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EXHIBITIONS

Bertrand Lavier and Mathieu Mercier at Galleria Massimo Minini, Brescia

Bertrand Lavier

Bertrand Lavier was already well known in the ‘70s, with photographic works that had been in the  Venice  Biennale, but I met him in Paris, at Eric Fabre’s, where I saw a beautiful show, by a young surprising man. Large objects, a grand piano among other things, slathered with big daubs of acrylic paint, a touche a la Van Gogh, paint  the  same color as the object, paint that covers but lets you see the form magnified, which reproduces any lettering, that mimics what is already there, but improved, fattened up, conveyed by paint (as  matter) into  the world of painting (as fine  art). In those day I must have been quicker on my feet: I suggested a show with me, his  first  in  Italy,  and  he  was  pretty quick himself. A show almost immediately, coverage in Domus,  major  articles,  then  two  more  exhibitions over  the  years,  then  our  ties  slackened.  He  tried out  other  galleries  in  Italy,  as all his  colleagues from the ‘60s did. And then here he is again, with new  works that go beyond the categories of painting and sculpture, new  objects  which  are paintings of themselves, forcing the artistic representation to seize even the ready made.

 

 

 

Mathieu Mercier 

Mathieu Mercier is the latest in the long list of French artists I’ve exhibited: Daniel Buren, Niele Toroni,  André Cadere, Claude Rutault, Bertrand Lavier, Bernar Venet, Philippe Thomas, and  then this  kid. He seems so young to me, but actually also Buren had that age when he first exhibited at my  galley. Mathieu was Daniel’s student at the famous Pompidou school with Pontus Hultén, like Ghada Amer and Alessandra Tesi. A good school. He won the Prix Duchamp,which in France is the equivalent  of  the Turner  Prize. In  short, talented, with a cold  approach, somewhere between architecture and design detourné. An ironic artist who parodies  things, objects; and with his concrete works wants to share with us experiences that  go  beyond  the  exhibition: toutes les oeuvres qui m’intéressent me traversent comme des fulgurances. Who can blame him… In this  exhibition I agree with Mathieu also on collections: so that 260 different objects are stolen from  the  market and raised to a symbolic  system, but  they  are  still  a work  in  progress, endless, impossible to complete. Maybe me too I’ll show him one of my collections.

Massimo Minini

 

 

at Galleria Massimo Minini, Brescia
until 3 June 2018

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