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,
François Bel Points de vue
Clement Kamena Jar Hopper
Paolo Ceribelli Target,
Stéphane Gautier Crystal clear FL
About the Artist
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!
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 so as to spell out a tragedy by Shakespeare.
Far be it from us to make any claims about the future.
The scale of the task seems huge to us. We decided to compress the first images, and we started the project with small Jars .
In tandem with the act of placing the images in jars—which includes making a representation of a painting, a representation of the jar, and deforming the image to insert it behind the glass—is the illusion of producing something that could contain all visual images. The size of the actual works cannot be gauged. Reduced to the size of a glass cylinder, frescoes, paintings, and details assume a new scale: that given to them by the eye of the spectator. The work's dimension is simply a poetic dimension.
Each painting thus depicted is not a pastiche of the original work but our perception of its appearance through reproductions. It is a direct visual experience of its cultural radiance.
Our work of appropriation and visual quotation starts with the placement of the painting in its jar and the placement of the jar in its space at a distance from those that have already been made. By placing them one next to the other, we neutralize in a sense the single image. The presence of the ensemble casts each additional arrival as a player in the orchestra, in turn affecting all the others. The soloist takes a place in the choir. The introduction of a new image upsets the previous order. These confrontations open avenues of exploration, lead us to discover recurrences, similarities, and new relations that fall into alignment thanks to these groupings.
By placing two or three next to each other, by moving others away, we create a visual history that picks its path according to our choices.
The references are drawn from every period, from prehistory to contemporary times. The acceleration of art history is now part of the history itself. Works made twenty years ago or less are today enveloped in historical analysis and museum protocol, crystallized in conservation measures.
A blessing or a curse, instantaneity is at the stage where we have immediate access to images of the Sphinx and Jeff Koons’ Balloon Dog.
Chronology disappears, mutations succeed and confront each other, both on the formal and material level. Each painting in its jar, linked to all the others, enters universal time.
In this maze, an empty jar awaits the appearance of a virtual work that has not yet materialized, or displays the absence of a work that has not yet seen the light of day.
All from a metal lid screwed onto a cylinder of glass.
Serge Clement and Marina Kamena
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 territories, flags and alignments, targets and playing fields. There is a bodily movement in the manipulation of the material and especially in the arrangement of the tiny soldier-figures on the canvas to which the artist accords great importance, because in this “doing” every structure takes on a meaning and every shaping of space incarnates variations of values. His works are plastic, three-dimensional, and they transcend the bounds of classical frontal appreciation to become tested and evaluated from more points of view.
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 everything, is shown here.
Understanding only comes as a second phase, however: the art of Stéphane Gautier is permanently shifting. By moving an object from one context to another, re-injecting the stereotypical symbols of childhood into an adult setting, he turns away from all traditional codes of art (pictures, paintings, sculptures, drawings) only to reappropriate them. And it is by way of this ironic distance that this intuitive creator invites us to a deeper consideration of the means of representation, of the effectiveness of advertising and propaganda, and finally of the sacralisation and misappropriation of childhood nostalgia.