Exposition Paris

Exposition / Exposition Paris 72 Views comments


From the ancient trompe-l’oeil to the lure paintings of Daniel Spoerri, artists have all the time been determined to offer the phantasm of actuality or to breed items of the actual with meticulousness. After all of the realisms – antique and neo-antique, naturalist, verist… – there was, throughout the 20 th century (the century of abstraction), the New Objectivity (within the 1920s), the New Realism (in the 1950s), the New Figuration or Narrative Figuration (within the 60s-70s)… After the good tabula rasa of minimalism and conceptual art, it will appear that we've got been witnessing for some years the delivery of a “New New Realism,” concomitantly with the rebirth of portray and drawing: within the festivals and the galleries, one does not rely the artists portray or drawing in response to photograph, even, on photographic projection (on canvas), even on photographic impression. If probably the most virtuoso – the “actual” artists? – still paint from models (whether it is a tree, a nude, a panorama or a still life), they're rare, and it isn't straightforward to differentiate them from the lot of the neo-copists… And it might not happen to us to throw the stone at them once we know that Vermeer himself, and lots of other nice masters, used comparable optical units, such because the digital camera obscura, to “switch” actuality.

Many of these new work seduce and have an impact (the attention is attracted by them for his or her similarity with the banality of our every day life, typically confused with modernity; we like them for his or her fact, their simplicity and their apparent instantaneousness), but what number of transcend the straightforward copy and rise to the rank of work, that's to say of composition? Although utilizing the picture projected by the digital camera obscura, the previous masters made a variety, reframed, and blurred the background in an effort to break the fixity of the picture and to supply, by the profusion and the minuteness of the small print deployed in the foreground, a foreground impact.&

Far from sticking to the copy of a photographic image or a bit of reality, it is indeed this work of recomposition that Tim Eitel (born in 1971 in Germany) carries out, using the double school of realism and abstraction of portray to “create analogies with reality, by developing fictitious parallel worlds” from encounters and lived situations, from spaces seen or surveyed and from photographed objects. Far from any narration, the fixity of the characters frozen of their poses, the suspicious softness of the light and the colors annihilating the area and the temporality, and another anomalies, say lots concerning the interiority of these melancholic figurants. &

It's also in temporality and fictional areas that Léopold Rabus (born in 1977 in Switzerland) needs to immerse us in his paintings crammed with animals, crops, objects, and particulars, typically trivial and repulsive (slugs, natural residues…), painted with the precision of an entomologist. Hooked up to the trashy hyperrealism of Underneath Realism – a figurative movement born in 2012 in favor of a rejection of the All-conceptual, advocating the search for “visual influence” – Rabus, beneath a refined end, chisels the road to impress robust feelings, even when it means outraging realism to the point of the grotesque, while taking a malicious pleasure in confusing the 2.&

Additionally it is via an antinomy – between the quasi-photographic realism of the drawing and the theatricality of the framing – that Guillaume Bresson (a 2007 graduate of the Beaux-Arts de Paris), distances reality in his work, which seem like closed-door scenes depicting modern city and social violence. In his portraits of associates, François Bard, for his half, thwarts hyperrealism by making paint drips and different splashes seem on the surface of the canvas, betraying the art of pretense…

Grid, grass, bark, pieces of sky, sea or stony ground… it's by the tight framing, typically accentuated by the monumentality of the format, that Youcef Korichi (born in 1974 in Algeria), in his virtuoso trompe-l’oeil, operates this distancing with the actual, between the picture and its double. Prodigious simulacra resulting from lengthy and meticulous work, his paintings with a photorealistic facet catch our glance, lure us, earlier than arousing suspicions and forcing us to vacillate between the vertigo of the infinite spaces (painted throughout) and the disproportion.&

Dhewadi Hadjab (born in 1992 in Algeria and just graduated from the Beaux-Arts in Paris) pushes even further this distortion of actuality by breaking the hyperrealism of his photographic captures by means of the intrusion of strangeness and the proliferation of the ornamental. In his inside scenes, his carpets and enormous sections of torn wallpaper represent actual “items of paint,” whereas the incongruity of the staging of bodies overturned, collapsed, bent, arched – among different unnatural postures – evokes more the convulsive choreography of city dances than front room poses.&

Using the photographic medium to “steal” a story framework and a few snapshots of actuality, Hadjab leads us to the margins of actuality and brings out a fictional reality. In the correct line of the “magic realism” (defined in 1925, by the German artwork critic Franz Roh, because the irruption of the irrational in lifelike environments) a new realism, that we might qualify as “disruptive realism,” appears to be properly and really born.

Tim Eitel is represented by Jousse entreprise in Paris, Eigen+Art in Berlin and Leipzig and Tempo Gallery (London) –

Léopold Rabus and Youcef Korichi, by the Suzanne Tarasiève gallery – www.suzannetarasiè

Guillaume Bresson, by the Obadia gallery –

Dhewadi Hadjab, by the Kamel Mennour gallery –

François Bard and Anaïs Prouzet, by Olivier Waltman Gallery – www.galerieolivierwaltman

Nina Mae Fowler by Suzanne Tarasiève Gallery in Paris and Cob Gallery in London – www.cobgallery

Exhibition Contre temps – Anaïs Prouzet in duet with Yann Bagot until July 9 on the Olivier Waltman Gallery 74, rue Mazarine, Paris VI

Solo Present Guillaume Bresson introduced by Galerie Obadia at the Armory Present from September 9 to 11 in New York

Solo Show Arnaud Adami on the Espace Richaud in Versailles – 78, bd de la Reine, 78000 Versailles – from September 30 to November 20.&

Stéphanie Dulout

L’article PHOTOGRAPHIC REALISM  est apparu en premier sur Galerie Joseph.