The apparent contradiction conciliating the immaterial and the tangible at the core of this theory describes a spectrum, which could as well encompass artworks between transcendence and immanence, or ‘Gravity and Grace’ to quote this time the title of a book by the French philosopher Simone Weil. The show is organized with the complicity of Galerie Jean Fournier, Paris.

With works of : Babi Badalov, Anna Eva Bergman, Sidival Fila, Sam Francis, Simon Hantaï, Kapwani Kiwanga, Jean Messagier, Paul Mignard, Société Réaliste, Georges Tony Stoll, Kees Visser

Laureate of the 4th edition of Emerige discovery price in 2018, price in collaboration with the galerie, the artist will have his first parisian monographic show in the space 2 rue Beaubourg. The exhibition will be the occasion to present his most recent work, and more precisely his last two series in which he continues his specific exploration of what Alain Berland qualifies of an « open door in the imaginary ».

Simultaneously, the new edition of the Emerige discovery price will take place. Twelve selected artists will be exposing in a new location situades at Voltaire, Paris 11th arrondissement.

In parallel to the exhibition, the galerie is delighted to announce the coming out of its second book from the collection started in 2017 and dedicated to the artistic practice of young artists  COMMERCE. The book eponyme of the exhibition will offer, as well as a rich iconography focused on the artist’s recent work, a generous interview between the artist and the curator Marianne Derrien. Alain Berland et Gaël Charbau, both long time connoisseur of the artist’s work, have naturally contributed to this book, as well as the american curator Campbell-Bétancourt.

If she essentially turns to photography in her work, Sophie Ristelhueber utilizes her shooting to create full plastic works, playing with the material and the format of the image, its status, its framework and its installation in space.

Her work has been exhibited in numerous international institutions, among which MoMA (New York, US), Museum of Fine Arts (Boston, US), Albright-Knox Art Gallery (Buffalo, US), The Power Plant (Toronto, CA), Tate Modern (London, GB), Imperial War Museum (London, GB), biennials of Johannesburg, Sao Paulo, Triennial of Etchigo-Tsumari, Rencontres Photographiques d?Arles, and in Paris, MNAM  Centre Pompidou, Galerie Nationale du Jeu de Paume, Musée Zadkine, Musée Rodin .

Vittorio Santoro’s second solo exhibition at the gallery entitled “Le grand paysage (pour un jour)” revolves around the figure of the artist, the politics and poetics of his practice.
The new ensemble of works indicates the artist’s on-going concern to develop adequate sculptural forms for a diverse set of states and mechanisms. The works allude to visible acts and silences, meaningful gestures and apparent voids, and to the potentials ascribed to art’s social function. The various pieces testify to issues such as the poetry, the force, or the potential agency of art on the public, but also to the missed opportunities, failures and hermetic moments within the ‘large landscape’ of the artist’s doing.
In pushing his search for a diversified, and at times heteroclite artistic language further than ever, Vittorio Santoro comes to present new and highly singular works that make these issues palpable like a choir of different voices. The works articulate these aspects in ways that shift between theatricality and genuineness. Each work is imbued with a high degree of specificity, resulting in absorbing gestures that are narrative or descriptive, then again taking an anti-subjective stance and obeying a more condensed or even enigmatic code.
- Daniel Kurjakovic