Left: Xavier Veilhan, Model of Turbine, 2010.
Polyurethane resin; diameter 25 cm x 4,8 cm / 9 7/8 x 1 7/8 inches
Photo © diane arques ; © Veilhan/Adagp, Paris, 2011.
Right: Giuseppe Gabellone, Nodo, 2011.
Two colors silkscreen on paper; 160 x 120 cm / 63 x 47 1/4 inches.
Images courtesy Galerie Perrotin, Paris.
Xavier VEILHAN – Giuseppe GABELLONE
Opening on Saturday 10 September 2011, 4–9 PM
76 rue de Turenne
Galerie Perrotin is pleased to announce the solo shows by Xavier Veilhan and Giuseppe Gabellone.
10 September–12 November 2011
“Orchestra” rings out under the direction of the artist Xavier Veilhan as a polyphony of objects, renewing the perception of space in the Galerie Perrotin in Paris. The event marks a turning point through works that, for the most part, have never been seen before. At the same time, it initiates an introspective turn in the artist’s modus operandi. The new shapes displayed are not a negation of previous works, but rather inscribed in their continuity. Mobile n°4 and Stabiles lend themselves readily to the visual field opened by Calder, which Xavier Veilhan exploits in a contemporary manner time and again. He also returns to painting by presenting old-fashioned images rendered traditionally; trees and birds that at first glance contrast sharply with the technical skill of certain works like Turbine and even contradict the autonomy of production of Pendulum Dripping. Xavier Veilhan thus evokes his interest for technique and its evolution in accordance with art history.
“Orchestra” is, however, a paradoxical synthesis, because even though the works are situated in a conceptual or thematic continuity, they also mark a visual and formal turning point in the artist’s approach. Marine for example, is not faceted in the way the Architects were. This more plausible sculpture clarifies the status of the imprint of the real that sculpture maintains in Xavier Veilhan’s method. The space is encompassed by exhibition techniques setting up instances of direct confrontation between the spectator and the figures represented. The Monument sets up a truly suprematist architectural space—another development in the work of Xavier Veilhan—and is thus made practicable to visitors.
“Orchestra” is accordingly a work in itself that invites meandering and contemplation. The public becomes the actor of the exhibition by going through Les Rayons for example, a work inspired by Fred Sandback and Jesús-Rafael Soto that can be penetrated. “Orchestra” depicts a new space between reality and fiction in which a monument emerges, an installation shines forth or a turbine powers up as elements that tend to disrupt reality. This composition brilliantly reaches its climax with the hypnotic gaze of a gorilla, the choice of which is justified by the artist who says, “there is a natural propensity to project human characteristics onto animals, which is an utter aberration by the way, but it’s a wonderful aberration”. The animal’s piercing gaze invites contemplation and reflection on this symphony of objects and sounds the end of “Orchestra” with a musical title, Gorilla, Gorilla, Gorilla.
10 September–15 October 2011
Giuseppe Gabellone often associates sculpture with photography creating a relationship of dependence and ambiguity between the two languages.
The first room features a collection of 32 photographs and 14 bas-reliefs in aluminium placed at irregular intervals. The images show a structure composed of three rings surmounted by electric bulbs undergoing alterations of time and nature through a chronological construction and false narrative. The spectator literally turns around the sculpture through the one-to-one point of view of each photograph. The vibrant surface area of the bas-reliefs takes place in the continuity of this movement, making them a part of the narration itself. Finally, two ‘marines’ seem to condense and freeze the time that has passed.
In the second room, four screen prints on paper reveal images on glass placed on the ground on bricks: a reversed portrait, a flower, smoke and a drawing of a braided line. Their ghostly and fleeting presences are merged with their own shadow and are layered on the other on the surface of the ground.
In the last room, two bronze bas-reliefs preserve the imprint of the different materials and elements that punctuate their texture like those in aluminium.
“Homage to Yves Klein”
20 October 2011–7 January 2012
19 November 2011–7 January 2012