The French artist Frederic Braham will open his exhibition, presenting his art work in the premises of the French Cultural Institute – Maison Descartes.

Braham sets up a plan of exhibition that examines the complex links between phenomena and norms.

Using society’s product as a directory of forms, as a building material. Therefore, it is a question of working with objects, images and references, already present in the social and cultural circle. He endeavors to track down the links, the foreign fragments, the tiny distances, which allow questioning and differentiation.

In this exhibition, Braham incites the visitor to consider the complex link between beauty, health and their systems of representation.

Braham, in order to extend his concept, is inviting guest artists such as BP, Marcel Wanders for Moooi and Héctor Serrano for Droog.

The exhibition interacts and questions the Fashion industry as much as beauty and health…Indeed the advertising dream of a slim and perfect body, is often “prescribed” for a lot of young women. The abnormal could well be the norm and the exception the rule.

For a decade, I have been taken by Frédéric Braham’s artistic venture.

In each of his creations, I feel the strange embrace of reality. Not that I recognize it as a part of myself, but rather because I encounter there this “other” that sees and transcribes.

In many of his works, there is, it seems to me, a parsimonious accumulation of clues.

Together, they free this malleable, never virgin, part of our self charged with experience.

In direct touch with contemporary aesthetics, his work is a ceremonial, as well as an

interiority of gesture and an acute consciousness of human culture. His initiative proceeds from digressions, from movements of intervals. The shapes often hark back to prostheses, supplements, jewels and other versions of the existence of the body.

Frédéric Braham explores trivia. He endeavours to track down the links, the foreign fragments, the tiny distances, which allow questioning and differentiation. With a deeply moving grace he conceives plans of intervention, postures of concentration of the soul.

Just like the painful tooth that is sharpened by the touch of the tongue, he picks out vigorously and with precision the minute obstacles over which we keep on stumbling. The installations as well as the objects which he shapes are propositions of awakening, a positioning at the extreme edge for playing out our life.