CURRENTLY AT THE GALLERY
Antoni Clavé, Dongfang Tuquin, François Martin, Frantisek Janula, Henri-Jean Closon, Leonor Fini
The Minsky Gallery is pleased to present its new group exhibition “Summer 2022”, under the summer theme of pastels and shadows. Ochre, pink, pale blue, the pastels invoked by Leonor Fini, François Martin or Antoni Clavé echo the play of light that the summer sun provokes when confronted with the shadows it draws. The works guide us through the artistic illuminations that the sun could have placed on these canvases, in a similar way to those that Leonor Fini, Antoni Clavé, François Martin, Frantisek Janula and Henri-Jean Closon transcribe on their canvases.
The exhibition begins with Frantisek Janula’s broken, intersecting and rearranged mirror, revealing the multiple reflections that light can take on during the summer.
OUR PAST EXHIBITIONS
April 7th – Mai 7th 2022
Samy Briss was born in 1930 in Issai, Rumania. He studied at the Academy of Fine Arts in Bucharest (Camil Ressu’s studio) and acquired an international reputation in the seventies and eighties from frequent exhibitions, often several a year, in Europe, Canada and the United States.
The work of Sami Briss reveals an introspective, dreamy, timeless world which, despite the time that has elapsed since the Artist left his native land, seems largely inspired by his childhood memories, Rumanian folklore and icon painting.
March 8th – March 26th 2022
A Painter and engraver, whose motto was “art changes as life does”. His work evolved from a post-cubist figurative language to the expression of a pure abstraction. He combined flat shades of colours, collages of paper prints and other elements such as lace, thus mixing styles and materials in a well-balanced composition. Come (re)discover Max Papart, a currently under-rated artist, nevertheless a must-see whom
successfully marked the 20th century.
Win Knowlton’s works on paper are disarming in their simple deadpan vocabulary of signs and symbols.
These drawings, where the color is the line and the line is the color, urge a rich panoply of forms to engage in a dynamic, subtle and complexly disjunctive dialogue with the physicality of the paper ground. The mysterious metamorphosis of marks and forms that float in amorphous space reinforces many vague and enigmatic references : traces of tribal rhythms, rituals and marks; oblique allusions to naïve and primitive ingenuity; hints of Paul Klee; echoes of Bauhaus and an insider’s flirtation with any number of post modern sleight of hands.
LEONOR FINI & THEATER
Confidential sale by appointment
Costumes and sets for ballets, operas, plays and movies from the Parisian and Italian scene designed by Leonor Fini in the 1950s and 1960s. These drawings are unveiled for the first time to the public
January 27th – February 26th 2022
BOOK STEAM POWER
Book-signing 2nd december
In the presence of the artist
EXHIBITION STEAM POWER
Extended until 22th of January 2022
4th november – 27th november 2021
Pioneer of the Belgian abstraction
21th september – 30th october 2021
Exhibition until January 20, 2020
“Cats are around me. They have always been there. They will always be there. Drawing them is as natural to me as breathing, writing, reading … I draw them while on the phone or while waiting for someone. I draw their sometimes very simplified forms, almost ideograms or even barbaric exaggerations; sometimes it’s what I believe to be their reality.”
Release of the catalog raisonné of oil paintings by Leonor Fini at the end of January 2021
Directed by Richard Overstreet and Neil Zukerman
Edition Scheidegger & Spiess/Park Books, Zurich
Exceptional opening of the Gallery
Sunday 20th and Monday 21th December from 2 p.m. to 6 p.m.
Leonor Fini’s work
From September 1 to October 27, 2020
In the years following World War II, Leonor Fini was celebrated for her appearances at Parisian costume balls, wearing elaborate costumes and masks in which she put as much creative force as in her paintings. It was all about alchemy, witchcraft, self-transformation and a mysterious ritual of becoming a creature, an element, a radically different being. She aimed high, and, thanks to her considerable imagination, succeeded in becoming a bird, an animal or even a mineral … Among all her costume elements, the main pillars of her witchcraft were undoubtedly her masks.
David Miguel – Solo Show
From 4th November to 27th November, 2021
Une volonté de questionnement transcende toute la production artistique de David Miguel. Un univers hybride se dévoile tout au long de son travail à travers une démarche engagée, esthétique et d’(inter)subjectivité.
Artiste pluridisciplinaire avec des performances à la FIAC, Art Basel Miami et au CCB de Lisbonne, son travail a été présenté dans des expositions telles qu’à New York, Barcelone ou en Slovénie.
Liant le domaine de la performance à celui des arts visuels, l’artiste nous invite à le suivre dans des œuvres et des dispositifs apparaissant comme autant de «transferts de mondes réels revisités ». Son travail est fait d’appropriations, de vidéos et d’objets détournés qui font souvent appel à la mémoire collective.
Dans ses actions, ses spectacles vivants et ses performances, la charge politique, écologique et sociale affleure, laissant place à différentes notions touchant la perception de soi, l’infini, le paradoxe, la pulsion, la protection ou la Nature. Le corps «multiple» est utilisé comme «mise en abyme» de l’identité et de l’environnement dont l’interaction peut être poussée jusqu’à son paroxysme.
Par son travail du dessin, de la peinture, élargi à la sculpture et à l’installation, les frontières se brouillent entre langage figuratif et abstrait. Le regard s’attache aux œuvres par une sphère émotionnelle. Les notions de territoire, énigme, signifiant et représentation sont amenés.
Les titres de ses pièces sont parfois des œuvres à part entière, des fragments de son « Manifeste » artistique, amenant à l’interrogation sur le signifié de son monde visuel.
L’artiste présente la Nature dans sa Pulsion et son Absolu où la beauté́ pourrait côtoyer jusqu’au sublime.
Licence des Beaux-Arts – Faculté des Beaux-Arts de Cuenca. Université de Castilla-La Mancha, Espagne (1992-1996)
Programme Inter Campus E/AI. Département des Arts Visuels. Faculté des Beaux-arts de Antioquia, Medellín, Colombie
Drawing Now Art Fair, NextLevel Galerie, 2015. Paris
The Solo Project Art Fair, NextLevel Galerie, 2013. Basel, Suisse
French apéritif at the Armory. Dessins, 2009. New York
« SAVE AS » 2008, Art Basel Miami, Miami
« Déjà VU » 2008, FIAC Grand Palais, Paris
Exhibition from March 5 to August 30, 2020
With this exhibition with an evocative and poetic name taken from the eponymous painting by Leonor Fini, the Minsky gallery sheds light on Leonor Fini’s fascination with the mythology present in all of his work. The play of color of the scenography, meanwhile, allows to highlight original inks and watercolors witnessing a sensitive and dreamlike research punctuating his paintings, allowing a dialogue between mythological figures and more intimate portraits.
Henri-Jean Closon- Edouard Sacaillan – Shoichi Hasegawa – Dongfang Tuqin – Max Papart – Yuri Kuper – Samy Briss – Park Dong Soo
Exhibition from Feburary, 1 to march, 6 2020
«We are bathed in color. Color is the revealer in which the universe bathes and in which we bathe. As the photographic revealer would with an image, it reveals to us what surrounds us and who we are. »
Henri-Jean Closon, interviews with Closon on art, man and life, 1964, Billot ed. With the exhibition
“From gray to color”, named after the eponymous painting by Henri-Jean Closon presented in the first room, the Minsky gallery wished to bring together various artists from the gallery in order to initiate a dialogue between modern painters. and contemporary on the different ways of approaching color. The exhibition’s scenography draws its strength from these resonant singularities, carried by the living and sensitive materials of Yuri Kuper, the radical and pioneering approach of Closon, the poetic abstraction of Shoichi Hasegawa, the radical and aesthetic research of Max Papart and the dreamy and ironic language of Juan Ripolles.
Within this effusion and these contrasts gray becomes both scale and color.
Exhibition from november, 14, 2019 to January, 31, 2020
For this new exhibition at the Minsky Gallery, Patrick Rimoux puts American cinema in the spotlight, combining light and transparency on films through glass plates. Like so many palimpsests between which the precious films are installed, we discover several mythical scenes from the cinema.
Thus, when cinema meets painting, when luminous materials finally mingle in moving paintings, the arts meet and marry under the fingers of Patrick Rimoux. Memories ignited by the evocation of great classics of American cinema, from the golden age of Hollywood to popular comedies, he navigates from Gene Kelly to Tim Burton via Hitchcock, Eastwood and Mitchum. Kneaded with this imagination, he brings together the precious films, paints them, scratches them, interweaves them and rewrites them. He thus creates large formats with multiple levels of reading and emotion. Each photogram is first carefully chosen from the long celluloid bands. Combined with others, some are adorned with colors and shapes, others receive traits or injunctions. Thus sublimated, the scenes are replayed before our eyes and a new scenario is gradually emerging. These pictorial interventions resonate combined with dynamic video projections; they pierce and shade the painting right up to the hanging wall. The dimensions of the creations are multiplied, amplified. The effects of hindsight or approach then incessantly add new looks, new paintings, new films, new works to the work. Such mise en abîme, endless games of evocation of the sensitive, reach poetry. They are a new ode for an eternal love of cinema. The third part of the artist’s exhibition at the Minsky Gallery, the scenography gives pride of place to the uniqueness of each work. Most of the pieces are presented alone on their walls, grab the eye and invite you to approach in order to flood us with light, shapes and colors.