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Prune Nourry at Daniel Templon, Emanuel Proweller at Vallois and Dominique Gonzalez-Foerster at Chantal Crousel
  • Nourry plum
    Daniel Templon Gallery

There is almost nothing to see in the gallery, and that is the subject of the exhibition. But this last word is hardly appropriate, because the experience is that of an itinerary in total darkness. The right hand follows a rope to move forward. When it encounters a knot, you have to stretch out your left arm and your fingers touch a lump. We then understand that it is a kind of head or bust on a base. Touch identifies the nostrils or the contour of an ear. We then look for the eyes and the lips, without finding them. A female or male voice speaks of blindness, of what it is to not see or to no longer see, of the hypertrophy of the other senses, especially touch. And we who are not blind are faced with this unknown situation. Between the two routes in the night is inserted a room where a video tells – a little too much – the experience in which the artist is engaged. Blindfolded, she made the busts of eight visually impaired people. First modeled in clay, these portraits were molded, then fired according to an ancient Japanese technique, which explains the particular grain that we discover when we feel them to try to understand what is there, very close to us, but invisible, definitely invisible. Philippe Dagen

“Phenix Project”. Daniel Templon Gallery, 30, rue Beaubourg, Paris 3e. Until October 23.

  • Emanuel proweller
    Vallois Gallery

Prune Nourry at Daniel Templon, Emanuel Proweller at Vallois and Dominique Gonzalez-Foerster at Chantal Crousel

Who remembers Emanuel Proweller (1918-1981)? Forgotten by the history of Modern Art, this explosive painter was recently rediscovered, and almost by chance, by the Galerie Vallois. What a find! We could call on narrative figuration, to which he was close, without being locked into it, but also pop art, in its clear lines and bright colors; or even the early Miro and its playful commas. But the work of this painter of Polish origin, exiled after the war in Paris is most unique, oscillating from geometric abstraction to the odd genre scene. In each canvas, Proweller deliciously reverses the point of view: spotlight on a posterior, and some volubilis; bird’s eye view of flip-flops and varnished nails, tilting towards the twilight in the valley… His painting was his way of expressing “His gratitude for life”, explains today his daughter, the illustrator Elisabeth Brami-Proweller. Hence the solar character of this exhibition, strongly recommended to fans of sixties. Emmanuelle Lequeux

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