Danilo Bucchi (Rome, 1978) completed his studies in Rome, where he attended the Academy of Fine Arts where he focused on drawing, painting and photography techniques. The artist demonstrates from the beginning a firm desire to root his language in a world of signs that refers to the tradition of European abstraction of the first avant-gardes, using techniques and highly technological media. For his first solo exhibition in Paris, Danilo Bucchi was invited by the gallery to create an original piece « Seed of Grey » for the historic site of rue Jacques Callot and to participate at the same time at Pièce Unique Variations to the collective exhibition with other artists of the gallery: Jean Boghossian, Gaspare Manos, Hiroyuki Masuyama, Renato Ranaldi et Tristano di Robilant.

[...] Far from being simply contemporary, [Robert Cottingham’s] motifs evoke the world before World War 2, the world of his childhood, as well as many a nod to modern art and its commonplaces – the relation between the image and the photograph, between the word and painting, being one of the great modernist questions. To go beyond the subject and reach painting, including abstract painting, via photography, is a complex way of doing things,and one that he accepted more clearly than other painters in the same “movement.” His approach, which is at once conceptual and photographic, allows room for content that is much more literary and human than at first appears. In his painting we can see as much abstraction as we can representation.» – Camille Morineau

Galerie Georges-Philippe and Nathalie Vallois presents for the first time the work of the Hyperrealist American artist Robert Cottingham. After the exhibition in June 2018 of John DeAndrea, the gallery continues the exploration of this movement born in USA in the early 1970s.The exhibition «Fictions in the space between» covers all of his career. At 36 rue de Seine a set of oil paintings (dated between 1991 and 2019) accompanied by their studies will be on display. In our second space will be presented a retrospective of his works on paper; from the Hollywood Villas of 1969 to his recent Perfume bottles which testify to the richness of this Hyperrealist work. We also exhibit the signs that made him famous, the trains, the typewriters, the cameras or the mechanical components.

This is the title of Danilo Bucchi’s work.Figurable painting is that of the Italian artistwho combines in his language a mixture of abstraction and figuration.A short circuit between the freedom of the sign and the rigor of the vision.The epiphany of the image in its dynamism produces the sudden appearance of the form.The work founds a temporality without past and without future,rather the constant value of an eternal present as a celebration of art.This means nostalgia for beauty which is always a promise of happiness.

Achille Bonito Oliva

Danilo Bucchi (Rome, 1978) completed his studies in Rome, where he attended the Academy of Fine Arts where he focused on drawing, painting and photography techniques. The artist demonstrates from the beginning a firm desire to root his language in a world of signs that refers to the tradition of European abstraction of the first avant-gardes, using techniques and highly technological media.

For his first solo exhibition in Paris, Danilo Bucchi was invited by the gallery to create an original piece « Seed of Grey » for the historic site of rue Jacques Callot and to participate at the same time at Pièce Unique Variations to the collective exhibition with other artists of the gallery:Jean Boghossian, Gaspare Manos, Hiroyuki Masuyama, Renato Ranaldi et Tristano di Robilant.

Throughout the 70s, Jean Tinguely continues to challenge artistic expectations. He demonstrates his ability to surprise again and again the art world and the public. His works are comical, inventive, rebellious but above all fun, encouraging everyone to smile and laugh.
His artistic gestures are both ridiculous and breathtaking in their inventiveness and spirit. In contrast to the seriousness that began to envelop the contemporary art of that time, Jean Tinguely, Niki de Saint Phalle and their colleagues are distinguished by their attachment to parody, sharing the same passion for the show, the monumental and the subversive.

Tinguely’s work in the 1970s seems to be particularly focused on keeping the Dada spirit alive. As a neo-Dadaist, Tinguely reproduces one of Duchamp’s most famous gestures: stripping a tool of its utility and transforming it into something else, as evidenced by the work Hommage à Dada-Max (1974), a light sculpture involving four feathers – red, blue, yellow and green – attached to an electric hedge trimmer motor. Tinguely combines objects with do-it-yourself tools – drills, wrenches, hammers, saws – placing scrap metal sculptures on pedestals, imitating high-art in a constant back-and-forth between functionality and art, the frivolous movements exacerbating the joke. In Miostar No.1, Sans Titre and Bosch No.1, Tinguely combines a drill and a rotating wheel in a variety of configurations. When the drills begin to work, they trigger an absurd, ultimately unnecessary and repetitive rotation of the wheel to which they are attached. This clumsy but amusing process indicates the extreme obsolescence of the mechanical object. Exhibited together, these works offer a cacophony of sounds and movements like an exceptional range of colors.

Throughout his career, Tinguely’s experimental work oscillates between life and art. In this perspective Tinguely creates a series of lamps more directly related to real life, animating the public space by movement, color and light.
Sophisticated or theatrical in their presentation, Tinguely’s lamps from the 70s borrowed their aesthetics from its first small sculptures-machines, combining a variety of metal parts with colored bulbs.
Lampe Théière (1972), for example, imitates the shape of a tree branch transformed into a standing lamp. The metal structure becomes the support of an eclectic combination of absurd objects, including a teapot, feathers, a white metal shade. The seven bulbs of different colors at the top of the artwork offer rainbow-like lighting. A joyous and chromatic work, representative of the humor, the subversive
mischievousness and the electric energy of this radically inventive artist.

«Bricolages et Débri(s)collages» refers to the title of the exhibition «Débricollages», a wordplay combining debris, oddities and collages, that the Bischofberger Gallery in Zurich dedicated to Tinguely in 1974. It presents more than a dozen works never shown in France. The exhibition is accompanied by a catalog richly illustrated and prefaced by Kyla McDonald, curator of the recent and magnificent retrospective of Niki de Saint Phalle at the Beaux-Arts in Mons.

Félix Fénéon, anarchist, Art Literature and Theatre critic of art, defender of Charles Henry’s color theory and author of Harmonies of forms and colors in 1981, could be the godfather of Virginie Yassef’s new exhibition, Ils seront capables de voir les obstacles et les contourner (They will be able to see the obstacles and to circumvent them). From her modus operandie, Virginie says: « There is first this vision which is solitary. I see what I want to do, and at that moment I am in a spectator position. »

But even more, she wants the public to learn how to be attentive to the world around them and  become a spectator and not just a viewer. And for that, as Fénéon recommends, she puts a at the core of her work onirism and suspension, forcing the seeker to go beyond the physical phenomenon.In this perspective, and for more than two years, Virginie Yassef had focused on Hearing and thanks to the New Settings program of Fondation d’Entreprise Hermès had imagined an adaptation in several times of Bradbury’s play The Veldt, at la Criée in Rennes, at the Contemporary Art Center of La ferme du Buisson and then at Théatre des Amandiers in Nanterre.

But a new body of work about another sensory universe was already in gestation and for her new exhibition at the gallery (the first since 2001), it is to the sense of the Vision that she devotes herself. A vision that she explores, unravels and dissects to transcend it. And for that, she has slowly and patiently collected, collected, collected.

She has collected sentences that for years she has found in the pages of the newspaper Le Monde and which represent potential scenar: « They are able to see the obstacles ad get around them », « Withput eyelids, the fish are kept awake by the light », « The rods are the photoreceptors that allow twillightand night vision, while the daytime and colorful vision involves the participation of other photoreceptors, the cones. »

She has collected colors, and her worktable is covered with swatches, felts with a thousand shades, small watercolor palette with the organization of the color circle dear to the Pointilliss.

She has collected images, such as a waving palm slowly colored by theatrical lightin; placed in front of the lens, they flutter at the mercy of the trade winds and gives birth to a languidly psychedelic film. Or such as different eyes anatomies she drew for a children’s book published by the MacVal and that for the ehibition, she has declined in large lithographs with majestic colors on the old presses of the printer Mourlot in the workshops of Idem.

Lastly, she has collected unstable equilibria, strange movements,falls and psychedelic turning planks, chameleon eyes, turtle legs…

A series of new sculptures-objects that more than simple props for a theatre or a funfair, become the characters who inhabit the recesses of 33 rue de Seine and make the spectators able to see the obstacles and to circumvent them,or to contemplate them!

Les Fleurs

The Société des Amis d’Eugène Delacroix initially rented the studio, then the apartment and the studio. This Société, recognized as working in the public interest in 1934, set as its goal to « guarantee the existence and maintenance » of the buildings and to promote Delacroix’s work. Starting in 1932, it organized a series of exhibitions, concerts, and conferences. When the building was put up for sale in 1952, the Société, concerned with completing its assigned task, sold its collection to the national museums. With the earnings, it was able to acquire the apartment, the studio, and the small garden. It donated all the property to the French government in 1954, with the agreement that a museum would be created.

The museum’s collection contains works from nearly every phase of Delacroix’s career, covering many of his themes. Magdalene in the Desert, exhibited at the 1845 Salon and one of the museum’s major paintings, is a most unusual religious composition, as compared to Education of the Virgin, painted in Nohant in 1842. The museum also boasts the artist’s only three attempts at fresco, which were done in Valmont (1834).