DRAWING NOW — Le salon du dessin contemporain a 10 ans !
Le salon du dessin contemporain a 10 ans !
Past: March 30 → April 3, 2016Les foires du printemps a paris Nouvel incontournable de l'année artistique parisienne, ce week-end de printemps est parvenu à devenir un temps fort de la scène internationale. Drawing Now 2016, notre sélection Avec cette dixième édition, Drawing Now nous offre un salon protéiforme qui déborde avec une énergie immense le cadre strict du dessin pour en découvrir tous les possibles.
The tenth edition of Drawing Now will provide visitors with a full introduction to the diversity of 50 years of contemporary drawing. Over the course of five days, collectors, professionals, and art enthusiasts alike are invited to experience the contemporary art scene through drawings by over 400 artists.
As of its very first edition in March 2007, the salon has become a highlight of springtime in Paris as an unmissable contemporary art event. With nearly 41% of participating galleries coming from abroad, this event has enabled nearly 400 galleries and over 2000 artists to display the many unique aspects of drawing.
This 10th edition will grant us the opportunity to review the accomplishments achieved over a decade. It will also allow our audience, from connoisseurs to professionals, to explore the very rich and transgenerational developments of drawing endeavors.
Focus on several participating galleries — Selection
Jeanne Bucher Jaeger, Paris
The gallery presents Miguel Branco.
Portuguese artist Miguel Branco has always worked on images taken from the limitless source that for at least two hundred years we have called Art History. In his drawings, paintings and sculptures, the artist systematically turns to the tradition of painting, which his artworks constantly refer to, whether it is through the different technics employed or through his choice of themes, such as portraiture, bestiary or still life. These recurring references, often quite scholarly, give us the impression that we are dealing with objects or images that have survived, like remains from foregone eras and their multiple locations. With a profound knowledge and ironic twist, the artist pays tribute to the old masters (Watteau, Chardin, Fragonard, Goya, Velazquez, Bellini, Stubbs, Hogarth and Teniers) and we can recall past Egyptian and Indian traditions. In his recent serie of drawings, monkeys and apes take over areas once heralded as landmarks of civilisation — librairies, stately rooms, restaurant tables laden with victuals and crystal glassware for wines. These creatures, by their sheer and mysterious presence, announce the end of one thing and the start of another, something that looms ahead of us all.
Other artists exhibited on the booth: Michael Biberstein, Rui Moreira, Hanns Schimansky, Fabienne Verdier, Yang Jiechang.
The gallery presents Taroop & Glabel.
Taroop & Glabel live and work in Paris. This (anonymous) collective was formed in Paris in 1990 and has been blaspheming whatever it deems fit and shooting down dogma and beliefs with its vinyl collages and disparate assemblages ever since. No-one is safe and not everyone is best pleased. Taroop & Glabel are not particularly subtle, hammering their message home like an advertising slogan, serving up a black mass re-written for TV. Their oeuvre crucifies Mickey Mouse (literally) and buries Charles Fourier’s social utopias. Idols fall and are smashed with fiendish laughter. The spectator is not spared either, depicted as a pig gorging itself on decorative scraps. Religion, politics and entertainment are all chewed up and spat out in the same manner. Exhibited regularly at the Sémiose Gallery in Paris, their works can be found in the collections of the Paris FNAC and the Lower Normandy, Bourgogne and Languedoc-Roussillon FRACs.
Other artists exhibited on the booth: Hippolyte Hentgen, Laurent Le Deunff, Françoise Pétrovitch, Julien Tiberi.
The gallery presents Katharina Ziemke drawings.
Katharina Ziemke has been working for several years exclusively on paper. Besides her inks, produced on a particularly twisted rice paper, making such exercise even more unstable, she devotes now most of her time digging with the tip of a blade, horizontal furrows on the black wax surface, unveiling an abstract background, with bright colors cleverly distributed depending on her subject.
Between the wax layers, bodies, hanging gestures, and thoughtful and composed faces are emerging. Between the night and the colorful living hell, these familiar bodies are living in. Going through the night to find the fire. It is on this path that the images emerge, it is in this world in between that these characters lurk, diverted from their simple origin of paper.
As in a shadow theater, Katharina Ziemke convenes the still warm past of the “film Noir” and the criminal but romantic America, to distract us from the obviousness of the works. She paints luminous bodies defying the abyss, until even the spectator is in backlight.