22 Oct 2009 to 5 Dec 2009
Open from Tuesday to Saturday
11h-13h / 14h-19h
GALERIE CHANTAL CROUSEL
10 rue Charlot
75003
Paris
France
Europe
p: +33 1 42 77 38 87
m:
f: +33 1 42 77 59 00
w: www.crousel.com
Andy Warhol, Truck, 1985 Screenprint and colored graphic art paper collage on board / Sérigraphie et papiers teintés collés sur carton, 103,5 x 101,6 cm
Andy Warhol - Crude Icons 22 octobre - 5 décembre 2009
A la suite de l’exposition « Shadows and Other Signs of Life », en décembre 2007, la Galerie Chantal Crousel est heureuse de présenter une deuxième série d’oeuvres sur papier – collages et dessins – d’ Andy Warhol.
Les 13 travaux réunis ici sous le dénominateur Crude Icons, Icones brutes nous font entrer dans une partie plus cachée du studio de l’artiste. Il s’agit tantôt d’études de formes, simples ou ré pétées, dessinées au graphite, ou peints au polymère synthétique sur papier, tantôt de collages complexes, composés de dessins au graphite ou sérigraphiés et de papiers de couleur collés. On assiste à l’élaboration d’un vocabulaire de formes et de couleurs, qui se retrouveront ulté rieurement combinés, superposés, répétés.
Toutes ces oeuvres ont en commun le traît génialement simple et sûr, une rapidité d’exécution, une vivacité, dont – dans la phase suivante : l’impression, la reproduction, la répétition – la spontanéité sera bannie.
Parmi les travaux présentés ici, on reconnaîtra plusieurs sujets devenus «icônes» tout court, et notamment le «Gem» et les «Trucks»
A l’occasion de cette exposition, un catalogue « Crude Icons » sera publié.
Andy Warhol - Crude Icons October 22 - December 5 2009
Following the show Shadows and Other Signs of Life in December 2007 Chantal Crousel Gal lery is pleased to present a second series of works on paper – collages and drawings – by Andy Warhol.
The 13 works reunited here under the denominator Crude Icons allow us to enter the most hid den part of the artist’s studio. Sometimes they are studies of form, simple or repeated, drawn in graphite or painted with synthetic polymer on paper, sometimes they are complex collages, composed of graphite or silkscreen drawings and glued with coloured paper. We are before the elaboration of a vocabulary of forms and colours, which are then later combined, superposed, repeated.
All the works have in common a wonderfully simple and confident stroke, rapid execution, vivac ity, whose spontaneity is banished in the next step: impression, reproduction, repetition.
Among the works presented here, one recognizes several subjects that have become “icons,” particularly Gem and Trucks.
On the occasion of this show, a catalogue Crude Icons will be published.
Wang Bing October 31 - December 5, 2009
Fengming, duration: 3 h 50 min, screenings at 11:00 and 15:00. Man With No Name, duration: 92 min, continuous screening.
Chantal Crousel Gallery is pleased to present the first exhibition of the Chinese director Wang Bing.
Considered one of the most promising film-makers of his generation, thanks to the monumental West of the Tracks – a nine-hour-documentary on the dismantling of a huge industrial complex in China, acclaimed as a decisive work of the early XXIst century – Wang Bing stages his unique cinematographic grammar, through two intersected portraits.
Fengming is a striking account of political and social reality in China. The protagonist re calls her memories, started in 1949, and unfolds more than 30 years of her life. Almost four hours long, the film translates the suffering of a fierce battle and the necessity to survive. Without any cuts, facing camera, Fengming refinds a speech too long repressed. Free of pre meditated screenplay, the narrative unfurls like a path to follow, while the woman’s move ments and silences become moments of respite.
Man With No Name is a metaphor based on a real person, whom Wang Bing has been filming since 2007. The man lives in a cave, isolated from Chinese society, and deals with his sur vival with dignity and determination. He never speaks, refuses his country’s system and as sumes his marginalization. Living away from the worlds of matter and spirit, he constructs his own conditions of survival.
Wang Bing’s cinema tackles the problematic of time and displacement. The notion of move ment is essential; it is in the centre of the two portraits. Under Wang Bing’s eye the tragic becomes poetic, silence is magnified, time that passes becomes freedom.
On the occasion of this exhibition, Chantal Crousel Gallery publishes an A.S.S.N. notebook with an essay by Alexandre and Daniel Costanzo.
With the support of the Centre national des arts plastiques (aid to the first exhibition), Ministry of Culture and Communication.
