Art Paris

We will be showcasing works by the Hungarian artist Victor Vasarely (1906-1997), echoing our current exhibition at the gallery and the one at the Centre Pompidou, to which we are lending works. Another section of the booth will feature a recap of the January exhibition, "Particulières," showcasing works by Ode Bertrand, Marcelle Cahn (1895-1981), Isabelle de Gouyon Matignon, and Aurélie Nemours (1910-2005), whose catalogue raisonné of oil and vinyl paintings, edited by Serge Lemoine, has just been published.
We will be hosting a book signing at our booth with Serge Lemoine in attendance.
It's the year of Vasarely! Following an exhibition at the Staedtell Museum in Frankfurt on his painted work, which opened in September 2018 and closed in January 2019, and to which we contributed, a new Victor Vasarely exhibition is currently on display at the Centre Pompidou. This exhibition focuses primarily on the "Vasarely phenomenon" at the height of his popularity in the 1960s and 70s. The production of prints and monumental works were a way for him to make himself visible and accessible to a wider audience. Anne and Jean-Claude Lahumière were publishers during those years and worked with Vasarely and his screen printer, Wilfredo Arcay. Kinetic art was at its height in Europe, and it was at this time that Anne and Jean-Claude Lahumière discovered a part of Vasarely's work that was no longer being exhibited, namely his work from the 1950s. Over time, they built up a significant collection of works from this period. We will be presenting some works from this period as well as some later pieces to complement the current exhibition at the gallery.
In another part of the booth, we will revisit the exhibition 'Particulières' (Particulars), featuring four women in geometric abstraction, with commentary by Céline Berchiche:
"Almost half a century separates the early works of Marcelle Cahn (1950-60) and the latest series of works by Ode Bertrand and Isabelle de Gouyon Matignon (2018)." One might easily be tempted to recognize Marcelle Cahn and Aurélie Nemours, born in 1895 and 1910 respectively, as pioneers compared to their younger counterparts born in 1930 and 1964, but this is far from the truth, as their works seem to respond to and engage in a dialogue with one another. Between these four artists, the combinations appear infinite and free from any notion of time, style, or even gender, for it must be emphasized that geometric abstraction is a movement that, from its very origins, has counted many women among its ranks.
In the exhibition "Particulières," the sculptures of Isabelle de Gouyon Matignon establish a dialogue on space with the latest canvases of Ode Bertrand. Similarly, the paintings with their strong form/ground unity in Aurélie Nemours' works, viewed through the lens of Marcelle Cahn's works, demonstrate that concrete art is a movement of great diversity where combinations seem manifold and developments incessant.
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