Bernard Frize "Long Lines (Often Closed)" at the gallerie Perrotin until December 08th, 2007

Exhibition at the gallerie Perrotin until 08/12/2007

It was in the mid 1970’s, at a time when the medium of painting was regarded by many of his contemporaries as being obsolete, that Bernard Frize began to focus his attention exclusively on the act of painting. With his profound knowledge of Western art history he consciously chose to subvert the act of painting by stripping the medium from its traditional layers of art historical context and, instead, reducing it to its most basic elements: the canvas and the paint. Frize followed the footsteps of great painters like Piet Mondrian and Barnett Newman as he reconsidered the medium’s potential by starting from scratch.


In his paintings it is not the artist’s expressive mood or a narrative he wants to convey, but solely the method of painting. This ‘method of painting’ determines the outcome of his works. The artist regards himself merely as a labourer and his paintings as ‘ready-mades’ that are produced by exploring the possibilities by conjoining pre-existent products (the paint, the paint-brush and the canvas). However, when we examine the ever-expanding oeuvre of Frize’s art we are not only confronted with a plethora of variations that that medium has to offer but also its seductive tactility and lyrical simplicity.

In his latest body of work, complex webs of colour interlace to echo the weave of the canvas itself. The unsettling palette, where pale pinks and blues combine with browns, greens and mustard yellows, underlined with black, unbalances the eye and destroys the continuity of the single line tracing a pattern on the surface. In high contrast to the rough texture of the canvas, each painting is coated with a smooth layer of resin, lending a plasticity and sense of completion to each painting.



www.galerieperrotin.com
10, impasse Saint Claude
75003 Paris
tel: +33 1 42 16 79 79
fax: +33 1 42 16 79 74
contact: info-paris@galerieperrotin.com
Tuesday - Saturday 11am - 7pm

Valerio Adami "Jusqu’ici" from Saturday October 27th to December 29th, 2007

Exhibition: Saturday October 27th to December 29th, 2007

Valerio Adami, the "Frenchier" Italian painter is coming back at the Daniel Templon gallerie with a new serie of painting made between 2006 and 2007. Entitled "Jusqu'ici" (up to here), the exhibition offer a filling past of themes dear to Valerio Adami's heart for the last 50 years: litterature, travel, relationship between poetry, music and painting.

After being absent for nearly 10 years, Valerio Adami did a spectacular come back with his 2004 first exhibition @ the Templon gallerie. we rediscovered his famous solid colors and his thick dark outlines reminding us the clear line of comic strips.

In this new exhibition, drawing still plays a fundamental role. For Adami, the outline, and notably the closed shapes, are tighly connected to language and words. Numerous literary references are appearing between the lines: Shakespeare, Nietzsche, Claudel… Like poems of an intimate atmosphere, the paintings develop memories of childhoods, theatre stages, vision of orient and hotel's rooms. Despite the richness of colours, the tone of the exhibition is somehow more introspective and gloom seems to haunt the painting's characters.

Valerio Adami "Jusqu'ici"
Press release (french)

Galerie Daniel Templon
www.danieltemplon.com
30 rue Beaubourg (at the back)
75003 Paris
Tel : 33 (0) 1 42 72 14 10
Fax : 33 (0) 1 42 77 45 36
e-mail :info@danieltemplon.com



Open: monday through saturday from 10:00am to 07:00pm
Press Contact: Anne-Claudie Coric 01 42 72 14 10
Metro: Line 11 - Rambuteau
Line 4 - Etienne Marcel ou les Halles
Line 1 - Hotel de ville

ART SHOPPING at the LOUVRE's CARROUSEL October 27 & 28th, 2007

No need to be filthy rich to become a contemporary art collector! Enough with the lame stamps or mini cars collection, you now can afford to become a serious art amateur... Art Shopping breaks down the "for the rich and famous only" art ghetto and create the first really open art show in the world @ le Louvre's Carrousel with, for less than 5000€, your personal ticket to the world of contemporary art collectors.

Over a hundred artists and galleries are displaying their best work and most up-to-date creations.

Good to know! For any purchase of an art piece your admission ticket will be reimboursed !

ART SHOPPING SHOW
Carrousel du Louvre - Paris
99, Rue de Rivoli - 75001 Paris – Ile de France
Opens from :10:00am to 06:00pm – admission fee:5 euros (money back atfer first purchase).
Ticket reservation: France Billet and Fnac.com
Tel : 33 (0)1 46 02 61 51
Web + infos :
www.salon-artshopping.com
Metro : Louvre-Rivoli (line 1)

KENDELL GEERS Kannibale @ YVON LAMBERT PARIS until decembre 8, 2007

Kannibale is Kendell Geers’ first solo exhibition at the YVON LAMBERT gallery.

In 1928, the Brazilian poet Oswald de Andrade (1890–1954) announced his “Manifesto Antropófago”: “Only Cannibalism unites us. Socially. Economically. Philosophically”. In this Cannibal Manifesto, Cannibalism is a powerful metaphor for the cultural incorporation of the values of “what’s not mine”, what’s stranger to me; as well as a radical vision for extremes of violence.

Kendell Geers uses Andrade’s “Manifesto Antropófago” and takes cannibalism as a symbolic practice, a metaphor for violent acts that occur in societies, risen from excess of power, domination (especially colonialism and class structure), economic exploitation, emotional impulses and traumas. This cannibalism makes no attempt to strive towards a reduction of tensions. However, its instinct focuses on what is positive; the creative flows, life drives, eroticism and cultural exchange.
The exhibition is equally a tribute to Francis Picabia's dada review ‘Cannibale’ in which he states his Dada Cannibal Manifesto:

"like your idols: nothing.
like your politicians: nothing.
like your heroes: nothing.
like your artists: nothing.
like your religions: nothing"

Geers consistently explores the collapse of belief systems and ideologies, using all possible media.


This exhibition will feature for instance razormesh phallic towers, symbols of the Cannibalist architecture. "Razormesh" is a razor blade security fence now exported globally to the prisons in Guantanamo Bay, Iraq or Palestine. This particular fencing featured in Geers sculptures was developed in South Africa during Apartheid. It is highly symbolic in the sense that it is different from barbed wire, in his words "barbed wire is for cattle but razormesh is for humans and is the universal
symbol of the twenty first century".
A replica of the “Nike of Samothrace” will preside over the show just as the one in Samothrace. The original sculpture has been in the Louvre since 1884, cannibalized by another society.

KENDELL GEERS Kannibale
october 18 – decembre 8, 2007
Opening, thursday, octobre 18, 2007

YVON LAMBERT PARIS
www.yvon-lambert.com
108, rue Vieille du Temple F-75003 Paris
T 01 42 71 09 33 – Fax 01 42 71 87 47

FIAC, PARIS, FRANCE : STAND B-26

BETTER KNOWN AS BROOKLYN @ THE LAZY DOGAn Exhibition of new work of Razauno feat. Grotesk

RAZAUNO & GROTESK @ The Lazy Dog Until November 10th, 2007
Another very good exhibition from the famous and so good bookshop "THE LAZY DOG". RAZAUNO and GROTESK give respect to their childhood neighborhood BROOKLYN and threw some impressives artworks.



Despite a really small and tiny exhibition space, the artwork of the two artists RAZAUNO and GROTESK on different materials is really great. They've work on wood, on paper, on tee shirts, on boards, or on patent... But it's really a refreshing work, with nice ilustrations, good taste of colors, and a real carefullness about details. A special ELEGANCE award for their laser work on the wood.
And even the tee shirts they've made for SIXPACK is worth a good look, one good classical all-over and two nice "fonty" one, don't forget to check the GROTESK hoodie.

THE LAZY DOG
www.thelazydog.fr/
2 Passage Thiéré, 75011 PARIS
Contact

JACQUES VILLEGLÉ - "La Lettre Lacérée" 1954-1992 until November 8th

Jacques Villeglé starts in Paris, as soon as 1949, with his friend Raymond Hains, to gather material and ripped a serie of lacerated posters, which shall only be shown at the Colette Allendyune gallerie in 1957.

Jacques Villeglé, born Jacques Mahé de la Villeglé (1926, Quimper, Brittany) is a French mixed-media artist famous for his ripped or lacerated posters (a poster in which one has been placed over another or others, and the top poster or posters have been ripped, revealing to a greater or lesser degree the poster or posters underneath) and for being a member of the New Realism art group (1960-1963). His work has primarily focused on the anonymous and on the marginal remains of civilization.

He first started producing art in 1947 in Saint-Malo by collecting found objects (steel wires, bricks from Saint-Malo's Atlantic retaining war). In December 1949, he concentrated his work on ripped advertising posters from the street. Working with fellow artist Raymond Hains, Villeglé began to use collage and found/ripped posters from street advertisements in creating Ultra-Lettrist psychogeographical hypergraphics in the 1950s, and in June 1953, he published Hepérile Éclaté, a phonetic poem by Camille Bryen, which was made unreadable when read through strips of grooved glass made by Hains. In February 1954, Villeglé and Hains met the Lettrism poet François Dufrêne, and this latter introduced them to Yves Klein, Pierre Restany and Jean Tinguely. In 1958, Villeglé published an overview of his work on ripped posters, Des Réalités collectives, which is to a certain degree a prefiguration of the manifesto of the New Realism group (1960) which he joined at its inception.

the new realism movement include 13 artists:

Arman >
César >
Christo
Gérard Deschamps >
François Dufrêne
Raymond Hains >
Yves Klein
Martial Raysse >
Mimmo Rotella
Niki de Saint Phalle
Daniel Spoerri >
Jean Tinguely
Jacques Villeglé > www.villegle.fr





"La Lettre Lacérée" - Affiches lacérées 1954-1992
Until November 8th, 2007
à la Galerie Georges-Philippe & Nathalie Vallois
36 rue de Seine, 75006 Paris
Tel. +33 (0)1 46 34 61 07
Fax +33 (0)1 43 25 18 80

http://www.galerie-vallois.com
Lundi - Samedi
10h30-13h / 14h-19h

FETISH by DAVID LYNCH with CHRISTIAN LOUBOUTIN (Shoes, 2007)until November 3rd, 2007

Last week, I missed the opening preview night for one of the most interesting and exciting artistic collaboration : the FETISH exhibition by David LYNCH and Christian LOUBOUTIN (the famous women's shoemaker).
A mix of amazing pictures and extraordinary shoes.

The work of Mr LOUBOUTIN is based upon the fetishism and the sexual myth surrounding women shoes. He started to collab with Mr LYNCH for his FONDATION CARTIER exhibition, and then he asked to the famous director to take pictures of his latest creation. The meeting of those two genius is the purpose of FETISH.

LOUBOUTIN says about shoes "People sees only shoes as walking or running items... But there are shoes that are made for sex. Women shoes are the ultimate sexual tool, even without heel..."

Each picture of Mr LYNCH will be made at only 5 ex. signed and numeroted, sold at 12000 euros. And each shoes by Mr LOUBOUTIN will also be sold at 12000 euros, and made at 5 ex by pair.

FETISH / PIERRE PASSEBON
Exhibition until November 3rd, 2007

GALERIE DU PASSAGE
wwww.galeriedupassage.com
20-26, Galerie Véro Dodat
75001 Paris

« David Lynch m’avait demandé de dessiner des souliers pour son exposition à la Fondation Cartier. Il peignit certains d’entre eux pour les montrer dans une cage. A mon tour, j’ai voulu lui demander d’en photographier d’autres, que j’aurai conçus dans ce but."
Christian Louboutin
Juillet 2007

"STASH ! WHEN ADVERTISING MEETS ART..." until' decembre 22nd

Exhibition until saturday decembre 22nd, 2007
Free entrance


What if, for once, one would give you the urge to watch TV commercials? the "Stash, when advertising meets art" exhibition is holding the bet and presents genuine creative films, art objects miles away from purely commercial advertising productions. Funny or dead serious, baroque or radical, complex or minimalist, every single film selected for the exhibition should be watched as a trule artistic creation, an artwork self-existing apart from the products or brands they're suppose to endorse...


Relationships between advertising and art forever fueled debates, cross-arguments and conflicts. Often criticized, even rejected because of its commercial and mercantile aspect, advertising is nevertheless a ephemeral art form feeding itself from every trends and sociological streams of the society of men.

Brands, for a long time, called for artist to often come up with creative jewels. Andy Warhol, Roy Lichtenstein, Arman or fashion designer John Galliano are example amongst other of artist working for major brands. Directors like Ridley Scott, Wim Wenders, Jean-Pierre Jeunet, Woody Allen, Michel Gondry or Spike Jonze also successfully faced the adverting challenge.


The "Stash!" exhibition invites you to a journey in the best advertising commercials (TV or viral) ever made those past few years. This selection was made collaboratively with the "Stash" DVD magazine, one and only monthly display for commercial animations, shorts, VFX and motion graphics work for design and advertising.


STASH DVD MAGAZINE
Every year, STASH delivers the planet's most innovative and outstanding commercial animation, VFX and motion graphics plus insightful behind-the-scenes extras in a monthly DVD magazine. Also tucked inside the STASH DVD case is a companion book of color stills, details on the featured work, credits and tech notes.

STASH is the essential resource for ad agencies, broadcasters, animation and VFX studios, designers, post houses, production companies and schools.

Exposition realized in partnership with avec Stash DVD Magazine.
Greg Robins (Publication), Steven Price (Edition) and Thomas Pilicer (Marketing)

Contact

stash DVD magazine online

LE CUBE - ART3000
www.lesiteducube.com
20, Cours Saint Vincent
92130 Issy-les-moulineaux
Tél. 01 58 88 3000
Fax. 01 58 88 3010
E-mail


How to get to the CUBE ?

Public transports
Metro : Ligne 12 - arrêt « Mairie d’Issy » + bus 123 - Arrêt « Chemin des Vignes »
(5 mn de trajet au départ du métro, bus toutes les 5 mn).
RER C - station « Issy » - sortie « allée des Carrières » puis suivre les indications.
(à 5 mn de la gare)
Tramway : T2 - station « Les Moulineaux » – (à 2 minutes en face de la gare)

By car
From Paris, take the Quai de Stalingrad, Exit La Ferme-Billancourt. after the roundabout, take the Aristide Briand street , then Cours Saint Vincent is the first street on your right.

Fragonard, a century of pleasure until January 13th, 2008 at the Jacquemart-André Museum

Following the bicentenary of the death of Jean-Honoré Fragonard (1732-1806), the Jacquemart-André Museum pays homage to one of the greatest painters in the history of art, highlighting a greatly neglected aspect of the artist’s work: illustrations.

From 3 October 2007 to 13 January 2008, the Jacquemart-André Museum will be presenting a unique collection of around one hundred works by the painter Fragonard from all over the world. The exhibition paints the picture of an artist who was far more cultured than one could imagine and who, beyond the atmosphere of an age of which he is the most brilliant interpreter, knew how to illustrate and translate the thoughts and tastes of his time: alternating between pleasure and artistic refinement.

On the occasion of the bicentenary of the death of Fragonard (the artist died in Paris in 1806 at the age of 74), it was important that Paris, the city where Fragonard spent his entire career, should pay homage to one of the greatest painters of the eighteenth century. In France, this anniversary celebration was not marked by any major events and no major exhibition of the artist’s work has been put on for twenty years.

Through around one hundred works taken from around the world, the exhibition highlights the work of one of the greatest painters of the eighteenth century who is an eminent representative of the tastes and the culture of his time. The Jacquemart-André Museum, which has a wealth of works from this period, was designed in an entirely natural manner so as to provide an appropriate setting to host an exhibition which proposes to revisit the artist’s work and show it in a completely new light. Marie-Anne Dupuy-Vachey, an art historian and author of two books on Fragonard, is the curator of the exhibition.


Photo credits:
Les débuts du Modèle - Musée Jacquemart-André Institut de France © Culturespaces - C. Recoura - JL Tamisier
Jeune Fille délivrant un oiseau de sa cage © Photo Jean-Jacques L'Héritier
La Petite Sultane - Ball State University Museum of Art_E. Arthur Ball Collection_Gift of the Ball Brothers Foundation 1995 © Trustees of Ball State University. Photo Steven J. Talley

Jacquemart-André Museum
www.musee-jacquemart-andre.com
158, bd Haussmann
75008 Paris

Tel. : +33 1 45 62 11 59
Fax : +33 1 45 62 16 36

contact

Access:
RER Charles de Gaulle - Etoile
Metro Miromesnil or Saint Philippe du Roule
Bus : 22, 28, 43, 52, 54, 80, 83, 84, 93

Coach parking:
Coaches can park outside the museum for free, on the boulevard Haussmann.

Situation:
The Jacquemart-André Museum is situated in the 8th arrondissement in Paris, close to the place Charles de Gaulle-Etoile and the Champs-Elysées.

Opening hours:
Open daily throughout the year, without exception, from 10 a.m. to 6 p.m.
The Jacquemart-André Café is open daily from 11.45 a.m. to 5.30 p.m.

Arcimboldo at the Luxembourg museum Until January 13th, 2008

Famous for his composite heads made up of a combination of plants, fruits, animals and other elements, Giuseppe Arcimboldo (1526-1593) remains something of a mystery.

The exhibition presents one hundred works. In addition to the well-known composite heads on loan from private collections and museums around the world, an important group of paintings (including numerous portraits on view for the first time), tapestries, and drawings pay tribute to the extent of the artist's extraordinary pictorial universe, unequalled in allegorical and formal richness. Other works, including objects originating from the famous Hapsburg Kunstkammer and illustrated works directly connected with the artist, shed light on the socio-cultural context of the period and the Hapsburg court, thus heightening one's understanding of Arcimboldo's work.

His most notable masterpiece is without a doubt his PORTRAIT OF RUDOLPH II depicted as Vertumnus (Greek god of harvest and abundance) dated 1591 used for the exhibition poster.

Under the curatorship of Dr. Sylvia Ferino, curator of Italian Renaissance Painting at the Kunsthistorisches Museum, the exhibition was co-organized by the Musée du Luxembourg and the Kunsthistorisches Museum, Vienna, where it will be presented from until 1 June 2008.


Musée du Luxembourg
www.museeduluxembourg.fr
19, Rue Vaugirard
75006 Paris Map
Tel : 01 42 34 25 95
Fax : 01 53 01 38 80

Dates and opening hours :
Reservation (with France Billet)
Du 15/09/07 au 31/01/08 from 11:00am till 22:00pm : Monday, Friday, Saturday
Du 15/09/07 au 31/01/08 from 11:00am till 19:00pm : Tuesday, Wednesday, Thursday

Metro :
Ligne 4 : stations Saint Sulpice, Odéon
Ligne 12 : station Rennes
RER B : station Luxembourg, sortie Jardin du Luxembourg

Autobus :
58, 84, 89, arrêts Musée du Luxembourg ou Sénat

Velib’ :
26 rue Guynemer ; 74 rue de Vaugirard ; 34 rue Condé

Parcs de stationnement :
Place Saint-Sulpice et Marché Saint-Germain

Admission :
until 31/01/2008 Fee: 13.20 €

THE THIRD MIND Carte blanche to Ugo Rondinone until January 3rd

Giving an internationally renowned artist "carte blanche" is a key idea that emanates from the director of the Palais de Tokyo, Marc-Olivier Wahler. Placed at the centre of the decision-making process determining the programming of the Palais de Tokyo, the artist is free to concoct an entire exhibition. His or her vision is given an auspicious setting and sufficient time to develop into a visual arts world that is always unique. As well as offering a kind of map of the artist's brain, desires and influences, giving carte blanche to an artist provides an opportunity to approach the processes of creation and aesthetic cross-referencing from a novel angle. Artists are never where we expect them to be. They look at our reality, our everyday life, but also the works of their contemporaries, in a unique and enlightened way.

THE THIRD MIND /

With THE THIRD MIND, Ugo Rondinone offers us a unique journey. An MRI scan of his influences, inclinations and obsessions, the exhibition is constructed as a stroll through a brain in perpetual activity, going straight to the source of the artist's references and discoveries. For the first time his gift for building systems of connections – an aptitude which has made Ugo Rondinone famous – is placed at the service of the works of other artists, not his own. The systems of connections activated as well as the artists and works chosen make THE THIRD MIND an exhibition that no curator/art historian would ever have been able to dream up.

William S. Burroughs, the cult writer of the Beat Generation, and the artist Brion Gysin worked out the cut-up method which consists of cutting up and reassembling various fragments of sentences to give them a completely new and unexpected meaning. The Third Mind is the title of a book they devised together following this method; they were so greatly impressed by its contents that they felt it had been composed by a third person, a third author, a synthesis of their two personalities. 1+1 = 3. In homage to this book which was never published, Ugo Rondinone sets out to cut up and remix the contemporary artistic landscape to allow a new meaning to emerge from it. THE THIRD MIND, composed from the assembled works of thirty-one different artists, constitutes a fully fledged work in its right, a new, spectral work created by a third mind, a third artist, the product of the meeting between Ugo Rondinone and his selections.

Closing our first season which started a year ago, THE THIRD MIND constitutes the final episode in a train of thought exploring territories that are as disconcerting as they are heterogeneous, but are nonetheless united by one and the same idea : getting shot of the "window vision" of art, which regards exhibitions and works as fixed points in time and space. Each episode of this first season integrates the notion of programming conceived of as a cursor, and is set in a scenario based on the multiplication of interpretations, the decompartmentalization of intellectual and aesthetic categories and the constant questioning of the bridges between art and our reality. From an open space (FIVE BILLION YEARS) to a private space (THE THIRD MIND), from a proposal put forward by a curator (Marc-Olivier Wahler) to the visions of an artist (Ugo Rondinone) by way of artist curators (Peter Coffin and Olivier Mosset), from collective exhibitions to solo exhibitions, the year ends with an exhibition where – as in the first episode – every work is inscribed in a whole that is greater than its parts, so contributing towards founding a paradoxical identity that is strong yet elusive. Thus this first season will have seen the very concept of the exhibition – and the entire Palais de Tokyo along with it – slipping, changing, metamorphosing and relentlessly questioning the "schizophrenic quotient" of art.


Artists of the Third Mind:
Ronald Bladen · Lee Bontecou · Martin Boyce · Joe Brainard · Valentin Carron · Vija Celmins · Bruce Conner · Verne Dawson · Jay DEFeo · Trisha Donnelly ·
Urs Fischer · Bruno Gironcoli · Robert Gober · Nancy Grossman · Hans Josephsohn ·
Brion Gysin et William S. Burroughs · Toba Khedoori · Karen Kilimnik · Emma Kunz ·
Andrew Lord · Sarah Lucas · Hugo markl · Cady Noland · Laurie Parsons ·
Jean-Frederic Schnyder · Josh Smith · Paul Thek · Andy Warhol · Rebecca Warren ·
Sue Williams ·


Palais de Tokyo
www.palaisdetokyo.com
site de création contemporaine
13, avenue du Président Wilson à PARIS

Accès
Métro Iéna
Bus 32, 42, 63, 72, 80, 82, 92
RER C, Pont de l’Alma
Informations
+33 1 47 23 54 01

Admission:
Tuesday-Sunday noon to midnight

Hello Ghetto Fou @ Artoyz Paris

The HGF collective(Tyrsa, iLK, Tizieu, Soap, 2day, Neslé, Hick ...) show is work @ Artoyz Paris until October 27th.
HFG stand for "Hello Ghetto Fou" which could translate to Hello Crazy Ghetto





www.happygraffitifriends.com/

ARTOYZ
ARTOYZ.COM
45, rue de l'arbre sec
75001 Paris
tel: 01 47 03 09 90

SAM FRANCIS @ galerie LC until October 26th

Born in 1923, California, Sam Francis, noted for his lyrical, colorful abstract works, was one of the first American artists to experiment with "empty-center" painting.

In France, Francis produced some pale monochromatic works. His characteristic brilliant colors soon returned in overlapping and dripping profusion in the dense, unified style typical of his work up to the mid-1950s. His paintings in the 1956 "Twelve Americans" exhibit at the Museum of Modern Art in New York City gained him a worldwide reputation.

Japanese influence is seen in Francis's unique early 1960s experimentation with empty-center painting. Vast canvases with unpainted central areas are defined, accented, or dominated by strokes and drips in bold colors around the extremities of the canvas.

From the 1970s on, Francis returned to centered painting, in which color puddles out in a galaxy effect on monumental canvases

Located in the 8th district in Paris, LC gallery presents unavoidable artists of contemporary art, including the main artists of the Free Figuration, Narrative Figuration and New Realism.

GALERIE LC
http://www.galerielc.com
25, Jean Mermoz street
75008 Paris
France
Tél : +33 (0) 1.42.25.08.15
Fax : +33 (0) 1.42.25.01.48
subway : Miromesnil, St-Philippe du Roule, Franklin D. Roosevelt
opening hours : monday to friday, from 10h:30am to 5:00pm