Nieves SALZMANN

EDUCATION AND PROFESSIONAL EXPERIENCE
2014: Diploma in Stage Management with a specialization in Lighting, awarded with highest honors, CFPTS, Bagnolet
2006–2014: Lithography Instructor at Villa Arson, School of Fine Arts, Nice
2008–2010: Coordinator and Painting Instructor at the Sommerakademie, Salzburg, Austria
2002: Graduated from the ENSBA (École Supérieure des Beaux-Arts, Paris); Lithography scholarship in Leipzig, Germany

MUSEUM EXHIBITIONS
2018 : Schloss Ritzen Museum, « Salzmann / Bottet / Salzmann », Biering collection, Saalfelden, Austria

SOLO EXHIBITIONS
Austria : Salzburg  (Galerie Welz) ; Vienna (Galerie Artmark, Galerie Artloung, Strabag)
France : Ivry-sur-Seine (Atelier du bout de l’allée) ; Lyon (A.Del gallery) ; Nantes (Galerie La Folie des Arts) ; Paris (Galerie Arcturus, Galerie Weiler)
Germany : Munich (Galerie Burger)

GROUP EXHIBITIONS
Austria : Hallein (Galerie Freieraume) ; Linz (Galerie In der Schmiede)  ; Saafeld (Musée Schloss Ritzen) ; Salzburg (“Druckgrafik 2013”, Neuhauser Kunstmühle, Galerie Welz) ; Vienna (Galerie Artmark, “Väter und Töchter”, Strabag Artloung, Galerie Exner) ; Zell am See (RHE Galerie)
France : Boulogne-Billancourt (Espace Landowski) ; Lille (Galerie Naclil) ; Paris (Galerie Arcturus)

ART FAIRS
Austria: Leopold Museum Kunstmesse, Vienna
England : London Original Print Fair, Royal Academy of Art, London
Finland : Triennal of Contemporary Art of Finland
France : Lille Art Fair (Galerie Arcturus) ; Salon des Indépendants, Paris ; Espace Eiffel-Branly, Paris; Salon de Mai, Paris ; Biennale d’Art Contemporain de Nîmes; Foire de Strasbourg
Germany : Karlsruhe Art Fair

PRIZES
2013: Invited for a special project of a lithography ans engraving in Slazburg, Austria ; Artist residency in Pays de Loire, France
2011: Artist residency in Vienna, Austria
2008: Paint Award “STRABAG”, Vienna, Austria
2001: Second Painting Prize « André et Berthe Noufflard » ; Paint Award Michel Ciry, Dieppe, France

BIBLIOGRAPHY
2016 : « Nieves Salzmann, Cosmopolitown », Galerie Arcturus, Paris
2014 : « Nieves Salzmann, Autour du monde », Galerie Arcturus, Paris
2012 : « Nieves Salzmann, Sur la route », Galerie Arcturus, Paris

SET DESIGN AND LIGHTING
Lighting and set design: Tour in France (“Johnny, Make Me Male!”, Virévolte Ensemble, 2016-2018); La Faïencerie, Creil (“Twist”, Ten Contemporary Dance Company, choreography by Johanna Levy, 2016); Moriarty European tour (“Epitaph”, 2014-2015)
Lighting design: La Ferme du Buisson, Scène Nationale de Marne-la-Vallée, Noisiel (“The Rules of the Game”, text by Yann Verburgh, directed by Lorraine de Sagazan, 2018); Théâtre du Vieux Colombier (“Georges Dandin” by Molière, directed by Hervé Pierre, 2014-2015)
Set design, concept and production: Théâtre du Hublot, Colombes (“Genghis Among the Pygmies”, 2009 version); Théâtre de l’Avant-scène, Colombes (“Genghis Among the Pygmies,” 2010 version); Théâtre Le Hublot, Colombes (“An Ordinary Day,” texts by Dario Fo and Franca Ramé, 2011)
Set design and props: Théâtre de l’Aquarium, Cartoucherie de Vincennes (“Wonderland Elements CFA #11,” directed by R. Lopez Munoz, text by Lewis Carroll, 2011)
Set and costume design: Théâtre d’Arcueil (“Humanity Without a Head,” text by François Chaffin, 2008); Théâtre de Bligny (“Humanity Without a Head,” text by François Chaffin, 2008); Théâtre de l’Opprimé, Paris (“Humanity Without a Head,” text by François Chaffin, 2009)
Photography: Théâtre de la Ville (“Pacific,” choreography by Nasser Martin-Gousset, 2011) Théâtre de la Ville (“Nearly 90’”, choreography by Merce Cunningham, 2009); Théâtre de la Ville (“Hibrah”, choreography by Robin Orlyn, 2010); Théâtre de la Ville (“Casimir et Caroline”, choreography by Ödön von Horváth, 2009); Théâtre des Abbesses (“La Cave”, Compagnie Peepingtom, 2007)

A road is fascinating. A road can take you very far, to the other side of the globe, to the end of an adventure. It’s a tangible, concrete place, leading to unimagined horizons. A road has the tremendous advantage of propelling you toward a future that is inevitably more exciting. A whole life spent on the road, road-movie style—some have dared to do it. A whole life spent traveling along the same anthracite line—isn’t that right?—touching freedom with your fingertips, with the tips of your soles.

In Nieves Salmann’s paintings, there’s a touch of this nostalgia for elsewhere, this recurring attraction to these lines that escape beyond the frame and go off to haunt other worlds.

As the artist aptly tells us, “roads are simultaneously imprints of the world, traces of history, but also a call to movement, to human adventure towards unexplored, unknown lands.”

“On the Road Again,” Nieves Salmann’s new series, is an urban journey into the heart of the spaces that surround us, spaces sometimes devoid of human presence, devoid of meaning as well. Buildings with gray windows, seemingly indifferent to the daylight, line deserted avenues in a thousand shades of gray. Here, the artist captures a world in flux. A world that reveals itself to us like a world glimpsed through a car window. This painting is like a reflection of what the retina retains after traversing our contemporary cities. A landscape of which we only keep the submerged part. Broad lines that sweep across the ground, an impression of rigor in the construction of spaces, of voids and solids. On the road again. Here we are on the road, our explorer’s appetite awakened. At the heart of the painting, the journey begins; all we have to do is let ourselves be carried away, the path is already laid out.

By Ludovic DUHAMEL
Miroir de l’Art, 2014 (translated from French)

–

The work of Nieves Salzmann
Is a universe in formation
An awesome construction
Where the material absorbs us
Torments us from first contact

Travelling these deserted avenues
These dehumanized zones
Full of disturbing absences
But filled
With a magnificent presence
Immeasurable
Perceptible through this violence
Graphed
A battleground
Revealed to be terrible
Convulsing bodies
Struggling against the material
Against space and its limits
Against movement and escape towards the unknown
It is moreover a place
Where time does nothing but amplify
Our desire
Suicidal
To pass to the other side
There
Where shadows are projected
Of translucent icons
Suspended like so many blades
Imprinted upon the walls
Of your home
Fine, light tracings
Nourished by a quivering
And attractive sensuality
You are a passer-by
A combatant siren
Dangerous and fatal
Energy in its pure form

You do not create images
But transfigurations
Formidable
Of vibrancy
Metallic tones
Hypnotic strokes
Perhaps a song
Which claws
Brushes
Permeates irreversibly
These opalescent tears
And our souls

You let the light filter
On the battlefield
Where victory belongs to you

Charles POISAY
Paris, March 3 2005 (translated from French)