The Charron gallery is pleased to present the sculptor Bruno Bossut !DISCOVER
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:
“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.
Gallery Charron is pleased to introduce you to the works entitled “Allegories” by the sculptor Irène Lussou. Lussou worked at first for the cinema, the theater, the fashion, the operas of Paris. In parallel with this activity, she had the opportunity to assist the sculptor Marc Boulay so she worked on animal sculpture projects, in particular for the Museum of Natural History of Paris.
Since 1996, Lussou dedicates herself exclusively to her own practice. She began with stone cutting and specialized in the creation of large format stoneware. Then she became interested in bronze and metal. Today, she works mainly in bronze and steel.
Lussou creates great feminine silhouettes with large foreheads, high cheekbones, sensual mouths and deep strange eyes, in a mixture of detachment and serenity. They occupy the space with grace and determination.
Another source of inspiration for the sculptor is the spiral which, beyond its esthetics and its elegance, has the particularity of being based on the golden section. It is a universal key to create a sculptural writing where the color comes to underline the drawing. Negative space defines the work and draws the gaze to it as a whole.
Galerie Charron is pleased to welcome the works “Hybrids” by the sculptor Bérengère d’Orsay. These creatures, at once mineral, vegetable, animal and human, remind us of the deep but often forgotten links that unite us to the different kingdoms cohabiting on our planet and to the beauty and fragility of our condition.
Galerie Charron always strives to put its artists as close as possible to its collectors and this is why I offer you the possibility of discovering 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 artworks 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 be an integral part of my gallery.
This week, I met Beatriz Guzman Catena, a painter of Argentinean origin who appeals to me because of her many ways to paint about family life, the life of a couple, the life of a woman… Themes that deserve to be discussed, questions that invite everyone! Discover the interview-video of Beatriz Guzman Catena full of gentleness, sincerity….
Rêveries d’automne – Solo show –
Sometimes, an exhibition is the result of a friendly and generous collaboration.
Until October 31st, find the exhibition outside the walls of our artist Céline Achour in the offices of myCowork Paris-Montorgueil at 54 rue Greneta in the 2nd arrondissement of Paris.
To celebrate this unexpected exhibition, you are invited to meet the artist, over a cup of tea or coffee, on Wednesday, October 14, from 5:00 pm to 6:30 pm.
If you are booked on Wednesday, please note that the exhibition is open to the public, Monday to Friday from 9 am to 7 pm, or by appointment in the evening and on weekends. So don’t hesitate to contact us if you are planning to come!
Exhibition by Beatriz Guzman Catena: “Urbanité” from 8 September to 24 October 2020 at the Espace d’art Chaillioux, 7 rue Louise Bourgeois, 94260 Fresnes.
Vernissage on Saturday 19 September at 3 pm.
The Trésor de la langue française, an absolute reference for our language, gives two definitions for the word Urbanité :
A. Civil manner of the ancient Romans […]; by extension, fine and delicate politeness, a manner in which a lot of natural affability and worldly customs enter into it.
B. Character of what makes a city […].
It is, of course, in the second of these senses that our exhibition fits in. However, we have selected six artists who attempt to characterise the city using this affability, which falls under the definition of A. above.
In the series of paintings presented in this exhibition, the domestic world, real or fantasised, and the urban presence intertwine in a kaleidoscopic and joyful approach which makes it difficult to identify what belongs to the private sphere and what belongs to the world of the city. Inside and outside merge, as if the individuals depicted were appropriating their vision of the city to integrate it into their personal history, micro-narrations, sometimes hallucinated, which invite us to a journey, as geographical as it is mental, and end up contaminating the entire pictorial surface. All this, without the slightest aggression, but for “a long journey where the bequeathed things, these important cultural containers, will link past memories to the present to copy each other. In this way, distant resonances will be deposited on new territories, like swept pigments, insinuating themselves into our present… “Beatriz Guzman Catena makes the urban environment and domestic interiors interpenetrate, thus blurring the notions of inside and outside, private and public space.