Bravo à Rithika Merchant qui a gagné jeudi 10 juin 2021 le prix DDESSINPARIS – DDESSIN 21 ! Nous avons présenté son travail sur la foire Ddessin 21. Rithika gagne une résidence d’un mois à la Villa Ndar à Saint-Louis du Sénégal, et une de ses oeuvres rejoindra la Collection de Bueil & Ract-Madoux.
La première monographie de Ben Tolman, auto-éditée, est désormais disponible sur notre shop en ligne. Ce livre de 268 pages regroupe l’ensemble de son travail de 2014 à 2020.
Online store
L’émission “J’ai un ticket” propose l’exposition “Masquarade” de Quentin Garel dans sa sélection de sorties culturelles hebdomadaire.
A voir à partir de 1:43 : https://www.6play.fr/j-ai-un-ticket-p_5246/jai-un-ticket-du-8-au-14-fevrier-2021-c_12836457
By CHRISTOPHER BORRELLI CHICAGO TRIBUNE |
DEC 08, 2020 AT 12:32 PM
(…) Speaking of pop art: “American Fried Rice: The Art of Mu Pan” (Abrams, $65) only looks like a study of ancient war murals. Look closer. This collection from the Taiwan-born prankster are remarkable bits of art mimicry slapped against cheesier shout-outs to “Star Wars,” Bruce Lee movies, fast food — the point being, high or low art, it’s all myth making. (…)
November 06, 2020 |
Seven years since we first introduced the work of then SVA grad, Mu Pan, in a brief post titled “The Works of Mu Pan,” Taiwan-born and Brooklyn-based artist released his first monograph titled American Fried Rice: The Art of Mu Pan. The hardcover book is providing an elaborate look into his visceral, exciting, chaotic, and hilarious world filled with epic battles between mythic, pop-culture, and exceptionally mundane characters.
Raised on a strong influence of his Taiwanese upbringing and immersed in the culture of his adopted homeland, Mu Pan’s work blends together seemingly despairing characters, visuals, and aesthetics. Growing up with Japanese manga, Hong Kong Wu Xia TV series, and books by Louis Cha, strongly informed the way his narratives are constructed. Storyteller prior to anything else, the artist is regularly working with monumental scenes which are often metaphors or caricatures of the world he sees. “The first 10 years of my life here I tried to be American so bad,” he stated in the conversation that is featured in the book. “And then the second 10 years I just spent searching who I’m really am. Now I’m just bitter, I hate everybody equally. I’m not American, but I’m also not Chinese anymore. I’m glad I have both and I don’t have both.”
Rendered using techniques and formats inspired by Edo-era Japan but also influenced by the Western painting, Western image-making, and Dutch-Flemish painting technique, Mu Pan’s imagery regularly features characters from Japanese Kaiju films, samurai iconography, mythology, Bruce Lee, alongside people from American popular culture. With an illustration training background, his appreciation for Ukiyo-e aesthetics blends with his love for Bruegel and when mixed with his uncompromising attitude results in a truly unique graphic universe. Collected for the first time in one publication, American Fried Rice: The Art of Mu Pan provides a great overview and detailed look into his both timeless and hyper-modern oeuvre. The book features a foreword by filmmaker Ari Aster (Hereditary, Midsommar), a preface by artist James Jean, and a long conversation between Mu Pan and writer/curator, Sasha Bogojev.
Along with the regular edition which is now available online, the limited-edition will be released in early December in an edition of 100 copies, only through Galerie LJ’s online store. This edition will comprise the book, signed and numbered in a matching slipcase and original painting on paper from his newest series Compendium of Materia Medica. This series is a reinterpretation of the Ben-cao gang-mu, a Chinese herbology volume written during the Ming dynasty and originally published in the 16th century and we’ve received a couple of images showing Mu Pan’s vision of these iconic images. —Sasha Bogojev
EXPOS
Par Clémentine Mercier — 24 octobre 2020 à 12:22
Galeristes persiste et signe au Carreau du Temple (Paris IIIe)
«Ce n’est pas une édition de résistance mais plutôt de la persistance», se félicite Stéphane Corréard qui privilégie depuis ses débuts le local, la rencontre, le petit format, la taille humaine, la réutilisation de sa scénographie, plutôt que les mega raouts. En dépit des contraintes sanitaires (jauge à 360 personnes) Galeristes a le même nombre de participants qu’en 2019, compte 12 nouvelles galeries dans ses rangs et retrouve des fidèles qui n’ont pas de stand à la Fiac (Sémiose, Loevenbruck). «Sans galeristes la vie serait trop triste» dit le slogan et c’est vrai qu’il y a de la joie à retrouver l’Anthologie de l’art français mais aussi de nombreux accrochages pétillants où l’œil s’égare entre les coups de flashs aux allures de bonbons (Mustapha Azeroual – Galerie Binome), les découpages de la balinaise Ni Tanjung (Yes, we Love Project x Lucas Djaou), les icônes du Far West peintes par Zuka (Zenaide Gourievna Booyakovitch à la galerie Françoise Livinec) et les intrigantes femmes sans visages de Mary Clerté qui dessine aussi très bien les chats et les lapins (Galerie Pixi). Coup de cœur pour les céramiques sublimement monstrueuses du bien nommé Etienne Pottier, auteur inspiré de ravissants Godes de l’Enfer en terre cuite brillante.
Galeristes du 23 au 25 octobre (Carreau du Temple, Paris IIIe).
