ArtSlant - Recently added en-us 40 Dado - Galerie Jeanne Bucher Jaeger - Espace Saint-Germain - May 12th - June 18th <p style="text-align: justify;">This exhibition presents a selection of paintings, collages, drawings and prints by Dado from the 1970s, a period during which he was represented by the gallery. It coincides with the publication of a collection of interviews of the artists on May 16, 2016, entitled&nbsp;<em>Peindre Debout</em>, and published by L&rsquo;Atelier contemporain (Fran&ccedil;ois-Marie Deyrolles). Fully illustrated, the book brings together for the first time 23 interviews of the Montenegrin artist through a 40-years lifespan. The publication, prefaced by Anne Tronche, was established and annotated by the artist&rsquo;s daughter Amarante Szidon. A signature session is organised at La Maison Rouge, La HAlle Saint Pierre and at the gallery on June 4, with Daniel Cordier and Jean-Fran&ccedil;ois Jaeger.</p> Mon, 25 Apr 2016 15:58:23 +0000 Group Show - Galerie Jeanne Bucher Jaeger - Espace Saint-Germain - February 13th - April 30th <p style="text-align: justify;">The exhibition About Painting, which takes place in the gallery&rsquo;s two Parisian spaces, presents different approaches to paintings through works by artists the gallery has shown from the 1940s until today. Some of these artists have important exhibitions in 2016 such as Jean Dubuffet at the Fondation Beyeler in Basel, G&eacute;rard Fromanger at the Centre Pompidou in Paris, Maria Helena Vieira da Silva at the Museum of Modern Art of C&eacute;ret, Antonio Segu&iacute; at the Mus&eacute;e de l'Hospice Saint-Roch in Issoudun, Evi Keller at the Centrale for contemporary art in Brussels... Hors-les-Murs exhibitions for which the gallery contributes with important loans of works from these artists. Works of na&iuml;ve artist ANDR&Eacute; BAUCHANT (1927*), self-taught painter who was close with Le Corbusier and considered - with the Douanier Rousseau - as one of the five French Naive painters; the abstract painting of ANDR&Eacute; LANSKOY (1942*) whom Jeanne Bucher would vehemently defend in spite of the German censorship against abstraction, which was considered &ldquo;Degenerate Art&rdquo; in the 1940s; it is moreover at the gallery that Andr&eacute; Lanskoy met the young NICOLAS DE STA&Euml;L in 1944, when Jeanne Bucher exhibited his work for the first time as well as the Georgian VERA PAGAVA exhibited by Jeanne Bucher with Dora Maar in 1944. Then came the great 1950s abstract artists of the Paris School, MARIA-HELENA VIEIRA DA SILVA (1933*), &Aacute;RP&Aacute;D SZENES (1933*), MARK TOBEY (1945*), BISSI&Egrave;RE (1951*), JEAN DUBUFFET (1964*) and ASGER JORN (1967*), who all frequented the gallery and animated the artistic life of the effervescent neighborhoods of Montparnasse and St-Germain-des-Pr&eacute;s. Several very young, foreign-born abstract artists living in Paris were exhibited for the first time at the gallery in the 1950s and then continually afterward, for example the Spanish FERM&Iacute;N AGUAYO (1955*), the Algerian LOUIS NALLARD (1951*), and the Swiss WILFRID MOSER (1952*), who brought their New Abstraction; then came the return to figuration with ANTONIO SEGU&Iacute; (1964*), who had recently arrived from Argentina; the Montenegrin painter DADO (1971*) who had just arrived in Paris and whose quality of painting fascinated Dubuffet; the talented young French painter G&Eacute;RARD FROMANGER (1973*), leading figure in the Figurative Narration movement, whose Centre Pompidou exhibition opens in February ; the Irish painter LOUIS LE BROCQUY (1971*) as well as PAUL REBEYROLLE (1999*), great naturalist painter the gallery exhibited in the 90s.</p> <p style="text-align: justify;">These established painters were joined at the gallery by Cantonese artist YANG JIECHANG (1989*), invited in France for the large exhibition Les Magiciens de la Terre at Beaubourg with his 100 Layers of Ink paintings - shown in this exhibition with a 11-meter long pictural fresco Golden Day painted according to the traditional Chinese style Gong-bi. The new direction of the gallery in 2003, within a familial continuity, saw the arrival of such contemporary artists as MICHAEL BIBERSTEIN (2006*), who passed away prematurely two years ago, and on behalf of whom the gallery has worked incessantly to pursue the painting of the ceiling of the Santa Isabel Church in Lisbon, which should be finished in May 2016. The gallery was also joined by the French painter FABIENNE VERDIER (2008*), whose calligraphic gesture conveys, in her abstract pictorial quality, the essence of the Real. The energy and monumentality of her Ligne Espace-Temps n&deg; 4 joins her 11-meter high brushstroke insufflated in the work intalled in the hall of the Tour Majunga in La D&eacute;fense; Portuguese artist MIGUEL BRANCO (2012*), whose voluntarily small works, at once traditional and very contemporary, attracts the viewer eyes on the painting. His double portrait of the Duke of Urbino Frederic III of Montefeltro is presented in this show and will be exhibited at the Mus&eacute;e de la Chasse et de la Nature in October 2016. EVI KELLER (2015*) and her Mati&egrave;re-Lumi&egrave;re playing with a constant movement of forms and transparent colors, open a previously unseen field of exploration for painting, becoming at once veil, sculpture, screen, and vessel. Her 9-meter long veil exhibited is part of a series of 3 veils created for Hong-Kong - the longest is a 16-meter long fresco. Evi Keller&rsquo;s audiovisual work Mati&egrave;re-Lumi&egrave;re [Towards the Light &ndash; silent transformations] will be presented from March to August 2016 at the CENTRALE for contemporary art (Brussels, Belgium) in the exhibition CONNECTED.</p> <p style="text-align: justify;">We have chosen to present paintings by two sculptors in this exhibition: the painting from the series M&eacute;tro 72 by French sculptor Jean-Paul Philippe (1981*) before he dedicated himself to sculpture and the work point of view by American sculptor PAUL WALLACH (2008*) for the attention he gives to painting in his sculptures.</p> <p style="text-align: justify;">&nbsp;Date of the artist's arrival at the gallery</p> <hr /> <p style="text-align: justify;">Question de Peinture, qui se d&eacute;roule dans les deux espaces parisiens de la galerie Jeanne Bucher Jaeger, est une exposition qui aborde les diff&eacute;rentes approches en peinture &agrave; travers les &oelig;uvres d'artistes que la galerie a montr&eacute;s des ann&eacute;es 40 jusqu'&agrave; aujourd'hui. Certains de ces artistes ont une actualit&eacute; importante en 2016, comme Jean Dubuffet &agrave; la Fondation Beyeler &agrave; B&acirc;le, G&eacute;rard Fromanger au Centre Pompidou &agrave; Paris, Maria Helena Vieira da Silva au Mus&eacute;e d'art moderne de C&eacute;ret, Antonio Segu&iacute; au Mus&eacute;e de l'Hospice Saint-Roch &agrave; Issoudun, Evi Keller &agrave; la Centrale for contemporary art &agrave; Bruxelles... Expositions Hors les Murs auxquelles la galerie contribue par le pr&ecirc;t d'&oelig;uvres de ces artistes. Des &oelig;uvres du peintre na&iuml;f ANDR&Eacute; BAUCHANT (1927*), peintre autodidacte proche de Le Corbusier et consid&eacute;r&eacute; avec le Douanier Rousseau comme l&rsquo;un des 5 peintres na&iuml;fs fran&ccedil;ais ; la peinture abstraite d&rsquo;ANDR&Eacute; LANSKOY (1942*) que Jeanne Bucher d&eacute;fendra avec v&eacute;h&eacute;mence malgr&eacute; la censure des allemands contre l&rsquo;abstraction consid&eacute;r&eacute;e comme &laquo; art d&eacute;g&eacute;n&eacute;r&eacute; &raquo; dans les ann&eacute;es 40 ; c&rsquo;est d&rsquo;ailleurs &agrave; la galerie que Lanskoy rencontrera le jeune NICOLAS DE STA&Euml;L, en 1944, alors que Jeanne Bucher le pr&eacute;sente pour la premi&egrave;re fois tout comme la g&eacute;orgienne VERA PAGAVA expos&eacute;e par Jeanne Bucher en 1944 avec Dora Maar. Suivent les grands abstraits des ann&eacute;es 50 de l&rsquo;&Eacute;cole de Paris avec MARIA HELENA VIEIRA DA SILVA (1933*), &Aacute;RP&Aacute;D SZENES (1933*), MARK TOBEY (1945*), BISSI&Egrave;RE (1951*), JEAN DUBUFFET (1964*) et ASGER JORN (1967*) qui se c&ocirc;toient fr&eacute;quemment &agrave; la galerie et animent la vie artistique d&rsquo;un Montparnasse et d'un St-Germain-des-Pr&eacute;s bouillonnants. Quelques tous jeunes abstraits &eacute;trangers vivant &agrave; Paris sont expos&eacute;s pour la premi&egrave;re fois &agrave; la galerie dans les ann&eacute;es 50 et le seront ensuite continuellement comme l&rsquo;espagnol FERM&Iacute;N AGUAYO (1955*), l&rsquo;Alg&eacute;rien LOUIS NALLARD (1951*) ou le Suisse WILFRID MOSER (1952*), porteurs d&rsquo;une Abstraction Nouvelle ; vient ensuite le renouveau de la Figuration avec ANTONIO SEGU&Iacute; (1964*) r&eacute;cemment arriv&eacute; d&rsquo;Argentine, le peintre mont&eacute;n&eacute;grin DADO (1971*) tout juste arriv&eacute; &agrave; Paris et dont la qualit&eacute; de peinture fascine Dubuffet, le talentueux jeune peintre fran&ccedil;ais G&Eacute;RARD FROMANGER (1973*), figure de proue de la Figuration Narrative, dont l'exposition personnelle &agrave; Beaubourg d&eacute;bute mi-f&eacute;vrier ; le peintre irlandais LOUIS LE BROCQUY (1971*) ainsi que PAUL REBEYROLLE (1999*), grand peintre naturaliste de notre &eacute;poque dont la galerie expose les toiles dans les ann&eacute;es 90.</p> <p style="text-align: justify;">Ces peintres connus sont rejoints &agrave; la galerie par le cantonais YANG JIECHANG (1989*), invit&eacute; en France pour la grande exposition Les Magiciens de la Terre &agrave; Beaubourg avec ses &oelig;uvres aux 100 couches d&rsquo;encre, dont l'exposition pr&eacute;sente la fresque picturale de 11m Golden Day dans la tradition de peinture chinoise traditionnelle de style Gong-bi. La poursuite de la direction de la galerie en 2003, dans une continuit&eacute; familiale, verra l&rsquo;arriv&eacute;e d&rsquo;artistes contemporains tels MICHAEL BIBERSTEIN (2006*), nous ayant quitt&eacute; pr&eacute;matur&eacute;ment il y a 2 ans et pour lequel la galerie n&rsquo;a cess&eacute; d&rsquo;&oelig;uvrer en vue de poursuivre la peinture du plafond de l&rsquo;&Eacute;glise Santa Isabel de Lisbonne qui est en cours de r&eacute;alisation et sera termin&eacute;e pour l'&eacute;t&eacute; 2016. Il sera rejoint par la peintre fran&ccedil;aise FABIENNE VERDIER (2008*) dont le geste calligraphique imm&eacute;diat, transmet dans sa qualit&eacute; picturale abstraite, l'essence du r&eacute;el. Sa Ligne Espace Temps n&deg; 4 rejoint dans son &eacute;nergie et sa monumentalit&eacute; le coup de pinceau de 11m de haut qu'elle a r&eacute;cemment insuffl&eacute; pour l'&oelig;uvre install&eacute;e dans l&rsquo;entr&eacute;e de la Tour Majunga &agrave; la D&eacute;fense ; l'artiste portugais MIGUEL BRANCO (2012*) dont les peintures de style classique et &agrave; la fois totalement contemporaines ont des formats volontairement r&eacute;duits afin de forcer le regard sur la peinture. Son double portrait du duc d'Urbino Fr&eacute;d&eacute;ric III de Montefeltro le repr&eacute;sente au sein de notre exposition puis, plus tard, au Mus&eacute;e de la Chasse et de la Nature en octobre 2016. EVI KELLER (2015*) et ses Mati&egrave;re-Lumi&egrave;re jouant de leurs mouvements constants de formes et de couleurs transparentes ouvre un champ d'exploration in&eacute;dit pour la peinture devenant &agrave; la fois voile, sculpture, &eacute;cran, vaisseau. Son voile de 9m de long pr&eacute;sent&eacute; fait partie d'une s&eacute;rie de 3 voiles r&eacute;alis&eacute;s pour Hong Kong dont le plus long est une fresque de 16m de long. L&rsquo;&oelig;uvre audiovisuelle Mati&egrave;re-Lumi&egrave;re [Towards the Light &ndash; silent transformations] d'Evi Keller sera pr&eacute;sent&eacute;e de mars &agrave; ao&ucirc;t 2016 &agrave; CENTRALE for contemporary art (Bruxelles) au sein de l&rsquo;exposition CONNECTED.</p> <p style="text-align: justify;">Nous avons choisi d'exposer les peintures de deux sculpteurs dans cette exposition : l'&oelig;uvre de la s&eacute;rie M&eacute;tro 72 du sculpteur fran&ccedil;ais JEAN-PAUL PHILIPPE (1981*) avant qu'il ne se consacre exclusivement &agrave; la sculpture et l'&oelig;uvre point of view du sculpteur am&eacute;ricain PAUL WALLACH (2008*) pour l'attention qu'il concentre &agrave; la peinture dans ses sculptures.</p> <p style="text-align: justify;">* Date d&rsquo;arriv&eacute;e de l&rsquo;artiste &agrave; la galerie</p> Mon, 25 Apr 2016 15:48:43 +0000 Martin Dammann - In Situ / Fabienne Leclerc - April 14th - May 22nd <div id="reader-credits" class="credits" style="text-align: justify;">Schuld (&ldquo;Guiltiness&rdquo;) is the third exhibition, at the In Situ &ndash; Fabienne Leclerc gallery, by Martin Dammann. This Berlin-based artist, born there in 1965, is presenting original or recent works: watercolors on Masonite and paper and photographic installations.<br /><br />For 20 years, Martin Dammann has gleaned photos of the two world wars taken by German, French, English and American soldiers during their leisure activities or time spent with their family while on leave. This war photography is the starting point for an aesthetic recycling that the artist applies to different supports, whether large-scale watercolors, drawings, photographic works, videos, rubbings or installations. </div> <div class="credits" style="text-align: justify;">&nbsp;</div> <div class="credits" style="text-align: justify;">Reworking these found images into a &ldquo;post-photograph,&rdquo; in the line as conceptual as it is plastic of a Gerhard Richter, Martin Damman circumvents the nature of these dark periods to concentrate on their activities on the sidelines of the war, comprehending the singular of course but never exceptional event of life lived.<br /><br />Martin Dammann&rsquo;s pictorial universe is of a finely calculated ambiguity. What do these images show? To all appearances, nothing violently direct. The painting oscillates between figuration and dissolving and the watercolor, applied on Masonite, a nonabsorbent surface, is dissolved in it in a magnetic puddle effect&hellip; Here, in a composition that approaches abstraction, we can just about make out a man falling backward into the water, there, a woman in front of a car, an Asian woman sitting on the knees of an American GI, a woman lying down in the middle of a pasture. The idea of guiltiness that brings together these images and unifies their subject is not declarative. It is deduced, while we apply a &ldquo;pensive look&rdquo; (R&eacute;gis Durand) to these images, from the ambivalent atmosphere that emanates from things seen subliminally. <br /><br />Martin Dammann generates an art comprised of combined introspection and pleasure. He plays as an expert in visual manipulation with the often contradictory relationship the images have with the real. His creations sweep and revive the archive to better stir up the dead matter in it.<hr />Curator studio</div> <p style="text-align: justify;">Schuld (&laquo;&nbsp;Culpabilit&eacute;&nbsp;&raquo;) est la troisi&egrave;me exposition, &agrave; la galerie In Situ - fabienne leclerc, de Martin Dammann. Cet artiste berlinois n&eacute; en 1965 y pr&eacute;sente des oeuvres in&eacute;dites ou r&eacute;centes&nbsp;: aquarelles sur isorel et sur papier, installations photographiques.</p> <p style="text-align: justify;">Depuis une vingtaine d'ann&eacute;es, Martin Dammann glane des clich&eacute;s des deux Guerres mondiales pris par des soldats allemands, fran&ccedil;ais, anglais ou am&eacute;ricains lors de leurs loisirs ou de moments pass&eacute;s en famille, &agrave; l'occasion de permissions. Cette photographie de guerre est le point de d&eacute;part d'un recyclage esth&eacute;tique que l?artiste applique &agrave; diff&eacute;rents supports, qu'il s'agisse d'aquarelles de grand format, de dessins, de r&eacute;alisations photographiques, de vid&eacute;os, de frottages ou d'installations.</p> <p style="text-align: justify;"><br />Retravaillant &agrave; partir de ces images trouv&eacute;es en &laquo;&nbsp;post-photographe&nbsp;&raquo;, dans la lign&eacute;e tant conceptuelle que plasticienne d'un Gerhard Richter, Martin Dammann contourne la nature de ces p&eacute;riodes troubles pour se concentrer sur leurs &agrave;-c&ocirc;t&eacute;s, en appr&eacute;hendant l?&eacute;v&eacute;nement singulier certes mais jamais exceptionnel de la vie v&eacute;cue.</p> <p style="text-align: justify;">L'univers pictural de Martin Dammann est d'une ambigu&iuml;t&eacute; finement calcul&eacute;e.</p> <p style="text-align: justify;"><br />Que montrent ses images&nbsp;? En apparence, rien de violemment direct. La peinture y oscille entre figuration et dissolution et l'aquarelle, appliqu&eacute;e sur l'isorel, une surface non-absorbante, s'y dissout dans un magn&eacute;tique effet de flaque. Ici, dans une composition &agrave; la lisi&egrave;re de l?abstraction, l'on distingue tout juste un homme tombant en arri&egrave;re dans l'eau, l&agrave; une femme devant une voiture, une femme asiatique assise sur les genoux d'un GI am&eacute;ricain, une femme allong&eacute;e au milieu d'une prairie. La notion de culpabilit&eacute; qui r&eacute;unit ces images et unifie leur propos n?est pas d&eacute;clarative. Elle se d&eacute;duit, tandis que nous appliquons &agrave; ces images un &laquo;&nbsp;regard pensif&nbsp;&raquo;, de l'atmosph&egrave;re ambivalente qui &eacute;mane de choses vues de mani&egrave;re subliminale.</p> <p style="text-align: justify;">Martin Dammann g&eacute;n&egrave;re un art d'introspection et de plaisir cumul&eacute;s. Il joue en expert en manipulation visuelle de la relation souvent contradictoire qu'entretiennent les images avec le r&eacute;el. Ses cr&eacute;ations balayent et revivifient l'archive pour mieux en secouer la mati&egrave;re morte.</p> Sun, 24 Apr 2016 15:16:03 +0000 Carré Rive Gauche - Hélène Bailly Gallery - Quai Voltaire - May 31st - June 4th Sun, 24 Apr 2016 15:12:11 +0000 Jill Mulleady - Gaudel de Stampa - April 14th - June 8th <p style="text-align: justify;"><em>If the whole human race were to degenerate, to become perverted, Sade&rsquo;s goal would be reached, and there would no longer be any necessity for monsters or sadism.</em></p> <p style="text-align: justify;">&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&ndash; Pierre Klossowski <sup>(1)</sup></p> <p style="text-align: justify;">Why were postpunks so afraid of intimacy? The oozing, unfathomable depth of the insatiable, sucking wound; the power ofemotional (especially filial) fervor to impose a bourgeois system of hereditary tribute, in other words, normative obligations invented by pigs to bleed your life force dry.<br />The music critic Simon Reynolds wrote that for Johnny Lydon (n&eacute; Rotten), love was simply a &ldquo;distraction from the vital business of hate and rage and disgust.&rdquo; To denounce it, as we certainly all have done, is to express an attitude of rude narcissistic awakening, marking oneself as the sexually inexperienced juvenile&mdash;a pure, if vitriolic Juliette&mdash;ripe for the record exec&rsquo;s hamfisted come-ons, and in our bad sanctimoniousness, delivering the longed-for fetish product anyway: corruptibility, youth, a billboard hit.</p> <p style="text-align: justify;">The dynamic of this form of na&iuml;ve acculturation&mdash;in which we are (still) captured by the prim sexual politics of Protestant capitalism (the legally binding marriage contract, the record deal, gallery representation), despite our cerebral anti-Pop, anti-market, even&nbsp;anti-social avowal&mdash;reveals the impossible aesthetic paradox of a twenty-first century authentic style. And so art rebels as another kind of painting.</p> <p style="text-align: justify;"><em>Mais: ceci n&rsquo;est pas une peinture surrealiste.</em></p> <p style="text-align: justify;">We might claim, instead, that the lurid fantasy mapped out in oil is merely a medieval dream. But Mulleady&rsquo;s canvases&mdash;via coy adapter cable, looping entrails, umbilical cord and other coils&mdash;logically connect sensuous content to that most malevolent&nbsp;metaphysical marionetteer: primal desire.</p> <p style="text-align: justify;">If love is a kind of bondage to which we freely (knowingly) submit, its chains lash us tangibly together: into a metallic scrim of armored mesh or mail, held defensively, in a tight material tension. The distribution of links across its surface does not privilege a conventional fundamental (couple) configuration. Through this dark web of elemental relations, a tormented kinship forms; in the correspondence between the glove (without its pair), the oyster&rsquo;s irritation, the lips, the sprawling legs, and the metaphysical ties that bind them.</p> <p style="text-align: justify;">The drugs affect everyone&rsquo;s performance (keep that in mind). And still the band plays on: sweet nothings that will wreck your heart.</p> <p style="text-align: right;">&nbsp;</p> <p style="text-align: right;">&nbsp;&ndash; Kari Rittenbach</p> <p style="text-align: right;"><em>April 2016</em></p> <p><em>___________________</em></p> <p><sup>(1)</sup> <em>Klossowski, &ldquo;Sade, or the Philosopher-Villain&rdquo;&nbsp; trans. Alphonso Lingis, SubStance 15: 2 (1986): 10.</em></p> <p><em>text by Kari Rittenbach</em></p> Sun, 24 Apr 2016 14:46:26 +0000 Jean-Pierre Raynaud - Galerie Piece Unique - April 14th - May 28th <p style="text-align: justify;">Jean-Pierre Raynaud was born in 1939 in Courbevoie. His artistic career starts in 1964 in Paris at the Salon de la Jeune Sculpture. Since then his artworks have been exhibited in several important galleries and institutions</p> <p style="text-align: justify;">The artwork that marks the beginning of his career is his house in La Celle Saint-Cloud built in 1969. Entirely covered with white tiles, he will live there for 24 years before destroying it. Its debris will be exhibited in surgical containers at the Mus&eacute;e d&rsquo;Art Contemporain of Bordeaux.</p> <p style="text-align: justify;">His favorites themes are : pictograms, vases and white tiles with black joint. A giant gold vase, before being permanently installed at Centre Georges Pompidou in Paris, has been exhibited in the heart of the Forbidden City in Beijing and suspended at the extremity of a crane above the building site of Potsdamer Platz, in Berlin. The Vietnamese, Soviet, Cuban and French flags also constitute a source of inspiration for him and a base to work on that gives a political dimension to his art. Jean-Pierre Raynaud counts among his realizations some artworks of monumental size. Among them, the stained-glass windows of the Noirlac Abbey, the Carte du Ciel (the sky map) inside the four patios of the Triumphal Arch at la D&eacute;fense and a nuclear vault on a ceiling of the Museum of the Louvre. Jean-Pierre Raynaud, through the integrity of his work, remains a major player in the contemporary Art scene.</p> <p style="text-align: justify;">For this exhibition Jean-Pierre Raynaud presents ceramic tiles. But he surpasses its use as a construction material : he makes it appear as a print media. In fact, on this material, considered as cold and breakable, the artist prints a Neolithic skull which is associated with an object that is a symbol of the childhood.</p> <hr /> <p style="text-align: justify;">Jean -Pierre&nbsp; Raynaud&nbsp; est&nbsp; n&eacute;&nbsp; &agrave;&nbsp; Courbevoie&nbsp; en&nbsp; 1939.&nbsp; Sa&nbsp; carri&egrave;re&nbsp; artistique&nbsp; d&eacute;bute&nbsp;&nbsp; en 1964 &agrave; Paris au Salon de la Jeune Sculpture. Depuis lors il est expos&eacute;&nbsp; dans&nbsp; de&nbsp; nombreux pays (Japon, Cor&eacute;e, Emira ts Arabes Unis, Cuba, Belgique...).</p> <p style="text-align: justify;">L&rsquo;&oelig;uvre qui marque le d&eacute;but de sa carri&egrave;re est sa maison de La Celle Saint-Cloud&nbsp; construite en 1969. Enti&egrave;rement recouverte de carrelage blanc il y vivra pendant 24&nbsp; ans avant de la d&eacute;truire. Les d&eacute;bris seront expos&eacute;s dans des containers chirurgicaux&nbsp; au Mus&eacute;e d&rsquo;Art Contemporain de Bordeaux.</p> <p style="text-align: justify;">&nbsp;Pour&nbsp; cette&nbsp; exposition&nbsp; Jean-Pierre&nbsp; Raynaud&nbsp; pr&eacute;sente&nbsp; des&nbsp; carreaux&nbsp; de&nbsp; c&eacute;ramiques.&nbsp;&nbsp; Mais il d&eacute;passe l&rsquo;usage m&ecirc;me du carreau en tant que mat&eacute;riau de construction&nbsp; : il&nbsp; le fait appara&icirc;tre en tant que support d&rsquo;impression. En effet sur ce mat&eacute;riau r&eacute;put&eacute;&nbsp; froid&nbsp; et&nbsp; cassant&nbsp; l&rsquo;artiste&nbsp; imprime&nbsp; un&nbsp; cr&acirc;ne&nbsp; n&eacute;olithique&nbsp; associ&eacute;&nbsp; &agrave;&nbsp; un&nbsp; objet&nbsp; symbole&nbsp;&nbsp; de l&rsquo;enfance.</p> Sun, 24 Apr 2016 10:45:53 +0000 Heinz Mack - Galerie Perrotin - Turenne - April 23rd - June 4th Sun, 24 Apr 2016 10:30:22 +0000 Mohamed Ben Slama - Galerie Patricia Dorfmann - April 16th - May 21st <p style="text-align: justify;">La Galerie Patricia Dorfmann a le plaisir de pr&eacute;senter la premi&egrave;re exposition personnelle de Mohamed Ben Slama.</p> <p style="text-align: justify;">&laquo; Ne me demandez pas qui je suis et ne me dites pas de rester le m&ecirc;me : c'est une morale d'&eacute;tat civil ; elle r&eacute;git nos papiers. Qu'elle nous laisse libres quand il s'agit d'&eacute;crire &raquo; Michel Foucault.</p> <p style="text-align: justify;">Mohamed Ben Slama a r&eacute;alis&eacute; ses premiers tableaux &agrave; quatorze ans, un &acirc;ge o&ugrave; il quitte &eacute;galement l'&eacute;cole, travaille chaque jour dans un caf&eacute; de Tunis et commence &agrave; peindre de nuit. Ce contexte des premi&egrave;res oeuvres ne me semble pas anodin au regard de ce qui distingue sa peinture aujourd'hui. D&eacute;sencombr&eacute;e, alerte dans son style et sa facture, elle vise l'expression juste, passant avec aisance de la malice &agrave; la gravit&eacute;, de la tendresse &agrave; la d&eacute;sillusion. Elle traduit la curiosit&eacute; in&eacute;puisable du peintre pour tout ce que la nature humaine peut exsuder d'&eacute;trange et d'instable.</p> <p style="text-align: justify;">G.K Chesterton &eacute;crivait au sujet de la fable qu&rsquo;elle est un alphabet de l'humanit&eacute; dans laquelle les figures fonctionnent comme des abstractions alg&eacute;briques ou des pi&egrave;ces d'un jeu d'&eacute;checs. Les tableaux de Mohamed Ben Slama rel&egrave;vent d'une &eacute;conomie semblable. Ses compositions articulent entre elles des figures arch&eacute;typales au travers desquelles se distribuent des r&ocirc;les s&eacute;culaires et se reforme le th&eacute;&acirc;tre social. Les relations entre individus, la loi et l&rsquo;interdit, la norme et au tabou, les jeux de la s&eacute;duction et du pouvoir, tout se communique dans ces absurdes spectacles en attente de d&eacute;nouements.</p> <p style="text-align: justify;">Par son hi&eacute;ratisme, sa frontalit&eacute; et son organisation group&eacute;e, parfois pyramidale, la disposition des personnages rappelle celle de la miniature arabe et de l&rsquo;art chr&eacute;tien dont l&rsquo;apport au Moyen Orient a &eacute;t&eacute; codifi&eacute; par Byzance. </p> <p style="text-align: justify;">Nous connaissons tous l'humain que peint Ben Slama, aussi d&eacute;guis&eacute;, masqu&eacute; ou grim&eacute; soit-il. Quelle que soit la noirceur de ces tableaux que Ben Slama appelle aussi "ses apocalypses", ils portent une possibilit&eacute; de r&eacute;demption permise par la puissance du d&eacute;sir et de l'imagination. "La fiction sauve et la v&eacute;rit&eacute; tue" &eacute;crivait l'&eacute;crivain espagnol Javier Cercas. On trouve souvent dans les tableaux de Ben Slama des femmes nues, g&eacute;antes et souveraines; d&eacute;esses inaccessibles, m&egrave;res protectrices ou V&eacute;nus offertes dont les carnations lumineuses rappellent les beaut&eacute;s de Cranach et les formes g&eacute;n&eacute;reuses celles des divinit&eacute;s chtoniennes li&eacute;es au culte de la fertilit&eacute;.</p> <p style="text-align: justify;">Le peintre convoque aussi les h&eacute;ros de son enfance, comme Super Man, Astro Boy, personnage de Manga, ou encore &laquo; Le sauveur &raquo;, surnom donn&eacute; par Ben Slama &agrave; un nounours aur&eacute;ol&eacute; dont les apparitions semblent appeler &agrave; plus de na&iuml;vet&eacute; et d&rsquo;humour. Et pour boucler la boucle, rappelons simplement ces mots que le psychanalyste Jacques Lacan trouva un jour utiles de faire consonner : "les non dupes errent".</p> <p style="text-align: justify;">Texte Marguerite Pilven, avril 2016</p> Sun, 24 Apr 2016 10:22:47 +0000 Samuel Accoceberry, Stéphane Ducatteau, Marcus Egli, Jorge Enrique, Rune Guneriussen, Jonathan Huxley, Alain Le Boucher, Christian Renonciat - Galerie Olivier Waltman - April 23rd - May 29th Sun, 24 Apr 2016 10:18:50 +0000 Joris van de Moortel - Galerie Nathalie Obadia - Rue Du Bourg-Tibourg - May 12th - July 23rd Sat, 23 Apr 2016 17:56:06 +0000 Lu Chao - Galerie Nathalie Obadia - April 14th - May 21st <p style="text-align: justify;">&laquo;<em>When I was a very small child I took the bus 217 everyday to go to school. Being small I was continuously squashed by a crowd of taller people pushing through, and it was often very hard to go in or out of the bus. The memory of this crowd often appears vividly in my mind. And so I am always very sensitive to crowd of people and the images of those where depression, helplessness and vulnerability are contained together always stayed with me as I grew up. At the same time I always like to observe each person trying to squeeze his way in a crowd of people, because I know very well that I am just like them, and looking at each of their faces I seem to be looking at myself. I always think that each face can tell a story, the story of an experience already past or a prediction of an event about to happen. All the small black people in my paintings are my response to all the strangers I&rsquo;ve encountered in my life. I observe at the same time as I try to conjecture about each person I meet. And though I want to express the burden and uncertainty of life, I always think the greatest anguish in life is also its most beautiful part. While this thought may seem negative, and even depressing, it really makes me ever so curious about the next thing in life, just as sunlight illuminating an exuberant forest Is beautiful, the part left in shadows possess their own mysterious kind of beauty because it is filled with pitch black light. </em>&raquo;</p> <div style="text-align: justify;" align="justify"> <div align="right">Lu Chao, March 2016</div> <div align="right">&nbsp;</div> The Galerie Nathalie Obadia is pleased to present <em>Black Light,</em> the first exhibition of London-based Chinese artist Lu Chao. As a painter that works almost exclusively in black and white, Lu Chao however creates illusions that echo different worlds, manifesting a wide range of artistic diversity.<br /><br />Lu Chao first made a name for himself with his &laquo;crowd&raquo; series, of which the most recent works are presented in this exhibition. Whether it be a large black circle, a spatula, a piece of cake or an extensive grid, in a few rapidly executed strokes, the artist consistently portrays a crowd and interrogates the relationship between the individual and his surroundings. The individuals in his early paintings seem to fade away under the oppression of a strong collectivity. The depicted contradictions &ndash; disappearance and presence, solitude and companionship, disorientation and direction &ndash; may seem bizarre at first glance. Yet, they are deeply embedded in traditional <em>zen </em>thoughts. The Chinese philosophy has always made a distinction between the notion of &ldquo;emptiness&rdquo; and that of &ldquo;nothingness&rdquo;: &ldquo;<em>empty does not mean or stand for &lsquo;nothing&rsquo;. On the contrary, it means &lsquo;everything&rsquo; that we cannot see it</em>&rdquo;, Lu Chao explains. Similarly, &ldquo;fullness&rdquo; does not necessarily indicate the existence of anything. One might recall those who, throughout the long history of mankind, were devoured during the quest for a common future for the entire human race or forced into oblivion.<br /><br />Lu Chao&rsquo;s focus on the dominant power of the crowd comes from the artist&rsquo;s own experience commuting by bus and metro while growing up in China. Since moving to London a few years ago, the rare presence of crowds similar to those in China has gradually shifted the artist&rsquo;s attention to the individuals making up the crowds.<br /><br />The new body of work presented in this exhibition is a reflection of this shift. When one looks closely at the figures, each one however seems to refuse to disappear. The artist plays with the ambivalence and uncertainty between appearance and departure, as well as the tension between submission and rebellion. Lu Chao avoids using his work as a vessel to transmit opinions, preferring to leave the door open for the viewer to freely interpret the pieces.<br /><br />As the artist&rsquo;s first exhibition in France, this exhibition is also a moment for discovery. Many pieces in the exhibition reveal surprises and associations that completely differ from the aforementioned &laquo;crowd&raquo; series. While being a profound admirer of traditional Chinese thinking and painters such as Mu Xi, Ma Yuan and Xia Gui, Lu Chao also extensively reads Western philosophy and, especially since moving to London, visits exhibitions of Occidental masters, notably Rembrandt.<br /><br />The <em>Black Mirror</em> series (2015) for example draws inspiration from traditional European decorative arts. Some of his landscapes, such as <em>Spot Light with Branch</em> (2015) and <em>Elsewhere no 3</em> (2015), lead us into the Romanticism and Expressionism of the German Black Forest, while others, such as the <em>Suspension</em> series (2015-2016), allure a transcending tranquility, floating under &ldquo;the unbearable lightness of being.&rdquo; Moreover, his works could even bring out Modernist evocations, such as <em>Try to Draw Two Same Face</em> (2015)&rsquo;s reminiscence of pop art and <em>Shell</em> (2013) or <em>Man on Wire</em> (2015)&rsquo;s reference to Abstract Expressionist masters, such as Jackson Pollock and Franz Kline. <br /><br />The blending of Chinese and Western cultures, of the traditional and the contemporary, is predominant in all of Lu Chao&rsquo;s works. Meanwhile, the artist insists that such a fusion happens naturally, beyond any active pictorial and visual reassembling. The artist&rsquo;s first French exhibition is therefore here to challenge a stereotyped reading of an artist&rsquo;s work that is solely based on cultural origin. Lu Chao aims to show a new generation of artists living in a global context, both in terms of space and temporality, and, as stated by Lu Chao&rsquo;s professor and famous Chinese realist painter, Liu Xiaodong ; a much more &ldquo;liberated and sophisticated&rdquo; tendency in Contemporary Art.</div> <p style="text-align: justify;"><br />--------------------<br /><em><br /></em><em><strong>Lu Chao was born in 1988, in Shenyang , Province of Liaoning (China). He lives and works (United Kingdom).</strong></em><br /><br /><em>Lu Chao&nbsp; graduated in 2014 from the Painting Department of the Royal College of Art in London (Master of Arts), and in 2012 from the Oil Painting Department of the Central Academy of Fine Arts (Bachelor of&nbsp; Arts), in Beijing, China. His oeuvre has been selected for several noted solo and group shows which met with great critical and public success, notably Saatchi New Sensation Shortlist, at the Victoria House (London, United Kingdom), Life and Hope at the French Institute (Beijing, China), Black Forest at the Hadrien de Montferrand Gallery (Beijing, China).</em><br /><br /><em>Lu Chao has been the recipient of prestigious art prizes, as in 2014 with the Painter-Stainers Goron Luton Award at the Royal College of Art (London, United Kingdom), the Solo Award Runners Up (London, United Kingdom), the RCA Studio (London, United Kingdom), in 2013 with the Lucy Halford Bursary at the Royal College of Art (London, United Kingdom), in 2012 with the Best Creative Awards from the Central Academy of Fine Arts (Beijing, China),&nbsp; in 2011 with the&nbsp; Excellent Sketching Award from the Central Academy of Fine Arts (Beijing, China), or in 2012 with the Silver Prize at the Today Art Museum (Beijing, China).</em></p> <hr /> <div style="text-align: justify;" align="justify">&nbsp;&laquo; <em>_Quand j&rsquo;&eacute;tais enfant, je prenais tous les jours le bus 217 pour aller a l&rsquo;&eacute;cole. &Eacute;tant tout petit, je me faisais &eacute;craser par la foule de grandes personnes qui me poussaient et il &eacute;tait souvent difficile de monter et de descendre. Ce genre de souvenir me revient souvent tr&egrave;s clairement &agrave; l&rsquo;esprit. De ce fait, j&rsquo;ai toujours &eacute;t&eacute; tr&egrave;s sensible aux foules de gens qui se bousculent, ces images de foule o&ugrave; la d&eacute;pression, la vuln&eacute;rabilit&eacute; et l&rsquo;impuissance m&rsquo;ont toujours accompagn&eacute; en grandissant. Dans le m&ecirc;me temps, j&rsquo;ai toujours aim&eacute; observer chaque personne essayant de s&rsquo;ins&eacute;rer dans ces foules car je savais pertinemment que j&rsquo;&eacute;tais l&rsquo;un d&rsquo;eux, et regarder chacun de leur visage &eacute;tait semblable &agrave; me regarder moi-m&ecirc;me. J&rsquo;ai toujours pens&eacute; que chaque visage pouvait raconter une histoire, l&rsquo;histoire d&rsquo;une exp&eacute;rience r&eacute;cente ou encore un &eacute;v&eacute;nement sur le point de se produire. Tous les personnages de mes peintures sont une r&eacute;ponse &agrave; chaque inconnu que j&rsquo;ai crois&eacute; lors de mon existence. J&rsquo;observe, tout en faisant des conjectures sur chacune de ces personnes que je rencontre. Bien que je veuille exprimer le poids et l&rsquo;incertitude de la vie, j&rsquo;ai toujours pens&eacute; que ce qui en constitue la partie la plus ardue, est aussi la plus merveilleuse. On pourrait consid&eacute;rer ce sentiment contraignant, voire d&eacute;sesp&eacute;rant. En r&eacute;alit&eacute;, il me remplit d&rsquo;une infatigable curiosit&eacute; pour l&rsquo;avenir, et tout comme l&rsquo;on admire la beaut&eacute; du soleil illuminant une for&ecirc;t luxuriante, une beaut&eacute; plus myst&eacute;rieuse &eacute;mane aussi des zones rest&eacute;es dans l&rsquo;ombre, car elles sont emplies d&rsquo;une lumi&egrave;re noire comme le jais.</em> &raquo;</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;" align="right">Lu Chao, Mars 2016</div> <p style="text-align: justify;">&nbsp;</p> <div style="text-align: justify;" align="justify">La Galerie Nathalie Obadia est tr&egrave;s heureuse de pr&eacute;senter <em>Black Light</em>, la premi&egrave;re exposition en France de Lu Chao, artiste chinois bas&eacute; &agrave; Londres. Utilisant presque exclusivement le blanc et le noir, Lu Chao cr&eacute;e l&rsquo;illusion de mondes pluriels et infinis, exprimant sa virtuosit&eacute; au travers d&rsquo;une puissante bichromie.<br /><br />C&rsquo;est avec sa s&eacute;rie sur les &laquo;foules&raquo; - dont les travaux les plus r&eacute;cents sont pr&eacute;sent&eacute;s dans l&rsquo;exposition - que Lu Chao s&rsquo;est fait conna&icirc;tre. L&rsquo;artiste fait appara&icirc;tre, en quelques coups de pinceaux concis, un large cercle noir ou un g&acirc;teau dans lesquels s&rsquo;amassent un essaim de personnages&nbsp; ; portant sa r&eacute;flexion sur la relation qui lie l&rsquo;homme &agrave; son environnement, consid&eacute;ration qu&rsquo;il place au coeur de ses compositions.<br />Dans ses premi&egrave;res peintures, les personnages de Lu Chao semblaient d&eacute;j&agrave; vouloir dispara&icirc;tre, comme annihil&eacute; par le poids de la collectivit&eacute;. Les contradictions manifest&eacute;es dans son travail d&eacute;concertent - la disparition et la pr&eacute;sence, la solitude et la collectivit&eacute;, la d&eacute;sorientation et la direction - mais sont profond&eacute;ment ancr&eacute;es dans la spiritualit&eacute; <em>zen</em> traditionnelle. De fait, la philosophie chinoise a toujours fait une distinction nette entre les notions de vide et de n&eacute;ant : &laquo; <em>Le vide ne signifie pas rien. Il signifie m&ecirc;me tout, mais nous ne pouvons pas le voir</em> &raquo;, explique l&rsquo;artiste. Par analogie, le plein ne signifie pas n&eacute;c&eacute;ssairement la pr&eacute;sence de quelque chose ; il suffit seulement de penser &agrave; ceux d&eacute;vor&eacute;s par une qu&ecirc;te incessante pour un futur qui soit commun &agrave; toute l&rsquo;humanit&eacute;, ou &agrave; ceux que l&rsquo;Histoire a pr&eacute;cipit&eacute; dans l&rsquo;oubli.<br /><br />Ce regard particulier sur le pouvoir des foules &eacute;mane de l&rsquo;exp&eacute;rience personnelle de l&rsquo;artiste, dans les transports en commun alors qu&rsquo;il &eacute;tait enfant en Chine.&nbsp; Apr&egrave;s son installation &agrave; Londres, il a recentr&eacute; son travail autour d&rsquo;une analyse de l&rsquo;individu au sein de la foule, de l&rsquo;humain dans le collectif. <br /><br />Le r&eacute;cent corpus d&rsquo;&oelig;uvres pr&eacute;sent&eacute;es dans l&rsquo;exposition <em>Black Light </em>t&eacute;moigne de ces nouvelles pr&eacute;occupations. Un regard attentif&nbsp; port&eacute; &agrave; chaque personnage, r&eacute;v&egrave;le que les individus de cette masse semblent &agrave; pr&eacute;sent tous refuser la possibilit&eacute; d&rsquo;une disparition. L&rsquo;artiste oeuvre cependant &agrave; cr&eacute;er un climat d&rsquo;ambivalence et de tension dans son travail, en se jouant des notions de pr&eacute;sence-disparition et de soumission-r&eacute;bellion. Lu Chao ne donne pas davantage de cl&eacute;s au spectateur sur son oeuvre, pour favoriser sa perception et l&rsquo;interpr&eacute;tation personnelle qu&rsquo;il pourra en faire.<br /><br />Cette exposition, la premi&egrave;re en France pour l&rsquo;artiste, est l&rsquo;occasion d&rsquo;une v&eacute;ritable d&eacute;couverte : les peintures surprennent et prennent leur distance avec la s&eacute;rie des &laquo;foules&raquo;.&nbsp; Profond admirateur de la pens&eacute;e traditionnelle chinoise et de ses peintres parmi lesquels figurent &agrave; son panth&eacute;on Mu Xi, Ma Yuan et Xia Gui, Lu Chao trouve aussi un syst&egrave;me de r&eacute;f&eacute;rences dans la philosophie occidentale et dans le travail des ma&icirc;tres de la peinture europ&eacute;enne, comme Rembrandt. <br /><br />La s&eacute;rie <em>Black Mirrors</em> (2015) puise notamment son inspiration dans les formes esth&eacute;tiques de l&rsquo;art d&eacute;coratif europ&eacute;en. Certains des paysages de l&rsquo;artiste chinois, comme <em>Spot Light with Branch</em> (2015) et <em>Elsewhere no 3</em> (2015), nous plongent dans le romantisme et l&rsquo;expressionnisme de la For&ecirc;t Noire allemande, tandis que d&rsquo;autres, comme la s&eacute;rie <em>Suspension</em> (2015-2016) &eacute;voquent un &eacute;tat de qui&eacute;tude totale, dans lequel l&rsquo;individu et le motif flottent dans la lumi&egrave;re du premier jour. Ses travaux convoquent &eacute;galement le modernisme, notamment avec<em> Try to Draw Two Same Face </em>(2015) aux r&eacute;miniscences pop, et <em>Shell</em> (2013) et&nbsp; <em>Man on Wire </em>(2015) qui citent les ma&icirc;tres de l&rsquo;expressionnisme abstrait, parmi lesquels Jackson Pollock et Franz Kline.<br /><br />Singuli&egrave;res compositions aux influences orientales et occidentales, l&rsquo;oeuvre de Lu Chao est aussi une complexe association d&rsquo;&eacute;l&eacute;ments historiques et traditionnels avec des composantes contemporaines. L&rsquo;artiste observe ces rapprochements se faire, sans qu&rsquo;il n&rsquo;y contribue par un quelconque calcul esth&eacute;tique.<br /><em>Black Light</em>&nbsp; vise &agrave; d&eacute;construire&nbsp; la lecture st&eacute;r&eacute;otyp&eacute;e que l&rsquo;on peut faire d&rsquo;un artiste &eacute;tranger et de son attachement &agrave; sa culture d&rsquo;origine comme syst&eacute;matisme de travail. Elle t&eacute;moigne plut&ocirc;t de la naissance d&rsquo;une nouvelle g&eacute;n&eacute;ration qui&nbsp; exp&eacute;rimente le &ldquo;global&rdquo;, comme notion regroupant simultan&eacute;ment l&rsquo;id&eacute;e d&rsquo;une temporalit&eacute; commune et celle d&rsquo;espace collectif - de la multitude et de la profusion. C&rsquo;est cette jeune garde qui, selon les mots du c&eacute;l&eacute;bre peintre r&eacute;aliste chinois et professeur de Lu Chao, Liu Xiaodong, ouvre dans l&rsquo;art contemporain une voie in&eacute;dite ; beaucoup plus &ldquo;sophistiqu&eacute;e et lib&eacute;r&eacute;e&rdquo;.</div> <div style="text-align: justify;" align="justify">&nbsp;</div> <div style="text-align: justify;" align="justify">------------------------------</div> <div style="text-align: justify;" align="justify">&nbsp;</div> <div style="text-align: justify;" align="justify"><em><strong>Lu Chao est n&eacute; en 1988, &agrave; Shenyang , Province de Liaoning (Chine). Il vit et travaille &agrave; Londres (Royaume-Uni).</strong></em></div> <div style="text-align: justify;" align="justify"><em><br />Lu Chao a &eacute;t&eacute; dipl&ocirc;m&eacute; en 2014 du D&eacute;partement de peinture du Royal College of Art de Londres (Master of Arts), et en 2012 du Oil Painting Department de la Central Academy of Fine Arts (Bachelor of Arts), &agrave; P&eacute;kin en Chine. L&rsquo;artiste a particip&eacute; des expositions personnelles et collectives qui ont remport&eacute; un grand succ&egrave;s critique et public, notamment Saatchi New Sensation Shortlist, &agrave; la Victoria House (Londres, Royaume Uni), Life and Hope &agrave; l&rsquo;Institut Fran&ccedil;ais (P&eacute;kin, Chine), Black Forest &agrave; la Hadrien de Montferrand Gallery (P&eacute;kin, Chine).<br />Lu Chao a &eacute;t&eacute; le r&eacute;cipiendaire de prix remarqu&eacute;s, comme en 2014 avec le Painter-Stainers Goron Luton Award au Royal College of Art (Londres, Royaume-Uni), le Solo Award Runners Up (Londres, Royaume-Uni), le RCA Studio (Londres, Royaume-Uni), en 2013 avec le Lucy Halford Bursary au Royal College of Art (Londres, Royaume-Uni), en 2012 avec le Best Creative Awards de la Central Academy of Fine Arts (P&eacute;kin, Chine), en 2011 avec le Excellent Sketching Award de la Central Academy of Fine Arts (P&eacute;kin, Chine), ou en 2012 avec le Silver Prize au Today Art Museum (P&eacute;kin, Chine). </em></div> Sat, 23 Apr 2016 17:53:37 +0000 Dara Birnbaum - Galerie Marian Goodman - Paris - April 22nd - June 4th <div> <div style="text-align: justify;">&ldquo;The works for me don&rsquo;t bring an answer; I&rsquo;ve never know how to do that. They always bring a question.&rdquo;&nbsp;</div> <div style="text-align: justify;">-Dara Birnbaum</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Marian Goodman Gallery Paris is pleased to present Psalm 29(30), a new six-channel video and sound installation by Dara Birnbaum. The genesis of this new work dates back to 2014 when, following an extended period of hospitalization, the chanted Psalm 29(30) provided Birnbaum with the possibilities of healing and became a source of inspiration. This is a psalm of thanksgiving, to be sung in pious solemnity. It is believed it was written upon King David&rsquo;s recovery from a dangerous fit of sickness, and therefore for Birnbaum the psalm also &ldquo;addresses the contradiction between light and dark, life and death&rdquo;.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Upon entering the ground floor of the gallery, visitors first encounter serene images of the foothills of the Italian Alps, which were videoed by the artist in 2011 during her Arts Residency at The Rockefeller Foundation Bellagio Center at Lake Como. Visitors are then invited to enter a central chamber, which houses a video projection portraying aspects of the Syrian Civil War in 2014. These specially selected images from varying Internet sources are historical traces that are intended to be shown with a sensitivity not usually provided by the mass media.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&ldquo;The whole installation is a meditation on the possibility of healing, an environment formulated so that within its central position one can confront images of war without the spectacle deployed by most mass media and&nbsp;</div> <div style="text-align: justify;">the news industry.&rdquo; Dara Birnbaum, 2016</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Birnbaum&rsquo;s concern regarding the spectacle of war recalls Susan Sontag&rsquo;s questioning of war photography. &ldquo;Is there an antidote to the perennial seductiveness of war?&rdquo; contemplates Sontag. With Psalm 29(30), Birnbaum asks the question: &ldquo;Can suffering be portrayed in such a way that reflection can take place, in place of manipulated fear, anguish, or anger?&rdquo;&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">With Birnbaum&rsquo;s input, Michael Saia edited the six-channels of video and acted as post-production collaborator. The two sound compositions, by Neil Benezra, are unique to this work. Psalm 29(30), as recited by monks of the Carthusian Order, is one primary source material for the harmonious composition playing outside the chamber. Inside the chamber, Benezra&rsquo;s original composition is inspired by Syrian music. It also combines, amongst other sounds, the melody of church bells and environmental sounds.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">A pioneering video, media, and installation artist, Birnbaum made her first video installation entitled &ldquo;Attack piece&rdquo; in 1975. She always resisted the idea of limiting video to being solely a projection in a darkened space. She is one of the first artists to have designed complex and innovative video installations, juxtaposing video imagery from various sources while integrating large-scale photographs with sculptural or architectural elements. She is also known for having used groundbreaking strategies when manipulating television footage. Over the past four decades Dara Birnbaum has developed a body of work that addresses both the ideological and the aesthetic characters of mass media imagery, and is today considered fundamental to the history of media art.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Dara Birnbaum (born in New York in 1946) received a Bachelor of Architecture from Carnegie Mellon University, Pittsburg, a B.F.A in Painting from the San Francisco Art Institute and a Certificate in Video and Electronic Editing at the Video Study Center at the New School for Social Research, New York. Since her first solo exhibition in New York at Artists Space in 1977, Birnbaum has had solo shows in numerous renowned international museums, such as: The Museum of Modern Art (MoMA), New York (2007); the Jewish Museum, New York (2004); Kunsthalle Wien, Vienna (2006 and 1995); IVAM, Institut Valenci&agrave; d&rsquo;Art Modern, Valencia (1990); the Whitney Museum of American Art, New York (1984). In 2009-2010, a major retrospective exhibition &ldquo;Dara Birnbaum: The Dark Matter of Media Light&rdquo; was presented at Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent, which also traveled to the Museu de Arte Contempor&acirc;nea de Serralves, Porto. In France, le Consortium in Dijon organized Birnbaum&rsquo;s first solo show in 1984. Her work has been exhibited multiple times at Centre Pompidou, Paris and other important French institutions, such as Mus&eacute;e d&rsquo;art Moderne de la Ville de Paris, Mus&eacute;e Fabre, Montpellier or FRAC Lorraine, Metz. &nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Dara Birnbaum&rsquo;s work has been included in a vast number of important group exhibitions, festivals and biennale such as the Venice Biennale and Documenta, Kassel. Birnbaum has been the recipient of various distinguished awards such as The Rockefeller Foundation Bellagio Center Arts Residency (2011), the Pollock-Krasner Foundation Grant (2011) and the prestigious United States Artists Fellowship (2010). She is the first woman in video awarded the prestigious Maya Deren Award by the American Film Institute in 1987. She cCurrently she teaches in two distinct graduate programs at the School of Visual Arts (SVA), New York. Simultaneously to this exhibition Birnbaum&rsquo;s work is featured in two groups show at FRAC Champagne-Ardenne, Reims, France and at the Vancouver Art Gallery, Canada. In May 2016 Dara Birnbaum will be honored by The Kitchen Center, New York at their Spring Gala.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Michael Saia is a musician, filmmaker and founder of the film editorial company jumP. His feature films include James Gartner&rsquo;s sports drama Glory Road (contributing editor) and Jeff Preiss&rsquo;s Low Down (editor), a jazz biopic. He also worked on the documentaries Living The Legacy, directed by Cynthia Wade and Mission Congo.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Neil Benezra is a composer and sound designer for film, theater, and the arts, as well as founder of Brooklyn Sound Society. He has collaborated with such acclaimed directors and artists as Abel Ferrara, James Franco, Richard Foreman, Joan Jonas, and On Kawara. He has worked with Dia Art Foundation, New York; Museum of Contemporary Art, Los Angeles; Institute of Contemporary Art, Philadelphia; and Museum Moderner Kunst Stiftung Ludwig (Mumok) Vienna; amongst others.</div> <div style="text-align: justify;">&nbsp;<hr /></div> &laquo; D&rsquo;apr&egrave;s moi les &oelig;uvres n&rsquo;apportent pas de r&eacute;ponse ; je n&rsquo;ai jamais su faire cela. Elles posent toujours une question. &raquo;&nbsp;</div> <div style="text-align: justify;">&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; -Dara Birnbaum</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">La Galerie Marian Goodman est heureuse de pr&eacute;senter Psalm 29(30), une nouvelle installation vid&eacute;o multi-&eacute;crans de Dara Birnbaum. La gen&egrave;se de cette nouvelle &oelig;uvre date de 2014, quand &agrave; la suite d&rsquo;une longue hospitalisation, le chant du Psaume 29(30) apporta &agrave; Birnbaum un espoir de gu&eacute;rison et devint une source d&rsquo;inspiration. Destin&eacute; &agrave; &ecirc;tre chant&eacute; solennellement, ce psaume d&rsquo;action de gr&acirc;ce est attribu&eacute; au roi David. Celui-ci l&rsquo;aurait &eacute;crit apr&egrave;s s&rsquo;&ecirc;tre remis d&rsquo;une grave maladie, le psaume &eacute;voque ainsi pour Birnbaum &laquo; la contradiction entre la lumi&egrave;re et l&rsquo;ombre, la vie et la mort &raquo;.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">En entrant dans l&rsquo;espace de la galerie, le visiteur d&eacute;couvre d&rsquo;abord cinq vid&eacute;os de paysages des Alpes italiennes. Empreintes de s&eacute;r&eacute;nit&eacute;, ces images ont &eacute;t&eacute; film&eacute;es par l&rsquo;artiste en 2011 lors de sa r&eacute;sidence &agrave; la Fondation Rockefeller de Bellagio au bord du lac de C&ocirc;me. Le visiteur est ensuite invit&eacute; &agrave; entrer dans le c&oelig;ur de l&rsquo;installation, une pi&egrave;ce centrale dans laquelle est projet&eacute;e une vid&eacute;o compos&eacute;e d&rsquo;images de la guerre civile en Syrie tourn&eacute;es en 2014. Provenant d&rsquo;Internet et issues de diverses sources, ces images sont des t&eacute;moignages directs qui r&eacute;v&egrave;lent une sensibilit&eacute; rarement visible dans les m&eacute;dias.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&laquo; L'installation dans son ensemble est une m&eacute;ditation autour de la possibilit&eacute; de gu&eacute;rison, un environnement con&ccedil;u afin que le spectateur, lorsqu&rsquo;il se trouve dans la pi&egrave;ce centrale, puisse se confronter &agrave; des images de guerre d&eacute;pourvues de la mise en sc&egrave;ne d&eacute;ploy&eacute;e par les m&eacute;dias de masse et les cha&icirc;nes d&rsquo;information continue. &raquo; Dara Birnbaum, 2016</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">La d&eacute;fiance de Birnbaum concernant la spectacularisation de la guerre fait &eacute;cho &agrave; la r&eacute;flexion de Susan Sontag vis-&agrave;-vis de la photographie de guerre. &laquo;Existe-t-il un antidote &agrave; l'&eacute;ternelle s&eacute;duction qu'exerce la guerre ? &raquo; se questionne Sontag. Avec Psalm 29(30), Dara Birnbaum s&rsquo;interroge &agrave; son tour : &laquo; La souffrance peut-elle &ecirc;tre repr&eacute;sent&eacute;e de mani&egrave;re &agrave; g&eacute;n&eacute;rer de la pens&eacute;e plut&ocirc;t que de la peur, de l'angoisse ou de la col&egrave;re ? &raquo;&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Le montage et la post-production des vid&eacute;os ont &eacute;t&eacute; r&eacute;alis&eacute;s par Dara Birnbaum en collaboration avec Michael Saia. Les deux compositions sonores ont &eacute;t&eacute; sp&eacute;cialement cr&eacute;&eacute;es pour cette &oelig;uvre par Neil Benezra. Le Psaume 29(30) chant&eacute; par un ch&oelig;ur de moines de l&rsquo;ordre des Chartreux est la source principale de la composition &agrave; l&rsquo;ext&eacute;rieur de la pi&egrave;ce de projection. A l&rsquo;int&eacute;rieur, la partition originale de Benezra s&rsquo;inspire de la musique syrienne et combine diff&eacute;rent &eacute;l&eacute;ments sonores comme des cloches d&rsquo;&eacute;glise ou des sonorit&eacute;s de la nature.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Artiste pionni&egrave;re de l&rsquo;art vid&eacute;o, Dara Birnbaum r&eacute;alise sa premi&egrave;re installation vid&eacute;o intitul&eacute;e &laquo; Attack Piece &raquo; en 1975. Elle a toujours r&eacute;sist&eacute; &agrave; l&rsquo;id&eacute;e de r&eacute;duire la pr&eacute;sentation d&rsquo;images en mouvement &agrave; une projection unique dans un espace obscur. Elle est ainsi l'une des premi&egrave;res artistes &agrave; avoir con&ccedil;u des installations vid&eacute;o complexes et innovantes, juxtaposant des images emprunt&eacute;es &agrave; des sources diverses, int&eacute;grant parfois des photographies ou des &eacute;l&eacute;ments sculpturaux et architecturaux. Elle est notamment connue pour avoir d&eacute;tourn&eacute; et manipul&eacute; l&rsquo;imagerie t&eacute;l&eacute;visuelle. Depuis pr&egrave;s de quarante ans, Birnbaum d&eacute;veloppe &nbsp;une &oelig;uvre prot&eacute;iforme qui r&eacute;v&egrave;le le caract&egrave;re id&eacute;ologique des m&eacute;dias de masse et d&eacute;nonce leur esth&eacute;tique.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Dara Birnbaum (n&eacute;e &agrave; New York en 1946) est dipl&ocirc;m&eacute;e en architecture de la Carnegie Mellon University (Pittsburg), en peinture du San Francisco Art Institute et a obtenu un certificat en vid&eacute;o et montage &eacute;lectronique de la New School for Social Research (New York). Depuis sa premi&egrave;re exposition en 1977 &agrave; l&rsquo;Artists Space de New York, Birnbaum a eu des expositions personnelles dans de nombreux mus&eacute;es internationaux tels que, The Museum of Modern Art (MoMA), New York (2007); The Jewish Musem, New York (2004); Kunsthalle Wien, Vienne (2006 et 1995); Institut Valenci&agrave; d&rsquo;Art Modern (IVAM), Valence; (1990); The Whitney Museum of American Art, New York (1984). En 2009-2010, une exposition r&eacute;trospective "Dara Birnbaum: The Dark Matter of Media Light" a &eacute;t&eacute; pr&eacute;sent&eacute;e au Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Gand, et a &eacute;galement voyag&eacute; au Museu de Arte Contempor&acirc;nea de Serralves, Porto. En France, le Consortium de Dijon lui a consacr&eacute; sa premi&egrave;re exposition personnelle en 1984 et son travail a &eacute;t&eacute; montr&eacute; &agrave; plusieurs reprises au Centre Pompidou, Paris ainsi que dans plusieurs autres mus&eacute;es fran&ccedil;ais tels que le Mus&eacute;e d'Art Moderne de la Ville de Paris, le Mus&eacute;e Fabre &agrave; Montpellier ou le FRAC Lorraine &agrave; Metz.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Birnbaum a &eacute;galement particip&eacute; &agrave; un grand nombre d&rsquo;expositions collectives, de festivals et biennales dont la Biennale de Venise ou Documenta, Kassel. Elle a re&ccedil;u plusieurs prix prestigieux comme The Rockefeller Foundation Bellagio Center Arts Residency (2011), le Pollock-Krasner Foundation Grant (2011) et le United States Artists Fellowship (2010). Elle est aussi la premi&egrave;re femme r&eacute;compens&eacute;e du prix Maya Deren dans la section vid&eacute;o par l'American Film Institute en 1987. Elle enseigne actuellement &agrave; la School of Visual Arts (SVA), New York. Parall&egrave;lement &agrave; cette nouvelle exposition &agrave; Paris, son travail est montr&eacute; dans deux expositions collectives ; MashUp: The Birth of Modern Culture &agrave; la Vancouver Art Gallery et Happy Ending au FRAC Champagne-Ardenne, Reims. En mai 2016, The Kitchen Center &agrave; New York lui d&eacute;cernera une r&eacute;compense lors de son gala de printemps.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Michael Saia est musicien, cin&eacute;aste et fondateur de la soci&eacute;t&eacute; de montage filmique jumP. Il a particip&eacute; &agrave; plusieurs longs-m&eacute;trages tels que la com&eacute;die dramatique Glory Road de James Gartner et Low Down de Jeff Preiss, un biopic sur le th&egrave;me du jazz. Il a &eacute;galement travaill&eacute; sur les documentaires Living The Legacy de Cynthia Wade et Mission Congo.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Neil Benezra est compositeur et concepteur sonore pour le cin&eacute;ma, le th&eacute;&acirc;tre et les arts, ainsi que fondateur de la Brooklyn Sound Society. Il a collabor&eacute; avec des r&eacute;alisateurs et artistes reconnus comme Abel Ferrara, James Franco, Richard Foreman, Joan Jonas, et On Kawara. Il a travaill&eacute; entre autre pour la Dia Art Foundation, New York ; le Museum of Contemporary Art, Los Angeles; l&rsquo;Institute of Contemporary Art, Philadelphie et le Museum Moderner Kunst Stiftung Ludwig (Mumok), Vienne.</div> Sat, 23 Apr 2016 17:49:28 +0000 Matt Saunders - Galerie Marian Goodman - Paris - April 22nd - June 4th <div> <div style="text-align: justify;">&ldquo;I attempted to find a multiplicity of ways to capture an image on the photo paper&rdquo;&nbsp;</div> <div style="text-align: justify;">Matt Saunders</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Marian Goodman Gallery Paris is pleased to announce an exhibition by Matt Saunders featuring, for the first time in Paris, a new series of abstract color works and a new video installation. This exhibition draws from many and diverse sources of inspiration including the flood waters of Hurricane Sandy, the Seine inundation of 1910 and portions of Klaus Theweleit&rsquo;s book Male Fantasies. In Saunders&rsquo; work, the flooded territory takes on technical, as well as poetic and metaphoric dimensions. &ldquo;In the darkroom, you&rsquo;re always trying to control the spill of light which can contaminate the paper.&rdquo; Saunders&rsquo; artistic practice explores the permeability of images and pushes the boundaries of painting by opening up spaces between painting, photography and film.<br /><br /></div> <div style="text-align: justify;">The works on paper come from a process in which light is passed through painting to make a photograph. Saunders considers himself to be a painter, even though the final work is often a unique photographic print. &nbsp;Working at times with oil on linen, at times with color ink on sheets of mylar, these materials are used as tools in dialogue with photography.&nbsp;<br /><br /></div> <div style="text-align: justify;">While Saunders&rsquo; process is meticulous there is always an element of the unknown. &ldquo;I need to work with process. There are things you can plan to say aloud, but the most surprising are sometimes the things that just come out.&rdquo; It&rsquo;s only at the end of the process that a work reveals itself and the traces of its fabrication.<br /><br /></div> <div style="text-align: justify;">Far from being absolute, Saunders&rsquo; technique continues to develop, evolve and is often different for each piece. He sometimes combines several methods and negatives to create a single image. &ldquo;These new pictures still use the matrix of a hand-painted &lsquo;negative&rsquo; to make a kind of hybrid image, to move painting into a photographic space, but now the drawings sit both in front of and inside the enlarger, often overlapping or layering to make the photo. And the light and color cross boundaries.&rdquo; The images in the new abstract series Inond&eacute; (Flood) are formally and visually close to his animated films. The polychrome waves and marks simultaneously fill the space and disrupt the boundaries creating an impression of quasi-cinematic movement.&nbsp;<br /><br /></div> <div style="text-align: justify;">While Saunders&rsquo; earlier animated films oscillated between figuration and abstraction, his new film, Flooded Vault, is the first almost purely abstract film and is presented in the vault of the gallery. Made out of thousands of scanned drawings, the film composed of two projections shows a constant flux without beginning or end, one image in perpetual mutation challenging temporality. Part of the film installation, a black and white work by the artist, damaged 2012 by the flooding of Hurricane Sandy, has become a touchstone and a starting point for his recent explorations.&nbsp;<br /><br /></div> <div style="text-align: justify;">Matt Saunders was born in 1975 in Tacoma, Washington. He currently lives between Berlin and Cambridge, Massachusetts, where he teaches at Harvard College. In 1997 he received a BA in Visual and Environmental Studies from Harvard and completed his MFA in Painting and Printmaking in 2000 at the Yale University School of Art. In 2010 the Renaissance Society of Chicago organized his first solo institutional show, Parallel Plot. He also exhibited at the Tate Liverpool in 2012: Matt Saunders. Century Rolls.&nbsp;<br /><br /></div> <div style="text-align: justify;">His works have been purchased by many prestigious institutions in the United States as the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Guggenheim Museum, New York; the San Francisco Museum of Modern Art or the UCLA Hammer Museum in California. His recent group exhibitions include : Cinema and Painting, Adam Art Gallery, Wellington, New Zealand (2014), Test Pattern, Whitney Museum of American Art, New York (2013), Plot for a Biennial, 10th Biennial of Sharjah, The United Arab Emirates (2011), The Anxiety of Photography, Aspen Art Museum, Colorado (2011), The more things change, San Francisco Museum of Modern Art (2010-2011), Untitled (History Painting), University of Michigan Museum of Art, Ann Arbor (2009), Freeway Balconies, Deutsche Guggenheim, Berlin (2008), Blind Date Istanbul, Sabanci Museum, Istanbul (2007).<br /><br /></div> <div style="text-align: justify;">Matt Saunders is the recipient of several international awards including the Rappaport Prize, DeCordova Sculpture Park and Museum (2015), the Jean-Fran&ccedil;ois Prat prize (2013) and the Louis Comfort Tiffany Foundation prize (2009). &nbsp;During the run of the exhibition, his works can also be seen in two group shows: Double-take: Drawing and Photography at the Drawing Room and The Photographer&rsquo;s Gallery in London (April 14 &ndash; June 4) and Prix Jean-Fran&ccedil;ois Prat, at the Palais de Tokyo in Paris (April 14-17).</div> <div style="text-align: justify;">The work for this show was supported in part by the Swedish Arts Grants Committee.&nbsp;<hr /></div> &ldquo;J&rsquo;explore une multiplicit&eacute; de moyens afin de capturer une image sur du papier photographique.&rdquo;</div> <div style="text-align: justify;">Matt Saunders</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">La Galerie Marian Goodman a le plaisir d&rsquo;annoncer une exposition de Matt Saunders pr&eacute;sentant, pour la premi&egrave;re fois &agrave; Paris, une s&eacute;rie d&rsquo;&oelig;uvres abstraites en couleurs et un nouveau film d&rsquo;animation. L&rsquo;exposition &laquo; Inond&eacute; &raquo; s&rsquo;inspire de diverses sources : les inondations caus&eacute;es par l&rsquo;ouragan Sandy &agrave; New York, la crue de la Seine &agrave; Paris en 1910 ou encore certains passages du livre Fantasm&acirc;lgories de Klaus Theweleit. Le territoire inond&eacute; rev&ecirc;t une dimension po&eacute;tique et m&eacute;taphorique en lien avec son travail. &laquo; En chambre noire, vous essayez toujours de contr&ocirc;ler le flux de lumi&egrave;re qui peut contaminer le papier. &raquo; La pratique de Matt Saunders, explore la perm&eacute;abilit&eacute; des images et repousse les limites de la peinture, proposant un espace in&eacute;dit entre peinture, photographie et film.&nbsp;<br /><br /></div> <div style="text-align: justify;">Les &oelig;uvres sur papier naissent d&rsquo;un processus original : la lumi&egrave;re traverse une peinture pour r&eacute;v&eacute;ler une image photographique. Bien que Matt Saunders se consid&egrave;re comme un peintre, l&rsquo;&oelig;uvre finale est presque toujours un tirage photographique unique. Qu&rsquo;il dessine &agrave; la peinture &agrave; huile sur une toile de lin ou &agrave; l&rsquo;encre color&eacute;e sur des feuilles de mylar, les mat&eacute;riaux ne sont que des outils destin&eacute;s &agrave; dialoguer avec la photographie.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Cette pratique minutieuse comporte une part d&rsquo;inconnu : &laquo; J&rsquo;ai besoin de travailler avec le processus. Il y a des choses que vous pouvez anticiper mais le plus surprenant c&rsquo;est parfois les choses qui surgissent. &raquo; Ce n&rsquo;est qu&rsquo;&agrave; l&rsquo;issue du processus que chaque &oelig;uvre d&eacute;voile sa singularit&eacute; et les marques de sa fabrication.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Mais loin d&rsquo;&ecirc;tre immuable, le processus est en constante &eacute;volution. Matt Saunders combine parfois plusieurs techniques et n&eacute;gatifs afin de cr&eacute;er une m&ecirc;me image, pour preuve ses r&eacute;centes exp&eacute;rimentations : &ldquo;Les nouvelles images utilisent toujours la matrice d&rsquo;un n&eacute;gatif peint &agrave; la main pour faire une sorte d&rsquo;image hybride, &nbsp;pour d&eacute;placer la peinture dans l&rsquo;espace photographique, mais &agrave; pr&eacute;sent les dessins sont plac&eacute;s devant et dans l&rsquo;agrandisseur, se chevauchant et cr&eacute;ant souvent diff&eacute;rentes strates pour faire la photo. La lumi&egrave;re et la couleur n&rsquo;ont pas de limites.&rdquo; Les &oelig;uvres de la s&eacute;rie abstraite &laquo; Inond&eacute; &raquo; se rapprochent formellement et visuellement de ses films d&rsquo;animation. Les vagues et marques polychromes introduisent simultan&eacute;ment continuit&eacute; et interruption dans une m&ecirc;me image, cr&eacute;ant un mouvement et une dynamique quasi-cin&eacute;matique.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Si ses pr&eacute;c&eacute;dents films oscillaient entre figuration et abstraction, Flooded Vault (2016) est aussi presque purement abstrait. Pr&eacute;sent&eacute;es dans l&rsquo;espac&eacute; vo&ucirc;t&eacute; de la galerie, les deux projections r&eacute;alis&eacute;es &agrave; partir de milliers de dessins num&eacute;ris&eacute;s, montrent un flux constant sans d&eacute;but ni fin, une image en perp&eacute;tuelle mutation d&eacute;fiant toute temporalit&eacute;. Partie int&eacute;grante de la pr&eacute;sentation du film, un tirage en noir et blanc alt&eacute;r&eacute; en 2012 &agrave; la suite de l&rsquo;ouragan Sandy, est &agrave; l&rsquo;origine de toutes ses nouvelles explorations.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Matt Saunders est n&eacute; en 1975 &agrave; Tacoma (Washington). Il vit actuellement entre Berlin et Cambridge (Massachusetts) o&ugrave; il enseigne &agrave; &nbsp;l&rsquo;universit&eacute; de Harvard. En 1997 il obtient un dipl&ocirc;me en &eacute;tudes visuelles et environnementales &agrave; Harvard et en 2000 une ma&icirc;trise en peinture et gravure &agrave; l&rsquo;Universit&eacute; de Yale. En 2010 la Renaissance Society de Chicago organise sa premi&egrave;re grande exposition monographique, Parallel Plot. Il expose &eacute;galement &nbsp;la Tate Liverpool en 2012: Matt Saunders: Century Rolls.<br />&nbsp;</div> <div style="text-align: justify;">Ses &oelig;uvres ont &eacute;t&eacute; acquises par de prestigieuses institutions aux Etats-Unis comme le Museum of Modern Art, MoMA (New York), du Whitney Museum of American Art (New York), du Guggenheim Museum (New York), San Francisco Museum of Modern Art ou encore UCLA Hammer Museum en Californie. Parmi les nombreuses expositions collectives auxquelles il a particip&eacute;, on peut citer : Cinema and Painting, Adam Art Gallery, Wellington, New Zealand (2014), Test Pattern, Whitney Museum of American Art, New York (2013), Plot for a Biennial, 10th Biennale de Sharjah, Emirats arabes unis (2011), The Anxiety of Photography, Aspen Art Museum, Colorado (2011), The more things change, San Francisco Museum of Modern Art (2010-2011), Untitled (History Painting), University of Michigan Museum of Art, Ann Arbor (2009), Freeway Balconies, Deutsche Guggenheim, Berlin (2008), Blind Date Istanbul, Sabanci Museum, Istanbul (2007).&nbsp;<br /><br /></div> <div style="text-align: justify;">Matt Saunders a &eacute;t&eacute; r&eacute;compens&eacute; de plusieurs prix dont le Rappaport Prize, DeCordova Sculpture Park and Museum (2015), le Prix Jean-Fran&ccedil;ois Prat (2013) et le Prix de la Louis Comfort Tiffany Foundation (2009). Parall&egrave;lement &agrave; l&rsquo;exposition, son travail est &eacute;galement expos&eacute; dans deux expositions de groupe : Double-take: Drawing and Photography au Drawing Room and The Photographer&rsquo;s Gallery &agrave; Londres (14 avril &ndash; 4 juin) et &nbsp;Prix Jean-Fran&ccedil;ois Prat, Palais de Tokyo &agrave; Paris (14-17 avril).&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Matt Saunders a re&ccedil;u le soutien du Swedish Arts Grants Committee pour r&eacute;aliser une partie des &oelig;uvres de l&rsquo;exposition.</div> Sat, 23 Apr 2016 17:47:57 +0000 Lola Gonzàlez - Galerie Marcelle Alix - April 14th - June 4th <p style="text-align: justify;">"... Four students together, await a fraternal and legendary death."<br />Marguerite Duras, <em>Hiroshima, My Love</em>, Gallimard, 1972<br /><br />Each film Lola Gonz&agrave;lez produces, makes the next one up. The complete set portrays an obsession, as dreams that'd never cease to return night after night, affecting day-time as well. The apparent lightness emerging from her first "buddy movies" has disappeared in favor of a desire that's more open to the world. Not unlike magical rituals, Lola Gonz&agrave;lez's films open on those young people facing outward, toward the landscape. Are they able to see a sign out there, they'll all read into in the same fashion? Each time, a deeply moving synchronicity sets in, creating a situation where communication channels through the bodies that brush by or voluntarily touch one another. In the two most recent opuses, <em>Summer Camp</em> (2015) and <em>Veridis Quo</em> (2016), a quasi military training goes along a mesmerizing litany (in the first one) or the traumatic noises of a sea storm (in the second). If <em>Summer Camp</em> is a long, collective prayer, <em>Veridis Quo</em> looks like the last supper of an enigmatic troupe guided to a cliff matching the size of this common dream. The murmur of the stone, if it were audible, would say something like this: I am the route that was sung by others before you. I am the rock of your ancestors. I am the sacred knowledge and the grave your children will stand by. It will begin again.</p> <p style="text-align: justify;">&nbsp;</p> <p style="padding-left: 30px; text-align: justify;"><strong>Friendship</strong><br />The starting point is always the same. Four, ten people, sometimes more, are secluded away from the cities. It is impossible to know who they are or what holds them together. Are they deserters, Utopians, brainwashed mercenaries? Understanding what their actions lead to doesn't really matter after all; let's instead suppose their only requirement is that of learning to live together, of tuning intuitively in order to come as close as possible to fair coexistence. What matters is the connection. Yet few words are spoken and even meals are held in silence. Not that all would already understand each other intimately but that the real issue is elsewhere: it is in the construction of a common movement. They must learn to function together, develop a collective syntax to be able to cope without the sense of sight. Brushing by so as to be understood, letting oneself go in confidence, merging one's voice with others, in song. The roads they travel must therefore bring them closer to a form of archaic sociability. Pure friendship is defined by Giorgio Agamben as a relationship based only on the ability to share the sensation of being, to experience the reality of another body in one's own reality. To recognize its presence as equivalent to one's own to the point of living through it. To agree to forget oneself to be reconstituted in a sole body.<br /><br /><strong>Khaki</strong><br />You are so good that you allow oblivion. In mythology, humans are forever losing themselves. If they accept the fact, they become Gods.<br /><br /><strong>Regeneration</strong><br />All of Lola Gonz&agrave;lez's characters seem to be subjected to the same insatiable appetite. And thus share Tantalus, Phineus and Erysichthon's torments -- sentenced to never be satisfied by any earthly resources. Nevertheless, there's no food shortage here, on the contrary. Like a pack of predators gathers to share its hunger and go hunting, the community always assembles around meals that are ever more abundant as if to meet this feeling of loss. But this will to absorb countless matter in the hope of meeting resistance inevitably fails. while their appetite increases, it is the whole landscape that gradually becomes likely to be ingested.<br /><br /><strong>Exercise</strong><br />If Lola Gonz&agrave;lez's films were prose, one would only find verbs in it. To advance, to grasp, to walk, to lie down. The entire life of the group is thus organized around a series of exercises. This is what initially allows to prepare one's body; to control one's gestures, to evaluate one's strength. But it is also a way to feel oneself by literally applying pressure on the world: take a stand on things or crush them under one's weight.<br /><br /><strong>Monks in parkas</strong><br />The image of the monk imposes itself in a strange way through the costumes the actors wear. Two of them in particular seem immersed in their thick jacket that washes over them as in a bath, where only the face emerges akin to a small island. It is also an attitude. A way to put the body in the background or to put it everywhere. The body merges with the colors of the landscape, it becomes stone or shade at any moment. The body is available and indifferent, it can be embraced as an ancient tree would be. The parka is both the bark and the bird. Who's underneath it contains them as much as is contained. It flies lightly or reaches the ground, depending on who approaches... Here, one does not fight on one's own account.<br /><br /><strong>Emotional bodies</strong><br />If one has the ability to escape mystification forms, it remains necessary to be able to show the difficult and complex relationship of the individual to power, without fear of compromising with affect.<br /><br />CB + BP</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><a title="" href="" target="_blank">Lola Gonz&agrave;lez</a>&nbsp;was born in 1988 in Angoul&ecirc;me (FR), she lives in Paris. She graduated from the Lyon School of Fine Arts in 2012. Since then, she has shown her work at Biennale de Lyon, IAC Villeurbanne (FR) ; Kunstverein Sparkasse, Leipzig ; Centre Pompidou (Hors-Pistes Festival) ; Salon de Montrouge (FR); Treize, Paris ; La Galerie/ Noisy-le-sec Art Center (FR) ; Palais de Tokyo, Paris and Le Magasin, Grenoble (FR). <em>Veridis Quo</em> was produced with the help of Ars Ultima and Passerelle art center (Brest, FR) and will be exhibited there next summer.<br /><br /><a title="" href="" target="_blank">On Friday April 15th, at Plateau, FRAC &Icirc;le-de-France, Paris, Lola Gonz&agrave;lez will present a new performance entitled <em>Telma Rose Jeanne</em>.</a><br /><br />With the support of CNAP-Centre National des Arts Plastiques (aide aux galeries/ premi&egrave;re exposition)<br /><br />Special thanks: Le collectif WOOP, Keren Detton (Centre d'art le Quartier, Quimper), Etienne Bernard (Centre d'art Passerelle, Brest), St&eacute;phanie Stein (Ars Ultima), Nathalie Ergino and Magalie Meunier (Institut d'Art Contemporain, Villeurbanne), Emilie Renard (La Galerie, Noisy-le-Sec), Roberto, Pascale, Anouk and Telma Gonz&agrave;lez, Charlotte Marchal, Nicolas Rabant, Baptiste Pinteaux, Camila Renz, Fran&ccedil;ois Orphelin and many more friends.</p> <hr /> <p style="text-align: justify;">&laquo; &hellip; Quatre &eacute;tudiants attendent ensemble une mort fraternelle et l&eacute;gendaire. &raquo;<br />Marguerite Duras, <em>Hiroshima mon amour</em>, Gallimard, 1972<br /><br />Chaque film que fait Lola Gonz&agrave;lez invente celui d&rsquo;apr&egrave;s. L&rsquo;ensemble dessine une obsession, comme un r&ecirc;ve qui n&rsquo;en finit pas de revenir, nuit apr&egrave;s nuit, et qui a son influence pendant le jour. L&rsquo;apparente l&eacute;g&egrave;ret&eacute; qui se d&eacute;gage des premiers films &laquo; entre copains &raquo; s&rsquo;est &eacute;vapor&eacute;e au profit d&rsquo;un d&eacute;sir plus ouvert sur le monde. Comme un rituel magique, les films de Lola Gonz&agrave;lez s&rsquo;ouvrent sur ces jeunes gens tourn&eacute;s vers l&rsquo;ext&eacute;rieur, vers le paysage. Sont-ils capables d&rsquo;y voir un signe qu&rsquo;ils interpr&egrave;tent tous de la m&ecirc;me fa&ccedil;on? &Agrave; chaque fois, un bouleversant synchronisme s&rsquo;installe et cr&eacute;e une situation o&ugrave; la communication passe par les corps qui se fr&ocirc;lent et se touchent volontairement. On assiste dans les deux films les plus r&eacute;cents, <em>Summer Camp</em> (2015) et <em>Veridis Quo</em> (2016), &agrave; un entra&icirc;nement quasi-militaire accompagn&eacute;, dans le premier, par une litanie hypnotique et dans le second, par les bruits traumatisants d&rsquo;une temp&ecirc;te de bord de mer. Si <em>Summer Camp</em> est une longue pri&egrave;re collective, <em>Veridis Quo</em> ressemble au dernier repas d&rsquo;une &eacute;nigmatique troupe guid&eacute;e vers une falaise &agrave; la taille de ce songe commun. Le murmure de la pierre devenu audible dirait &agrave; peu pr&egrave;s ceci : je suis l&rsquo;itin&eacute;raire chant&eacute; par d&rsquo;autres avant vous. Je suis le rocher de vos anc&ecirc;tres. Je suis la connaissance sacr&eacute;e et la tombe devant laquelle vos enfants viendront se recueillir. &Ccedil;a recommencera.</p> <p style="text-align: justify;">&nbsp;</p> <p style="padding-left: 30px; text-align: justify;"><strong>L'amiti&eacute;</strong><br />Le point de d&eacute;part est toujours le m&ecirc;me. Quatre personnes, dix, parfois plus, vivent recluses loin des villes. Impossible de savoir qui elles sont, ni ce qui les retient ensemble. D&eacute;serteurs, utopistes, mercenaires endoctrin&eacute;s ? Mais qu&rsquo;importe apr&egrave;s tout de comprendre ce que leurs actions pr&eacute;parent. Supposons plut&ocirc;t que leur seule exigence soit celle d&rsquo;apprendre &agrave; vivre ensemble, de s&rsquo;accorder intuitivement pour s&rsquo;approcher au plus pr&egrave;s d&rsquo;une juste coexistence. Ce qui compte, c&rsquo;est le rapprochement. Il y a pourtant peu de paroles, m&ecirc;me les repas se d&eacute;roulent en silence. Non pas que tous se comprennent d&eacute;j&agrave; intimement, mais l&rsquo;enjeu est ailleurs &ndash; dans la construction d&rsquo;un mouvement partag&eacute;. Il leur faut apprendre &agrave; fonctionner ensemble, d&eacute;velopper une syntaxe collective jusqu&rsquo;&agrave; pouvoir se passer de la vue. Fr&ocirc;ler pour &ecirc;tre compris, se laisser basculer en confiance, confondre sa voix avec d&rsquo;autres en chantant. Les chemins qu&rsquo;ils empruntent devront ainsi les rapprocher au plus pr&egrave;s d&rsquo;une forme de sociabilit&eacute; archa&iuml;que. Une amiti&eacute; pure telle que la d&eacute;finie Giorgio Agamben &ndash; comme une relation reposant uniquement sur la capacit&eacute; &agrave; &laquo; con-sentir &raquo; l&rsquo;existence d&rsquo;un autre corps dans sa propre existence. Reconna&icirc;tre sa pr&eacute;sence comme &eacute;quivalente &agrave; la sienne jusqu&rsquo;&agrave; vivre &agrave; travers elle. Accepter de s&rsquo;oublier pour se reconstituer dans un seul corps.<br /><br /><strong>Kaki</strong><br />Tu es tellement bon que tu permets l&rsquo;oubli. Dans la mythologie, les &ecirc;tres humains se perdent &eacute;ternellement. S&rsquo;ils l&rsquo;acceptent, ils deviennent des dieux.<br />&nbsp;<br /><strong>R&eacute;g&eacute;n&eacute;ration</strong><br />Tous les personnages de Lola Gonz&agrave;lez semblent &ecirc;tre soumis au m&ecirc;me app&eacute;tit insatiable. Et partager ainsi le supplice de Tantale, Phin&eacute;e et &Eacute;rysichthon, condamn&eacute;s &agrave; ce qu&rsquo;aucune ressource terrestre ne puisse plus les satisfaire. Mais ce n&rsquo;est pas que la nourriture manque ici, au contraire. Comme une meute de pr&eacute;dateurs se rejoint pour partager sa faim et s&rsquo;en aller chasser, la communaut&eacute; se rassemble toujours autour de repas de plus en plus abondants pour r&eacute;pondre &agrave; ce sentiment de d&eacute;ficience. Mais cette volont&eacute; d&rsquo;absorber une d&eacute;bauche de mati&egrave;re dans l&rsquo;espoir d&rsquo;y rencontrer une r&eacute;sistance &eacute;choue immanquablement. Leur app&eacute;tit s&rsquo;accroissant, c&rsquo;est progressivement le paysage tout entier qui devient susceptible d&rsquo;&ecirc;tre ing&eacute;r&eacute;.<br /><br /><strong>Exercice</strong><br />Si les films de Lola Gonz&agrave;lez &eacute;taient en prose, on n&rsquo;y trouverait que des verbes. Avancer, saisir, marcher, se coucher. La vie enti&egrave;re du groupe s&rsquo;organise ainsi autour d&rsquo;une s&eacute;rie d&rsquo;exercices. C&rsquo;est ce qui permet d&rsquo;abord de pr&eacute;parer son corps ; ma&icirc;triser ses gestes, deviner sa force. Mais c&rsquo;est aussi un moyen de se ressentir en faisant proprement pression sur le monde : prendre appui sur les choses ou les &eacute;craser de son poids.<br /><br /><strong>Moines en parka</strong><br />L&rsquo;image du moine s&rsquo;impose d&rsquo;une bien &eacute;trange fa&ccedil;on &agrave; travers les v&ecirc;tements port&eacute;s par les acteurs. Deux d&rsquo;entre eux en particulier semblent immerg&eacute;s dans leurs &eacute;paisses vestes, les recouvrant comme dans un bain o&ugrave; seul le visage d&eacute;passe &agrave; la mani&egrave;re d&rsquo;une petite &icirc;le. C&rsquo;est aussi une attitude. Une mani&egrave;re de mettre le corps au second plan ou de le mettre partout. Le corps fusionne avec les teintes du paysage, il devient pierre ou ombre &agrave; tout moment. Le corps est disponible et indiff&eacute;rent, il peut &ecirc;tre &eacute;treint comme on le ferait pour un arbre mill&eacute;naire. La parka est &agrave; la fois l&rsquo;&eacute;corce et l&rsquo;oiseau. Celui qui est dessous les contient autant qu&rsquo;il est contenu. Il vole l&eacute;g&egrave;rement ou rejoint la terre, &ccedil;a d&eacute;pend de celui qui l&rsquo;approche&hellip; . Ici, on ne lutte pas pour son propre compte.<br /><br /><strong>Corps &eacute;motionnels</strong><br />On a la capacit&eacute; d&rsquo;&eacute;chapper aux formes de mystifications,<br />encore faut-il &ecirc;tre capable de montrer la relation difficile et complexe de l&rsquo;individu au pouvoir<br />sans avoir peur de se compromettre avec l&rsquo;affect.<br />&nbsp;<br />CB + BP</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><br /><a title="" href="" target="_blank">Lola Gonz&agrave;lez</a> est n&eacute;e en 1988 &agrave; Angoul&ecirc;me. Elle vit &agrave; Paris et &agrave; Brest. Depuis sa sortie des Beaux-Arts de Lyon en 2012, son travail a &eacute;t&eacute; expos&eacute; dans le cadre de la Biennale de Lyon &agrave; l'Institut d'art contemporain de Villeurbanne (FR), au Kunstverein Sparkasse, Leipzig (DE), au Centre Pompidou (Festival Hors-Pistes), au Salon de Montrouge (FR), chez Treize, Paris, &agrave; La Galerie, centre d'art contemporain de Noisy-le-sec (FR), au Palais de Tokyo, Paris et au Magasin, Grenoble (FR). <em>Veridis Quo</em> a &eacute;t&eacute; produit par Ars Ultima et le Centre d'art Passerelle (Brest) et y sera expos&eacute; cet &eacute;t&eacute;.<br /><br /><a title="" href="" target="_blank">Vendredi 15 avril au Plateau, FRAC &Icirc;le-de-France, Paris, Lola Gonz&agrave;lez pr&eacute;sentera une nouvelle performance intitul&eacute;e <em>Telma Rose Jeanne</em></a>.<br /><br />Avec le soutien aux galeries/ premi&egrave;re exposition du CNAP Centre National des Arts Plastiques.<br /><br />Remerciements: Le collectif WOOP, Keren Detton (Centre d'art le Quartier, Quimper), Etienne Bernard (Centre d'art Passerelle, Brest), St&eacute;phanie Stein (Ars Ultima), Nathalie Ergino et Magalie Meunier (Institut d'Art Contemporain, Villeurbanne), Emilie Renard (La Galerie, Noisy-le-Sec), Roberto, Pascale, Anouk et Telma Gonz&agrave;lez, Charlotte Marchal, Nicolas Rabant, Baptiste Pinteaux, Camila Renz, Fran&ccedil;ois Orphelin et les ami.e.s qui se reconna&icirc;tront.</p> Sat, 23 Apr 2016 17:41:30 +0000 Jean Paul Riopelle - Galerie Maeght - April 15th - June 25th Sat, 23 Apr 2016 17:33:15 +0000 Eric Roux-Fontaine - Galerie Felli - May 19th - June 19th <p style="text-align: justify;">How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.</p> <p style="text-align: justify;">Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.</p> <p style="text-align: justify;">Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony. &nbsp;A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.</p> <p style="text-align: justify;">When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in <em>this</em> world.</p> <p style="text-align: justify;">The dazzlingly dense paths open to him here require a leap of faith.</p> <p style="text-align: justify;">Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed.</p> <p style="text-align: justify;">Pierre Vavasseur</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Mais de quoi survivent les mondes disparus? Sur quoi s&rsquo;appuient-ils pour rena&icirc;tre? Sur les souvenirs et les r&ecirc;ves qui s&rsquo;y sont attard&eacute;s avant d&rsquo;essaimer de nouveau.<br /> Eric Roux-Fontaine en sait quelque chose. Il a habit&eacute; une autre terre. Rien ne dit que nous n&rsquo;en &eacute;tions pas et que nous n&rsquo;&eacute;tions pas capables, comme lui, d&rsquo;y tendre l&rsquo;oreille et d&rsquo;en nourrir nos yeux; mais il s&rsquo;y est accord&eacute; mieux que tous. Mieux que tout autre, il a saisi le jeu de murmures et de sonorit&eacute;s chaudes propres &agrave; exalter leurs couleurs, &agrave; raviver leurs brouillons et, de la sorte, &agrave; laisser les jungles tendres reprendre le pouvoir sur des royaumes us&eacute;s.<br /> Roux-Fontaine travaille par strates, par sensations, par collision joyeuse entre le relief et la transparence. Il ne maquille rien. Ses cosm&eacute;tiques sont des pigments et de la poudre de marbre, de quoi aller chercher loin derri&egrave;re la mati&egrave;re et d&rsquo;en r&eacute;g&eacute;n&eacute;rer les reflets. Tel lac, tel ciel d&eacute;bord&eacute; d&rsquo;impatience; telle cabane ardente dans un soleil ardent de glace. Le peintre aime les transparences opaques. Il ne peut s&rsquo;en d&eacute;faire. Dans cette respiration v&eacute;g&eacute;tale intense, des icebergs pointent en paquebots fant&ocirc;mes, pr&eacute;servant dans leur coque un m&eacute;canisme secret d&rsquo;ovulation. La Lune aussi couve des secrets et il n&rsquo;y a sans elle pas de r&ecirc;ve. En &eacute;cho &agrave; son incandescence froide, des bassins de piscines s&rsquo;abandonnent aux caprices des cath&eacute;drales de futaies. Des &eacute;corces de ponts ou de temples forains servent de bracelets aux feuillages. Dans cet Eden de neuve synth&egrave;se, une faune reprend ses droits en excellent m&eacute;nage. C&rsquo;est le vol d&eacute;coch&eacute; des oiseaux. Un pachyderme &agrave; notre rencontre. La nature vive d&rsquo;un li&egrave;vre. Tout cela berc&eacute; dans la douceur.<br /> Qu&rsquo;une silhouette humaine en surgisse, enfin, elle est d&rsquo;un incertain passage. Sans garantie d&rsquo;int&eacute;gration. En transit dans cette virginit&eacute;. Des enfants s&rsquo;y balancent de nouveau, tr&egrave;s haut, sans remuer l&rsquo;air mais ce n&rsquo;est plus l&rsquo;homme qui domine d&eacute;sormais, avec ses curieuses aventures, son app&eacute;tence au d&eacute;sordre, sa production de g&acirc;chis. Les chemins qui lui sont propos&eacute;s sont des &eacute;blouissements touffus auxquels il faudra faire confiance.<br /> Aujourd&rsquo;hui, les artistes doivent &ecirc;tre des animaux. Progresser au museau, avoir l&rsquo;&acirc;me flairante. Eric Roux-Fontaine est un de ces nouveaux fauves.</p> <p style="text-align: justify;">Pierre Vavasseur</p> <p style="text-align: justify;">Les oeuvres pour l&rsquo;exposition personnelle &laquo;&nbsp;A country in the eyes&nbsp;&raquo; seront en ligne dans le courant du mois de mai 2016, elles sont disponibles sur demande.</p> Sat, 23 Apr 2016 17:28:44 +0000