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.

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.

Jean-Pierre Raynaud was born in 1939 in Courbevoie. His artistic career starts in 1964 in Paris at the Salon de la Jeune Sculpture. Since then his artworks have been exhibited in several countries (Japan, Korea, United Arab Emirates, Cuba, Belgium …).

 The artwork that marks the beginning of his career is his house in La Celle Saint-Cloud built in 1969. Entirely covered with white tiles, he will live there for 24 years before destroying it. Its debris will be exhibited in surgical containers at the Musée d’Art Contemporain of Bordeaux. His favorites themes are: pictograms, vases and white tiles with black joint. A giant gold vase, before being permanently installed at Centre Georges Pompidou in Paris, has been exhibited in the heart of the Forbidden City in Beijing and suspended at the extremity of a crane above the building site of Potsdamer Platz, in Berlin. The Vietnamese, Soviet, Cuban and French flags also constitute a source of inspiration for him and a base to work on that gives a political dimension to his art. Jean-Pierre Raynaud counts among his realizations some artworks of monumental size. Among them, the stained-glass windows of the Noirlac Abbey, the Carte du Ciel (the sky map) inside the four patios of the Triumphal Arch at la Défense and a nuclear vault on a ceiling of the Museum of the Louvre. Jean- Pierre Raynaud, through the integrity of his work, remains a major player in the contemporary Art scene.

For this exhibition Jean-Pierre Raynaud presents ceramic tiles. But he surpasses its use as a construction material: he makes it appear as a print media. In fact, on this material, considered as cold and breakable, the artist prints a Neolithic skull which is associated with an object that is a symbol of the childhood.

20 years after After his exhibition Le due anime della materia (The two souls of matter) at the Gallery Pièce Unique (4, rue Jacques Callot) Fabrizio Plessi presents TUTTOTAVOLI: a video installation with screens that, inserted in a table, broadcast the images of a waterfall. Primary elements grafted to technology are in fact the protagonists of his art. Water and video, as the artist makes us understand, have secret and deep complicities which lie in their mobility and liquidity, in their continuous flow. His powerful and metaphoric representation of water, that is his more typical expressive figure, is perhaps one of the best illustrations of our actual condition: a perfect example of what the sociologist Zygmunt Bauman has properly defined “liquid modern

MA DAN is an emerging Chinese artist born in 1985 in Yunnan Province. She obtained in 2011 a master’s degree in Yunnan University Institute of Arts. Ma Dan’s works have been exhibited in the United States, Taiwan, and Beijing and at other major international art fairs

Ma Dan’s paintings construct an atmosphere of ineffable tranquility almost like in a dream. This atmosphere leads the viewer into the artist’s innocence and glistening green idyllic world that only comes from Ma Dan’s native Yunnan sceneries, and even more from her many exotic beautiful dreams. With delicate brush strokes, Ma Dan restores her dreams to its original form. This way of treating sceneries reminds us of the works of Henri Rousseau, who also painted luxuriant tropical vegetation with a kind of dreamlike atmosphere, drawing us back to memories of ancient times. In Ma Dan’s works we can find the same “primitivism”, freedom and innocence of that world created by Rousseau and, later on, by Dalí, Miró and surrealist painters.

In these bucolic landscapes the little girl in red, of whom the real face is never shown, which is deeply significant, is not only the probable self-portrait of the artist, the alter ego of Ma Dan, but this lonely, cute and pure image is also the key to the entrance of her dreams, or the passage leading to her subconscious realm. She becomes a guide and in the meantime a curious explorer somehow lost in that bucolic landscape. The choice of the cartoon style for the representation of the “pocket-size version” of Ma Dan is because cartoons can simplify the structure of reality. Chinese artists use this visual form that was originally intended for children to build a world anew and thus purify their ego. In fact for the Chinese artists of the younger generation the notion of ego represents an important and huge challenge: how to face and represent their true self. This is because starting from the seventies and the eighties the country began to change at an extremely pace: common national memories are gradually disappearing and being replaced by fragments of personal memories.

In fact Ma Dan’s paintings transmit the artist’s subjective emotions and imagination. Following our “little guide” we understand that Ma Dan’s innocence has its own strength and she uses this to purify our look; in this way these pictures want to be a sincere invitation to the viewer to participate and to share her joys and sorrows, so that the pain of alienation is alleviated through her art.

Installation and Optical Theaters

Born in 1960 at Nantes (France). Lives and works at Nantes.

Pierrick Sorin is a multimedia artist, video director and scenographer. His short movies in super 8, realized at the beginning of the 90s, in which he put himself on stage, in absurd and daily situations, made of him, according to certain critics, the leader of the French auto-filming. Having realized, from 1995, numerous optical theaters (works in which the artist appears in the form of hologram, among real and tangible objects), he signs scenographies and directions of shows in the field of the Opera in particular. His scenographies are always based on the direct use of the video.

The work that will be exhibited at Galerie Pièce Unique (4, rue Jacques Callot) is a virtual installation entitled: “Je reviens à 19h” (I’ll be back at 7 pm).

The attention of the passers-by is got by the presence of a woman in a shop window. An attractive woman who wears  tempting clothes (a sexy dress which can be or stereotyped enough, in the kind « prostitute » – with more refinement, however, than that of the any girl working the streets-  or resolutely more elegant. In which case these clothes will be a recall of the creation in lingerie).

But a « detail » will at once call the attention of the intrigued passer-by: the beautiful woman with harmonious face has a beard. A doubt settles down to guess whether she is a woman or he is a man. It is likely that most of people will think that it is about a transsexual.

The creature, let us say, sits on a small sofa. She talks on the phone or sends texts. Around her are arranged some furniture and elements of decoration which make the space of the gallery a boudoir inciting to languor and pleasure. Everything soaks in a soft and warm light.

Behind the creature, the spectator can see another window, as in face to face of the one by which he looks. That window seems in the same way to overlook an outside space and at least one person, behind the other window, is also observing the creature.

The passer-by who will not dare to observe it for a long time, will walk away with the feeling of having seen a strange prostitute who, in spite of the law, comfortably settled down at the heart of a bourgeois district. He will not miss to share with others his crunchy discovery and doubtless he will be eager to return see  the “belle” – so it is true that she or he is particularly charming!-. And can be discreetly he will take a picture with his smart-phone which he will hurry to spread.

The one who will have taken time to observe better the creature, will certainly realize that she is not real. He will understand that he has to deal with a hologram. He will notice the presence of a big mirror, occupying the width of the window, in which some furniture is divided into halves and which also reflects his own image, in the position of voyeur. In this case, to the surprise of seeing the creature, will be added the discovery of the trickery –in French “supercherie”- (The super-darling “super-chérie” is a trickery). In brief, an installation which risks to make tongues wag…

At Galerie Pièce Unique Variations (26, rue Mazarine), will be exhibited a series of optical theaters:  On a wet bar of soap (very real and tangible) a Lilliputian executes with great difficulty a risky choreography. This is what we can see in one of the small magic showcases conceived by the artist and which allow, thanks to the already old principle of « Pepper’Ghost « , to make cohabit real objects with « holographic » characters. Most of the time, Sorin interprets himself these playlets, voluntarily naive, in which he expresses, on a comic mode, the human fragility.