To Dream, to Collect


Water, 2019

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A. Galerie, Paris


70 x 200 cm
27.56 x 79 in








About the Artists

1968 , France

Bruno Aveillan (born in Toulouse, France) is a filmmaker, a photographer and a contemporary artist. As a visual artist, Aveillan has developed his art in a singular, dense and syncretical manner, which encompasses experimental films and personal photographs. The central reoccurring themes of effacement, memory and the human body play a major role in his work. Simultaneously, Bruno Aveillan has developed a personal artistic path that includes photography, experimental films and installations. The major reoccurring themes throughout his work centres around the human condition, wanderings and memory. In an essay entitled "The indomitable grace of light" the art critic Zoe Balthus underlines "Bruno Aveillan’s vivid and powerful imagination’ with which he explores territories where he is free to let his hypersensitive eye tame the slightest movement of matter, intrude into the very core of the mystery of elements, witness the subtle alchemical mutations of life, stand watch for the indomitable grace of light."..."Aveillan is a poet, in harmony with the invisible, in intelligence with the sacred, he is of this calibre of men who are in profound communion with their art." In an interview with the British art critic Stephen Whelan, Aveillan mentioned that he is fascinated and interested by the research and writings on memory and especially those by Israel Rosenfield. « Mnemonic acquisition, such as memories are linked to their context and are therefore incredibly selective. Information that lacks a certain affective or emotional context does not get memorised, so the idea that we are able to search our memories with any precision as we would search on a hard disc, remains rather pointless. » Bruno Aveillan confides.He believed that ‘emotion linked to the memory often stems from a fragmented evocation. A sound, a scent, a texture and, of course, a light can create a strong field of powerful resonances that translate into synesthetic shapes’. Bruno Aveillan aims to distance himself from the illusionary realist photographical representation and favours a more impressionistic, fragmented and above all, poetic approach. ‘ This approach touches on the intimate, sometimes upon the edges of abstraction. It is a mental panorama that opens rather than closes, allowing the spectator’s imagination to unfold " he states. ‘It is then a matter of offering areas of uncertainty that provide the mind with the possibility of re-appropriating the moment, like an intuitive and sensorial travelogue.’ At a time when the photographic academism of the new objectivity is overwhelming contemporary production, Bruno Aveillan’s work reveals an emotional dimension that is deeply rooted in the being. The viewer can thus form his or her own ‘picture’, and continue the intimate progress of a story, a feeling, an experience, a dream… Bruno Aveillan’s style is characterised by a certain way of " drawing with light " or " obscuring with light " as stated by Contemporary artist Marcos Lutyens in his preface of Aveillan’s book Diotopes. What thus emerges is a unique signature and a singular aesthetic, that hides and/or reveals by the intervention of optical blurs mastered with precision during the shoot. In 2010, he produced Mnemo # Lux, his second book of photography, in which the German curator Jan Ole Eggert (Camera Work Gallery) emphasises the artist’s " powerful desire for knowledge that seeks to penetrate the obscurity of relationships between man and human existence ". Bruno Aveillan’s photographs are regularly exhibited throughout the world and are included in prestigious private and public collections in Europe, the United States, and Asia. He is also the author of the official picture of the first Contemporary Arts festival " Nuit Blanche ", which took place in Paris in 2002. His work includes books such as Diotopes (Ed. Léo Scheer, 2008, in the collection "Janvier" that also represents the work of contemporary artists Claude Lévêque, Thomas Lélu and Edouard Levé.), Mnemo # Lux (Ed. Kerber, 2010), Fascinatio (Ed. Chez Higgins, 2011), Fulguratio (Ed. Chez Higgins, 2011), Bolshoi Underground (Ed. Au delà du raisonnable, 2012), Acetate Spirit (Ed. NOIR) and films such as Minotaur-Ex (2006, collaboration with the choreographer Philippe Combes, with original music composed by Laurent Garnier), Morpholab (2009), WHEAT (2008) and Papillon (2012).

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About the Gallery


Paris, 4 rue Léonce Reynaud

Arnaud Adida, founder of the Acte 2 gallery, has decided to create a new space dedicated to photography and contemporary art named "A.galerie". Located in the 16th arrondissement, close to Pont de l'Alma, between the Palais de Tokyo and the Fondation Yves Saint-Laurent, A.galerie will mainly display photographs and occasionally contemporary art....

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