OUR SANTA CLAUS LOVES CONTEMPORARY ART

From 18 December 2020 to 31 January 2021

Dear friends,

We surfed from blades to waves, fastening together and brilliantly this shity year topped with a big S. Let’s just drift a while, and believe in our Santa Claus. The one that matches with each of us, the one we share this funny secular religion with, an extreme passion for the contemporary art and its actors. The figure, red and bright at the end of the year, made us think about organizing this online exhibition, from 17 December 2020 to 31 January 2021. An electic groupshow with quality works, a mix of favorite ones and artists we represent. I hope this patchwork, this multiple visions of the world, will affect you and even more… will tempt you !

The opportunity for you and your friends to find there the gift you are deserving so much after this preposterous year 2020 ! Our team is at your disposal for any additional information. Good visit 2.0!

Cyrille Putman

Grégoire d’Ablon
Book à demain, 2020
Limited edition of 20 copies, numbered and signed,
with a print 10 x 15 cm
20 x 15 cm, 28 pages

80

 

Adèle Lefebvre
Morning call, London, 2020
Ink jet printed, 60 × 40 cm
n°1/5
500

 

Marcel Miracle
Untitled, 2019
Collage

Framed, UV protection museum quality glass
22 x 17 cm
1 000

 

Jean-Luc Verna
Paramour
Lithography
64 x 45 cm
400

 

Marc Lavoine & Cyrille Putman
1er Rendez-vous
Éditions de La Martinière, 2013
  35

 

Tadashi Kawamata
Serigraphy and DVD
Holds two serigraphies of original drawing
and the DVD Tadashi Kawamata
n° 28/100
300

Malachi Farrell
Untitled, 2020
Collage

Paper and wax (africain tissu made by the Dutch)
32 x 24 cm
350

 

Jean-Pierre Autheman
Untitled, 2014
Drawing

21 x 29,7 cm
180

Fabrice Hyber
Eau d’or, eau dort, ODOR
U.R. Éditions, 1997

365 drawings reproduced in fac-similé.
Published for the Venice Biennale
(Golden Lion for the best pavillion)
500

 

Diane Moulenc
30.06.2019, la Baume
Ink jet printed on Hahnemuhle Matt paper

90 x 67 cm
n°2/7
1 000

Noëlle de Grandsaigne
Le saut
From the series ‘Noëlle met son ciné en boîte’
Mixed media wood and led

36 x 21 x 16 cm
1 400

 

Michel Houssin
225 m², n°86
Drawing
30 x 30 cm
600

 

François Curlet
Speed limit, 2013
Head edition of 15 signed and numbered copies
along with a lost-wax cast bronze

Éditions Berline-Hubert-Vortex and Cyrille Putman
750

 

Adrien Pezennec
Child Labuan Bajo, 2017
Photograph
Carbon print
54 x 37 cm
1/3
700

Jean-Bernard Métais 
Untitled, 2000
Hourglass, from the series Temps Impartis
Metal, glass, white sand from Fontainebleau
30 x 14 x 10 cm
5/7

Price upon request

Raymond Hains
Untitled, 1970
Lacerated poster

67 x 54 cm
Price upon request

Huang Yong Ping
BOOK: AN IMMANENCE
Dialogue between Huang Yong Ping and Hans Ulrich Obrist

Second limited edition of 42 copies
Notebooks printed on Cyclus 140g with the 1st edition
Boxes remade in March 2020
Gallery Cyrille Putman
2 000

 

Cyrille Putman
Quelle mouche l’a piqué ?

Illustrations : Lucas Coskun
Éditions Flammarion, 2020
208 pages – 16,3 x 23,1 cm
French

Cyrille Putman make us discover, through anecdotes and humour, the specificities of more than 90 moderns and contemporary artists, he often known. He makes the big concepts of contemporary art less daunting, exposing life and works of this artists to his disconcerting question: Quelle mouche l’a piqué? (a french expression meaning “What’s got into him). He writes an other art history in his own style, lively and incisive, that we never get tiref of.

This work, illustrated by Lucas Coskun’s drawings, is a real journey through the art of the past two centuries, from Alberto Giacometti to Olafur Eliasson.

28 € – In your bookshops!

Luc Texier’s exhibition

From 5 november to 17 december 2020

Luc Texier is an odd fellow. This artist, student at the National School of Photography in Arles and station master otherwise, went digging an other furrow. His work implements children’s game and the dangerousness of blunt objects. Luc Texier plays with our nerves. From the sagaie mikado to the swing set with the seat made of a giant razor blade, the artist reminds us our sweet childhood memories and mixes them with symbols illustrating violence. The bottled gas symbolizes the terrorist attacks. When he recovers it with medicine, he questions our lives where nobody remembers why they run without chemistry of any kind. A free work on the fringes of art history.

 Cyrille Putman.

The Kiss
2017
Installation
Two bottled gas, gas cable

900 €

The Well-being
2017

Installation
Bottled gas, medicine
Sold

The Swing-set
2020
Installation, variable dimensions
Metal razor blade (81 x 47,5 cm), two hemp ropes

900

Sagaikado
2019
Metal tube, spearhead, green adhesive tape
Height 167 cm
Base 30 x 30 cm

6
00

Figure 2
2020
Painting, framed
Orange G-tip on black background
30 x 24 cm

350

Figure 3
2020
Painting, framed
Blue G-tip on yellow background

30 x 24 cm
350

Figure 4
2020
Painting, unframed
Brown G-tip on black background

30 x 24 cm
30
0

Mouth
2020
Limb of a Barbie doll in a bottle,
hydroalcoholics gel and solution

6,5 x 4 x 4 cm, square shape
2
00

Pénélope
2020

Barbie doll in a bottle,
hydroalcoholics gel and solution
27,5 x 9 cm, round shape
200

Rebecca
2020
Face of a Barbie doll in a bottle,
hydroalcoholics gel and solution
10,5 x 4,8 cm, round shape
Sold

Alicia’s eyes
2020
Limb of a Barbie doll in a bottle,
hydroalcoholics
gel and solution
6,5 x 4 x 4 cm, square shape
Sold

Starry night
2020
Installation
Bottled gas, phosphorescent stars

600

Drawing pins
2020
Felt pen drawing
40,5 x 29,5 cm

Sold

Pins
2020
Felt pen drawing
40,5 x 29,5 cm

300

 

 

Puzzleglass
2020
Cube in plexiglass 30 x 30 x 30 cm
on a white wooden base 90 x 30 x 30 cm

600

 

Free Park
2020
Installation
Wooden playground, burned bars, carpet
73 x 98 x 99,5 cm

900

 

 

Exhibition of Adele Lefebvre

from 5 August to 31 October 2020

I came across the work of Adele Lefebvre, French expatriated in London and globetrotter, through my collaborator. I found her photos to have a framing and an esthetique that belong to her. This work is anything but a tickling action. Adele Lefebvre developped a proteiforme work without censorship. Zero taboo. This young woman, who is starting in this art, gathers all the qualities to become a determined one. An essential base to become a confirmed artist and bring her style, her vision to the big photography family.

Flying birds
Chile, 2019
Ink jet printed, 60×40 cm, n°1/5

500,00€

Trend spotting
London, 2017

Ink jet printed, 60×40 cm, n°1/5
500,00

Eye of the cave
Cuba, 2019
Ink jet printed, 60×40 cm, n°1/5
500,00

Oja de coca
Bolivia, 2019
Ink jet printed, 60×40 cm, n°1/5
500,00

Go. Stop. Go.
London, 2017
Ink jet printed, 52×19 cm, n°1/5
500,00

Summer strokes
Lebanon, 2016
Ink jet printed, 45×30 cm, n°1/5
500,00

Off the wall
Paris, 2018
Ink jet printed, 60×40 cm, n°1/5
500,00

Three²
Chile, 2019

Ink jet printed
, 60×40 cm, n°1/5
500,00

Guardian of the path
Colombia, 2019
Ink jet printed, 60×40 cm, n°1/5
500,00

Evergreen Express
Wales, 2019
Ink jet printed, 60×40 cm, n°1/5
500,00

Cangrejo
Cuba, 2019
Tirage jet d’encre, 60×40 cm, n°1/5
500,00

On cloud line
London, 2018
Ink jet printed, 60×40 cm, n°1/5
500,00

Squatting for the view
London, 2018
Ink jet printed, 60×40 cm, n°1/5

500,00

 

In the blue, by the blue
Cuba, 2019
Ink jet printed, 60×40 cm, n°1/5
500,00

 

 

Exhibition of Diane Moulenc

From 1st April to 31st July 2020

Diane Moulenc is quite a character. This 24-year-old woman, a recent graduate of the National School of Photography in Arles, is one step ahead of herself. An astonishing maturity in her reinforces the only thing that matters in a photographer, an innate sense of the split second.

After a childhood spent far away from the world with a real connection to the earth, Diane Moulenc started taking a closer look at the city and the people, something quite unnatural to her. She walked the street without any preconceived ideas. The artist’s keen eye, immersed in urban promiscuity, proved to have a sharp sense of timing, that famous split second that captures little slices of life. Of all the possible images, Diane Moulenc extracts the most decisive one, a combination of an innate sense of timing and perfect framing.

Diane Moulenc already has the toolbox of a great photographer: an ability to see behind the scenes with a childlike poetic sense. She only takes a few shots of a scene – a form of decency – and extracts the image with a capital I. Diane Moulenc knows how to freeze this world for a second when we poor gallopers cannot even see it going by.

Exhibition of Pierre Molinier

from September 5, 2019 to March 31, 2020

Pierre Molinier was a French Surrealist painter and photographer best known for his erotic sadomasochistic imagery. Born on April 13, 1900 in Agen, France, Molinier began to explore the eroticism and fetishistic influences that would characterize his later work. In 1955, he developed a correspondence with the Surrealist André Breton, who initially encouraged Molinier’s work. In 1965, the artist began to make autoerotic self-portraits and photomontages in his Bordeaux apartment, which he referred to as his boudoir. These photographs feature Molinier and occasionally other models dressed in women’s lingerie and engaged in erotic and sadomasochistic acts.

Solo exhibition of Adrien Pezennec

from March 21 to September 4, 2019

For Adrien Pezennec, a graduate of the Arles photography school, the world is almost too small. Auschwitz, then North East West South, N.E.W.S., did you say ‘news’? The news is not good. Adrien Pezennec’s photography, work in progress, gives us a strange vision of the world. He cast the net wide, in the most positive sense of the word, putting together a slide show of his obsessions. This young man leads us into his world, our world, and reveals it to us in a way that we, as simple bystanders, do not see!

Almost History is a look at History through anecdotes: A man paid by tourists diving off Stari Most, the old bridge which was rebuilt between the Catholic and Muslim districts in Mostar; a huge wooden cross knocked down over the recently discovered remains of a mass grave in Dobronin; a church in Pristina closed-down with barbed wire, and the words “Let us not forget” are written all over.

Plongeur, Mostar Bridge from the series Almost history, 2012
Photograph
Carbon print
50 x 50 cm
Sold out

Contemporary Art Gallery online | Cyrille Putman

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