View of “Bruno Peinado,” 2011.

View of “Bruno Peinado,” 2011.

Bruno Peinado

Galerie Loevenbruck

View of “Bruno Peinado,” 2011.

Half a century after the beginnings of Pop art, French artist Bruno Peinado has reenergized the punchy midcentury aesthetic, complicating it with visual play and verbal pun. In an interview with Patrice Joly, published in the catalogue accompanying “Casino Incaos,” Peinado’s exhibition last year at Casino Luxembourg, the artist is clear that he “was interested in Pop not because [he] wanted to make neo-Pop Art, but because the world was displaying this great interest in the notion of popular culture.” In the original French version of their conversation, Peinado refers to la notion du populaire, employing a term with different connotations than the English “popular culture.” For example, the French describes certain urban neighborhoods as populaire, as opposed to chic or bourgeois; these adjectives can of course both attract and repel. In this context, Peinado’s embrace of the

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