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
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.
Yours faithfully
C.Charron
The month of February is dedicated to Art Karlsruhe where from 13 to 16.02 you can find the works of our artists in Hall 2: Beatriz Guzman Catena, Cy Twombly, László Lakner, Jan Voss, Christo and Jeanne-Claude, Andreas Lau, Golnaz Afraz, Max Neumann, Hanna Sidorowicz, Gaspard Noël, Yoann Ximenes, Anne Boille, Georges Noël, Alexandre Bour, Mickael Doucet, Jazzu and Jules Andrieu.
Heliotrope: “No one enters here unless he is a surveyor” is said to have engraved Plato on the pediment of his Athenian Academy to establish the primacy of ideal (geometric) abstraction over vulgar, chaotic, mortal thought. However, looking through the vast bay windows painted by Mickaël Doucet, one does not necessarily see the world in the same way anymore.
The interiors painted by Mickaël Doucet are, by a strange mise en abîme, themselves sort of “places of art and contemplation” … It is a complete painting because in addition to being metaphysical, it is also fundamentally decorative.
Mickaël Doucet’s vanities, of oriental inspiration, seek to blend not into divine transcendence (“vanitas vanitatum omnia vanitas” said Ecclesiastes), but into immanence, in other words, into the landscape. Because Mickaël Doucet’s pictorial architecture is also, perhaps above all, a very landscape painting.
Humans are not absent from Mickaël Doucet’s paintings, far from it. What must be understood is that a landscape is an extremely complex and subjective artistic object. Mickaël Doucet’s peaceful and open holiday resorts remind us that landscape is not a setting.
In front of Mickaël Doucet’s paintings, the viewer is not looking at a panorama through large bay windows; like a shao huo, it is disintegrated. Sublimated. Its fragrance freely haunts the place and contemplates one last time the world of men before melting, in peace, into the landscape…”.
Vincent Choffrut
DISCOVER
Mickaël Doucet’s “orange canoe” series is both a reference to the work of *Peter Doig, who acts as a visual landmark in the art world and at the same time it is not so much a tribute as a kind of gimmick that pushes the viewer into his most dreamy retreat. Finally, we all have an orange canoe somewhere waiting for us… it is the idea of this small part of ourselves that is comforting, a little melancholic, a little poetic, a little tender… A magic accentuated by the windows, worked in a lighter way like Henri Matisse with a landscape and interior relationship. The painting within the painting or a phantasmagoriated vision of an analeptic landscape… A story begins, takes shape or ends, “it’s you who decides” as the artist likes to say. Mickaël Doucet’s paintings are an artistic expression of literature so dear to the artist, which according to him is a permanent testimony to art as a discipline that raises humanity spiritually.
Art Karlsruhe: from 21 to 24.02 “Loyal to the post” because Art Karlsruhe collectors are seduced by our artists, we participate for the fourth time in this German contemporary art fair and always in Hall 2 with our artists Cy Twombly, László Lakner, Manfred Hamm, Christo and Jeanne-Claude, Andreas Lau, Hanna Sidorowicz, Yoann Ximenes, Alexandre Bour, Mickael Doucet and Yannick Fournié.
“Lascaux”: Following the success of the thematic exhibition Lascaux China 2018 in Wuhan and Hangzhou (China) in early summer 2018, Galerie Charron has chosen to propose a variation on the same theme entitled Lascaux Paris 2018 in France. It will exclusively present an exhibition of oils on paper in the form of small triptychs and diptychs in the form of contemporary cave interiors, as imagined and conceived by the painter Mickaël Doucet… At a time when Humans have found the means to express their sensations or emotions through drawing, It has blackened the walls of the caves and caverns in its surroundings … We all know the fabulous testimonies of thousands of years ago, the imprints of prehistoric men left on the walls of the famous caves of Lascaux, Altamira or even more recently the Chauvet cave in France. This imperious desire to communicate, through drawings on the walls, will perhaps remain forever bathed in mystery. The first appearance of Art was therefore between 35 and 40,000 years ago: Parietal Art. Since then, it has developed through dozens of different civilisations: from the Byzantine Empire to Ancient Egypt, via Ancient Greece and of course China. So many testimonies of human creativity over the centuries, through different cultures and spiritual approaches … From charcoal charcoal on the ungrateful walls of caves, to the hieroglyphs precisely traced on Egyptian papyrus, to the famous Chinese inks gracefully created on rice paper, the means of expression have become numerous and complex. The Lascaux Paris 2018 series is a work of pictorial balance; it revolves around the theme of the pictorial remains of prehistoric caves, through the representation in charcoal and black chalk on the white walls of very contemporary dwellings of drawings of animals; the painter wanted a very graphic version of these represented animals which obviously recall the cave drawings but with a more Asian touch. This Lascaux series is moreover in the continuity of the previous series named Shao Huo where these paper beings, like totems or strange and cathartic sculptures came to haunt the foliage outside the reassuring dwellings. We find in the new series the remains of the plants of the previous series, this time staged with grace and a certain idea of beauty, arrangement and harmony with the furniture dear to Mickaël Doucet, the colourful carpets with various motifs or the chairs that we now find in his works as a real signature. The whole is composed in such a way as to let life circulate in the work, like a breath of the spirit coming to inhabit the paper on which the painting comes to leave its mark.
