CURRENTLY AT THE GALLERY
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 20 and Monday 21 December from 2 p.m. to 6 p.m.
OUR PAST EXHIBITIONS
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.
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.