ArtSlant - Openings & events en-us 40 Catalina Martin-Chico, Cédric Gerbehaye, Florence Levillain, Jean-Christophe Béchet, Marion Poussier, Mat Jacob, Philippe Guionie, Stéphane Lavoué, Viviane Dalles - Maison Européenne de la Photographie - December 24th 11:00 AM - 8:00 PM <div class="entry-excerpt"> <p style="text-align: justify;">9 photographes pour un hommage &agrave; Sabine Weiss : un moment de partage et d&rsquo;&eacute;motion photographique.</p> </div> <p style="text-align: justify;">Cet automne, le Salon de la Photo a demand&eacute; &agrave; 9 photographes professionnels, d&rsquo;environ un demi-si&egrave;cle ses cadets, de f&ecirc;ter les 90 printemps de Sabine Weiss en r&eacute;alisant chacun une image dont ils auront eu le &laquo; d&eacute;clic &raquo; &agrave; partir d&rsquo;une photographie de Sabine Weiss. Leurs 9 photographies ont &eacute;t&eacute; expos&eacute;es en regard de celles qui les ont inspir&eacute;s.</p> <p style="text-align: justify;">Le Salon de la Photo a offert &agrave; la Maison Europ&eacute;enne de la Photographie, pour entrer dans sa collection, le portfolio anniversaire compos&eacute; des photographies sign&eacute;es de Catalina Martin-Chico, C&eacute;dric Gerbehaye, Florence Levillain, Jean-Christophe B&eacute;chet, Marion Poussier, Mat Jacob, Philippe Guionie, St&eacute;phane Lavou&eacute;, Viviane Dalles.</p> <p style="text-align: justify;">Ces 18 &oelig;uvres sont expos&eacute;es &agrave; la Maison Europ&eacute;enne de la Photographie, du 24 d&eacute;cembre 2014 au 18 janvier 2015</p> Sun, 07 Dec 2014 08:55:02 +0000 - Association Culturelle Franco-Japonaise de Tenri - January 5th, 2015 5:30 PM - 8:00 PM <p style="text-align: justify;">Nous vous pr&eacute;sentons nos meilleurs v&oelig;ux pour 2015, et sommes heureux de vous convier au vernissage de notre exposition.</p> Tue, 23 Dec 2014 17:32:09 +0000 - Galerie Jocelyn Wolff - January 9th, 2015 6:00 PM - 9:00 PM Thu, 18 Dec 2014 07:35:51 +0000 Group Show - Galerie Almine Rech - January 10th, 2015 6:00 PM - 8:00 PM <p style="text-align: justify;">Inspired by Peter Schjeldahl&rsquo;s quote that &ldquo;Modern art history has ceased to represent a road traveled, and has come to seem an encircling panorama&rdquo;, this exhibition gathers paintings (landscapes, portraits, shapes) by nearly twenty international artists from different generations, from Bridget Riley to Christian Rosa. Their artistic commitment harks back to some various eras when choosing a discipline &ndash;visual arts &ndash; didn&rsquo;t carry the same promises or contingencies.</p> <p style="text-align: justify;">If Peter Schjeldahl drew this observation&nbsp;in the first article he published in&nbsp;<em>The</em>&nbsp;<em>Village Voice</em>on January 7, 1981, describing what seemed to him a new situation for art&nbsp;(a postmodernist use of history and the consequences of an economy that multiplies some fortunes), today it takes on an even more radical signification.&nbsp; The complex initiation journey&nbsp;that used to lead to a knowledge of art&nbsp;as well as the path made out of the ruptures traced by the avant-gardes seem to have given the way to a 360&ordm; panorama that offers an immediate and simultaneous access to the near totality of art production and its history. To the new generations, art from the last few decades may present itself as a tumblr, a panoramic view with uninhibited entertainment virtue s. This &ldquo;view&rdquo; reminds us of the then-popular 19<sup>th</sup>&nbsp;Century panoramas, these imposing rotunda-shaped buildings whose interior was painted with a continuous trompe-l&rsquo;oeil retelling of a historical moment &ndash; many were built on the Montmartre Boulevard in Paris between 1799 and 1805.</p> <p style="text-align: justify;">&ldquo;The Shell (Landscapes, Portraits &amp; Shapes), a show by Eric Troncy&rdquo; stages one possiblecurrent panorama. This exhibition opposes the permanence of a medium, painting, whose images traded all over the Internet on Instagram, Facebook or Twitter, circulate profusely and instantly from now on, freed from any perspective, evaluation or analysis, to the fundamental differences that characterize art practice and its understanding over the last decades.</p> <p style="text-align: justify;">The paintings exhibited here traverse disparate styles and generations without any order or hierarchy &ndash;&agrave; la Google&ndash; but with this substantial difference: these are not mere images but paintings. Each speaks of a moment in this panorama, a memory from the road: the stripes Bridget Riley started to paint over and over all life long, Betty Tompkins&rsquo; erotic paintings seized by French Customs when they were exhibited in Paris at the beginning of the 1970s (now made banal by the pornographic images of&nbsp;<em>tumblr</em>), Alex Katz&rsquo;s faces and flowers that have passed through eras, John Currin&rsquo;s figurative paintings that were met with fierce hostility 20 years ago, the paintings made on iPads by David Hockney whose work was always ahead of his time. Here they meet and form some connection with paintings made by much younger artists as well as artists form intermediate generations (Julian Schnabel&rsquo;s 1990s painting accidentally casting light on Joe Bradley&rsquo;s, Alex Katz &rsquo;s portraits illuminating Brian Calvin&rsquo;s).</p> <p style="text-align: justify;">Whether they address a conception indexed on a history of art that would follow the shape of a road, or of a panorama, each one tells something about the history of painting &ndash;and taken all together as a whole, most certainly, something about today.</p> <p style="text-align: justify;">&ldquo;From this ancient world we came back to one younger, as far as years go, than our own&rdquo; (Virginia Woolf, Diary,&nbsp;<em>January&nbsp;</em>18, 1918).</p> <p style="text-align: justify;">Eric Troncy</p> <p style="text-align: justify;">For any further information, please contact Camille Blumberg:&nbsp;<a href="" target="_blank"></a></p> <hr /> <p style="text-align: justify;"><span style="font-size: 12px;">Inspir&eacute;e par la phrase du critique d&rsquo;art am&eacute;ricain Peter Schjeldahl:&nbsp;</span><em style="font-size: 12px;">&laquo;&nbsp;</em><span style="font-size: 12px;">Modern art history has ceased to represent a road traveled, and has come to seem an encircling panorama*.&raquo;, l&rsquo;exposition rassemble des peintures (paysages, portraits et formes) d&rsquo;une vingtaine d&rsquo;artistes de g&eacute;n&eacute;rations diff&eacute;rentes, de Bridget Riley &agrave; Christian Rosa. L&rsquo;engagement artistique des uns et des autres renvoie &agrave; des &eacute;poques o&ugrave; le choix d&rsquo;une discipline &ndash; les arts visuels &ndash; n&rsquo;est porteur ni des m&ecirc;mes promesses ni des m&ecirc;mes contingences.</span></p> <p style="text-align: justify;">Si Peter Schejldahl dressa ce constat en 1981 (dans le premier article qu&rsquo;il publia dans&nbsp;<em>The Village Voice</em>, le 7 janvier 1981 &ndash; il y d&eacute;crit ce qui lui semble &ecirc;tre une situation nouvelle de l&rsquo;art : un usage postmoderniste de l&rsquo;histoire, les cons&eacute;quences d&rsquo;une &eacute;conomie qui multiplie les fortunes &ndash;) il prend aujourd&rsquo;hui une signification plus radicale encore. Le voyage initiatique complexe qui conduisait &agrave; la connaissance de l&rsquo;art, autant que la route faite de ruptures trac&eacute;e par les avant-gardes, semble en effet avoir laiss&eacute; place &agrave; un panorama &agrave; 360&deg; offrant un acc&egrave;s simultan&eacute; et imm&eacute;diat a la quasi totalit&eacute; de la production artistique et de son histoire. Aux nouvelles g&eacute;n&eacute;rations, l&rsquo;art des derni&egrave;res d&eacute;cennies peut se pr&eacute;senter comme un&nbsp;<em>tumblr</em>, une vue panoramique aux vertus d&eacute;complex&eacute;es d&rsquo;<em>entertainment</em>. Cette &laquo;&nbsp;vue&nbsp;&raquo; rappelle les panoramas populaires au XIX&egrave;me si&egrave;cle &ndash; d&rsquo;imposantes constructions en forme de rotondes dont l&rsquo;int&eacute;rieur &eacute;tait peint d&rsquo;un trompe l&rsquo;&oelig;il continu qui racontait un moment d&rsquo;histoire&nbsp;&ndash; dont plusieurs furent construits &agrave; Paris, entre 1799 et 1805, boulevard Montmartre.</p> <p style="text-align: justify;">&laquo;&nbsp;The Shell (Landscapes, Portraits &amp; Shapes), a show by Eric Troncy&nbsp;&raquo; met en sc&egrave;ne un panorama actuel possible. Aux diff&eacute;rences fondamentales qui caract&eacute;risent l&rsquo;exercice de l&rsquo;art et son appr&eacute;hension depuis quelques d&eacute;cennies, l&rsquo;exposition oppose la permanence d&rsquo;un medium&nbsp;: la peinture, dont les images &eacute;chang&eacute;es sur Internet, Instagram, Facebook, Twitter, circulent d&eacute;sormais &agrave; profusion et instantan&eacute;ment, lib&eacute;r&eacute;es de perspectives, d&rsquo;&eacute;valuation, d&rsquo;analyse. Les tableaux expos&eacute;s traversent sans ordre ni hi&eacute;rarchie g&eacute;n&eacute;rations et styles disparates, formant un panorama sans chronologie, &laquo;&nbsp;&agrave; la Google&nbsp;&raquo;. Avec cette diff&eacute;rence substantielle&nbsp;: il ne s&rsquo;agit pas ici d&rsquo;images mais de tableaux. Chacun raconte un moment de ce panorama, un souvenir de cette route. Les rayures recommenc&eacute;es toute une vie durant par Bridget Riley, les tableaux &eacute;rotiques de Betty Tompkins, confisqu&eacute;s par les douanes lors de leur exposition &agrave; Paris au d&eacute;b ut des ann&eacute;es 70 aujourd&rsquo;hui banalis&eacute;s par les images pornographiques des<em>&nbsp;tumblr</em>, les visages et les fleurs d&rsquo;Alex Katz qui ont travers&eacute; les &eacute;poques, les peintures figuratives de John Currin ayant rencontr&eacute; une farouche hostilit&eacute; il y a 20 ans, les peintures aujourd&rsquo;hui faites sur iPad par David Hockney dont l&rsquo;&oelig;uvre pr&eacute;c&eacute;da toujours son &eacute;poque&hellip; rencontrent ici les peintures d&rsquo;artistes beaucoup plus jeunes comme celles de g&eacute;n&eacute;rations interm&eacute;diaires, formant des correspondances (les tableaux de Julian Schnabel des ann&eacute;es 90 &eacute;clairant accidentellement ceux de Joe Bradley, les portraits de Alex Katz ceux de Brian Calvin).</p> <p style="text-align: justify;">Qu&rsquo;ils rel&egrave;vent d&rsquo;une conception index&eacute;e sur une histoire de l&rsquo;art qui prendrait la forme d&rsquo;une route ou d&rsquo;un panorama, chaque tableau raconte quelque chose de l&rsquo;histoire de la peinture &ndash; et dans leur ensemble, assur&eacute;ment, quelque chose d&rsquo;aujourd&rsquo;hui.</p> <p style="text-align: justify;">&laquo;&nbsp;De cet univers ancien, nous sommes pass&eacute;s &agrave; un autre, plus jeune que le n&ocirc;tre, du moins par les ann&eacute;es.&nbsp;&raquo; (Virginia Woolf, Journal int&eacute;gral, 18 janvier 1918)</p> <p style="text-align: justify;">Eric Troncy</p> <p style="text-align: justify;"><em>*en anglais dans le texte</em></p> Fri, 19 Dec 2014 17:17:24 +0000 Jonathan Meese - Galerie Daniel Templon - January 10th, 2015 5:00 PM - 8:30 PM Tue, 16 Dec 2014 06:38:04 +0000 Giorgio Silvestrini - Galerie Eva Hober - January 10th, 2015 11:00 AM - 8:00 PM Tue, 09 Dec 2014 09:49:19 +0000 Robert Zandvliet - Galerie Jean Brolly - January 10th, 2015 2:00 PM - 8:30 PM Thu, 04 Dec 2014 13:28:42 +0000 - Galerie Magda Danysz - January 10th, 2015 6:00 PM - 9:00 PM <p style="text-align: justify;">"Artistic Direction" is an exhibition exploring the link between contemporary art and fashion. More than the usual acknowledge relationship between art and fashion, this exhbition explores the more intimate link art and fashion can nourish. Through a line, the coneption of the body or even of the entire society, can we also consider fashion as an artistic inspiration to contemporary artists ? and vice versa ?</p> <hr /> <p style="text-align: justify;">Le coup de crayon donne &agrave; l&rsquo;&oelig;uvre d&rsquo;art comme &agrave; la robe de haute couture son &acirc;me et toute sa grandeur. L&rsquo;id&eacute;e se mat&eacute;rialise dans un premier temps &agrave; travers ce trait. L&rsquo;exposition &laquo; Art &amp; Fashion &raquo; explore ce lien entre les diff&eacute;rents types de cr&eacute;ation que tout rassemble.</p> <p style="text-align: justify;">De la fin du 19&egrave;me si&egrave;cle &agrave; nos jours, l'Europe a connu une Histoire riche en &eacute;v&egrave;nements en progr&egrave;s et en drames. La mode a souvent &eacute;t&eacute; le reflet de ces changements et parfois m&ecirc;me l'un des initiateurs de ces &eacute;volutions. De l'insouciance de la Belle &eacute;poque au refus des contraintes des ann&eacute;es folles, &agrave; la r&eacute;volution soci&eacute;tale des ann&eacute;es 60, toutes ces p&eacute;riodes s'accompagnent de r&eacute;volutions cr&eacute;atives qui ont montr&eacute; voir encourag&eacute; l'&eacute;mancipation de la Femme dans la soci&eacute;t&eacute;. Quoi de mieux que de d&eacute;couvrir cette histoire &agrave; travers les esquisses de Karl Lagerfeld, Gianfranco Ferr&eacute;, Christian Lacroix et bien d'autres. C'est &agrave; un voyage derri&egrave;re les coulisses du g&eacute;nie de ces grands couturiers qu&rsquo;invite l&rsquo;exposition. C'est aussi un voyage aux confins de la mode et de l'art car l'esquisse est l'emphase artistique ultime dans la gen&egrave;se d'une pi&egrave;ce de haute couture. Sous le trait du couturier affranchi de l'attraction terrestre, des r&eacute;alit&eacute;s physiologiques, se r&eacute;v&egrave;le l'&acirc;me, l'intimit&eacute; d'une collection.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Commissaires d'exposition : Magda Danysz &amp; Barbara Polla</p> Thu, 13 Nov 2014 11:36:28 +0000 Valentin Dommanget - Galerie Olivier Robert - January 10th, 2015 6:00 PM - 8:00 PM <p style="text-align: justify;">In an age when bytes create images, what space is left to painting? The question underlies the art of Valentin Dommanget, who addresses digital culture through experimental painting. His work conjures up the tradition of Japanese paper just as much as action painting and 3D design: painting always appropriates the technology of its time. In a proposal to reconcile ornament and abstraction, color pours out freely on the canvas and transmutes blog aesthetics and flashy gifs into dreamy geologies. Astral nebula or marine topographies &ndash; the forms of meaning gush in a movement which Kandinsky defined as the spiritual function of non-figurative art. Magnetic forces that stir the painting propagate to the canvas: skewed and dislocated frames contribute to muddling the sensible.<br /> <br /> For Valentin Dommanget, painting is a free gesture that can examine both the depth of the present and the tradition of the medium. A young artist, digital native and disciple of net art, his research laboratory is the reality of his generation augmented by the virtual sphere. For his first solo exhibition, Olivier Robert Gallery presents his works that weave an original dialogue between current trends and a more timeless abstraction. Forms, colors and generation codes merge to freeze the continuous spillage of information flows.<br /><br /><br />St&eacute;phane Verlet-Bott&eacute;ro</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">A l&rsquo;&acirc;ge o&ugrave; l&rsquo;octet forme l&rsquo;image, quelle place revient &agrave; la peinture ? Question en filigrane du travail de Valentin Dommanget, qui approche les cultures num&eacute;riques par l&rsquo;exp&eacute;rimentation picturale, en convoquant aussi bien la tradition du papier japonais que la mod&eacute;lisation 3D et l&rsquo;action painting : la peinture finit toujours par s&rsquo;approprier les technologies de son temps. Sur la toile, qui semble r&eacute;concilier l&rsquo;ornement et l&rsquo;abstrait, la couleur se r&eacute;pand, liqu&eacute;fi&eacute;e, transmutant l&rsquo;esth&eacute;tique blog et les gifs acidul&eacute;s en g&eacute;ologies chim&eacute;riques. N&eacute;buleuses astrales ou topographies marines, les formes du sens jaillissent dans un mouvement que Kandinsky d&eacute;finissait comme la fonction spirituelle de l&rsquo;art non-figuratif. Les forces magn&eacute;tiques qui animent les tableaux se transmettent au support : les ch&acirc;ssis suspendus, d&eacute;form&eacute;s, disloqu&eacute;s, continuent de brouiller les cartes du sensible.<br /> <br /> Pour Valentin Dommanget, peindre est un geste libre, capable d&rsquo;ausculter la richesse de son pr&eacute;sent tout comme la tradition de son m&eacute;dium. Jeune artiste, digital native et adepte du net art, son laboratoire de recherche est la r&eacute;alit&eacute; de sa g&eacute;n&eacute;ration, augment&eacute;e par les sph&egrave;res virtuelles. Pour sa premi&egrave;re exposition personnelle, la galerie Olivier Robert pr&eacute;sente ses travaux qui nouent un dialogue original entre tendances actuelles et abstraction atemporelle. Formes, couleurs et codes g&eacute;n&eacute;rationnels fusionnent et figent le d&eacute;versement continu de flux et d&rsquo;informations.<br /> <br /><br />St&eacute;phane Verlet-Bott&eacute;ro</p> Tue, 02 Dec 2014 07:57:26 +0000 Jesús Rafaël Soto - Galerie Perrotin - Turenne - January 10th, 2015 4:00 PM - 9:00 PM Tue, 09 Dec 2014 10:05:30 +0000 Boris Mikhailov - Galerie Suzanne Tarasiève - January 10th, 2015 6:00 PM - 8:00 PM Tue, 23 Dec 2014 17:48:40 +0000 Rineke Dijkstra - Galerie Marian Goodman - Paris - January 13th, 2015 6:00 PM - 8:00 PM Tue, 09 Dec 2014 09:43:56 +0000 Balthus - Gagosian - Paris - January 14th, 2015 6:00 PM - 8:00 PM <p><em>From time to time, amidst all the trials and errors, it happens: I recognize what I was looking for. All of a sudden the vision that pre-existed incarnates itself, more or less intuitively and more or less precisely. The dream and the reality are superimposed and made one.</em><br />&mdash;Balthus</p> <p style="text-align: justify;">Following the initial presentation of &ldquo;Balthus: The Last Studies&rdquo; at Gagosian New York at the time of the Metropolitan Museum's retrospective &ldquo;Balthus: Cats and Girls&rdquo; in 2013, Gagosian Paris is pleased to announce a career-spanning exhibition of Balthus&rsquo;s paintings, drawings, and photographs. Prepared in collaboration with artist&rsquo;s estate, this will be the first exhibition of his work in Paris since the 1983&ndash;84 retrospective at the Centre Georges Pompidou.</p> <p style="text-align: justify;">Balthus was the reclusive painter of charged and disquieting narrative scenes, whose inspirative sources and embrace of exquisitely rigorous technique reach back to the early Renaissance, though with a subversive modern twist. Working independently of avant-garde movements such as Surrealism, he turned to antecedents including Piero della Francesca and Gustave Courbet, appropriating their techniques to depict the physical and psychic struggles of adolescence. Casting viewers as voyeurs of pubescent female subjects brooding with uneasy dreams, he scandalized Parisian audiences with his first gallery exhibition in 1934. In his interior portraits, street scenes, and landscapes of the next seventy years, Balthus cultivated a self-taught classicism as a framework for more enigmatic artistic investigations.</p> <p style="text-align: justify;">Early ink studies of Paris streets and passersby demonstrate the evolution of what Balthus described as his &ldquo;timeless realism.&rdquo; His signature dramatic lighting and muted palette are already evident in the oil paintings <em>Portrait of Pierre Leyris</em> (1932&ndash;33), a depiction of the young translator lighting a cigarette after dinner; and <em>Young Girl in Amazonian Costume</em> (1932), shown in his notorious debut at Galerie Pierre two years later. A 1947 study in oil on board for the key large-scale painting <em>The Card Game</em> (1948&ndash;50) portrays two girls in modern dress, but rendered with a geometrical order more typical of the Renaissance.</p> <p style="text-align: justify;">Balthus was appointed director of the French Academy in Rome in 1961, and acquired a medieval castle near Viterbo, an hour&rsquo;s drive north of the city, in 1970. In watercolors produced over the next several years, he continuously depicted the nearby ruins of a watchtower situated on a steep cliff over a densely wooded ravine, adjusting his palette with the seasons. In the last decade of his life, when physical frailty made it all but impossible for him to draw, he discovered the Polaroid camera&mdash;a surprising turn for one who had remained so defiantly aloof from many of the technical innovations of his own time. With it he began making extensive instant photographic &ldquo;sketches&rdquo; for his paintings, which were often many years in the making. During this time, his artistic energies and attention were reserved largely for his last model Anna. She posed for him every Wednesday for eight years in the same room with the same curtain, the same chaise longue, the same window in changing light conditions, the same bucolic mountain scenery looming beyond; this enduring scene provided the subject for his final painting, <em>Girl with a Mandolin</em> (2000&ndash;01), which remained unfinished at the time of his death.</p> <p style="text-align: justify;"><strong>Balthus (Balthasar Klossowski de Rola)</strong> was born in Paris in 1908 and died in Rossini&egrave;re, Switzerland in 2001. At the age of 13, he published Mitsou, a book of 40 ink drawings with a text by Rainer Maria Rilke, a close family friend. A self-taught artist, he held his first exhibition at Galerie Pierre, Paris in 1934. Following the ensuing scandal, he showed with Pierre Matisse Gallery, New York from 1938&ndash;77, although he never visited the U.S. His paintings and drawings are in the collections of key museum and private collections worldwide.</p> <p style="text-align: justify;">In 1961, Balthus became director of the French Academy in Rome. Over the next 16 years he restored the interior of the Villa Medici and its gardens to their former elegance. During his lifetime, he was also a noted stage designer for Shakespeare's <em>As You Like It</em>, Shelley's <em>Cenci</em> (as adapted by Antonin Artaud), Camus's <em>&Eacute;tat de si&egrave;ge</em> and Mozart's <em>Cos&igrave; fan tutte</em>.</p> <p style="text-align: justify;">Balthus's first major museum exhibition was at the Museum of Modern Art in 1956. Other museum exhibitions of note include Mus&eacute;e des Arts Decoratifs, Paris (1966); Tate Gallery, London (1968); La Biennale di Venezia (1980); Museum of Contemporary Art, Chicago (1980); Centre Georges Pompidou (1983&ndash;84, traveled to Metropolitan Museum of Art, New York); Kyoto Municipal Museum of Art (1984); Mus&eacute;e cantonal des beaux-arts de Lausanne (1993); Palazzo Grassi, Venice (2001); and Tokyo Metropolitan Art Museum (2014, traveled to Kyoto Municipal Museum of Art). His work has been the subject of two major exhibitions at the Metropolitan Museum of Art, New York: &ldquo;Balthus&rdquo; (1984); and &ldquo;Balthus: Cats and Girls&rdquo; (2013&ndash;14).</p> <hr /> <p style="text-align: justify;"><em>Parfois, parmi les essais et les erreurs : je reconnais ce que je cherchais. Tout &agrave; coup la vision qui pr&eacute;existait s&rsquo;incarne par elle-m&ecirc;me, plus ou moins intuitivement et plus ou moins pr&eacute;cis&eacute;ment. Le r&ecirc;ve et la r&eacute;alit&eacute; se superposent pour ne faire plus qu&rsquo;un.</em><br />&mdash;Balthus</p> <p style="text-align: justify;">Apr&egrave;s l&rsquo;exposition in&eacute;dite &laquo; Balthus : The Last Studies &raquo; &agrave; Gagosian New York au moment de la r&eacute;trospective du Metropolitan Museum &laquo; Balthus : Cats and Girls&raquo; en 2013, Gagosian Paris est heureuse d&rsquo;annoncer une exposition retra&ccedil;ant la carri&egrave;re de Balthus &agrave; travers une s&eacute;lection de peintures, dessins et photographies. Pr&eacute;par&eacute;e en collaboration avec la famille de l&rsquo;artiste, cette exposition sera la premi&egrave;re consacr&eacute;e &agrave; son travail &agrave; Paris depuis la r&eacute;trospective du Centre Georges Pompidou en 1983&ndash;84.</p> <p style="text-align: justify;">Balthus &eacute;tait le peintre solitaire de sc&egrave;nes narratives charg&eacute;es et inqui&eacute;tantes, dont les sources d&rsquo;inspiration et le choix d&rsquo;une technique rigoureuse et raffin&eacute;e ne sont pas sans rappeler les pr&eacute;mices de la Renaissance, accompagn&eacute;es d&rsquo;une touche de modernit&eacute; subversive. Ayant travaill&eacute; &agrave; l&rsquo;&eacute;cart des mouvements d&rsquo;avant-garde tels que le Surr&eacute;alisme, il pr&eacute;f&eacute;ra se tourner vers les ma&icirc;tres anciens, comme Piero della Francesca ou Gustave Courbet, s&rsquo;appropriant leurs techniques pour d&eacute;crire les tourments physiques et psychiques de l&rsquo;adolescence. En rendant les spectateurs voyeurs face &agrave; ces sujets f&eacute;minins pub&egrave;res couvant des r&ecirc;ves embarrassants, il scandalisa le public parisien lors de sa premi&egrave;re exposition dans une galerie en 1934. Dans ses portraits d&rsquo;int&eacute;rieur, sc&egrave;nes de rue et paysages des soixante-dix ann&eacute;es suivantes, Balthus cultiva un classicisme autodidacte comme cadre d&rsquo;investigations artistiques plus &eacute;nigmatiques.</p> <p style="text-align: justify;">Les premi&egrave;res &eacute;tudes &agrave; l&rsquo;encre des rues de Paris et de ses passants d&eacute;montrent l&rsquo;&eacute;volution de ce que Balthus d&eacute;crivait comme son &laquo; r&eacute;alisme intemporel &raquo;. Sa signature, un &eacute;clairage dramatique et une palette voil&eacute;e, apparaissent d&eacute;j&agrave; dans les peintures &agrave; l&rsquo;huile <em>Portrait de Pierre Leyris</em> (1932&ndash;33), repr&eacute;sentant le jeune traducteur en train d&rsquo;allumer une cigarette apr&egrave;s avoir d&icirc;n&eacute;; et <em>Portrait de jeune fille en costume d&rsquo;amazone</em> (1932), pr&eacute;sent&eacute;e lors de sa c&eacute;l&egrave;bre premi&egrave;re exposition &agrave; la Galerie Pierre, deux ans plus tard. Une &eacute;tude &agrave; l&rsquo;huile sur carton de 1947 de la grande peinture majeure <em>Le jeu de cartes</em> (1948&ndash;50) met en sc&egrave;ne deux jeunes filles v&ecirc;tues &agrave; la mode de l&rsquo;&eacute;poque, mais dont le rendu g&eacute;om&eacute;triquement ordonn&eacute; est typique de la peinture de la Renaissance.</p> <p style="text-align: justify;">Balthus fut nomm&eacute; Directeur de l&rsquo;Acad&eacute;mie de France &agrave; Rome en 1961, et fit l&rsquo;acquisition d&rsquo;un ch&acirc;teau datant du Moyen-&acirc;ge &agrave; c&ocirc;t&eacute; de Viterbe, &agrave; une heure de route au nord de la ville, en 1970. Dans ses aquarelles produites pendant les ann&eacute;es qui suivirent, il n&rsquo;a cess&eacute; de repr&eacute;senter les ruines environnantes d&rsquo;une tour de guet situ&eacute;e sur une falaise abrupte surplombant un ravin richement bois&eacute;, ajustant sa palette au gr&eacute; des saisons. Au cours des dix derni&egrave;res ann&eacute;es de sa vie, alors que sa sant&eacute; fragile ne lui permettait plus de dessiner, il d&eacute;couvrit le Polaroid&mdash;un virage surprenant pour celui qui a gard&eacute; toute sa vie une distance avec la plupart des innovations techniques de son &eacute;poque. A partir de ces polaroids, il commen&ccedil;a &agrave; r&eacute;aliser de nombreuses &laquo; esquisses &raquo; photographiques instantan&eacute;es pour ses peintures, qui &eacute;taient souvent produites sur plusieurs ann&eacute;es. A cette &eacute;poque, son &eacute;nergie artistique et son attention &eacute;taient largement port&eacute;es sur Anna, son dernier mod&egrave;le. Elle posa pour lui tous les mercredis durant huit ans, dans la m&ecirc;me pi&egrave;ce avec le m&ecirc;me rideau, la m&ecirc;me chaise longue, la m&ecirc;me fen&ecirc;tre aux conditions de lumi&egrave;re changeantes, la m&ecirc;me sc&egrave;ne bucolique de montagne qui se profilait au loin; cette sc&egrave;ne inscrite dans la dur&eacute;e fut le sujet de sa derni&egrave;re peinture, <em>Jeune fille &agrave; la mandoline</em> (2000&ndash;01), inachev&eacute;e &agrave; sa mort.</p> <p style="text-align: justify;"><strong>Balthus (Balthasar Klossowski de Rola) </strong>est n&eacute; &agrave; Paris en 1908 et mort &agrave; Rossini&egrave;re, Suisse, en 2001. A l&rsquo;&acirc;ge de 13 ans, il publia Mitsou, un livre constitu&eacute; de 40 dessins &agrave; l&rsquo;encre accompagn&eacute;s d&rsquo;un texte de Rainer Maria Rilke, un ami proche de sa famille. Artiste autodidacte, sa premi&egrave;re exposition eut lieu &agrave; la Galerie Pierre en 1934. Apr&egrave;s le scandale qui en r&eacute;sulta, il collabora avec la Pierre Matisse Gallery &agrave; New York de 1938 &agrave; 1977, alors m&ecirc;me qu&rsquo;il n&rsquo;a jamais visit&eacute; les Etats-Unis. Ses peintures et dessins font partie des collections mus&eacute;ales et priv&eacute;es les plus prestigieuses au monde.</p> <p style="text-align: justify;">En 1961, Balthus devint directeur de l&rsquo;Acad&eacute;mie Fran&ccedil;aise &agrave; Rome. Durant les seize ann&eacute;es pendant lesquelles il occupa cette fonction, il fit restaurer l&rsquo;int&eacute;rieur de la Villa M&eacute;dicis et ses jardins pour leur redonner leur splendeur d&rsquo;antan. Il fut aussi le d&eacute;corateur de th&eacute;&acirc;tre remarqu&eacute; de pi&egrave;ces telles que <em>Comme il vous plaira</em>, de Shakespeare, <em>Cenci</em>, de Shelley (mis en sc&egrave;ne par Antonin Artaud), d&rsquo;<em>Etat de si&egrave;ge</em> de Camus ou encore du <em>Cos&igrave; fan tutte</em> de Mozart.</p> <p style="text-align: justify;">La premiere exposition mus&eacute;ale majeure de Balthus eut lieu au Museum of Modern Art en 1956. Parmi les expositions mus&eacute;ales importantes, on compte le Mus&eacute;e des Arts D&eacute;coratifs, Paris (1966); la Tate Gallery, London (1968); La Biennale de Venise (1980); Mus&eacute;e d&rsquo;Art Contemporain de Chicago (1980); Centre Georges Pompidou (1983&ndash;84, exposition itin&eacute;rante au Metropolitan Museum of Art, New York); Mus&eacute;e Municipal d&rsquo;Art de Kyoto (1984); Mus&eacute;e cantonal des Beaux-Arts de Lausanne (1993), Palazzo Grassi, Venise (2001); Metropolitan Art Museum, Tokyo (2014, exposition itin&eacute;rante au Mus&eacute;e Municipal d&rsquo;Art de Kyoto). Son &oelig;uvre a fait l&rsquo;objet de deux expositions majeures au Metropolitan Museum of Art, New York : &laquo; Balthus &raquo; (1984) ; et &laquo; Balthus : Cats and Girls &raquo; (2013&ndash;14).</p> Tue, 16 Dec 2014 06:32:44 +0000 Sven't Jolle - Galerie Laurent Godin - January 17th, 2015 7:00 PM - 10:00 PM Tue, 16 Dec 2014 06:46:15 +0000 Servane Mary, John Miller, Olivier Mosset, Virginia Overton - Triple V - January 17th, 2015 6:00 PM - 8:00 PM Tue, 16 Dec 2014 07:12:26 +0000 - Association Culturelle Franco-Japonaise de Tenri - January 20th, 2015 5:30 PM - 8:00 PM <p style="text-align: justify;">Nous pr&eacute;sentons cette ann&eacute;e la 3&egrave;me exposition d&eacute;di&eacute;e au papier japonais, organis&eacute;e une fois encore avec le pr&eacute;cieux soutien de la soci&eacute;t&eacute; Awagami Factory, riche d&rsquo;une longue histoire.</p> <p style="text-align: justify;">Cette exposition offre &agrave; 24 artistes la possibilit&eacute; de conjuguer nouvelles technologies et gravure, associant papiers traditionnels ou r&eacute;cemment d&eacute;velopp&eacute;s mis &agrave; leur disposition.</p> Tue, 23 Dec 2014 17:33:12 +0000