André Baierl
born in 2003, lives and works between Arles and Marseille
→ contact@fakonde.com
→ contact@andrebaierl.fr
last exhibitions:
Jackpot ⚆ Erratum Projects, Art-O-Rama
(Maison de la Société des Architectes)
Mentally, I am here: ⚆ Lou Jelenski (Mesure Club)
Faiseur.euses de la D (Agent Troublant)
parutions:
Anthéphoria #3 ⚆ Nombril Magazine (preorder)
Pilot Magazine ⚆ Issue 06 (available in store)
services:
Exhibition coordination (Arles-Marseille)
Co-production (Arles-Marseille)
Graphic design, web & editorial (andrebaierl.fr)
⚈ about
André Baierl is a multidisciplinary artist based in Marseille, beyond his work in graphic design, he expands his visual practice through various materials across a craft-based approach that blends materials and visual representations. Spanning painting, printmaking, and design, his work explores the memory of images as depicted in fragmented visual narratives and objects of focus. Through a poetic approach, he creates surfaces where abstraction engages with intimate and universal tensions.
EN
By incorporating ambivalent figures and altered forms, I work with the image as a malleable entity. Sketchy reproductions, mounted supports, and salvaged materials challenge the very notion of the original. They reveal suspended moments, akin to those of memory or evocation. In this invitation to a visual wander, imaginations are encapsulated, sometimes constrained.
Acting as devices of containment, the image is enclosed, carried, and bound. It becomes a space for projection, allowing states of mind to surface rawly. As it reconstructs itself and becomes imbued with ambiguity, its consumption is no longer passive.
A multicultural discourse unfolds, attentive to the circulations, transformations, and narratives that images convey. Through these arrangements, my practice delves into the heart of these ever-evolving imaginaries, with the aim of defusing their automatic responses and sparking a reflection on the power of images and their ability to shape dominant narratives.
fr
En intégrant des figures ambivalentes et des formes altérées, je travaille l’image comme une entité malléable. Des reproductions esquissées, des supports montés et des matériaux de récupération remettent en question la notion même d’original. Ils révèlent des instants suspendus, semblables à ceux de la mémoire ou de l’évocation. Dans cette invitation à une déambulation visuelle, les imaginations sont encapsulées, parfois contraintes.
Agissant comme des dispositifs de confinement, l’image est enfermée, transportée et ligotée. Elle devient un espace de projection, permettant aux états d’esprit de remonter à la surface à l’état brut. À mesure qu’elle se reconstruit et s’imprègne d’ambiguïté, sa consommation n’est plus passive.
Un discours multiculturel se déploie, attentif aux circulations, aux transformations et aux récits que véhiculent les images. À travers ces mises en scène, ma pratique s’immerse au cœur de ces imaginaires en constante évolution, dans le but de désamorcer leurs réactions automatiques et de susciter une réflexion sur le pouvoir des images et leur capacité à façonner les récits dominants.
⚈ last paintings
cercle mortuaire
2026
45 x 35 x 15 cm
steel, printed aluminium, soldered tin on wood, found suitcase wheel, chain
exhibition view
JACKPOT by Erratum Projects
curation — Katya Quel and Lara Rocho
production — Virgile Bettan, André Baierl
28-31 august 2026, Maison de la Société des Architectes (Marseille)
photo credit: Viktor Nikishov
Depicting a self-constructed character caught in an eternal cycle of desire and idealization, its guise is at times engraved, transferred or carved. Altered metal sheets are forming a square, locked onto its spiral. Thus becoming the portrait of a character that continually bets on itself, to the point of turning its own identity into a betting machine.
Desires gave rise to a constant sense of dissatisfaction, growing disparity between Anima and Persona. A sharper face, a stronger body, a more desirable character, each new version promised to be the one that would finally be enough, evolving as the stake in the game.
Represented through different metal faces, cercle mortuaire shows as a caricatured portrayal of the various states of personality through the pursuit of self-conquest.
featured artists: Alissa Abolentseva, Alvise Pi, Amelia Woroszyl, Anna Alexanina, Antoine Traineau, Babette Robertson, Brandon Tong, Charlotte Hennion, Daria Galeeva, Ekaterina Costa, Eva Pracca, Federico Niccolai, Frans van Hoek, Gaia Vincensini, Guilhem Prat, Hugo Langlade, Inês Farah, Italia Bruno, Ivanna Heredia Torres, Julia Bonich, Jules Cartier, Katya Quel, Lara Rocho, Léon Heitz Zambo, Linda Denkert, Lisa Perrot, Luna Fernández, Lyne Caroff, Maël Dupraz Nayak, Miha Majes, Natasha Batby, Nika Lenz, Nicolas Vallat, Paul Betti, Philip Berg, Shai Datauker, Soline Morin, Thibault Cliquet, Adèle Vivet, Ivy Vo, Djoana Weimann, Josie Overton, Ellinor Aurora Aasgaard, Zayne Armstrong
JACKPOT imagines the contemporary art world as a casino. We enter with a stake, a reputation, a desire for recognition, and a belief in the possibility of the next turn. Artworks become cards, exhibitions become tables, collectors become players, institutions become referees. Above this economy of signs hangs the promise of the jackpot: the possibility that an encounter, a sale, an exhibition, or a decision might suddenly transform the value of an artwork, a career, or a life.
This fiction connects to a wider reality. Our time organises much of existence around performance, optimisation, and visibility. Life coaches offer methods, algorithms organise encounters, platforms measure attention, and figures of success promise reproducible formulas. Identity becomes a brand, time a resource, and the future an investment. Even uncertainty enters the language of management and strategy. Chance remains at the centre of these systems. It appears through timing, networks, virality, trends, and accidental encounters. In the art world, value is produced through complex relationships between desire, rarity, narrative, institutional recognition, market forces, and visibility. Merit exists alongside countless circumstances beyond individual control.
Several works transform ordinary objects into forms charged with renewed value. Abandoned toys become relics of desire; images from popular culture are displaced and recontextualised; fragments of conversations, graffiti, and urban artefacts are sampled, repeated, and put back into circulation. Digital bodies deform, narratives fragment, memories are recomposed. Repetition, displacement, and transformation become ways of unsettling established categories.
JACKPOT looks at this system with a critical, playful, and sensitive attention. The exhibition focuses on the mechanisms that produce belief: promises of success, signs of status, superstitions, strategies, personal narratives, and collective images that give shape to desire. Against the multiplication of predictions, statistics, advice, and promises of control, art maintains a space for ambiguity. It allows things to remain unstable, contradictory, sometimes useless, sometimes excessive. It circulates forms that escape a single function and an immediately measurable value.
text by Katya Quel
Fenêtre sur cour
2025
variable dimensions
printed fabric, steel, cast iron, printed aluminium, canvas
exhibition view
Faiseur.euses de la D
18-24 october 2025,
Agent Troublant (Marseille)
photo credit: Jules Clavel
curation — André Baierl
This object, crossing between a diffuser and a catcher, holds a canvas divided into a display of four scenes from a bird’s-eye view. Standing on the floor as an attention catcher, from above, we will look for similarities, scrutinizing its every feature.
The printed textile is divided into four sections that appear from above, one can read these messages enclosed within the metal framework. It is as a make out of the outside through a gridded window. Behind this sight lays a wrecked money bill, molding itself to the shape of its hollow.
Divided into four scenes, the printed surface suggests a collection of isolated situations, yet their proximity invites us to search for connections between them : similar shapes, colours or details can begin to appear, whether they were intentionally placed or simply perceived by the viewer. The object itself can therefore be understood through the idea of catching and being caught. The work ultimately exists somewhere between an image to be looked at and an object to be discovered. Its physical presence attracts us before its content becomes readable. The position of the body, the direction of the gaze and the distance from the work all become part of the experience.
Faiseur.euses de la D is an exhibition curated by André Baierl, as an invitation to a group of young emerging artists, Léon Heitz Zambo, Kiana Hubert-Low, Mélissa Jore Martin, Lisa Bugnet and Élias Hosni. By subverting representations—drawing on a coded imagination and paths of deviation—the “faiseur.euses de la D” adorn themselves with gleaned objects, ruses, and counterfeits.
This exhibition serves as a pretext for bringing together a temporary, self-organized group of artists seeking to form a collective, a point of reference, and a refuge, far from the beaten path.
Through interplay of correspondences, the artists explore strategies for building anew from ruins. Creating composite images—somewhere between familiar representations and a fading present—dwelling among the remnants, alongside the objects, voices, and symbols of a faded world, they organize themselves in ways that allow them to work both with and without these elements.
Their narratives incorporate these memories, gleaned from a worn-out past, seeking to transcend them in order to ultimately detach themselves from them; Faiseur·euses de la D breaks with the notion of fixity that animates an obsolete world.
invited artists: Lisa Bugnet, Mélissa Jore Martin, Léon Heitz Zambo, Kiana Hubert-Low, Élias Hosni
Phosphore blanc
2024
35 x 35 cm
acrylic on canvas, stainless steel artist frame
art-space view
“White phosphorus falls on me, clings to me, and won’t let go. When your hazy cloud descends upon me, I am at its mercy, no matter how I try to shield myself.”
Among clear memories, we will find incomplete statements that will lead to misinterpretations. This painting depicts a battle between reminescence and false souvenir, shuttered in an iron cold frame.
dusty witnesses
2024
35 x 35 cm
acrylic on canvas, stainless steel artist frame
art-space view
“Catch me on the fly, dusty witnesses.
I sat in your gap, right up to the edge of your edifice. Now I’m stuck in this fuzzy nest.. free me please conceited bully, our wings are cemented and my thoughts are begrimed..”
Hanging of a diptych photograph printed and pasted into the stone. The shot has been taken in the atelier a few days before leaving, after 3 months of destruction and deboning the space, this installation poetically brings to a close a life ordeal. Sacralized in two almost ghostly archetypes, whom captured the last breath of a place doomed to be lost.
11.88
2025
60 x 53 cm
printed zinc, steel, drawing on paper
exhibition view
Faiseur.euses de la D
18-24 october 2025,
Agent Troublant (Marseille)
photo credit: Jules Clavel
curation — André Baierl
11.88 — as the base hourly wage of 11.88€.
This displaying is formed in a battered shell, as the stature of a worker. Thoughts are sentenced to make run the machine. Such as the depiction of the rearview mirror from a wrecked car, 11.88 depicts the final thoughts before the accident.
This piece takes a fragment-like form, that seems to have survived something. Its damaged metal shell becomes both a body and a container. The dents, folds and scratches states as a record of the violence endured by the object, and by extension, by the figure it seems to embody.
Inside this improvised structure, the drawn figure appears almost trapped. Its colours and gestures contrast with the cold, industrial surface surrounding it, creating a tension between a mimicked inner world and the material conditions making it manifest into its subject reality.
The work plays with the ambiguity between a body, a machine and a piece of wreckage. Nothing is completely functional anymore. The metal has lost its original purpose, it behaves like a skin. Every scratch becomes a scar, every dent a memory of an impact.
“Whether it’s a burr, a hole, or a scratch, it wipes away the remnants and etches its memory into the sheet metal.”
ce qui me retiens
2025
variable dimensions
steel, printed fabric, cast iron, printed aluminium, canvas
exhibition view
Faiseur.euses de la D
18-24 october 2025,
Agent Troublant (Marseille)
photo credit: Jules Clavel
curation — André Baierl
“Holding onto what keeps me from falling, refrains me of the outburst.”
Memories and symbols are compiled into this narrow brandished sculpture, reproduced in different angles as an altar for a time I never lived through. Memories are scattered on the ground around this mystical emblem, as it would get its way to complete the puzzle.
1 peu de love pour 1 piece
2025
155 x 35 x 30 cm
printed aluminium, steel, zinc, colored PVC, paper, canvas
exhibition view
Faiseur.euses de la D
18-24 october 2025,
Agent Troublant (Marseille)
photo credit: Jules Clavel
curation — André Baierl
Overwhelmed by orders and stuck in the Status Quo, I flip through the pages of my memoir.
“If I were you, I would be.” – That’s how it begin. The cover is worn through, the edges of the book are frayed, the story locked inside seems to be frequently stirred to life.
Yet the pages won’t turn, and an image from the past remains trapped there, still clinging on, not quite ready to let go.
When taking another look at this book; inside, we find what appear to be pages that have been torn out, patched up, and annotated. They rest on a childlike drawing, revealing the reproduction of a painting I made as a child—one I found, covered in dust, while moving.
This catalog is half enclosed in a metal frame composed of scrollwork that leaves it openwork. At the end of its chain is a memento, printed on sheet metal, bearing a thoughtful comment.
crayons géants
2026
variable dimensions
extruded polysterene, plaster, acrylic, wood, steel, chain
exhibition view
Mentally, I am here:
07 november 2025, MESURE Club (Marseille)
photo credit: Luka Perkins-Petit
Giant pencils, co-production for the personal exhibition of Lou Jelenski.
Printed matters residency with Pistache Lauro, costume creation, alternative fashion design.
Mesure Club gives carte blanche to Lou Jelenski, a multidisciplinary artist from Marseille, who is opening up the space to a group of guest artists. The exhibition 𝑴𝒆𝒏𝒕𝒂𝒍𝒍𝒚 𝑰 𝒂𝒎 𝑯𝒆𝒓𝒆 depicts a utopian place where we would love to escape to. Projecting oneself into a place of refuge is a protective reflex that we engage in without even realizing it—a meditative vision. This exhibition is an attempt to transpose these imaginings onto a map where they can unfold.
featured artists: Lou Jelenski, Astrid Vandercamere, Belette Verrey, Collectif Binkadi, Happytain, kiks, Keight, Lamia R, La Noche Vita, Mélody Lu, Reality.psd, Taha Limane
