Download - 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.

de14à19heures,dumardiausamedi&surrendez-vous40rueQuincampoix75004ParisI1erétageIT.+33(0)[email protected]

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.


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)


Pat Andrea“Lafouchettedanslesyeux

etsaparade”2017mixedtechnical

60x70cmcourtesy of the artist

MarcellaBarceló”Femmeàlalouve”2012mixedtechnicalonpaper

49x63cmcourtesyMonteverita


MaxErnst“Laballadedusoldat”1972

lithograph38x28cm

courtesyGalerieCatherinePutman

FrédéricMalette“Silecielprendfeu”2017

graphiteonpaper29,7x21cm



Arnaud Rochard “Têtescoupées#5”2017

chinainkonpaper30x40cm

courtesy of the artist

ÁlvaroOyarzún”untitled”2009

chinainkonpaper12,5x16cm



KarineRougier“untitled”

2017gouache,pencilandcollageon

document13,4x8,3cm

Antonio Saura”Moi,planche5”1976

sérigraphy102x73,5cm


Download - COLLISIONS - Catherine Putman

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