Ceysson & Bénétière

Philippe Favier is an avid experimenter and a painting devotee whose unique mind reveals itself through his work. To a long-term commitment to the fragile and the insignificant, the humbleness of the artistic object, the precision of the line and the fineness of the brush stroke drawing tiny figures on either vacant or excessive space, he adds an ingenious exploration of materials and techniques subtly referring to the fundamental questions of painting and its history while renewing its practice. 

If Philippe Favier evokes the history of art, his allusions to museum art is without seriousness or nostalgia. Pecking from a plethora of references, he introduces a distance with masterpieces that allows him to focus on painting only: “Simone Martini, Noir”. His topics are either smart or very banal – “Champ de choux-fleur à Chambourcy” – loving or biting, sometimes sarcastic- “Comment j’ai tué Kissinger”. His association of situations and figures, and his proliferation of details of all sorts turns the most serious subjects -wars, sexuality… skulls and vanitas- into playful matters. 

The titles of his series, sometimes words or signs scattered in the drawings, conceal the artist’s irony and derision behind the deceptively naïve charm of the multiplication of anecdotes that talk about nothing else than the relationship between death and the body. Philippe Favier is described as a narrative painter, but the stories he tells are enigmas only him can decipher.

Philippe Favier paints his sketches on the back of broken glasses, draws with ballpoint on small pieces of papers he constellates on the wall, but also engraves with great care. His point carves romantic or erotic scenes on the simple white metal of sardine cans –“ Captain coucou”- or revives the surrealist practice of the “exquisite corpse” in his business cards series Abracadavra. His miniaturizing of object/painting, along with his small format and scattered layout induce a relationship between the work and the viewer in which the distance matters as much as what is seen. 

From up close and from afar. Philippe Favier’s poetical world unfolds between the infinitely small and the infinitely big. The microscopic universe of his unpretentious works might be the starting point of the planet-size cosmic space of his larger series of cold enamel paintings on glass -“Monsieur Vous Trouverez mon Jardinier sur une Nouvelle Planche”. His titles (M comme Mercure, V comme Vénus, T comme Terre …) allude to a world the size of planets and enable the artist to add the ambiguity of the words to that of the image, inviting us to look at what we don’t see. “Only the Little Prince himself could … from his planet, he sees everything. A matter of distance only. You have to be infinitely far to be so close to the world. And Philippe Favier is so far away from the world, up there in his Saint-Etienne studio, that he sees things in infinitely big, and his work has always been boundless.” 

 

Catherine Flohic in « Philippe Favier » Ninety n°4

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You just had a major retrospective exhibition at the Museum of Valence, in the French department of Drome, where you exhibited over a thousand works interspersed in the museum collections.

How do you look at nearly forty years of career? 

This exhibition provoked two reactions in me. The first one was a bit unpleasant. It made me painfully aware of the passing of time and reminded me that what felt like such a long period of time actually flashed by. The large time span this type of exhibition offers is very disturbing, especially given that most of these works look fresher than their creator (laughter). 

The second reaction was more comforting, as this exhibition allowed me to get a very concrete grasp of the constant renewal of my work. My series of works always die out on their own, probably because I get bored and no longer surprise myself. I can’t create without getting into a mindset of discovery and play. 

How would define this spirit of play? 

I think this mindset has structured my life. For as long as I keep this greedy way of living, I will feel the need to transform this energy into something else. For me, creating is a way to keep feeling alive, free, and breathing. It’s a mix of sensations I can hardly intellectualize, but it makes me feel like I can do everything, without losing sight of the fact that, in any case, what you do doesn’t determine what the final work will be. 

There is this idea that increasingly upsets me in art, that of sincerity. I think it is the idea of necessity that best characterizes creative endeavors. It is what enables me not to think too much when I work, otherwise, I exhaust and wither my ideas. The challenge is to keep this energy, avoid taking too much intellectual distance and lose yourself. My creativity is rooted in a desire to always surprise myself. I can no longer surprise myself if I plan too much. 

When we look at your body of work, we cannot but notice several recurrent themes, like boxes for example. 

Yes, if you look at the last five years - it is less obvious if you look at my whole body of work over the last forty years-, “containers” have always played a big part. It took me years for people to forget about my collages, then about my glasses, and then about my cans, etc. Now, when people talk about my boxes, I always feel like saying that I have done other things too. But maybe it is my mischievous self. Today, I feel like I have exhausted this line of research, even if I recently discovered three small glass cases I might get my hands on soon. In any case, I am not done playing with the subtle line between art and crafts, while knowing that I should be careful with the time I spend making, which is always taken off the time I spend surprising myself. 

Similarly, letters and numbers are recurring patterns in most of your works. 

It is my own truant encyclopedia… My way of taking the easy route. I am a humble drawer, and I always feel like something is missing in my drawings. Letters and numbers help me balance compositions. They are like punctuation marks. I love the Argentine poet Antonio Porchia, and I often quote his aphorisms. Like a scansion, I always kept in mind the one in which he said that he was carrying a “0” like a lamp. Out of all numbers, “0” is undoubtedly the most recurring number in my work, which is also the letter “O”. 

I often draw inspiration from illustrations I find in encyclopedias and dictionaries, which I have been reading since I am 14 years old. They always come with a bunch of letters and numbers that refer to a corpus or a codex. For me, a clever book, or an intelligible image, has to be annotated, completed by additional notations. When you add numbers or letters to a drawing, it becomes a sort of blueprint, a model, the premises of something else. Once annotated, it is no longer just a drawing. I feel like it becomes magical and mysterious in a playful way. 

Another common thread in your series of works is that they all -or almost all- come from your bargain hunting, from objects you unearth in second-hand stores or thrift shops, hoping to revive them one day. 

It gives me a good reason to get outside my home, to breathe some fresh air (laughter)! I should mention that I am more interested in what I find than in the act of searching. Search is premeditated, and it is a risky business! I am not a compulsive collector or hoarder at all. I am rather like a mushroom picker who doesn’t know in advance what he is going to find. I love the idea that I might find something I don’t expect. It is one of the reasons why I don’t bargain hunt on the internet, where you can find everything you want in a few clicks. When, by accident, I bargain hunt with friends (the picker is always solitary), they are always surprised by what I buy, and I sometimes am too. I can never precisely define the potentiality of an object, but once I spot it, part of my brain tells me there is something to do with it. It depends on circumstances I hope I will never be able to predict. I only hope it leads to something at some point. The Carbones series for example, which led to a major series of works in 2020, had been waiting in my drawers for 25 years. My luck is that I have enough space and am able to store my findings for a very long time. 

There was a time when you preferred to work on smaller formats. You told me once: “they are not small, they are far away”. You seem to have changed your mind over the recent years? 

The exhibition I did with Thierry Raspail in Valence, and the huge amount of works I presented over such vast space, only proved one thing if necessary: that the future always disrupts the certitudes you have in the present. I don’t reject this quote today. I like it a lot. It fitted my work back then. There is another quote that I like: “we were kids too early”. 

But I need to find another one now because I did change my mindset a bit. But people ask me about format less often, which is a sign of success. Those who still ask me about my small formats are often people who haven’t followed my work over the last 20 years, who didn’t grow with me. Today, I could simply reply: “I no longer do small formats, you have some catching up to do”. 

Even if it is always strange to be associated with one debatable characteristic, it is still something to be identified at all. However, I will always try to disrupt these simplifications. 

What brought you to make new series of completely different works during and since the Valence exhibition? 

For a couple of years, I have only been listening to my imagination, in a sort of dreamlike impulse. It enables me to feel like I have total creative freedom, on an intellectual as well as physical level. In any case, if I do well, it shows, and if I don’t, it does too! Whatever the circumstances in my life are, whether I have an exhibition or travel, I am always working. Exhibitions like the one I had in Valence boost me and open new horizons, but they don’t change my pace. 

I wanted to be a rock singer anyway, and throw myself in the crowd! I am waiting for a retrospective show over several stories so that I can try my luck with the art audience. More seriously, since Valence, I didn’t think that I will do this or that… I just kept creating. I try to be as open as possible to the randomness of my bargain hunting expeditions. Playing with chance gives me an incredible feeling of power. I have recently been comparing myself to a cook, which would make my father extremely pleased. I create with the things at hand, work directly with raw material, and in the end, it is not the freshness of the product that makes the quality of a dish but the talent of the cook! 

How do you work? 

It might be a sort of unrest or neurosis, but I work all the time, and I need to work all the time. It is when I work that I feel most alive. In my studio, I am in my own self-sufficient world. I don’t judge my works at the time of creation. It is as if I had a flap in my mind that suspended and forbade hasty judgments. Although creating requires decision-making at every step, critical thinking comes at another time. I am in pain and feel quickly unhappy when I don’t create. I need to be in my studio at 8 o’clock in the morning at the latest, especially on Mondays, otherwise, I turn into a pumpkin. I chose this job -which is not a job- to never have Saturdays, Sundays, or holidays. Unfortunately -or fortunately-, Sundays are the days of backyard sales. So, on Sundays, I go to my studio only in the afternoon. To know my schedule, you only need to follow my dog. He goes to the studio at around 8 o’clock in the morning, falls asleep, and wakes up at around 12h05. After four hours, we are generally tired, so we go to the kitchen. Then he takes a nap and I do too. And then we go back at it (especially me) until the evening. I work better in the morning, fresh and genuine. That is when I produce my most creative works. 

Where does the incredible creativity and the constant renewal and diversity present in your work from the beginning come from? 

I am obsessed with the huge amount of time it takes to create… And since I conduct a lot of experiments, I need to produce a lot of works to have a few successful ones. We all know artists who paint twelve paintings a year, thinking that this is the way to make twelve masterpieces. It is a bit of a Vermeer syndrome. I have opted for the Picasso syndrome; it gives you more opportunities. Besides, I throw very few works away. I recycle or repurpose instead. If someone were to examine some of my boxes, he would notice that they were sometimes used four or five different times. The same goes with my paintings on glass, which I can quickly erase with a razor blade… I tend to prefer reversible techniques!

If someone were to ask you at a dinner party about what you do, what would you answer? 

I wouldn’t say I am a painter. I have too much respect for painting, and it doesn’t really fit my work. I am rather a drawer than a painter anyway. But in any case, I would say I try to create with all my heart to keep feeling alive, when I can.

Interview by Henri-François Debailleux

Solo shows at Ceysson Gallery
Philippe Favier , Saint-Etienne
June 01 - July 13, 2023

Philippe Favier , Wandhaff
October 02 - November 20, 2021


Group shows at Ceysson Gallery
Guerre(s), Paris
December 18, 2019 - February 01, 2020

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Solo shows

2021
LEURRES D’ÉTÉ, Galerie Ceysson Bénétière, Luxembourg
CARBONES, Galerie Wilde, Geneva, Switzerland
DISCOGRAPHIE, Musée de Rouen, France

2020
ALL-OVER, Musée de Valence, France

2019
CARBONES, Drawing Now, Galerie Bernard Chaveau, Paris, France
AQUARELLE DE GUERRE, Maison des Arts de Bages, France
PHILIPPE FAVIER, Galeristes, Carreau du Temple, galerie 8+4, Paris, France

2018
CHINE.S, Centre d’Art de Campredon, L’Isle sur la Sorgue, France

2017
L’ŒUVRE AU NOIR, Prieuré de Saint Cosme (demeure de Ronsard), Tours, France

2016
OCOCO, Galerie Bärtschi, Geneva, Switzerland

2015
A.C.Nez, LE PARADOXE DU BOUFFON, Maison D’Erasme, Anderleck, Belgium
ABRACADAVRA, Le Salon d’Art, Brussels, Belgium
HARDINGIA FAVIERI, Drawing Now, Paris, France

2014
PROPRIUM DE TEMPORE, Couvent de la Tourette, Eveux, France
PRÉVERT POLYMORPHE, Centre d’art Villéglé Saint-Gratien, France

2013
N&IR, Maison européenne de la photographie, M.E.P. Paris, France

2012
CORPUSCULES, Musée Granet, Aix en Provence, France
LES MURMURES ONT DES OREILLES, Musée de Chambéry, Chambéry, France
3-35-40 GLORIA DEI, Galerie Guy Bärtschi, Geneva, Switzerland

2011
L'ANTIPHONARIUM DE SOTTET, Chapelle Sainte Marie, GAC Annonay, France
LOIN DE LUÇON, Musée de Beauvais, Beauvais, France
L'ANTIPHONARIUM DE SOTTET, Cathédrale de Brou, Bourg en Bresse, France

2010
CHANGEMENT D’ÉCHELLES, Galerie Guy Bärtschi, Geneva, Switzerland
SUITE 668, Villa Delaporte, Casablanca, Marocco

2009
PAPETERIES, Galerie contemporaine, Musée d'Art contemporain, Nice, France
VIENI, Villa Tamaris, La Seyne-sur-Mer, France

2008
LIVRET À RAYONS X, Fondation pour l'art contemporain, Toulouse, France
PHILIPPE FAVIER, Galerie Sollertis, Toulouse, France

2007
VOUS N’ÊTES PAS D’ICI, Galerie Guy Bärtschi, Geneva, Switzerland

2006
LA VIE DE CHÂTEAU, Château de Villeneuve, Vence, France
LUCKY ONE, Galerie Pascal Retelet, Brussels, Belgium
ŒUVRES SUR PAPIERS, Musée de Grenoble, France

2005
GÉOGRAPHIE A L'USAGE DES GAUCHERS - Part 2, Musée d'Art Contemporain de Lyon, France
PERPÉTUEL, Galerie IUFM Confluence(s), Lyon, France

2004
CÉRÉBOSCOPIES, Galerie Guy Bärtschi, Geneva, Switzerland
D22, Galerie Guy Bärtschi, Geneva, Switzerland
D22, One Man Show - FIAC, Galerie Guy Bärtschi, Paris, France
GEOGRAPHIE A L'USAGE DES GAUCHERS - Part 1, Musée d'Art Contemporain de Lyon, France

2003
LA MALLE DE BUSSY D’AMBOISE, Musée Paul Dini, Villefranche-sur-Saône, France

2002
PHILIPPE FAVIER, Galerie Forsblöm, Helsinki, Finland

2001
ABRACADAVRA, A.F.A.A., New York, USA
COMMENT J'AI TUÉ KISSINGER, Galerie Guy Bärtschi, Geneva, Switzerland
VIENI-VIENI & ÉPIS D'ALTESSE, FIAC, Galerie Guy Bärtschi, Paris, France

2000
DÈS L’EQUILIBRE, Bibliothèque Nationale de France, Paris, France

1999
Galerie E. Aulner, Luxembourg
Galerie 1991, Lisbon, Portugal
HECTO-VERSO, (L’ASSASSINAT DE LUCETTE), FIAC, Galeries Bärtschi &Lambert, Paris, France
P. FAVIER, Carré d'art, Nîmes, France
UNE OMBRE AU TABLEAU, Galerie Blum Helman, New York, USA

1998
ABRACADAVRA 1, Item, Paris, France
ABRACADAVRA 2, Idem, Paris, France
UNE OMBRE AU TABLEAU OUI/NON, Galerie Guy Bärtschi, Geneva, Switzerland

1997
SUITE 668, Galerie Blum Helman, New York, USA
RIEN, Galerie Punto, Valence, Spain
SUITE 668, Galerie Yvon Lambert, Paris, France

1996
PHILIPPE FAVIER, Musée d'Art moderne de Saint-Étienne, France
PHILIPPE FAVIER, Galerie nationale du Jeu de Paume, Paris, France
Galerie La Hune Brenner, Paris, France
Galerie Frédéric Storme, Lille, France
L'ARCHIPEL DES PACOTILLES, Galerie 1991, Lisbon, Portugal

1995
PHILIPPE FAVIER, Musée d'Art et d'Histoire, Geneva, Switzerland
LES MICRO-CLIMATS, Galerie Yvon Lambert, Paris, France
LES MICRO-CLIMATS, Espace des Arts, Chalon-sur-Saône, France

1994
BLACK SPIRIT, Galerie Yvon Lambert, Paris, France
HOOLOOMOOLOO, Galerie La Hune Brenner, Paris, France
LADY BETTY, Centre d'Art Contemporain de Saint Priest, France
PRÉCIS D'ÉGRATIGNURES, Musée-Château, Annecy, France

1993
PENTIMENTO, Galerie Saint-Séverin, Paris, France
Galerie Patrick Roy, Lausanne, Switzerland
Art & Public, Salon international du livre et de la presse, Geneva, Switzerland
L'ARCHIPEL DES PACOTILLES, Galerie Yvon Lambert, Paris, France

1992
Galerie Blum-Helman, New York, USA
Galerie Patrick Roy, Lausanne, Switzerland
FIAC, Galerie Pierre Huber, Paris, France
Église des Jacobins, Agen, France
DANS LE FOND LA FOURME, Art & Public chez Artemis, Geneva, Switzerland
L'ARCHIPEL DES PACOTILLES, Musée d'Art Moderne, Ankara, Turkey
LES AMBASSADES VERTICALES, Groupe Art Contemporain, Annonay, France
LES AMBASSADES VERTICALES, SAGA 92, Galerie La Hune Brenner, Paris, France
LES MURMURES ONT DES OREILLES, Galerie La Hune Brenner, Paris, France

1991
Musée des Beaux-Arts, Mulhouse, France
Musée de Toulouse, Toulouse, France
DANS LE FOND LA FOURME, Biennale de Lyon, Halle Tony Garnier, Lyon, France
GRAVURES 1981-1990, Artothèque Antonin Artaud, Marseille, France
MONSIEUR VOUS TROUVEREZ MON JARDINIER SUR UNE NOUVELLE PLANCHE, Galerie Yvon Lambert, Paris, France

1990
Galerie Pierre Huber, Geneva, Switzerland
Galerie La Hune Brenner, Paris, France
Musée des Beaux-Arts, Agen, France
Musée de la Cohue, Vannes, France
Nouveau Théâtre d'Angers, France Galerie Axe Actuel, Toulouse, France
GRAVURES 1981-1990, Musée du Dessin et de l'Estampe Originale, Gravelines, France
ŒUVRES RECENTES, Musée des Beaux-Arts, Carcassonne, France

1989
Galerie Blum-Helman, New York, USA
BLACK SPIRIT, Galerie Yvon Lambert, Paris, France
Galerie de l'Hôtel de Ville et Maison du Livre, de l'Image et du Son, Villeurbanne, France

1988
VOL DE NUIT, Porin Taide Museum, Pori, Finland
Nordic Arts Center, Helsinki, Finland
Hôtel de Ville, Paris, France
LES ÎLES VAGUES, Église de la Scuola Grande, Venise, Italy
MEMOIRE D'UN CLOU DE GIROFLE, Galerie La Hune Brenner, Paris, France

1987
NATURES MORTES, Galerie Pierre Huber, Geneva, Switzerland
ŒUVRES SUR VERRES, FIAC, Galerie Pierre Huber, Paris, France
LUCKY LUC, Galerie Caterin, Saint-Étienne, France
LUCKY LUC, Centre Genevois de Gravure Contemporaine, Geneva, Switzerland
PARISIANA, Galerie Yvon Lambert, Paris
PARISIANA, avec François Bauchet, Musée Faure, Aix les Bains, France
UN ARTISTE, UN MUSÉE, Musée d'Issy-les-Moulineaux, Issy-les-Moulineaux, France

1986
MAUDIT BIC, Villa Arson, Centre national d'art contemporain, Nice, France
Galerie Farideh-Cadot, New York, USA
Musée départemental d'art contemporain de Rochechouart, Pavillon du Verdurier, Limoges, France
Musée de l'Abbaye Sainte-Croix, Les Sables d'Olonne, France
CAPITAINE COUCOU, Musée du Dessin et de l'Estampe Originale, Gravelines, France
P. FAVIER, Graffic de Saint-Fons (le CAP), Saint-Fons, France

1985
COLLAGES, Halle Sud, Geneva, Switzerland
Galerie Farideh-Cadot, Paris, France
Villa Médicis, Rome, Italy
CAPITAINE COUCOU, Galerie Alma, Lyon, France

1983
CHAMP DE CHOUX FLEUR À CHAMBOURCY, Galerie Farideh-Cadot, Paris, France
Galerie Grita Insam, Vienna, Austria
Galerie le Chanjour, Nice, France

1982
PHILIPPE FAVIER, Musée d'Art et d'Industrie, Saint-Étienne, France

1981
Galerie Napalm, Saint-Étienne, France

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Works in public space

2019
ENERGLUMEN, Création de gobos pour projections, parcours muséal, Rouen, France

2009
ÉCHELLE DE THEODOR, sculpture éphéméride rassemblant chaque jour de la vie de Theodore Monod (bois, verre, éphémérides), Collège Théodore Monod, Roubaix, France

2007
J'AIMERAIS TANT VOIR SYRACUSE, 1200 plaques de laiton, gravées de noms de lieux imaginaires. Installation sur les berges du Rhône, Lyon, France. Architecte In Situ.

2006
REGRET DES OISEAUX, sculpture monumentale d'un texte de Marcel Béalu, Parking Lazare Goujon, Villeurbanne, France. Lyon Parc Auto.
Terra Incognito, carte géographique imaginaire sablée sur verre, siège de l'IGN, Paris, France

2005
MIETTES DEUX TONS, mosaïques de verre peint et émaillé, bassins de la place Lazare Goujon, Villeurbanne, France. Architecte In-situ.

2004
DES PIEDS & DES NAINS, 60 empreintes sur verre, clinique E. Vialar, Lyon, France

2001
LITHOPHANIE, vitrail en biscuit de porcelaine, église de Jabreilles-les-Bordes, DRAC Limousin et CRAFT Limoges ; France
P.I.L.I, plan lumineux du métro parisien gravé sur plexiglas, Parcours Oulipiens de Jacques Roubaux, Ligne 14 RATP, France

2000
CHRONOCYCLE-ISIS, horloge monumentale "souterraine", commande de la ville de Saint-Étienne pour l'an 2000, France

1999
L'ŒIL DU VENTRILOQUE, peinture de 11 plaques de verre superposées et enchâssées dans le mur du hall d'entrée de l'hôtel Troisgros à Roanne, France
L'ORIGINE DU MONDE, miroir irréfléchi sablé sur verre, escalier du siège de A.T. Kearney, Neuilly-sur-Seine, France

1997
PELLUCIDAR, pavois de verre et d'inox sur le toit de l'hôtel de police de Saint-Étienne. Architecte Christian Kock.
LES MILLE & UNE NUISENT, tapisserie des Gobelins avec broderies d'Alençon, Ministère de la Culture

1996
PRÈS D'AJACCIO, mur de verre gravé (Jean-Bruno Panissié), bibliothèque de prêt d'Ajaccio, Jean François Mozziconachi, france
ABÉCÈDAIRE, collages et dessins sur verre peint, enchâssé dans deux portes monumentales, Archives diplomatiques de Nantes. Architecte Thierry Van de Wyngaert. France
FAIRE LE SIEGE, 4 œuvres sur verre pour le siège de la Société Générale, Paris La Défense, Galerie Luc Bellier, France

1995
MUTUM : il est des rêves qui ont besoin de repos, inclusions de textes en bronze sur le parvis de l'UFR de sciences de Saint-Étienne. Architecte Jean-Michel Dutreuil. France
LE MERIDIEN DE LA RATE, parcours géographique imaginaire gravé à la main sur verre, commissariat de Drancy. Architecte Thierry Van de Wyngaert. France

1994
POUR LES CHAPELLES DE VENCE, maquettes et croquis pour le projet des Chapelles de Vence, Yvon Lambert Paris, France
L'ÂME, ELLE, peinture sur paravent de verre, Funérarium de l'Hôpital de Saint-Étienne. Architecte Christian Kock. France

1993
UN MONDE À PART, peinture sur verre dans le hall de l'immeuble "La mondiale", Boulogne Billancourt, France

1992
PIERRE & PÔLE, peinture et collages sur verre pour le restaurant Pierre Gagnaire, Saint-Étienne, France. Architectes Naço.

1991
POUR LA FAÇADE, coupole peinte et façades gravées à la main (Jean-Bruno Panissié), Direction des Musées de France, Paris. Architectes Patrick Rubin et Christophe Kuntz. France

1990
IN EMINENTI, coupole de verre serti d'acier, façade extérieure, ville de Nîmes, Bob Calle, France

1989
IL NOUS ARRIVE DE FAIRE SOLEIL, collage et peinture dans boites de conserves, collège Pierre Buffière, Limoges, France

1988
LES ÎLES VAGUES, deux paysages microscopiques peints sur verre, École Nationale Supérieure de Lyon. Architecte Philippe Dubois. France

2020
AQUARELLES DE GUERRE, 15 exemplaires de tête avec gravure originale de Tassin rehaussée, texte Éric Chevillard, Bernard Chauveau Édition, centre d’art de Bages

2016
LE PARADOXE DU BOUFFON, textes Daniel Abadie, Michel Butor, Maison d’Érasme, Anderlecht, Bruxelles-Capitale

2005
Parution de Géographie à l'usage des gauchers, Editions des cahiers intempestifs

2014
PRÉVERT POLYMORPHE, texte Henri-François Debayeux, propos recueillis par Carine Roma-Clément, Éditions Jean-Pierre Huguet, espace Villeglé, Saint-Gratien

2013
NOIR, Bernard Chauveau Édition, Maison européenne de la photographie, Paris

2012
CORPUSCULES, textes Évelyne Artaud, Jean-Clet Martin, musée Granet, Aix-en-Provence
P. FAVIER FÉE DU SKI, musée de Chambéry

2011
ANTIPHONARIUM DE SOTTET, église Sainte-Marie, édition numérotée, Jean-Pierre Huguet pour le GAC, Saint-Julien-Molin-Molette
LOIN DE LUÇON, leporello édité à l’occasion de l’intervention de Philippe Favier au musée de Beauvais, Éditions Jean-Pierre Huguet

2010
SUITE 668, textes Bernard Collet, Christian Garcin, Éditions Villa Delaporte, Casablanca

2009
RIEN, fac-similé d’un plan cadastral en leporello, MAMAC, Éditions Jean-Pierre Huguet, Saint-Julien-Molin-Molette
VIENI, leporello, texte Robert Bonaccorsi, Villa Tamaris, La Seyne-sur-Mer

2006
LUCKY ONE, texte Eugène Savitskaya, Éditions Galerie Pascal Retelet, Bruxelles

2005
Parution de Géographie à l'usage des gauchers, Editions des cahiers intempestifs

2004
D22, Galerie Guy Bärtschi, texte d'Eric Chevillard
Lithophanies de Jabreille les Bordes, texte Anne Dallant et Frère Marc Chauveau, Edition du Craft-Limoges

2003
Ana, Edition Fata Morgana
Plan-Guide Favier, La Malle de Bussy d'Amboise, Musée Paul Dini, texte Anne Bertrand

2001
Abracadavra, A.F.A.A., Cahiers Intempestifs, entretien Françoise-Claire Prodhon, texte Bruno Duborgel
P.I.L.I., Edition Les Fohic, RATP, texte Laurent Boudier
Comment j'ai tué Kissinger, Galerie Guy Bärtschi, texte Anne Bertrand

2000
Dès l'équilibre, Editions des Cahiers Intempestifs, texte Eric Holder et B. Gheerbrant

1999
Philippe Favier, Carré d'Art/Acte Sud, texte Jacques Roubaud

1998
"Une ombre au tableau oui - non", Galerie Guy Bärtschi, texte Catherine Flohic

1997
Philippe Favier, Editions des Cahiers Intempestifs, Edition Printer, texte Bernard Ceysson, entretien Eric Darragon

1995
Espace des Arts, Chalon-sur-Saone, A'xiste pas, texte Eric de Chassey
Une oeuvre de Philippe Favier, Edition Muntaner, textes Jean Arrouye, Michel Guérin, Jacques Chabot, Bruno Duborgel, Xavier Girard
Musée d'Art et d'Histoire, Genève, Musée du Jeu de Paume, Paris, Musée d'Art Contemporain de Saint-Etienne, Philippe Favier, texte Maurice Roche, Claire Stoullig, Brook Adams, chronologie Alberto de Andrès

1994
Musée Château d'Annecy, Précis d'Egratignures, texte Henri Michaux
Cahier de la Serre, Beaux-Arts Saint-Etienne, Pentimento, texte J. Bonnaval

1992
Istanbul, Marrakech, L'Archipel des Pacotilles, texte Guy Tosatto, AFAA
Institut Français d'Athènes, Archipel des Pacotilles, texte B. Duborgel

1991
Ninety, Philippe Favier et Peter Howson, texte Catherine Flohic

1990
Musée du Dessin et de l'Estampe de Gravelines, Gravures 1981-90, texte Dominique Tonneau-Ryckelynck, Daniel Abadie

1989
Musée des Beaux-Arts de Carcassone, texte Daniel Abadie
Galerie Hôtel de Ville-Maison du Livre, Villeurbanne, texte Françoise Claire Prodhon

1988
Galerie La Hune, Mémoire d'un Clou de Girofle
Porin Taide Museum, Philippe Favier, texte Jacques Beauffet
Biennale de Venise, Les Iles vagues, texte Eric Darragon

1987
Parisiana, Musée Faure, Aix-Les-Bains

1986
Cahier de l'Abbaye Sainte-Croix No 5, Philippe Favier, textes Jacques Bonnaval, Louise Ferrari, Guy Tosatto, Eric Michaud Villa Arson, "Philippe Favier", textes Jacques Bonnaval, Louise Ferrari, Guy Tosatto, Eric Michaud

1985
Galerie Alma, Capitaine Coucou, gravures, texte Eric Darragon
Eighty, Martial Raysse et Philippe Favier, texte Catherine Flohic

1982
Musée d'Art et d'Industrie, Philippe Favier, avant-propos B. Ceysson, texte Gilbert Lascaux

Radio, television, documentary

2020
ATELIER 5/6/20, Film de François Ribière.

2018
INTERDIT D’INTERDIRE, RT France, Frédéric Taddeï.

2017
L’ATELIER DE PHILIPPE FAVIER, 13’, Film de Martine Tallet & François Ribière
PASSION CLASSIQUE, Olivier Bellamy, Radio Classique, Paris

2006
TRANSFORMATIONS, 24', Film de Loïc Djian sur les bassins de la place Lazard Goujon à Villeurbanne. Production Mairie de Villeurbanne.

2005
JOURNAL D'UN IMMOBILE, 57', Film de Loïc Djian et Delphine Hallis à propos de l'exposition "Géographie à l'usage des gauchers"

2002
L'ŒIL HALLUCINE, Film de Loïc Djian et Delphine Hallis, collection Ateliers d'artistes

1994
LE VOYAGE ESPIEGLE, 26', Film de Michel Fessler, FR3 Lyon

1989
PHILIPPE FAVIER, 8', Film de Philippe Simon, Arts Productions

1985
AUX DECHIRANTS DEPARTS DES ARCHIPELS SUPERBES, 5'13
Vidéo de Jacques Bonnaval et Philippe Favier