Michel Houssin’s exhibition
Michel Houssin is an original soul. This exceptional drawer is a solitary man who explores the intimate side of things. His work is laced with kind voyeurism, a very personal way of revealing the private life of a patch of scrub, the CV of an old tree or the history of a square inch of weathered skin. Michel Houssin shows us details we might have missed, that our chaotic digital lives do not register in our overflowing private image databanks. Our pencil wizard is not afraid of zooming in with the most intricate precision. the viewer can thereby perceive what the artist’s subjects are thinking when they come alive on paper.
Malachi Farrell's exhibition
The fighting art
Malachi Farrell is an engaged artist, denouncing with a squeaky humor the crazy world we live in. His sculptures robotise banal objects, moving their initial functions to a more spiritual path. In his graphic works, he’s using chirurgical masks, in which he uses each ply to give volume to his drawings. His collages are portraits of our great 20th century heroes, who were fighting for civil rights and against the segregation of blacks. He’s using with a true dexterity the Wax tissue produced in Holland, an other symbol of the colonial struggles.
Jean-Pierre Autheman’s exhibition
Jean-Pierre Autheman is quite a character. After a start as a press draftsman, close to Wolinski and with the support of Pierre Desprogres, he went from press draftsman to cartoonist. Pure arlesian, confirmed jazz musician, he is an amazing scenarist. Jean-Pierre Autheman pleased us with his political drawings every Sunday, in the weekend edition of La Provence, the newsfeed of the little Gallo-Roman city. I begged that old grumpy friend to expose his drawings at the gallery, but without any success. I found them so funny, spiritual and fundamentally Arlesian. Up to the day of our last lunch together, when he arrived with an envelope under his arm. “These old tricks belong to you on the sole condition that you only show them once I would have died.” A collision of good and bad news. I was deeply touched while dreaming that he would be the one to bury me. Life decided for us and he left first. We are going to show you a series of drawings describing the events (or not) that rock the Provencal community.
OUR SANTA CLAUS LOVES CONTEMPORARY ART
From 18 December 2020 to 31 January 2021
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!
Quelle mouche l’a piqué ?
Illustrations : Lucas Coskun
Éditions Flammarion, 2020
208 pages – 16,3 x 23,1 cm
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.
Installation, variable dimensions
Metal razor blade (81 x 47,5 cm), two hemp ropes
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.
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.
Solo exhibition of Stéphane Vigny
from January 10 to March 20, 2019
Stéphane Vigny is like a mischievous child who likes to play. His pieces are very delicate and more like a Mikado game than like a shooting gallery. His work shows an unprecedented wit and a straightforward yet original approach to sculpture. Our ultra-consumerist society produces a continuous flow of waste that Vigny uses and resuscitates in a poetic manner.