docnicolas milhé - Galerie Samy Abraham
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nicolas milhé - Galerie Samy Abraham
NICOLAS MILHÉ GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé born in 1976 lives and works in Paris Education 2002 Le Pavillon, Unité pédagogique du Palais de Tokyo, Paris 2001 DNSEP, Ecole des Beaux-Arts de Bordeaux Solo exhibitions 2015 L’aménagement du pessimisme, Galerie Samy Abraham, Paris Rosa, Couloir, Hamburg 2014 tsvi-tsvi, galerie melanie Rio, Nantes Le Complexe, Short, Nantes 2013 Nicolas Milhé + Benoît-Marie Moriceau, Fundação Leal Rios, Lisboa Énorme changement de dernière minute (with Matthieu Clainchard), Galerie Samy Abraham, Paris 2012 Bar, Le Confort Moderne, Poitiers Sans Titre, 2005, Installation at Colonel Fabien Square, Biennale de Belleville, Paris Spartacus, Printemps de Septembre, Lieu Commun, Toulouse Bar, Hangar 2, Gand Nature 2, Komplot, Brussels 2011 Les Canards, le Cadastre et la Marquise, Galerie Samy Abraham, Paris Blue, white, red, black, Galerie West, Den Haag, Nederlands 2009 Casus Belli, Frac Aquitaine, Bordeaux 2008 L’Empire, Buy-Sellf Art club, Marseille 2007 Star War, La Vitrine, Paris Constellations, Interstices, Galerie Praz-Delavallade, Paris 2006 Nicolas Milhé, Galerie Cortex Athletico, Bordeaux 2004 Galerie Corentin Hamel, Paris Festivités d’adieu, TNT, Bordeaux 2003 Chacun aura sa part du gâteau, Galerie Corentin Hamel, Paris 2001 Home sweet home, Place Flagey, Brussels Group exhibitions 2016 Lapin-Canard, Triple V projects, Paris Par les lueurs - Cent ans de guerres, Frac Aquitaine, Bordeaux GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Sèvre Outdoors, Cité de la céramique, Sèvres The Family of the Invisibles, Seoul Museum of Art, Séoul, Collections CNAP et Frac Aquitaine 1516-2016, Traités de Paix, Musée San Telmo, San Sebastian Contrastes simultanés, Château de Cadillac, Collections du Frac Aquitaine Blazers/Blasons, Le Collectif La Valise, Atelier Alain Le Bras, Nantes Les mains négatives, launch of the 7th issue of The Flesh, 8.salon, Hamburg Otra puta feria más, Galería 6mas1, Madrid A lundi !, FRAC Aquitaine, Bordeaux Hors sol, FRAC Poitou-Charentes, site d’Angoulême 2015 Yes to all, TREIZE, Paris Vous êtes ici, galerie des multiples, Paris, FIAC Hors-les-murs, Jardin des Plantes, Paris Les Drapeaux, invitation by Pablo Cavero, Maison des Arts de Malakoff Life ain’t fair, curated by La GAD, 22 Visconti, Paris Résistance des matériaux, le SHED, centre d’art contemporain de Normandie, Notre-Dame de Bondeville Eine Sammlung und andere Dinge Dinge, Michael Schanze, Hamburg L’archipel du rêve, Lieu-commun, Toulouse Ailleurs, Chapelle des cordeliers, Parthenay Disparitions réciproques, Frac Poitou-Charentes, Angoulême 2014 Video Palace #2, Mains d’ Oeuvres, Saint-Ouen Archétype, L’escaut, Molenbeek-Saint-Jean The Flesh en reflex, Reflex, San Sebastian La cimaise et la fraction, Carré de la Maourine, Toulouse June, Galerie Samy Abraham, Paris Oeuvres accessibles, La Graineterie, Houilles La République, medio tutissimus ibis, Villa du Parc, Annemasse Extra Ordinaire, Le Bel Ordinaire, Billère, Frac Aquitaine hors les murs. Mini Bing, YIA Art Fair and La GAD - Galerie Arnaud Deschin, Marché Dauphine, Saint-Ouen 2013 Plus jamais seul, Standards, Rennes Art et Santé, Sanofi headquarters, Paris Milieux, Domaine de Chamarande, Chamarande Dinard : l’Amour Atomique, Palais des Arts et du Festival, Dinard, curated by Ashok Adicéam Bing Bing, Galerie Arnaud Deschin, Marseille Romantic Duo, curated by Arnaud Deschin, Friche la Belle de Mai, Marseille Bling, curated by Arnaud Deschin, 22 rue Visconti, Paris Rêves de Venise, Institut Culturel Bernard Magrez, Bordeaux, curated by Ashok Adicéam Drawing Quote ! Pigna Project Space, Rome 2012 Artothèque de Belleville, Le CentQuatre, Paris Nuit Blanche, Ecole Nationale Supérieure d’Architecture Paris-Val de Seine, Paris Origins, Centre d’Art Bastille, Grenoble The Flesh, Lage Egal, curated by Yann Géraud & Damien Mazières, Lage, Berlin Autres. Être sauvage de Rousseau à nos jours, Musée-Château, Annecy, curated by Stéphane Sauzedde La dent et le couteau, In Extenso, Clermont-Ferrand Still Outside (or unexplained), Open Eye Gallery, Liverpool Ça & là (This & There), Fondation Ricard, Paris, curated by Claude Closky GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Dead Cities, Galerie Mélanie Rio, Nantes 2011 Casser la baraque, Galerie Melanie Rio, Nantes, curated by Patrice Joly La feinte du Monde, Centre culturel «Les Chiroux», Liège My Paris, Collection Antoine de Galbert, Me Collectors Room, Berlin Entre Temps, Bayonne Bikini, Komplot, Brussels Safari, Lieu Unique, Nantes Varchar, Galerie Samy Abraham, Paris, curated by Patrice Joly Poor Service 3, La générale en manufacture, Sèvres Debût, Lage Egal, Berlin 2010 Dynasty, Musée d’art moderne de la ville de Paris et Palais de Tokyo, Paris Nuit blanche, Paris, curated by Martin Bethenod Hors Piste, Centre Georges Pompidou, Paris Retour vers le futur, CAPC, Bordeaux, curated by Présence Panchounette Les lendemains qui chantent, Galerie Mélanie Rio, Nantes Group show, Heïdi galerie, Nantes Just Mad Fair, Zoo galerie, Madrid 2009 Le jour d’avant, La Tôlerie, Clermont-Ferrand, curated by Lauranne Germond (des)-alter-est, Espace Le Carré, Lille 1 69 A2, chez Eric Stephany, Paris Parc urbain de sculptures, 40mcube, Rennes Nouvelles acquisitions du FRAC, Musée de Gajac, Villeneuve sur Lot Nous ne vieillirons pas ensemble, Galerie Meyer & Galerie Ouizeman, Paris 16 figures, Fat Galerie, Paris Nouvelles acquisitions du FRAC, Centre culturel François Mitterand, Périgueux Consumer, Palais de Tokyo, Paris Opération Tonnerre, Mains d’Oeuvres, Saint Ouen 2008 Arise Ye Starvellings, Palace Contemporary Projects, Dublin Fond Municipal d’Art Contemporain de la Ville de Paris, Cour Carré du Louvre, FIAC, Paris Less is less, more is more, that’s all, CAPC, Bordeaux Faire et défaire, c’est toujours travailler, West gallery, La Haye Anachronismes #2 Universalismes, ZAC / 40mcube, Rennes B3, Doors studio, Paris Anachronismes #1 Particularismes, ZAC / 40mcube, Rennes 2007 Série Noire, Villa Bernasconi, Geneva Speed dating (fast and furious), Zoo galerie, Nantes Group show, Buy-sellf Art club, Marseille Echos Parcours Inventés, Musée de l’objet, Blois Eldorado, Galerie LH, Paris Liste 07, Foire de Bâle LH07, Galerie LH, Paris Speed dating, Espace Mica, Rennes Oeil pour oeil, Synopsis, Lausanne 2006 Paysages intérieurs, Frac Aquitaine, Bordeaux Cosa Nostra, Glass Box, Paris GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Le petit Noël du commissariat, Le commissariat, Paris La galerie extérieure, Paris Formalités, La Générale, Paris Liste 06, Foire de Bâle Collection Wonderful, Wonderful District, Ho Chi Minh City Aart, Biennale de Singapour 2005 Even clean hands leave marks and damage surfaces, La Station, Nice Débraye, Fonderie Darling, Montréal Barbara une hache dans un coeur, L’Oeil de poisson, Québec ITANOMTHUB, Mains d’ Oeuvres, St Ouen Parasitages, Lieu Unique, Nantes Liste 05, Foire de Bâle Chantier Public #2, Rennes Grands Ateliers, Café pompier, Bordeaux 2004 Aujourd’hui c’est ravioli, Galerie Cortex Athletico, Bordeaux Future Quake, Fiac, Paris Buy-sellf, Ateliers Boisson, Marseille Liste 04, Basel fair Common people, Galerie Cortex athletico, Bordeaux Trust, Glassbox, Paris Plan 6/4, CRAC, Sète Mémorial, Grand projet de ville/Association La Valise, Malakoff/Nantes 2003 Clairvoyance S.A., Rodéo, Centre d’Art CAMAC, Marnay-sur-Seine Gratis / La bourse ou la vie, Galerie Corentin Hamel, Paris GNS, Palais de Tokyo, Paris Incompréhension, Palais de Tokyo, Paris «Hardcore» Vers un nouvel activisme, Palais de Tokyo, Paris Collections Fonds National d’Art Contemporain Fonds Régional d’Art Contemporain Aquitaine Fonds Départemental d’Île et Vilaine Fonds Municipal d’Art Contemporain de la ville de Paris Capc Musée d’Art Contemporain de la ville de Bordeaux Collection d’art contemporain de la Seine-Saint-Denis Artothèque du Limousin Artothèque de la Gironde Grants and Awards 2014 Prix MAIF pour la Sculpture Publications 2014 http://www.zerodeux.fr/specialweb/prix-maif-nicolas-milhe/ «Dix artistes en jeu de miroir», l’Officiel Art, n°11, sept. - oct. - nov. 2014, p 88-89, 91 «Nicolas Milhé reçoit le prix MAIF pour la Sculpture», Le Quotidien de l’Art, n°681, p 4 GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com 2012 Isabelle Giovacchini, « Nicolas Milhé l’agent perturbateur », Arts Magazine, n°68 Françoise-Claire Prodhon, « Paris pendant la FIAC », AD, n°111 Bernard Marcelis, « Nicolas Milhé prépare un nouveau Komplot », Le Quotidien de l’Art, n°134 2011 Judicaël Lavrador, « Sous presse », Les Inrockuptibles, n°828 Emmanuelle Lequeux, « Métamorphoses animales au Lieu Unique de Nantes », Le Monde, 2508-11 Julie Portier, « Partout en France : grande ménagerie », Le journal des Arts, n°351 2010 Clément Dirié, « Folie sur papier, de l’art de déconstruire l’architecture », Roven, n°3 p 46 Nous ne vieillirons pas ensemble, catalogue d’expositions, p 39 et 68, Editions Label Hypothèse Claire Moulène « Retour vers le futur, Buy-Sellf », Les Inrockuptibles, n°748 p 83 2009 Cyrille Poy « Milhé, géographe du politique », L’architecture d’aujourd’hui, n°375 p 207 Patrice Joly « Circulez il y a trop à voir », 02 Magazine, n°52 p 24-29 Didier Arnaudet « Nicolas Milhé », Art Press, n°362 p 84-85 Claire Moulène « Evento nouveau », Les Inrockuptibles, n°725 p 88 « Respublica », Spirit, n°56 couverture et supplément Vox Cécile Broqua et Cyril Verges, « Usual suspect », Spirit, n°55 p 14 2008 « Cherokee », Spirit, n°41, couverture « Sans Titre (Projection Mercator) », Annual 01, West Galery, p 39 2007 Anne Langlois, « Anachronismes et autres manipulations spatio-temporelles », 02 Magazine, n°44, p 13-15 Liste 07 Magazin, p 17 Philippe Katerine « Doublez votre mémoire », Éditions de Noël Patrice Joly, « Emergentry », Be Contemporary, n°1, p 65-66 Yann Chateigné, « Nicolas Milhé – Pop/Politique », 02 Magazine, n°41, p 43 Clément Dirié « La tentation de l’architecture », Archistorm, n°25, p 25 « Podium », “Paradis”, Mouvement, n°43, p 12-13, p 27 David de Tscharner, « Le grand détournement, Nicolas Milhé », Code Magazine, n°4, p 35-37 Jean-Max Colard, « L’artiste Nicolas Milhé refait le monde », Les Inrockuptibles, n°562, p 77 Emmanuelle Debur, « L’art de ne pas y toucher », Sud-Ouest 2006 Cécile Broqua et Cyril Verges, « L’esthétique de la politique », Spirit Paul Ardenne, « Nicolas Milhé, du bon usage du contre emploi », Chantier Public, catalogue d’exposition, p 53-56 40mcube éditions/Archibooks, Paris 2005 Yoann Gourmel, « Chantier Public 2, city in progress », 02 Magazine, n°34, p 41 Joëlle Lesaux, « Chantier Public », Archistorm, n°15 2003 Jean-Max Colard, « Topocrisis », n°404, p 60-61, Les Inrockuptibles, « Nicolas Milhé », GNS, catalogue d’exposition, Palais de Tokyo, p 227, Paris Jean-Max Colard, « Premier prix de géographie », Les Inrockuptibles, n°393, p 21 GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé The Planning of Pessimism 10.04-06.06.2015 It is evident that Nicolas Milhé is constantly negotiating the position of his work, work which he makes sure to hold between two points of tension: the political and the aesthetic. This acknowledgement is insufficient, instead we must experience the to-and-fro between these conceptual poles in order to understand what his work seeks to interrogate. Nicolas Milhé manipulates political codes while always keeping aesthetic effect in his line of fire, for example, polishing symbols of the Republic whose campaign posters he covers in make-up and whose values he portrays in necklaces or on roofs, all to better emphasise their essential meanings. But let’s start over with politics. Politics is relative to the affairs of the state and how its management of them; politics is an organised society, a structured whole; with an eye to results and definitive action, it is a functioning architectural mass whose coordinated elements are interdependent; it is an organised body, a body supplied with organs, a living, regulated and ordered body. It is these organs that inhabit the body of both the Republic and the politics that Milhé detaches, separates and interrogates. These organs of power are at the heart of the problem raised and manipulated by the artist, because if organs are, in a general sense, means and motivations, they are more precisely, according to their common root in latin, organum, instruments. The question of the “instrument”, exactly like that of “instrumentalisation” which derives from it, intervenes at every level of the artist’s work. “Certain organs are nothing but products, instruments created by the organism: as such, bones, teeth, the centre of the eye are instruments that the individual conserves throughout his life and which are never renewed.” (Claude Bernard, Principles of Experimental Medicine, 1875). Bones, teeth and eyes, all modelled on other emblematic (even problematic) architectural details, are symbols whose renewal Milhé interrogates and which he “instrumentalises” as much figuratively as literally. He therefore removes them from the political organism to modify them, replace them and return them, alone, enlarged or reduced, in reverse or at a slant in another form of organism: art. More generally, work “instruments”, measuring “instruments” and musical “instruments” are all objects conceived in order to function as a mode of expression, and as such, are liable to shape our minds, that is, “to instruct” us (instrumentum, instruere.) But “to instruct” is also “to instruct” in the sense of the instruction required in a trial in which one must research and assemble all necessary elements in order to put a case before a judge. The affair in question here, in the work of Nicolas Milhé, concerns the sustainability of every organisation or organism, be it political, economic, aesthetic or simply alive. Laetitia Paviani GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Exhibition view «L’aménagement du pessimisme», 2015 Galerie Samy Abraham, Paris GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Exhibition view «L’aménagement du pessimisme», 2015 Galerie Samy Abraham, Paris GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Exhibition view «L’aménagement du pessimisme», 2015 Galerie Samy Abraham, Paris GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Le Lézard, 2007-2015 Mirror, peepholes 120 x 160 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Libertad o Muerte, 2015 Cotton, oak, glass, gold 79,8 x 142,7 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Hotel Baia Turchese Lampedusa, 2015 Paper, oak, glass, gold 54,8 x 69,3 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Hotel Baia Turchese Lampedusa (detail), 2015 Paper, oak, glass, gold 54,8 x 69,3 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Switzerland, 2015 Plastic, oak, glass, gold 71,5 x 87,2 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Lynx, 2015 Fur, oak, glass, gold 90,9 x 99 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé L’aménagement du pessimisme, 2015 Cardboard, oak, glass, gold 40 x 56,5 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Rosa Luxemburg Prix MAIF 2014 Botanist and naturalist, Rosa Luxemburg (1871-1919) is a Marxist militant, theorist of socialism, revolutionary, founder of the Spartacus League, pacifist, pioneer of feminist thought, internationalist, ecologist. She lives in clandestinity before being imprisoned several times from 1905. During a so-called transfer to a prison, she is brutally killed by her former socialist comrades along with Karl Liebknecht. Rosa Luxemburg’s thought is still influential, it has left its underneath mark on the theories and the commitment of some of the labor and activist movement. Not only Nicolas Milhé pays homage to Rosa Luxemburg’s career, her doctrinal rigor, and her beauty, but he also claims a principle of reactivation of a historical figure. He brings up-to-date the figure and thought of Rosa Luxemburg, giving her modern clothes, pose and style. A wild cast allows Nicolas Milhé to find the lookalike Rosa Luxemburg in a young Parisian architect. The model takes the desired pose before being scanned in three dimensions. From the digital file, a robot carves the stone. The sculpture is then polished and refined by hand. Rosa Luxemburg in contemporary clothing is a way to account for her modernity and to anchor her in present times. If her thoughts and her commitment persist to this day, why not represent her in the trappings of the 21st century? Why freeze her in clothes from the past? Rosa Luxemburg could have been an icon. The Spartacus revolt being crushed in blood, and the tragic fate of this woman that always remained in the shadows and the opposition of power did not allow her to permanently mark the images of her time. Advanced techniques assisted by computer associated with the bronze casting perpetuate and magnify one of the most fascinating revolutionary figure from the beginning of last century. Bronze casting gives Rosa Luxemburg a new iconic status, a pledge of eternity. GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Rosa Luxemburg, 2015 Bronze, brass Prix MAIF 2014 170 x 25 x 27 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Rosa Luxemburg (détail), 2015 Bronze, brass Prix MAIF 2014 170 x 25 x 27 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Rosa Luxemburg, 2014 White Michelangelo marble, Golzinne black marble 170 x 25 x 27 cm credit : Adrien Selbert GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Rosa Luxemburg, 2014 White Michelangelo marble, Golzinne black marble 170 x 25 x 27 cm credit : Adrien Selbert GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Michel Montaigne, Bourgogne stone, Golzinne black marble 330 x 80 x 80 cm Public commission for the Courthouse of Bordeaux GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Michel Montaigne (détail), 2014 Pierre de Bourgogne, marbre noir de Golzinne 330 x 80 x 80 cm Public commission for the Courthouse of Bordeaux GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Michel Montaigne (détail), 2014 Pierre de Bourgogne, marbre noir de Golzinne 330 x 80 x 80 cm Public commission for the Courthouse of Bordeaux GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Exhibition view, « Le Complexe », 2014 Espace Short, Nantes GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Exhibition view, « Le Complexe », 2014 Espace Short, Nantes GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé and Mathieu Clainchard “ENORME CHANGEMENT DE DERNIERE MINUTE», 2013 Galerie Samy Abraham, Paris No one would ever think about the word “fiance” when confronted to the enclosed, brownish monolith Mathieu Clainchard has built out of anti-squat cladding plates. No one would ever think about “fiance” either when wandering around Clainchard’s “bruitvert” diffuser so as to catch a glimpse of the strange reality noise it produces. Similarly, no one would ever “engage” into trusting any of the six Presidents Nicolas Milhé has called back from the 5th French Republic and whose pictures are hanging on the walls. As they stare into the viewer’s eyes the six of them all seem to whisper “fiance”, “fiance”, “fiance”. The posters representing them, all covered up with multiple coats of shellac, a process known as the ‘french polishing’, look like fossilized remnants from previous electoral campaigns. They come along with an association of various paintings displaying different shades of green and blue, which echo the more or less positive outcomes of their presidential terms. When facing ‘Jacques Chirac’ and the blue monochrome whose colour slightly turns into brown, one cannot but wonder what to feel. Could it be trust? Certainly not. So what is it about then? Where does that “fiance” word come from? While the artists were finalizing their art piece, I indulged in reading a bit of poetry. I proceeded to read Verlaine’s Art Poétique (1874), vaguely remembering the ‘Nuance’ it featured, and a line caught my eye: “Oh ! la nuance seule fiance” ! “La nuance, seule fiance”, there it was, there was my title at last. At that very moment, I did not yet know that I had read the line too fast and had misunderstood it. “Nuance brings” had sounded like “droppings” (“fiance” as “fiente”). I must confess by then I still dwelled in the overall brownish atmosphere of the exhibition, quite a prominent colour I might say, although GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris tainted by some red and blue tinges here and there. But the epiphany was to vanish soon. I quickly discovered the rest of the line. “Oh ! la nuance seule fiance le rêve au rêve et la flûte au cor !” Of course, “nuance fiance”, nuance brings together, only Nuance can bring about engagement. Now my article was about to bear the name of an uncertain marriage promise. What a shame. How could I persist fooling myself? That was the word “fiance”’s fault. It existed - in Ancient French - and could be independent from any allusion to the verb “fiancer”. But at the same time, it had a connection to it, and as remote and uncommon as it was, it nonetheless disclosed the very meaning I expected it to have. It referred to faithfulness, it suggested absolute trust, it looked like a pledge of allegiance, an oath to fidelity. But the line I had awkwardly shortened somehow still shed light on the exhibition. By associating unrestrained confidence with the idea of a nuance as a form of alteration or corruption, whether of a colour or of a political party, it embodied the whole paradox of the art pieces. The same paradox we, people, seem to acknowledge as we are willing to embrace the power of language even when spoken out by our contemporary politicians in the most perverted or “nuanced” way. Still, it pleased me to consider the “fiance” word in its ability to evoke the dip-shit civil ceremony we know as “fiançailles” (engagement ceremony) which, to me, always consisted of eventually choosing the colour of some depressing garden furniture. Anyway, by reading that line the way I intended to, I wanted to question the following postulate: should nuance be trusted? In any case, I decided to choose another title for my article, to avoid any further confusion. Énorme changement de dernière minute is a collection of short stories by American writer and activist Grace Paley (1922-2007), and the title of one short story in particular. In theory, it does not have much to do with our subject, except for its political commitment. To sum up the plot, it is about a woman whose life completely changes after she is erotically aroused by the contemplation +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com of the neck of a taxi driver. The author says about it: “Everyone, real or invented, deserves the open destiny of life.” That is particularly interesting regarding the selfcontradictory nature of the whole exhibition. At first sight indeed, all the works seem enclosed, clogged, impassive and hermetical but they are also able to represent, to some extent, a way out of themselves, a possibility of overcoming their physical and practical limits through self-annihilation and selfcancellation. Antimatière/avenue Thiers, Matthieu Clainchard’s self-contained block of anti-squat cladding plates, is a construction which, despite its shape and colour, is deprived of the original repulsive function of its material. It can only repel nothingness into infinity and the whole point of it precisely lies in this reversed capacity. Clainchard’s Bruit vert, less imposing in its dimensions but as pervasive as Antimatière, deals with the same issue. Submitted to a system of identical sound frequencies meeting each other, Bruit vert synthesizes the noise of reality and pushes it out back into reality, making it disappear. What’s going on in this huge inverted repoussoir? What does the diffusion of reality into reality achieve? What do our presidential candidates hope for, a promise of election through universal suffrage and the benefit from a democratic process which nonetheless confers them an almost omnipotent power? Does it consist in turning up the volume of reality? Shall we expect a sign from... I was about to say: shall we expect a nuance? Nicolas Milhé answered my question when he announced he slightly changed the direction of his work. That was it, a nuance could also be anchored in an esoteric mark on a forehead, in the infinite wisdom of knowing oneself; it could amount to a childish joke, the mark of a bullet hole exactly where the soul supposedly dwells. For Clainchard, nuance can be found in reality escaping its own sound. In any case, all these nuances and variations do offer a way out, a chance for alternative, a reversal of situations, and are the ones to broaden horizons. For as Grace Paley said, “Everyone - and even more so, a work of art, a text, an exhibition - real or invented, deserves the open destiny of life.” Text by Laetitia Paviani Translation by Chloé Labaye “Hello? Yes? Nicolas (...) Oh alright, ok (...) so that’s what we set our minds on? (...) Alright, but tell me, what is it going to look like in the end, because I’ve almost finished the text you know? (...) You’re going to stick a gold patch on their foreheads, is that it? (...) No? Not a patch? (...) Ah sorry, a full circle gilded in fine gold, ok (...) Gold, the icon, the pineal gland, the third eye (...) you toy their face... wait, what is “toying”? (...) Oh got it, “scribbling over a graffiti to condemn it and make it obsolete” (...) it’s going to be fine, I was just about to go for it (...) Alright deal, see you then (...) I will, I’ll let you know, talk soon!” GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Exhibition view, «Énorme changement de dernière minute», 2013 Galerie Samy Abraham, Paris GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Exhibition view, «Énorme changement de dernière minute», 2013 Galerie Samy Abraham, Paris GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Exhibition view, «Énorme changement de dernière minute», 2013 Galerie Samy Abraham, Paris GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Jacques Chirac, maintenant., 2013 Poster, french polish, gold, wood 78 x 57 x 4 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Jacques Chirac, 2013 Paint, wood 78 x 57 x 4 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Les républicains indépendants avec Georges Pompidou, 2013 Poster, french polish, gold, wood 78 x 58 x 4,5 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Georges Pompidou, 2013 Paint, wood 78 x 58 x 4,5 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Meurtrière, 2012 Inox, concrete 300 x 200 x 25 cm coproduction Galerie Samy Abraham, 40mcube, Buy-Sellf GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Meurtrière, 2012 Inox, concrete 300 x 200 x 25 cm coproduction Galerie Samy Abraham, 40mcube, Buy-Sellf Fiac hors les murs, Jardin des Tuileries. GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé «Bar», 2012 Gent, Belgium A simple pyramidal structure raised to the level of a solar temple, its saloon door opens on the imaginary world of the conquests of civilizations, it brings back images of the infinite horizon of the Far West. Virgin lands inhabitated by groups of native tribes, savagely Christianized by missionaries all in the name of the Manifest Destiny. This irreversible conquest following through a messianic doctrine converts land into territories, and in their progression the pioneers establish comunities, build wooden edifices to adorn their parishes, prerequisites to the creation of the colony. The temple crystallizes the first act of the new era. This change which is almost a rite of passage from a state of wilderness to a state of law brings with it a period of transition where society is formed without rules. Law has yet to be established and the social body is left alone with its blood thirsty nature. It’s this furtive time which exacerbates with precision the work of Nicolas Milhé. It uses the formal vocabulary of this missionary architecture, it plays with the meanings and the uses, and without any hierarchy, characterizing a time of implantation where the signs are notordered and a time of which the republic will result. In Gent, the district of De Muide is a strip of land burned by the age of the industrial revolution, a quay side which has become obsolete at this time of service industries. This change in the model of society applied to this part of town puts it in geography of secession, the emptiness of the space gives to it the quality of a land of asylum, welcoming without distinction. This ideal space, still to be defined, mixes history, cultures, the future, and the social space that is the « Bar ». Frédéric Latherrade The bell, the Masonic triangle, the pyramid and the bar, traces a line open to many different interpretations, giving this austere and mystic temple a decadent dimension. Two centuries have passed, wood has given way to concrete, the trappers have exchanged furs for ties, the lands to be conquered are at the frontiers of towns. In this undefined territory, the future space for urban expansion, « Bar » puts in place the fleeting status of a space left for the use of the community. GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Bar, 2012 Gent, Belgium GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Bar, 2012 Gent, Belgium GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Bar, 2012 Gent, Belgium GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé «Spartacus», 2012 Lieu Commun / Printemps de Septembre Toulouse Nicolas Milhé a déjà inscrit un mot latin en lettres de lumière dans les ciels de Paris et Bordeaux, bâti des pyramides, mais aussi orné d’or la mâchoire d’une hyène. Chaque fois des gestes forts qui font image. Toujours inscrites dans le réel, ses actions magnifient symboliquement des problématiques universelles et atemporelles. Sa pratique artistique n’est pas revendicative, elle est là pour écarter les murs, agir sur le réel en réactivant les consciences politiques. Pour son exposition monographique dans le cadre du Printemps de Septembre, Nicolas Milhé choisit comme référence tutélaire le couple de révolutionnaires formé par Rosa Luxemburg et Karl Liebknecht, fondateurs de la Ligue spartakiste qui pendant et à la fin de la Première Guerre mondiale fit souffler un vent de révolte sur l’Allemagne vaincue. Présence iconique de cet esprit politique contestataire dans l’exposition, leurs portraits semblent porter un regard désabusé sur l’ensemble sculptural qui se déploie ici. Pièces à l’aspect minimal, les trois éléments aux échelles troublantes forment une vanité socialisée, explicite et intemporelle qui sort du cliché désincarné de la sempiternelle boite crânienne. Je ne peux pas dévoiler ici et maintenant ce que ces maquettes brutales aux finitions partielles symbolisent, mais Nicolas Milhé manipule ici un rapport au temps, à la représentation schématisée et violente du parcours de vie d’un citoyen lambda de la fin du XIXe à nos jours. Installation violente par sa simplicité matérielle qui allie le sens à la présence plastique, l’Histoire ici est vue par le prisme des jeux de domination qui, de l’Antiquité à nos jours, a sans cesse engendré des mouvements de révolte qui s’ils aboutissent rarement au changement, permettent toujours aux hommes de conserver une lueur d’espoir symbolique qui permet par exemple à l’art d’exister malgré le magma consumériste dans lequel il s’ébat. Manuel Pomar, juillet 2012 « Parce qu’il [Spartacus] est celui qui exhorte les révolutionnaires à agir, parce qu’il est la conscience sociale de la révolution, il est haï, calomnié, persécuté par tous les ennemis secrets et avérés de la révolution et du prolétariat. Clouez-le sur la croix, vous les capitalistes, les petit-bourgeois… » — Rosa Luxemburg, Que Veut la Ligue spartakiste. (1) D’après Spartacus, gladiateur qui mena une révolte d’esclaves à Rome aux alentours de -73. La vie dont parfois certaines routines s’approchent au plus près des tortures les plus raffinées faisant résonner l’horreur absolue engendrée par le temps carcéral, les rythmes imposés, le chemin tracé tout droit jusqu’au tombeau (1). GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Exhibition view, «Spartacus», 2012 Lieu Commun / Printemps de Septembre, Toulouse credit : Nicolas Brasseur GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Sans titre, 2012 Steel, glass, print credit : Nicolas Brasseur GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Sans titre, 2012 Steel, glass, print credit : Nicolas Brasseur GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Bar, 2012 Poitiers, France GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Pyramides, 2011 Concrete, stainless steel, perspex, accessory Legendre Group headquarters, Rennes GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Pyramides (detail), 2011 Concrete, stainless steel, perspex, accessory Legendre Group headquarters, Rennes GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Exhibition view, «Les Canards, le Cadastre et la Marquise», 2011 Galerie Samy Abraham, Paris GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Le retour à la nature (detail), 2011 Stuffed sheep, gold 70 x 45 x 110 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Sans titre, 2011 Steel, glass, Particules 58 x 45 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Sans titre, 2011 Steel, glass, Sud-Ouest 58 x 45,5 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Agora 1/25, 2011 Plaster, safety glass, pigments, steel, glass, accessories 120 x 90 x 110 cm Zébra3 / Buy-Sellf Production GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Agora 1/25, 2011 Plaster, safety glass, pigments, steel, glass, accessories 120 x 90 x 110 cm Zébra3 / Buy-Sellf Production GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Agora 1/25, 2011 Plaster, safety glass, pigments, steel, glass, accessories 120 x 90 x 110 cm Zébra3 / Buy-Sellf Production GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas MILHÉ «Casus Belli», 2009 Frac Aquitaine, Bordeaux Pour son exposition au Frac Aquitaine, Nicolas Milhé présente un ensemble d’œuvres qui met l’art à l’épreuve de l’architecture «degré zéro» : un mur - pour moitié défensif, pour moitié offensif dont l’aspect le rapproche d’une meurtrière -, un abri et un fragment de base sous-marine signalent les points de repère d’un espace faussement insurrectionnel. Le lien avec l’espèce vivante est ténu, il est plutôt sous-jacent : si un animal sauvage est l’épicentre de l’exposition, on relève les indices d’une vie humaine sous un rocher sculpté et, plus loin, sur une photographie, une intrusion folklorique paradoxale. En contrepoint, un paysage archétypal de montagne et une série de constellations (constituées d’œilletons appelés «judas» et placés sur des miroirs) rappellent le cadre des opérations (terrestre ou céleste), pour reprendre une formule militaire. Par le jeu du détournement, Nicolas Milhé distille un esprit délibérément caustique ; et un «casus belli» (un motif de guerre) aux frontières troubles autant qu’universelles. Une exposition réalisée en collaboration avec Zébra3 / Buy-Sellf. GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Exhibition view, «Casus Belli», 2009 FRAC Aquitaine Zébra3 / Buy-Sellf Production GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Exhibition view, «Casus Belli», 2009 FRAC Aquitaine Zébra3 / Buy-Sellf Production GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Meurtrière (Dolomites), 2009 Pine, MDF, wallpaper 200 x 300 x 25 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Sans titre, 2009 Stuffed hyena, gold 80 x 110 x 40 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Respublica, 2009 Steel, aluminium, cables, bulbs 370 x 1240 x 150 cm FRAC Aquitaine collection Exhibition view, «Dynasty», 2009, Palais de Tokyo, Paris GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Respublica, 2009 Steel, aluminium, cables, bulbs 370 x 1240 x 150 cm FRAC Aquitaine collection GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Respublica, 2009 Steel, aluminium, cables, bulbs 370 x 1240 x 150 cm FRAC Aquitaine collection GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé La Grande Ourse, 2007 Mirror, peephole 120 x 160 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé La Grande Ourse (detail), 2007 Mirror, peephole 120 x 160 cm GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Sans titre, 2005 Reinforced concrete 600 x 220 x 200 cm CNAP collection - Ministère de la Culture et de la Communication GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Nicolas Milhé Cherokee, 2005 Jeep Cherokee 1985, leather, feathers, pearls, accessories Zébra3 / Buy-Sellf Production GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com PRESS GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com AD, n°111, September - October 2012 GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Beaux-Arts, n°341, November 2012 GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Standard, n°37, Autumn 2012 GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Standard, n°37, Autumn 2012 GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Arts Magazine, n°68, September 2012 GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Les InrocKuptibles, n°828, October12th - 18th 2011 GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Le Quotidien de l’Art, n°134, Friday, 20th April 2012 GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Le Monde, Thursday, 25th August 2011 GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Revue 02, n°41, Spring 2007 GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com Patrice Joly, «Circulez il y a trop à voir», 02 Magazine, n°52, p 24-29 GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com GALERIE SAMY ABRAHAM 43 rue Ramponeau 75020 Paris +33 (0) 6 23 26 17 02 [email protected] www.samyabraham.com
