Claude Kunetz has been a film producer for some twenty years. He created the production company Wallworks to develop a policy of producing feature-length films for the cinéma d'auteur. He has produced, among others, the first films: Mima (1990) by Philomène Esposito with Virginie Ledoyen, Grande Petite (1993) by Sophie Fillières with Judith Godrèche, Encore (1996) by Pascal Bonitzer with Valeria Bruni-Tedeschi, Rien voilà l'ordre (2001) by Jacques Baratier with Laurent Terzieff, or Lost in Love (2007) by Rachmania Arunita with Richard Kevin... His films have been presented in the festivals of Berlin, Cannes, Turin, Brussels, Montreal, New York, Tokyo, Algiers, Cairo... Encore was nominated for a César award in 1996, in the category of best first film. He is currently preparing the production of Abdellah Taïa's first feature film, an adaptation of his novel L'armée du salut.
After shooting Rien voilà l'ordre at the Prémontré hospital in the Aisne region, Claude Kunetz created a cultural space within the hospital in 2003. The aim was to develop a program of free artistic and cultural activities for patients. He involved, among others, students from the Beaux-Arts and graffiti artists - Kongo, Lazoo and Colorz - who came to create with the patients. The adventure proved to be fascinating and ended with an exhibition in the hall of honor of the Ensba in Paris. Following this craze, Claude Kunetz launches a new experience in 2010 with elderly people suffering from Alzheimer's disease at the gerontological hospital of La Fère, "La Lucciola".
Claude Kunetz discovered Indonesia in 2002, when he was invited by the French Embassy to teach at the Jakarta Film University. There he met his future wife, Dewi Astuti, who now runs the gallery with him. He also met the curator Alia Swastika, with whom he mounted the exhibition Wall Street Arts in Jakarta in 2010. The exhibition confronts two generations of graffiti artists, about fifteen artists from the French and Indonesian graffiti scene, the latter not older than ten years.
True to his spirit of discovering young talent, Claude Kunetz decided to open an exhibition space, adapting to the gallery what he knows how to do with the cinema, from financing to distribution and from manufacturing to promotion. In order to give priority to in-depth work, the Wallworks gallery proposes a program of four to five major exhibitions per year: French graffiti artists, Indonesian visual artists and, in the near future, works resulting from work in hospitals. The 140m2 space inaugurated by Kongo's solo exhibition continues to house his activities as a producer of auteur cinema and allows him, in short, to produce and show the works that are important to him.
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Wallworks Gallery
4 Rue Martel, 75010 Paris
Mon-Sat 2-7pm
Contact us:/ [email protected]
SANS TITRE (STREETSIGN 14), Ø 60cm, ink, spraypaint and stencil vintage street sign, 2022
Austrian and French street artists Jana & Js are painting together since 2006.The pair create polychromed stencil murals widely ranging in size. Based primarily on their personal photographic work, the stencils seem to respond and interact with their surroundings.
Mostly inspired by the city and people living in, their paintings merge urban landscape or architecture details with portrait, questioning the place of human being in the modern cities. Inspired by the place where they put their work they now focus on nostalgia, melancholy. After spending some time in Madrid, Spain where they met and living a couple of years in Paris, Jana & Js are now settled in Laufen (Germany) a small bavarian town close to the austrian border.
To display their works, they choose old materials that are showcasing the passing of physical time and history. They have made their art in unexpected spaces by printing stencils on public infrastructure or on the semi-finished/dismantled products/spaces such as the train tracks, old buildings, poles, pieces of concrete, old trucks, wood piles...
They are deeply inspired by every place they travel to, deciphering the social meaning in unforeseen aspects of urban landscapes. But what is the most striking part in their works are not panoramas themselves, but people with their existential uneasiness. They have the unique way of relating people, their emotions, desires and concerns with their environment.
Their urban interventions merge their subjects with the environment, provoking thoughts and engaging the viewers in an artistic dialogue.
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