Paris — New York
Karel Appel / Pierre Alechinsky
Travaux à deux pinceaux (1976- 1978) - 12 March - 30 May 2020
Pierre Alechinsky and Karel Appel have known each other since 1949 and their CoBrA years. The artists from Copenhagen, Brussels and Amsterdam enjoyed the emulation of works produced in collaboration, often combining poems, drawings and paintings. Appel and Alechinsky had each notably worked with Christian Dotremont, but it wasn’t until 1976 that they found themselves together in Pierre Alechinsky’s studio in Bougival, outskirts of Paris to embark on a series of ink works with two brushes.
Konrad Klapheck
Dessins, 1974-2014 - 12 March - 30 May 2020
For Konrad Klapheck (Düsseldorf 1935), drawing underpins his work. Starting with a brief sketch of an idea which is then subjected to a system of very rigorous geometric and formal constraints, in the final version he sets out the meticulous structure of the work, which then only needs to be reproduced in colour on the canvas. And given a title.
Antoni Tàpies
L'objet - 12 March - 30 May 2020
At 38 avenue Matignon - Renowned worldwide from the end of the 1950s for his substantial paintings, often in monochrome, Tàpies (1923-2012) was incorrectly seen at the beginning of his career as a purely abstract painter. In fact, he never ceased to observe reality and attempt to render it in an unfettered way.
Richard Serra
Richard Serra: Nouvelles estampes - 12 March - 30 April 2020
Richard Serra (San Francisco, 1939) is one of the great contemporary sculptors, whose determination to build a substantial, rigorous (always black) and innovative body of engraved work is particularly remarkable. Having explored the resources of lithography then screen-printing in the 1970s and 1980s, for the last 30 years he has focused on etchings in small, medium and then especially in very large format.

Exhibitions

They established some basic principles: white plus the black of India Ink, the paper would be on the floor, one would start and the other would riposte… Then, the paper would be mounted on canvas.


The experience is repeated in 1977. In 1978, twenty drawings are made in Appel’s studio in New York. To illustrate this group of artworks, Hugo Claus wrote twenty poems and eighteen rhymes. Dotremont prefaced the catalogue of the exhibitions that took place at the Galerie de France in Paris, at the Louisiana Museum in Copenhagen, at the Fondation Maeght in Saint-Paul de Vence among other places.

oeuvres Les Ancêtres chuchotent Alechinsky & Appel
Les Ancêtres chuchotent
Alechinsky & Appel
1976. India ink on paper mounted on canvas, 153 x 271 cm
oeuvres Un temps splendide Alechinsky & Appel
Un temps splendide
Alechinsky & Appel
1976. India ink on paper mounted on canvas, 172 x 152 cm
oeuvres Je vous l'offre de bon coeur Alechinsky & Appel
Je vous l'offre de bon coeur
Alechinsky & Appel
1976. India ink on paper mounted on canvas, 151 x 154 cm

This exhibition invites us to rediscover a number of these “two brushes” works, which also shows coloured paintings produced by Alechinsky and Appel in the same decade.

With his titles, Klapheck gives a completely new reading of the image. The accepted rules lead to a stylisation, a simplification, even a deliberate deformation of object, spaces and figures, creating the sort of magical realism that emanates from his work.

oeuvres L'Apôtre entravé, drawing Konrad Klapheck
L'Apôtre entravé, drawing
Konrad Klapheck
Dessin pour "L'Apôtre entravé", 1992. Charcoal and blue pencil on tracing paper. 90 x 61 cm
oeuvres Avant le départ, drawing Konrad Klapheck
Avant le départ, drawing
Konrad Klapheck
Dessin pour "Avant le départ", 1993. Charcoal and pencil on tracing paper. 62 x 75 cm
oeuvres Domina, drawing Konrad Klapheck
Domina, drawing
Konrad Klapheck
Domina, dessin préparatoire, 2007. Charcoal, red pencil and blue pencil on tracing paper. 125 x 113 cm

Konrad Klapheck has been exhibiting at 13 rue de Téhéran for more than 40 years. To date, the gallery had never dedicated an exhibition only to his sketches. A retrospective was recently organised at the Musée de La Chaux de Fonds in Switzerland. Another is under preparation in a Dutch museum.

While American Pop Art celebrated gleaming publicity items, Tàpies preferred humble, used objects, and was thus a precursor of the Arte Povera movement. Whether it was representative or directly taken from reality, for Tàpies the object was most often simply shown for its shape, without metaphor or message. And it is from this sometimes brutal simplicity that he drew his plastic strength.

oeuvres Cadira Antoni Tàpies
Cadira
Antoni Tàpies
1983. Glazed terracotta. 97 x 46 x 54 cm
oeuvres Raspalls Antoni Tàpies
Raspalls
Antoni Tàpies
2002. Mixed media and collage on wood. 89 x 116 cm
oeuvres Palangana Antoni Tàpies
Palangana
Antoni Tàpies
2009. Mixed media and assemblage on canvas. 162 x 130 x 24 cm

His work has been exhibited in the world’s leading museums: the Solomon R. Guggenheim Museum in New York (1962), the Musée d’Art moderne de la Ville de Paris (1973), the Nationalgalerie in Berlin (1974), the Museo Nacional Centro de Arte Reina Sofia in Madrid (1990), the Contemporary Arts Center in Cincinnati (2010), the Palazzo Fortuny in Venise (2013) and the Guggenheim Museum in Bilbao (2013). He also took part in four Venice Biennal exhibitions, notably in 1993, the year he represented Spain and won the Golden Lion.
In addition to a number of exhibition catalogues, Galerie Lelong has published two volumes of writings by Antoni Tàpies, La réalité comme art and L’art et ses lieux.

The essence of Serra’s work as a sculptor is to transmit to the viewer a sensation of unstable equilibrium between a weight and its proportions. By constantly inventing, with his Californian printers, new procedures, new inks or mixtures and new methods of printing, he has brilliantly succeeded in transposing this research in the two dimensions of etching.

estampes Elevational Weight 1 Richard Serra
Elevational Weight 1
Richard Serra
Elevational Weight 1, 2016. Paintstick and silica. Edition of 28. 94 x 68,5 cm
estampes Right Angle I Richard Serra
Right Angle I
Richard Serra
Right Angle I, 2019. Paintstick and silica. Edition of 48. 46 x 38 cm
estampes Right Angle III Richard Serra
Right Angle III
Richard Serra
Right Angle III, 2019. Paintstick and silica. Edition of 28. 94 x 68,5 cm


In Spring 2018, Galerie Lelong & Co. presented the immense and imposing Rift works. This new exhibition will present the recently completed Right Angle from 2019, among others.