The sobering gallery offers you a group exhibition, “Accrochage Sauvage”. The primary intention was to produce an impulse, an impactful boost for the artists with whom the gallery collaborates.
The term « Accrochage Sauvage – “Wild Display” – quickly imposed itself : in the city, an « affichage sauvage » – « flyposting » – is one carried out outside the regulated spaces provided for this purpose. The concept behind “Accrochage Sauvage” thus aims to rethink the way of addressing the viewer, by making this exhibition a varied mesh of works, born of divergent personalities through analogous or contrasting but never dissonant productions.
sobering here, under cover of an innocent gathering of works in the tropisms of the gallery, wants to deceive you – which is an artifice shared by the artists: Thomas Barbey counterfeits the pixelation of images by reinventing the neo-impressionist technique ; Blair Thurman, Pierre Petit and Alexandra Hopf all use neon as a manufactured work, while its conception is purely artisanal ; Katerina Charou fakes a material personalization of her works while working with laserjet prints.
As the artworks were reunited, an undeniable cohesion slowly appeared : the potentially predictable cacophony turned out to be a harmonious whole. Like Kandinsky, for whom abstract revelation imposed itself at the sight of one of his upside-down paintings, or Malevich who saw through the force of his painting only after having theorized it, the exhibition “Accrochage Sauvage” revealed itself during its conception.
The “wildness” of the display then manifested itself in its most organic form, in the direct interaction of the creations with each other : the gallery hid, to use Michel Tournier’s words, a “cosmos in gestation “. An ecosystem – united and organized – was visible, where the opposition of each artistic affirmation did not hide dissensions but unrevealed dialogues.