Paris — New York
Rythmes et vibrations
04 June - 24 July 2020
Right from the start of abstract art, there was a split between two lines, indicating seemingly opposed tendencies: on the one hand a structured and economical art, often proscribing curves, seeming to privilege the cerebral and programmatic, and on the other, a warmer and more informal art in which spontaneity and sensitivity imposed their rhythm. Yet these two lines have never ceased overlapping and enriching each other. In the case of many painters, they co-exist or succeed one another.
Marc Desgrandchamps
Marc Desgrandchamps : Barcelona - 18 June - 24 July 2020
At the Salon - When Marc Desgranchamps was commissioned by its publisher for the Louis Vuitton Travel Book collection, he chose Barcelona. He wandered throughout the city, absorbing its atmosphere, grasping its landscape and scenery, using his camera to capture some details. Then, once back in his studio, he used these memories, sometimes blending them in with his photographic elements, thereby realising a sensitive itinerary of Barcelona through 120 drawings, distributed by city sectors: Gòtic, Eixample, Raval, Montjuïc…
Pierre Alechinsky
Pierre Alechinsky : Estampes d'il y a longtemps - 02 July - 30 July 2020
From 1948 with his series of etchings, “Les Métiers”, Pierre Alechinsky placed prints at the very heart of his work. Later, with the artistic collaboration of S.W. Hayter or Walter Rossi, Peter Bramsen, Frank Bordas, Piero Crommelynck and Robert Dutrou (to name but a few) he worked continuously on copper, wood, lino, stone or zinc, producing a body of engraved work that is exceptional for its duration, scope and variety. The artist has taken from his files a series of paper works that are a rare testimony to the stages in this creative process.
Frank Horvat
Frank Horvat : Vraies Semblances, 1981-1986 - 18 June - 10 October 2020
Frank Horvat was born in 1928 in Abbazia, Italy. He has lived in Switzerland, India, England, France and the United States. His career as a photographer was influenced in 1950 by a meeting with Henri Cartier-Bresson, who determined him to adopt the Leica and undertake a two-year trip to Asia as a freelance photojournalist.
Fabienne Verdier
Fabienne Verdier : Solstices - 24 June - 05 July 2020
The entire body of work produced by Fabienne Verdier, which for a long time was exaggeratedly considered as being akin to oriental calligraphy, is inspired by the careful observation of natural phenomena: variations in light, the energy of winds, waves and eddies in waterways, the bending of branches, the blaze of lighting, the improbable geometry of clouds. She does not seek to imitate these forms in order to represent them, but to draw on their energy so that, in the peace and quiet of her studio, she can materialise it on the canvases she has prepared for that purpose.

Exhibitions

This articulation will be respected in the exhibitions which will be presented at the Gallery: the first one as of June 18th, date of the travel book’s publishing, the second one as of September 9th.

Barcelona, Vila de Gràcia
Marc Desgrandchamps
2018. Gouache on paper. 20 x 29 cm
Barcelona, Park Güell
Marc Desgrandchamps
2019. Gouache on paper. 20 x 29 cm
Barcelona, Montjuïc
Marc Desgrandchamps
2019. Gouache on paper. 20 x 29 cm

Marc Desgrandchamps, born in 1960, studied at the Fine Arts Academy of Paris. In the 90s he breaks free from the opposition between figurative and abstract art characteristic of the great majority of XXth century pictorial narratives.

For although his work is figurative, the artist refuses to name it as such. His works are not nudes, not landscapes, nor still-life studies: they transcend categories. They play with the interpenetration of forms and subject, solely underscoring the ambiguity of time and space. Scenes play out against the depth of the painting, time is suspended and references to painting, photography and films run through his work.

Marc Desgrandchamps’s work has been the subject of major exhibitions notably at the Contemporary Art Museum of Strasbourg (2004), at the Contemporary Art Museum of Lyon (2004), at the KunstMuseum of Bonn (2005), as well as at the National Modern Art Museum (2006), at the G.Pompidou Center & Modern Art Museum of the City of Paris (2011), at the Fine Arts Museum of Caen (2017).

From the 1961 engraving Où en étais-je ? (which appears in the collection of the MoMA) to Waterloo in 1969, and Revalorisation in 1980, giving life to expired stock warrants, to the lithographic eruptions of Vulcanalogies (in the collections of the BNF and La Louvière), these are museum-quality items that can be discovered and acquired in this exhibition.

Où en étais-je ?
Pierre Alechinsky
1961, etching, edition of 60, 38 x 28,5 cm
Sur le tas
Pierre Alechinsky
1961, etching, edition of 30, 38 x 28,5 cm
Pour Malcolm Lowry !
Pierre Alechinsky
1969, etching, edition of 150 + XX AP, 49,5 x 65 cm

The black and white images he produced there earned him his first successes - including participation in the exhibition "The Family of Man" at the Museum of Modern Art in New York. In the 1960s, he gained international recognition for his innovative fashion photography. His eclectic work combines photojournalism, fashion, landscape and portraiture, as well as street photography and essays on nature and sculpture. Since the 1980s, he has devoted himself almost exclusively to personal projects. The most famous are: Portraits d’arbres, Vraies Semblances, New York up and down, Les sculptures de Degas, Figures romanes…
His photographs are now part of the collections of prestigious museums: Musée d’art moderne de la Ville de Paris, Centre Pompidou, Paris, MoMA, New York, Victoria & Albert Museum, London, Musée Galliera, Paris, Maison Européenne de la Photographie, Paris.

Sandrine X (b)
Frank Horvat
1983. Archival pigment print. Edition of 12 + 3 AP. 132 x 109 cm
Claude
Frank Horvat
1984. Archival pigment print. Edition of 12 + 3 AP. 132 x 109 cm
Cinzia (a)
Frank Horvat
1983. Archival pigment print. Edition of 12 + 3 AP. 132 x 109 cm

« The idea of referring to famous master-pieces probably came to me from a thought that had often crossed my mind – on the subway, for instance – when glancing at some woman who struck me as particularly beautiful, but who didn’t seem conscious of her beauty, and whom a fashion editor would never have allowed me to photograph for a magazine, although I could easily imagine her in a painting by Leonardo da Vinci, Rubens or Ingres. I visualised them in the costume and with the hairstyle of one of those periods, or even naked in some mythological scene: partly because I like fantasising about bygone ages, but more because, as a photographer, I prefer discovering unexpected beauties, rather than celebrating those that, in my eyes, are somewhat devalued by general admiration. I have to admit that in the beginning I wasn’t a great connoisseur of classical painting. But little by little, as this game of associations went on and as the project took shape, I began to revisit museums and to assemble a small library of art books, which in turn helped to feed my phantasies. » Frank Horvat

Available in October 2020: Frank Horvat, Xavier Barral Editions.

Below, watch the movie "Portrait de Photographe, Frank Horvat” produced and edited by Philippe Abergel (abergel-gallery.com)

Each of the paintings in this series of small works produced in the days before the year changed so radically, is anything but a miniature painted with a tiny brush and great precision. Instead these are like details, close ups, cut-outs from a movement that goes way beyond their boundaries. The viewer can read in this surge of material the openings, eruptions and flows that reflect their state of mind at the time.

While producing this series of works, Fabienne Verdier was also re-reading ‘That Mighty Sculptor, Time’ by Marguerite Yourcenar, where the author underlines the ambiguity of that moment where as we enter summer, the days are starting to shorten and without us realising it, winter is already on its way. That is what led her to give the title Solstices to this sequence of great paintings in small formats.