp- any means whatsoever, to make visible the invisible, the imprints of life beyond the object, of the object’s inertia tural, that he composes. life in all things – by elevating every object, everything pursues through him a journey beyond what it is. Thus remain, every trace, to the dignity of the Thing. Make this work leads whoever encounters it beyond what is Through his work as an artist, what happens is the the imprint of the Thing. Give an appearance to what is shown, beyond the objects exhibited. To elevate the temptation of life beyond loss: everything happens as beyond what is lost, give it substance, realize the ap- object to the dignity of the Thing, it is indeed the work if David Cohen was trying to revive what has been pearance in substance, preserve its memory: such is the of sublimation: it is moreover the definition that Lacan lost, what has become inaccessible, to what is dead. To perspective of David Cohen around an object still lost gives, building from the Freudian Thing, this “beyond find the imprint of life, to make memory come alive, to but always to be found, unendingly. object” that conceals the object. An object that must be animate the inanimate, to give life to matter, to bring out found, an object that is thought to be lost but “which the life, whether it is through a canvas or a vegetal left- 1. « What we call things (Dinge) are remnants of judg- has never really been lost, even though it is essentially over. Bring a dead tree to life and have it carry another ment »: Sigmund Freud, Sketch of a Psychology (Entwurf einer 3 Psychology), trans. S. Hommel et al., Toulouse, Érès, 2011, p. 91. a matter of finding it” . This is perhaps what the work life. To make traces come to life, through footprints, 2. « Das Ding » is indeed defined by Freud as a non-assimila- of memory does: to find what has not been lost beyond making them visible, molding them: this is the work of ble part, distinct from the known part of the object, cf. Ibid, p.147. what is no more. One could say that David Cohen, be- memory that David Cohen devotes himself to, reviving 3. Jacques Lacan, Le Séminaire, Livre VII, « L’éthique de la tween traces and imprints, exposes the objects of memo- what has been lost, to show life beyond death, beyond psychanalyse », 1959-60, Seuil, Paris, 1986, p. 72. ry: multiple objects, various, combined, recombined, lost, abandoned remains. Giving a memory of forgetfulness, found, which each in their own way exposes this Enig- beyond oblivion. matic Thing that escapes us. François Ansermet psychoanalyst, Honorary Professor of A trace is what the object leaves once gone elsewhere, Child and Adolescent Psychiatry, University of Geneva and The impression left by the works of David Cohen is like the footprint of Friday in the sand. For Robinson University of Lausanne, Member of the National Consul- that, through them, he tries to capture this elusive, to Crusoe, this is the sign that there was someone who left tative Committee of Ethics in Paris, Vice President of the get the impression, to graze the memory, to capture the somewhere else, who was alive even though maybe he is Agalma Foundation in Geneva. For years, he has dialogued trace through painting, sometimes carving it, or wrap- no more. And indeed, the memory is made of traces of with artists and performers about changes in society and ping it, grasping its shape, through a material, by the what has been. Thus memory is continuity and disconti- human condition, but also on how these changes occur (by the effect of a color. Whatever the means used, what he aims nuity. Is a memory trace a sign of something that is no work of memory? Of chance?). His last dialogue with Prune for is the imprint of absence, the presence of absence. longer or something that is always? In any case, David Noury in Serendipity is a profound testimony of his commit- ment with artists.
Imprint, 2015 Front view Leather, iron and oil 150 x 130 x 110 cm 38 39 Imprint, 2015 Back view Leather, iron and oil 150 x 130 x 110 cm
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42 TesTe e pelle 43 Head and skin
Head and skin, rose, 2018 Head and skin, yellow I, 2018 44 Oil on leather Oil on leather 45 70 x 100 cm 70 x 100 cm Head and skin, brown, 2018 Head and skin, black and blue, 2018 Head and skin, yellow II, 2018 Oil on leather Oil on leather Oil on leather 70 x 100 cm 65 x 54 cm 120 x 150 cm
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48 TesTe e Terra 49 Head and clay
In his heads Michel Blachère Closed eyes to the same, to celebrate life in the face of disenchant- They hear the cries of martyrs and hungry people, for- Wide eyes ment and human madness. Listen to Jacques Lacan: ‘The gotten beings. Why in history, humans have forgotten? Closed wide eyes - Paul Eluard being of man, not only cannot be understood without madness, but it would not be the being of man if he did We massacre, we kill, we terrorize, we kill and we open “From the Earth grew many heads but without a neck. And not carry in himself madness as limit of his freedom‘. the bellies of women to kill their children. Women are bare arms without shoulders wandered, and eyes that floated, raped, incests are many; society is sick. We sell children, not moored to the foreheads. You do not see them” says Oreste And the heads of David Cohen cross the wall of seeing. those who are too weak, we exterminate them. Organs in Furies, “but I do see them, these heads chase me”. Why do It is a struggle, a battlefield, they try to overcome our are taken from abandoned, poor children to give them to David Cohen’s heads hypnotize us? What do they see? ontological blindness; they see the visible but also the the richest. Horror, prostitution, homophobia, racism, What do they tell? These heads try to say things that invisible, the hidden, death. They tried to suppress art neuroses, psychoses. Governments, governments do cannot be said. But shall we not one day stop saying in the twentieth century by fields, wars, money but the nothing. They are cowards. They expect the savages to things to start seeing these things? act of creating was even stronger. “To create is to resist, kill and the civilized to commit their crimes. The trains it is to harm stupidity”. The bursting of the heads of were leaving for Dachau, Ravensbruck, Auschwitz, they Heads in clay, leather, bronze, marble show the trace, David Cohen in the landscape is so incarnated, luminous did nothing, they made us believe they did not know, and the imprint, the language of the origins, yes, presence and powerful that it moves us infinitely, at once a tender- like today, they pretended to ignore history. Red sky, it’s and absence, the power of passing time. These heads ness and a disenchantment. This tenderness, linked to raining blood. Hell is here, we cannot stop the course of see invisible things that men no longer see. And without the fright we feel in adulthood after having understood history. The dawns are always heartbreaking, the being 50 a doubt, something irreversible, terrible, unspeakable, with anguish that the world of childhood was moving is forgotten. 51 that cannot be represented happened. We know it, we away; and this disenchantment to seize life, only life, life talk about it mechanically, next to it. Families, religions, alone, what there is between men, space, forms, colors, The heads of David Cohen speak of a lost world with philosophies, financial markets are there to distract us matter, thought. We must simply be carried away by the an illuminated look on the world of tomorrow and that from this black presence. These heads give a representa- diversity of materials used and the perceptions that his of the day after tomorrow. As diviners predict destiny. tion of the what cannot be represented. works make us share, voices and ancestral ways, imper- Listen to Albert Einstein: “What if we were wrong? If we ceptible, mysterious, we hear the murmur of flowers called blue, green? Who can show a blue tree? Who’s talking The heads of David Cohen irrigate a territory, a geog- and the silence of God. The eye is listening, but the sky about fresh watercress?” writer, Arthur Rimbaud. A sculp- raphy, tell a novel, a music, how women died without a is empty. The work is here rebellion, insubordination, tor, David Cohen. dream, lost children. They also print and read poems interrogation, it is not the missing link of a society of of love, but no one to listen to them except animals, convenience. David Cohen reminds us that a work of art flowers, rocks that cannot yet read. Heads upside down, is a human creation, a meditation, a contemplation; an world upside down that never stops walking on our access to a multiple dimension in a historical complexity heads. But David Cohen guides us to other possibilities that also corresponds to his past, and today to his life as to put back Arthur Rimbaud’s paradise: “The material a Professor of Psychiatry. He tells us about the human world will only be a means to evoke aesthetic expres- adventure as an adventurer and speaks to everyone. sions. We will have feelings through lines, colors and patterns taken from the outside world, simplified and David Cohen is a colorist, color also becomes material, it tamed, a real magic”. is a song that connects men, but nothing religious, sim- ply a spirituality that allows men to say, write and share The work of David Cohen is still moving, in opposition the poetic. Listen to Roland Barthes: “Intelligence is to the finished work. “The finish is the admiration of about thinking of others”. The work of David Cohen is imbeciles” Cezanne writes to his mother. Experimenta- part of this thought, this story where the relationship to tion motivates him, and ceramics itself is a metaphysical the world, to the other, to his double, real or imaginary, question for David Cohen. Enamel and engobes give a questions him. The ‘I is another’ of Rimbaud. I think to Michel Blachère is a writer and a curator. He is the director of balance to his heads, but that’s not an idea anymore, but be the one who thinks - I am - otherwise, I would be an- the Galerie XXI in Paris that has been showing contemporary a thought that takes shape as a material captures and other, I am precisely, not me, but this other. Who am I? ceramics for more than two decades. He has presented David transforms light. The primitive past comes out of Earth Who am I really? What am I doing here? Where is the Cohen’s work twice in his gallery. He recently curated several with the earth to better occupy the space. He is a mu- stake? The heads of David Cohen answer our questions, exhibits: Re-sources at the Dêvres museum on contemporary tant, a messenger of matter who invites us also by his it’s not only the eye that looks, it’s the being – We are ceramics (October 2017 - March 2018) and Vallauris, the look, his relation to the world and to the other, but also there. What do they hear, the heads of David Cohen? beautiful story at the Sarreguemines museum (June 2017 - January 2018).
54 55 Head and clay, 2018 Head and clay, 2018 Head and clay, 2018 Clay, crystalline and enamel Clay, crystalline and enamel Clay, crystalline and enamel 120 x 100 cm 58 x 48 cm 50 x 41 cm
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58 TesTe, Terra e pino 59 Head, clay and pine
60 61 Head and clay, big, 2018 Head, clay and pine, 2018 Head, clay and pine, 2018 Clay, crystalline and enamel Clay, crystalline and enamel Clay, crystalline and enamel 120 x 100 cm 52 x 45 cm 57 x 56 cm
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64 65 66 67
68 69 70 71
Biography David Cohen is a visual artist and a child and adolescent psychiatrist. His artistic career led him to explore several media such as painting, sculpture and also performance. He lives in Paris, France and Pietrasanta, Italy. His plastic ambition is above all poetic and aesthetic. His exhibitions usually address various themes in which effects of trace or memory, and existential questions, invariant of the human condition, intertwine. He often favors color and variations (like in music) as a constant source of inspiration. In addition to his visual art activities, David Cohen is also a curator and a member of several committees or foundations supporting outsider art or art therapy (Entreprendre pour aider; Les Lutins de l’Art; Art Absolument Price for Outsider Art). He is currently member of the Board of Governors of Bezalel Academy of Art and Design, Jerusalem, Israel. http://www.dcohen.biz/ As a physician, David Cohen is Professor at Sorbonne University and head of the department of Child and Adolescent Psychiatry at La Salpêtrière hospital in Paris. He is also member of the lab Institut des Systèmes Intelligents et de Ro- botiques - ISIR (CNRS UMR 7222) (see http://speapsl.aphp.fr). ersonal exhibits art conferences and writings P 72 2018 Fortezza di Montalcino, Arte moderna 2016 Intuition in artistic and scientific creation: the case 73 e contemporanea (collective), Montalcino of mental health 2018 Galerie XXI Gallery, Lorsque terre Workshop “Intuition in artistic and scientific et peau portent nos empreintes: têtes, Paris creation: to approach the real” Christian Croset Gallery, Lorsque terre et peau Toulouse Capitole University, 13 and 14 October, portent nos empreintes: arbres, Nogent/Marne Toulouse 2017 XXI Gallery, Variations sculpturales, Paris 2015 How to help children dreaming in a hospital 2014 Chapelle Saint-Louis de La Salpêtrière, institution, Musée des Arts Décoratifs, 30 may, Dialogues, Paris Paris Sculptural installation during the Charcot’s Lecture during the exhibition Piero Fornasetti exhibit: Charcot une vie avec l’image 2015 The art of dreaming and making children 2013 Christian Croset Gallery, Variations bleues, dream in a hospital department, Fondation des Nogent/Marne Etats Unis, 5 November, Paris 2009 Urban Gallery, Come se fosse olivi, Paris 2014 Art and mental health, Institut du Cerveau et de 2008 DIMA Gallery, From Paris, London la Moelle, 26 June, Paris 2007 Sophie Bismuth Gallery, Selections, Paris Sound tour of the exhibition Inside, Palais de 2004 Jardin Gallery, Les pendus, Paris Tokyo, 25 November, Paris 2000 Jardin Gallery, Feuilles et couleurs, Paris 2013 Today ten years of abstraction, Académie de 2000 Nicasiuszaal, On the Way 20.21, Antwerpen Médecine, 13 September, Paris 1999 Dépôt Matignon Gallery, Le corps, Paris During the workshop “A la suite de 1998 Hélène de Roquefeuil Gallery, Petits Formats, Georges Didi-Huberman” organized by JL Binet Paris 2013 Art therapy in children and adolescents: abuse or 1998 Dépôt Matignon Gallery, Collectif, Paris tangible reality? in “Etincelles, l’art à l’Assistance 1997 Hammam Café, Têtes et personnages, Paris Publique-Hôpitaux de Paris” Pages 26-31, Ed 1994 Maison des Conservatoires, Abstractions colorées, Art Absolument, Paris w Paris 2010 The double Psychiatrie, Sciences Humaines et orks as curator, Performance Neurosciences. Vol: 8, 38-46 2007 The figure of the double, Palais de Tokyo, 2016 Soyons Oufs, Fondation EDF, Paris 26 April, Paris Repeated at Adrienne Desbiolles Gallery, Lyons la Forêt, France During the exhibition Matière/Antimatière 2015 Empreintes, Forte dei Marmi, Italie Video available at: http://www.dcohen.biz/#!__videos 2014 Charcot une vie avec l’image, Chapelle Saint-Louis de La Salpêtrière, Paris
74 75 Small head Bronze 20 x 20 x 30 cm
IN YOUR HEAD 78 NELLA TUA TESTA