About the artist
Drawing was
my island, my refuge …
—
Christine Sefolosha was born in Switzerland, near Montreux on Lake Geneva shores. As an only child, she grew up under her mother’s care who lovingly encouraged her imaginative streak and left her to explore it freely. Passionate about horse riding, the young girl told herself stories and created worlds inhabited by horses and animals. When she turned 20, and was about to start Fine Art School, life, in an odd turn of events, brought her to South Africa. Her first six years there were spent in a protected environment within the White community. Family was a priority. But she continued drawing. With assiduity. Animals chiefly. Until a time when she became conscious of the harsh realities of Apartheid. Her escapades into the townships confronted her with the gagged, undercover culture of its people. Music, theatre, dance, visual arts: such an amazingly rich, creative streak was revealed to her through her wanderings. This experience would forever change Sefolosha. From then on, the artist realized that she could no longer be content to reproduce just the surrounding reality, but that she must imperatively explore the depths of her feelings, find her place in the world, in other words, realize herself as an artist. Coming home to Switzerland in the early of the 1980s, Christine put all her energy into reaching her goal. Her first solo show in Vevey in 1988 became the beginning of a path that has brought her to exhibit around the world.
La tête à l’envers
Marlène Métrailler
Laurence Froidevaux et Marlène Métrailler
(March 26, 2016)
About the artist
Drawing was
my island, my refuge …
—
Christine Sefolosha was born in Switzerland, near Montreux on Lake Geneva shores. As an only child, she grew up under her mother’s care who lovingly encouraged her imaginative streak and left her to explore it freely. Passionate about horse riding, the young girl told herself stories and created worlds inhabited by horses and animals. When she turned 20, and was about to start Fine Art School, life, in an odd turn of events, brought her to South Africa. Her first six years there were spent in a protected environment within the White community. Family was a priority. But she continued drawing. With assiduity. Animals chiefly. Until a time when she became conscious of the harsh realities of Apartheid. Her escapades into the townships confronted her with the gagged, undercover culture of its people. Music, theatre, dance, visual arts: such an amazingly rich, creative streak was revealed to her through her wanderings. This experience would forever change Sefolosha. From then on, the artist realized that she could no longer be content to reproduce just the surrounding reality, but that she must imperatively explore the depths of her feelings, find her place in the world, in other words, realize herself as an artist. Coming home to Switzerland in the early of the 1980s, Christine put all her energy into reaching her goal. Her first solo show in Vevey in 1988 became the beginning of a path that has brought her to exhibit around the world.
La tête à l’envers
Marlène Métrailler
Laurence Froidevaux et Marlène Métrailler
(March 26, 2016)
About the artist
Drawing was
my island, my refuge …
—
Christine Sefolosha was born in Switzerland, near Montreux on Lake Geneva shores. As an only child, she grew up under her mother’s care who lovingly encouraged her imaginative streak and left her to explore it freely. Passionate about horse riding, the young girl told herself stories and created worlds inhabited by horses and animals. When she turned 20, and was about to start Fine Art School, life, in an odd turn of events, brought her to South Africa. Her first six years there were spent in a protected environment within the White community. Family was a priority. But she continued drawing. With assiduity. Animals chiefly. Until a time when she became conscious of the harsh realities of Apartheid. Her escapades into the townships confronted her with the gagged, undercover culture of its people. Music, theatre, dance, visual arts: such an amazingly rich, creative streak was revealed to her through her wanderings. This experience would forever change Sefolosha. From then on, the artist realized that she could no longer be content to reproduce just the surrounding reality, but that she must imperatively explore the depths of her feelings, find her place in the world, in other words, realize herself as an artist. Coming home to Switzerland in the early of the 1980s, Christine put all her energy into reaching her goal. Her first solo show in Vevey in 1988 became the beginning of a path that has brought her to exhibit around the world.
La tête à l’envers
Marlène Métrailler
Laurence Froidevaux et Marlène Métrailler
(March 26, 2016)
Galerie du Château, Renens, Suisse
4 - 18 décembre 2021
—
Il était une fois …
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Le Printemps de Septembre
17 Septembre – 17 Octobre 2021 > 21 Novembre 2021
—
Les 30 ans
du Festival
PROLONGATION > 21.11.21
Les vaisseaux fantômes, les navires errants, naufragés, engloutis, habitent notre imaginaire, la littérature et ses mythes depuis L’Odyssée et l’Arche de Noé. C’est que l’océan est un élément immense et menaçant, un monde familier et dangereux. Le sublime et l’horrible s’y emblématisent avec la finitude de l’humain et son aptitude à surmonter ce qui l’excède, à toiser l’impossible. Les fonds des mers sont jonchés d’épaves qui sont en soi des trésors pour nos rêves. Ce monde sub-aquatique nous fascine par son inhospitalité attirante, son altérité radicale.
L’univers des oeuvres de Christine Sefolosha possède cette familiarité inquiétante, cette atmosphère nocturne où les formes semblent se dissoudre sous nos yeux tandis que nous sommes saisis par leur beauté épique. Ce monde flou engendre des monstres qui sont les nôtres. Nulle aube pour les faire fuir dans ces dessins, ces monotypes, ces encres échevelées. L’art de Christine Sefolosha ne nous protège pas de nos inquiétudes, il nous les dépeint dans ses troublantes métaphores, ses arachnéennes allégories qui sont sans merci pour le spectateur
de leurs fééries tantôt burlesques tantôt sombres.
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Christian Bernard, Directeur artistique, Le printemps de Septembre, Toulouse 2021
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Le Printemps de septembre
1er étage des Abattoirs, Musée Frac,
Occitanie, France
> La page de Christine Sefolosha
Vidéo interview
Christine Sefolosha
à l’atelier de l’imprimeur
taille-doucier Raymond
Meyer.
Galerie « les Yeux fertiles », Paris
21 octobre – 27 novembre 2021
—
Exposition monographique
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Galerie « les Yeux fertiles »
27, Rue de Seine, 75006 Paris
–
www.galerie-lesyeuxfertiles.com
Articles de presse
visibles ici
Atelier Christine Sefolosha, Montreux
28, 29 et 30 mai 2021
—
Portes ouvertes, Atelier Christine Sefolosha
—
> Informations pratiques (plan, horaires etc ...)
Atelier de Christine Sefolosha
Usine électrique de Taulan
Ruelle de la Baye 7 / 1820 Montreux
–
Kunst Museum Thurgau, Ittinger Museum, Warth (Suisse) 21 mars - 19 décembre 2021
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« Jenseits aller Regeln »
La collection Rolf Röthlisberger
—
Ouvert du lundi au vendredi : 14-17 heures
Samedi, dimanche 11-17 heures
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Newsletters AACS
Newsletters Mars 2021
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Une fin d’hiver en forme de printemps
—
En préambule, une note en espérant que cette longue traversée qui perdure vous ai épargné le pire et que vous et les vôtres se portent bien, prêts à vivre plus pleinement le meilleur de la saison nouvelle qui s’annonce ! ...
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As a preamble, a note in the hope that this long and enduring journey has spared you the worst and that you and yours are well, ready to live more fully the best of the coming new season.
> PDF Newsletter AACS / Mars 2021 / French
> PDF Newsletter AACS / March 2021 / English
OAF 2021 / Cavin-Morris Gallery (New York)
January 28-February 7 2021
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OAF 2021
Outsider Art Fair
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Cavin-Morris Gallery
210 Eleventh Avenue, Suite 201
New York, USA
–
Musée Jenisch, Vevey (Suisse)
29 octobre 2020 Prolongation jusqu'au 11 avril 2021
Vernissage le 29 octobre 2020 dès 18h30
—
Autour de Marguerite
Burnat-Provins avec C.Sefolosha et S. Pelletier
—
A l’invitation du Musée Jenisch, Vevey, Christine Sefolosha a créé une série d’oeuvres nouvelles afin d'accompagner l’exposition consacrée à l’artiste française Marguerite Burnat-Provins. A voir jusqu'au 7 mars 2021.
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Being invited by Museum Jenisch, Vevey (Switzerland) Christine Sefolosha has created a serie of new works around the extraordinary Marguerite Burnat Provins
To be seen until March 7th 2021
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La Coopérative-Musée Cérès Franco, France
Dès le samedi 30 mai jusqu’en 2021
—
Les voleurs de feu
—
Cérès Franco et Dominique Polad-Hardouin, à la tête de
« L'Oeil de Boeuf » et « galerie Polad Hardouin » ont collectionné et présenté des peintures de Christine Sefolosha pendant plus de 15 ans. Celles-ci font maintenant régulièrement partie des expositions collectives de la Coopérative à Montolieu.
L’affiche de cette exposition , une peinture-terre ancienne de Christine Sefolosha, fut choisie par Dominique Polad-Hardouin juste avant son décès prématuré.
Cérès Franco and her daughter Dominique Polad Hardouin have collected and presented C. Sefolosha's work over the years within their galleries in Paris. Cérès Franco’s collection holds a number of these pieces. As her whole collection has found its final location in Montolieu, the current exhibition « Terre de Feu » features one of CS early earth paintingas the poster of the Show.
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La Coopérative-Musée Cérès Franco
5, Route d'Alzonne, 11170 Montolieu,
France
–
AFAM American Folk Art Museum, NYC
September 17, 2019 — January 26, 2020
—
Memory Palaces:
Inside the Collection of Audrey B. Heckler
—
The exhibition Memory Palaces: Inside the Collection of Audrey B. Heckler will open at the American Folk Art Museum (AFAM) (2 Lincoln Sq., Columbus Ave. at W. 65th St.) on September 17, 2019. Heckler’s collection encapsulates the growth of the field of self-taught art. There are key selections of European art brut, including works by Aloïse Corbaz, August Klett, Augustin Lesage, and Anna Zemánková; works by African American artists such as Thornton Dial, Sister Gertrude Morgan, and Mose Tolliver; American classics by Henry Darger, Emery Blagdon, William Edmondson, and James Castle; and twenty-first century discoveries from around the world by artists such as Guo Fengyi and Christine Sefolosha. The presentation, which will close on January 26, 2020, includes more than one hundred sixty artworks by more than eighty artists. The exhibition is curated by Dr. Valérie Rousseau, AFAM’s senior curator and curator of self-taught art & art brut.
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Château de Chillon, Suisse
29 August 2019 – 24 November, 2019
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Larguer les amarres
Casting Off
—
Après Kyoto, Paris, Karlsruhe et New York, l'artiste montreusienne Christine Sefolosha a été invitée à présenter ses œuvres au château de Chillon™, une flotte entière de navires, pour l'exposition "Larguer les Amarres". Du 29 août au 24 novembre, le cœur du célèbre monument historique sera habité par ses toiles oniriques, ses vaisseaux mystérieux, ses créatures lumineuses et ombrageuses.
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Vidéo montage (timelapse)
© Lise Leyvraz Dorier
© Ronny Perraudin
© Fondation du Château de Chillon
Galerie Univers
24 August 2019 – 24 November, 2019
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Odyssées contemporaines
—
Une belle sélection d'oeuvres récentes de Sefolosha sera également exposée au Château de Chillon, où vous êtes cordialement invités par la Fondation, la direction et l'équipe de l'institution. Au Château, comme à la galerie, les oeuvres seront visibles du 28.08 au 24.11. Sur demande, nous organiserons très volontiers des visites de l'exposition de Chillon.
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La Ferme des Tilleuls
21 février – 26 mai, 2019
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Sève, la forêt inspire
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Cavin-Morris Gallery
February 14 – March 16, 2019
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Primordial Heart:
New Works
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Christine Sefolosha is an oneiric or dream traveler. There are some artists whose work drifts like a dark voluptuous flower over the unseeing ant-like hordes of the art mainstream. It ravels and unravels histories. It moves even as it seems to be stationary on board, canvas, or paper. This art in a way, is about travel. We look to the distant horizon or up higher in the skies and see shivering roiling concentrations of energies: birds, clouds of dust, storms, insects, demons, angels, all indistinct in the chiaroscuro seconds before attaining form and disappearing in darkness. The unknown appears as a swarm of ectoplasm with an inner intelligence all its own. It is the open and aware traveler who sees it - not the tourist - the traveler.
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