Recent Work ✳︎ Archive ✳︎ Editorial ✳︎ About


vonsichaus

Kühlhaus Berlin + Hotel Maria Kapel, 2022


g \ d

g\d

Beaux-Arts Paris, 2022


draft for:

Conservatoire National Supérieur de Musique et de Danse de Paris, 2022


mm ii

Beaux-Arts Paris, 2022


Free Thoughts & The Mud

Free Thoughts & The Mud

Berlin, 2021


Free Thoughts & The Mud

The Quaternary: Material Passive & Active

Arles, 2021


All rights reserved © 2016-2022 Marié Nobematsu-Le Gassic

Recent Work ✳︎ Archive ✳︎ Editorial ✳︎ About


Marié Nobematsu-Le Gassic is a Japanese-Taiwanese American artist working with photography, writing, movement, and temporary text-based sculpture. She is currently based in Berlin, DE, and works annually in Berkeley, her hometown, and New York.Marié is available for collaborative projects, assisting, and commissions.marienobematsulegassic[at]gmail.comInstagram

EDUCATION
2018-2023. Kunsthochschule Weißensee Berlin, M.A. Sculpture.
2015-2018. NYU, B.A. Architecture & Anthropology
2014-2015. Mills College, Visual Art & Dance
2005-2014. City Ballet School & Bolshoi Ballet Academy
AWARDS
2020-2022. DAAD Scholarship, Postgraduate Studies, Fine Arts
2015-2018. NYU Honors Scholar & Founder's Award
2014-2015. Faculty Scholarship, Mills College
SOLO EXHIBITIONS
2022. vonsichaus. Berlin, DE
2021. Free Thoughts & The Mud. Berlin, DE
SELECTED GROUP EXHIBITIONS
2022. yetyet. Kühlhaus. Berlin, DE
2022. Inner Landscapes. Hotel Maria Kapel, NL
2022. galerie droite et gauche. ENS Beaux-Arts Paris, FR
2022. PEP New Talents. Kommunale Galerie, Berlin, DE
2021. Untitled No Visitors. Kunsthochschule Weißensee, DE
2020. Being With. Lobe Block–Musée Regards de Provence, FR
2020. Social Sculpture. Lobe Block, DE
2020. That's Not Life Anymore. Kunsthochschule Weißensee, DE
2019. Rundgang. Kunsthochschule Weißensee, DE
2019. Glücklich unterwegs…und Frei. Fontane 200, DE
2019. Art Spring. Berlin Art Institute, DE
2019. UAL End of Year Show with Daniel Hölzl, UK
2019. True Lies for a Singled Freedom. Art Zagreb, CZ
2019. Wechselraum. Meinblau Projektraum, DE
2016. A Gathering of Inner S(h)elves. Agora Rollberg, DE
2016. The Self-Publishing Archive. Büro BDP, DE
ONLINE
2021. aint–bad. what we've found, Hanifa Haris-Taucher
2021. group show 69. Humble Arts Foundation
2020. Conversation with Felipe Abreu, stayathome.photography
RESIDENCIES & WORKSHOPS
2022. Ink & Image. Laura Larson, web
2018-19. Studio Program, Berlin Art Institute, DE
2016. Büro BDP, Reading Bodies Reading Archives, DE
2016. Agora AFFECT with Lorenzo Sandoval, DE
PUBLICATIONS
2022. Silhouette Nº3, Automne écossais.
2022. Silhouette Nº1, Printemps japonais.
2021. Zukunft, gefaltet. Choreographien des Als-Ob. nocturne
2021. grund – Übung, Haltung / Exercise, Approach.
2020. Mehr Berlin (Künstlerporträt), Tagespiegel Sonnabend.
PRESS / INTERVIEWS
2021. Junge Bildhauer..., Berliner Zeitung
2020. On Photography, CHOREOGRAPHED ARCHIVES
2020. On Dancing, CHOREOGRAPHED ARCHIVES
2019. Rituals of Improvisation, RUS
2019. ...von der Ruine inspirieren, Märkische Allgemeine
ASSISTING
2022. Gallery Assistant, Kang Contemporary. Berlin, DE.
2021. Mender. Lee Mingwei: 禮 Li, Gifts & Rituals, Gropius Bau
2019-2021. Tutor (TA), Sculpture Department, KHB
2016-2018. Studio Assistant. Duane Michals Studio, NY

All images on this site and their copyrights are owned by Marié Nobematsu-Le Gassic unless otherwise stated. Content is not to be reprinted or reused without written permission from the owner.


All rights reserved © 2016-2022 Marié Nobematsu-Le Gassic.

Recent Work ✳︎ Archive ✳︎ Editorial ✳︎ About


First Soliloquy

Kunsthochschule Weißensee Berlin, 2021


out of the [blue]

Lobe Block, 2020


F/Holding Façade

Lobe Block, 2020


sm i

Kunsthochschule Weißensee Berlin, 2019


Negative Solid (or a tunnel for ghosts)

Ganzer, 2019


Revolving Pedestals

Art Zagreb, 2019


Column Series

Art Zagreb + University of the Arts London, 2019


500 KG

Meinblau Projektraum, 2019


HIBI

Agora Rollberg, 2019


HIBI

Berkeley, 2018


Supreme at Frieze

Frieze New York, 2017


All rights reserved © 2016-2022 Marié Nobematsu-Le Gassic

Recent Work ✳︎ Archive ✳︎ Editorial ✳︎ About


Coming soon...

Commissioned editorial photography & fashion projects.


All rights reserved © 2016-2022 Marié Nobematsu-Le Gassic

Home ✳︎ vonsichaus / next


vonsichaus is an on-going project on belonging.


YETYET Abschlussaustellung Kunsthochschule Weißensee at Kühlhaus Berlin. July 2022Inner Landscapes, a duo exhibition with Anna Swagerman at Hotel Maria Kapel in Hoorn, NL. May 2022.Read more about the exhibition here.


All rights reserved © 2016-2022 Marié Nobematsu-Le Gassic

Home ✳︎ g\d / next


"What I'm looking for is the inconsistency of memory, its tracks stumbling slightly among objects, a gesture, or just an intention that persists then comes undone in the material." (1)

g\d: a collective activation called upon material to re-organize the otherwise rigid and linear space between galerie gauche and droite in the hall of entry to Palais des Etudes of Beaux-Arts Paris. The activations, informed in part by Lisa Nelson’s image scores and Richards Serra’s verb list were performed in four 10-minute sessions of 3-5 movers, culminating in a 40-minute activation of the space with all movers, 11 in total, participating in the last session. At the beginning of the activation, each mover (participant) was asked to choose and tear a word from the object-list to the right. This association word was to be used as an internal reference point for one’s movement with and throughout the space. Each session was structured with the external calls of “begin”, “share” (to share the association word), and “end”. The material itself, Staubschutznetz (dust protection net), was fixed on one column of the left gallery and drawn across public space into the right, to invite a state of being under construction: as much we ourselves (as movers, individuals, and collectives) are constantly constructing and re-construct- ing our bodies, identities, and relationships to space and time.


(1) Quotation from Exposition by Nathalie Léger.Do/don’t do do do don’t do it, exposition Atelier Huynh at Beaux-Arts Paris. February 2022Baunetze, rubber. ca. 0,5 x 150 x 5000 cm


All rights reserved © 2016-2022 Marié Nobematsu-Le Gassic

Home ✳︎ draft for: / next


draft for: a collective activation was performed in collaboration with dancers from the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP) with Atelier Huynh of Beaux Arts-Paris. The collective Project Composition invited material-based works to be activated with physcial interventions, in particular, the movement of dancers. The project functioned, in part, as a draft for the collective activation of g\d (see previous work), as well as an opportunity to engage a larger interior space with a predesignated function and circulation. The activation, which included 18 movers, consisted of four 10-minute sessions of 6 movers, culminating in a 40-minute activation of the space with all movers participating in the last session.


Foyer of CNSMDP. February 2022Baunetze, rubber. ca. 0,5 x 150 x 5000 cm


All rights reserved © 2016-2022 Marié Nobematsu-Le Gassic

Home ✳︎ mm ii / next


Free Thoughts & The Mud

mm ii is the second edition of a film created nearly three years ago for a multi-disciplinary and on-going project, Speak, Memory (see archive).Completed again in one take to a sound work by a colleague’s label, Fritschs, this edition playsback on the memory of the first. While Muscle, Memory I marked the first time I had performed since a misdiagnosed injury in 2014, this second installation focuses on the retraining and relearning of the body – the past few months being the first time in six years that I have been a part of a dance community (Atelier Huynh).The two films, mm i & ii are intended to be displayed together. As new editions are made in the upcoming years, the series will grow as a reconcilatory gesture – both physically and conceptually – towards the resilience, evolution, and fragile memory of the body in movment.


Palais des Etudes, Beaux-Arts Paris. February 2022.


All rights reserved © 2016-2022 Marié Nobematsu-Le Gassic

Home ✳︎ Free Thoughts & The Mud / next


Free Thoughts & The Mud
Free Thoughts & The Mud

“Some people feel crazy when they try to deal with two contradictory thoughts at the same time, as if they fear they have done something wrong and need to purge the intruding thought before it muddies the water. The point of thinking is that it will always muddy the water. So how do we live with our free thoughts and the mud.” (1)

Free Thoughts & The Mud grapples with the often-contradictory thoughts of identity and belonging. In this exhibition of self-portraits and photographs made primarily in my childhood home in California, I relate to a quotation from Real Estate, the most recent book in the trilogy of living autobiographies, by Deborah Levy. Her works serve as both starting point and closure to difficult questions about what happens between belonging neither here nor there.In the opposite image (lower left), I wear an inverted otafuku mask, which traditionally represents a lovely, always smiling woman who brings happiness and good fortune to the man she marries. Her inverted expression, blank and unwilling , reveals the reality behind societal pressures and expectations.


(1) Levy, Deborah. “Real Estate: A Living Autobiography.” Real Estate, 2021, pp. 56–57.Marienburger Straße 31, Berlin. August 2021Injet & silver gelatin prints mounted on multiplex birch. Variable dimensions


Home ✳︎ The Quaternary: Material Passive & Material Active


Free Thoughts & The Mud
Free Thoughts & The Mud

In this exercise of self-portraits with useless found form, I engage once more with my own precarious history in dance and the impressions, perspectives, and/or inclinations that have remained although I am no longer connected to or active in a dance community. I bring together the urge to move with the acknowledgement that my experiences in dance, specifically classical ballet, have been closer to striking a pose and corresponding to preconceived gestures – which can be seen as graphical – rather than fluid movement."In this [she] is unconsciously echoing the definition of form as ‘the diagram between the inner urge of a body and the resistance of the (physical) medium"In this, I attempt to visualise how living with a dancer's body, or rather its echo, creates an unusual relationship to objects that are not characteristically useful or furniture, and by being so create a longing to relate.


Arles, FR. 2021Medium format scans.


All rights reserved © 2016-2022 Marié Nobematsu-Le Gassic