Claire Chesnier

Born in 1986, in Clermont-Ferrand, France.
Lives and works in Paris, France.

   Presentation


Claire Chesnier first encountered art through music and writing, which she practiced very early on. She devotes nearly twenty years to classical and contemporary dance, which she sees as a way to be at one with the music. Painting, which she has practiced since the beginning, is the decisive encounter experienced as an extension of the writing gesture and the incarnation of an extended dance gesture. Her commitment to painting is turned towards a physical and poetic relationship with the world, of apprehension of touch, and of the sensitive entanglement of things, of life. For her, "painting is a story of touch, of how to touch and be touched. She arrives where words fail by tactility and rhythm". She began her studies at the Ecole Nationale Supérieure des Beaux-Arts de Paris and at the Université Paris 1 Panthéon-Sorbonne, where she worked in the studio of the painter Jean-Michel Alberola and where her research was followed by the philosopher Alain Bonfand. She obtained her National Diploma of Fine Arts and her doctorate in Arts and Art Sciences. She is quickly noticed by the stylist Agnès b. who awards her the Prix des Amis des Beaux-Arts in 2011 and makes her join her gallery, the Galerie du jour agnès b. where they will collaborate from 2012 to 2017. This is followed by a collaboration with the ETC Gallery in Paris from 2018 to 2022. Claire Chesnier has won several prizes such as the Contemporary Talents Prize of the François Schneider Foundation, the Art Collector Prize, the Fénéon Prize of the Chancellery of the Universities of Paris as well as the Yishu 8 Prize of the House of Arts in Beijing where she studies the ancient painters that she looks at as much as the stones and mists that characterize them.



   Education

2018   PhD in Arts and Sciences of Art, Université Paris 1 Panthéon-Sorbonne,
            Paris, France 
2012   Post-graduate, École Nationale Supérieure des Beaux-Arts de Paris, Paris France
             Formation in scientific management of artworks,
             École du Louvre/École Nationale Supérieure des Beaux-Arts de Paris, Paris, France
2011    National Superior Diploma of PlastiArt (DNSAP),
             École Nationale Supérieure des Beaux-Arts de Paris, Atelier Jean-Michel Alberola,
             mémoire dirigé par Alain Bonfand, Paris, France
2009   National Diploma of Plastic Arts (DNAP), École Nationale Supérieure
             des Beaux-Arts de Paris,
             Atelier Jean-Michel Alberola, Paris, France
             Master's degree II Arts and Sciences of Art, Université Paris 1 Panthéon-Sorbonne,
             Paris, France


   Awards - Grants

2024    Monography Collection grant by ADAGP
2016    Exceptional aid for creation, National Center for Plastic Arts CNAP
, France 
2014    Fénéon Prize (Art) from the Chancellery of the Universities of Paris, France 
2013    Contemporary Talent Prize of the François Schneider Foundation,
              Fondation de France
              Art Collector Award, France
              Yishu 8 House of Arts of Beijing Prize, China 
2011     Agnès B. Prize of the Friends of the Beaux-Arts of Paris, France 
2009     Research grant, Arts and Sciences of Art, University Paris 1 Panthéon-Sorbonne, France                                                                 
                                                                                                                                                                                  


   Residencies

2012-15   Villa Belleville - Point Ephémère, Paris, France 
2013          Yishu 8 - House of Arts, Beijing, China 


   Collections

FRAC Auvergne, Clermont-Ferrand, France  
Musée Paul Dini, Villefranche-sur-Saône, France  
agnès b. - La Fab’, Paris, France  
Fondation François Schneider, Fondation de France, Wattwiller, France  
Musée d’Art Contemporain du Val-de-Marne (MACVAL), Vitry-sur-Seine, France  
Banque de Luxembourg, Luxembourg 
Musée d’Angers - Artothèque d’Angers, France  
Artothèque du Lot, France  
Yishu 8 Maison des Arts, Pékin, China 
Art Collector, Paris, France  
CCNOA Collective Collection, Belgique Florence pour l’Art Contemporain, Paris, France
Claire Chesnier’s ink paintings have an upwards atmospheric thrust in their overt abstraction, in their pigment density and liquid materiality. Their verticality displays bodily proportions and paradoxically veers towards the horizontality of a tremolo, streaking the paintings with striations of chromatic gradients. Two axes are superimposed – body axis and landscape axis – making it impossible to reconstruct the painting’s phases. The recent paintings, which have more of a fibrous, corporeal and organic quality than those exhibited in 2020 at the Galerie ETC, are dawnings of abstraction, luminous apertures onto the unfolding of hazy spectrums. For each painting, Claire Chesnier jots down in private notebooks the colour values underlying the strata. For instance, the annotated sketch linked to painting 010921 lists the following colours bottom to top: "indigo, dark purplish indigo, red anthracite, dark Sienna magenta, Sienna/burgundy, dark ochre, Sienna/red ochre, old yellow gold, silver/gold, blue grey, pearly white violet-pink, greyish white, pearl blue, yellow sea-green, pale sea-green blue, pearl cyan white". Over fifteen colours, recorded in a condensed form that never divulges the totality, the imperceptible alteration of hues, the evanescent shift from greyish-white to pearl blue. And notwithstanding its precision, this list can never convey how the ambient light is channelled.  

Jean-Charles Vergne

Vacant Landscapes 



In reality, in front of this painting where color emancipates itself from the subject matter, one mainly thinks of Rothko. Chesnier openly admits her admiration for this pioneer of abstract expressionism. Rothko, whose colors, usually applied in transparent glazes, give rise to rectangular configurations symmetrically superimposed on an almost monochromatic background. 



Just like him, in the works of the French artist, the color areas with blurred contours are like chromatic stretches of boundless radiant luminosity. Here, no details are subordinate to a whole but a swathe of paint, a coloring matter invading the surface. Boundless landscapes that resist the possibility of being traversed by a gaze, fields expanding infinitely and remaining inaccessible to the viewer. Each work addresses, in its own way, the problems of forms and colors, the relationship between opacity and transparency, between what veiled and unveiled, between saturated tones or velvety materials. There is no indication on the creation of the painting, no traces of a brush, no gestural touch signaling the process. 



There is an astonishing contrast between this wide array of nuances sliding upon each other and the precision with which they are executed. This meticulous, perfectly controlled painting invites the viewer’s gaze to "decipher" the chromatic variations but keeps it at a distance. Unlike Rothko, who claimed to create a place where viewers are invited to enter, Chesnier's work, full of restraint, preserves itself, so to speak. 


In this palette of colors, a line seems to separate the top - always brighter - and the bottom, always darker - perhaps sky and earth. However, this imaginary line, which some call the horizon, moves as one approaches it. The viewer gets lost in this space that eludes fixed references, in this field of uncertainty where the authoritarian gaze gives way to the hesitant eye. 



André Breton wrote in 1941 about Yves Tanguy: "The appearance of Tanguy in the Neptunian light of clairvoyance gradually tightens the thread of the horizon that had broken. But with him, it is a new horizon, the one on which the landscape, no longer physical but mental, will establish itself." Is it this mental landscape that Claire Chesnier aims for?" 



Itzhak Goldberg 





No matter how much I move to the side, away from these images and back again, I cannot decide whether they are monochromatic variations of a single pigment or polychromatic hues that dilute, generate and scatter several others, and this undecidable problem offers a kind of revelation: there is no more hue, no more tint, the definition of chromatic tonality is transcended, there is only color, color that passes before me and meets me, that passes over the large sheets of paper, gliding, penetrating them, metamorphic without mutating, evolving. I perceive it as full and slow, expansive, and at the same time on the verge of disappearing, already ghostly. 


What happens in this use of color, in this oscillation that goes from the density of the pigment to a luminous cloud of a halo, leads to a shift to a different way of seeing, to the acceptance of detachment, of the disappearance of forms but also to the acceptance of undecidability, indeterminacy, unpredictability. My intuition tells me that the image is there, in the radiant thickness of this floating line, at this porous edge, at this changeable, versatile border between abstraction—I stand before movements, forces, impulses, currents, presences—and figuration—I stand before landscapes, clearings, skies, dawns, fires, perhaps twilights, I stand before the dew of a winter meadow, condensation in a whisky glass, an evening sea, a cloudy sky, a ghostly love. I stand before absence, before something that is happening and that I do not know. What happens to us when we disappear. Disappearance. 


Claire Chesnier remains at a distance, observing the emptiness, her language plays in the silence, clear, waiting, while she is a replica of her color, which enters into the whiteness of the paper, carrying it without forcing it, becoming one with the paper in the streaks that remain, the smoothness of a current, the suggestion of evaporation. 


We look, and it is like a conversation, like taking up a language: our eyes are our mouths, our movements are like sentences, and soon only time is left —the time of painting, which is the time of looking.... 


When does the word “patience” come to my mind? I begin to move and the pictures vibrate around us, fluttering in chromatic instability, almost the same, essentially the same, in this vertical format that is proportional to the body, or rather to the body of the artist, as she writes in Fragments d’une déposition1: “My height, my shoulder, the extent and fullness of my arm movements correspond to the dimensions of the paper. I cut it to my size—the size of a woman. The horizon of the frame is thus drawn in this perceived space, in my scale....” Images that suddenly seem to encompass her completely, to regain their character of portraits—self-portraits. 


I hear the word patience in this endless movement back to the paper, this bending of the upper body, this tension in the neck, this stretching of the arm, this letting go of the wrist. A subterranean tension that responds to the body, to pain, but also to pleasure. That repeats, starts again, returns, works to elicit meaning from the image, to reduce its complexity, to distill the smallest, most insignificant grain, in an effort to cancel out any motif, any intentionality. This persistence in painting. Patience as insistence, as resistance. Patience, silent and rebellious. 


When I think about it, I probably felt this word in connection with that of confidence, of trust, which comes to mind at the same time. Having confidence in painting, relying on it, completely, accepting it without hesitation; letting go of control and reaffirming one’s instinct.... And no doubt I understand it, this word, through that of alliance, which is also in my head. Patience in alliance with time, endurance. A willingness to merge with the flow of life, to make a pact with time, to desire what is to come—amor fati. That crosses landscapes, breathes, travels far. 


The sheets of paper are suspended, meaning is suspended, language is suspended, time is suspended, and the city pulsates around us as I discover this activation of abandonment—the impossible event that took place here. A painting of patience. 


From a text by Maylis de Kerangal in Claire Chesnier
(Paris: JBE Books, November 2024), co-published by Gallery Ceysson & Bénétière, Gallery THE PILL, Pascaline Mulliez Endowment Fund, L’ahah and CCC-OD, with the support of ADAGP. 






1 Claire Chesnier, Fragments d'une déposition (forthcoming). 



Solo shows at Ceysson Gallery
Claire Chesnier, Paris
December 05, 2024 - January 25, 2025

Claire Chesnier, Lyon
October 26 - December 02, 2023


Group shows at Ceysson Gallery
Format paysage, Lyon
January 30 - March 22, 2025

Collective, Paris
June 27 - July 13, 2024




Selected solo shows

 2025

Éclaircie à la verticale, curated by Isabelle Reiher, Marine Rochard, CCC-OD, Tours, France 

Claire Chesnier, Galerie The Pill, Istanbul, Turkey


2024

Un rose, une rosée, un couchant, text :  Maylis de Kerangal, Ceysson & Bénétière Gallery, Paris, France 

2023

Rayer le jour, le soir étaintext : Itzhak Goldberg, Ceysson & Bénétière Gallery, Lyon, France

Les Jours, curated by Philippe Piguet, Chapelle de la Visitation, Centre d’Art de Thonon-les-Bains, France 

2022
Mudhoney, Claire Chesnier - Denis Laget, curated by Jean-Charles Vergne, Galerie ETC, Paris, France 

2021 
Par espacements et par apparitions, texte de Pierre Wat, l’Ahah, Paris, France 

2020 
Le ciel aussi est un fracas, curated by Karim Ghaddab, Galerie ETC, Paris, France

2019 
L’Art dans les chapelles, curated by Eric Suchère, Chapelle Trinité Castennec, Bieuzy, France  
Une réserve de nuit, Claire Chesnier & Estèla Alliaud, curated by John Cornu, Galerie Art et Essai, Rennes, France 

2018
Under B shall come Butterfly powder, Galerie Maior, Palma de Majorque, Spain 
Fragments d’une déposition, Espace Commines, Paris, France 

2016 
Résonances, Galerie du jour agnès b., Paris, France 

2014 
L’aire des aurores, curated by Léa Bismuth, le Patio, Paris, France 

2013
Résonance, Yishu 8 – Maison des Arts, Pékin, China 
Docks Art Fair, c/o Galerie Leonardo Agosti, Pavillon 8, Lyon, France 

2012 
Fragments d’une déposition, Galerie du jour agnès b., Paris, France  
Fragments d’une déposition, Galerie agnès b., Marseille, France
Parcours Saint-Germain, agnès b., Paris, France
Re-veiling, T-Gallery, Bratislava, Slovakia



Selected group shows


2025

Dans le flou, une autre vision de l'art de 1945 à nos jours, curated by Claire Bernardi, Emilia Philippot Musée de l’Orangerie, Paris, France, travelling exhibition : CaixaForum, Madrid, Spain, and CaixaForum, Barcelone, Spain

Format paysage, commissariat : Anne Favier, Ceysson & Bénétière Gallery, Lyon, France

Collective, Galerie The Pill, Paris, France 


2024

Le jour des peintres, curated by Thomas Gausserand & Thomas Lévy-Lasne, Musée d'Orsay, Paris, France

Monomania, Michael Woolworth Publications, Paris, France

Collective, Ceysson & Bénétière Gallery, Paris, FR

The Colour Out of Space, curated : Jean-Charles Vergne, Galerie The Pill, Istanbul, Turquie

Les lois de l’imaginaire, commissariat : Laure Forlay, Musée d’Art et d’Archéologie - FRAC Auvergne, Aurillac, France

Art Brussels, Galerie Ceysson & Bénétière, Bruxelles, Belgique

Tokyo Gendai, Galerie The Pill, Yokohama, Japon 


2023
Le Toucher du monde, curated by Sylvie Carlier, Laure Forlay, Jean-Charles Vergne, Musée Paul Dini, Villefranche-sur-Saône, France 

Beautés, curated by Jean-Charles Vergne, FRAC Auvergne, Clermont-Ferrand, France 

Perceptions, curated by Elodie Derval, Artothèque, Musées d’Angers, France 

Mirages, curated by Nicolas Dhervilliers, Galerie Claire Gastaud, Clermont-Ferrand, France 

A contre-jour, curated by Germain Hirselj, Mélanie Lerrat, Christelle Manfredi, Musée des Beau-Arts Eugène Leroy MUba, Tourcoing, France 

Dialogue avec les Collections du Musée Guimet, curated by Sophie Makariou & Henry-Claude Cousseau, Musée Guimet, Paris, France 

Le Promontoire du songe, curated by Jean-Charles Vergne, FRAC Auvergne, Clermont-Ferrand, France
Art Brussels, c/o Galerie Ceysson & Bénétière, Bruxelles, Belgique

2021
Printtemps, Fondation Fiminco, Romainville, France
Inspiré.e.s, curated by Lucile Hitier, Centre d’art l’ArTsenal, Dreux, France 

April Showers Bring May Flowers, Michael Woolworth Publications, Paris, France 
Collection Gilles Balmet, Pavillon Carré de Baudouin, Paris, France 
Les Apparences, curated by Thomas Lévy-Lasne, Centre d’Art
A cent mètres du centre du monde, Perpignan, France  

2020
Hors champ et paysages, curated by Jean de Loisy, Collection agnès b., La Fab’, Paris, France 

The Painting people, Michael Woolworth Publications, Paris, France 
Exposition collective, Liaigre, Paris, France 

2019 
Some of us, an overview of French Art Scene, NordArt, curated by Jerome Cotinet-Alphaize, Marianne Derrien, Kunstwerk Carlshütte Budelsdorf, Germany 

Résurgence III : Dimension supplémentaire, curated by Valentine Boé, Artothèque du Lot, Souillac, France 
Le voyage à Nantes, projet e-busway une collection en mouvement, Nantes, France

2018
Vertiges, une chute dans le vide du ciel, curated by Léa Bismuth, LaBanque, Béthune, France 
Passages /In Between, Espace Despalles, Paris, France 
Secrets d’ateliers, Galerie Jean-Paul Barrès, Toulouse, France 

Eclectic, Galerie Maior, Pollença, Mallorca, Espagne 
MAD Multiple Art Days, c/o Printfighters, Musée de la Monnaie, Paris, France 

Fading away, curated by Céline Flécheux, Rosario Caltabiano, Galerie 22,48m2, Paris, France
A matter of resonance, curated by Estèla Alliaud Résidence Huet-Repolt, Brussels, Belgium  
Aurores, Galerie Pauline Pavec, Paris, France 

2017
5X2, curated by Philippe Piguet, la Patinoire Royale, Brussels, Belgium  
Vantablack, curated by Erik Verhagen et Jocelyn Wolff, Galerie Jocelyn Wolff, Paris, France 

MAD Mutiple Art Days, c/o Printers Matters, La Maison Rouge, Paris, France 
Peindre dit-elle 2, curated by Julie Crenn, Annabelle Ténèze, Amélie Lavin, Musée des Beaux-Arts de Dole, France 

Printers Matters, curated by Olivier Moriette, Mario Picardo, Edouard Wolton, Atelier Richier, Paris, France  

2016 
A quoi tient la beauté des étreintes, curated by Jean Charles Vergne, FRAC Auvergne,
Clermont-Ferrand, France 
Histoire des formes, curated by Eric Degoutte, Centre d’art Les Tanneries, Amilly, France 
5x2, curated by Philippe Piguet, Patio, Paris, France 

Virage, Galerie de Roussan, Paris, France 

Peindre n’est(-ce) pas teindre?, curated by Sandrine Morsillo, Musée de la toile de Jouy, Jouy-en-Josas, France 

2015 
Minéral, curated by Jean-Marie Gallais and Ludovic Delalande, Galerie Max Hetzler, Paris, France 
Un regard sur la collection agnès b., curated by Marc Donnadieu, Musée d’art moderne, contemporain & d’art brut (LaM), Villeneuve d’Ascq, France 

Traits d’esprit, Galerie du jour agnès b., Paris, France 
Ouvrages de dames, curated by Dominique Païni, Galerie Valérie Delaunay, Paris, France 







Bibliography

2025

Claire Chesnier, monographie, texts : Maylis de Kerangal, Pierre Wat, Molly Warnock, Claire Chesnier, Ed. JBE Books, Paris, France 


Fragments, dir. Camille Saint-Jacques, Éric Suchère, « Brisées » by Claire Chesnier, Coll. Beautés, Ed. L’Atelier contemporain, Strasbourg, France



2024

Sam Francis, dir. Pierre Wat, « La limite du ciel » by Claire Chesnier, Coll. Transatlantique, ER Publishing, Paris, France


Some of Us, dir. Marianne Derrien, Jérôme Cotinet-Alphaize, Ed. Manuella, Paris, France


2023 

L’Horizon d’un instant, Pierre Cendors, Claire Chesnier, Ed. L’Atelier contemporain, Strasbourg, France


Beautés, texts : Jean-Charles Vergne, Ed. FRAC Auvergne, Clermont-Ferrand, France


Beautés, dir. Camille Saint-Jacques, Éric Suchère, « Beautés » by Claire Chesnier, Coll. Beautés, Ed. L’Atelier contemporain & FRAC Auvergne, Strasbourg, France


Claire Chesnier - Les Jours, Semaine 03.23, dir. Philippe Piguet, chapelle de la Visitation, Thonon-les-Bains


Art & Essai, 2014-2020, dir. John Cornu, Ed. Art & Essai - Université Rennes 2 & cultureclub-studio, Rennes, France


2022
Le Promontoire du songe, texts : Jean-Charles Vergne, Éd. FRAC Auvergne, Clermont-Ferrand, France


2021

Mudhoney, Claire Chesnier - Denis Laget, textes Jean-Charles Vergne, Galerie ETC, Paris, France


Les 30 ans de l’Art dans les chapelles, dir. Eric Suchère, « L’épaisseur d’un reflet » by Claire Chesnier


Inspiré.e.s, texts : Lucile Hitier et Sarah Caillet, Centre d’art l’ArTsenal, Dreux, France



2020

Claire Chesnier, Le ciel aussi est un fracas, text :  Karim Ghaddab, Ed. Galerie ETC, Paris, France


5/5, Estèla Alliaud, Claire Chesnier, dir. John Cornu, Éd. Art&Essai - Université Rennes 2 & cultureclub-studio, Rennes, France


L’Art dans les chapelles, dir. Eric Suchère, « Le vent continuellement domine les yeux », by Claire Chesnier


La Besogne des images, dir. Léa Bismuth, Mathilde Girard, Éd. Filigranes, Paris, France


2018

Un lieu, loin, ici, Antoine Emaz,Claire Chesnier, dir. Armand Dupuy, Jeremy Liron, ,Coll. Livres d’artistes, Éd. Centrifuges, Saint-Jean La Buissière, France


Peindre dit-elle - chapitre 2, dir. Julie Crenn, Annabelle Ténèze, Amélie Lavin, Musée des Beaux Arts de Dole, France


2016
Peindre n’est (ce) pas teindre?, Éd. Créations & Patrimoine, Université Paris 1 Panthéon-Sorbonne, France



2014


Avec et sans peinture, Ed. musée d’Art contemporain du Val-de-Marne (MAC VAL), Vitry-sur-Seine, France


Claire Chesnier - L’aire des aurores, dir. Léa Bismuth, Art Collector, Paris, France







Press

2023

L’Oeil, March, "50 artistes de la nouvelle scène française, Claire Chesnier" by Anne-Cécile Sanchez
"Claire Chesnier - Les Jours", week 03.23, text by : Philippe Piguet, Chapelle de la Visitation, Thonon-les-Bains, France
"Art Essai, 2014-2020", catalog, dir. John Cornu, Ed. Art Essai - Université Rennes 2; cultureclub-studio, Rennes, France
"Des mondes saturés", dir. Damien Bonnec and Charlotte Beaufort, « Le risque de la boue » by Claire Chesnier, Presse Universitaire de Rennes, France
"L’horizon d’un instant", Pierre Cendors and Claire Chesnier, Ed. L’Atelier contemporain, Strasbourg, France


2022

The Art Newspaper, May, L’objet de …, « Arnaud Laporte choisit 130221/140221 de Claire Chesnier » by Arnaud Laporte
Art Press n°497, March, « Claire Chesnier/Denis Laget - mudhoney » , by Julie Chaizemartin
Beaux-Arts Magazine, January 2022, « Claire Chesnier : traverser la couleur », by Maïlys Celeux-Lanval
L’Oeil, January, « Claire Chesnier, Denis Laget - en galerie » by Vincent Delaury
Télérama, February 14th, « Peinture : les 8 expositions à ne pas rater à Paris », Expo TTT, by Laurent Boudier
Revue Transfuge, January, « L’équilibre de la boue », by Aude de Bourbon Parme


2021

France Culture, November 10th, « Claire Chesnier », interview with Arnaud Laporte
« Une présence autre », exhibition text "Par espacements et par apparitions", L’Ahah, Paris, by Pierre Wat
Mediapart, December, « Claire Chesnier, la peinture révélée » by Guillaume Lasserre
Art Press, n°485 February, File « La Dé-Définition de l’abstraction », « Dialogue avec Claire Colin-Collin »
Art Press n°484 January, « The Painting People - Atelier Michael Woolworth Paris », by Erik Verhagen, Art District Radio, « A l’atelier #7 : avec la peintre Claire Chesnier », interview with Julie Chaizemartin, Les Apparences, episode 19, « Claire Chesnier », available on YouTube, interview with Thomas Levy-Lasne
Arts Hebdo Medias, October, « Claire Chesnier, Par espacements et par apparitions » by Vanessa Humphries
Paris Capitale, October, « Claire Chesnier, L’Ahah #Griset » by Anne Kerner
Slash, November, « Claire Chesnier, L’Ahah Griset, Paris » by Guillaume Benoit
Paris Update, November, « Art Angels » by Heidi Ellison
Les Pas perdus, « L’espace de la chute (Claire Chesnier, encore) » by Jeremy Liron





Interviews

2023
Interview with Philippe Piguet, exposition Les Jours, Chapelle de la Visitation, Thonon-les-Bains, France

2021
Interview with Maylis de Kerangal, L’Ahah, Cité Griset, Paris, France
A quoi tient la beauté des étreintes, table ronde avec Zrinka Stahuljak, Gaspar Claus, Jean-Charles Vergne, L’Ahah, Paris, France
Table ronde Art Press, La Dé-Définition de l’abstraction, with Romain Mathieu, Karim Ghaddab, Claire Colin-Collin, L’Ahah, Paris, France
Conférence Art Press, L’abstraction, with Romain Mathieu, Karim Ghaddab, Claire Colin-Collin, ESAD, Saint-Étienne, France
Interview with Claire Colin-Collin on abstraction, on the Art Press dossier (n°485), L’Ahah, Cité Griset, Paris, France

2020
L’oeuvre en question, interview with Vincent Dulom, available on YouTube, L’Ahah, Cité Griset, Paris, France

2019
Vitalité de la peinture, on Invitation by Thomas Lévy-Lasne, Villa Médicis, Rome, Italy
La peinture abstraite, on Invitation by Thomas Isabelle de Maison Rouge, les Dits de l’Art, Cabinet Danton, Paris, France

2018
Presentation of n°23 of Recherches en esthétique, Interview with Mathieu François du Bertrand, L’Harmattan, Paris, France
Invited lecture by Isabelle de Maison Rouge, les Dits de l’Art, Cinéma l’Arlequin, Paris, France

2017
Invited lecture by John Cornu pour l’Université Rennes 2, FRAC Bretagne, Rennes, France

2016
Peindre n’est (ce) pas teindre? Université Paris 1 Panthéon-Sorbonne, Musée de la toile de Jouy, Jouy-en-Josas, France

2013
Rencontre des acteurs du marché de l’art : l’artiste, l’oeuvre et les autres, organized by the Syndicat National des Maisons de Ventes Volontaires (SYMEV) and the Jeune Création association, Mairie du 11ème, Paris, France

2012
La peinture abstraite aujourd’hui, with Pierre Wat and Emmanuel Van der Meulen, Galerie du jour agnès b., Paris, France

2010
Apparition Disparition, on invitation by Vincent Dulom, La Fabrique, Université Toulouse II Le Mirail, Toulouse, France
LE PETIT BULLETIN - Claire Chesnier : l'émotion atmosphérique - Fabrizio Migliorati - 15 novembre 2023
LE PETIT BULLETIN - Fabrizio Migliorati
November 15, 2023
Voir le fichier
LE PETIT BULLETIN - Claire Chesnier : l'émotion atmosphérique - Fabrizio Migliorati - 14 novembre 2023
LE PETIT BULLETIN - Fabrizio Migliorati
November 14, 2023
Voir le fichier
Art Brussels
April 25, 2024