Since it’s vacation time, why not cross the Var, head towards the beautiful village of Carros, and climb up to the castle (one of the oldest in Provence) which houses the International Center of Contemporary Art. It is thirty-five degrees Celsius at eleven in the morning, yet the audience is very large at this opening titled “Our Holiday Loves.”
And there, a wonderful surprise, twenty-eight contemporary artists find themselves exhibited opposite modern artists who are part of the CIAC’s collection, mostly coming from the André Verdet donation, who is often found as the model in the paintings. Each exhibited work is linked to its counterpart. The connection may be figurative, in the subject, or in the color; sometimes it is barely perceptible and then becomes a real treasure hunt for the viewer. Sometimes one or two generations separate the artists, sometimes they could be relatives.
This is the real interest of this exhibition: to rediscover. Frédéric Altmann, the director of the CIAC, is not mistaken when he writes, “Perhaps this is a step further towards ‘a new hygiene of vision,’ dear to Martial Raysse?” We will not discuss here all the art couples created by the exhibition commissioners, Emmanuel Régent and Marc-Olivier Vignon. However, we encourage you to get the very beautiful and intelligent booklet published by the CIAC.
The bowler-hatted men by Michel Néron from 1931 (and no, this is not Magritte!), static and cold, face a black and white canvas by Frédéric Clavère directly from A Clockwork Orange. A small painting by Douanier Rousseau depicting a timeless couple is next to a snapshot by Ida Tursic and Wilfried Mille titled “Wedding in Las Vegas” where Elvis attends the union of a colorful couple. Everything differentiates the artists in technique, but everything unites them in subject.
The harshness and strength of André Verdet’s portrait by Karel Appel face a canvas that brings together Florence Obretch and Axel Pahlavi. She paints a man on a black background, and he adds in his hands a fetal and frightening creature.
A bicycle wheel by Martin Caminiti is next to a wheel made of breeze blocks and cement by Raphaël Zarka. Here, if the form unites the artists, the treatment completely opposes them.
A beautiful portrait of Pablo Picasso and André Villers evoking a nocturnal reverie faces four watercolors by Fabien Verschaere. They are, at first glance, endowed with the freshness of childhood. In fact, they plunge you into a demonic and humorous carnival.
There are other encounters, and in absence of loves, it’s a magnificent stroll to which Frédéric Altmann and Frédérik Brandi, who lead the destinies of Carros Castle, invite us.
Exhibition until September 10.
Christian Gallo
© Le Ficanas ®
