The Walls

THE WALLS

Erró

The New Scapes by Erró, 2020
acrylic on canvas, variable dimensions

Galerie Ernst Hilger (stand D20)

Born in 1932 in Ólafsvík (Iceland), Gudmundur Gudmundsson a.k.a Erró lives and works in Paris since 1958. Famous artist from the Narrative Figuration movement, Erró has been since the end of the 1950s a virtuoso, known for his collages and image accumulations. American superheroes and figures from Chinese, Russian or Cuban propaganda join gracefully in his work with figures from classical painting, scientific journals or advertising images. Creating visual confrontations, mixing temporalities and spaces, Erró paints comical and disturbing images imprint of humor and full of derision. Eminently political, often critical, his work denounces war, totalitarian powers and mass consumption. In 1985, Erró exhibited at the Musée d'Art Moderne de la Ville de Paris and in 1999 at the Galerie Nationale du Jeu de Paume. In 2010, the Musée national d'art moderne - Centre Pompidou dedicated a major retrospective to his collages. Ersnt Hilger Gallery has represented Erró since 2000.

Juan Garaïzabal

Lost Tuileries Palace, 2020
In situ installation

Bogéna Galerie (Stand B21)

Juan Garaïzabal was born in Madrid in 1971 and grew up during a period of transformation in Spain. Aware of the need to remember the fragile nature of individual freedoms, Garaïzabal finds inspiration in the historical importance of places and how they change. Expressing himself in light and metal, he reinvents disappeared architectures and, in so doing, fills empty urban spaces with monumental works that convey notions of tolerance and respect. Garaïzabal has gained international recognition thanks to these “Urban Memories”, life-size sculptures placed in the former location of monuments and buildings that pay tribute to their long-lost beauty. During Art Paris 2020, the artist is presenting a study of the Palais des Tuileries. Its muted metal lines and cast shadows delicately evoke the beauty and imposing presence of the façade of this palace that is no more. Juan Garaïzabal is a versatile artist whose multi-facetted production encompasses a wide variety of disciplines: drawing, sculpture, light and sound installations, video art and engraving. He works in several studios worldwide (Berlin, Madrid, Miami).

Rui Moreira

1. Machine of Entangling Landscapes VIII, 2019
gouache and watercolour on paper, 152,5 x 237 cm

2. Telepath I, 2013
gouache and gel pen on paper, 215 x 140 cm

3. The Holy Family III, 2014
gouache on paper, 120 x 160 cm

4. Sans Titre, 2007
Chinese ink on paper, 120 x 320 cm

Galerie Jeanne Bucher Jaeger (stand C10)

Rui Moreira (born Porto, 1971) is a worthy successor to the Portuguese navigators of the past. His work is based on his travels to destinations far and near, which are carefully chosen so that he can experience first hand the physical and psychological changes that are inherent to the places he visits, from the oppressive heat of the Moroccan desert and the icy mountain temperatures at the source of the Ganges, to the humidity of the Amazon jungle or the ancient Caretos rituals at Podence carnival in Northern Portugal. On his return, Moreira draws non-stop in a sort of mnemonic exercise, reliving the natural cycle of each location and feeling every subtle detail. His works are born from the repetition of a simple action: in what is akin to an intense state of meditation, the artist patiently explores his memories, slowly and tirelessly filling each contour until he is overwhelmed by exhaustion due to subjecting his body to such a long period of immobility. Rui Moreira's works take different forms, often a cosmography composed of geometric abstractions, organic landscapes reminiscent of the structure of living organisms, or gods emerging from a mythological landscape. The gallery has represented Rui Moreira since 2008, accompanying him in his many exhibitions in international cultural institutions: Mudam Luxembourg (2014), Museu de Lisboa (2016), International Centre for the Arts José de Guimarães (2017), Fosun Foundation, Shanghai (2018) and the Berardo Foundation in Lisbon (2019).

Edouard Taufenbach

LA MÉTHODE, 2020
A series of 74 unique collages, cyanotype and palladiotype variations around the “Homage to the Square” series by Josef Albers. Collage on Sennelier paper, laminated on aluminum, folded steel frame, anti-reflective glass, 32,5 x 32,5 cm (each)

Galerie Binome (Stand B18)

LA MÉTHODE is a set of unique collages, variations in cyanotype and palladiotype around the “Homage to the Square” by Josef Albers. This stylistic exercise exhausts all the possible sequences obtained using a protocol guiding the cutting and reassembling of the four primitive shapes of the squares painted by Albers. At first sight, the abstract perspectives of this new body of work by Edouard Taufenbach may surprise when compared to the figurative nature of his previous works that focused on the mise-en-scene of vernacular photos. The artist's restitution of the stages of research reveals in fact the uncovering of a thought/creation process: deconstruct and reformulate. This deconstruction of the original images and their reassembly, rather like editing the rushes after a film shoot allows for any number of different cinematic forms, already prevailed in Taufenbach’s series "CINEMA: domestiques stories" (2016) and "SPECULAR" (2018). As such, LA MÉTHODE is not so much a turning point as a radical expression of the artist’s practice, set free from the subject so that only the minimalist tension of the underlying form remains. From this geometrical grammar and constantly renewed repetition, a musical force also emerges; each proposition, like a link in a rhythmic chain, takes up and amplifies the previous one. The ensemble of viewpoints composed from a triangulation of Albers’ squares and based on the same vanishing point within the frame consequently renders a system in which the artist’s obsession is embodied in his method. And if we remember Edouard Taufenbach's first photographic work, "HOMMAGE" (2015), LA MÉTHODE resonates well as a reset in a perpetual recommencement.