Dear faithful visitors of the Gallery,
As you know, my husband and I are pleased to participate every year in the German art fair “Art Karlsruhe”. Since its creation in 2004, this art fair receives more than 50,000 visitors per year and welcomes renowned German institutions. Over the years, it has become a real institution in the German art scene. Initially planned as every year in February, it was postponed to May due to the pandemic and then, we have just learned, somewhat unsurprisingly, that it has finally been cancelled for this year 2021.
For our 6th participation in “Art karlsruhe 2021” we had planned to increase our exhibition space to 175m2 with a 100m2 stand dedicated to two sculptors and a 75m2 stand dedicated to our contemporary painters and photographers.
And to highlight French know-how, a special place at the entrance of the fair was attributed to a 3m20 high sculpture entitled “Henry’s Column”, a technical feat created by our sculptor Bruno Bossut as a tribute to the famous French tightrope walker Henry’s (1931-2013).
We and our artists are obviously disappointed not to be able to show their creations, which we are proud to exhibit and defend every year.
However, neither Art Karlsuhe, nor the participating galleries are stopping there and in the meantime, we are all working in close collaboration, in order to introduce in May 2021 a digital version which will never replace the physical contact but which will have the benefit of allowing us all to remain in close contact, while waiting for the next physical Art Karlsruhe fair in February 2022.
I will therefore show you the artworks of our painters, sculptors and photographers selected by the Art Karlsruhe Jury and will keep you informed of the evolution of this digital project.
Galerie Charron always strives to put its artists as close as possible to its collectors and this is why I invite you to discover my artist interviews in the form of videos. A way to better apprehend, to better understand the very essence of their artistic approaches, their experiences, their messages conveyed through their works and perhaps also a “way for me” to explain to you the reasons why I defend with conviction these artists that I have selected to become an integral part of my gallery.
This week, I invite you to discover the interview of Beatriz Guzman Catena, a painter of Argentinean origin whose pictorial work is marked by the spaces and places of her childhood, the notion of memory articulated around appearance, interweaving, erasure and reconstruction. A line of research carried out at the same time which touches me through these many open windows like fragments of daily life and questions about the reality of a family life, a couple’s life, a woman’s life or simply through the eyes of a child… Representative themes that are worth stopping and invite everyone! Watch the video interview with Beatriz Guzman Catena, full of gentleness and sincerity…. and take the time to discover her works halfway between creation and social imaginations.Discover
Für ihre 6. Teilnahme an der Messe für moderne und zeitgenössische Kunst “Art karlsruhe”, die jedes Jahr mehr als 50.000 Besucher anzieht, hatte die deutsch-französische Galerie Charron aus Paris für 2021 trotz der Unsicherheiten im Zusammenhang mit der Pandemie beschlossen, ihr Ausstellungsvolumen auf 175 m2 zu erweitern, mit einem 2 Bildhauern gewidmeten 100 m2 großen Skulpturenplatz und einem 75 m2 großen Stand, der ihren zeitgenössischen Malern und Fotografen vorbehalten war. Ein gemeinsamer Nenner war das komplexe Thema « Identität ». Als besonderes Highlight war eine 3m20 hohe Skulptur des französischen Bildhauers Bruno Bossut im Skulpturengarten im zentralen Atrium der Messe mit dem Titel “Henry’s Column” vorgesehen, eine technische Meisterleistung als Hommage an den berühmten französischen Seiltänzer Henry’s (1931-2013).
Identität, ein dynamischer Prozess, der von Kindheit an geprägt wird und sowohl aus der Identität besteht, die das Individuum für sich selbst schafft, als auch aus der Identität, die andere ihm zuschreiben. Eine Ausstellung, die den Betrachter in ein Hin und Her von Korrespondenzen und Unterschieden führen sollte, die in einem Forschungsfeld der plastischen Kunst angegangen werden, produziert und interpretiert durch den persönlichen Werdegang jedes Künstlers der Galerie Charron: “Mirror, oh mirror…” von Bruno Bossut, Skulpturen, die entschlossen deformiert werden, um den Spiegel der Erscheinungen zu brechen und mit seiner Identität zu spielen. Die fadenförmigen Installationen von Alexandre Bour spielen mit Licht und Schatten in Bezug auf die Wirkung unserer visuellen Identität. Die Objekte, die uns umgeben, gezeichnet in den Gemälden von Michael Doucet, Spiegel unserer Sehnsüchte, unserer Umwelt, unserer Kultur. Spezismus mit Jules Andrieus “Eselchen”, die menschliche Identität und Tierstatus gegenüberstellen. Manfred Hamm’s Fotografien oder Irène Lussou’s “Allegorien”, menschengroße historische Figuren, die als gemeinschaftliches Gedächtnis aufgebaut sind. Die Verwirrung der Sinne in den Gemälden von Andreas Lau oder die Vermittlung von Familienwerten, dargestellt von Beatriz Guzman Catena. Der Ausdruck von sich selbst, von Erinnerungsschichten durch Schrift und Poesie, eine Befragung um geheimnisvolle Zeichen, Linien und Worte durch die Ansätze von Cy Twombly, Làszlò Lakner, Jan Voss, Max Neumann und Georges Noël.
Die Suche nach Identität als bewusster oder unbewusster Wert, die es uns ermöglicht, uns aufzubauen, zu dekonstruieren oder von anderen abzugrenzen. Aus Gründen des Covid findet die art karlsruhe vom 20. bis 23. Mai 2021 ausschliesslich online statt. ALLE KUNSTWERKE ANSEHEN
Dear Galerie Charron faithful,
Easter 🐥 is the festival of all temptations! This is not the time to deprive ourselves! What could I wish you better than a beautiful spring sun, relaxation and a gourmet feast surrounded by your loved ones? A nice program that I will try to implement as well. For Easter time, 😉 I’m pleased to present the paintings of Céline Achour, who received 8 prizes in painting and 3 prizes in illustration.
Happy Easter !Discover the artworks
Galerie Charron is happy to welcome the painter Domitille Ortes among its artists!DISCOVER
“Has the world ever been changed other than by the word and its magical medium: the word? “Thomas Mann
“There are men and women who, through their speeches, changed the world: Martin Luther King, Charles de Gaulle, Hitler, Nelson Mandela, J.F. Kennedy, Churchill, … There are moments in the History of Mankind when a speech marks an era, becomes its emblem, a motor of dreams and hope, speaks to the heart and mind, and draws a better future. There are also others which are only addressed to dead, terrible souls, where simplifying truths authorising killing dominate.
Mantras, a corpus of sculptures embodying the emblematic words of modern history, questions the power of these words and questions the performative quality of political discourse.
If words are devoid of power, what is the point of prohibiting, burning books, formatting language and constraining thought? If words were not weapons, there would be no need to silence those whose words worry, exasperate with rage and hatred, the enemies of freedom and truth, the oppressors, the men in the shadows.
Originally a Mantra, a Sanskrit word meaning “instrument of thought”, is a “sacred formula of Brahmanism which has, associated with certain rites, a magical virtue”. The Mantras presented here – aerial sculptures constructed from sound spectra – are emblematic extracts from the speeches of the men and women who have forged modern history through the power of words”.
Here are some excerpts:
The Charron gallery is pleased to present the sculptor Bruno Bossut !DISCOVER
The ability of the eye and the mind to melt the patches of colours to form an image is like the quest for the grail for the German painter ANDREAS LAU. Observing Andreas Lau’s works of art is an exciting optical experience as his pictorial arrangement seems to emerge before our visionary limits. The mixing of colours is done by the eye and not by the brush as if the painting is pixelated. The graphic and dynamic line of his works brings depth to his canvases and take on their full meaning with distance. Andreas Lau’s works are part of the prestigious Collection of the Museum Kunsthalle Würth in Germany exhibited with world-famous artists. At the exhibition of his paintings at the contemporary art fair Art Karlsruhe 2020 in Germany, we presented his new monograph entitled “Schicht/Sicht” – Painting by Andreas Lau.SEE ALL ARTWORKS
“With the support of the Berlin Senate and the Cultural Foundation of the Federal States, the Berlin City Museum has acquired the archive of the photographer Manfred Hamm. What a boon for Berlin” was the headline of Ingeborg Ruthe in the newspaper “Berliner Zeitung” on 10.11.2020. This news has been the subject of numerous articles in all German print and radio media this week. But why such a craze? This recognition is not new; the German newspaper Der Spiegel already saw in Manfred Hamm, I quote the “Pioneer and Master of Architectural Photography”.
On the French side, during our two gallery exhibitions in 2017, Manfred Hamm’s photographs on the famous Bibiothèques, Concert Halls and Stock Exchanges and in the second part on the Berlin Wall, the press was not modest with notably this article published in the specialised magazine “l’oeil de la photographie” (see article).
But who is Manfred Hamm? He was born in 1944 near Zwickau in Germany. In 1955, he fled with his mother to the West, and that’s how he began to walk the streets of West Berlin, his adopted city or “the theatre of the absurd wall”, as he called it. It was thanks to his shots of industrial buildings that looked like clichés of contemporary archaeology in which mankind would have disappeared – nicknamed “the ancient sites of tomorrow” – that Manfred Hamm became famous.
The city of Berlin has thus acquired a unique and priceless collection of images on the history and architecture of the city photographed between 1972 and 2010. Almost 40 years of documentary and artistic photographic work with his lifelong friend, his heavy large-format camera “Plaubel PS 7/433”. It doesn’t matter for Manfred Hamm if he has to move around with heavy equipment and spend hours in front of his lens trying to capture the “T” moment, Manfred Hamm doesn’t like working with a digital camera because for him the magic doesn’t happen while his faithful Plaubel gives him an aestheticism, extreme sharpness, lighting and careful framing with breathtaking precision. .such as a focus on the bowels of the buildings, allowing a renewed vision of architecture, highlighting the internal structure of the premises, with an aesthetic and self-sufficient perception of architecture.
Manfred Hamm was able to capture moments of history by adding his declaration of love for the Berlin capital and his contribution to this historical upheaval by enriching the collection of the Berlin City Museum.