COLLISIONS - Catherine Putman
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Pat Andrea | Marcella Barceló Georg Baselitz | Anya Belyat-Giunta | Pierre Buraglio Max Ernst | Cristine Guinamand | Sarah Jérôme Ayako David - Kawauchi | Frédéric Malette | Agathe May | Maël Nozahic Álvaro Oyarzún | Frédéric Poincelet | Nazanin Pouyandeh Abel Pradalié | Arnaud Rochard | Karine Rougier Antonio Saura | Marko Velk COLLISIONS Curator: Amélie Adamo 19 SEPTEMBER - 27 OCTOBER 2017 PREVIEW Saturday 16th september In the era of multimedia and the continuous flow of images, contemporary art has spontaneously become hybrid, blending, borrowing, and freely transforming the many facets of a pluralistic culture. The works in the Galerie Catherine Putman play on the collision of motifs from various sources and bring together diverse formal styles. Combining the work of the gallery’s artists and that of invited artists, and com- paring the artistic approaches the generations of artists, the exhibition creates some extraordinary echoes between the works, enabling visitors to discover young artists and view the work of historical figures—some of whose aspects have seldom been highlighted—from a different perspective. Embracing the diversity of the numerous approaches, the exhibition’s itinerary takes the visitor through three distinct areas in the gallery: Madness, Fantasy, and Enchantment. In the dark realm of Thanatos are grouped representations in which the presence of war and body parts takes on hybrid forms and draw on multiple sources. With his ‘severed heads’, Arnaud Rochard combines various sources of inspiration (from Hokusai’s yokai (evil spirits) and Otto Dix’s soldiers to the mask in the horror film Scream) in ink-wash works in which prevails the ambivalence of a ghostly and inde- terminate atmosphere reminiscent of Chinese works. Cristine Guinamand has pro- duced a free reinterpretation of The Suicide by Otto Dix, and the motifs of the dances of death and grotesques, combining plants and birds with skulls and skeletons. The technique is governed by ambiguity: sometimes, attractive colours are used to con- vey the disturbing nature of the theme, and sometimes the realism and the incisive details of the strokes contrast with the abstraction and translucent nature of the flat areas.
Transcript of COLLISIONS - Catherine Putman
Pat Andrea | Marcella BarcelóGeorg Baselitz | Anya Belyat-Giunta | Pierre Buraglio
Max Ernst | Cristine Guinamand | Sarah JérômeAyako David - Kawauchi | Frédéric Malette | Agathe May | Maël Nozahic
Álvaro Oyarzún | Frédéric Poincelet | Nazanin PouyandehAbel Pradalié | Arnaud Rochard | Karine Rougier
Antonio Saura | Marko Velk
COLLISIONSCurator: Amélie Adamo
19 SEPTEMBER - 27 OCTOBER 2017
PREVIEWSaturday 16th september
Intheeraofmultimediaandthecontinuousflowofimages,contemporaryarthasspontaneouslybecomehybrid,blending,borrowing,andfreelytransformingthemanyfacetsofapluralisticculture.TheworksintheGalerieCatherinePutmanplayonthecollisionofmotifsfromvarioussourcesandbringtogetherdiverseformalstyles.Combiningtheworkofthegallery’sartistsandthatofinvitedartists,andcom-paringtheartisticapproachesthegenerationsofartists,theexhibitioncreatessomeextraordinaryechoesbetweentheworks,enablingvisitorstodiscoveryoungartistsandviewtheworkofhistoricalfigures—someofwhoseaspectshaveseldombeenhighlighted—fromadifferentperspective.Embracingthediversityofthenumerousapproaches,theexhibition’sitinerarytakesthevisitorthroughthreedistinctareasinthegallery:Madness,Fantasy,andEnchantment. InthedarkrealmofThanatosaregroupedrepresentationsinwhichthepresenceofwarandbodypartstakesonhybridformsanddrawonmultiplesources.Withhis‘severedheads’,ArnaudRochardcombinesvarioussourcesofinspiration(fromHokusai’syokai(evilspirits)andOttoDix’ssoldierstothemaskinthehorrorfilmScream)inink-washworksinwhichprevailstheambivalenceofaghostlyandinde-terminateatmospherereminiscentofChineseworks.CristineGuinamandhaspro-ducedafreereinterpretationofTheSuicidebyOttoDix,andthemotifsofthedancesofdeathandgrotesques,combiningplantsandbirdswithskullsandskeletons.Thetechniqueisgovernedbyambiguity:sometimes,attractivecoloursareusedtocon-veythedisturbingnatureofthetheme,andsometimestherealismandtheincisivedetailsofthestrokescontrastwiththeabstractionandtranslucentnatureoftheflatareas.
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Thesame‘collision’isfoundinMarkoVelk’swork:theseries‘Somethingintheair’combinesrepresentationsofdeath(insomeworkstheskullmotif,andinanotherareinterpretationofManet’sdeadman)withthepresenceoftheliving(organic,veg-etal,andanimal),whileinaformalmanner,thewhiteintheunworkedareascontrastswiththeblack,inthesamewaythatthehyperrealisticdetailsarecombinedwiththeschematicdrawinganderasedareas.Warisultimatelyalsoverymuchpresentintheworkoftheoldergeneration,suchasinthatofMaxErnst,PierreBuraglio,andAntonioSaura.Inaseriesoflithographs,MaxErnstillustratedTheSoldier’sBallad(writtenbyGeorgesRibemontDessaignes),bycreating‘collisions’ofmotifswithacausticsenseofhumour,whichdenouncetheviolenceandstupidityofwarandpatriotism.PierreBuragliobasedhisworkontherecuperationandreassemblyofdiverseelements—acombinationofmajorandminorthemes,tradition,andpopularculture—,asinLeChemindesDames,apaintingoncloth,whichcontainsechoesofthe‘têtescassées’,thefilmBirdy,andthejazzmusicianCharlieParker,called‘Bird’.InAntonioSaura’s‘Moi’(‘Self-portraits’)series,producedbymanipulatingphotographsoftheartist’scontortedface,thefragmentedandmonstrousreconstitutionoftheheadmayechothedisfigurementofthe‘gueulescassées’,and,moregenerally,theviolenceofwarandillness,whichmarkedthelifeoftheSpanishpainter.
Thesecondpartbringstogether,withinthescopeofEros,fantasticalvisionsinwhichthethemeofthenudeisreinvented,mixingplayfulnessandambiguity.TheeroticengravingsbyGeorgBaselitz,whorepresentedMarcelDuchampincompro-misingpositionswithhischambermaid,humorouslyoverturnsDuchamp’sconceptualrigourwithajoyfulsubjectivityandthepleasureofafreefacturethatstrikesabalancebetweenfigurationandabstraction(throughtheinversionandsimplificationofthemotif).Combiningthetraditionalandmodern,majorandminorthemes,PatAndrea’sworldisbasedonapluralisticculturethatquestionsthearchetypalandislikeasmalltheatreofhumanrelationships.Borrowingfreelyfromthemasters—inoneworkfromMondrian’sgeometricgridcompositions,inanotherfromPollaiolo’sportraits,andinyetanotherfromBalthus’snudes—,hisdrawingshavereinventedauniquewarofthesexes,combiningpoetryandtriviality,playfulness,andhumour.ThereisstillhumourintheworkofÁlvaroOyarzún,whoseRotringinkdrawings,whichcombinefiguresandtextsonbrightlycolouredsupports,createunique‘collisions’,suchastheassociationofacomplexintellectualdiscoursewiththestereotypeofthe‘bimbo’.FrédéricPoincelet’sworkischaracterisedbytheunusualandthestrange.Combiningthingsobservedwithborrowedimages,theartistrecomposeshismotifstocreatein-congruousordisturbingscenes,suchashisnudes,whicharesometimesabsurdlyas-sociatedwithbanalplacesandactions.ThesamesenseofstrangenessispresentintheworkofAbelPradalié,whoseengravingscombinefragmentsofnudes(borrowedfromgreatpaintingsorphotographs)withthefiguresofanimals(suchaswolvesorwildboars),insurrealisticanddreamlikevisions.AndinNazaninPouyandeh’swork,creolizationandhybridityarepredominant,combininganimalandhumanfigures,real-ityandmyth,traditionandpopularculture,andtheWestandtheEast.Shehasreinter-pretedtherepresentationofanIndiangoddess,anarchaicimageofnudityandalteritythatreawakensourprimalinstincts,tornbetweenattractionandrevulsion.
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Thethirdpart‘Fantasy’,placedintherealmofHypnos,bringstogetherdream-likeandstrangerepresentationscharacterisedbymythologicalorfantasticmotifs.InSarahJérôme’sdrawings,thefigurerepresented(apostureorafaceborrowedfromgreatclassicalpaintings)isfragmented,dissolved,stained,andworkedusingtheeffectsofoilontracingpaper,lyingsomewherebetweenrealismandgesturalabstrac-tion.Afantasticalworldemerges,comprisingfragmentsandassociations,asthoughinadream.InFrédéricMalette’sdrawings,asimilarapproachhasbeenadopted,involvingthedisplacementofpastformsintothepresent,revealing—throughacombi-nationofechoesandeffacement—thedynamismofhumanpassions.IndirectfiliationwiththeRenaissanceanditshumanistphilosophy,hisghostlyportraits—whichresem-blesurvivors—raisethequestionofalterityandthesublimenatureofthehumancondi-tion,caughtbetweenfragilityandcontradictions.Transformingallsortsofdocuments,usingcollageanddrawingwithgouacheorpencil,KarineRougiergraftsadreamlikeworldwithamagicalforceontotherealworld,whichisfilledwithfantasticalfaunaandflora,reinterpretedmythologicalfigures,costumedprocessions,stars,andlevitatingstones.InAgatheMay’sworks,themythoforiginsisexploredinauniqueway.In“LaboîtedePandore-Nouschantionsetbiendansonsmaintenant”,thenakedfemalefigure,reproducedfromapreviouswork,isholdingabinbagfromwhichgarbagespills,asthoughrepresentingtheillsofthecontemporaryworld.Playingonthecolli-sionbetweenthetrivialandtheheritageofgreatpaintings,herworksevokethemythofEveforcedtoleaveParadise:afableabouthumanlifethatinvitestheviewertofindmeaningandintroducedreamsintoourdisembodiedlives.InspiredbyUccello’sDel-uge,AnyaBelyatGiunta’sdrawingsusepreciselinesandminusculedetails,andmoreabstractanddilutedflatareas.Herstrangeandambiguousuniverseexplorestheenigmaoftheworldandthenotionsofcatastropheandrenaissance,orderandchaos,bodyandlandscape,blackness,andfleshpink.Onthe‘canivets’(piousimages),towhichsheaddscollages,acrylicpaint,anddrawingsingraphitepencil,MaëlNozahictransformsthereligiousimages:aSaint,Christ,amotherandchild,anddovesarereinvented,withacertainhumour,viathecollisionofthesensesandplaysonwords,usingsurrealisticandremarkablecollages.AyakoDavid-Kawauchi’sdrawinginvokesBarbara’ssong,“L’AigleNoir”,representingafemalefigureholdingadark-featheredbirdtoherstomach.Playingonthecontrastbetweenblackandwhite,realismandunrealintrusions(suchasthebubblesfloatinginspaceandtheadditionalhand),theworkechoestheambivalentforceoftheoriginaltext,lyingsomewherebetweenten-dernessandharshness,thebeautyofthepresentmoment,andnostalgiaforthepast.Theworkalsohasmoretroublingaspects,withitsdisconcertingeroticism,symbolism,andtheidentityoftheambiguousfigure,whichgenerallycharacterisetheartist’swork.AndMarcellaBarcelo,unusually,usesawholehostofreferences:herrecentdancesandprocessionsoffemaleoranimalformsareinspiredbyvariousmythologicalandfantasticalcreatures(Unicornandwingedfigures,yokai,andJapanesedemons,etc.),andsometimesrepresentpossessedyoungwomenleavinghorrorfilms,andthethemesofwitchcraftandhysteria.Shehascreatedamonstrousformofbeauty,whosemoresombresideisalwaysmadeupandmaskedbybrightcolours,carriedawayinafestive and joyful dance.
AmélieAdamo(juillet2017)
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Pat Andrea“Lafouchettedanslesyeux
etsaparade”2017mixedtechnical
60x70cmcourtesy of the artist
MarcellaBarceló”Femmeàlalouve”2012mixedtechnicalonpaper
49x63cmcourtesyMonteverita
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MaxErnst“Laballadedusoldat”1972
lithograph38x28cm
courtesyGalerieCatherinePutman
FrédéricMalette“Silecielprendfeu”2017
graphiteonpaper29,7x21cm
courtesyGalerieCatherinePutman
de14à19heures,dumardiausamedi&surrendez-vous40rueQuincampoix75004ParisI1erétageIT.+33(0)[email protected]
Arnaud Rochard “Têtescoupées#5”2017
chinainkonpaper30x40cm
courtesy of the artist
ÁlvaroOyarzún”untitled”2009
chinainkonpaper12,5x16cm
courtesyGalerieCatherinePutman
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KarineRougier“untitled”
2017gouache,pencilandcollageon
document13,4x8,3cm
Antonio Saura”Moi,planche5”1976
sérigraphy102x73,5cm
courtesyGalerieCatherinePutman
