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from November 7 to December 22, 2018

Painters: Yutaka IMAÏ - Serge SAUNIÈRE

Sculptor: Jean Patrice OULMONT

Extreme sobriety brings together the three artists we present. An "almost nothing" is enough for them to impose a presence. One can not help evoking the enigmatic formula of Zen Buddhism "Everything is nothing, nothing is all". Serge Saunière's China inks, simple brush strokes on Japanese paper, Imaï's paintings, subtle and silent variations from a black to another black, Oulmont'sculptures hollowing out the wood's tender fibers to bring out the spirit that inhabits the tree according to the ancient Shinto belief. With each of them, we are in a kind of "Japonisme".

Far Eastern cultures, particularly China and Japan, continue fascinating the West. "Japonisme", as an artistic mode, refers to the attraction of Europe to Japan while this country, which had been closed for a long time, opened to the world at the end of the 19th century. Some 150 years later, the fascination still operates. Witness the many official cultural events in Paris, "Japonisme 2018". They offered us a title, but above all, our choices were guided by the obvious resonance and balance between our three artist's works. Each of them invents his own "Japonisme" and offers us the silence of the aesthetic contemplation.

Jean François OUDRY - Véronique NÉROU

Gottfried SALZMANN

from June 1st to June 23rd 2018

Painting landscapes from observation, painting from the "motif" seems to us, nowadays, to be a leftover practice dating from the 19th Century.

The "New figuration" is edging more towards "imagery", by privileging a relationship closer to the photographic image, rather than a relationship with reality based on  sensory perception. Yet an image of something real is not reality but it's cliche. 

Allready five years since gallery's opening in april 2013! On several occasions we shew Hans Jorgensen's artworks: His polychrome carved woods took part in exhibitions “La part de l'ombre” and “Arcanes de la nuit”. Philippe Rillon is Gallery's foundator and art director. Of him we shew "Ancient works" after a first exhibition called "Inner Mythologies" (Mythologies intérieures). Both of them, faithful to their so particular universe, have since, renewed their expression. As authentic artists they are, they refuse routine of know-how. For them as for all artists in our Gallery, each picture or sculpture is a new challenge, an always reinvented new world. So, Philippe Rillon and Hans Jorgensen are constantly evolving. Without abrupt rupture but by slow metamorphoses, Philippe Rillon's Architextures and H. Jorgensen's Polychrome Woods offer us new emotions

paintings by:

Nicole BOTTET - Véronique NÉROU - Christian PERRIER

sculptures by Gisèle LACROIX

" Nothing is constant except change" would have said Buddha.

There is no need to immerse ourselves in Oriental thought in order to say that the existence of all things is ephemeral. The artists of this exhibition, Nicole BOTTET, Christian PERRIER, Véronique NÉROU and Gisèle LACROIX, explore this evanescence of beings and things. They free themselves from the supposed evidence of reality to reveal its instability. Nothing is fixed in its appearance, everything is grasped in evanescence. Things appear and disappear at the same time, and singularly, this blurred gaze, this fragility reinforce the presence of the artwork as an invitation to immerse ourselves and perceive our own impermanence.

free adaptation by Tracy DANISON

September 20th - November 4th, 2017
Pierre DESSONS – Abraham HADAD
Jörg HERMLE – Marc GIAI-MINIET

This most recent shared exhibition of Pierre DESSONS, Abraham HADAD, Jörg HERMLE and Marc GIAI-MINIET is no accident. Well-regarded in France and abroad by a broad range of contemporary art lovers each of these four old friends shares a taste for pushing forward the limits of figurative art through distinctive painterly narrative. These are “storylines” and commentary that are deeply rooted in the evolutions of modern esthetics, sometimes disturbing, sometimes humorous, but always perceptive and distinct.

The work of DESSONS, HADAD, HERMLE and GIAI-MINIET is always contemporary in the best sense of the term: original and new, provocative and challenging.

Galerie ART aujourd’hui
8, rue Alfred Stevens
Paris 9ème (métro Pigalle)
Open 2.30 to 7h30 pm Wednesday through Saturday
Contact : Marianne RILLON : 06 52 34 98 24
contact@galerie-art-aujourdhui.com
www.galerie-art-aujourdhui.com

Lyric Variations

free translation by Tracy DANISON

June 7 - July 15, 2017

Françoise BERTSCH - Catherine GUIRAUD - painters

Élisabeth OULÈS - sculptor

The Webster says a lyric style expresses “intense, personal emotion” referencing especially poetry and music. But since the advent of French "lyrical abstraction” in the mid-20^th century, both painting and sculpture have been able to claim it in their aesthetic. ART aujourd’hui’s featured painters Françoise Bertsch and Catherine Guiraud, and sculptor Elisabeth Oulès put aside the cool objectivity of much pop-art inspired contemporary art, precisely to explore the emotional potential of pure forms and space in contrasts of line, of light and dark, of colors, of textures and of materials.

 Galerie ART aujourd’hui

8, rue Alfred Stevens

Paris 9ème (métro Pigalle)

from wednesday to saturday 2.30 – 7.30 pm

Contact: Marianne RILLON: 366 52 34 98 24

contact@galerie-art-aujourdhui.com

www.galerie-art-aujourdhui.com

April 26 - June 3, 2017

Yutaka IMAÏ - Guy MANSUY - painters

Louis THOMAS d'HOSTE - sculptor

The title of our exhibition is also that of Vassili Kandinsky’s book¹. With our three artists (two painters: IMAÏ, MANSUY and a sculptor: THOMAS d'HOSTE) we are coming back to primordial elements of abstract pictorial language and to "pure plasticity”. The point, at first, scarcely exists, silent and motionless on the verge of nothingness. However, his movement within the plane of the painting, breaks the original immobility and introduces new dynamics with the perception of contrasts: verticality, orthogonality and line's sinuosities.

Then, the displacement of the line generates the plane which, in turn, sets in motion and defines the third dimension, sculpture's space.

 These original elements of plastic language resonate in us as the discovery of a world. One could hear another definition of geometry, when correspondences and analogies arise, while rhythms, intervals, proportions, textures, sounds, tones play their polyphony, like music for the eyes.

1"Point, Ligne, Plane", published in 1926, while this inventor of abstract painting was teaching the Bauhaus of Weimar basic rules of the "shape's grammar" alongside P. KLEE, W. GROPIUS, J. ITTEN, O.SCHLEMMER etc ...

Denis POUPPEVILLE - Victor SOREN - Isabelle VIALLE, painters
Hans JORGENSEN, sculptor

Night sets in, the lights of consciousness go out. The mind oscillates between fright and fascination. In the upcoming twilight, opposites are mixing and hybrid creatures are getting drawn. The being's hidden face reveals itself, breaking taboos and their cortege of transgressions, debaucheries, and death. The works of the exhibition "Night's arcana" as the ancient alchemists' secret formulas, present themselves as enigmas. Their mystery remains intact, no interpretation nor code will clarify their worrying strangeness. The displayed four artists explore each in his own way the depths of the night. Disturbing animal or human figures at Victor Soren's, interloping characters at Denis Pouppeville's, warriors and amazons looming out of the dawn of time in Hans Jorgensen's, barques stranded out of a distant journey in Isabelle Vialle's are such singular aspects illuminated by black light as an echo of the nights that inhabit us.

Galerie ART aujourd’hui

8, rue Alfred Stevens

Paris 9^ème (métro Pigalle)

wednesday-saturday 2.30 -7.30 pm

Contact : Marianne RILLON : 06 52 34 98 24

contact@galerie-art-aujourdhui.com

www.galerie-art-aujourdhui.com

Making faces…!

 We asked the artists to make heads. Many responded, and offer us small and medium formats specially designed for this friendly "tête-à-tête". A collective exhibition, bringing together 19 artists, painters and sculptors, the rhythm of which is given by repetition of this recurring motif: the human head. An inexhaustible source of inspiration, the head, its face, portrait, can be called every name under the sun, especially in French... without forgetting that the word “tête” originates from the Latin word “testa”, meaning a clay pot!

 Painters:

Georges BRU - Pierre DESSONS - Marc GIAI-MINIET - Abraham HADAD - Jörg HERMLE - Bernard LE NEN - Bernard OUVRARD - Denis POUPPEVILLE - Marc PRIALNIC - Bernard PRIVAT - Victor SOREN - Jean-Paul SOUVRAZ - Bernard THOMAS-ROUDEIX - Isabelle VIALLE

Sculptors :

Frédéric BRIGAUD - Yukichi INOUE - Hans JORGENSEN - Janos KALMAR  Pascale PROFFIT

Ceramic is, in this exhibition, the hyphen between three artists who are also painters and sculptors. In different ways, they introduced, each in his own way, that ancient medium that emanates from alchemy of three primal elements: clay, water and fire. Its use dates back to the origins of mankind. Whether terracotta, stoneware, earthenware or porcelain, the ceramic keeps the gesture imprint and bends it, to every will, to any dreams. Shapes, colours, materials offer infinite possibilities to the artist's imagination. Odile Frachet's "Porte-lune", Pascale Proffit's joyful gargoyles, Thomas-Roudeix's extravagant characters, these diverse and singular works reveal essential fertility of the clay material.

The Invention of Landscape

september 21 - october 29

painters:

Jean-François OUDRY - Gottfried SALZMANN            

Bernard THOMAS-ROUDEIX

sculptors:

Hideko MIYATA – Yukichi INOUE

Abstraction?

May 4- June 4, 2016

(Wednesday-Saturday 2.30-7.30 pm)

Laurence INNOCENTI, painter - Istvan PETO, painter engraver

Janos KALMAR, sculptor (bronze)

 Abstraction versus figuration, this false quarrel, which for a long while has heated the artistic world's minds, is fortunately over. It probably would not have existed if the word "abstraction", taken out from the field of philosophy and applied to art, would not have given rise to many confusions. Indeed, painting or sculpting always isolatesor or extracts some elements from reality, in order to represent them out of their perceptual and emotional context. But, one might say, abstracting the topic of the painting out of its context, is it not one of art's main features?

The artists we represent, are resolutely non-figurative. But they have not deserted reality. For them, as for all the modernity in art, reality is not limited to the perceptual appearances, but also internal, subjective... The artist invents and makes visible (Paul Klee). He paints the world which lives in him and the world he inhabits. Thus, since ever, bridges have been built towards our own particular realities.

Between Black and White

March 9 - April 16, 2016

(Wednesday to Saturday 2.30-7.30 pm)

Christophe BISKUP - Michèle IZNARDO - Serge SAUNIÈRE

- Sylvie TESTAMARCK, drawings and paintings:

sculptures: Jean-Patrice OULMONT

"A black, white E..." Vowels", the famous sonnet by Arthur Rimbaud, opens on a double contrast. The ‘A’ sound, expresses for the poet the fullness of the voice associated with the black colour, seen as a summary of all the colours (obviously a poetic vision, free of any scientific consideration). In opposition to that , the ‘E’ sound is white, often silent. It is the fluid element of the speech, its breath, its silence. This poetic analogy corresponds perfectly to the artists’ works in black and white. The ‘Black and White’ was a major trend in painting in the 50’ and the 60’s. Among the best known, let us quote some names like Soulages, Marfaing, Hartung, Kline, Prassinos, Fred Deux... The artists we present today, Christophe BISKUP, Michelle IZNARDO, Serge SAUNIÈRE, Sylvie TESTAMARCK, are pursuing in this direction, each of them adding the singularity of their universe. Anything is possible with the paper's white and the black of the ink, the charcoals or the pencils. The tension between the black and white, these two complementary poles, is essential. In between the darkest black and the brightest white all the contrasts are told between the Full and the Empty. Black and White, enhanced by each other, are opposed in an absolute contrast, but once they are mixed, they join in the infinity of all greys.

"The black speaks, the grey is whispering" writes Louis Pons and one could add " while the white is listening." Out of this promiscuity of full and empty, a pictorial dialogue is born, out of which any digression of the colour is excluded. The black-and-white concentrates the soul. Colours render things more complex while the black gradations simplify our perception without impoverishing it. The works of Jean-Patrice OULMONT, the sculptor of our exhibition, are deploying the tension between these contrasts in the three-dimensional space, between the density and the lightness, the emptiness and the fullness, the simplicity and the refinement.

January 20 to February 27, 2016

recent works

drawings, paintings: Georges BRU - Jean-Marie CARTEREAU - Evelyn GERBAUD - Bernard LE NEN - Denis POUPPEVILLE - Victor SOREN

sculptures: Pascale PROFFIT

The beautiful is always bizarre, wrote Baudelaire in Aesthetic Curiosities. Bizarre? Baudelaire came across it while translating one of the Edgar Allan Poe’s most extravagant stories: «The Angel of the Odd». There, an unpredictable and grotesque appearance haunts the narrator. So, the Angel of the Odd comes to visit us as an unexpected and strange encounter... And we disengage ourselves from the rigidity of our habits. Common sense is caugth off guard and the consciousness penetrates within the unexplored realms of imagination.

Terrifying, ferocious, disturbing, incongruous, grotesque, ironic, cheerful sometimes... the Angel of the Odd has a thousand faces. However, bizarre is not necessarily beautiful. Baudelaire writes: «I say that (the beauty) still contains some unwanted oddity, unconscious, and that it is this oddity that makes it particularly beautiful.» The artists we présent are neither intentionally nor artificially bizarre, but their works are singularly beautiful... All are deeply inhabited by the ambivalence gap and between-the-two of all worlds where prevail forces of the unconscious. Beyond the diversity of their expressions, they end up in this place.

Light creates shadows as a demonstration of its power. One of our previous exhibitions was focused on "The dark side". But this time, the artists we present, do not ignore their inner turmoils and storms but prefer contemplating calmer shores. The creation's difficult struggle is the quest for harmony and reconciliation with the world. Shadow is transcended by the joy of living in the beauty of nature. Water, earth, sky, primordial elements are at the heart of Giambatista Bresciani's paintings, Jean-Marc Ehanno's drawings and pastels, Nadine Cosentino's pastels and Catherine Bouroche's sculptures. From these works, diversified in form and material, There exudes a serene energy as an invitation to rediscover the harmony of the world

open wed. / sat. 2.30 / 7.30 pm

  In June 2013, Franck Duminil was taking part in our exhibition, "Ineffables presences" when he told us about his wish to present his works once again in our gallery with the sculptures of his friend Jean Suzanne. From the 90's (AA gallery, Paris) up until 2013 (Mers les Bains) both met for numerous exhibitions. Alas, Frank left us before we could realize his wish. So, with this tribute exhibition, we shall honour our commitment. Franck Duminil's painting and Jean Suzanne's sculptureseem to be very conceptually opposite.Suzanne is in search of pure form, while Duminil's paint is beyond any defined shape. But this apparent contradiction is, in fact a real symbiosis that sets up a surprising, unexpected and endless dialogue.

Jean Suzanne and Franck Duminil in Duminil's studio.

24 June - July 18

  Muriel DOREMBUS - Amélie DUCOMMUN - paintings

Pierre YERMIA- bronze sculptures

 The Landscapes and Figures of the artists presented during this sixteenth exhibition (the last before our summer closure) seem to come from an unknown elsewhere. But soon enough, we become accustomed to them. We then discover our states of mind, our interiority. The fragile silhouettes of Pierre Yermia and Muriel Dorembus, on the edge of disappearance, speak of our human condition. Similarly, Amelie Ducommun’s landscapes roam through reminiscence, recollection, and sensation. Each one of them, with its own language evokes kinship with what surrounds us: the world is our family.

Muriel DOREMBUS  Lointains XXI  ink and mixed medias/paper 41x56cm 2014

May 13 to June 20

 Mario PRASSINOS, Isabelle VIALLE, Gottfried SALZMANN, paintings,

Anne-Andrée CARRON, sculptures

 Tree of life, cosmic pillar, there are many myths and dreams around the tree, which inhabit human imagination since the dawn of time. Man has always perceived the tree as a vegetal brother. «Man, like tree, is a being in which confused forces come together in order to stand erect» (Gaston Bachelard «L’air et les songes»).

 The more the tree rises toward the sky, the more its roots sink into the darkness of the earth. The tree goes between worlds, it is a link between the chthonic and the celestial world when its foliage blossoms back and forth within the rhythm of seasons. Its slow, silent and imperceptible growth, seems to be backed against eternity. The artists who we present, and first of all, Mario Prassinos, each in his own way, is part of this silent vitality.

 The tree is a theme that runs through Mario Prassinos’s work. The growth and energy of the vegetable kingdom can be inscribed with various forms and appearances, varying from human forms to the abstraction of signs. Any mutation seems possible.

2015 April 1 - May 9

Wednesday to Saturday 2.30 - 7.30 p.m.

We never stay in the present, wrote the French philosopher Pascal in 1660 (« Les Pensées »). The pure present does not exist. Full of memories and dreams, like a hunted animal, it escapes into the depth of time. Yet this desperate flight leaves signs, traces and imprints on its passage. The artist, like a hunter from his hiding place, captures these silent signs. In its own way, he gives them life, traces them, prints engraves and carves them... By the alchemy of the work of art, the transience of time becomes matter.

Papers, blotters, paintings, collages, stampings, scratched and scraped materials, bruised and compressed metal… So many materials and techniques, weighed down by the passing instant. Thus among the three artists we are presenting, Monique Dollé-Lacour, Pierre Duclou Elizabeth Oulès, each follows the path of his own memory and imagination, each with its own duration.

"There is something dark in us that makes life brighter" says the poet and film-maker Pasolini. But what do we really perceive out of the darkness? As soon as the dark side emerges, we enter into the realm of fancy and the abandoned reason fades away. Out of this deep dive into the depths, some artists make emerge creatures both scary and fascinating. In a famous engraving by Goya there are monsters that spring up, produced by the slumbering reason. These monsters exorcise our fears and this catharsis, paradoxical as it is, reassures and replenishes us. It is because this dark side is lucidity and this interior light, even though it is black, helps us to face the tragic sense of the human destiny. And this is how we shall introduce the works of Isabelle Vialle, Hans Jorgensen, Christophe Biskup and Jean-Marie Cartereau. Each of them, in his own way, shares our anxiety so as to maintain it at the right distance and make us feel stronger.

Philippe RILLON and Bernard THOMAS-Roudeix,

ancient works

January 21 to February 14, 2015

Bernard THOMAS-Roudeix is a painter and ceramist. Since the 60s, and the School of Fine Arts, his artistic path crosses Philippe RILLON's one, painter too, and, henceforth, artistic director of the gallery. Both are sharing a longstanding complicity. So it was obvious to give each of them, carte blanche to examine the development of his artwork, its permanencies and its variations. The exhibition will focus yet on the last fifteen years with an "accrochage" that will highlight the contrast effects between the two artists as well as between the different periods of each.

 Sculptures Sylvie RIVILLON

 November 5 - December 20, 2014

In September 1888, Vincent Van Gogh wrote to his brother Theo: " Look, isn't it quite a true religion what they are teaching us those so genuine japanese who live in the Nature as if they were themselves flowers

Artists and poets of that time, have sensed, through the prints, a new way of seeing the world which makes vanish the boundaries between people and things.

They discovered a very different way of being present in the world, the exact opposite to the western culture conception in which the all-powerfull man stands facing Nature. In this new approach, on the contrary, everything communicates and is at one with Nature. The visible and the one who sees are merging.

The Western painters, since Impressionism, remember and have retained of the japanese lesson a treatment of space and time hustling the pictorial tradition of classicism: asymmetrical composition, introduction of movement and ephemeral and especially the importance of the void.

Since then, the dialogue did not cease between both cultures, one revealing the "oversights" of the other.

The exhibition "Japan so far, so close" attempts to establish, not a dialogue, but a resonance between some Japanese artists living in France for a long time, and some French artists, who are, to varying degrees, inhabited by this spirit.

Yutaka Imai, Shitomi Murakami, Kyoko Sasai, Tokuhiro Kitakatsu, have kept in their "French" work, the powerful echo of the many facets of their original culture.

Pascale Veyron, Serge Saunière, Sylvie Rivillon, each with his own approach, come and compose, just as a counterpoint, a harmony that does not exclude intense contrasts.

Sculptures: Frédéric Brigaud

September 24 - November 1st

The exhibition is like a partial section in the contemporary drawing practice. It does not seek in any way to reconnect with a "neo-classicism" which has degenerated since a long time into a sterile academicism. So would it not be necessary to put a question mark after this famous quote from Mr. Ingres: “Drawing is the probity of art”?

The drawing has long surpassed its original function of a "project" (drawing and design are etymologically synonymous); it is nowadays exceptionally, practiced as a sketching technique, but has become an autonomous art, which is now exclusively sought for itself. Its borders with other form of art have faded without erasing completely its specificity. Since the Renaissance, amateurs of beautiful papers, beautiful sheets and fine works of art continue the tradition of amateur cabinets. The fragility of the drawing, and its often modest dimensions became paradoxically its main assets, to such an extend that, over the last few years, events and exhibitions dedicated to drawing have been increasing considerably all around the world.

Artists who practice the drawing exclusively are rare. Some have won the recognition of ever wider circles of amateurs. Among them we chose the nine artists who will take part in this exhibition.

And then, drawing remains the shortest and the most natural way to reach the aesthetic feeling. It is instantaneous aesthetic emotion, the one which does not lie nor cheat... because a good drawing appears immediately as an obviousness. The drawing testifies to the artist’s authenticity, it is his test of truth, the integrity of his art.