Gallery Nathalie Obadia
“Redecorating the Study” (2020), by Rosson Crow. Acrylic, spray paint, photo transfer and oil on canvas. 228.6 cm × 304.8 cm. Joshua white photography Courtesy of the artist and Galerie Nathalie Obadia Paris / Brussels
From a distance, Rosson Crow’s paintings catch the eye with their abundant and shimmering colors. Some show landscapes invaded by vegetation typical of all climates: desert, tropical or more modestly temperate. The others bring in rich and cluttered interiors with furniture, curtains and fabrics adorned with so many garlands and flowers. Pinks, reds and blues dominate. We believe we are witnessing the resurrection of Dufy, but a Dufy even more rococo and colorful than the real one. Up close, the variety of techniques can be seen better: photographic transfers, aerosols, oil highlights, transparencies, erasures. But what can be seen above all are the anomalies and incongruities: empty cans thrown on the carpets, rubbish and cigarette ends at the foot of cacti, old crumpled paper. The furniture has been knocked over by an explosion or a storm. Ghostly silhouettes float and disperse, as if blown away by the wind. Crow says he was inspired by Alain Resnais’s film Last year in Marienbad (1961). Other cinematographic references are possible, from Joseph Mankiewicz to David Lynch. The pictorials are not less numerous, from the XVIIe Dutch century to Monet and Hockney. Each work thus appears as a very skilful tapestry of allusions and reminiscences, which only seduces the better to disillusion later.
“Next Year at Marienbad”, Nathalie Obadia gallery, 3, rue du Cloître-Saint-Merri, Paris 4e. Nathalieobadia.com. Monday to Saturday from 11 a.m. to 7 p.m. Until January 30.
” Face to face ”
The Bridge, galerie Christian Berst
In the “Face to Face” exhibition, “L’Homme-Gloves” (1999), by Annette Messager, is associated with a photograph by Cuban brut artist Jorge Alberto Cadi. The Bridge by Christian Berst
Epidemic or not, Christian Berst could not resist the temptation. When he learned that the space in front of his gallery was being released, he decided to take it back. The distribution of functions between places is clear. In its old space, the monographic exhibitions will continue. The other is called “The Bridge”, “the bridge”, because it is dedicated to passages between the so-called “raw”, marginal or interned creators, and the so-called “professional” artists. An idea that the surrealists put into practice in the past and that La Maison rouge had also often defended. There will be seven such meetings per year. The first, curated by Gaël Charbau, places loans from collector Laurent Nebot and artists from the gallery face to face. The cast is brilliant. On the one hand Annette Messager, Bernard Réquichot, Tetsumi Kudo or Stéphane Mandelbaum; on the other hand Frédéric Bruly Bouabré, Jorge Alberto Cadi, Lubos Plny or José Manuel Egea. And, on the sculpture side, a very rare head modeled by Carlo Zinelli along with a Dayak statue from Borneo.
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