posts tagged: invitation

  • INVITATION
Chuck Sperry (b.1962, USA)
Rock poster designer and screen print virtuoso, Chuck Sperry, is returning to Paris in person from California for a massive new exposition. Inspired and constantly exploring motifs as various as classical mythology, Art Nouveau, early 20th Century and early 1970′s typography, exploring the stars of the Rock universe, and the psychedelic 1960s, Chuck Sperry is able to impose his style upon all these various sources and inspirations.
Extolling femininity and the delicacy of floral motifs, the artist plays with the layering of materials, in a sensual intricacy that the eye can never completely resolve. Whether the subjects of Sperry’s prints are queens of the first word (Alpha and Omega) or indecisive Persephones (Widepsread Panic), Chuck Sperry’s depiction of women truthfully represent figures deeply independent and sensual.
Sperry’s “Pop Époque” Tour in ParisL’Oeil Ouvert Gallery - 74 rue François Miron 75004 Paris - 19.06-13.07.2014 Gallery Oberkampf - 103 rue Saint Maur 75011 Paris - 21.06-04.07.2014 Projection cocktail at l’Oeil Ouvert Gallery Wednesday, July 2 from 18h© All images courtesy of the artist
[more Chuck Sperry]
  • INVITATION
Chuck Sperry (b.1962, USA)
Rock poster designer and screen print virtuoso, Chuck Sperry, is returning to Paris in person from California for a massive new exposition. Inspired and constantly exploring motifs as various as classical mythology, Art Nouveau, early 20th Century and early 1970′s typography, exploring the stars of the Rock universe, and the psychedelic 1960s, Chuck Sperry is able to impose his style upon all these various sources and inspirations.
Extolling femininity and the delicacy of floral motifs, the artist plays with the layering of materials, in a sensual intricacy that the eye can never completely resolve. Whether the subjects of Sperry’s prints are queens of the first word (Alpha and Omega) or indecisive Persephones (Widepsread Panic), Chuck Sperry’s depiction of women truthfully represent figures deeply independent and sensual.
Sperry’s “Pop Époque” Tour in ParisL’Oeil Ouvert Gallery - 74 rue François Miron 75004 Paris - 19.06-13.07.2014 Gallery Oberkampf - 103 rue Saint Maur 75011 Paris - 21.06-04.07.2014 Projection cocktail at l’Oeil Ouvert Gallery Wednesday, July 2 from 18h© All images courtesy of the artist
[more Chuck Sperry]
  • INVITATION
Chuck Sperry (b.1962, USA)
Rock poster designer and screen print virtuoso, Chuck Sperry, is returning to Paris in person from California for a massive new exposition. Inspired and constantly exploring motifs as various as classical mythology, Art Nouveau, early 20th Century and early 1970′s typography, exploring the stars of the Rock universe, and the psychedelic 1960s, Chuck Sperry is able to impose his style upon all these various sources and inspirations.
Extolling femininity and the delicacy of floral motifs, the artist plays with the layering of materials, in a sensual intricacy that the eye can never completely resolve. Whether the subjects of Sperry’s prints are queens of the first word (Alpha and Omega) or indecisive Persephones (Widepsread Panic), Chuck Sperry’s depiction of women truthfully represent figures deeply independent and sensual.
Sperry’s “Pop Époque” Tour in ParisL’Oeil Ouvert Gallery - 74 rue François Miron 75004 Paris - 19.06-13.07.2014 Gallery Oberkampf - 103 rue Saint Maur 75011 Paris - 21.06-04.07.2014 Projection cocktail at l’Oeil Ouvert Gallery Wednesday, July 2 from 18h© All images courtesy of the artist
[more Chuck Sperry]
  • INVITATION
Chuck Sperry (b.1962, USA)
Rock poster designer and screen print virtuoso, Chuck Sperry, is returning to Paris in person from California for a massive new exposition. Inspired and constantly exploring motifs as various as classical mythology, Art Nouveau, early 20th Century and early 1970′s typography, exploring the stars of the Rock universe, and the psychedelic 1960s, Chuck Sperry is able to impose his style upon all these various sources and inspirations.
Extolling femininity and the delicacy of floral motifs, the artist plays with the layering of materials, in a sensual intricacy that the eye can never completely resolve. Whether the subjects of Sperry’s prints are queens of the first word (Alpha and Omega) or indecisive Persephones (Widepsread Panic), Chuck Sperry’s depiction of women truthfully represent figures deeply independent and sensual.
Sperry’s “Pop Époque” Tour in ParisL’Oeil Ouvert Gallery - 74 rue François Miron 75004 Paris - 19.06-13.07.2014 Gallery Oberkampf - 103 rue Saint Maur 75011 Paris - 21.06-04.07.2014 Projection cocktail at l’Oeil Ouvert Gallery Wednesday, July 2 from 18h© All images courtesy of the artist
[more Chuck Sperry]
  • INVITATION
Chuck Sperry (b.1962, USA)
Rock poster designer and screen print virtuoso, Chuck Sperry, is returning to Paris in person from California for a massive new exposition. Inspired and constantly exploring motifs as various as classical mythology, Art Nouveau, early 20th Century and early 1970′s typography, exploring the stars of the Rock universe, and the psychedelic 1960s, Chuck Sperry is able to impose his style upon all these various sources and inspirations.
Extolling femininity and the delicacy of floral motifs, the artist plays with the layering of materials, in a sensual intricacy that the eye can never completely resolve. Whether the subjects of Sperry’s prints are queens of the first word (Alpha and Omega) or indecisive Persephones (Widepsread Panic), Chuck Sperry’s depiction of women truthfully represent figures deeply independent and sensual.
Sperry’s “Pop Époque” Tour in ParisL’Oeil Ouvert Gallery - 74 rue François Miron 75004 Paris - 19.06-13.07.2014 Gallery Oberkampf - 103 rue Saint Maur 75011 Paris - 21.06-04.07.2014 Projection cocktail at l’Oeil Ouvert Gallery Wednesday, July 2 from 18h© All images courtesy of the artist
[more Chuck Sperry]
  • INVITATION
Chuck Sperry (b.1962, USA)
Rock poster designer and screen print virtuoso, Chuck Sperry, is returning to Paris in person from California for a massive new exposition. Inspired and constantly exploring motifs as various as classical mythology, Art Nouveau, early 20th Century and early 1970′s typography, exploring the stars of the Rock universe, and the psychedelic 1960s, Chuck Sperry is able to impose his style upon all these various sources and inspirations.
Extolling femininity and the delicacy of floral motifs, the artist plays with the layering of materials, in a sensual intricacy that the eye can never completely resolve. Whether the subjects of Sperry’s prints are queens of the first word (Alpha and Omega) or indecisive Persephones (Widepsread Panic), Chuck Sperry’s depiction of women truthfully represent figures deeply independent and sensual.
Sperry’s “Pop Époque” Tour in ParisL’Oeil Ouvert Gallery - 74 rue François Miron 75004 Paris - 19.06-13.07.2014 Gallery Oberkampf - 103 rue Saint Maur 75011 Paris - 21.06-04.07.2014 Projection cocktail at l’Oeil Ouvert Gallery Wednesday, July 2 from 18h© All images courtesy of the artist
[more Chuck Sperry]
  • INVITATION
Chuck Sperry (b.1962, USA)
Rock poster designer and screen print virtuoso, Chuck Sperry, is returning to Paris in person from California for a massive new exposition. Inspired and constantly exploring motifs as various as classical mythology, Art Nouveau, early 20th Century and early 1970′s typography, exploring the stars of the Rock universe, and the psychedelic 1960s, Chuck Sperry is able to impose his style upon all these various sources and inspirations.
Extolling femininity and the delicacy of floral motifs, the artist plays with the layering of materials, in a sensual intricacy that the eye can never completely resolve. Whether the subjects of Sperry’s prints are queens of the first word (Alpha and Omega) or indecisive Persephones (Widepsread Panic), Chuck Sperry’s depiction of women truthfully represent figures deeply independent and sensual.
Sperry’s “Pop Époque” Tour in ParisL’Oeil Ouvert Gallery - 74 rue François Miron 75004 Paris - 19.06-13.07.2014 Gallery Oberkampf - 103 rue Saint Maur 75011 Paris - 21.06-04.07.2014 Projection cocktail at l’Oeil Ouvert Gallery Wednesday, July 2 from 18h© All images courtesy of the artist
[more Chuck Sperry]
  • INVITATION
Chuck Sperry (b.1962, USA)
Rock poster designer and screen print virtuoso, Chuck Sperry, is returning to Paris in person from California for a massive new exposition. Inspired and constantly exploring motifs as various as classical mythology, Art Nouveau, early 20th Century and early 1970′s typography, exploring the stars of the Rock universe, and the psychedelic 1960s, Chuck Sperry is able to impose his style upon all these various sources and inspirations.
Extolling femininity and the delicacy of floral motifs, the artist plays with the layering of materials, in a sensual intricacy that the eye can never completely resolve. Whether the subjects of Sperry’s prints are queens of the first word (Alpha and Omega) or indecisive Persephones (Widepsread Panic), Chuck Sperry’s depiction of women truthfully represent figures deeply independent and sensual.
Sperry’s “Pop Époque” Tour in ParisL’Oeil Ouvert Gallery - 74 rue François Miron 75004 Paris - 19.06-13.07.2014 Gallery Oberkampf - 103 rue Saint Maur 75011 Paris - 21.06-04.07.2014 Projection cocktail at l’Oeil Ouvert Gallery Wednesday, July 2 from 18h© All images courtesy of the artist
[more Chuck Sperry]
INVITATION
Chuck Sperry (b.1962, USA)
Rock poster designer and screen print virtuoso, Chuck Sperry, is returning to Paris in person from California for a massive new exposition. Inspired and constantly exploring motifs as various as classical mythology, Art Nouveau, early 20th Century and early 1970′s typography, exploring the stars of the Rock universe, and the psychedelic 1960s, Chuck Sperry is able to impose his style upon all these various sources and inspirations.
Extolling femininity and the delicacy of floral motifs, the artist plays with the layering of materials, in a sensual intricacy that the eye can never completely resolve. Whether the subjects of Sperry’s prints are queens of the first word (Alpha and Omega) or indecisive Persephones (Widepsread Panic), Chuck Sperry’s depiction of women truthfully represent figures deeply independent and sensual.
Sperry’s “Pop Époque” Tour in ParisL’Oeil Ouvert Gallery - 74 rue François Miron 75004 Paris - 19.06-13.07.2014 Gallery Oberkampf - 103 rue Saint Maur 75011 Paris - 21.06-04.07.2014 Projection cocktail at l’Oeil Ouvert Gallery Wednesday, July 2 from 18h© All images courtesy of the artist
[more Chuck Sperry] INVITATION
Chuck Sperry (b.1962, USA)
Rock poster designer and screen print virtuoso, Chuck Sperry, is returning to Paris in person from California for a massive new exposition. Inspired and constantly exploring motifs as various as classical mythology, Art Nouveau, early 20th Century and early 1970′s typography, exploring the stars of the Rock universe, and the psychedelic 1960s, Chuck Sperry is able to impose his style upon all these various sources and inspirations.
Extolling femininity and the delicacy of floral motifs, the artist plays with the layering of materials, in a sensual intricacy that the eye can never completely resolve. Whether the subjects of Sperry’s prints are queens of the first word (Alpha and Omega) or indecisive Persephones (Widepsread Panic), Chuck Sperry’s depiction of women truthfully represent figures deeply independent and sensual.
Sperry’s “Pop Époque” Tour in ParisL’Oeil Ouvert Gallery - 74 rue François Miron 75004 Paris - 19.06-13.07.2014 Gallery Oberkampf - 103 rue Saint Maur 75011 Paris - 21.06-04.07.2014 Projection cocktail at l’Oeil Ouvert Gallery Wednesday, July 2 from 18h© All images courtesy of the artist
[more Chuck Sperry] INVITATION
Chuck Sperry (b.1962, USA)
Rock poster designer and screen print virtuoso, Chuck Sperry, is returning to Paris in person from California for a massive new exposition. Inspired and constantly exploring motifs as various as classical mythology, Art Nouveau, early 20th Century and early 1970′s typography, exploring the stars of the Rock universe, and the psychedelic 1960s, Chuck Sperry is able to impose his style upon all these various sources and inspirations.
Extolling femininity and the delicacy of floral motifs, the artist plays with the layering of materials, in a sensual intricacy that the eye can never completely resolve. Whether the subjects of Sperry’s prints are queens of the first word (Alpha and Omega) or indecisive Persephones (Widepsread Panic), Chuck Sperry’s depiction of women truthfully represent figures deeply independent and sensual.
Sperry’s “Pop Époque” Tour in ParisL’Oeil Ouvert Gallery - 74 rue François Miron 75004 Paris - 19.06-13.07.2014 Gallery Oberkampf - 103 rue Saint Maur 75011 Paris - 21.06-04.07.2014 Projection cocktail at l’Oeil Ouvert Gallery Wednesday, July 2 from 18h© All images courtesy of the artist
[more Chuck Sperry] INVITATION
Chuck Sperry (b.1962, USA)
Rock poster designer and screen print virtuoso, Chuck Sperry, is returning to Paris in person from California for a massive new exposition. Inspired and constantly exploring motifs as various as classical mythology, Art Nouveau, early 20th Century and early 1970′s typography, exploring the stars of the Rock universe, and the psychedelic 1960s, Chuck Sperry is able to impose his style upon all these various sources and inspirations.
Extolling femininity and the delicacy of floral motifs, the artist plays with the layering of materials, in a sensual intricacy that the eye can never completely resolve. Whether the subjects of Sperry’s prints are queens of the first word (Alpha and Omega) or indecisive Persephones (Widepsread Panic), Chuck Sperry’s depiction of women truthfully represent figures deeply independent and sensual.
Sperry’s “Pop Époque” Tour in ParisL’Oeil Ouvert Gallery - 74 rue François Miron 75004 Paris - 19.06-13.07.2014 Gallery Oberkampf - 103 rue Saint Maur 75011 Paris - 21.06-04.07.2014 Projection cocktail at l’Oeil Ouvert Gallery Wednesday, July 2 from 18h© All images courtesy of the artist
[more Chuck Sperry]
  • INVITATION
Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine]
  • INVITATION
Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine]
  • INVITATION
Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine]
  • INVITATION
Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine]
  • INVITATION
Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine]
  • INVITATION
Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine]
  • INVITATION
Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine]
  • INVITATION
Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine]
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Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine]
  • INVITATION
Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine]
INVITATION
Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine] INVITATION
Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine] INVITATION
Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine] INVITATION
Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine] INVITATION
Eric Roux-Fontaine (b.1966, France) - Outbond (2014)
How do lost worlds survive? What do they draw on to come back to life? On the memories and dreams which had lingered before setting off again in a swarm.
Eric Roux-Fontaine knows this only too well. He has lived in a different world. There is no suggestion that we were not there too, nor that we were incapable of lending an ear or feasting our eyes on it as he has; but he is more closely attuned to it than we. More than anyone else, he can capture the precise interplay of whispers and warm resonances so as to heighten the colors of these lost worlds and revive the rough drafts, allowing gentle jungles to wrest back control of worn out kingdoms.
Roux-Fontaine works in layers of matter and sensation, with a happy collision of texture and transparency. He does not mask or disguise. His only cosmetics are pigment and marble dust enabling the artist to delve deep into what lies behind matter and revive its reflections. A lake, an impatient roiling sky, a burning shack in the blazing light of an icy sun. The painter savors an opaque transparency. He cannot resist it. In this deep-breathing plant world, icebergs rise up like ghostly steamers, preserving a secret ovulation mechanism within their hulls. The Moon too harbors secrets, and without it, dreams are impossible. Mirroring its chilly incandescence, swimming pools yield to the whims of towering trees. The husks of bridges or fairground temples encircle the foliage like bracelets. In this recast synthetic Eden, animals reassert their rights and live in harmony.  A sudden flight of birds. An encounter with an elephant. The not-so-still life portrait of a hare. All lulled by a pervasive gentleness.
When a human form surfaces, it is ultimately transitory, with no sure promise of integration, merely passing through these virgin surroundings. Children swing upward again toward dizzy heights, but without stirring the air. Man, with his curious adventures, his lust for disorder, and his appetite for havoc, is no longer the prime mover in this world. The dazzlingly dense paths open to him here require a leap of faith. Artists today must borrow techniques from the animal world. Let them scent out the world with an inquisitive soul. Eric Roux-Fontaine is one of this new breed. (text by Pierre Vavasseur)
Solo exhibition Outbond @ Galerie Felli 127 rue Vieille du Temple 75003 Paris - 15.05-20.06.2014 Opening cocktail Thursday May 15, 2014 from 19h© All images courtesy the artist
[more Eric Roux-Fontaine]
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For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka]
  • INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka]
  • INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka]
  • INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka]
  • INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka]
  • INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka]
  • INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka]
  • INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka]
  • INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka]
  • INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka]
  • INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka]
  • INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka]
INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka] INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka] INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka] INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka] INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka] INVITATION
For the new exhibition Street Art yesterday and today, Taglialatella Gallery, specialized in Pop Art, announces for the first time a tribute to one the last movement, as such, artistic and contemporary, crossing frontiers and times: The Street Art.
The purpose of the gallery is to show a thread on the current changes since the 80s in NYC until today and to focus on the influence of Pop Art with headlights artists like Keith Haring and Jean-Michel Basquiat. At first the two artists, who did not claimed themselves at the beginning as Street Artists, took on the street for its visibility so they could express themselves with an artistic vision their messages: they became decades later the spiritual fathers of the movement.
The real craze appears in the early 1990s with headlining artists Banksy and Shepard Fairey. The Street art begins to be democratized and be recognized as a fine art. Since that time, the extent of the movement is continuously growing. Street art is an ephemeral art, but claims to be seen and recognized by everyone. With this universal spirit and popular reach, it has many similarities with the Pop Art.
While presenting several Street Art masterpieces, the exhibition highlights the work of the French artist Kouka who is questioning in his painting the individual place in the society. His researches are based on the quest of identity, particularly when he introduces the writing above his canvas drawings. 
Kouka created a lot of sets in order to criticize the western society controlled by consummation and appearances. He denounces the narrow relationship between culture and consumerism and tries to show their dangerous association for the artistic creation. With the return to a “rough” painting, Kouka tries to break those codes of aestheticism and consumerism.
Kouka @ Street Art yesterday and today by Taglialatella Gallery13 Rue de Picardie Paris 3 - 15.03-26.04.2014Images adapted from photos by Philippe Coutellier, Agnès Laurent & Rery
[more Kouka]
  • INVITATION
Marion Tivital (France)
French artist Marion Tivital paints the “remains” of industrial development in landscapes, all the factories, warehouses, silos that literally took place in the surroundings and became part of landscapes such as huts and fences, fields and pathways. In Tivital’s works, painted in a reduced style with minimalistic forms and muted colours, these structures develop an intriguing, almost meditative quality – a reference to her introspective approach: She tries to capture and re-create emotions and sensations, memories and thoughts which she encounters when outdoors. Furthermore it is the relationship between light and shadow which she is exploring tirelessly. She says: “I appreciate the poetry of the commonplace, the motionless and the invisible. I am interested in what stands humbly in the shadows, what we do not notice. The topics that inspire me are evident in the world where you live, but you don’t notice them anymore. I love taking the time to contemplate and discover their hidden beauty.” (Text by Simone Kraft) Marion currently works and resides in Paris and will be having a solo show at GNG Gallery, Paris.
images © Marion Tivital provided by Artist
Marion Tivital @ GNG Gallery5 December to 4 January 20143 rue Visconti 75006 ParisOpening cocktail with the artist present on Thursday 5 December from 7PM
[more Marion Tivital]
  • INVITATION
Marion Tivital (France)
French artist Marion Tivital paints the “remains” of industrial development in landscapes, all the factories, warehouses, silos that literally took place in the surroundings and became part of landscapes such as huts and fences, fields and pathways. In Tivital’s works, painted in a reduced style with minimalistic forms and muted colours, these structures develop an intriguing, almost meditative quality – a reference to her introspective approach: She tries to capture and re-create emotions and sensations, memories and thoughts which she encounters when outdoors. Furthermore it is the relationship between light and shadow which she is exploring tirelessly. She says: “I appreciate the poetry of the commonplace, the motionless and the invisible. I am interested in what stands humbly in the shadows, what we do not notice. The topics that inspire me are evident in the world where you live, but you don’t notice them anymore. I love taking the time to contemplate and discover their hidden beauty.” (Text by Simone Kraft) Marion currently works and resides in Paris and will be having a solo show at GNG Gallery, Paris.
images © Marion Tivital provided by Artist
Marion Tivital @ GNG Gallery5 December to 4 January 20143 rue Visconti 75006 ParisOpening cocktail with the artist present on Thursday 5 December from 7PM
[more Marion Tivital]
  • INVITATION
Marion Tivital (France)
French artist Marion Tivital paints the “remains” of industrial development in landscapes, all the factories, warehouses, silos that literally took place in the surroundings and became part of landscapes such as huts and fences, fields and pathways. In Tivital’s works, painted in a reduced style with minimalistic forms and muted colours, these structures develop an intriguing, almost meditative quality – a reference to her introspective approach: She tries to capture and re-create emotions and sensations, memories and thoughts which she encounters when outdoors. Furthermore it is the relationship between light and shadow which she is exploring tirelessly. She says: “I appreciate the poetry of the commonplace, the motionless and the invisible. I am interested in what stands humbly in the shadows, what we do not notice. The topics that inspire me are evident in the world where you live, but you don’t notice them anymore. I love taking the time to contemplate and discover their hidden beauty.” (Text by Simone Kraft) Marion currently works and resides in Paris and will be having a solo show at GNG Gallery, Paris.
images © Marion Tivital provided by Artist
Marion Tivital @ GNG Gallery5 December to 4 January 20143 rue Visconti 75006 ParisOpening cocktail with the artist present on Thursday 5 December from 7PM
[more Marion Tivital]
  • INVITATION
Marion Tivital (France)
French artist Marion Tivital paints the “remains” of industrial development in landscapes, all the factories, warehouses, silos that literally took place in the surroundings and became part of landscapes such as huts and fences, fields and pathways. In Tivital’s works, painted in a reduced style with minimalistic forms and muted colours, these structures develop an intriguing, almost meditative quality – a reference to her introspective approach: She tries to capture and re-create emotions and sensations, memories and thoughts which she encounters when outdoors. Furthermore it is the relationship between light and shadow which she is exploring tirelessly. She says: “I appreciate the poetry of the commonplace, the motionless and the invisible. I am interested in what stands humbly in the shadows, what we do not notice. The topics that inspire me are evident in the world where you live, but you don’t notice them anymore. I love taking the time to contemplate and discover their hidden beauty.” (Text by Simone Kraft) Marion currently works and resides in Paris and will be having a solo show at GNG Gallery, Paris.
images © Marion Tivital provided by Artist
Marion Tivital @ GNG Gallery5 December to 4 January 20143 rue Visconti 75006 ParisOpening cocktail with the artist present on Thursday 5 December from 7PM
[more Marion Tivital]
  • INVITATION
Marion Tivital (France)
French artist Marion Tivital paints the “remains” of industrial development in landscapes, all the factories, warehouses, silos that literally took place in the surroundings and became part of landscapes such as huts and fences, fields and pathways. In Tivital’s works, painted in a reduced style with minimalistic forms and muted colours, these structures develop an intriguing, almost meditative quality – a reference to her introspective approach: She tries to capture and re-create emotions and sensations, memories and thoughts which she encounters when outdoors. Furthermore it is the relationship between light and shadow which she is exploring tirelessly. She says: “I appreciate the poetry of the commonplace, the motionless and the invisible. I am interested in what stands humbly in the shadows, what we do not notice. The topics that inspire me are evident in the world where you live, but you don’t notice them anymore. I love taking the time to contemplate and discover their hidden beauty.” (Text by Simone Kraft) Marion currently works and resides in Paris and will be having a solo show at GNG Gallery, Paris.
images © Marion Tivital provided by Artist
Marion Tivital @ GNG Gallery5 December to 4 January 20143 rue Visconti 75006 ParisOpening cocktail with the artist present on Thursday 5 December from 7PM
[more Marion Tivital]
  • INVITATION
Marion Tivital (France)
French artist Marion Tivital paints the “remains” of industrial development in landscapes, all the factories, warehouses, silos that literally took place in the surroundings and became part of landscapes such as huts and fences, fields and pathways. In Tivital’s works, painted in a reduced style with minimalistic forms and muted colours, these structures develop an intriguing, almost meditative quality – a reference to her introspective approach: She tries to capture and re-create emotions and sensations, memories and thoughts which she encounters when outdoors. Furthermore it is the relationship between light and shadow which she is exploring tirelessly. She says: “I appreciate the poetry of the commonplace, the motionless and the invisible. I am interested in what stands humbly in the shadows, what we do not notice. The topics that inspire me are evident in the world where you live, but you don’t notice them anymore. I love taking the time to contemplate and discover their hidden beauty.” (Text by Simone Kraft) Marion currently works and resides in Paris and will be having a solo show at GNG Gallery, Paris.
images © Marion Tivital provided by Artist
Marion Tivital @ GNG Gallery5 December to 4 January 20143 rue Visconti 75006 ParisOpening cocktail with the artist present on Thursday 5 December from 7PM
[more Marion Tivital]
  • INVITATION
Marion Tivital (France)
French artist Marion Tivital paints the “remains” of industrial development in landscapes, all the factories, warehouses, silos that literally took place in the surroundings and became part of landscapes such as huts and fences, fields and pathways. In Tivital’s works, painted in a reduced style with minimalistic forms and muted colours, these structures develop an intriguing, almost meditative quality – a reference to her introspective approach: She tries to capture and re-create emotions and sensations, memories and thoughts which she encounters when outdoors. Furthermore it is the relationship between light and shadow which she is exploring tirelessly. She says: “I appreciate the poetry of the commonplace, the motionless and the invisible. I am interested in what stands humbly in the shadows, what we do not notice. The topics that inspire me are evident in the world where you live, but you don’t notice them anymore. I love taking the time to contemplate and discover their hidden beauty.” (Text by Simone Kraft) Marion currently works and resides in Paris and will be having a solo show at GNG Gallery, Paris.
images © Marion Tivital provided by Artist
Marion Tivital @ GNG Gallery5 December to 4 January 20143 rue Visconti 75006 ParisOpening cocktail with the artist present on Thursday 5 December from 7PM
[more Marion Tivital]
  • INVITATION
Marion Tivital (France)
French artist Marion Tivital paints the “remains” of industrial development in landscapes, all the factories, warehouses, silos that literally took place in the surroundings and became part of landscapes such as huts and fences, fields and pathways. In Tivital’s works, painted in a reduced style with minimalistic forms and muted colours, these structures develop an intriguing, almost meditative quality – a reference to her introspective approach: She tries to capture and re-create emotions and sensations, memories and thoughts which she encounters when outdoors. Furthermore it is the relationship between light and shadow which she is exploring tirelessly. She says: “I appreciate the poetry of the commonplace, the motionless and the invisible. I am interested in what stands humbly in the shadows, what we do not notice. The topics that inspire me are evident in the world where you live, but you don’t notice them anymore. I love taking the time to contemplate and discover their hidden beauty.” (Text by Simone Kraft) Marion currently works and resides in Paris and will be having a solo show at GNG Gallery, Paris.
images © Marion Tivital provided by Artist
Marion Tivital @ GNG Gallery5 December to 4 January 20143 rue Visconti 75006 ParisOpening cocktail with the artist present on Thursday 5 December from 7PM
[more Marion Tivital]
INVITATION
Marion Tivital (France)
French artist Marion Tivital paints the “remains” of industrial development in landscapes, all the factories, warehouses, silos that literally took place in the surroundings and became part of landscapes such as huts and fences, fields and pathways. In Tivital’s works, painted in a reduced style with minimalistic forms and muted colours, these structures develop an intriguing, almost meditative quality – a reference to her introspective approach: She tries to capture and re-create emotions and sensations, memories and thoughts which she encounters when outdoors. Furthermore it is the relationship between light and shadow which she is exploring tirelessly. She says: “I appreciate the poetry of the commonplace, the motionless and the invisible. I am interested in what stands humbly in the shadows, what we do not notice. The topics that inspire me are evident in the world where you live, but you don’t notice them anymore. I love taking the time to contemplate and discover their hidden beauty.” (Text by Simone Kraft) Marion currently works and resides in Paris and will be having a solo show at GNG Gallery, Paris.
images © Marion Tivital provided by Artist
Marion Tivital @ GNG Gallery5 December to 4 January 20143 rue Visconti 75006 ParisOpening cocktail with the artist present on Thursday 5 December from 7PM
[more Marion Tivital] INVITATION
Marion Tivital (France)
French artist Marion Tivital paints the “remains” of industrial development in landscapes, all the factories, warehouses, silos that literally took place in the surroundings and became part of landscapes such as huts and fences, fields and pathways. In Tivital’s works, painted in a reduced style with minimalistic forms and muted colours, these structures develop an intriguing, almost meditative quality – a reference to her introspective approach: She tries to capture and re-create emotions and sensations, memories and thoughts which she encounters when outdoors. Furthermore it is the relationship between light and shadow which she is exploring tirelessly. She says: “I appreciate the poetry of the commonplace, the motionless and the invisible. I am interested in what stands humbly in the shadows, what we do not notice. The topics that inspire me are evident in the world where you live, but you don’t notice them anymore. I love taking the time to contemplate and discover their hidden beauty.” (Text by Simone Kraft) Marion currently works and resides in Paris and will be having a solo show at GNG Gallery, Paris.
images © Marion Tivital provided by Artist
Marion Tivital @ GNG Gallery5 December to 4 January 20143 rue Visconti 75006 ParisOpening cocktail with the artist present on Thursday 5 December from 7PM
[more Marion Tivital] INVITATION
Marion Tivital (France)
French artist Marion Tivital paints the “remains” of industrial development in landscapes, all the factories, warehouses, silos that literally took place in the surroundings and became part of landscapes such as huts and fences, fields and pathways. In Tivital’s works, painted in a reduced style with minimalistic forms and muted colours, these structures develop an intriguing, almost meditative quality – a reference to her introspective approach: She tries to capture and re-create emotions and sensations, memories and thoughts which she encounters when outdoors. Furthermore it is the relationship between light and shadow which she is exploring tirelessly. She says: “I appreciate the poetry of the commonplace, the motionless and the invisible. I am interested in what stands humbly in the shadows, what we do not notice. The topics that inspire me are evident in the world where you live, but you don’t notice them anymore. I love taking the time to contemplate and discover their hidden beauty.” (Text by Simone Kraft) Marion currently works and resides in Paris and will be having a solo show at GNG Gallery, Paris.
images © Marion Tivital provided by Artist
Marion Tivital @ GNG Gallery5 December to 4 January 20143 rue Visconti 75006 ParisOpening cocktail with the artist present on Thursday 5 December from 7PM
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Marion Tivital (France)
French artist Marion Tivital paints the “remains” of industrial development in landscapes, all the factories, warehouses, silos that literally took place in the surroundings and became part of landscapes such as huts and fences, fields and pathways. In Tivital’s works, painted in a reduced style with minimalistic forms and muted colours, these structures develop an intriguing, almost meditative quality – a reference to her introspective approach: She tries to capture and re-create emotions and sensations, memories and thoughts which she encounters when outdoors. Furthermore it is the relationship between light and shadow which she is exploring tirelessly. She says: “I appreciate the poetry of the commonplace, the motionless and the invisible. I am interested in what stands humbly in the shadows, what we do not notice. The topics that inspire me are evident in the world where you live, but you don’t notice them anymore. I love taking the time to contemplate and discover their hidden beauty.” (Text by Simone Kraft) Marion currently works and resides in Paris and will be having a solo show at GNG Gallery, Paris.
images © Marion Tivital provided by Artist
Marion Tivital @ GNG Gallery5 December to 4 January 20143 rue Visconti 75006 ParisOpening cocktail with the artist present on Thursday 5 December from 7PM
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François Réau (b.1978, France) - La forme précise du rêve en exposition
Penumbra II. Mine de plomb sur papier, 56,5×76,5 cm (2012)Sans titre. Mine de plomb sur papier, 76,5×56,5 cm (2013)Sans titre, reflets. Mine de plomb sur papier, 46×38 cm (2013)Photographie Fanny Bégoin
François Réau @ Galerie Felli14 November - 6 December 2013127 rue Vieille du Temple 75003 ParisOpening cocktail on Thursday 14 November from 7PM
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François Réau (b.1978, France) - La forme précise du rêve en exposition
Penumbra II. Mine de plomb sur papier, 56,5×76,5 cm (2012)Sans titre. Mine de plomb sur papier, 76,5×56,5 cm (2013)Sans titre, reflets. Mine de plomb sur papier, 46×38 cm (2013)Photographie Fanny Bégoin
François Réau @ Galerie Felli14 November - 6 December 2013127 rue Vieille du Temple 75003 ParisOpening cocktail on Thursday 14 November from 7PM
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François Réau (b.1978, France) - La forme précise du rêve en exposition
Penumbra II. Mine de plomb sur papier, 56,5×76,5 cm (2012)Sans titre. Mine de plomb sur papier, 76,5×56,5 cm (2013)Sans titre, reflets. Mine de plomb sur papier, 46×38 cm (2013)Photographie Fanny Bégoin
François Réau @ Galerie Felli14 November - 6 December 2013127 rue Vieille du Temple 75003 ParisOpening cocktail on Thursday 14 November from 7PM
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François Réau (b.1978, France) - La forme précise du rêve en exposition
Penumbra II. Mine de plomb sur papier, 56,5×76,5 cm (2012)Sans titre. Mine de plomb sur papier, 76,5×56,5 cm (2013)Sans titre, reflets. Mine de plomb sur papier, 46×38 cm (2013)Photographie Fanny Bégoin
François Réau @ Galerie Felli14 November - 6 December 2013127 rue Vieille du Temple 75003 ParisOpening cocktail on Thursday 14 November from 7PM
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François Réau (b.1978, France) - La forme précise du rêve en exposition
Penumbra II. Mine de plomb sur papier, 56,5×76,5 cm (2012)Sans titre. Mine de plomb sur papier, 76,5×56,5 cm (2013)Sans titre, reflets. Mine de plomb sur papier, 46×38 cm (2013)Photographie Fanny Bégoin
François Réau @ Galerie Felli14 November - 6 December 2013127 rue Vieille du Temple 75003 ParisOpening cocktail on Thursday 14 November from 7PM
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François Réau (b.1978, France) - La forme précise du rêve en exposition
Penumbra II. Mine de plomb sur papier, 56,5×76,5 cm (2012)Sans titre. Mine de plomb sur papier, 76,5×56,5 cm (2013)Sans titre, reflets. Mine de plomb sur papier, 46×38 cm (2013)Photographie Fanny Bégoin
François Réau @ Galerie Felli14 November - 6 December 2013127 rue Vieille du Temple 75003 ParisOpening cocktail on Thursday 14 November from 7PM
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François Réau (b.1978, France) - La forme précise du rêve en exposition
Penumbra II. Mine de plomb sur papier, 56,5×76,5 cm (2012)Sans titre. Mine de plomb sur papier, 76,5×56,5 cm (2013)Sans titre, reflets. Mine de plomb sur papier, 46×38 cm (2013)Photographie Fanny Bégoin
François Réau @ Galerie Felli14 November - 6 December 2013127 rue Vieille du Temple 75003 ParisOpening cocktail on Thursday 14 November from 7PM
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François Réau (b.1978, France) - La forme précise du rêve en exposition
Penumbra II. Mine de plomb sur papier, 56,5×76,5 cm (2012)Sans titre. Mine de plomb sur papier, 76,5×56,5 cm (2013)Sans titre, reflets. Mine de plomb sur papier, 46×38 cm (2013)Photographie Fanny Bégoin
François Réau @ Galerie Felli14 November - 6 December 2013127 rue Vieille du Temple 75003 ParisOpening cocktail on Thursday 14 November from 7PM
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INVITATION
François Réau (b.1978, France) - La forme précise du rêve en exposition
Penumbra II. Mine de plomb sur papier, 56,5×76,5 cm (2012)Sans titre. Mine de plomb sur papier, 76,5×56,5 cm (2013)Sans titre, reflets. Mine de plomb sur papier, 46×38 cm (2013)Photographie Fanny Bégoin
François Réau @ Galerie Felli14 November - 6 December 2013127 rue Vieille du Temple 75003 ParisOpening cocktail on Thursday 14 November from 7PM
[more François Réau] INVITATION
François Réau (b.1978, France) - La forme précise du rêve en exposition
Penumbra II. Mine de plomb sur papier, 56,5×76,5 cm (2012)Sans titre. Mine de plomb sur papier, 76,5×56,5 cm (2013)Sans titre, reflets. Mine de plomb sur papier, 46×38 cm (2013)Photographie Fanny Bégoin
François Réau @ Galerie Felli14 November - 6 December 2013127 rue Vieille du Temple 75003 ParisOpening cocktail on Thursday 14 November from 7PM
[more François Réau] INVITATION
François Réau (b.1978, France) - La forme précise du rêve en exposition
Penumbra II. Mine de plomb sur papier, 56,5×76,5 cm (2012)Sans titre. Mine de plomb sur papier, 76,5×56,5 cm (2013)Sans titre, reflets. Mine de plomb sur papier, 46×38 cm (2013)Photographie Fanny Bégoin
François Réau @ Galerie Felli14 November - 6 December 2013127 rue Vieille du Temple 75003 ParisOpening cocktail on Thursday 14 November from 7PM
[more François Réau] INVITATION
François Réau (b.1978, France) - La forme précise du rêve en exposition
Penumbra II. Mine de plomb sur papier, 56,5×76,5 cm (2012)Sans titre. Mine de plomb sur papier, 76,5×56,5 cm (2013)Sans titre, reflets. Mine de plomb sur papier, 46×38 cm (2013)Photographie Fanny Bégoin
François Réau @ Galerie Felli14 November - 6 December 2013127 rue Vieille du Temple 75003 ParisOpening cocktail on Thursday 14 November from 7PM
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Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager]
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Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager]
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Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager]
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Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager]
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Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager]
  • INVITATION
Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager]
  • INVITATION
Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager]
  • INVITATION
Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager]
  • INVITATION
Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager]
  • INVITATION
Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager]
INVITATION
Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager] INVITATION
Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager] INVITATION
Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager] INVITATION
Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager] INVITATION
Philipp Haager (b.1974, Germany) - Paramountscope in exhibition
Witterungsgespinst. Indian ink on canvas, 180x210 cm. Private collection (2006)Near Field, Phase 8. Indian ink on canvas, 190x210 cm. Private collection (2010/2011)Near Field, Phase 10. Indian ink on linen, 210x270 cm. Private collection (2012)Near Field, Phase 13. Indian ink on canvas, 180x220 cm. Courtesy Strzelski Gallery (2013) Artchipel exclsive - image provided by Artist
For years, Haager’s usually large-format paintings have been created in an almost loving process of accumulation of material, through patient application of India ink on canvas and the subtraction of matter, through systematic washing away of the ink with repeated sprays of water. Long drying periods are always followed by renewed waterings – a rhythm that dictates the essence of the picture just as do light and shadow, condensing and breaking up. His pictures glide on a current of constant change and are borne by the desire to arrive, even using the simplest of means – i.e. as an ink painter using “dirty water” – at a holistic-seeming view of an “existence.” Whether this is even possible within the medium of painting is the question at the heart of all his work. (source: Frank-Thorsten Moll, Dark black depths - The questions of faith as asked in painting, Philipp Haager PHASIS; translated by Jennifer Taylor) 
“Paramountscope” shows Haager’s recent works, which incorporate a return to the reduction found in his early ink drawings along with constant questioning of the meaning of the image itself: What we see and how we see, the changing nature of our gaze. The exhibition title alludes both to the dramatic, cinematic aspect of large-format pictures as well as to an inquiry into the visual essence of our media-attuned perception as reflected in painting. Similar to double exposures in photography, or the restoration and digitalisation of old (film) material, the artist has reworked what are in some cases older works that have already been exhibited under a different title or in a different format and rearranged them for this show. (source: Strzelski Galerie)
9 November - 5 January 2014Strzelski GalerieRotebühlplatz 30 Stuttgart GermanyOpening cocktail on Friday 8th November from 7PM
[more Philipp Haager]
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Gaëlle Faure | on Tumblr - in exhibition
Anatomies & Portraits de famille 7 - 30 November 2013La librairie-galerie L’Imagigraphe84 rue Oberkampf Paris 11Opening cocktail on Thursday 7th November from 7PM
[more Gaëlle Faure]
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Gaëlle Faure | on Tumblr - in exhibition
Anatomies & Portraits de famille 7 - 30 November 2013La librairie-galerie L’Imagigraphe84 rue Oberkampf Paris 11Opening cocktail on Thursday 7th November from 7PM
[more Gaëlle Faure]
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Gaëlle Faure | on Tumblr - in exhibition
Anatomies & Portraits de famille 7 - 30 November 2013La librairie-galerie L’Imagigraphe84 rue Oberkampf Paris 11Opening cocktail on Thursday 7th November from 7PM
[more Gaëlle Faure]
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Gaëlle Faure | on Tumblr - in exhibition
Anatomies & Portraits de famille 7 - 30 November 2013La librairie-galerie L’Imagigraphe84 rue Oberkampf Paris 11Opening cocktail on Thursday 7th November from 7PM
[more Gaëlle Faure]
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Gaëlle Faure | on Tumblr - in exhibition
Anatomies & Portraits de famille 7 - 30 November 2013La librairie-galerie L’Imagigraphe84 rue Oberkampf Paris 11Opening cocktail on Thursday 7th November from 7PM
[more Gaëlle Faure]
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Gaëlle Faure | on Tumblr - in exhibition
Anatomies & Portraits de famille 7 - 30 November 2013La librairie-galerie L’Imagigraphe84 rue Oberkampf Paris 11Opening cocktail on Thursday 7th November from 7PM
[more Gaëlle Faure]
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Gaëlle Faure | on Tumblr - in exhibition
Anatomies & Portraits de famille 7 - 30 November 2013La librairie-galerie L’Imagigraphe84 rue Oberkampf Paris 11Opening cocktail on Thursday 7th November from 7PM
[more Gaëlle Faure]
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Gaëlle Faure | on Tumblr - in exhibition
Anatomies & Portraits de famille 7 - 30 November 2013La librairie-galerie L’Imagigraphe84 rue Oberkampf Paris 11Opening cocktail on Thursday 7th November from 7PM
[more Gaëlle Faure]
INVITATION - Tumblr Artist
Gaëlle Faure | on Tumblr - in exhibition
Anatomies & Portraits de famille 7 - 30 November 2013La librairie-galerie L’Imagigraphe84 rue Oberkampf Paris 11Opening cocktail on Thursday 7th November from 7PM
[more Gaëlle Faure] INVITATION - Tumblr Artist
Gaëlle Faure | on Tumblr - in exhibition
Anatomies & Portraits de famille 7 - 30 November 2013La librairie-galerie L’Imagigraphe84 rue Oberkampf Paris 11Opening cocktail on Thursday 7th November from 7PM
[more Gaëlle Faure] INVITATION - Tumblr Artist
Gaëlle Faure | on Tumblr - in exhibition
Anatomies & Portraits de famille 7 - 30 November 2013La librairie-galerie L’Imagigraphe84 rue Oberkampf Paris 11Opening cocktail on Thursday 7th November from 7PM
[more Gaëlle Faure] INVITATION - Tumblr Artist
Gaëlle Faure | on Tumblr - in exhibition
Anatomies & Portraits de famille 7 - 30 November 2013La librairie-galerie L’Imagigraphe84 rue Oberkampf Paris 11Opening cocktail on Thursday 7th November from 7PM
[more Gaëlle Faure]