Galleries in Paris » VIDAL

A.C.M. – VIDAL

Galleries — Tue, 16 Apr 2013 10:55:11 +0000

Born in 1951 in Hargicourt (Aisne, France), A.C.M. entered the Fine Arts School of Tourcoing, which he dropped out of five years later. He then destroyed all his works.
In the mid seventies, saved by his encounter with Corinne, he resumes his artistic work: pebbles, bark, pieces of wire are being picked up in the fields then listed and assembled. A.C.M. give his objects another life, they become gradually stand-alone sculptures.
From the nineties, he develops a new typology of works. After selecting broken parts from old typing writers, alarm clocks, transistor radios or electronic pieces, A.C.M. transforms them: cleaning, sanding, acid bath, oxidation.
He then creates architectures, which convey at the same time a sense of monumentality and of fragility, like miniature hyper structures. Béatrice Steiner names him “an architect of the emptiness”. Whereas Corinne Marié refers to him as a manipulator of effects, creating the crumbling, the disaggregation, to engender poetically a past, a history, some roots.”
These cathedrals of another world offer a multitude of facets, likes labyrinths made of mirrors

ENTRA’CTE-VIDAL

Galleries — Sat, 29 Sep 2012 08:34:56 +0000

After leaving the rue Bonaparte, the gallery begins a nomadic life by settling in gallery Alain Le Gaillard at 19 rue Mazarine, Paris, 6^th.

The time of an entr’acte, come to discover the new artworks of Thibault de Gialluly, Elika Hedayat, Miquel Mont, François Morellet,

Honoré d’O, Lucien Pelen and Stéphane Thidet.

Pour que les murs se souviennent – VIDAL

Galleries — Sat, 12 May 2012 16:28:20 +0000

After 22 years’ work at 70 rue Bonaparte, I’ve decided to move, to change the walls of the gallery. In order to put an end to this amazing adventure I wish to offer an entertaining and atypical exhibition miles away from the commercial and cultural ways for the gallery’s daily activities., Co-thought out with Sylvain Sorgato, this final event consists in 13 artists’ works with a common aim at accepting and supporting their mural status. No canvas and stuffs, no screw or nail, the exhibition lives in the premises and results in a frontal dialogue. The art work is right there, raw, decisive like the direct consequence of artistic acts requiring an economy of rigour with no repent. Even after having been painted anew, tattooed, marked like transfers, the walls will remember. Because you cannot erase this kind of intervention, you just cover it. For another destiny, underneath several coats of paint, such work will always stay in our minds. It may be exhibited somewhere else but it will never be exactly as we remember it.Now that I have made this appointment with you, I am going to jump the wall…

DE GIALLULY – VIDAL

Galleries — Sun, 01 Apr 2012 14:40:54 +0000

Thibault de Gialluly is a social searcher with the energy of the barefaced teenager. He tries to feature acting people. He depicts a heterogeneous society made by rebellion, a society into he grafts his inventions and tests.
What’s Hitler’s value without his toothbrush moustach? What could Cinderella do stocked into a riot?
What kind of manifest could be written by the Indecis? How to access to the daily news of a ravaged
world ?
Thibault’s pictures are both chatting and silent. They speak to everyone without taking into account rules.
He draws as bad as good. His hyperactive workshop looks like a kingdom in which he could be king,
governor, emperor, partisan, anarchist or a stateless people at the same time .
The world of Thibault de Gialluly equals at 300 000 wasted pictures, copied, taken, grafted, repainted or
drawn. Citizens look happy or not. Sometimes you believe you recognize someone. Here is a worlddisaster and trailed politics. The youth is been revolting, Coca-Cola bottles, cobblestones, unexplored isle, and hybrid territories.
(From the text of Alicia Vaisse)

DE VRIES – VIDAL

Galleries — Sun, 01 Apr 2012 14:36:36 +0000

herman de vries is a dutch artist born in 1931. since the 1960s, he develops a critical thinking regarding the social context. following many travels, in particular in east, he looks for new relations with the nature : exhibitions of plants collected during the trips, collections of found stones or dried flowers,scrubbing of earth from various origins on square shaped paper.
such devices aim » to objectify chance « . thereby the arrangement of natural elements is obtained by research’s random. de vries employes his science for the art in order to teach to everyone how to see. de facto he acts like the revelation of our environment. for his personal exhibition “transit”, herman de vries invites us to discover how this theme of « transit », of impermanence, occupies his work since henceforth fifty years.
“transit is the world used to describe the strange space and interval in we sometimes find ourselves, we moderne travellers ; between one airplane and another, we are guided around almost normal flows of people and objects in an airport, as if we had to be out in quarantine for a while. We make a walk in a space out of reality, as a modern rite of passage.” cornelis de boer
‘’process.
the process of being
the process of destruction
(de struction)
the process of becoming
the being of the process
de struction as process
(as part of ‘’the process’’)
becoming of being
being of becoming
the process as process
the process a being
the being as process
de struction
and re ligion
(re ligion as
be coming being)
and being as … ‘’
herman de vries