Why it's great to have Paul Klee's personal archive online

He who acknowledged Cézanne as « the master par excellence » played a major role in the foundation of modern art, which he also thoroughly theorised. His personal notes have been integrally computerised and published online by the Paul Klee Center in Bern.

Paul Klee notes personnelles

We were familiar with On Modern Art, translated by Paul Findlay and published by Faber Faber as early as 1966. We had seen the sketches of surgical precision where nothing was left to chance. It’s somehow ironic coming from someone who wrote « The creative force eludes every denomination, it remains, ultimately, an indescribable mystery* ».

Paul Klee notes personnelles

Amongst Paul Klee’s notes, it is the musicality, the curves diving into infinite perspectives, the symbolic outreach of colorimetry, the calligraphed handwriting or the hasty scribbles that are the most compelling. In there lay the roots of the Bauhaus, where Paul Klee was a very early days professor (1920). To get lost in these archives is a great pleasure.

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The document resource work achieved by the Paul Klee Center in Bern, last home to the author of the Pedagogical Sketchbook, is unbelievable. It is for now only available in German.

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Visuals © Zentrum Paul Klee, Bern

 *Paul Klee, On Modern Art


Pact - Amy Brener - Invisiblers - 800 Signes

Silicone armors to face the future: Amy Brener x Pact

By Camille Bardin

At pact gallery, Amy Brener’s sculptures invite us to a temporal displacement.

For this futuristic trip, the Canadian artist took with her the mere objects of everyday life. Forks, bars and fuses are carefully protected from time that goes by in resin cases. As it is impossible to alter their history, their memory will remain forever untouchable.

Amy Brener x Pact, Invisblers, 800 Signes
Amy Brener x Pact, Invisblers, 800 Signes

Armed with these amulets, she penetrates subsequent times with a very particular sensuality. Silicone espouses female forms, let us guess their chests and mystifies the female body.

For this exhibition, the gallery makes a ‘pact’ with Michaël Jasmin, Ph.D in Archaeology, Sorbonne, Paris. The archaeologist describes accurately this struggle with time and sublimates these sarcophagi which look like temporal capsules, Invisiblers.


Amy Brener’s Invisiblers show goes on at Pact Gallery in Paris until March 11th 2017.

Words: Camille Bardin
Visuals courtesy of Pact Gallery


Inside the world of album covers

On a very cold mid-January night a heavy, penetrating rain falls over Paris. In a secret haven the sun is shining though, under the spotlights of confidential Arts Factory gallery in the heart of the Marais. Every year, the spot hosts a show giving Bastien Stisi a carte blanche. Bastien founded and curated Néoprisme to « to bring album covers back to their former glory». Néoprisme is about music and artworks and gives on both fields an equally poetic and expert outlook. Needless to say it’s an insiders business.

Or maybe not. One had nearly forgotten the excitement triggered by the release of a new album cover, debated at length with friends in the aftermath. The same covers nowadays fling along anonymously on spotify or deezer.

This year, Néoprisme chose to feature Nowadays label with a graphic selection, a combination of whispered softness and meticulous pyrotechnics. We’ve asked Bastien Stisi to handpick his favorites pieces and explain in a few words how he relates to them. The result reflect the label’s identity: a contrasted, savvy mixture of talents.

Jumo x Cela – Nomade

«The cover of Jumo’s first album is undoubtedly my favorite of them all, as far as our Nowadays exhibition is concerned. It comes from a much wider series (of which Mariska Konkoly has spoken in a column on Néoprisme) and is filled with intense sensitivity.» 

Jumo x Cela – Nomade
Jumo x Cela – Nomade

«The grace and the elegance of the 1st Jumo album is mirrored in this perfect piece by the collective, thanks to  the talented Nina Guy. These lines one could consider subjectives in reality have a very determined objective : to achieve refined rêverie and light beauty. I find it truly extremely beautiful. »

Le Vasco x Polybius Studio – La Transe des Oiseaux (The Transe of the Birds)

«In close collaboration with Polybius Studio, Le Vasco has built the very complex imagery surrounding their first album on a heavenly and almighty figure, Aya Yosémite, who rules the world in which stories take place and are told. »

Le Vasco x Polybius Studio – La Transe des Oiseaux
Le Vasco x Polybius Studio – La Transe des Oiseaux

«The imposing gameplay we see here is the basis of everything (we also exhibited a physical version of it at Arts Factory). It a door to a complex universe in which one might be able to wander sometime soon, through a video game the band is already working on. You can also text Aya Yosémite, she’ll reply to you. 06 51 30 97 51.»

Everydayz & Phazz x Emma Le Doyen x Erbery – Almeria

«The colors on this cover are what fascinates me the most. Le liveliness of yellow and blue stands for Almeria’s sun. One can immediately feel its benevolent warmth. Though the picture was taken in winter (by Emma Le Doyen), it feels hot.»

Everydayz & Phazz x Emma Le Doyen x Erbery – Almeria
Everydayz & Phazz x Emma Le Doyen x Erbery – Almeria

Bastien Stisi founded Néoprisme and works for Radio Nova and Brain Magazine.
Néoprisme exhibited Nowadays from January 12th to 18th 2017 at the Arts Factory gallery.
Cover image © Bastien Stisi


Maurizio Cattelan, Not Afraid of Love, Monnaie de Paris

Maurizio Cattelan, the King of immediacy

Aged 46, Maurizio Cattelan is one of the world’s most collected artist. La Monnaie de Paris gives him his first major retrospective in Europe: «Not Afraid of Love».

What made the «iconoclastic», «avant-garde» and «provocative» artist so successful?

Either a savvy combination of all adjectives, or, as a meandering through La Monnaie’s XVIIIth century salons might suggest, his unrivalled master of immediacy.

Maurizio Cattelan, Untitled, 2007, Not Afraid of Love, Monnaie de Paris 2016
Maurizio Cattelan, Untitled, 2007, Not Afraid of Love, Monnaie de Paris 2016

No matter their preference or culture, anyone can perceive the impact of this headless horse embedded into the wall, with two doors framing a collection of bodies lying on the floor in the background. The queer family of dogs and the chick embodies the mother and the father figures taming our deeply buried infancy fears. The child crucified on a school bench becomes the part of disenchantment we all have experienced at some point. Maurizio and his double lying on the bed emerge like mirror neurons from a bad dream.

Maurizio’s work is like a punch in the face: it moves, stirs and shakes. It is, simply, remarkable.

Visuals © Araso

Not Afraid of Love, at the Monnaie de Paris until January 8th, 2017.

Maurizio Cattelan, Untitled (Gerard), 1999, Not Afraid of Love, Monnaie de Paris 2016
Maurizio Cattelan, Untitled (Gerard), 1999, Not Afraid of Love, Monnaie de Paris 2016

Maurizio Cattelan emerged in Spring 2016 from a 5-year retirement to exhibit a golden throne entitled «America» in Guggenheim’s Museum public restrooms in New York. 

He is the editor of Permanent FoodCharley and Toilet Paper magazines. 


Colatheque le dream palace Seoul Korea 2015

Paris is home to a "Virtual Seoul"

The Pavillon Carré de Baudouin in Paris hosts “Virtual Seoul”, the latest series by photographer and 2016 Albert Kahn Award winner Françoise Huguier.

This work is a continuation of the artist’s 1984 trip to the Korean capital. 20 years later her experience is completely different as the city seems to have lost control in its race for development.

Françoise Huguier deliberately “lost” herself in the streets of Seoul as a way to better absorb this new Korean culture. Within the Pavilion, the works are scattered everywhere, even in the stairs. Walking the show feels like following the artist’s footsteps as she was combing the streets of Seoul.

The viewer ends up surprised by Korea, the exuberance of its youth and the overwhelming consumerism around the city. It is certainly hard to understand the fears and issues of Korean society from an occidental point of view but Francoise Huguier successfully contributes to opening western eyes on Seoul.



Françoise Huguier, Virtual Seoul
Until December 31st, 2016

Pavillon Carré de Baudouin
121 rue de Ménilmontant
75020 Paris

Tuesday – Saturday: 11am – 6pm


Georg Baselitz, Zero Mobil, Patinated copper, 2014

Gagosian Gallery New York welcomes Georg Baselitz

Gagosian Gallery in New York has the good idea to exhibit, until October 29, 2016 the latest work of Georg Baselitz, a leading figure in contemporary art.

German artist born in 1938, Georg Baselitz is a radical painter that scandalized his peers on his first solo exhibition in 1963 at the Werner gallery in Berlin. In 1969 he decided to overturn the painted object giving priority to the visual aspect of his painting rather than to the subject.

Over forty years later, Jumping Over My Shadow exhibition at Gagosian presents a recent series of works still subverting the painted subject (here human silhouettes). The colors are strong, the touch highly visible, large scale canvas in tune with the work of Georg Baselitz despite changes such as the use of atmospheric effects that disrupts the viewer’s perception and leaves a gloomy athmospher.

Are shown as well charred wood scupltures whose presence, impressive and primary in their aspects, to reassure the viewer with their materiality, softening a little bit an otherwise dark exhibition.

Visuals © RL



Georg Baselitz, Jumping Over My Shadow
09.22.2016 > 10.29.2016

Gagosian Gallery
522 W 21st Street
New York, NY 10011
Tuesday – Saturday, 10am – 6pm