Paris — New York
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.
Etel Adnan
Etel Adnan : Satellites et Planètes - 03 September - 10 October 2020
An extension of the Le Poids du Monde series, Planètes consists of vertical paintings all with the same format, where a circle of colour symbolising a celestial body is suspended over an element representing an object of our daily lives.
Marc Desgrandchamps
Marc Desgranchamps : Barcelona - 03 September - 10 October 2020
After a first selection had been presented at the gallery in June, just after the lockdown, this second part of the exhibition will include about 30 unseen drawings.
Barthélémy Toguo
Barthélémy Toguo : If Not Now, When? - 03 September - 10 October 2020
For this new exhibition in the bookshop at Galerie Lelong & Co., we will present the prints from his new stamps, mostly focused on denouncing racial discrimination in the United States and produced in New York in spring 2019. In parallel, we will present the prints from the series of etchings started in 2019, all engraved in blue and whose names evoke the rivers of Cameroon, the artist’s home country.
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.
David Nash
David Nash : L'arbre - 09 July - 30 August 2020
The relationship between David Nash and Trees dates back more than half a century. When the artist moved to North Wales at the end of the 1960s, it was because he had found an inexpensive home and studio in an old chapel and shepherd’s hut, but also because he knew that there he would find raw and vigorous nature, where the vegetal and the mineral have lived in harmony for centuries.

Exhibitions

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.

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

In the Satellites series, the stars are liberated and multiply in small horizontal or vertical works that share the same pale pink background, a souvenir, says the artist, of the light in the Middle Eastern desert. A wall of pastel drawings on coloured paper produced by the artist last summer in Brittany completes the exhibition.

Planète 19
Etel Adnan
2020, oil on canvas, 33 x 24 cm
Satellites 7
Etel Adnan
2020, oil on canvas, 22,5 x 33,5 cm
Satellites 12
Etel Adnan
2020, oil on canvas, 33 x 22 cm

Etel Adnan has just been awarded the prestigious Griffin poetry prize for her work entitled Time, published in the US by Night Boat Books. A number of museum exhibitions of Etel Adnan’s work are in preparation, notably in Istanbul, Amsterdam and Sevilla.
Etel Adnan was born in Beirut in 1925. After spending a large part of her life in California, she now lives in Paris. Her work has acquired an international reputation since it was presented at the Documenta in Kassel in 2012. In recent years, many exhibitions of her work have been organised in the leading museums of Europe and the United States.

When Marc Desgrandchamps 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: Gotic, Eixample, Raval, Montjuic,..

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.

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

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).

The exhibition at the bookshop coincides with the presentation at the Centre Pompidou of recent acquisitions from around 60 artists “from the South” (Africa, Middle-East, Asia, Latin America), including a large installation by the artist in the hall, which will open on 29 July under the title Global(e) Resistance. The work of Barthélémy Toguo will also be presented in the autumn during the Biennales of Busan (South Korea) and Dak’art (Senegal). A one-man show, Désir d’humanité, les univers de Barthélémy Toguo, will be organised at the Quai Branly museum from 6 April to 5 December 2001, where the Fondation Dapper has been given carte blanche to coordinate ancient works with those of this Cameroonian artist, as part of the programme of the 2020 Africa Season. In preparation, an important monograph on Barthélémy Toguo, with a text by Philippe Dagen, to be published
by Editions Skira.

The Future Is Female
Barthélémy Toguo
2019, woodblock print on paper, edition of 3, 65 x 50 cm
Take a Knee
Barthélémy Toguo
2019, woodblock print on paper, edition of 3, 65 x 50 cm
Moungo
Barthélémy Toguo
2020, etching, edition of 35, 57 x 55 cm

Barthélémy Toguo is a multidisciplinary artist known for his paintings but also for his captivating installations. One of the most emblematic of his works consists of an assembly of stamps made from sculpted wood and the prints they produce, the slogans of which mostly evoke the question of emigration/immigration and the free circulation of goods and people. An important grouping of these stamps, Urban Requiem, was exhibited at the Venice Biennale organised by Okwui Enwezor in 2015.

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)

While his sculptures are formed from trees – trunks, junctions, branches – he also knows how to plant, observe and draw specimens both young and old, in all seasons, every year, without getting bored, rediscovering all the variety of each spring or autumn. This is the inspiration for his paintings with their reds and blues and powerful green of these venerable, wrinkled, ageless trunks he calls “Rembrandt”. They are also the source of the multicoloured evocation of summer vegetation in the works entitled “July”.

The energy captured and released by the vibrantly colourful drawings is that of Nash’s sculptures themselves: a deep appreciation of the power of Nature combined with a firm yet supple hand.