List of products by brand Juliette Lemontey
EDUCATION
1996
ESAD Ecole Supérieure d’Art et de Design de Valence
SOLO SHOWS
2026
solo show, Grège Gallery, Bruxelles
2026
Tsunagari, Installation Librairie du Palais, Off Festival du dessin, Arles
2025
…Et alors ils se virent nus, Installation Cloître St Tropisme, Arles
2025
From the other side, Galerie Amélie du Chalard, New York
2023
Tout ce qui nous rend libre, Galerie Amélie du Chalard & La Maison close, Arles
2023
Men in trouble, Atelier Hermann, Perpignan, texte de Laure Boucomont
2021
Galerie Heimat, Saint-Rémy-de-Provence
2021
Galerie Gilles Naudin, Paris
2020
Galerie Atelier Herman, Perpignan
2018
Galerie Gilles Naudin, Paris
2017
Galerie Ducastel, Avignon
2016
Galerie Gilles Naudin, Paris
2014
Galerie Ducastel, Avignon
2013
Galerie Gilles Naudin, Paris
2012
Galerie Ducastel, Avignon
2010
Galerie Ducastel, Avignon
GROUP SHOWS
2027
AFFRESCO, Centre d’Art Gallifet, Aix en Provence
2026
Grège Gallery, Knokke-le-Zoute
2026
Lilies of the valley, Amélie du Chalard, Paris
2025
Terra Viva, Fondation Thalie invitée par la galerie Amélie du Chalard
2025
Eloge de l’ombre, a conversation piece Maison Bel-Ami, commissaires Anne Carpentier et Graziella Semerciyan
2025
Ce qui s’éfface, demeure, Grège Gallery Fosbury and Sons, Bruxelles
2025
Eternelles Errances CulturFoundry, commissariat Marianna de Marzi, centre Wallonie Bruxelles, Paris
2024
Renaissance, Grège galerie, Bruxelles
2024
Exposition collaborative à quatre mains des artistes de la galerie Amélie du Chalard, Paris
2024
Se souvenir des belles choses Duo avec Laura Pasquino, Houtain-le - Val, Belgique, Amélie du Chalard & Grège galerie
2022
Conversations Duo show avec Guido de Zan, céramiste Galerie Amélie du Chalard, Paris
2022
Voci umane, Chapelle Reille, commissariat Marie Gayet et Pascal Mouisset
2022
You’re innocent when you dream, Belle Beau/Galerie Amélie du Chalard, Arles
2021
Enfants demain, Galerie Marie Vitoux, Paris
2021
Désordre des possibles, Espace Voltaire, Paris, commissariat Julio Artist-run Space
2019
Embrasures, avec Pascal Mouisset et Benoit Blanchard, La Pépite, Paris
2019
1999/2019, Galerie Des jours de Lune, Metz
2018
Group Show curated by Lucien Smith, Milk Gallery, New York
2017
La petite collection, Galerie Bertrand Grimont, Paris
2017
Garder le cap, Galerie Valérie Delaunay, Paris
2016
Art for Autism, vente caritative Artcurial, Paris
2013
Journal d’un voleur, Sunday Issue Gallery, Tokyo
2010
Un peu, beaucoup, Passionnément, Galerie Alice Mogabgab, Beyrouth
ART FAIRS
2026
Art Paris, Grège Gallery
2026
P.A.D, Amélie du Chalard, Paris
2025
Rendez-Vous Bruxelles, Grège galerie
2025
Luxembourg Art week, Grège galerie
2024
Luxembourg Art week, Grège galerie
2024
Art on Paper, Grège galerie, Bruxelles
2019
Art KARLSHRUHE, Galerie Gilles Naudin
RESIDENCIES AND AWARDS
2017
Prix Berthe et André Noufflard, finaliste, Fondation de France
2006 - 2008
1890 Bryant Studios, San Francisco
PRESS
2022
Monographie, Amélie Editions, 200 pages, 250 exemplaires, Français, texte d’Elora Weil-Engerer
2022
La folie de ma mère, 1ère de couverture Isabelle Flaten, Point Seuil Poche
2021
La folie de ma mère, 1ère de couverture, Isabelle Flaten, Éditions le Nouvel Attila
2018
Le nom du père, Michèle Gazier, illustrations de Juliette Lemontey, Éditions du Chemin de Fer
2018
Fragments de la consolation, Stéphane Padovani, illustrations de Juliette Lemontey, Éditions le Réalgar
2014
Juliettes, Mathieu Simonet, Olivier Jouan, David Arnaiz, Philippe Lumbroso, Jonas autour de 4 reproductions de peintures de Juliette Lemontey, Éditions le Réalgar
2014
Illustrations originales, French Lessons, Ellen Sussman, Editions Ballantine
COLLECTIONS
The Nine Foundation, Bruxelles.
The Face: Breaking Away
It is with modesty and gentleness that Juliette Lemontey touches upon the enigma of the face.
Rather than cultivating excess and responding mechanically to the injunction of the industries of singularity, Juliette prefers to record what ceaselessly flees the gaze and the law of prejudice.
So these portraits, perhaps faces, perhaps masks, present the delineations of an individuality that is to be read by means of its outlines. The line encircling its contour and the mass of black hair are the only coordinates by means of which we penetrate its landscape. Delicately sketched or attenuated, the “white wall-black hole” zone, from which Deleuze and Guattari postulated “the abstract machine of faciality,” no longer is, or is not yet… Before the individual presents herself to the world, putting on the identity in which society molds her, she is a surface for inscription, white wall, whose subjectivity comes through the introspective power of a gaze, black holes. In Juliette Lemontey’s work, the white wall-black hole system dissolves. The gaze is absent, as are the orifices of the nose and mouth. While movement seems violent and faces absorbed into the storm of an agitated interiority, the care taken to erase the features of the person bespeaks a will to resist, or at least to avoid getting lost in, the publicity of the social subject. The map of the face has been emptied of its lines, its hollows, its folds and reliefs. It is virgin territory once more, to be explored through the unknown and the unexpected. Smooth and summed up by a few scant indications, these faces are removed from the machine of faciality, they are freed from the dreary face-to-face of signifying subjectivities and familiar images. The subject has given way to the territory, the face to the landscape.
The wall is shattered and behind the orbits of these black eyes stretches an unexplored world, full of things past and future, distant lands, opposed at every point to the codes and validations of our Western societies. So we discover in her paintings the mystery of a Japanese-style atmosphere. The contrasts between volumes and voids, the charcoal black used for the tufts of hair and the off-white of the canvas that stands in for flesh echo Asian landscapes and prints, the “floating world” of the Ukiyo. Like an invitation to journey and dream, her painting reveals a cartography of elsewhere, an alteration of the face that aims at the alterity of an encounter.
Thus Juliette is attentive to what flees and metamorphosizes; she wouldn’t dream of freezing a figure’s features in place. If a certain melancholy runs through her paintings, it is not to declare the nostalgia of a flayed intimacy but rather to trace its flight, the immobile exile that inhabits, diffusely, each one of us.
Marion Zilio, October 2018
Art critic (AICA) | independent curator (C-E-A)
