Made in France - 01 au 30 Juillet 2020
Giulia Andreani, Jeremy Demester, Loris Gréaud, Raymond Hains, Tursic & Mille
Galerie Max Hetzler
57, rue du Temple
A travers l’exposition Made in France, la Galerie Max Hetzler est heureuse de témoigner à nouveau son engagement pour la scène française. Avec des oeuvres de Giulia Andreani, Jeremy Demester, Loris Gréaud, Raymond Hains, Tursic & Mille
Since 2010, Giulia Andreani (b. 1985) has been growing a visual archive comprising historical material and personal memorabilia, which acts as the departure point for her practice. Looking at antique, modern and contemporary sources, the artist reproduces and alters motifs, sometimes assembling and layering them. Working mainly in watercolour and acrylic on paper or canvas, Andreani filters imagery through a distinct palette oscillating between hues of deep blue and light grey—a possible nod to Gerhard Richter’s practice, with whom she shares an exploration of photography’s relationship to painting. Other references in her work include Pietro Germi’s tragicomic neorealism, Pier Paolo Pasolini’s hyper-mannerism, Luchino Visconti’s decadent lights, as well as the distorted figures of Hannah Höch’s collages. Driving Andreani’s practice are concerns around history and representation, especially that of women and women artists.
Jeremy Demester's (b. 1988) painting is action, vision and prose. In search of the world's new possibilities, the painter probes experience through intuition. It is his guide. In front of the artwork, it favors astonishment to assertiveness and pushes the painter to approach the impossible.
Art history engages with human history towards new incorporations, free impulses, and sharpened desires. "Painting is a body in which thought and unknown desires are embodied", says Demester. The young painter does not pursue a path paved with anecdotes but seeks the paths towards the very essence of reality. His work appears plural, heterogeneous and changing.
Beyond the words he has invented and the customs he may have inhabited, the human being is in an adventure. It can shape itself towards wider utopias, seal itself to more lively brotherhoods, and lose itself in wilder universes. "I walk among men as if among fragments of the future: of the future I see," said Nietzsche's Zarathustra*.
These fragments are visions, that is to say, passages that Demester goes through "in moments of absence or ultra-presence". Through his painting, he unbalances reality; quiet and lucid, he experiences instinct. (Annabelle Gugnon)