Sandro Chia

Galerie Daniel Templon

Sandro Chia’s first show in Paris was notable on several counts. Firstly, it provided a reproach to an ongoing situation of several years’ duration: the egocentric spirit of French intellectuals, their lack of curiosity in developments outside France, have put the country in an isolated, marginal position (a position unjustified in the light of the actual fertility of its cultural life). Secondly, the show revealed an artist in full possession of his considerable talents. The installation was dramatic; here, in effect, was work far outclassing that of most of the French artists who have returned to the figure, with the exception of Gérard Garouste, ignored and despised for so long by his compatriots. One must regret that Parisians were denied knowledge of Chia’s evolution during the latter half of the ’70s, years of maturation and richness. But this exhibition confronted us with fully

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