Paris — New York
Marc Desgrandchamps
Jardins obscurs - 05 September - 05 October 2019
For his second one-man show at Galerie Lelong & Co., Marc Desgrandchamps has chosen the title Jardins obscurs. Some of his new paintings evoke mysterious outdoor scenes, free of any human presence, where a dark green colour dominates in a dusky atmosphere...
David Nash
Trees - 05 September - 05 October 2019
As a major retrospective of his work comes to an end at the National Museum of Cardiff, the British sculptor and artist David Nash presents a collection of pastels and charcoals with trees as their theme. Demonstrating great interest for the landscapes and nature that surround him, David Nash works mostly with wood.
Barthélémy Toguo
Wouri, Donga, Sanaga - 05 September - 05 October 2019
Barthélémy Toguo is a multi-disciplinary artist: he is equally at ease with painting, sketching, watercolour or printing as he is with sculpture, performance, photography and video.
Jannis Kounellis, Arnulf Rainer, Antoni Tàpies
05 September - 26 October 2019
Jannis Kounellis, Arnulf Rainer and Antoni Tàpies all placed the brutality of the material and the energy of the gesture at the heart of their work. Their unique artistic language examines the sacred character of art through the use of profane codes. Tàpies with his exploration of material and the inclusion in this works of signs and objects from daily life, Kounellis by his use of raw materials, and his pared-down and dramatic scenography, and Rainer by his obsessional “overpaintings” and his ferocious self-portraits.
Samuel Levi Jones
Mass Awakening - 05 September - 12 October 2019
Galerie Lelong & Co., New York, is pleased to present Samuel Levi Jones: Mass Awakening, an exhibition that examines how the artist has broadened his scope of unmaking and remaking objects to question their moral and ethical implications.


Taking his inspiration from personal photographs or striking memories of scenes from films (such as the large garden that surrounds the house in Melancholia by Lars von Trier), this time the artist is using more contrasted tonalities. In other paintings, we find fugitive silhouettes, transparent against blue backgrounds, which remind us of older works that were visible in the artist’s exhibitions at the Centre Pompidou (2006) or the Musée d’art Moderne de la ville de Paris (2011).

oeuvres Untitled (Jardins obscurs #1) Marc Desgrandchamps
Untitled (Jardins obscurs #1)
Marc Desgrandchamps
Untitled, 2019 Oil on canvas 162 x 130 cm
oeuvres Untitled (Jardins obscurs #3) Marc Desgrandchamps
Untitled (Jardins obscurs #3)
Marc Desgrandchamps
Untitled, 2019 Oil on canvas 2 pannels of 55 x 46 cm each
oeuvres Untitled (Jardins obscurs #5) Marc Desgrandchamps
Untitled (Jardins obscurs #5)
Marc Desgrandchamps
Untitled, 2019 Oil on canvas 55 x 46 cm

Marc Desgrandchamps was born in 1960 and lives and works in Lyon. In 2017, his painting was the subject of an exhibition at the Musée des Beaux-Arts in Caen and in 2019 in the Centre d’Art Nomade in Toulouse. Galerie Lelong & Co. published three new lithographs entitled Latona, in 2018.

He explores the very essence of trees, their materials and their symbolism, in their natural environment. Mostly known for his sculptures, often using burnt wood, David Nash is working in 2D here, producing simple forms with a strong expressive force. Having started his career as an artist and painter, David Nash accords great importance to colour, related to details he observes in the landscapes. Here, red and black are the dominant colours in his works on paper.

oeuvres Red Tree (#6) David Nash
Red Tree (#6)
David Nash
Red Tree, 2018 Pastel on paper 57 x 76 cm
oeuvres Red Tree (#7) David Nash
Red Tree (#7)
David Nash
Red Tree, 2018 Pastel on paper 57 x 76 cm
oeuvres Blue Shade David Nash
Blue Shade
David Nash
David Nash Blue Shade, 2019 Pastel on paper 56 x 76 cm

David Nash (born in 1945 in Esher, England) lives and works in Blaenau Ffestiniog in North Wales. He has been a member of the Royal Academy since 1999. His work, which is widely present in the leading museums in Europe, America, Australia and Japan, has been the focus of retrospectives at the Yorkshire Sculpture Park and at Kew Gardens, in England.

After his exhibition at Galerie Lelong & Co. New York last spring, Lelong Editions is presenting in Paris his first series of etchings: all printed in blue, the series includes examples that have been enhanced with watercolours. This addition of fluid colour animates the powerful silhouettes drawn by the artist, with great sensitivity. They bear the names of rivers from his home country of Cameroon.

estampes Wouri Barthélémy Toguo
Barthélémy Toguo
Wouri, 2019 Etching Edition of 35 + XI handcolored 57 x 54 cm
estampes Donga Barthélémy Toguo
Barthélémy Toguo
Donga, 2019 Etching Edition of 35 + XI handcolored 57 x 54 cm
estampes Sanaga 4 Barthélémy Toguo
Sanaga 4
Barthélémy Toguo
Sanaga IV, 2019 Etching Handcolored edition IV/XI

At the same time, the Le Parvis art centre at Ibos (Hautes-Pyrénées) welcomes the artist within the Of Blood and Water exhibition until 28 September. Part of his installation Vaincre le virus, presented during the Marcel Duchamp prize at the Centre Pompidou, is included alongside new works and installations, including a collection of pirogues and a wall fresco created in situ. In 2020, an exhibition of the artist’s work is scheduled for the Quai Branly museum in Paris and a monograph is being prepared.

Jannis Kounellis Arnulf Rainer Antoni Tàpies

Jannis Kounellis (1936-2017), who died suddenly two years ago, was one of the major protagonists of Arte Povera, a movement of radical artists that emerged in Italy in the 1960s. His work is exhibited in many major museums in Europe, Asia and America and is a reference for a new generation of artists. In recent years, Kounellis had exhibited many times in Europe – at La Monnaie de Paris in 2016—but also in Russia, Mexico and China, where each time he created spectacular works in situ. The Prada Foundation has dedicated a retrospective to his work, in Venice until 24 November 2019.

oeuvres Untitled Jannis Kounellis
Jannis Kounellis
Sans titre, 2008 Lead, Murano glass, iron wire, coat on iron plate 200 x 180 cm
oeuvres Petjada rosa Antoni Tàpies
Petjada rosa
Antoni Tàpies
Petjada rosa, 2004 Painting on paper 47,5 x 32,5 cm
oeuvres Cannibalia VI Arnulf Rainer
Cannibalia VI
Arnulf Rainer
Cannibalia VI, 1986 Oil charcoal, oil pastel and oil on reproduction on wood 120 x 80 cm

Arnulf Rainer, born in Vienna in 1929, was a major protagonist of the Austrian avant-garde movement in the 1950s and 1960s. He is notably famous for covering images, a technique known as Übermalungen. In 2014, the Albertina Museum in Vienna dedicated a vast retrospective to his work and from 27 September 2019, a new exhibition will celebrate the artist’s 90th birthday in this museum.

Antoni Tàpies (1923-2012) is one of the major figures of 20th Century art. Over five decades, he created paintings, sculptures, assemblages and more than one thousand engravings and illustrations. Today, his works are exhibited in the world’s most prestigious museums (MoMA, Musée d'Art Moderne de la Ville de Paris, Solomon R. Guggenheim Museum…).

For the past decade, Jones has taken materials across varying disciplines to deconstruct and mend their associated, often unjust histories. From pulped outmoded books to strippedapart sports equipment, the exhibition aggregates a wideranging body of work to consider how seemingly different narratives correlate. As Jones says, “To what extent do these forms of atrocity, when seen only in isolation, prevent us from understanding how our struggles against them are

oeuvres Extract Samuel Levi Jones
Samuel Levi Jones
2019 Pulped law books on canvas, 50,5 x 45 in
oeuvres Wrath of Children Samuel Levi Jones
Wrath of Children
Samuel Levi Jones
2019, Deconstructed print portfolios on canvas, 60 x 50 in
oeuvres Love and Fear Samuel Levi Jones
Love and Fear
Samuel Levi Jones
2019, Football tackling pad covers on canvas, 40 x 40 in

Recently, Jones expanded this approach to include fine art print portfolios. These protective objects, once at the peripheries of the artworld, have been recontextualized into an artwork. Jones’ refashioning of these artifacts reflects an international conversation on dramatic shifts in the art canon and contemporary
artmaking practices. Each work in Mass Awakening, even as it pines for a different future, invokes an unsettling sense of violence and irreparable damage before being reconstituted anew.