{"id":14,"date":"2021-11-21T15:14:19","date_gmt":"2021-11-21T15:14:19","guid":{"rendered":"https:\/\/nadiaalbertini.net\/index.php\/about\/"},"modified":"2026-04-09T17:38:05","modified_gmt":"2026-04-09T15:38:05","slug":"a-propos","status":"publish","type":"page","link":"https:\/\/nadiaalbertini.net\/index.php\/a-propos\/","title":{"rendered":"A propos"},"content":{"rendered":"\t\t
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A propos<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Nadia Albertini (1993, France)<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Plus pr\u00e8s<\/h5>

Je choisis de peindre des \u00e9l\u00e9ments dont l\u2019identification n\u2019est pas \u00e9vidente, voire impossible. C\u2019est l\u2019envie de repr\u00e9senter ce que je n\u2019ai jamais vu sous forme de peinture qui m\u2019inspire, face au trop-plein d’images et de r\u00e9p\u00e9titions.<\/p>

\u00a0<\/p>

La perception de l\u2019espace, de la tridimensionnalit\u00e9 et leurs ambigu\u00eft\u00e9s est essentielle. Je peins des lieux et des objets cr\u00e9\u00e9s par l\u2019homme ; je prends des photographies et les transforme en assemblant diff\u00e9rentes sources. Les couleurs que je choisis avec soin, parfois intenses et satur\u00e9es (rose, bleu, orange, rouge brique), sont puissantes et doivent rayonner.<\/span><\/p>

\u00a0<\/span><\/p>

Je cadre, s\u00e9lectionne et zoome sur des parties de compositions que je cr\u00e9e. Certaines de mes oeuvres incluent des objets provenant de diff\u00e9rentes \u00e9poques, de 3000 av. J.-C. \u00e0 aujourd\u2019hui. Ces objets nourrissent des analogies formelles. Leurs mat\u00e9riaux varient : bois, cuir, plastique, mais aussi la mati\u00e8re virtuelle des \u00e9crans, avec des d\u00e9grad\u00e9s de gris color\u00e9s ou de beige orang\u00e9, dans les ombres et les courbes.<\/p>

\u00a0<\/p>

La beaut\u00e9 de la peinture r\u00e9side dans la \u00abpeau\u00bb qu\u2019on lui donne, qui, \u00e0 l\u2019instar de la voix d\u2019un chanteur ou du son d\u2019un instrument, r\u00e9sonne myst\u00e9rieusement.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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 <\/h5>\n

    Les lieux et objets qui y apparaissent en tout ou partie(s) constituent moins le sujet premier de la peinture de Nadia Albertini que son pr\u00e9curseur : rep\u00e9r\u00e9s pour leur singularit\u00e9 \u2212si ce n\u2019est leur \u00e9tranget\u00e9 \u2212 et leur capacit\u00e9 \u00e0 r\u00e9sister \u00e0 une identification univoque et imm\u00e9diate, ils procurent \u00e0 l\u2019artiste une image mentale plus ou moins instantan\u00e9e et fid\u00e8le par le prisme de laquelle va s\u2019op\u00e9rer la transformation pr\u00e9alable \u00e0 la composition picturale, jou\u00e9e dans un spectre chromatique de bleu(s) et de rose(s).<\/p>


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   Couleur, \u00e9chelle et format d\u00e9placent ces lieux et objets, d\u00e9pourvus de leur contexte comme de leur \u00e9ventuel contenu, en terrain inconnu, et en \u00ab reterritorialisent \u00bb l\u2019exp\u00e9rience dans le cadre de la peinture, extension d\u2019un espace et d\u2019un processus de vision. L\u2019 espace qu\u2019offre et ouvre \u00e0 son tour le tableau est \u00e0 l\u2019image de ces quelques \u00ab cabines \u00bb \u00e0 l\u2019int\u00e9rieur desquelles entrer, (se) projeter et se t\u00e9l\u00e9transporter dans une autre dimension de la repr\u00e9sentation, spectrale et teint\u00e9e d\u2019onirisme, voire  d\u2019animisme.<\/p>\n

`<\/p>\n

Anne Lou-Vicente<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Formation<\/strong><\/p>

\u00a0<\/strong><\/p>

2017<\/strong>:\u00a0 \u00a0 \u00a0DNSAP, Beaux-arts de Paris, atelier Tim Eitel<\/p>

2016<\/strong>:\u00a0 \u00a0 \u00a0Echange \u00e0 l’Akademie der bildenden Kunst de Vienne, Autriche<\/p>

2015<\/strong>:\u00a0 \u00a0 \u00a0DNAP, Beaux-arts de Paris, atelier Philippe Cogn\u00e9e<\/p>

2012-2015<\/strong>:\u00a0 \u00a0 \u00a01er cycle aux Beaux-arts de Paris, atelier Philippe Cogn\u00e9e<\/p>

\u00a0<\/p>

Expositions collectives<\/strong><\/p>

\u00a0<\/p>

2024:\u00a0 \u00a0 <\/strong>Journ\u00e9e Pro, Poush, Aubervilliers<\/p>

2023:\u00a0 \u00a0\u00a0<\/strong>D\u00e9cembre \u00e0 Montreuil, Saison 2, Tour Orion, Montreuil<\/p>

2022<\/strong>:\u00a0 \u00a0 \u00a0Novembre \u00e0 Vitry, galerie Jean Collet, Vitry-sur-seine<\/p>

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0D\u00e9cembre \u00e0 Montreuil, Tour Orion, Montreuil<\/p>

2021<\/strong>:\u00a0 \u00a0 \u00a0Rencontre, Maison Safavide, Ispahan , Iran<\/p>

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Exposition en ligne, Galerie Aknoon<\/p>

2019<\/strong>:\u00a0 \u00a0 \u00a0Novembre \u00e0 Vitry, galerie Jean Collet, Vitry-sur-seine\u00a0<\/p>

2018<\/strong>:\u00a0 \u00a0 \u00a0Felicita 18, Palais des Beaux -Arts, Paris<\/p>

2018<\/strong>:\u00a0 \u00a0 \u00a0#1 \u00e9dition par Elephandre, L’impasse, Paris<\/p>

2017<\/strong>:\u00a0 \u00a0 \u00a0 Atelier Tim Eitel, galeries gauche et droite, Ensba<\/p>

2016<\/strong>:\u00a0 \u00a0 \u00a0 Atelier Tim Eitel, galeries gauche et droite, Ensba<\/p>

2015<\/strong>:\u00a0 \u00a0 \u00a0 Galerie le Purgatoire, Paradis culinaire, commissariat r\u00e9alis\u00e9 par les \u00e9tudiants de Paris III Sorbonne nouvelle<\/p>

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R\u00e9sidence:<\/b>\u00a0<\/p>

Insight x Klac, Paris, 2025<\/p>

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Editions\/Publications:<\/strong><\/p>

Felicita 18, Editions des Beaux-arts de Paris<\/p>

Interview, Oazarts magazine, Mars 2018<\/p>

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Contact<\/a><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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A propos Nadia Albertini (1993, France) Plus pr\u00e8s Je choisis de peindre des \u00e9l\u00e9ments dont l\u2019identification n\u2019est pas \u00e9vidente, voire impossible. C\u2019est l\u2019envie de repr\u00e9senter ce que je n\u2019ai jamais vu sous forme de peinture qui m\u2019inspire, face au trop-plein d’images et de r\u00e9p\u00e9titions. \u00a0 La perception de l\u2019espace, de la tridimensionnalit\u00e9 et leurs ambigu\u00eft\u00e9s […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"om_disable_all_campaigns":false,"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"enabled","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-14","page","type-page","status-publish","hentry"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/nadiaalbertini.net\/index.php\/wp-json\/wp\/v2\/pages\/14","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nadiaalbertini.net\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/nadiaalbertini.net\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/nadiaalbertini.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nadiaalbertini.net\/index.php\/wp-json\/wp\/v2\/comments?post=14"}],"version-history":[{"count":66,"href":"https:\/\/nadiaalbertini.net\/index.php\/wp-json\/wp\/v2\/pages\/14\/revisions"}],"predecessor-version":[{"id":2365,"href":"https:\/\/nadiaalbertini.net\/index.php\/wp-json\/wp\/v2\/pages\/14\/revisions\/2365"}],"wp:attachment":[{"href":"https:\/\/nadiaalbertini.net\/index.php\/wp-json\/wp\/v2\/media?parent=14"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}