Guitemie Maldonado

  • Xavier Noiret-Thomé

    Xavier Noiret-Thomé paints without a system: Having begun exhibiting in the early 1990s, he is of a generation that has felt capable of foregoing determinate frameworks so as to tackle the field of painting freely, as if it has once again been cleared of mines. Nevertheless, his practice is not devoid of an agenda, and it is pursued with full consciousness of his means, his history, and his process of formation. Playing on the architecture of the gallery in his recent exhibition “The Parade of Cannibals,” the artist offered a two-step trajectory. On the ground floor, five paintings showed the

  • Claude Lévêque

    The works of Claude Lévêque, installations based on everyday objects, can be easily described. For instance, Deviation (all works 2008): a shelter made of thirty-two car hoods in which a Venetian-style chandelier glows; or Untitled, which was suspended from the ceiling of the gallery: various objects (two children’s scooters, linked together, two walkers subjected to the same fate, a wooden pantry containing two tiaras) rotating in front of a white nylon veil that is raised by a breeze produced by a fan, to a sound track derived from a looped sample of “Honky Tonk Women” by the Rolling Stones.

  • Marc Desgrandchamps

    “The world remains whatever happens.” This phrase, which ends Marc Desgrandchamps’s biographical statement in a recent monograph, suggests some of the paradoxes apparent in his work: issues of permanence and event, timeless continuity and sudden presence, the known and the unexpected, stable reference and unspecified expectation. There is a sense of suspended temporality in his paintings, which are metaphors for both memory and forgetting. His recent show at Galerie Zürcher, featuring twenty works (all Untitled, 2007), revealed how the artist increasingly has been playing with the transparency

  • Pascal Broccolichi

    Pascal Broccolichi’s works have long explored the boundaries between sound and vision. In this recent exhibition, he presented an installation that highlights sound along with four photographs (three in the exhibition space and one in the gallery office). It was at first difficult to connect these two sets of work, and the title of the exhibition, “Dispersion,” seemed to be justified by the apparent heterogeneity of its means and motifs. Sonotubes II, 2008, is an intriguing installation whose formal purity evokes minimalist sculpture as much as hi-fi equipment, industrial machinery, or spacecraft;

  • Sylvie Fanchon

    For Sylvie Fanchon, painting comes after: after photography, after film, after television, after video—all these mediations between man and reality with which she weaves a tense dialogue. To technical means, she prefers the hand—its imperfections, which she accepts but does not particularly seek out, as well as its availability; to the dematerialization of the world that these visual means effect, she contrasts the physical contact of painting; to their instantaneity, she responds with slow, careful, layered craft. Faced with the proliferation and inflation of images, she opts for a radical

  • Audrey Nervi

    Audrey Nervi’s practice relies on a photographic diary that she keeps during her travels around the globe. She brings back innumerable photographs that depict details seized on the fly, sometimes unbeknownst to the pictures’ subjects. The camera records more information than the eye or brain can immediately process; back in the studio, the artist sorts through her images, and, inevitably, more is seen in retrospect. She chooses pictures to rework on the computer (reframing, rebalancing the color, minimally retouching) and then paints the images on canvas. Far away from the event, what seemed

  • Didier Marcel

    The color white has been an essential component of the art of Didier Marcel from the start, a formidably effective means of drawing attention to the form of an object while transforming the way it is perceived—at once exhibiting it and marking its absence. White is embodied in this new exhibition in the form of drawings photographed very close up and in sculptures made of synthetic materials like polyester resin, looking something like frost-covered or sugarcoated tree trunks. The particularity of this particular white, in relation to the plaster or paint the artist usually uses, has to do with

  • “Hommage à Martin Barré”

    Idées de la peinture: Hommage à Martin Barré” (Ideas of Painting: An Homage to Martin Barré), curated by Jean-Pierre Criqui, allows us to revisit a painter whose work is displayed all too infrequently relative to its importance. From one series to another, in ten paintings made by Barré between 1960 and 1991, the tools employed change (the paint tube itself, the spray gun, then a return to the brush), as do the forms (lines, bands or stripes, arrows, and truncated triangles or rectangles), but these variations only confirm the rigor and continuity of the artist’s tireless investigation into

  • Gilles Saussier

    First of all, there are the photographs, among them four close-ups of women shooting rifles, flanked by the president of the Hunting Association of Timis (Shoot I–III, each dated 2004, and Shoot IV, 2005) and two of scenes deserted by their actors: a gallery with abstract sculptures lined up on shelves and glasses lined up on a table—Day of the Opening, 2005—and The Paupers’ Cemetery, 2005, a snow-covered graveyard on the outskirts of town, where a freshly dug ditch awaits the return of the gravediggers who have left their tools and other belongings there. Finally, two scenes with characters:

  • Jean-Marc Bustamante, Trophée 2, 2005, painted steel, aluminum powder, varnish, and ink on Plexiglas, 50 3/8 x
42 1/8 x 1 1/2".

    Jean-Marc Bustamante

    Jean-Marc Bustamante’s work has, since the ’70s, relied on a perceptual disconnect between image and subject, one he explores in every possible permutation—from early, fragmentary landscape photographs reminiscent of commercial advertising to more recent gestural drawings that are enlarged and silk-screened on to transparent wall-mounted Plexiglas. This exhibition, which follows on the heels of a similar show at the Kunsthaus Bregenz at the beginning of the year, expands on Bustamante’s installation in the French pavilion at the 2003 Venice Biennale, by bringing together

  • François Arnal

    François Arnal came to painting as an autodidact in 1947, practicing an informal and materialist abstraction, before constructing a pictorial universe of marks and imprints. In 1965, the everyday object entered his painting and brought him a step closer to the Nouveaux Réalistes: For each work in his “Bombardements” series, which he continued working on through 1971, one or several objects were placed on the canvas and the whole thing covered in spray paint (in French, peinture à la bombe aérosol); then the objects were taken away so as to preserve only the negative imprint, a white silhouette

  • Adel Abdessemed

    Adel Abdessemed, an Algerian artist now working in Paris, uses a wide variety of media without revealing a preference for one over another or a hierarchy among them. This show included staged photographs, drawings in colored marker on ripped-out sheets of notebook paper, animated films, a video, and sculptures. There is, nevertheless, a common point that unites all these apparently disjointed practices—the simplicity of the materials (paper, polystyrene, terra-cotta) and of the methods employed (folding, rudimentary animation techniques). This allows the viewer immediate contact with the work,