For his latest show at Galerie Chantal Crousel, Gygi reveals the result of his new visual explorations. He has chosen to pair a set of large works on paper with sculptures in weathering steel.
In the main exhibition space, seven large watercolors on paper bonded to aluminum composite panels consider the minimalist aesthetic of the grid, imposing their colorful presence. On the back wall, three great lines almost three meters long, painted in a single stroke, overlap. They possess the same technical properties as the abovementioned grids. Rigor, authority, tension, and perfection are the keywords. In this work, we again find the roots emblematic of Gygi’s practice, which reinforces an object’s presence by reducing it in the most radical way.
Fabrice Gygi: D-Concept / until Friday 13 July / @galeriechantalcrousel Paris / click the link in our bio for more #firstlookart #mustsee #FabriceGygi #GalerieChantalCrousel #Paris #gallery #exhibition #contemporary #art #painting #drawing #abstract #geometry #contemporaryart #contemporarypainting #modernart #seemoreart #dontmissout #GalleriesNow #ID13022
Fabrice Gygi: D-Concept / ends Friday 13 July / @galeriechantalcrousel Paris / click the link in our bio for more #lastchance #mustsee #FabriceGygi #GalerieChantalCrousel #Paris #gallery #exhibition #contemporary #art #painting #drawing #abstract #geometry #contemporaryart #contemporarypainting #modernart #seemoreart #dontmissout #GalleriesNow #ID13022
The steel sculptures are titled Octavie, Dominique, and Claudine. Their abstract lines, suggesting the cube and rhomboid cube, are elegant and pure. “These sculptures are ruled by horizontals and verticals. The obscenity of the curve is abolished. […] I have adopted first names as a classification system. For the latest ones, I was thinking of the girls’ names French soldiers gave to hills on the battlefield of Diên Biên Phu in 1954,”(1) the artist explains.
The viewer can imagine all sorts of architectural prototypes of modular spaces in Gygi’s interplays of scales and shapes, of full and hollow, of positive and negative.
Major institutional exhibitions by Fabrice Gygi (born in 1965 in Geneva, Switzerland) include the Instituto Svizzero di Roma (2010), Orange County Museum of Art (2005), Kunstmuseum St. Gallen (2005) and MAMCO Genève (2004). His work was placed in the center of group-shows in several international institutions such as the Musée d’Art Moderne de la Ville de Paris (2017), Migros Museum (2016), Kunsthaus Zürich (2015), Swiss Institute New York (2015), Palais de Tokyo (2011), Musée d’Art Contemporain de Lyon (2007), Museum Ludwig (2005), Museo Nacional Reina Sofia (2003), 25th Biennial of Ljubljana (2003), Kunsthaus Bregenz (2000), Kunsthalle Bern (1996).
In 2009, he represented Switzerland at the Venice Biennale, as well as at the Sao Paulo Biennale in 2002.
His work was acquired by numerous collections including the MAMCO in Geneva, the Mudac in Lausanne and the Migros Museum in Zurich (Switezerland) ; the MUKHA in Antwerp (Belgium) ; the Magasin III in Stockholm (Sweden) ; the Centre Pompidou and the FRAC Ile de France in Paris, the FRAC Haute-Normandie in Rouen or even the Centre National des Arts Plastique (France).
(1) Fabrice Gygi, in “Avec Fabrice Gygi, l’art contemporain s’affiche à l’hôtel” by Philippe Muri, La Tribune de Genève, 18.08.2015