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Semaine 02.17

Guy Oberson, 
Je ne peux fermer les yeux
Galerie de l’Etrave, Espace d’art contemporain, Thonon-les-Bains

At first glance, Guy Oberson’s drawings can be seen as a graphic scramble, which makes them not immediately accessible. Something like an inside resistance causes the eyes to linger on them as if they were trying to encourage the person looking to experience the passage of time. Whether drawing the human figure or a mountain landscape, working from memory or photographs, the artist gives birth to an image that results from a hidden presence made visible in a fragmented framing that exceeds the strangeness of its emergence.

The town of Thonon-les-Bains has dedicated its second exhibition of the 2016-2017 season to Guy Oberson, whose work, shown at the Galerie de l’Etrave, continues to examine “le dessin dans tous ses états” or “drawing in all its forms.” Because the word drawing comes from “dessein” or purpose, no matter what materials are used, drawings are at the source of any intention to create a work of art. Long relegated to the margins, drawing has emerged in the last few years as a mode of expression on its own right. The idea of the exhibition is therefore to showcase what this practice has become in the field of fine art above and beyond a narrow definition of the word. Hailing from Switzerland, Guy Oberson was born in 1960 in Billens in the canton of Fribourg. He now lives and works between Lentigny and Paris.

Semaine n°409, revue hebdomadaire pour l’art contemporain
Author : Philippe Piguet
Published on Friday 13.01.2017

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Semaine 41.16

Anne Laure Sacriste,
Une vision première essayée dans la fleur
Galerie de l’Etrave, Espace d’art contemporain, Thonon-les-Bains

Taken from the title of the work by Odilon Redon, Il y eut peut-être une vision première essayée dans la fleur [There was perhaps a first vision attempted in the flower], a lithography from the collection Les Origines (1883), the title of Anne Laure Sacriste’s exhibition was chosen for several reasons. Her art is required by drawing and, at the very heart of this practice, by the stroke and by the color black. The major use of this color echoes what her elder says, “Black is the most essential color”, adding that it is “the spirit’s agent much more than it is a beautiful color taken from the palette or the prism”. While Redon’s position goes against the flow of his contemporaries, taking all artistic tendencies into account, Sacriste’s choice works in dissent of a period obsessed with quick, easy and flattering images.

The premiere of the 2016-2017 season, the exhibition that the town of Thonon-les-Bains is devoting to Anne Laure Sacriste at the Galerie de l’Etrave is the inauguration of a new cycle articulated around a reflection on “drawing in all its forms”. Due to the fact that it takes its origin from that of design, and no matter what materials it uses, drawing is at the source of all intention to create a work. Having been kept on the fringe for a long time, over the last few years, it has come to the fore as a form of expression in its own right. Over the year, the idea is therefore to highlight the position of drawing within the field of art, over and above the restrictive definition of the word.

Semaine n°407, revue hebdomadaire pour l’art contemporain
Auteur : Philippe Piguet
Published on Friday 14.10.2016

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Semaine 28.16

Marie Anita Gaube, Out of Place
Esox Lucius, Château de Grandvaux, Varennes sous Dun

Placed on the desk of Patrice Ferrari in Esox Lucius office, the card advertising Marie-Anita Gaube’s first exhibition appeared totally clear: exhibit her work. The current exhibition focuses on an ensemble of six paintings, each of which considers, in its own way, a new relation to the subjects. The image, due to its format and its visual presence, must be seen. The call is unique, it is an invitation: we thus open up the painting, we search, we wander. The indefinite which sometimes characterized the portrayal has disappeared. The elements are placed there, before our eyes, we can almost touch them. But we do not fully understand the sense and direction. Our gaze is drawn into continually renewed spaces. It is in this frequently contrasting closeness of “situations” that moments of waiting, escape and the unknown occur. The stakes are double: take the spectator, submit him to the landscape and make sensitive and aesthetic experiences coincide.

Semaine n°405, revue hebdomadaire pour l’art contemporain
Author : Marion Delage de Luget
Published on Friday 15.07.2016

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Semaine 27.16

Bertrand Gadenne, Fragments d’un paysage,
Pile Pont Expo – Espace d’art contemporain, Saint-Gervais les Bains

In the work Bertrand Gadenne has developed since the end of the 1970s, this artist presents photographic and video devices, inviting the visitor to confront luminous paintings, which are both strange and yet still very poetic. The patterns, which are often reminiscent of an animal and vegetal bestiary, are projected onto varied supports – empty shop windows, a monumental building façade, a simple sheet moved by a fan – and they call on the spectator through their mysterious presence, their almost unnoticeable movement, but also their often unreasonable scale. For Saint-Gervais, the artist has captured the geographic framework of the place, situated at the foot of Mont-Blanc and he has created “Fragments d’un paysage”. In this installation, made up of four projections accompanied by an environment of sound, the artist calls on elements taken from the landscape, and relevant to mountain territory – the mountain, forest, animal and waterfall. The visitor, plunged into darkness, is invited to (re)discover to a marked degree, the atypical space that is Pile-Pont Expo. Like an extra, he will more or less participate in the staging that Bertrand Gadenne is trying to set up. Since it is only about projections, nothing exists in this totally immaterial space; but, watched by a majestic stag, perhaps he will nevertheless catch a glimpse of Mont-Blanc? Unless a storm stops him…

Semaine n°404, revue hebdomadaire pour l’art contemporain
Author : Bertrand Gadenne
Published on Friday08.07.2016

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Semaine 25.16

Micromégas,
Boch, Callot, Favier, Limone, Mazabraud, Moninot, Pincemin, Rousseau, Soulhiol, Torres
Galerie de l’Etrave, Espace d’art contemporain, Thonon-les-Bains

The Chapelle de la Visitation’s contemporary art activity has been transfered in the Galerie de l’Etrave, which is located in the Maurice Novarina Theatre. This relocation, which will last for two years, is the consequence of the building work undertaken by the cultural branch of the Visitation, which will have an impact on all the activities that take place there. The town of Thonon therefore asked Philippe Piguet, who has been exhibition curator at the Chapelle de la Visitation since 2008, to imagine a cycle of 4 exhibitions based on a general theme which would act as an echo to the Theatre, a place dedicated to performing arts. Represented by the expression “worlds apart” and illustrated by an ensemble of three monographic exhibitions and one group exhibition, the choice of this theme stems from the feeling that the place evokes with regards to a different space, away from all exterior circulation, hidden within the Theatre. A separate space.

Semaine n°403, revue hebdomadaire pour l’art contemporain
Author : Philippe Piguet.
Published on Friday 24.06.2016

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Semaine 52.14 / Galeries Nomades 2014

Daniel Otero Torres, Amalgame,
GAC – Annonay

Daniel Otero Torres maintains certain ambiguities between drawing and volume, drawing and photography, original and copy, viewer and object: amalgamation is consistently central to his approach. As the starting point of his work, a digital photographic image is composed, before being meticulously reinterpreted in pencil. For the GAC, Daniel Otero Torres presents a complete set of graphic and sculptural artworks, affirming the idea of the illusion and of the oscillation between power, fragility, and confrontations.

Semaine n°375, revue hebdomadaire pour l’art contemporain
Author : Marjolaine Lévy
Languages : French / English
Published on Friday 26.12.2014

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Semaine 51.14 / Galeries Nomades 2014

Nicolas Momein, Walk Like an Egyptian
Château-Musée, Tournon-sur-Rhône

Nicolas Momein uses manufactured or industrial production materials. He thus passes from animal hair to mineral wool, to padded tablecloths, etc, while undertaking a meticulous collection of objects or furniture. He regularly bases his approach on a relationship with the worlds of craft or agriculture and assigns part of the production process to professionals: their materials and knowhow thus come into contact with his own sculptural style. For the Château-Musée de Tournon, Nicolas Momein presents a body of work reflecting the last three years of his production.

Semaine n°374, revue hebdomadaire pour l’art contemporain
Author : Hélène Meisel
Languages : French / English
Published on Friday 19.12.2014

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Semaine 50.14 / Galeries Nomades

Maxime Lamarche, Les Sirènes chantent toujours faux
Espace Vallès, Saint-Martin-d’Hères

With Maxime Lamarche, objects are combined and transformed. The artist interrelates forms and references, mixing genres, sometimes to the point of absurdity: a car floats, a boat that is no longer watertight takes to the road, a fly-case proves too heavy to move… The artist’s highly personal vocabulary finds inspiration in the world of cinema and television series and develops considerations on the status of sculpture. For the Espace Vallès de Saint-Martin-d’Hères, Maxime Lamarche tackles the practice of forging (among other subjects), surprising visitors in his own characteristic way and inviting them into his world. He thus brings the paradoxes of our society into play, according to various points of view and on different scales.

Semaine n°373, revue hebdomadaire pour l’art contemporain
Author : Judicaël Lavrador
Languages : French / English
Published on Friday 12.12.2014

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Semaine 49.14 / Galeries Nomades 2014

Adélaïde Feriot, Éternelle Jeunesse,
Angle art contemporain, Saint-Paul-Trois-Châteaux

Adélaïde Feriot constructs her work based on notions of time and perception, and their corollaries: impact and behaviour, the mechanism of vision, and proxemics. Since 2010, she has produced Tableaux Vivants [Living Pictures], real images in the making. They dilate time and rely on a protocol that detains them and enables them to reappear. Wax, ceramics, and transfers are all means that she uses to fix objects and images, in her search for tactile and temporal phenomena. For Angle Art Contemporain, she questions the idea of timelessness, implied by the title Éternelle Jeunesse [Eternal Youth].

Semaine n°372, revue hebdomadaire pour l’art contemporain
Author : Paul Bernard
Languages : French / English
Published on Friday 05.12.2014

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