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Angélique Heidler

From Thursday 1 June to Thursday 31 August 2023


The pictorial practice of Angélique Heidler has developed for several years along the path of an uninhibited style of painting, finding inspiration from popular references convoking juvenile energy, late-stage capitalism, sexism, and an old-fashioned atmosphere. Her paintings are exhibited like anarchical collages, while always respecting a theme, an atmosphere or a specific memory. They figure internal conflicts between painting, images, and three-dimensional objects. Paint is spread chaotically over a plethora of elements of all origins, such as pasted images, prints (reproductions, sublimation, etc.), plastic, dried flowers, small decorative objects, or cheap jewellery… which both compose and disrupt the pictorial organisation. Concomitantly, a certain sweetness and generosity is exerted through forms, materials, and colours, rebalancing this impression of chaos with doses of tenderness and fragility.
With remarkable spontaneity, the work of Angélique Heidler assumes a deliberately blurred position between art brut and critical painting, in which it is a question of painting and gluing, of adding disruptive – often kitsch – elements that the artist selects with a degree of affection. Some biographical elements appear here and there (the building where she has her studio, photos from childhood, etc.) like a personal but silent diary, since the artist does not necessarily seek to place details of her life at the heart of the work. All of the codes and signs used in her creations instead tend to make them zones of shared sensations and emotions.
The eye roaming over her works regularly pauses on images/clichés of femininity. The sexualised, desirable, and pretty young woman is legion in her works and attests both to the artist’s fascination for the ad nauseum display of this feminine model and its heady imagery, but also a logical reaction to the reification of the female body, exteriorising itself through its fragmentary presence, including faceless, made-up, plump mouths, isolated chests and torsos, etc. Added to this is the world of shopping, window-shopping, and superficial consumerism, through images of exteriors and interiors of seductive malls, and numerous accessories such as little bows, pearls or beads, and other elements of bodily embellishment. But it is with derision and a certain detachment that she intends to deal with the question of feminine clichés in our society dominated by the influence of the media and the luxury industry. It is more by mocking the world, and by throwing her uninhibited and nonchalant compositions in its face, that the artist hopes to rebuke the oppression and violence of a noxious social organisation.
On the occasion of her residency at Lindre-Basse, Angélique Heidler extends her experimentation into new pictorial compositions and ventures beyond the frame, winding up with collages in relief, a kind of plane made of objects gathered across the territory of the residency that are more or less vernacular, ranging from a farming saw to Barbie’s wardrobe, from crucifixes found in bulk to cheap mirrors found at local supermarkets. The artist thus pursues her research into the art of the collage which, amalgamating various realities, produces a jocular kind of self-portrait, in search of a balance between a certain joie de vivre and the imposed violence of everyday life.



The artist residency programme is organised by the CAC - la synagogue de Delme in collaboration with the Lorraine Regional Natural Park and the village of Lindre-Basse.


Angélique Heidler is a French painter born in 1992, she currently lives and works in Paris. She graduated from the Slade School of Fine Arts in 2015. Her instuitive painting
practice is structured in conjunction with collage, with techniques of collage, sewing and various printing of images that echo the paradoxical dualities embedded in consumerism’s representations. She uses aesthetic references from the endless flux of media and marketing, most of the time to evoke the nuanced construction of identity and individuals. Her work has been shown in France and internationally, in solo and collectives exhibitions such as (selection) : Target Group Show, Braunsfelder, Cologne, 2023; May My Fiction Rule, Tilling, Montréal, 2022; In den Besten Jahren, Little, Bern, 2022; Love Letters .CHF, Stadtgalerie, Bern, 2021; Piselli, Bad Water, Knoxville, 2021; Haus Wien, Ginny on Fred- erick, Vienna, 2021; Masterless Eye, Yudik One, Brescia, 2021; Your Friends and Neighbors, Hight Art, Paris, 2020; Softview/Privatissime, Neuer Essener Kunstverein, Essen, 2020; Stay Safe, Shivers Only, Chantemanche, 2020; This Tragedy, Fonda, Leipzig, 2020; BAITBALL (01), Palazzo San Guiseppe, Polignano A Mare, 2020; solo presen- tation, Shivers Only, Material Art Fair, Mexico City, 2020; Heidler Mailaender, Galerie Derouillon, Paris, 2019; On ne sait plus quoi penser du serpent qui a peur, Galerie l’Inlassable, Paris, 2019; Outside Our, Villa Emerige, Paris, 2018; The Unlimited Dream Company, Hannah Barry Gallery, London, 2017; The Dark Ages, Supplement Gallery, London, 2017. Elle a été résidente dans les structures suivantes: Stadtgalerie Bern, (CH, 2021), Plop (UK, 2019), LaWayaka Current (PA, 2016), Villa Lena (IT, 2016). She was a resident at Stadtgalerie Bern (CH, 2021), Plop (UK, 2019), LaWayaka Current (PA, 2016), Villa Lena (IT, 2016). She was shortlisted for the 5th edition of the Révélations Emerige award (FR, 2018).