December 12, 2009 - January 23, 2010

Ten paintings by Alain Séchas. Ten vertical formats. Nothing else. No sculpture, no technology, no sound.
And no cats either, no Martians. No Couéism.

Acrylic paint on paper meticulously mounted on canvas. The white edge of the paper is visible. So is the canvas.

So, painting. Very colourful paintings. Interlacings in which the form chases its tail until it’s out of breath. Detailed painting, dense and devious. Images in which, at first glance, nothing seems preconceived or premeditated.
Rather, a loss of control with gesture oscillating between virtuosity and awkwardness, between tension and release: a vertical journey not lacking in gravity.

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October 31 - December 5, 2009

Considered one of the most promising film-makers of his generation, thanks to the monumental West of the Tracks – a nine-hour-documentary on the dismantling of a huge industrial complex in China, acclaimed as a decisive work of the early XXIst century – Wang Bing stages his unique cinematographic grammar, through two intersected portraits.


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October 22 - December 5, 2009

Following the exhibition Shadows and Other Signs of Life in December 2007 - January 2008 Chantal Crousel Gallery is pleased to present a second series of works on paper – collages and drawings – by Andy Warhol.
The 13 works reunited here under the denominator Crude Icons allow us to enter the most hidden part of the artist’s studio. Sometimes they are studies of form, simple or repeated, drawn in graphite or painted with synthetic polymer on paper, sometimes they are complex collages, composed of graphite or silkscreen drawings and collaged with coloured paper.
We are before the elaboration of a vocabulary of forms and colours, which are then later combined, superposed, repeated.


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September 12 - October 24, 2009

Fabrice Gygi’s works do not comply with a performative scheme and are not destined for functional
application. However, as both signs and technical objects, they maintain strong relations to implications of action and use. The works presented in this exhibition can thus be related to three categories: jewels, machines (Fliessband and Star System) and signs (Strap-paints). As elements of these three categories, the singular relation these works maintain to activity and functionality are facilitated by a subtractive method, by way of putting (action and function) in reserve. Objects, in the sense to which its full literality should be attached, are “exhibited”: the machines will not work, the jewels will not be worn and the signs will remain lined up on the wall: what classifies them as works of art by giving primacy to the visual, declassifies them as everyday things.


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May 30 - September 05, 2009

What do you do ?
What do you have ?
Who are you ?

Here is how the world exists.

A circumstantial fact bound to humours in the sense of wellbeing and weather forecast.
The refusal to let oneself be qualified.
The Galerie Chantal Crousel is pleased to announce the fourth individual exhibition of Jean-Luc
Moulène.

The recent works brought together here – seven sculptures, two photographs, one video, six drawings –
are punctuated by five older works in a way to remind us of the infinite combinations of the mind in time
and in space, the statement and the form being constantly put to the test to different points of view:

Bordel d’organes – Monument pour Sainte Anne – Digest Sound – Troué – Divisé – Headbox – Chute d’escalier – Tilleuls
– Spider Gilles – Noeud – (Pierre percée) percée – Punk Ashram – (Pierre percée) percée – Soleil Noir – Dim. – Môme aux
yeux fond de teint – Os non os – Standard – Mort et vif – Le Noeud Coulant – Régulier – Paysage


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April 18 - May 20, 2009

The Galerie Chantal Crousel is pleased to present the American artist Sean Snyder for a third
monographic exposure to Paris. A selection of recent works disintegrates the image by interrogating the
media and ideological representation and questioning the material aspect of information.

The installation in the main gallery space elaborates on the project titled ‘Index’ recently presented at the
ICA, London. The various works consist of a series of experiments made by the artist in the process of
digitizing and destroying his archive, in which the materials themselves become the subject of
investigation.


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February 21 - April 11, 2009

Marcel Duchamp, Marcel Broodthaers, Robert Filliou, James Lee Byars, Sigmar Polke,
Hans-Peter Feldmann, Georg Herold, Isa Genzken, Richard Prince, Mona Hatoum,
Mike Kelley, Thomas Hirschhorn, Jutta Koether, Heimo Zobernig, Fabrice Gygi,
Tonico Lemos Auad, Wolfgang Tillmans, Seth Price, Isabelle Cornaro, Ligia Dias
Danh Vo, Figure de reliquaire Byeri (Fang-Ntoumou)


“I am very fond of gold, because it is symbolic.
I look at gold in a disinterested way;
Gold is like the sun, it is unalterable.”
Marcel Broodthaers

“I believe enormously in eroticism, because it is something truly general throughout the world, something that everyone understands. It replaces, if you wish, what other Literary Schools call Symbolism, Romanticism. It could be another “ism”, so to speak.
I don’t endow it with any personal signification but, basically, it is a real way to bring to light things that are constantly hidden – and they aren’t necessarily erotic – because of the Catholic religion, because of the social rules. To be able to reveal them and to place them at everyone’s disposal, I think this is important, because it is the basis of everything, and no one talks about it.”
Marcel Duchamp


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