A new space for celebrating contemporary art in Luxembourg

With these underground frescoes, CODIC International shows once again its willingness to open urban spaces to contemporary art, whether they are workplaces, places of residence or business.

“If I had to sum up in three words, I would say that art brings beauty, elegance and refinement to a place,” explains Thierry Behiels, CEO of CODIC International. For me, art and architecture are closely bound together; I wanted that to become a sign of recognition of CODIC International’s projects. Royal-Hamilius is a work of art per se: the architects Foster & Partners and Tetra Kaiser & Associés have designed their façades with high quality materials, the interior architecture was entrusted to Nathalie Jacoby (Njoy) and her team of young designers. Tobias Link is going to create an absolutely magical Royal-Hamilius by night. The landscaping is carefully arranged, and light will enter through a glass canopy in the main store. CODIC International was involved in all the details, from the sky restaurant to the car park.”

At the stone laying ceremony for Royal Hamilius, in 2016, an artistic work had been entrusted to a street artist. “For the renewal of the city centre, I wanted to call on emerging artists whose work was in harmony with such an urban jewel as the Royal Hamilius. In a public space, art takes advantage of everything. I believe that art, in a timeless way, is a source of conviviality and empathy because it makes it possible to strike up a conversation.”

Works by basement level...

Dorothée Louise Recker depicts both disappearance and rebirth ... a palm tree fades away in the mirage of an horizon which seems so close, while a red sun suddenly appears from the jungle.

Sa place au soleil (Phoenix forever #4)
2,40 x 14,44 m / acrylic on concrete

In dem Roten Dschungelmorgen
2,30 x 6,05 m / acrylic on concrete

The Artist

Born in 1984, Dorothée Louise Recker is an international artist of Franco-German-Norwegian origin. She produces subtle colour gradients by using grains of sands, one of her favourite materials, plunging the spectator into an unforgettable sensorial experience.

She has exhibited in France, in Germany and in the United States.


The intention

“This palm tree has a story. It is mine and more precisely my grandparents’ story. Today, it is in several pieces in the garden. It was affected by the epidemic of the red palm weevil. We had to cut it down. It had an enormous effect on me. I reproduced it here, still alive, in a way that evokes a contrary intention, by erasing it under colour gradients. I am aware that it is a somewhat desperate search, because the substance remains. But this impossible erasure is a way of saying that we cannot disappear, or make things disappear, and reappear. In this place, without daylight, by working with very atmospheric colours that call to mind the heat and the open air, I tried to create that sensation of almost magnetic attraction that I feel, between the palm tree and the spectator.”

In three words...

According to Dorothée Recker : "Heat, evanescence and memory. "

Timelaps

Gaëtan Henrioux deconstructs his technique to conjure up his dreams of childhood ... an aquatic and enchanted, plant world, where small imaginary beings are having fun, night and day.

Tropea
2,41 x 17,06 m / acrylic on concrete

Night life
2,30 x 6,05 m / acrylic on concrete

The Artist

Born in 1984, Gaëtan Henrioux worked for a long time in Brooklyn, NYC. He explores eccentricity through a neo-expressionist approach. His works bring us face to face with symbolic thinking. Bright colours and pop culture are the bases of the originality of his work, teleporting the spectator into a chimerical, parallel universe, where the benchmarks differ greatly from those to which we are accustomed.

He has exhibited in Germany, in the United States, in France, in Morocco, in the Czech Republic and in the United Kingdom.


The intention

“In this mineral setting, under ground, I wanted to make nature come back. I had prepared the overall composition of this imaginary forest, composed of flowers, plants and corals. It appeared gradually, as if by magic. Every day, when I arrived, I removed a plant, I added one, it was like gardening on the wall, the flowers appear and grow. I was surprised myself. I lived a magical experience: the car park was not finished when I was drawing; gradually, the people working there began to stop. When they noticed a small imaginary being, I was delighted, they looked so pleased. We did not speak the same language, it was our only way of communicating. I thought of the children who would come as a family. I believe that art can touch people simply, by bringing them into an imaginary world that talks to them.”

In three words...

According to Gaëtan Henrioux : "Freshness, surprise and playful. "

Timelaps

Lise Stoufflet interprets the double-entendre in a style reminiscent of Magritte, with the added power of feelings and poetry ... the suspended time of a kiss and childhood slipping away, like small boats floating down the gutter.

Regarder passer les bateaux
2,38 x 10,62 m / acrylic on concrete

Les grands amants
2,38 x 6,11 m / acrylic on concrete

The Artist

In her works, Lise Stoufflet explores innocence and unawareness, through the medium of two preferred subjects of study: childhood and animals. Her supposedly childlike works, tinged with poetry, make us wonder about the assumed ingenuity of the depicted subjects.

She has exhibited in Germany, Belgium, France, Italy, Serbia and Switzerland.


The intention

“I did a lot of drawing before coming to the simplicity of these two scenes. People go quickly through a car park and so the picture must not demand a too complicated visual effort. I wanted something peaceful and somewhat meditative too. On one, a couple are kissing, in a small corner; on the other, I conjure up the sweetness of childhood and the passing of time. The grass is fresh, water is flowing. I spent a long time thinking about what I wanted people to feel on seeing these colours and this composition. I wanted to tell the tale of simply intimate moments, suspended in time. I am really happy; I so much enjoyed painting in this place set away from the world.”

In three words...

According to Lise Stoufllet : "Simplicity, playful and fresh. "

Timelaps

Under the absolute light of Hawaii, Kosta Kulundzic captures the instagrammable snapshots of a globalised pop culture. #goodvibes #Ilovemylife.

Waikiki burning
2,37 x 10,53 m / acrylic on concrete

Waimanalo BBQ
2,41 x 6,07 m / acrylic on concrete

The Artist

Born in 1972, Kosta Kulundzic is an international artist of Franco-Serbo-American origin, greatly inspired by global pop culture and the new instagrammed world. Co-founder of the Under realism movement, which advocates the primacy of the image over form, his work is resolutely optimistic, even if, in a metaphoric way, it often depicts scenes of apocalypse.

He has exhibited in Germany, England, Belgium, Bosnia, China, in the United States, France, Morocco and Serbia.


The intention

“Today, we are living in a world of images; nothing surprises anymore. A powerful, aesthetic and narrative shock needs to be created, if we are to attract attention. I believe that it is no longer possible to paint in a restrained way. Technically speaking, that is what I wanted to do by proposing a huge composition enabling me to play with several scales of characters – drawing, for example, faces two metres high, with a perspective rather open onto the horizon. In this tropical atmosphere, I play with the stereotyped codes of global pop culture. My somewhat pop and tangy range of colours brings the sun of Hawaii into the Royal Hamilius basement.”

In three words...

According to Kosta Kulundzic : "Cinematographic, tender and pop. "

Timelaps

Drawing her inspiration from a free architecture that recycles everyday objects, Valentina Canseco composes abstract landscapes, shapes and colours.

Paysage décomposé 1 (# série cagette et bouée)
2,38 x 16,18 m / acrylic on concrete

Paysage décomposé 2 (# série cagette et bouée)
2,37 x 6,05 m / acrylic on concrete

The Artist

Born in 1985, Valentina Canseco, an international artist of Brazilian-Chilean origin, likes to give prestige to popular or impoverished materials. She practices, with commitment and spirit, the art of South American “murals”, those outdoor frescoes by which she celebrates vernacular architecture and interstitial urban space.

She has exhibited in France, Colombia and Argentina.


The intention

“A car park is a three-dimensional space; it departs from the flat dimension of the picture and the sheet of paper. Here, I go back to my favourite shapes: the crate and the buoy. I unfold them; I make them float. I deconstruct them to treat them in a minimalist way. By playing on transparencies, colours and overlays, I create an abstract landscape in this way, reminiscent of self-construction in architecture. Interpretations are many and varied. I would like people to allow themselves to be carried away by the colour and by the space, I would like them to wonder about the way in which art can transform space and perceive how simple, two-dimensional shapes can give the feeling of architecture.”

In three words...

According to Valentina Canseco : "Crate, buoy and landscape. "

Timelaps

Between tradition and modernism, Axel Sanson draws his strength from his Luxembourg roots. His melancholic depiction of the costume is an art and fashion tribute to this exceptional place.

Obsidionale mélancolie
2,37 x 16,20 m / acrylic on concrete

Je suis à eux de l’âme jusqu’à la peau
2,37 x 6,05 m / acrylic on concrete

The Artist

Born in 1975, Axel Sanson, a French artist of Luxembourg origin through his great-grandmother, Mrs Kubler, specialises in the square format: the cinematographic technique of centring pays tribute to the historical narrative, its tragedies and its epics. “Black and white” recalls the unspeakable of the past, while the light coloured washing indicates that the latter is not outdated, rather re-explored. His pictures, which generally take their sources from photographs or cinematographic references, give rise to collisions of scales, spaces and timeframes, at the origin of the peculiar poetic composition of his works. His work makes us travel: from Germany to Greece, from Spain to Italy, from the Far East to the United States.

He has exhibited in Germany, France and in Luxembourg.


The intention

“Through the aesthetic representation of a Japanese ceremonial, I wanted to deal with the universal issue of appearance – metaphorically and symbolically, the fact of showing oneself to others wearing a costume. The place, and even more so this 7th basement level, nurtured the melancholy and romanticism of this reflection. I composed this work like a theatre stage, beautiful and tragic at one and the same time. The characters are dramatized in a space, inhabited by the soul of their kimono and the self-image that they reveal. I, moreover, chose to paint in oil in order to rediscover, despite the hardness of the wall, the carnal sensation that I feel in the vibrations of the canvas. In an inexpressible way, I believe that I wanted to share the feeling of the beauty and the fragile nature of life with whoever comes here.”

In three words...

According to Axel Sanson : "Theatre, feeling and compassion. "

Timelaps


The players in this permanent artistic exhibition: a new destination in Luxembourg

Design, curation, cultural engineering and LBO project management for Melpomene Society Luxembourg. Erick Öge and Jérôme Le Berre have been associated for over fifteen years and advise French and international, public and private collections on their acquisitions and their patronage policy.



From LEFT to RIGHT,
Paul Muyldermans - Technical Manager CODIC Luxembourg, Jérôme Le Berre, Thierry Behiels - CEO CODIC International, Erick Öge de Grasse-Tilly, Vincent Beck - Director CODIC Luxembourg.