Galerie Barrou Planquart


rue de Paris

95680 Montlignon

France

Phone :

Fax :

Mobile Ph. : 00 33 682 030 956

URL : www.galeriebarrouplanquart.com

Paris

France

Phone :

Fax :

Mobile Ph. :

URL :

Xavier Planquart   ()

Virginie Barrou Planquart   ()

About

GALERIE BARROU PLANQUART

It is in October 2010 that Virginie Barrou Planquart created in Paris the gallery that bears her name. Dedicated to contemporary creation, the gallery promotes and supports emerging or recognized artists with a strong and unique identity. They create universalist works with visual emotion and memory affect. In favor of an atypical and demanding programming, the gallery brings together French and foreign artists who, each in their own language, approach the viewer with freshness and immediacy.
Virginie Barrou Planquart participates in many international fairs, regularly presenting her artists in Paris, New York, Miami, London, Brussels, Basel or Hong Kong. Willing to support public's eye and initiate dialogues between artists, the gallery keeps deepening its reflections to better understand the growing influence of pop culture on the development of contemporary art, its scope, his exegesis and his various modes of transposition. Between tradition and modernity, the gallery is exposed through different spaces, whether physical or digital, currently available to us,

Target,  - Paolo Ceribelli

Paolo Ceribelli Target,

Jar Hopper - Clement Kamena

Clement Kamena Jar Hopper

Crystal clear FL - Stéphane Gautier

Stéphane Gautier Crystal clear FL

Points de vue - François Bel

François Bel Points de vue

Exhibiting Artists

  • François Bel  (+)

    Biography : Equally relaxed painting as he is sculpting and setting up installations, François Bel expresses himself using inlays in glass, aerial suspensions and modelled wire in his complex pieces, which claim to be just as eclectic as his inspiration. But whether he is working with numerous mediums or just one, his approach is always the same: using the distraction of familiar objects to question modern society, its individualism and habits of consumption. Using an offshoot system, inherited from Street Art, Pop Art and New Realism, the artist rethinks the reality of materiality. By locking day-to-day objects behind bars, hanging them in the air, or trapping them in blocks of synthesized glass, the artist exposes a stationary state which is both sublime and critical. Frozen in a rupture, explosion or levitation, they solidify with grace in a sort of aestheticized recycling and gain a completely new meaning. The juxtaposition of the criticism of consumerism and the poetry of recycled materiality, within his leaping, magical objects and little, incrusted ‘big bangs’, allows them to represent our dreams and repressed indignation. By mixing anger, frustration, fascination and sacredness, the artist is finally able to uniquely convert the worries of our society into physical representations. These artworks defy the laws of gravity and the logic of time to confront our own fragility with their changelessness. In an increasingly fast-paced society, where all is destined for obsolescence, Francois Bel puts forward the idea of reaching into this “other” space of unresolved objects and “moments” to try and stop time, the time that passes, consumes us and undeniably survives us!

    Detailed Description : Acrylic glass and camera parts

    Artist's Objects:

    • François Bel - Points de vue Points de vue

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  • Paolo Ceribelli  (+)

    Biography : Paolo Ceribelli is born on July 8, 1978. He starts his artistic journey with a series of works focusing on the stylization of common everyday gestures; he then experiments with oil – painting with his hands – and later he devotes himself to casting plaster. In 1998 the one-man show Ignoti collects his work. In 1999 he cooperates with a group of writers and non-profit associations, and together they work on a photographic project on mural art in disused industrial areas. This experience brings him back to working on canvas using new materials, silicon and wall stucco among them. The results are three abstract projects Macchie di vita, Attirare lo sguardo, Solchi Materici in 2000. The abstract project Attirare lo sguardo, with its large use of spray acrylic colors and silicon is displayed in two exhibitions in Italy and abroad. In the 2003 Superm-Art project the attention on daily gestures, caught in their repetitiveness, is expressed in a mixed technique that uses collage of retail advertising materials and acrylic paint. The year 2006 is a creative turning point towards a new artistic research in the area of techniques and themes. Soldiers is born. Soldiers draws together clashing written statements and easily recognizable plastic objects, which work as visual stimuli that go beyond the playful aspect of the object. Playing with toy soldiers, a favorite pastime of children from the most diverse social, cultural, and generational backgrounds, is very far from being innocuous, in this respect resembling most team games that to date are still part of juvenile and adult lives. There is no use denying that many of them are characterized by different measures of brutality. Paolo magnifies tenfold and underscores these valences immersing the diminutive anthropomorphic sculptures in monochromatic baths and making them resurface as unwitting protagonists of his works, massing them, making them uniform, arranging them on the canvas so as to form maps and territori

    Artist's Objects:

    • Paolo Ceribelli - Target, Target,

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    Also represented by:

  • Stéphane Gautier  (+)

    Biography : A designer and graphic artist, both by training and trade, Stéphane Gautier designs interiors that have a strong personality; original concepts that are born of his ideas and intuitions; he is like an orchestral conductor, coordinating the various trades until completion. From this practice, which has earned him recognition in the design world, he draws on a unique talent for deciphering symbols and images in his art, and for transforming them into a universal alphabet that everyone can perceive, in a direct and immediate link to the work. Stéphane created his first picture at the age of 13, deciding to stick and paint his toys on a canvas. This first provocative gesture and artistic genesis, which, rediscovered years later, arouses emotion and recognition in all those who see the emotional objects that marked their past. After this founding impulse, Stéphane would never abandon his interest in childhood, the moment in which he believes one’s primary needs are expressed universally. There is no point in searching further for the reason behind the attachment that everyone brings to these works: they touch instinctively. And yet, if Stéphane’s rooms arouse immediate empathy by their symbolic nature and the way in which they appeal to memory, this attraction also brings with it a more ambitious programme. Make no mistake, if this visual artist charms us, it is to make us think more profoundly and feel the power of the image: a misappropriation of contexts such as “Happy Bears” forming flags, a manipulation of childhood through medicines in the shape of sweets, a troubling gap between form and substance when a group of small plastic soldiers comes together in a heart shape on the canvas.… His creations are undoubtedly jubilant and display his expertise as much as his enthusiasm, moving from one medium to another, using all the possibilities of ready-made art to turn them into pictures, sculptures, surrealist or valuable objects… Everything, or almost eve

    Artist's Objects:

    • Stéphane Gautier - Crystal clear FL Crystal clear FL

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  • Clement Kamena  (+)

    Biography : The likelihood that a work by Diego Velasquez and another by Andy Warhol should materialize in the same object (a jar) would seem highly remote. And if it is true that truth is one, that the plausible is plural, and that the false is infinite, then the reasons for bringing the works together are neither urgent nor necessary, unless the mixing of these foundational elements strikes a spark of wit as volatile and decisive as a dab of watercolor, is restored its rights. A word can occasion laughter if it brings together the Wedding at Cana and green peas. The word we have chosen is "CONSERVATION," because the term suggests both the museum case and the grocery store shelf. We decided to paint the word. The gap between word and image is so quickly crossed that it becomes evidence itself. Depicting words—jar, conservation, painting—in the language of illusion becomes our chosen task. We ourselves become conservators. Metaphors leap from our paintbrushes. Actors come to us from Fayum and Long Island in the 1950s. Their history is not linear, the archives crowd against each other in these transparent cells, the displays are painted with the care that this playful anthology requires. The selection of works may not be exhaustive, but it allows a newly born star to enter into proximity with a star that has long shined in a gallery of the Uffizzi or the Louvre. We made the decision to appropriate all paintings, drawings, and other productions of art for the game. Naturally, this requires us to organize our browsing among the works to which we give our greatest admiration, as opposed to those which, due to their recent celebrity, come crashing into the firmament of today's stars. An astrophysicist has posited that of the theses, articles, and bulletins presently held in esteem by the scientific community, the chance for most of being judged lasting by an observer from the future is the same as that of a typographer throwing his tray of type into the air and having it fall

    Artist's Objects:

    • Clement Kamena - Jar Hopper Jar Hopper

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    Also represented by:

Other Represented Artists