http://en.newgaleriedefrance.com/ en Copyright 2010, New Galerie de France Wed, 10 Mar 2010 16:31:03 -0500 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 6 - May 7, 2010</div> <div class="exhibition-opening">Opens Saturday, March 6, 12:00 PM - 7:00 PM</div> <br/> <a href="/exhibition/view/1885"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/32/32608.jpeg" alt="" height="604" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Gilles Aillaud<br /> Jean-Pierre Bertrand<br /> John Cage<br /> Paul Chan<br /> Brion Gysin<br /> Rebecca Horn<br /> Eug&egrave;ne Leroy<br /> Giuseppe Penone<br /> Mechelangelo Pistoletto<br /> Viktor Pivorarov<br /> Judit Reigl<br /> Pascale Marthine Tayou<br /> Agn&egrave;s Thurnauer</p></div> http://en.newgaleriedefrance.com/exhibition/view/1885 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 4 - March 7, 2010</div> <div class="exhibition-opening">Opens Thursday, March 4, 4:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/1859"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/32/32405.jpeg" alt="" height="648" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Solo presentation of Florian Schmidt<br /> March 4th-7th<br /> 548 West 22nd Street<br /> New York, NY 10011</p> <p>www.independentnewyork.com</p></div> http://en.newgaleriedefrance.com/exhibition/view/1859 <div class="exhibition-subtitle">Event Horizon</div> <div class="exhibition-dates">January 9 - February 27, 2010</div> <div class="exhibition-opening">Opens Saturday, January 9, 3:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/1825"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/32/32037.jpeg" alt="" height="331" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Jimmy Baker&#39;s working process aims at bringing forward the certain worry regarding images and therefore the world. In making his paintings, Jimmy Baker gathers pictures on the Internet that have an uncertain status. He edits them into a composite image that will be used as a basis for the painting to come. The pictorial rendering of elements specific to photography, such as the halation created by lenses, evokes construction and the artificiality of sight. </p> <p>Jimmy Baker&#39;s oil paintings take place within a paradoxical space. They evoke 19th century American landscape paintings that attempted to appropriate a new country for themselves, depicting huge areas in an almost hyper realistic manner, every blade reinforcing the infinite horizon. But they also make us think of the photographs of Andreas Gursky, where the multiplication of sharp foregrounds creates such a profusion of events that you feel a kind of helplessness in fully seizing the fleeting present that slips away from us.</p> <p>Jimmy Baker paints immense areas where human presence is minute. In this regard, these paintings fulfil the traditional role of landscape painting or tourist photography: see nature unspoilt. But they also answer a contemporaneous anguish, personal and geopolitical: see `where you are not present&#39; as there may be something stirring. In this matter it is not trivial that Jimmy Baker often uses pictures of American military bases</p> <p>If the paintings&#39; classical oil technique can seem to be a means of getting hold of the world of images, it is to fix it into a totally human object. They also multiply perspectives, shift points of view, deepen or unfold the horizon. Adding to this the fact he uses pouring mediums and an airgun, this allows him to create singular effects of reality, of transparency and depth, from which the painter&#39;s hand seems to be absent. The viewer is as much in front of a landscape as in front of the perception of its archetype. The feeling of informality induced by the superficial recognition of technique and subject only serve to create the conditions for an odd experience of otherness. A doubly anachronistic object, as if the Echelon network was entering the world of Henry David Thoreau, and that Edgar Allan Poe was introduced to nuclear silos.</p></div> http://en.newgaleriedefrance.com/exhibition/view/1825 <div class="exhibition-subtitle">Artissima</div> <div class="exhibition-dates">November 6 - November 8, 2009</div> <br/> <a href="/exhibition/view/1820"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/30/30141.jpeg" alt="" height="374" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Solo presentation of Jonathan Delachaux<br /> November 6th-8th<br /> Artissima, Turin-Italy<br /> Hall Violet - Booth 4<br /> http://www.artissima.it</p></div> http://en.newgaleriedefrance.com/exhibition/view/1820 <div class="exhibition-subtitle">Medardo Rosso/Ignacy Witkiewicz//Meret Oppenheim/Chris Marker/Martial Raysse/Fang Lijun...</div> <div class="exhibition-dates">October 24 - December 20, 2009</div> <div class="exhibition-opening">Opens Saturday, October 24, 2:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1795"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/29/29378.jpeg" alt="" height="331" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Medardo Rosso/Julio Gonz&aacute;lez/Ignacy Witkiewicz/Man Ray/Claude Cahun/Alberto Giacometti/L&eacute;on Tutundjian/Eug&egrave;ne Leroy/Meret Oppenheim/Christer Str&ouml;mholm/Chris Marker/Richard Artschwager/Adriena Simotova/Alina Szapocznikow/Raymond Hains/Franck Horvat/Marisa Merz/Martial Raysse/Barry Flannagan/Alain Vernis/Tony Oursler/Jean-Michel Basquiat/Fang Lijun/Daniel Silver/</p></div> http://en.newgaleriedefrance.com/exhibition/view/1795 <div class="exhibition-subtitle">FIAC</div> <div class="exhibition-dates">October 22 - October 25, 2009</div> <div class="exhibition-opening">Opens Tuesday, October 20, 3:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/1798"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/29/29520.jpeg" alt="" height="331" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Solo presentation of Ryan Trecartin et Lizzie Fitch<br /> October 22th-25th 2009<br /> Booth A 11, Cour Carr&eacute;e du Louvre<br /> www.fiac.com</p></div> http://en.newgaleriedefrance.com/exhibition/view/1798 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 5 - October 17, 2009</div> <div class="exhibition-opening">Opens Saturday, September 5, 3:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/1784"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/28/28448.jpeg" alt="" height="331" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Kristin Baker<br /> Michael Bell-Smith<br /> Justin Lieberman<br /> Nate Lowman<br /> Bertrand Planes<br /> Ryan Trecartin<br /> Ryan Trecartin et Lizzie Fitch</p> <p>Kristin Baker, born in 1975, lives and works in New York City, <span class="caps">USA.</span><br /> Kristin Baker came to the fore with her large sized works on plexiglass and <span class="caps">PVC.</span> For "Bande Annonce," Kristin Baker shows two new large-size paintings. In Camelot Bluff a collage appears for the first time: the image of a cliff, the controversial place of the possible and mythical Camelot. As for Overleaf, it testifies of the evolution of Kristin Baker&#39;s work. The Sellotape edges are less present, profoundness is handed back to &agrave;-plat by working over it again using the knife to create multiple gradations.</p> <p>Michael Bell-Smith, born in 1978, lives and works in New York, <span class="caps">USA.</span><br /> Contrary to painting, Michael Bell-Smith&#39;s medium is fully apart an environment where 90% of the realisations do not belong to art. Common Expression strikes an evident breakthrough, formally. Patches of paint, parallelepipeds in rotation, superimpositions seem to be drawing a first sight remake of Pollock and Sol LeWitt gone through the Photoshop-machinery.</p> <p>Justin Lieberman, born in 1977, lives and works in Chatham, <span class="caps">USA.</span><br /> American Serial Killer Memorabilia Cabinet with Manson Vest Placeholder is a collection of objects purchased from auction websites that sell only items made by or formerly belonging to serial killers. Each item in the collection has been coated in a thick glaze of transparent acrylic resin. Paired with the cabinet is a recreation of a ceremonial vest owned by Charles Manson : a "placeholder" in reference to the practice by collectors and museums of creating a replica to fill a gap in an otherwise complete collection.</p> <p>Nate Lowman, born in 1979, lives and works in New York City, <span class="caps">USA.</span><br /> Since his first painting of <span class="caps">O.J.</span> Simpson&#39;s signature in where, inside the O&nbsp;letter of this signature, the sport star suspected of two murders traced the two dots and the curve, turning it into a "Smiley", the "Smiley" figure plays an important part in Nate Lowman&#39;s work. Nate Lowman&#39;s work functions as an accelerated pop recuperation. As Richard Prince, it takes over the consumer society&#39;s aesthetics in its whole, of its heroes to its most tiny manifestations.</p> <p>Bertrand Planes, born in 1975, lives and works in Paris.<br /> The video Are you sure you want to quit? is a particular medium: a machinima. A machinima consists in using an existing 3D graphic engine, particularly the one of a game, to produce and record a video in real time, using the game as a "real" scene that one would film _The takeover of the means of expression which for most of us are but just an environment.</p> <p>Ryan Trecartin, born in 1981, lives and works in Philadelphia, <span class="caps">USA.</span><br /> Ryan Trecartin describes (Tommy-Chat Just E-mailed Me) as "a narrative video short that takes place inside and outside of an e-mail." For the last five years, Ryan Trecartin has been developing a corpus of videos that embrace common themes and protagonists. They put into action a variable society of artists-actors-designers-props people...</p> <p>Lizzie Fitch, born in 1981, lives and works in Philadelphia, <span class="caps">USA.</span><br /> Ryan Trecartin, born in 1981, lives and works in Philadelphia, <span class="caps">USA.</span> The pair Ryan Trecartin and Lizzie Fitch produces sculptures. Fitch is deeply involved in the production of Trecartin&#39;s videos, working with him, in capacities varying project-by-project, in the areas of performance, wardrobe, art direction, set construction and production organization. Now, in the Sunroom an After Now 4 owns within that context a special identity. The scene is something between the archaeological site and the abandoned scenery of a "peplum." Or even a possible scene following the end of Pierrot le Fou, where the main character, in search of his own identity as well, blows himself up after having painted his face in blue.</p> <p><span class="caps">ALSO</span> IN <span class="caps">PARIS</span><br /> Justin Lieberman<br /> "Systems, Souvenirs, and Self-Portrait as Bernard Buffet for The People of Philmont"<br /> 4 September - 1 October 2009 <br /> Opening on Friday 4 September, 18 - 20 h<br /> Sutton Lane, Paris<br /> 6 rue de Braque<br /> 75003 Paris<br /> www.suttonlane.com <http://www.suttonlane.com></p></div> http://en.newgaleriedefrance.com/exhibition/view/1784 <div class="exhibition-subtitle">Midnight Special</div> <div class="exhibition-dates">May 19 - June 27, 2009</div> <br/> <a href="/exhibition/view/1691"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/25/25621.jpeg" alt="" height="331" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://en.newgaleriedefrance.com/exhibition/view/1691 <div class="exhibition-subtitle">Silhouettes Noires 2002-2003</div> <div class="exhibition-dates">May 19 - July 4, 2009</div> <div class="exhibition-opening">Opens Tuesday, May 19, 6:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/1650"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/25/25581.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://en.newgaleriedefrance.com/exhibition/view/1650 <div class="exhibition-subtitle">Salon du dessin 2009 au Palais de la Bourse, Paris</div> <div class="exhibition-dates">March 25 - March 30, 2009</div> <div class="exhibition-opening">Opens Tuesday, March 24, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1649"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/25/25129.jpeg" alt="" height="374" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Oskar Schlemmer/Alberto Giacometti/Eug&egrave;ne Leroy/Louise Bourgeois/Lucian Freud/Gilles Aillaud/Martial Raysse/Sigmar Polke/ Claudio Parmiggiani/Rebecca Horn/Raymond Pettibon/Brigitte Aubignac/Jean-Michel Basquiat/Mark Dion/Cecily Brown/Sterling Ruby /Chloe Piene/Paul Chan/</p> <p>The choice of these 27 drawings pour le plaisir testifies before all, of both a personal sensibility and look. They are not part of any movement or school and go through a period from 1928 to 2009. They are there because being "drawings" in their own right; they can only be but drawings. Not drawings of great painters or great sculptors, but drawings of great artists. Rich in their materials - Indian ink, pastel, sanguine, graphite, charcoal, felt pen, ball-point pen, gouache, collage - and their size (from over a metre to hardly 8 cm). They all hold a very accomplished craftsmanship, no sketch, no preparatory drawings. They can and must be confronted to the classical masters used to the place, it is part of the game. It is in that sense that it was understood by Martial Raysse, Chloe Piene, Sterling Ruby, Brigitte Aubignac and Paul Chan that have created works for this event or entrusted us the safekeeping of works they cared for showing in this context. <br /> Around these, a body of five papers by Louise Bourgeois (among which, one of the first representations of the Araign&eacute;e, back in 1947), a Portrait of Ib by Lucian Freud, the Homme assis drawn with jets of black ink by Oscar Schlemmer (1928), un Homme qui pointe (dry pencil) by Alberto Giacometti, a big charcoal drawing free and bold by Eug&egrave;ne Leroy, furtive Singes by Gilles Aillaud, a magical drawing of watercolour and felt pen by Sigmar Polke (1968), a little black lead digest of Basquiat&#39;s expression making a sign to Raymond Pettibon&#39;s provocative Houdini. And if another historical link was still needed, a major work by Cecily Brown composed of 10 elements (30 &#215; 30 cm each) drawn with a brush, using gouache, in 2003, inspired by one of Hogarth&#39;s paintings of the series Rakes Progress, licentious painting of the adventures of a tavern Casanova.</p></div> http://en.newgaleriedefrance.com/exhibition/view/1649 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 21 - May 6, 2009</div> <div class="exhibition-opening">Opens Saturday, March 21, 3:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/1642"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/24/24366.jpeg" alt="" height="331" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Becky Beasley/Elizabeth Mcalpine/Olaf Nicolai/Giuseppe Pietroniro/Hans Schabus/Luca Trevisani/Toby Ziegler</p> <p>curator Francesco Stocchi</p> <p>Does this artist build his language through words or images? Are the means of the first suggestion the word or the form? These apparently simple questions, concealing the ambiguity of artistic creation, can be brought to the two main categories of art analysis: form and concept. <br /> Cui Prodest? is a reflection on the use of categories in the reception of visual arts. <br /> Just as learning categories, the first form of knowledge for children, constitute a set of decoding which suggests a particular reaction, resorting to definition categories that can inhibit a free reading of the work of art. <br /> The works from the seven artists of this exhibition, which don&#39;t seem to belong to pre-established categories, are the witnesses of another approach. The ambiguity of the selected works of art aims to deconstruct the need for categories of creation on one hand and of those of reception on the other.</p></div> http://en.newgaleriedefrance.com/exhibition/view/1642 <div class="exhibition-subtitle">A Gentlemen's Painter Among Bohemians</div> <div class="exhibition-dates">February 7 - March 14, 2009</div> <div class="exhibition-opening">Opens Saturday, February 7, 3:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/1631"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/22/22926.jpeg" alt="" height="331" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://en.newgaleriedefrance.com/exhibition/view/1631 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 8, 2008 - January 24, 2009</div> <div class="exhibition-opening">Opens Saturday, November 8, 2:30 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/1578"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/20/20802.jpeg" alt="" height="332" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Constantin Brancusi/Francis Picabia/Georges Braque/Marcel Duchamp/Franz Roh/Florence Henri/Herbert Bayer/Eug&egrave;ne Leroy/Meret Oppenheim/Andy Warhol/Michelangelo Pistoletto/Hans-Peter Feldmann/Claudio Parmiggiani/Christian Boltanski/Juli&atilde;o Sarmento/Patrick Faigenbaum/F&eacute;lix Gonz&agrave;lez-Torres/Douglas Gordon/Kara Walker/Paul Chan/UrsFischer/Jonathan Delachaux</p> <p>Since February 2008 the Galerie de France has become the New Galerie de France, co-managed by Catherine Thieck and Marion Dana. Marion Dana shows young international artists that have yet never been shown in France. Catherine Thieck organizes remarkable projects, of historic importance, such as Chris Marker and "Shadows".<br /> Rather than a vision embracing the atmosphere of the shadow, the exhibition shows 25 significant works about the notion of projected shadow. Plastic manipulation is inherent to the creation of a shadow. Pline is talking about a young woman whose lover will soon be going to war and that sees his shadow being projected on a wall. She then traces the contours with a piece of charcoal. It is said that the first drawing comes from a shadow. This myth, along with Plato&#39;s cave, where men only distinguish but the shadows of things, will constantly inspire Western artists and intellectuals.<br /> The mediums on show are various: paintings, environments, sculptures, photographs, projections... Generations also, from Picabia and Brancusi to Marcel Broodthaers or Douglas Gordon to young artists such as Jonathan Delachaux or Paul Chan. It is from works and artists whose work is intrinsically linked to the shadow that "Shadows" offers a transversal vision of art. </p> <p>All photographic credits Aur&eacute;lien Mole.</p></div> http://en.newgaleriedefrance.com/exhibition/view/1578 <div class="exhibition-subtitle">I also ask myself</div> <div class="exhibition-dates">September 6 - October 25, 2008</div> <div class="exhibition-opening">Opens Saturday, September 6, 3:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/1445"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/18/18691.jpeg" alt="" height="331" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://en.newgaleriedefrance.com/exhibition/view/1445 <div class="exhibition-subtitle">Synonym</div> <div class="exhibition-dates">May 31 - July 12, 2008</div> <div class="exhibition-opening">Opens Saturday, May 31, 5:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1429"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/17/17386.jpeg" alt="" height="331" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>To paint a painting or to figurate abstraction situates Florian Schmidt in a singular observational position, he becomes a documentary-makers of his own practice. The avant gardist vocabulary that he employs possesses its own intrinsic power ; their tensions of abstraction and of perspective beg a materialization of works. In trying to follow and encompass their consequences, Florian Schmidt practices an economy of reuse. In 2008, the tropes of the avant gardes have lost their intimidating powers and coercions. His canvases are repainted, sewn together, transformed into sculptures that cannibalize one another. Modernism thus becomes a generator of infinite possibilities, a personal ecosystem.<br /> <br /> Florian Schmidt interprets theories, methods, manners intuitively and loosely--aesthetic constants obviously abound : the multiplicity of &laquo; repeint &raquo; <small>superposed layers of colors</small> gives a crepuscular aspect to his paintings, as if they had already aged. One cannot help but recall the superimposition of subjects revealed by X-rays in old masters&#39; works. Florian Schmidt chooses materials whose overriding criteria is neutrality, atemporality : canvas, acrylic, plaster, wool--he draws using outdated, recovered graphite. The concept of <br /> a manipulated neutrality doubles upon itself in the propensity for detail, antlike, a richness suggesting perhaps the nostalgic. <br /> In this burgeoning, this fragility, and the added discipline of voluntarily rejecting effective solutions, Florian Schmidt unearths a matrix thoroughly European. Retroactively, far from the dogmatic imperatives of the time and from historic simplifications, the birth of modern art can be considered as an initiative of alternative possibilities. <br /> So if....</p> <p>All images are &copy;Aurelien Mole.</p></div> http://en.newgaleriedefrance.com/exhibition/view/1429 <div class="exhibition-subtitle">Peintures</div> <div class="exhibition-dates">April 11 - May 24, 2008</div> <div class="exhibition-opening">Opens Thursday, April 10, 6:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/1368"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/17/17372.jpeg" alt="" height="335" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Jonathan Delachaux, S&eacute;rie Noire (Black series).</p> <p>The composition, the technical skill, the color palette, the photorealistic aspect and the style of Jonathan Delachaux constitute a unique ensemble, mark of a talented painter. However, on first glance his work appears to the spectator to be subject-derivative, because the same subjects are represented on each canvas, riveting repetition : three puppets, three fictive persons : Na&iuml;ma Bourquin, Johan Wacquez, and Vassili Lavandier. </p> <p>Jonathan Delachaux crafts their biographies, their coherence with care ; Jonathan Delachaux makes the sculptures mature daily, and they are photographed for the realization of each painting. The sculptures do not benefit from the same realistic treatment as the paintings--they manifest the traces of their precursors...: they remain the puppets, the marionettes that they are. As in every fantastical scenario, the obsession to fix inanimate objects creates an unavoidable uneasiness for the beholder--despite the naivety of their appearance, we are reminded of the role of effigies in ancient rites, as outlets : they are burned in public carnivals, they are manipulated in black magic, pierced in voodoo, children make them live secret lives.... This ambiguity is present in all of Jonathan Delachaux&#39;s work in as much as he employs situations and tropes of theatre, masks, and cross dressing... </p> <p>His compositions are thus tinged with drama, the attitudes are posed, maudlin, indeed the effect of a will of a puppeteer, an avalanche of authentic fakes, of mirrors, false doubles, failed doubles and falsifications result, each with their consequential scenaristic effects. <br /> In the passport series, the three personages are purported to plan a trip to Berlin to be at the exhibition of the artist at the Swiss Embassy, but they realize that their passports have expired and that they don&#39;t have the time to have them renewed. They thus proceed to modify them on their own: Johan, who is very conscientious, uses Photoshop, Na&iuml;ma carefully proceeds by hand using white-out, and Vassili, who as usual has missed the point, uses a marker to scratch out the old date and replace it with a new one. Three characters, but also three paintings, three ways of representing the disposal of an administrative document, which is by nature "authentic," and also the inclusion of digital printouts, of written manuscripts, of passport photographs into the scope of the canvas. The "double" failure is a vital mechanism of the work where imperfection of illusionism is considered as formal elements.</p> <p>Jonathan Delachaux&#39;s painting technique is very specific: he paints on plastic film which is then transferred onto canvas. He paints in a "reverse" manner--actually facing the future public instead of in the traditional role of the artist as a spectator confronted with/by his own "oeuvre"--where his role as necromancer trumps a shared vision with the future audience. His colors hues are firstly applied onto the film transparently, in a wash tint; next comes the black, white, and gray values--the painting surface is obscured by the successive layers, concealing the drawing from the painter&#39;s eye. Each painting requires roughly one hundred layers, a process that, despite the painting&#39;s punctilious complexity, requires a leap of blind faith as it were, in the potential viability of each scene. The plastic film is then turned over to reveal to the painter, as to the future spectator, the entire painting, which is then laid on canvas and the plastic film pealed off. </p> <p>The fact that the personages are painted in the same way as their surroundings aides in their integration into their photorealistic environment; the technique of treating the values and hues in opposition to one another cedes to a strong chiaroscuro that further reinforces the theatricality of the work, an overall hallucinatory representation. The clinical lighting of his personages suggests an in-vitro experiment, test-tube babies--a theme often evoked, often painted. </p> <p>The use of plastic film gives an impossibly smooth quality, a frontal and definitive image that bolsters the ineluctable presence of his personages, their absolute legitimacy in their world--a world dictated by hidden laws, and in which painting permits the coexistence of the most disparate elements. Jonathan Delachaux&#39;s paintings are composed with varying layers of reality--the paintings are created en bloc, by the transfer of one fine layer of acrylic, a question of a few millimeters--the paintings appear just to happen. And yet the care and delicacy that go into painting the shadows cast by the window grating in the artist&#39;s studio, Vassili&#39;s eyes, ..., seem to express a desire to create and animate a living universe full of stories, details, coherence. Despite all these dramatic tropes, these adventures, these canvases remain still-lifes penetrated by the stillness of things.</p></div> http://en.newgaleriedefrance.com/exhibition/view/1368 <div class="exhibition-subtitle">Un choix de photographies</div> <div class="exhibition-dates">February 23 - April 5, 2008</div> <div class="exhibition-opening">Opens Friday, February 22, 6:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/1411"><img border="0" src="http://en.newgaleriedefrance.com/static/dyn-images/16/16669.jpeg" alt="Invitation card" height="318" width="425" /></a> <p><p>Invitation card</p></p> <br /> <div class="exhibition-description"><p>The New Galerie de France presents a selection of 37 photographs by Chris Marker. This group was part of an exhibition that comprised 200 photographs. This exhibition was produced in 2007 by the Wexner Art Center in Columbus, Ohio. In autumn of 2007, the exhibition was shown at the Peter Blum Gallery, New York.<br /> <br /> The photographs, a series of faces that Chris Marker encountered during his travels, have<br /> become, in their own right, the justification of his discerning eye. Political events are accorded a particular importance: the march on the Pentagon in 1967, the barricades of May 68 in Paris, protests in Japan and Tibet, the technoparade, the anti-CPE marches of 2006 in France.... Several portraits feature public figures: Simone Signoret, Akira Kurosawa, Andrei Tarkovsky, Delphine Seyrig..., others are of unknown strangers. The photographs of animals show a humanity more human than humans themselves. <br /> <br /> <span class="caps">OWLS</span> AT <span class="caps">NOON</span> Prelude: The Hollow Men is a 19-minute multimedia installation on eight monitors. This work, drawing its inspiration from <span class="caps">T.S.</span> Eliot&#39;s 1925 poem, The Hollow Men, reflects on the European wasteland left in the wake of the First World War. Chris Marker&#39;s reflections on the poem are here interspersed with images of wounded soldiers and achingly beautiful women. As The Great War returns to haunt us in the echo of our present futility in the Balkans and the Near East, this work offers the memory of, or the chance to witness, the self-massacre of a civilization. <br /> <br /> Chris Marker was born in 1921 in Neuilly-sur-Seine, and started his career as a writer and publisher (Petite Plan&egrave;te). His films have been unanimously celebrated by critics (La Jet&eacute;e, Sans Soleil, Chats Perch&eacute;s...). Maintaining an independence of spirit, Chris Marker continues to explore the possibilities offered by new media, thus producing installations like Silent Movie, Immemory....</p></div> http://en.newgaleriedefrance.com/exhibition/view/1411 <p><span class="caps">SITE</span> Santa Fe Eighth International Biennial<br /> The Dissolve<br /> June 20, 2010 - January 2, 2011<br /> http://www.sitesantafe.org/exhibitions/exhibitfr.html</p> <p>Sarah Lewis &amp; Daniel Belasco, Curators</p> <p>Robert Breer, Paul Chan, Martha Colburn, Thomas Demand, Brent Green,George Griffin, Ezra Johnson, Bill T. Jones &amp; OpenEnded Group, Mary Reid Kelley,William Kentridge, Avish Khebrehzadeh, Laleh Khorramian, Maria Lassnig, Jennifer &amp; Kevin McCoy, Joshua Mosley, Oscar Mu&ntilde;oz, Jacco Olivier, Raymond Pettibon,<br /> Robert Pruitt, Christine Rebet, Robin Rhode, Hiraki Sawa, Berni Searle, Cindy Sherman, Federico Solmi, Kara Walker, with historical works by Edison Manufacturing Company, Fleischer Studios, Lotte Reiniger, and Dziga Vertov</p> http://en.newgaleriedefrance.com/news/view/1293 <p>Group exhibition<br /> Collection 3<br /> March 13th - May 30th 2010<br /> http://www.fondation-salomon.com/</p> http://en.newgaleriedefrance.com/news/view/1290 <p>Two-person exhibition<br /> Agnieszka Szostek / Florian Schmidt <br /> March 13 - April 24 2010<br /> Qualia, Oil &amp; Water<br /> http://www.benkaufmann.com/</p> http://en.newgaleriedefrance.com/news/view/1287 <p>Group exhibition<br /> &laquo; L&#39;Art est un jeu. Tant pis pour celui qui s&#39;en fait un devoir ! &raquo;<br /> Works out of the Frac Alsace collection<br /> March 3 - May 16 2010<br /> http://www.culture-alsace.org/en-cours-l-art-est-unjeu,27320,fr.html?newsParam[fromNewsList]=true</p> http://en.newgaleriedefrance.com/news/view/1292 <p>Group exhibition<br /> To Be Titled<br /> Andre Butzer, Ida Ekblad, Katy Moran, Florian Schmidt, Josh Smith<br /> February 27 through March 2010<br /> http://www.fortescueavenue.com</p> http://en.newgaleriedefrance.com/news/view/1262 <p>Group exhibition<br /> The Library of Babel / In and Out of Place<br /> February 25 - May 9 <br /> http://www.projectspace176.com/</p> <p>curated by Anna-Catharina Gebbers</p> http://en.newgaleriedefrance.com/news/view/1259