Né en 1936 à Budapest en Hongrie, László Lakner a su se faire une place au sein du monde de l’art contemporain. Après avoir fréquenté l’école des Beaux Arts de Budapest, il obtient une bourse du Musée Folkwang pour étudier en Allemagne. En plus de nombreuses expositions d’art, on peut noter sa présence trois fois à la Biennale de Venise et une fois à la Documenta à Kassel. En 1998, le gouvernement hongrois lui remet le Prix Kossuth, ultime récompense du pays, et depuis 2000, son autoportrait figure dans la prestigieuse collection de la galerie des Offices.
Le travail de László Lakner s’est déplacé avec une grande flexibilité et facilité parmi de nombreuses formes artistiques, telles que les représentations réalistes et sans objet dans la peinture, la photographie, le travail textuel, le film, les objets et les sculptures. La majeure partie de son travail étant alimentée par sa façon de penser conceptuelle et indépendante de la forme d’art et des médias utilisés.
Dans son art, László Lakner utilise l’écriture et la peinture, il interprète et retranscrit le geste de l’écrivain dans sa peinture, puisant son inspiration dans les documents historiques écrits, comme les lettres, les testaments ou les télégrammes. Il intègre les références culturelles et historiques de l’art de son choix comme ready-made dans son art. Dans les années 1970, on peut noter une étroite collaboration avec Marcel Duchamp.
Les oeuvres présentées à la Galerie Charron sont des enveloppes timbrées envoyées à son adresse personnelle, sur lesquelles sont collées des lettres découpées dans la presse et recouvertes de couleur rose, beige, vert et bleu. L’art et l’oeuvre extraordinairement diversifiés de László Lakner, remplis de références complexes, peuvent être décrits comme une série de métamorphoses, ou une conjonction d’approches et de styles artistiques. Ses oeuvres, à vrai dire, ne peuvent se comprendre que dans le contexte de son oeuvre dans son ensemble.Découvrir
Jazzu is a French artist born in 1983. A former special education teacher, painting comes to him as an outlet, a way to express what he feels in his daily life, because it is his emotions that he paints. It goes from his reaction to current events, through the music he listens to in his studio, or his family life with his two children, everything comes to him instinctively. He identifies a lot with the Cobra movement, an artistic movement created in reaction to the quarrel between abstraction and figuration. It results from a perfect mix between Dubuffet, Keith Haring and Basquiat. This free, raw, spontaneous painting, in addition to being the heir to the cave paintings of the first men, can also be seen as a tribute to the style of urban art, that of graffiti, tags, street art, insubordinate and revolutionary cries, insubordinate actions. Jazzu takes hold of the canvas like a graffiti artist of his wall. He marks his territory, he immortalizes his ideology and his positions. He makes visible his feelings about the world in an anarchic and dreamlike way. On his works, we see faces, bodies of women and men, animals, symbols, words, letters, numbers. He conceives his paintings as mirrors. When the viewer is in front of a painting, he must be struck by his reflection, it must provoke a dialogue and an emotion. The calligraphic writings, the variations of the tracings, the hand marks, the scribbles, the use of a diversified color palette and the symbols gathered by the artist summon the sensitivity of a collective memory. The aesthetics of the canvases is characterized by a desire for “allover”, the subject of the painting seems to extract itself from the shackles of the painting, to continue beyond the limits of the frame into the off-field. This technique makes the artist’s productions dynamic and lively, the rhythm of which seems to be set by the hazards, unforeseen events and overflows of our daily lives. Jazzu’s works are numerous, powerful and all different. If you wish to acquire one of his works, the Charron gallery offers you its catalog, so that you can discover the extent of his talent.Discover
Golnaz Afraz was born in Tehran in 1981. She comes from a family of Iranian engineers. Already as a child, she had a true artist’s soul. Wherever she went, she took her drawing book with her and drew everything, everywhere, all the time. Despite a university start in mathematics, in the early 2000s, she definitely chose the field of painting, and joined the faculty of Azad in Tehran where she obtained a degree in painting. Then, she continued her studies in Tehran with a master’s degree in plastic arts at the University of Tarbiat Modarres obtained in 2007. Golnaz is a member of the Association of Iranian Painters in Tehran. In 2011, she moved to France, enrolled at the University of Strasbourg and graduated with a second master’s degree in visual arts. Since then, she has participated in several solo and group exhibitions in Europe, the United Kingdom in 2020 and Asia. Her work is tinged with references to the Iranian miniature, she uses them in her paintings by taking up the variations of plan, but also the use of bright colors and contrasts. During her university studies, she met the American artist R.B. Kitaj, she admired his way of telling a multitude of stories in a single painting or drawing. And this is what she will use in her paintings. Her works are superimpositions of images and stories, where the characters interact with each other. She creates her scenes on paper and on canvas and assembles them like a filmmaker. In her art work, she wants to make the viewer reflect on the true meaning of life, on interpersonal relationships, nature and the environment. The larger the painting, the more freedom it offers to see more clearly but also more broadly, and thus to express herself more widely. She can paint several planes, mix them, mix them in order to tell a multitude of stories and let a profusion of life scenes show through.Discover
Born in 1983 in Thessaloniki, Greece, Cornelia Komili now lives and works in France. After a master’s degree in museology obtained in Lyon in 2009, she started her career as a painter. Since then, she has exhibited her work in galleries and participated in several contemporary art events such as the ST’ART fair in Strasbourg and Art Up! in Lille. She draws her inspiration from the work of De Chirico and Jean-Marc Bustamante. Komili offers us urban landscapes imbued with realism, which take us to the border between the stolen shot and the painting. She does not invent any place, she invites herself in the streets, the alleys but also in the heart of building sites or abandoned quarries to work like a documentarist, in the survey of architecture. This gives rise to landscapes devoid of human figures but powerful in light and color, which are neither still-lifes, not still alive, but something much more moribund.
“Far from being the alienating landscape that most people believe it to be, the technological landscape offers the possibilities of peace, a kind of union with the whole. “J. G. Ballard
Immeuble à Villeurbanne, is an oil on canvas measuring 130 x 162 cm. Painted in 2021, it is one of his last works. It shows us the façade of a building deserted for a few minutes by its inhabitants, leaving their traces, still warm. A play of color, shadow and light unfolds on the facade of a building that looks like one of Corbusier’s radiant cities. Whether it is Immeuble à Villeurbanne, Lieu 3, Chantier 2 or Lotissement 2, Komili’s painting offers us real windows on the outside world. Spaces of escape that let us plunge into deep contemplation. Reassuring paintings, with bright colors, that let us dream of the outside world, which then becomes mysterious under his brush.Discover art works of the artist
Frederic Duquet is a French artist born in 1965. It is his uncle, an artist, who will transmit him this taste for art. His design studies at the Ecole des Mines did not divert him from his love for painting, which became his outlet. He continued his practice discreetly in parallel with his professional career in industry. When discovering the artist and his paintings, the words of Oscar Wilde make perfect sense to the Charron gallery:
“Art is always more abstract than we imagine. Form and colour speak to us of form and colour, that is all. It often seems to me that the artworks hides the artist much more than it reveals him.” Oscar Wilde
His inspiration comes from his life spent between Cologne, Basel and Brussels and his frequent visits to galleries and museums of modern and contemporary art. His artworks can be compared to the work of Rothko, De Kooning or Rauschenberg. Between colourist and abstract expressionist, Duquet proposes a superposition of forms and colours, his work is devoid of any form of figurative representation, which leaves our own imagination free to read and interpret his ARTWORKS. An assembly of squares and rectangles that pile up like a construction set for children, with great stability.Discover
In preparation for this year’s Art Karlsruhe, which unfortunately can only take place digitally in 2021, we will show a preview presentation (Avant-Première) of the artworks intended for the fair. This selection will be taken up as an online exhibition by Art Karlsruhe from 20 to 23 May 2021. In Vorbereitung der diesjährigen Art Karlsruhe, die 2021 leider nur digital stattfinden kann, präsentieren wir Ihnen eine Avant-Première (Vorschau) mit den Kunstwerken, die für die Messe vorgesehen sind. Diese Auswahl wird in Form einer Online-Ausstellung vom 20. bis 23. Mai 2021 auf der Art Karlsruhe aufgegriffen.
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
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
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
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.
“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: