Adrien Vescovi living and working in Marseille for a few years after a long isolated practice in the mountains of Haute-Savoie. The artist reinvests with contemporary issues the free canvas and a painting thought on an architectural or natural scale. Adrien also carries out an in situ practice with a reflection on the history of the places he invests, the specificities of the architecture and composes a spatial organization of his work to echo the contexts in which he is invited.

Born in 1981, he is a graduate of the Ecole supérieure d’art de l’agglomération d’Annecy, his work was presented in Belgium, Denmark and Mexico. In 2017 he made a residency and exhibition at the Cyclop in Milly-en-Forêt. In 2019 his work will be presented at the Galerie des Ponchettes with the MAMAC of Nice, at the Villa Noailles, at the Musée départemental d’art contemporain de Haute-Vienne (Rochechouart ), at the Palais de Tokyo and at the MRAC of Sérignan.

His works are in the collections of the Musée des Beaux-Arts de Nantes and Frac PACA.


Web design & development : oreliostudio.com


2000 – 2006 Ecole supérieure d’art de l’agglomération d’Annecy (DNSEP)

*Upcoming and current

2020 Crystal Clear, Pera Museum, Istanbul / TUK
Prix Ricard, Fondation Pernod Ricard, Paris / FR

*Solo shows

2020 Slow Down Abstractions, Studio Fotokino, Marseille / FR
2019 Mnemosyne, Galerie des Ponchettes, MAMAC, Nice / FR
2019 mens momentanea, 7 Clous, Marseille / FR
2017 For the memory of a life time, ChezNeon, Lyon / FR
2017 Mnemonics, Galerie Ceysson Benetiere, Saint-Etienne / FR
2017 Résidence et exposition, Le Cyclop, Milly-la Forêt / FR
2016 Turn off the lights, Casa de Francia, Institut Français d’Amériques Latines, Mexico / MX
2015 Amnesia, Tripode, Rezé / FR
2015 3XL – DSCN1989, Nosbaum Reding Project / LUX
2014 Sugar and spice, Galerie TORRI, Paris / FR
2013 Afterwards, Mosquito Coast Factory, Campbon / FR
2013 Brain Freeze, Glassbox, Paris / FR

*Group shows and other medium

2020 Sur pierres brûlantes, Triangle France – Astérides / Ateliers de la Ville de Marseille, Friche La Belle de Mai, Marseille / FR
2020 Your Friends and Neighbors, High Art Gallery, Paris / FR
2019 Par hasard, Centre de la Vieille Charité & La friche Belle de Mai, Marseille / FR
2019 Futur, ancien, fugitif , Palais de Tokyo, Paris / FR
2019 La mesure du monde, MRAC, Sérignan / FR
2019 Festival international de mode de Hyères, Villa Noaille, Hyères / FR
2019 Viridarium Chymicum, San Sebastiano da Po, IT (residency)
2018 Accrochage dans la collection, Musée d’Arts de Nantes / FR
2018 Biennial IntoNature , Curated by Hans der Hartog Jager, Frederiksoord / NL
2018 Rapido Rapido , Collection N9, Interior and the Collectors, Noirmoutier / FR
2018Sometimes, however I am called to action by the siren song of the narrative faction , Curated by Furiosa Monaco, Marseille / FR
2018 Norma, Curated by Maud Salembier, Maison Pelgrims, Bruxelles / BE
2018 Aller-Retour, Belsunce Projects, Marseille / FR
2017 Club Andalouse, curated by Marie de Gaulejac, Paris / FR
2017 Back to the peinture, La Station, Nice / FR
2017 Villa Datris, L’Isle-sur-la-Sorgue / FR
2016 Don’t read books, Chez Neon, Lyon / FR
2016 In & out, Villa du Parc, Annemasse / FR
2016 30 ans déjà, Villa du Parc, Annemasse / FR
2016 Art Ephémère, Marseille / FR
2016 Galerie Praz-Delavallade, Paris / FR
2016 One Thousand Books, Kunsthal Charlottenborg, Copenhague / D
2016 Sequoya Dream, La Galerie, Noisy-le-sec / FR
2015 Problème de type Grec, sur une invitation de Jagna Ciuchta, La Galerie, Noisy-le-sec / FR
2015 My internet…, Galerie Jeanroch Dard, Bruxelles / BE
2014 (IM)MATERIEL, Galerie Jean Fournier, Paris / FR
2014 Le corps invisble, Galerie Edouard Manet, Gennevilliers / FR
2014 Rien de plus tout du moins, sur une invitation de Benoît-Marie Moriceau, Crédac, Ivry-sur-Seine / FR
2014 Art is hope, Palais de Tokyo, Paris / FR
2013 Une nouvelle unité , Les loges de la bastide Saint-Joseph, Marseille / FR
2013 Romantic duo,  Friche Belle de Mai, Marseille / FR
2013 Looking for Vidéo, Galerie Claudine Papillon, Paris / FR
2012 Keep me in suspense, The Central House of Artists, Moscou / RUS
2012 Bauhaus. Entretenir des choses matérielles, Kunstforum, Essen / DE
2012 Désarchitecture, Galerie Gourvennec Ogor, Marseille / FR
2012 Centre Aéré, Galerie de l’ENSAN, Nancy / FR
2011 Inauguration, Galerie Gourvennec Ogor, Marseille / FR
2011 Vigoureuse Affection, A l’atelier, Ivry-Sur-Seine / FR
2011 Ecole alternative bAbA, Paris / FR
2011 Colloque « L’aire du Jeu », INHA, Paris / FR
2011 Grand concours de tableaux monochromes, Galerie Jean Brolly, Paris / FR
2010 Aires de Jeux, Centre d’art Micro Onde, Vélizy-Villacoublay / FR
2010 Ils chantent et ils jouent, les gens entrent, Maison des Arts, Grand Quevilly / FR
2010 Collection Permanente, Mains d’oeuvres, Saint-Ouen / FR
2010 55e Salon de Montrouge / FR
2009 Opération tonnerre, Mains d’oeuvres, Saint-Ouen / FR
2009 Ligne à ligne, Galerie Nationale d’Indonésie, Jakarta
2009 Déminage, MAMAC, Liège / BE
2008 Playtime, Béton Salon, Paris / FR

*Public Collections

2019 CNAP / FR
2019 MAMAC / Nice / FR
2016 Musée des beaux arts de Nantes / FR
2011 Conseil Général des Côtes d’Armor / FR
2009 Ville de Montrouge /FR


2016 Cité internationale des Arts, Paris / FR
2014 Summer Lake, Annecy / FR
2009 Triangle France, Marseille / FR


2020 Les inrockuptibles, 14.09.2020, Des artistes exposent leur singularité “Sur pierres brûlantes”, Ingrid Luquet-Gad
2020 Paris Match, 30.07.2020, Les bouillons artistiques d’Adrien Vescovi, Anaël Pigeat
2019 TL Magazine n°32, Interview par Rachel Moron
2019 Les inrockuptibles, 6.11.2019, Résiste, Ingrid Luquet-Gad
2019 The Drawer, revue de dessin, Volume 17 – Rose
2019 Palais n° 30, Futur, ancien, fugitif, le magazine du Palais de Tokyo
2019 Catalogue 003, 34e Festival International de mode, de photographie et d’accesossoires de mode, Hyères, La Ville Noailles
2019 Madame Figaro, n°1849, Marseille l’art de vibre, Lisa Vignoli
2019 La Marseillaise, Novembre 2019, Adrien Vescovi, Alchimiste de la couleur par Alain Paire
2019 Narthex, « Mnémosyme » : l’infusion du temps, au MAMAC hors-les-murs à Nice par Odile de Loisy
2018 ArtPresse, Les galeries d’art contemporain de la province au monde, par Alain Quemin
2017 Monsieur Météo, Entretiens, Mouvement par Alain Berland
2017 Milly-la-Forêt : les artistes invités au Cyclop célèbrent le hasard, Le Parisien, Cécile Chevalier
2017 Crash Magazine n°79, par Dorothée Dupsuis
2014 Adrien Vescovi : support, surface et Lune, Quotidien de l’Art, par Jullie Portier
2010 A New Dynasty, Catalogue Contemporary Art Magazine, Numéro 3, Isabelle Le Normand


You got to love meCotton, natural dye (plant), sun-whitened, sewing machine
Edition of 5
Produced by Théophile’s Paper2016
You got to love meCotton, natural dye (plant), sun-whitened, sewing machine
Edition of 5
Produced by Théophile’s Paper2016
+ text

Hi Adrien,

I’m writing from my bed. I like writing at night, with my computer on my knees, it’s so different from when I’m at my desk during the day, always available, reachable, always prepared to divide my time and continually open new windows on my computer screen. But most of all, I don’t have wifi in bed, so no other resources, no distractions… And I’m pretty tired, like after a busy day. So as I write in this state, I feel the need to extend and focus on one simple thing, for a while, vaguely. It’s probably a good state for writing about, as if it were since, those hammocks you made for the art book fair in Copenhagen, where Theophile’s Papers’ commissioned furniture to present its books on.

I know I’m not the only one who has fond memories of hammocks, books, and gardens: the shadows, heat, summertime, naps, swaying, flipping through pages, not really reading, a happy seclusion, hanging above the ground… I imagine that reading in a hammock, in an art book festival where the sources of information are far too rich for anyone’s attention span, must be quite a different feeling. Maybe offering flexible structures to settle in is also an invitation to accept not to see everything, nor read everything, maybe to the point of turning this subjectivity into a privilege, a welcoming retreat, where one can hide in the very midst of a dense and bustling situation. These long strips of fabric, sewn together with bulky seams, hanging from each end, stand in for the robust furniture that is more adapted and functional for showing books, as the surface of a table, a chair, a shelf twist into the folds of these enveloping and supple forms. A book is also a bound object, its content concealed by its cover or successive pages. Seen from my bed, and probably also seen from a hammock, a book and hammock seem very similar with their folded structures, their plays of showing and hiding, and this closeness makes these two shapes inviting to one another.

Actually, this relaxed state that I am in and am imagining started long before the convergence of a bed, a computer, and a room or a hammock, a book, and a festival. Firstly, it’s the way you relaxed the material itself, because the hammock’s fabric is actually loosened canvas: both untightened and released. It has escaped the frame onto which it was meant to be stretched. The fabric has shifted from the project of a painting to the object of the physical experience of a creased painting, from a flat supporting structure to a tangle of material hanging from two ends. It is a painting that ultimately refuses to be seen entirely, whether it be up close or far away, because it can undo the eye’s distance by wrapping or hiding its beholder. You made these canvases at the residency in Noisy-le-Sec, in the art center where I work mostly during the day. This is where you sewed the different strips of pastel pink, yellow, and blue. The picture you took of the towers surrounding the residency, right before dusk, echoed your vertical composition and its colors. And then, immersed in a decoction only you know how to make, with leaves that you picked from a flowerbed, it suddenly took on a very local dimension. Your trip to Copenhagen transformed this project, allowed it to become functional: from horizontal compositions, the canvases creased, freed from any supporting structure, to become simple  and welcoming objects, shapes at rest.

Good night, and see you tomorrow,