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office

102, rue des Poissonniers
75018 Paris, France

mob.: +33 (0) 6 61 00 10 33
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gallery

66, avenue des Champs-Elysées
3rd, 4th & 5th floor
75008 Paris, France

mob.: +33 (0) 6 61 00 10 33
via FaceTime, Viber & WhatsApp

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storage

96, rue des Poissonniers
75018 Paris, France

510-520 West 21st Street
New York City, NY 10011, USA

mob.: + 1 917 499 2943

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contact@galeriebrunomassa.com / galeriebrunomassa@gmail.com

© 2017

LA ART SHOW
January 10th – January 14th 2018
Los Angeles (USA)


with Gilles Teboul


Los Angeles has emerged as a global epicenter of art & culture, with a distinct, interwoven multi-cultural influence unique to the city. Diversity is our strength and art is most impactful when it includes or transcends all borders. As LA rises as the world-class destination for art, the LA Art Show continues to lead the way with innovative programming and one-of-a-kind experiences for an expanding collecting audience.






Artist's approach:

In his latest series, Gilles Teboul continues to keep a distance from the painter’s gesture. In his previous series, he proceeded by retreat, by subtraction, by what he called the « non gesture », erasing part of the matter which covered his canvases and thus causing the undercoat of paint to rise to the surface.

With his recent paintings, he goes as far as abolishing any gestural implication of the artist in the production. The paintings are placed flat on shims in equilibrium. Teboul lets the paint pour onto and spread out over the canvas without intervening in its movement.

Thus, the creator’s role in the fabrication is extremely limited and the work assumes its definitive form in the very instant of its conception. The artist is, indeed, dispossessed of his actions and is kept at a distance from his realizations. In other words, the physical act of painting yields to a procedure where the color, in the purest ‘acheiropoïetic’ tradition, distributes itself onto the canvas. This Greek term means "not made by the hand of man, miraculously".

It is a miracle, because usually, any work is an artefact whose genesis can be studied through the various intermediate stages, the sketches, the preparatory drawings, from a large body of actions, stroke by stroke, which designate it as the work of a human creator.

Here however, it is only when the opaque acrylic binder used by Teboul is definitively fixed that the image appears and reveals itself, without unveiling the secrets of its production.
Monochromes ? Only in appearance, because the eye, captivated, discovers all the richness of the tones which vibrate uder its surfaces. Translucid, the paintings function like an aquatic mirror in which the spectator sees his own image.

Let us be assured, Teboul is neither a magician nor a mystic.

At the same time, for over 15 years, he has developed a photographic series in reference to painting.

He questions the « institutional » discourse which has often announced the theoretical death of painting. By photographing his worn and dried painting material, the bottoms of pots, canvases, crusts, opercula, palettes, etc... accumulated and archived, he recycles them and gives them a new life.






CORPS ACCORD - solo show
66 avenue des Champs-Elysées, 3th & 4th floor
with Jean-Claude Sgro
December 6th – January 31st
Paris (France)


À la consonance, on s’attend à un combat. Dans un sens, s’en est un, car le corps n’est pas aisé à montrer. Sinon dans une intimité calfeutrée. Pourtant ce corps, si pudiquement dissimulé, est le support de tout, pensées, gestes, actions. Sans lui quel serait le support de l’humanité ? Je l’ai, pendant des années, traité, opéré, remodelé. Pour moi il est évident, noble comme un cheval de bataille, taillé pour l’aventure ou la vie quotidienne. Je l’ai « croqué » (avec un crayon rassurez-vous !) mille fois et plus. Le corps me fascine. Je le connais par cœur et dans tous ses recoins mais il m’étonne toujours, chaque fois que le modèle pose, ou simplement marche, s’installe. C’est le même et il est totalement différent. Je peux en tracer les contours les yeux fermés, de la main droite, de la gauche ou des deux à la fois. M’approprier ses formes, ses ombres. Le geste va-t-il avec la pensée, traduit-il l’humeur, l’affect ? Il s’inscrit en toutes lettres sous les traits du crayon, du pinceau, trace autant de signes propres à l’émotion de l’auteur. L’attitude n’est jamais vide de sens.



La Dame en Bleu
2017
acrylic on Altuglas
120 x 100 cm - 47,2 x 39,4 in



La Dame en Jaune
2017
acrylic on Altuglas
120 x 100 cm - 47,2 x 39,4 in