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HOPE, La Maison Valmont, Berlin, Munich, New York, Madrid, Paris

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MILAN – CASA DEGLI ARTISTI
October 9th-14th 2023
Via Tommaso, angolo,
Corso Garibaldi 89/A

Free projection
info@fondationvalmont.com

Hope

16.05.2023 > 31.12.2023

by Valentine & Didier Guillon

Hope, a story of explorers & dream catchers

Hope, an incredible immersion in the heart of Uganda’s lush nature, tells Valentine’s encounter story with the Habinyanja family’s gorillas. A film in a diary form.
A journey away from the cage sadness, where infinite landscapes, traditional rhythms and syncopated dances follow one another. And of course: Ivo. An allegory of Ivo, free, happy, and surrounded by his family.

For the past 4 years, Ivo became in turn Moroccan, South African, and Tanzanian through successive exhibitions. But with Hope, La Maison Valmont takes its visitors much further. A step further in the impenetrable Bwindi Forest discovery; the only place in the world where the three great primates, mountain gorillas, chimpanzees, and humans, live together on the same territory. A step further in this country discovery and its often-unknown culture, through unique colours, landscapes, sounds and fabrics. Closer to its women, its men, and their traditions.

Hope, like a young girl’s hope and desire for freedom. Hope, like a father’s desire to see the spark in her eyes that the gorilla in the cage was missing.

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Hope, the film exhibition at La Maison Valmont

First unveiled in Seoul during the Ivo in Tanzania exhibition, Hope, the movie, will be shown on  May 16th, 2023. Not in one place, but in a simultaneous exhibition at Les Maisons Valmont. From Berlin, Munich, Paris, Madrid, New York to Milan, Ivo will be screened freely on every side of the globe. Hope, an emotional short film, tells the moving story of a 17-year-old girl, Valentine Guillon, travelling to Uganda to meet the gorilla in its natural habitat.

Ivo, an angular gorilla met a few years ago during a visit to the Berlin Zoo. Ivo, who was a source of both wonder and emotion for Valentine during a father-daughter trip in 2018. A young girl’s wish came from this Berlin visit to see the elegant animal released from captivity. A father’s desire to imagine the impossible to make him live beyond all cages. In this, Hope transforms Ivo’s freedom, and her message goes far beyond Uganda.

From Berlin’s cramped cage to the impenetrable Bwindi Forest, Ivo returns to Berlin and demonstrates that through creativity it is sometimes only a step from captivity to freedom.

The cage, Didier Guillon’s allegory

Hope exhibition goes along with the iconic cages designed by Didier Guillon, two to be precise. The first one, small, takes up Ivo’s motifs from The Elegant Symmetry of the Gorilla. The cubic motif in primary colours is expressed joyfully, like a nose-thumbing at the object it covers. The second cage is built in opposition to the first one, although they are complementary. Large, it is adorned with an infinite number of Ivo’s drawn in a single, strong, and straightforward line, thus creating an interlacing of White is Black branchesLike an echo of the bewitching Bwindi Forest.

Made of assembled cardboard, they reflect two of La Maison Valmont’s values: beauty and sustainability.

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Valentine & Didier Guillon

Jakub Flejšar

For the first time at Palazzo Bonvicini, rooms are metaphorically and physically intertwined to represent Jakub Flejšar’s and Pavel Roučka’s profound familial bond from a 360-degree perspective. Flejšar synthesizes this bond by placing a steel sculpture between his room and Roučka’s : a seated man, the artist himself, viscerally penetrates the space. This arrangement allows the visitor to discover, in Room 1, just a part of the whole. In the middle of the room, a large human figure is crouched down, gazing at the seated man, seemingly burdened by an inheritance too heavy to bear.
The sculptures are portraits of the artist at different stages of his life : before and after mastering the ability to maintain his complicity with Roučka without slipping into dependency. Complicity is a key concept in the Odyssey after all, as Telemachus plays a pivotal role in Ulysses’ attempt to reclaim power in Ithaca.

Pavel Roučka

Champ de Bataille unfolds as a moment of confrontation : Flejšar’s seated man, situated between the two rooms, deliberately turns his back on his stepfather’s paintings, preparing to make a bold decision. Though he understands his paternal figure’s work, he is finally ready to forge his own path.
At the centre of Room 2, two large paintings depict the key figures in Ithaca : Penelope, still and silent in the front like an observing matriarch ; Telemachus with Ulysses in the back, merging into a single entity – coinciding, sublimated, almost indistinguishable. This fusion raises a striking question : can the son ever truly break free, or is he destined to carry his father’s legacy forever ? This duality is at the heart of Champ de Bataille – a revolutionary battlefield in transformation.
Flanking this central vision, a series of scenes unfold like a protective embrace in Room 2. Telemachus appears in different stages of his journey – fighting, questioning himself, and ultimately triumphing. Father and son cannot stand as rivals but as figures entwined in the same struggle, navigating the fine line between lineage and self-determination.

Maxence Guillon

In Room 3 Maxence Guillon’s installation The Virtuous Circle explores his journey as both a man and a son, following in the footsteps of his father, Didier Guillon. This path is initially represented by a red carpet, symbolizing the invisible presence of the artist, guided and protected by his father. As the carpet turns to a brownish tone, the scene shifts to a contemporary arena, where a multimedia installation replaces the physical presence of ancient Roman spectators. In front of the towering arena, a classic-style sculpture with Maxence’s features performs like a gladiator.
The digital presence of Didier Guillon silently judges his son’s performance — eternally watching from his ever-present/absent televised form. If Didier Guillon replaces the physical spectators of ancient Rome, actual visitors are invited to sit in front of Maxence on a special seat, taking on the role of his father. Maxence’s journey, such as Telemachus’ journey, mirrors the universal human experience of navigating an adventure made possible only through the awareness of his father’s heritage.

Didier Guillon

For Room 4, Didier Guillon has chosen to present two anatomical drawings of his great-great-grandfather, Alphonse Lami, printed on towering, monolithic totems that stand as monumental echoes of the past. These sculptures anchor the works in the present, linking several generations across time. Above these totems, the word dream glows in luminous, incandescent letters, translated into ten different languages. This universal term transcends linguistic and cultural barriers, embodying the shared human experience of aspiration and courage.
The installation En dessous des rêves invites us to reflect
on the essential role of dreams in shaping our future. Without dreams, it becomes impossible to draw from the past the
heritage needed to navigate the present and, above all, to gaze towards the unknown horizon.
As the final room of the exhibition, this space closes the
virtuous circle, inviting the viewer to reflect on how heritage shapes not only the past but also the future. Much like Telemachus’ journey reaching its conclusion, this room serves as a culmination, uniting the themes of legacy, transformation, and self-discovery. It leaves the viewer with a sense of resolution and potential.

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If you become a susbcriber, you will receive updates on all the amazing projects of Fondation Valmont, together with specific highlights on the most brilliant contemporary art exhibitions in Venice and abroad.

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