Summer

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Open: Tue-Sat 11am-7pm

64 rue de Turenne, 75003, Paris, France
Open: Tue-Sat 11am-7pm


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Summer

Paris

Summer
to Sat 1 Aug 2020
Tue-Sat 11am-7pm

Echoing the Spring group show held at Almine Rech Shanghai, this new Paris exhibition focuses on some of the gallery’s most iconic artists: Karel Appel, John M Armleder, Jean-Baptiste Bernadet, Brian Calvin, Johan Creten, Gregor Hildebrandt, Allen Jones, Alexandre Lenoir, Taryn Simon, Tamuna Sirbiladze, Thu Van Tran, and Tursic & Mille.

Artworks


Horizon of Tuscany no.21, 1995
Oil on canvas
115 x 300 cm 45 1/4 x 118 1/8 in
© Karel Appel - Photo : Rebecca Fanuele. Courtesy of the Artist and Almine Rech

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Délices, 2018
Mixed media on canvas
190 x 150 cm 74 3/4 x 59 in
© John M Armleder - Photo : Annik Wetter. Courtesy of the Artist and Almine Rech

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Untitled (Golden), 2016
Oil on canvas
200 x 180 cm 78 3/4 x 70 7/8 in
© Jean-Baptiste. Courtesy of the Artist and Almine Rech

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Untitled, 2018
Pencil and pastel on paper
65,2 x 50 cm 25 5/8 x 19 5/8 in
© Brian Calvin - Photo: Rebecca Fanuele. Courtesy of the Artist and Almine Rech

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Untitled, 2018
Ink and color pencil on paper
25,9 x 20,5 cm 10 1/4 x 8 1/8 in
© Brian Calvin - Photo: Rebecca Fanuele. Courtesy of the Artist and Almine Rech

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Untilted, 2018
Ink & color pencil on paper
27,9 x 20,3 cm 11 x 8 in
© Brian Calvin - Photo: Rebecca Fanuele. Courtesy of the Artist and Almine Rech

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Odore di Femmina - Bitter Sinkhole - Nausea, 2016 - 2017
Majolica stains on mat and shiny white glaze, high fired stoneware
105 x 80 x 22 cm 41 3/8 x 31 1/2 x 8 5/8 in
© Johan Creten. Courtesy of the Artist and Almine Rech

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Vulva Gold, 2019
Glazed stoneware - Gold luster
35 x 30 x 15 cm 13 3/4 x 11 3/4 x 5 7/8 in
© Johan Creten - Photo: Rebecca Fanuele. Courtesy of the Artist and Almine Rech

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Wild Heart Closed, 2018
Glazed stoneware
36 x 43 x 20 cm 14 1/8 x 16 7/8 x 7 7/8 in
© Johan Creten - Photo: Rebecca Fanuele. Courtesy of the Artist and Almine Rech

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„Bodenvase mit Sonnenblumen“, 2019
Digital pigment print mounted on aluminium
82 x 105 cm (framed) 32 1/4 x 41 3/8 in (framed)
© Gregor Hildebrandt. Courtesy of the Artist and Almine Rech

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„Im Auge der Blume“, 2019
Digital pigment print mounted on aluminium
61 x 78 cm (framed) 24 1/8 x 30 3/4 in (framed)
© Gregor Hildebrandt. Courtesy of the Artist and Almine Rech

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„Stillleben mit Kopfvase“, 2019
Digital pigment print mounted on aluminium
59 x 75 cm (framed) 23 1/4 x 29 1/2 in (framed)
© Gregor Hildebrandt. Courtesy of the Artist and Almine Rech

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The Music of Time, 1984 - 1985
Oil on canvas
183 x 183 cm 72 1/8 x 72 1/8 in
© Allen Jones - Photo : Rebecca Fanuele. Courtesy of the Artist and Almine Rech

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Trois Rivières, 2017
Acrylic on canvas
236 x 351 cm 92 7/8 x 138 1/4 in
© Alexandre Lenoir - Photo: Rebecca Fanuele. Courtesy of the Artist and Almine Rech

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Finance package for the construction of the Baku-Tbilisi-Ceyhan pipeline. Baku, Azerbaijan, February 3, 2004, 2015
Archival inkjet print and text on archival herbarium paper in mahogany frame
215,9 x 186,1 x 7 cm (framed) 85 x 73 1/4 x 2 3/4 in (framed)
Edition 3 of 3 + 2 AP © Taryn Simon. Courtesy of the Artist and Almine Rech

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Almine Rech Paris Summer 2

Almine Rech Paris Summer 12

Almine Rech Paris Summer 9

Almine Rech Paris Summer 11

Almine Rech Paris Summer 8

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Almine Rech Paris Summer 3

Almine Rech Paris Summer 4

Almine Rech Paris Summer 5

Summer explores the artist’s gesture in its jubilant dimension, setting aside considerations of form and generation. There is evident jubilation in the inception and conceptualisation of an artwork, in defining its intent, deciding on its form, but also in actually making it. This enjoyment can be expressed through colour, materials, gestures and the traces they leave. It conditions a piece’s intrinsic beauty, but also the emotion it arouses. Add to this the artist’s pleasure in toying with references, subjects or categories set forth in the history of art and which, over time, have ceased to be an “end” in the academic sense, but merely a means or pretext.

How can artists deal with – or twist – visual motifs that can be seen as so many clichés: landscapes, flowers or bouquets, portraits, or genre scenes? And how can they avoid the pitfalls of strict categorisation – say realism or abstraction – while placing their work somewhere in between and question the image and what it represents (or not) beyond its mere appearance?

The pieces by Karel Appel, Jean-Baptiste Bernadet or Tursic & Mille express a vision of the landscape in which representation deliberately strays from naturalistic considerations: with Appel, gesture and colour take an expressionist turn; Bernadet immerses us in sensory perceptions of colour and light; Tursic & Mille layer a found image (a black and white landscape photograph) with painting, dotting the canvas surface with brightly-coloured flowers.

Brian Calvin revisits the tradition of the portrait without embracing its conventions, and his models are either born from his imagination or anchored in “stereotypes”: every portrait – canvas or drawing – claims neutrality which, when combined with a gesture (solid colours, hatching), reaches a form of abstraction. The same goes for the large drawing on canvas by Tamuna Sirbiladze, halfway between still life and abstraction.

The paintings by Allen Jones and Alexandre Lenoir are genre scenes, yet devoid of narrative ambition; in both, what is at stake is how they occupy their large format, their colour and “process” – here, painting appears beyond images acting as so many decoys or visual traps.
With its sophistication and apparent allure, John M Armleder’s painting ironically questions the history of abstraction and notions of randomness beyond which looms the ambiguity of a certain formalism, the gesture (or its spillover), the colour splashed on the canvas, while at the same time asserting its joyful beauty.

Johan Creten’s flowers throb curiously, like so many vulvas, at once tactile and moist; a few touches of colour add vibrancy to the enamelled stoneware’s milky, waxen whiteness, made desirable and hieratic when covered in gold, or more enigmatic when they emerge from the opening of a “heart” reminiscent of a bivalve mollusc. Theirs is a fascinating beauty, enhanced by material delicacy and sensuous modelling perceptible under the enamel glaze; the subtle colours and textures all hark back to the sensuality of creation.

Made up of layered magnetic tape, the bouquet of sunflowers that hovers on the surface of one of Gregor Hildebrandt’s large pieces is something of an apparition. The artist photographed it to capture its fleeting reflection, but the image instantly conjures other bouquets and other artists, from Van Gogh to Gerhard Richter.

For her series “Paperwork and the Will of Capital”, Taryn Simon used archival material to faithfully reconstruct the floral arrangements that embellish and underscore the official signings of economic, strategic or military accords and treaties. They seem to be governed by a sort of “political” floriography, the rules of which wholly escape the beholder. Likewise, a duality of appearances also underpins the large drawings by Thu Van Tran, which bring together beauty and tragedy.

Françoise-Claire Prodhon

Summer, Almine Rech, Paris. June 13 - August 1, 2020 ©Photo: Rebecca Fanuele. Courtesy of the Artists and Almine Rech


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