Galleries in Paris » Romainville

GENADRY – IN SITU

Galleries — Fri, 06 Sep 2024 15:13:39 +0000

« If Daniele Genadry’s paintings provoke silence and induce contemplation, it’s because they have something to do with stories of angels insofar as they are apparitional paintings. As apparitional paintings they are points of encounter between two dimensions: that of the pictorial space and the real space, the depicted space we see in the painting and the real space from which we see the painting. Genadry’s means to create the fusion between the pictorial and the real space consist in making the light that seems to emanate from the painting, belonging to pictorial space, and the ambient light that illuminates the painting, belonging to real space, indistinguishable. A new way of treating light is introduced: we are no longer faced with a light that would be caught in the pictorial space, like that of Giotto for instance, where the light in the painting is clearly distinct from the light that illuminates the painting, a classical light that accompanies a conception of painting as an opening onto another world; nor are we faced with an ambient light that would merely sweep across the surface of the painting, illuminating it so that we can grasp the various elements that structure its composition, as in the paintings of Manet or Klee. The white, thinly pigmented areas, where we can almost see the naked canvas, reflect the ambient light of the room while, at the same time, capturing this light in a motif – that of a mountain, a glittering sea, a valley. The figurative motif is crucial to capture the ambient light in another world, the represented world. The fact remains that it is a very real light that we see as emanating from an imaginary world. The painted motif is thus, in a way, always painted on the edge, even when it occupies the center of the picture; painted on the edge precisely because it is only one component of this visual machine that aims at creating a point of indistinguishability between the ambient light and the pictorial light, the motif receding to free up this white area where the two lights merge. And so the background of the painting meets the luminous background, and Genadry’s paintings seem to emit the light of the room in which we find ourselves. This luminous emanation carries in its turn the motif that seems to take shape in front of our gaze, in front of the eye that contemplates, that is caught in the silence of the apparition. Faced with this light, the eye dilates, and patiently begins to see, becoming accustomed to this new light: details, a stone, a blade of grass, form before our eye, slowly rising up from the white background. In this way, Genadry’s paintings bring the motif as a whole into being in front of the viewer’s gaze. Angels, too, gradually take shape before our gaze. It is in this sense, that these paintings mobilize a frontal gaze, a gaze that stares at a distant point on the white surface and sees the various landscapes come forth, like emanations – it is not customary to paint an angel in three-quarter view, the height of profanation. Whereas modern painting was defined by a mobile eye, flatness, composition and ambient light – elements that were at the service of the act of reading the painting – Genadry’s apparitional painting presents a new constellation: the eye is fixed, the flat surface infinitely deep, the light a fusion of two lights, the embodied eye dilates and through the movement of the flesh gains access to vision. Apparitions seem to have incarnation as their counterpart. Genadry’s various paintings, suspended in the same room, define a luminous volume, a fragment of day. Light on light. »

Excerpt from the exhibition text, Fares Chalabi, september 2024

HAERIZADEH – IN SITU

Galleries — Sat, 03 Jun 2023 12:03:34 +0000

The Beautiful Decay of Flowers in The Vase by Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian offer a compositionist view of the world, one that can be seen, felt and danced.
The Alluvium made from metal rods and carefully painted floating discs, twist into multiple positions. Recently presented in Venice during the 2022 biennial, they frame fragments of our contemporary history and tiny captions: “burning ship Sri-Lanka” interspersed with more hopeful visions “fog, stars, a zoom out from the chaos of human everyday life”…
The gestures of transposing and reframing these elements from the news cut within the seamless fabric of the obesity of images that flood our daily worlds. But the sculptures are also humanoid beasts, arboring what could be seen as four legs and three heads. Their kaleidoscopic visions force the viewer to move, physically and beyond a familiar zone to be richly rewarded with ornamentations that often bear citations, that envelop. When in the form of tables and chairs they support and entrance the viewer.
The news and citations contaminate and are produced by humans or forces of nature. Considered from an interspecies perspective, a multiplicity of references, and irreconcilable scales cohabitate. Within the canvases of Madame Tussauds (Her Majesty) series, the several-legged characters of the Alluvium seem to return in various forms of procession, this time with animal features and in civilized garb.
As Emmanuele Coccia points out in Métamorphoses, 2021, the unity of a human species is already a myth as we are populated and formed by millions of other micro-cellular beings, some millions years old in a field of coexistence where the past the present and the future mingle. Particles of the dead and the living cohabitate. As complex life forms we are all trans species.1
The almost molecular structures of the Alluvium are born from a choreography of form: the dance of the artists as they are explaining vectors and movements to their fabricator, Mohammed Rahis Mollah, who is credited within the piece. Emancipated from a given language, the sculptures can also be read as scores. The artist Kiori Kawai was invited to devise a dance structure from the Alluvium transposed into the salt lakes within the Gulf region. Different levels of contribution multiply through each stage of collaborations while making a breach in a Western-centered system of references. Iranian Artists living in the UAE, communicate with a Bangladeshi fabricator and inspire the new work of a Japanese dancer in a feedback loop. The dialogues and exchanges create flow with a work generating another.(…)

Texte by Sarina Basta

DAMMANN – IN SITU

Galleries — Thu, 26 Jan 2023 11:08:11 +0000

For over 10 years I have been searching for primeval mammals in the Oligocene sediments of Wyoming. Few things have touched me as much as those summer weeks each year. But for a long time I could not integrate fossils directly into my artistic work. This despite the fact that fossils are in many ways very similar to paintings,
and despite the fact that I believe I seek out fossils for the same motivations that led me to become an artist. I have tried and tried. It has never worked. If you take
a human skull, you have a metaphor; death, transience, fears; all kinds of meanings present themselves. But the skull of a primeval horse? It remains what it is: the
skull of a primeval horse.
The sediments I am searching in were deposited about 35 million years ago during the transition from the Eocene to the Oligocene. What was then a forested, moist
habitat with mild temperatures is now an extremely hot and dry landscape. You hike through canyons that crisscross the land, looking for the slightly lighter white of
fossilized bones and skulls peeking out from the walls. It’s hard work to bring them to light. Searching, finding and preparing fossils is a lot like making a painting.
Then came the pandemic. For two years, I could not come to the United States. I looked at the many thousands of photos from Wyoming. Over and over again. In the
second year, I began to translate my longing into work. I was looking for some kind of essence of my experiences there. I wanted to translate the imagery of fossils
into the structure of watercolors. Fossils are often flattened. Like a painting. Or spatial like a sculpture. They deposit randomly, but that randomness leads to en-
viably good compositions. Parts can disintegrate, be displaced, distorted, cut off.
A fossil is the trace of the last moments of a living being. A trace that can be read. Like a picture. I painted and drew my photos of looking for fossils as if they
were settling into a sediment. As if my memories were being embedded. But it is not about telling stories. Pictures do not tell stories. They show moments.
What does it mean to dig into the ground? Into the texture of a place, its history?
One might think that this is mainly changing the place. But the holes I dig disappear in 1, 2 years. Quite different from the touch that searching has left in me.
Martin Dammann

PERRAMANT – IN SITU

Galleries — Tue, 18 May 2021 10:52:44 +0000

Extracts from the text Perramant Blue, march 2021

Yannick Haenel

« Where does the painting lead us, if not toward a broadening of the world’s glittering substance? « The body beyond the body is inexhaustible » Artaud wrote: by keeping that floating tension that occupies the body of every living being in it, this body enters the painting. The part of night that the forms retain affects what is destined for the visible in it: Perramant paints this form that still possesses its negative in it. Thus, in continuing to play with what is lost in it, the painting, shows us something that we recognize as being precisely ourselves…

…One must dare, for Bruno Perramant’s painting, to use the word metaphysical: the greatest experience that we undergo on Earth, doing battle with space and time, a prey to forms, open to colors and their inflections that make the body come to life, is a matter of metaphysics and of this permanent broadening that it brings to our thinking….

…Through Bruno Perramant’s iconographic freedom, a world of images that emerge from blackness and continue to rise from this cave that is each being’s night is deployed: forms that are liberated from anguish, a wall of mental images in which what we have in our mind swirls from that Goya-like sleep that creates monsters. A violence of the being is lavished on them through splendid cool colors that destroy the humanist fable: the human species is criminal, hence the flood. »

Presenting a body of about 40 new works, LOVE’S MISSING is Bruno Perramant’s 9th solo exhibition at the Galerie In Situ. Yannick Haenel’s full text about his work will be included in a booklet published for the exhibition by the Galerie In Situ and accompanied by an English translation.

DEROUBAIX – IN SITU

Galleries — Sat, 18 Jan 2020 16:44:27 +0000

If Damien Deroubaix is above all a painter, he also creates installations, sculptures and engraved wood, whose relationship is attested by the exhibition organised in 2020 by the In Situ gallery. In his pictorial works, he combines, as Rauschenberg masterfully did in his time, different iconic and formal registers, with painting-matter-colour coming into dialogue with black and white prints. This principle notably allows him to explore the play of repetitions and variations that underlies his plastic thinking, giving rise to constantly reinvented associations.

Galerie In Situ – Romainville

Galleries — Thu, 12 Jul 2012 11:54:29 +0000

In Situ, created by Fabienne Leclerc in 2001, had joined up with the galleries’ association of the Louise Weiss Street in the 13th urban district of Paris, and now she left this district for Romainville

In Situ Fabienne Leclerc Gallery has the ambition to promote young artists in the French and the International art scene, as well as to support better known artists on the long run. So many artists of the Galerie des Archives, created by Fabienne Leclerc in 1989 and closed in 1998, continue to collaborate with In Situ Fabienne Leclerc Gallery : Gary Hill (USA), Mark Dion (USA), Patrick Corillon (Belgium), Patrick Van Caeckenbergh (Belgium), Lynne Cohen (USA), Andrea Blum (USA), Florence Paradeis (France).

From 2001, new artists, French or not, have joined up with the gallery: Bruno Perramant (France), Damien Deroubaix (France), Laurent Tixador (France), Renaud Auguste-Dormeuil (France), Joana Hadjithomas et Khalil Joreige (Lebanon), Subodh Gupta (India), Noritoshi Hirakawa (Japan), The Blue Noses (Russia), Patrick Tosani (France), Martin Dammann (Germany) , and this year Meschac Gaba (Benin) and Marcel Van Eeden (Netherlands).
In Situ Fabienne Leclerc keeps working on showing, producing works for the gallery and for institutions/museums, editing catalogs and artist books titled, Around and About, Gary Hill (2001); Atlas des idéations (2005) and Atlas d’une cosmogonie (2006), Patrick Van Caeckenbergh ; Horizon moins 20, Laurent Tixador & Abraham Poincheval (2006) ; Fragment of Travel, Exploration and Adventure, Mark Dion (2007), Bird’s eye view, Renaud Auguste-Dormeuil (2008); World Downfall, Damien Deroubaix (co-edition 2008), Bruno Perramant (co-edition 2009).