Marcel-Duchamp Prize, Adrian Ghenie, Martin Barré ... Exhibitions not to be missed

Marcel-Duchamp Prize in Beaubourg

Whoever wins this Marcel-Duchamp Prize 2020, awarded on October 19 at 5 p.m. at the Center Pompidou, the exhibition of the four finalists retains all its flavor.

It has been twenty years since the ADIAF, a valiant bastion of collectors, established this award to promote the French scene.

Whether you like contemporary art or that it annoys you by its precisely so contemporary tics, we must recognize that this price clears up.

Well.

This year, the four finalists each have their own clan of faithful, as they each embody a side of art in their experiments.

From geology to poetry with the immense hypnotic video of Moroccan Hicham Berrada.

Sacred and technological objects which memorize the performances and ancient rites for the Franco-British Alice Anderson.

The ocean of exile and the marine cemetery of the rebels for the Chilean Enrique Ramirez.

The official political bouquets for the Franco-Canadian Kapwani Kiwanga.

Marcel-Duchamp Prize 2020

Adrian Ghenie at Tajan

Adrian Ghenie was the revelation of the 56th Venice Biennale in 2015 where he represented Romania, which the gallery owners Thaddaeus Ropac and Daniel Templon immediately fought over (advantage to the former).

Since then, the power of this painter has never ceased to fascinate.

His compatriot Rodica Seward considers him his "

" and has donated a magnificent painting to the National Museum of Modern Art.

Its director, Bernard Blistène, came to present on October 8 at Tajan Nevermore, this

rather breathtaking “

” on the art of a painter, from the idea to the brush.

He interprets Edgar Allan Poe's poem Le Corbeau, translated into French by Baudelaire and Mallarmé, into Portuguese by Pessoa, and illustrates it with a series of 7 original collages of surrealist inspiration.

Exciting "

".

These collages, texts and poems in different languages ​​were printed and bound in a limited edition of albums, each print of which is individually signed (Actes Sud).

“

The Martin Barré retrospective

How to present to the general public the radical work of Martin Barré (1924-1993), so radical that it inspired Yasmina Reza, a play more than mocking?

For seven years, Michel Gauthier kept in mind, weighed, triturated, this project which is part of the program to promote the post-war French scene defended by President Serge Lasvignes.

The result, crystal clear, reads like a master class on abstraction: Dubuffet, Yves Klein and Martin Barré constitute the ideal trilogy of the art historian.

In sixty-six paintings ranging from 1955 to 1992, the different chapters opened by Martin Barré reveal a singular path, neither lyrical nor geometric.

Everything is in the progressive dissolution of forms for the benefit of the line.

It takes place before your eyes, in the open space of the painting.

Martin Barré retrospective

In Orsay: Spilliaert ...

What could be more conducive to meditation than the grayness of October on the deserted beach of Ostend?

Immensity of interior confinement, shades of black on shades of white: these are perfect oxymorons.

A restless and fantastic spirit of this finistère of the "

" with James Ensor, Léon Spilliaert (1881-1946) returns to haunt Orsay.

We had not seen him there since 2007 and we find with intact astonishment this emaciated face, this frightened eye, this Nietzschean diginity.

Everywhere on the walls Spilliaert gives himself up and questions.

Whether in one of his splendid self-portraits in front of a mirror without reflection, between rectilinear architectures with perspectives cutting like blades.

Or even in his still lifes.

When a bed seems like a shroud, a plate digs an abyss, a few flasks an alchemist's kit.

Spilliaert at the Musée d'Orsay

The Peacock Skirt, by Aubrey Beardsley at the Musée d'Orsay (7th).

Stephen Calloway Collection

... and Beardsley

More dandy than him you die.

He was conquered by tuberculosis at the age of twenty-five.

But in the meantime the production of this virtuoso designer and engraver was intense.

Offspring of the Pre-Raphaelites, brother enemy of Oscar Wilde, Aubrey Beardsley (1872-1898) was a born provocateur.

An ultra-decadent fin-de-siècle.

From the outset perfect, capable of complex volutes, of details swarming and contrasting with large whites left in reserve, this myopic who resembles an Egon Schiele with a starched collar dynamite by the caricature and the fantastic, often cruel and / or erotic, Victorian society.

From swinging London to West Coast psychedelia, all the undergrounds remember this sulphurous comet.

Beardsley the punk peacock is their godfather.

Beardsley at the Musée d'Orsay

"

Luxuries

" at MAD

Nothing bling-bling on the contrary, this very rich presentation highlights the treasures of the Decorative Arts Museum, as well as loans, in a minimalist scenography upholstered in linen, signed Nathalie Crinière.

A journey through time and civilizations, which reveals a hundred remarkable objects.

What is luxury today?

Time, freedom, possession?

Everyone can have their own definition.

With this majestic glass hourglass, filled with golden grains by Marc Newson at the opening of the exhibition, Olivier Gabet, director and curator (with Cloé Pitiot), sets the tone.

From a sumptuous 3rd century cabochon bracelet from Syria to a 16th century mother-of-pearl slat box to a fabulous Noisettes de Lalique necklace from 1900 in enamel and gold ... we start dreaming.

Until May 2, 2021 at

Saint-Malo vase by Baptiste & Jaina, at the Joyce Gallery (1st).

BAPTISTE & JAINA STUDIO

French cliché

The young nomadic publishing house French Cliché has joined forces with Maison Mère (a duo of graphic designers and creators) to present emerging talents.

To see and buy at affordable prices (from 100 to 10,000 euros), a series of unique or limited edition pieces of design, craftsmanship and furniture of the 20th century signed by the talents of tomorrow, such as the Saint-Malo ceramic vase by Baptiste & Jaina sold for 3,563 euros, in only 30 copies.

Until October 29 at the