Brissot Contemporary Art Gallery

TO BE OR TO HAVE

 

Pascal Pilate

Recent paintings and work on paper

Technique : gold sheet, marble powder mixed acrylic

 

Meet Pascal Pilate is at the same time

to discover an artist's art work based on the experience of raw material as in French

movement for art - «  Support Surface » and the Cross Over- metal hardecore

and discover the therapist, well known in France and abroad for having published

«  parades Pilate » an handbook of new methods of self first aid in physical pain.

 

 

FEELINGS of material substantific power and movement.

 

Pascal Pilate uses his double experience of relationship mind-body.

Material itself imposes its reality and its force: body, canvas, in a movement: Vibration,

breathing, yearning, liberation.

This anteriority is necessary to anticipate by the gesture material's memory. Then, signicate

the true life of its substance.

Then painting coats suceed one to each other, thick, delicate or granulated, and abstracts

signs and tracks to open us a metaphysical perception of reality, and

 

Stuart Ringholt Circle Heads (detail) 2005, book, 22 x 30 cm. Courtesy the artist and Anna Schwartz Gallery, Melbourne. 
In a culture shaped by the economic imperative of relentless, never-ending growth, in which individuals are consumers, the selection of a Venti Mocha Frappacino at the local Starbucks is seen as a mode of self expression; 31 flavours, channels or brandname running shoes are barely enough and the catch cry, 'more, more, more', ricochets off the glittering canyons of Westfields worldwide, Carolyn Christov-Bakargiev[1], Artistic Director of the 16th Biennale of Sydney, is keenly aware that it is possible to have too much of a good thing.
The gluttony of rampant consumerism and the cacophony of information overload have saturated every aspect of our culture, so it's not surprising that even the fine art realm of international biennales has been affected. For Christov-Bakargiev, the result is that attending them becomes something akin to a trip to the mall, a symptom of what she calls the Biennale Syndrome. Her use of the word syndrome deliberately evokes connotations of disease, but it also references the Stendhal Syndrome, which as she explains, 'means a kind of a collapse because of an excess of aesthetic experience.'[2] For Christov-Bakargiev, 'In a world where there are 104 biennales, if not more, we are near a kind of collapse (due to the) over-presence, the over-visibility of art. It's not about an excess of existence of art in the world, as a natural human impulse, but it is about the circulation of art, and the exhibition of art.'

As with most things, there are both positive and negative aspects to

http://blog.contemporaryart-gallery.com/

 The responsiveness of the evolution? thoughts? e?

On the sidelines of biennials and international contemporary art fairs,
whose en? n? sie's? ever? not jeopardize the existence of s.
in itself but its shown? representation and its circulation,
Carolyn Christov-Bakargiev *,? Read pr? Chairman of the next Documenta in 2012
d? nuncio this kind of shopping spree culture, which it describes
of? Biennale Syndrome? apparent? the collapse of the well known Syndromes? of me
Stendhal.
Rejecting this ru? E to novelty? as the spur of the compulsive buying of a work
Art, she intends to initiate a r? of evolution? thoughts? e? by breaking
mod? offering the super show? voracious consumers:
We must remind the world of? Desiring to s'? Escape the profusion of languages
m? diatiques and their cacophony, the r? evolution of art is its own language,
and therefore the action-verb-origin MEMORY then life in nature that it
are the aesthetic field?

Victor Kazarin is the founder of Russian post-suprematism.

THe artist was born in 1948 in Moscow. Graduated from the Arts department of the Institute for Pedagogics, Victor Kazarin has been a member of the Moscow Union of graphic artists since 1976, and a constant contributor to the famous NON-CONFORLISTS art expositions on Malaya Gruzinskaya Street in Moscow.

In 1991, a huge retrospective exposition of Mr. Kazarin’s works opened in Moscow Manezh (the mane art stage for contemporary art in Moscow), featuring more than 600 of his canvases.
Since then, he is referred to as ‘the father of Russian neoexpressionism ’, which is certainly a new and fresh trend in the fine arts.

In 2003, enriched by art language of abstractionism, cubism, surrealism and post-impressionism, Victor Kazarin founded the new painting style - Russian post-suprematism. Post-suprematism has breathed a new life into the spirit of all avant-garde trends, and even now stimulates their continued development.
When asked about his art, Victor Kazarin says: “painting …must be as easy and natural as breathing, so that the art might stream out of your bosom”. This freedom is what crowns his creative career of more than 20 years.
Today, thousands of canvases by Victor Kazarin grace the exhibitions and private collections in more than 40 countries of the world.


[ See the continuation... ]

Dmitry Kawarga

L'artiste vie et travail à Moscou, Russie

Dmitry est le membreof de la Fédération Internationale des Artistes, et de la Union des Artistes de Russie
Les expositions personnelles

2009– Exposition personnelle, Barbarian-art gallery, Zurich, Switzerland
2009 – “Introduction en sujet” Galerie pop/off/art, Moscou, Russie
2007-2008 - "Trepanation of the Thought-forms" gallery pop/off/art, Moscow (catalog)
2007-2008 –“Photocompressing” Business hous “Mohovaja, 7”, Moscow
2005 - "Biomorphic radicalism in the destructive synthesis" gallery "Sam Brook", Moscow
2003 - "Retrospective Cut" Natural Science University, Moscow.
2002 - "Project 2x10" Callery À-3, Moscow , (catalog)
2001 - Science-n-Art Project in cooperation with Honored Inventor of Russia V.Beshekov, (catalog)
1999 - "Saturated Landscape" Staraja Basmannja St.21,