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Group show: La suite (over)

18 May 2013 until 15 June 2013
  La suite
Exhibition view

7, rue Saint-Claude
75003 Paris
France (city map)

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tel +33 (0)140 - 27 00 32

Press Re­lease

This ex­hi­bi­ton is concei­ved as the se­cond act of a group show fea­tu­ring 4 ar­tists dea­ling with abs­rac­tion in the New York art scene, each one car­rying on very dis­tinc­tive ar­tis­tic pro­cesses.

Is­rael Lund (*1980, New York) creates work by pho­to­gra­phing an ori­gi­nal silks­creen on raw can­vas, trans­fer­ring the pho­to­graph into PDF form with an iPhone ap­pli­ca­tion, en­lar­ging and prin­ting out the image, bur­ning it into a lar­ger screen which is even­tual­ly silks­cree­ned on raw can­vas in layers of cyan, ma­gen­ta and yel­low.

Al­lo­wing the na­tu­ral ten­den­cies of his ma­te­rials to off­set his own in­ten­tions, Lan­don Metz (*1985, Phoe­nix) uses both brush and hand to re­spond to the dyes. As the pig­ment soaks into the un­pri­med can­vas, the pic­ture plane be­comes a ho­mo­ge­neous tex­tu­ral field, a sta­tic do­cu­ment whose ele­gance, spa­tial nuance, and vi­sual depth re­flect a skill­ful and de­li­be­rate hand­ling of form, scale, and color. His pain­tings are at once in­tel­lec­tual and in­ti­mate, ex­pan­ding the scope of his for­mal in­ves­ti­ga­tions while in­vi­ting the au­dience to consi­der the lar­ger dis­cus­sions of per­cep­tion, mind­ful­ness, and in­ter­con­nec­tion that drive his prac­tice.

Brus­sels-​ba­sed ar­tist Jean Bap­tiste Ber­na­det (*1978, Paris) tries to avoid the marks and mar­kers that have come to si­gni­fy «abs­tract pain­ting»: big bru­shy bru­sh­work, ges­tu­ral sleight of hand, etc. Ins­tead his aim is to let the pain­ting it­self di­rect the pro­cess by which it is made. An ini­tia­ting mark, or a color, might act as a hy­po­the­sis of sorts, a pro­vi­sio­nal sta­te­ment which leads to ano­ther, then ano­ther. Wor­king by trans­fers, du­pli­ca­tion, era­sing, ac­cu­mu­la­tion and ex­haus­tion, more than construc­tion, cal­li­gra­phy or com­po­si­tion. The rich, pre­cious and com­plex sur­face of his pain­tings should be suf­fi­cient, de­fi­ni­te­ly.

Oli­vier Mos­set (*1944, Bern) moves to New York in the ‘70s where he be­gins to paint mo­no­chrome pain­tings that deal with abs­trac­tion in­ten­ded as si­lence and in­elo­quence, while ques­tio­ning the boun­da­ries bet­ween art and non art: he pre­sents him­self as a non-​pain­ter,as he as­serts the fact to make vi­sible the me­cha­nism which makes paint and cri­ti­cizes the fra­me­work ins­ti­tu­tio­nal art. «The mo­no­chrome does not exist. I do pain­tings. I use paints that I apply to the can­vas. In this way the can­vas is al­rea­dy mar­ked. The can­vas strech­ted on a frame is al­rea­dy ap­pro­pria­ted, is al­rea­dy pain­ting. I don’t know we­ther this consti­tutes good pain­ting, but it is pain­ting.»

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