“Paris”

Revelations 2017, when excellence springs up

Held in a spirit of harmony embracing the design universe, R3, the third edition of Revelations, an international fair for fine craft and creation, will be on at the Grand Palais from 4 to 8 May. And paying homage to Chile’s artisanal production… 2017 marks the year of a biennial that will go down in history for all lovers of fine craftwork and exceptional savoir-faire. A biennial that will gather a large community of protagonists including designers and craftworkers, all of whom share a love for objects and the materials composing them, whether precious or not, innovative or traditional. Above all, Revelations has represented, since 2013, a veil lifted on a breeding ground of talent gathered under the glass dome of the Grand Palais, drawing a plethora of practices in which handiwork reigns supreme, in a stimulating atmosphere of exchange. This is an event with weighty significance and economic fallout for the whole of the profession, supported by artisan-creators, the “guardians” of French and international excellence. Recognition for artistic professions – finally! Set up in 2013 by Serge Nicole, president from 2006 to 2016 of the Ateliers d’Art de France (French professional union representing the craft professions), the Revelations fair has since taken up its quarters at the Grand Palais, an iconic spot for contemporary art… Whose choice may incidentally be a source of amusement for craftworkers given that the art of today has shown relative indifference to them, if not rejected them outright! Whatever the case, the event sets out to be the finest showcase for artistic professions offered to the world. Since its outset, it has defined itself as providing strong support to the sector’s visibility. Indeed, three years ago, the sector seemed to suffer from a lack of definition in the eyes of public authorities in...

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Bertrand Lavier, an a cappella interview

Following a long collaboration with the gallerist Yvon Lambert, Bertrand Lavier is, for the first time, showing work at the Almine Rech gallery. The artist is presenting a set of works from different “construction sites”, series that he gradually picks up over time as his work evolves. A guided tour.   Bertrand, your exhibition starts with a “painting room”… Here, I present several series of works, including new “Walt Disney Productions”. These works have classic frames, which give them a kitsch insolence. Stemming from one fiction – the one drawn by Walt Disney – they tip over to another – one associated with the field of art. These bright white wooden frames with foliage and arabesques highlight their artificial aspect. This is the first time that you’re using frames even if they were already present in the 1947 Walt Disney cartoon Mickey at the Museum of Modern Art. The Walt Disney Productions “construction site” started in 1984 with a series of Cibachromes, then ink jets on canvas until 2013, the year when I started painting on these prints. It was also in 1984 that I started covering mirrors with a “Van Gogh touch”. From 2011, I stopped covering their entire surface but instead would paint them with a “brushstroke touch” immortalised by Roy Lichtenstein. This way, I appropriated a fundamental gesture from contemporary painting and used it on the mirrors and Walt Disney Productions. This gesture, freer than the “Van Gogh” touch, allows me to easily follow the curves of painted motifs. For the Walt Disney Productions presented here, the fact that the whole of the canvas isn’t covered with paint means that the motif of the serigraphed outline is left visible, showing the stages preceding the final result. Have you used all the works that Mickey and Minnie discover...

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Peter Campus, withdrawal and extension

The Musée du Jeu de Paume is devoting a rare and beautiful retrospective to the work of Peter Campus, a video-art pioneer who remains too little known in France. From collective introspection to the serenity of his recent years, we take a glimpse at his trajectory. It’s a shame how rare are the opportunities that arise to see Peter Campus’ work in France. Only one appearance stands out in the last five years. That was in 2015, at the Galerie mfc-michèle didier exhibition “Anarchive, Affinités / Diversités”, presenting a collection of interactive multimedia projects. On that occasion, Peter Campus’ video offshore (2013) was presented: a fixed shot of the banks of Shinnecock Bay (New York State) synthesized into large reworked pixels. The last solo exhibition of Peter Campus in France dates all the way back to 1993: a project at La Box, the gallery of the École Nationale Supérieure d’Art de Bourges. And there’s a good reason for this rarity… If Peter Campus’ video work is so little displayed, it’s because they’re a real headache to show. Regarding Optical Sockets (1972-1973), made up of four video-surveillance cameras placed on tripods on floor-level, each at a corner of a square, with four monitors superimposing the images of visitors penetrating the field of the camera’s range, the video artist exclaims: “We took two days simply to adjust the settings of this installation!” More than mere logistical issues, his setups also gave him cause to worry about the endurance of his work. “Once the work is switched off, it’s over. It’s not as if it could stay present like a sculpture in a museum. I didn’t know if my installations could live more than a few years,” he explained to Mathilde Roman in the exhibition catalogue. With “peter campus, video ergo sum”,...

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Jean-François Dubreuil wins Aurélie Nemours Prize

At Art Paris Art Fair, Jean-François Dubreuil has been awarded the Aurélie Nemours prize for his great contribution in the field of abstraction. His artworks created a major impact because of their unique concept. These artworks are a “newspaper analysis” where the artist uses different colours to indicate the sections of the newspaper. In his career, his style has remained the same focusing on geometrical abstraction. This living artist still involves himself in creating artworks in a same enthusiasm. He has experimented mostly with gray, black and red colours to highlight the sections in various newspapers including his famous series of The New York Times. Aurélie Nemours, a French abstractionist became famous in her early forties. She started her foundation through which the annual prize for the most deserving artist was planned. This is the seventeenth year of the foundation. This year it is prestigious for a Galerie Lahumiere because the gallery have been representing Dubreuil for the last 35 years and Nemours was part of the same gallery. Gallerist Anne Lahumière gave her insights regarding the same by saying that she is excited to having an artist that she represents winning a prestigious cash prize which will encourage other artists to continue with their works. Jean-François Dubreuil expressed his emotions after receiving this prize. He said, “I am honored to receive this prize. Aurélie Nemours is an artist I knew for a long time and I know her work very well so I am very happy that they selected me as an awardee.” Dubreuil has been working since 1968 in this field and is currently participating in group shows in Paris and Switzerland.  ...

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At Art Paris Art Fair, all galleries are not from Paris

While 18 of the 33 national museums are located in the Paris region, art galleries in French regions are more than elsewhere real cultural locomotives. This year at Art Paris Art Fair they represent 10% of the total number of galleries present at the fair. All very different, they present situations that vary according to their geographical situations and their history. For the  Petits Carreaux gallery which migrated to Saint-Briac in Brittany after being located for years in Paris, the displacement was not binding, quite the opposite. For his owner Philippe Benadretti, this has allowed them to get closer to their clientele with an unprecedented concept: “We work much more casually, we have relations with our collectors who feel much better because they visit us during the weekend or while on holiday, so much more relaxed. Moreover it allowed us to choose a space closer to our home and to display in our house and garden sculptures and canvases that remain on sale for collectors who come to visit the gallery or simply have a drink at home. In addition to these spaces we have a small house which allows us to welcome artists in residence. Thus we decided to present their work at Art Paris Art Fair. And the best thing about a fair like this is that the busy collectors do not say that they will come to see us at the gallery since it’s far away, so they decide right away on the stand.” Although located in a region, it is mainly Parisian clientele that still meets the Petits Carreaux Gallery. This is also the case with AD Gallery – located in Montpellier they participate at the fair for the 8th consecutive year. To quote David Garcia, the owner of the gallery, “The aim of this...

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