NĂ© en 1936 Ă Budapest en Hongrie, LĂĄszlĂł Lakner a su se faire une place au sein du monde de lâart contemporain. AprĂšs avoir frĂ©quentĂ© lâĂ©cole des Beaux Arts de Budapest, il obtient une bourse du MusĂ©e Folkwang pour Ă©tudier en Allemagne. En plus de nombreuses expositions dâart, on peut noter sa prĂ©sence trois fois Ă la Biennale de Venise et une fois Ă la Documenta Ă Kassel. En 1998, le gouvernement hongrois lui remet le Prix Kossuth, ultime rĂ©compense du pays, et depuis 2000, son autoportrait figure dans la prestigieuse collection de la galerie des Offices.
Le travail de LĂĄszlĂł Lakner s’est dĂ©placĂ© avec une grande flexibilitĂ© et facilitĂ© parmi de nombreuses formes artistiques, telles que les reprĂ©sentations rĂ©alistes et sans objet dans la peinture, la photographie, le travail textuel, le film, les objets et les sculptures. La majeure partie de son travail Ă©tant alimentĂ©e par sa façon de penser conceptuelle et indĂ©pendante de la forme d’art et des mĂ©dias utilisĂ©s.
Dans son art, LĂĄszlĂł Lakner utilise lâĂ©criture et la peinture, il interprĂšte et retranscrit le geste de lâĂ©crivain dans sa peinture, puisant son inspiration dans les documents historiques Ă©crits, comme les lettres, les testaments ou les tĂ©lĂ©grammes. Il intĂšgre les rĂ©fĂ©rences culturelles et historiques de l’art de son choix comme ready-made dans son art. Dans les annĂ©es 1970, on peut noter une Ă©troite collaboration avec Marcel Duchamp.
Les oeuvres prĂ©sentĂ©es Ă la Galerie Charron sont des enveloppes timbrĂ©es envoyĂ©es Ă son adresse personnelle, sur lesquelles sont collĂ©es des lettres dĂ©coupĂ©es dans la presse et recouvertes de couleur rose, beige, vert et bleu. L’art et l’oeuvre extraordinairement diversifiĂ©s de LĂĄszlĂł Lakner, remplis de rĂ©fĂ©rences complexes, peuvent ĂȘtre dĂ©crits comme une sĂ©rie de mĂ©tamorphoses, ou une conjonction d’approches et de styles artistiques. Ses oeuvres, Ă vrai dire, ne peuvent se comprendre que dans le contexte de son oeuvre dans son ensemble.
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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.
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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.
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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 Ă 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 Ă 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.
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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.
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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.
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Love always wins
Emilie Teillaud’s paintings are poetic, delicate and colourful, odes to feelings and emotions. The artist sets in motion carnal or maternal love, tenderness, humility, fragility, devotion through her characters with generous and liberated bodies, embraced in spontaneous pauses and dreamlike halos. The sensuality of her creations, imbued with gentleness and energy, is an invitation to take the time to live, to feel and to love.
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RĂȘveries dâautomne – 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 CĂ©line 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.Â
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!
Alchemy – Jazzu’s brushstrokes seem to be guided not only by his instincts, but also by messages, observations and relevant reflections on our times. Abstract in form and composite in colour, the artist’s work captures the complexities of our society. DISCOVER
Eselchen – The Donkeys
“Donkeys are a necessity for me. My semi-figurative sculptures are a way of paying tribute to them and giving them the status they deserve. They are a counterpoint to my abstract work of Primary Tensions, (Ge)Dichte (Poetry and Density in German) in stone, and my Julessteins in bronze. I ideally show the stones and the donkeys together, because the donkeys are their protectors, the lookout for the public ready to touch them. The donkeys are the defenders and remain attentive to this abstraction which is new and still little known. They bring a balance, something to which one can find one’s bearings, to this light, discreet but sure presence”. Jules Andrieu
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