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From 18 April to 31 May 2025
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 17 April 2025, 5 to 9 pm

The Galerie Les Yeux Fertiles invites you on a vibrant journey to the heart of Latin American art, with works by Jorge Camacho, Joaquín Ferrer, Gerardo Chávez, Roberto Álvarez Ríos, Ramón Alejandro, Mauro Mejiaz and Jorge Vigil. A dialogue between cultures, colours and imaginations not to be missed.

These works have a history: paintings by Joaquín Ferrer that belonged to Alain Bosquet, essayist and art critic; works by the contemporary Surrealist painter Raciel Godinez-Rodriguez, working clandestinely in Cuba; and the esotericism and alchemy of Jorge Camacho, whose work was championed in its day by the galleries of Jacques and Thessa Herold in Paris and Joan Prats in Barcelona.

Artists: Jorge Camacho, Joaquín Ferrer, Gerardo Chávez, Roberto Álvarez Ríos, Ramón Alejandro, Mauro Mejiaz, Jorge Vigil, Raciel Godinez-Rodriguez

Works shown

• Joaquín Ferrer, L’arbre S, 1979, oil on canvas, 128 x 128 cm
• Jorge Camacho, Le joueur de tours, 1998, pastel and Indian ink on canvas, 215 x 73 cm
• Roberto Álvarez Ríos, Le Blanc d’un univers pour toi regard, 1972, oil on canvas

From 14 March to 12 April 2025
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 13 March 2025, 5 to 9 pm

Two singular artists.

Ursula Schultze-Bluhm (1921-1999), C’est moi Ursula ! (It’s Me, Ursula!) Paintings, drawings, boxes

Discovered by Jean Dubuffet in 1954 and included in the Collection de l’Art Brut in Lausanne, this self-taught artist nonetheless defies classification. Her poetic, even Surrealist works belong to “the automatism of mediums”, according to André Breton in the review La Brèche in 1961. At the gallery you will find works lent to the Museum Ludwig in 2023 for her major retrospective in Cologne, “That’s Me So What”.

A small souvenir of the major Ursula retrospective at the Museum Ludwig in Cologne in 2023, to which the gallery lent 5 works, with Andrew Russeth’s article in The New York Times of 16 May 2023, illustrated with Les deux gardiens, now at the gallery. Ursula took part in major exhibitions such as documenta in Kassel, and began making her assemblage-sculptures at the end of the 1950s.

“The image is lodged in my mind and waits to be released into the outside world, onto the canvas,” Ursula wrote.

Yolande Fièvre (1907-1983), automatic paintings, oniroscopes

Artists: Ursula Schultze-Bluhm, Yolande Fièvre

Works shown

• Ursula, Les deux gardiens, 1986, oil paint and varnish on wood, double-sided, 175 x 57 x 1.8 cm and 175 x 58 x 1.8 cm, catalogue raisonné no. 86/102 (reproduced in Ursula, catalogue raisonné, Hirmer, 2007, pp. 206 and 207, and in Ursula: That’s me. So what?, exhibition catalogue, Museum Ludwig, Cologne, 2023, pp. 118 and 119)
• Ursula, La femme de Potiphar, 1983, oil on canvas, 120 x 180 cm, catalogue raisonné no. 83/001 (reproduced in the catalogue raisonné, Hirmer, 2007, p. 84, and in the Museum Ludwig catalogue, Cologne, 2023, pp. 276 and 277)
• Ursula, Cauchemar, 1984, mixed media, oil and furs on canvas, 79 x 99 x 4 cm, catalogue raisonné no. 84/007 (reproduced), Cologne retrospective 2023, p. 345 (reproduced)
• Ursula, Bouquet fleurs, circa 1955, oil on panel, 75 x 52 cm, catalogue raisonné no. 50er/001
• Ursula, The fight outside of the fur-town, 1981, coloured pencil and fur collage on paper, 73 x 102 x 5 cm, catalogue raisonné no. 81/201 (reproduced in the catalogue raisonné, Hirmer, 2007, p. 381)
• Ursula, Le poète regarde la mer profonde, 1989, oil on canvas, 50 x 100 cm, catalogue raisonné no. 89/008 (reproduced in the catalogue raisonné, Hirmer, 2007, pp. 230 and 409, and in the Museum Ludwig catalogue, Cologne, 2023, p. 130)
• Yolande Fièvre, Var bizarre n° VIII, 1967, oniroscope, 12 x 17 cm, signed, dated and titled on the reverse
• Yolande Fièvre, Sans titre, circa 1950, automatic painting, 23 x 16 cm, signed

From 24 January to 8 March 2025
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 23 January 2025, 5 to 9 pm

Following on from our three exhibitions for the centenary of Surrealism.

Photographs, photomontages, collages, drawings, paintings, objects.

Artists: Jean Benoît, Bolesław Biegas, Jacques Carelman, Louve Delfieu, Fred Deux, Léo Dohmen, Agares Graber, Eikoh Hosoe, Stanislao Lepri, Pierre Molinier, Mathilde Numiel, Olivier O. Olivier, Man Ray, Fabian Sanchez, Seigle, Jan Švankmajer, Arthur Tress, Paul Vaussane, Claude Verlinde, Yoshiko

Works shown

• Jan Švankmajer, Sans titre, 2009, collage of material from the film Surviving Life, 45 x 54 cm
• Claude Verlinde, Le Voyeur, circa 1980, oil on panel, 84 x 95 cm
• Claude Verlinde, Dans le fauteuil, 1996, oil on panel, 80 x 55 cm
• Louve Delfieu, Enracinements 1, Fukushima, 2011, original silver gelatin photograph, 39 x 39 cm, no. 3/5
• Mathilde Numiel, Voluptés, 2018, 4 images from the series of 40 self-portraits, original silver gelatin prints, 10 x 16 cm, no. 1/8
• Yoshiko, Pour Rodogune, 1986, oil on canvas, 110 x 100 cm
• Bolesław Biegas, Hypocrisie, 1920, oil on cardboard, 13 x 18 cm
• Fred Deux, La fin n’est pas la fin, 1974, graphite and paint on paper, 59 x 42 cm

From 6 December 2024 to 9 January 2025
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 5 December 2024, 5 to 9 pm

The third exhibition organised as part of “Paris Surréaliste” with the Comité des galeries d’art and the Centre Pompidou: the anthropomorphic machines of Fabián Sánchez (1934-2020).

“After this Black Friday week, everyone has been looking for the latest model. The latest version. The newest. The shiniest. And yet… What if the art of reuse were the finest of innovations? That is what my father, Fabián Sánchez, an artist honoured by the Académie des Beaux-Arts, never stopped showing me through his work. Where some queue to buy new things, he saw in old sewing machines the promise of a rebirth. In every worn mechanism he sensed a story to tell. In every abandoned cog he perceived a beauty to reveal. […] I invite you to discover this world in which reuse becomes art at the opening of his posthumous exhibition ‘At the Sources of Convulsive Beauty’, organised by his friend the gallerist Jean-Jacques Plaisance. An exhibition that brings his anthropomorphic machines to life… These poetic creatures remind us that the true value of an object is not measured by its date of manufacture, but by the soul we give it.” Ludvina Sanchez, 28 November 2024

The exhibition was accompanied by a short presentation video and extracts from a text by André Pieyre de Mandiargues, Proposition pour une définition d’un art fantastique contemporain (Tours, 1977), by kind permission of Maître Sibylle Pieyre de Mandiargues.

Friday 13 December 2024, 6 to 8 pm: meeting and book signing with Emmanuel Bauchard and Fabrice Flahutez, authors of the critical anthology devoted to Pierre Mabille.

Owing to the success of the exhibition, the gallery remained open over the holidays, on 26, 27 and 28 December and 2, 3 and 4 January. The three parts of At the Sources of Convulsive Beauty drew record numbers of visitors.

Works shown

• Fabián Sánchez, Excelsior, circa 1977, animated sculpture, 158 x 53 x 80 cm
• Fabián Sánchez, Ingau Ingau, circa 1998, animated sound sculpture, 44 x 17 x 16 cm

Artist: Fabian Sanchez

From 25 October to 30 November 2024
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 24 October 2024, 5 to 9 pm

The gallery invites you to the second part of At the Sources of Convulsive Beauty, as part of “Paris Surréaliste”.

• André Breton “the influencer”, through works by F. Bott, Fred Deux, Christian d’Orgeix, Joaquín Ferrer, Henri Goetz, Jacques Le Maréchal, H. Michaux, Endre Rozsda, Claude Verlinde
• Édouard Jaguer and the international Phases movement: Guido Biasi, Jacques Lacomblez, Jules Perahim, Philip West, Ludwig Zeller
• The permanence of the contemporary Surrealist gaze: Mr. Djub, Lou Dubois, Yoan A. Gil
• “La Machine à inspirer l’amour” by Jacques Carelman after A. Jarry
• And finally, a rare ceramic service by Robert Tatin, from 1950

Henri Goetz: born in the United States in 1909, he came to Paris in 1930 and studied at the Montparnasse academies. From January 1936 Goetz began painting non-figurative pictures, a “non-figurative painting of pure invention”, to express his inner world. He discovered Surrealism through his friendship with the poet Juan Brea and his wife, Mary Low, who belonged to André Breton’s group. He then spent time with the Surrealists Ubac, Péret and Domínguez. André Breton met Goetz in 1938; it was on discovering in 1939 the works painted over reproductions of famous paintings that he gave them the title Chefs-d’œuvre corrigés (Corrected Masterpieces).

Joaquín Ferrer: born in 1928 in Cuba. His career already under way, he came to Paris in 1960 for a year of study that became a permanent settlement alongside his friends Camacho, Lam, Cárdenas and Matta. In 1968 his first Paris exhibition, with a preface by Max Ernst, took place at the Galerie Le Point Cardinal. “One of them, Ferrer, is something of a discovery of mine.” Max Ernst, 1967.

A fine article by Louis Janover on Jacques Le Maréchal, “Changer l’angle de la réalité”, appeared in Le Monde diplomatique in November 2024, featuring three of the artist’s works included in the exhibition.

Saturday 30 November 2024, 4 to 7 pm: closing event with the Magus Mr. Djub and presentation of the Boîte de premiers secours pour tous problèmes artistiques (First-Aid Box for All Artistic Problems), a limited edition of 30 copies published by Venus d’ailleurs.

Works shown

• Philip West, Sans titre, 1981, oil on canvas, 70 x 50 cm
• Claude Verlinde, L’Ibis sacré, 1971, oil on canvas, 54 x 73 cm
• Jacques Le Maréchal, Les 7 portes de la folie, Indian ink on paper, 30 x 25 cm
• Jacques Le Maréchal, Les 3 Papes, 1971-75, egg tempera on panel, 58 x 45 cm
• Henri Goetz, Sans titre, 1939, oil on panel, 22 x 32 cm
• Henri Goetz, L’homme aux feuilles, John Wells, 1939, mixed media, 21 x 27 cm
• Joaquín Ferrer, L’homme obscur, 1993, acrylic on panel, 62 x 50 cm
• Robert Tatin, ceramic service, 1950

Artists: Fred Deux, Christian d’Orgeix, Joaquín Ferrer, Henri Goetz, Jacques Le Maréchal, Endre Rozsda, Claude Verlinde, Guido Biasi, Jacques Lacomblez, Jules Perahim, Philip West, Ludwig Zeller, Mr. Djub, Lou Dubois, Jacques Carelman

From 6 September to 19 October 2024
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 5 September 2024

For the centenary of Surrealism, discover our new exhibition centred on Jacques Hérold’s Le Grand Transparent and Jean Benoît’s Costume for the Execution of the Testament of the Marquis de Sade.

As part of “Paris Surréaliste”, a programme of 40 exhibitions co-organised by the Comité André Breton, the Comité des galeries d’art and the Centre Pompidou for the centenary of the Surrealist Manifesto. A double catalogue accompanies the three parts of the exhibition: Ces yeux dans lesquels je voyage : aux sources de la beauté convulsive.

Rare and major works unseen for decades:

• The Costume for the Execution of the Testament of the Marquis de Sade by Jean Benoît, not seen since 1959 and the opening of the EROS exhibition.
• A work by Jean Benoît, L’Or du temps, in tribute to André Breton and the poets connected with Surrealism, made after the 1991 André Breton exhibition at the Centre Pompidou, and shown only at the gallery, in 2001.
• A work by Mimi Parent exhibited, and sold, at the 1965 exhibition L’ÉCART ABSOLU: a large pyrography on wood with metal inclusions, a self-portrait entitled En veilleuse. A major work that caused a sensation at the time with the public, and with the Chicago Surrealist group, founded at the initiative of Franklin and Penelope Rosemont after their meeting with the Paris Surrealists (for whom Mimi acted as interpreter and guide) at this exhibition; the group is still active in 2024. This work, visible in a few rare photographs of the exhibition (reproduced in G. Durozoi’s History of the Surrealist Movement), has remained in a private collection since 1965 and so has never been shown since!

At the end of September a new hanging presented rare works by Fred Deux and Mimi Parent.

Works shown

• Jacques Hérold, Le Grand Transparent, 1947, sculpture
• Jean Benoît, Costume for the Execution of the Testament of the Marquis de Sade
• Jean Benoît, L’Or du temps, 1994, “Qui vive, Qu’il vive, Qu’il survive, Qu’il revive ! Signé : Le fer à conviction”, mixed media on panel, 200 x 150 cm
• Mimi Parent, En veilleuse, pyrography on wood with metal inclusions

Artists: Jacques Hérold, Jean Benoît, Mimi Parent, Fred Deux

From 7 June to 6 July 2024
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 6 June 2024, 5 to 9 pm

It is the centenary of the 1924 Surrealist Manifesto! As a preview of our three successive exhibitions from 5 September, and as part of “Paris Surréaliste” organised by the Centre Pompidou, the Comité des galeries d’art and the Comité Breton, let us meet for a Surrealist Prelude.

Some thirty artists from the Surrealist sphere, some of the works coming from the collections of André Breton, José Pierre and Arturo Schwarz!

With Endre Bálint, Hans Bellmer, Robert Benayoun, Max Bucaille, Jorge Camacho, Adrien Dax, Irena Dedicova, Gabriel Der Kevorkian, R. Garcia York, Henri Goetz, G. Halpern, Jacques Hérold, G. Hugnet, Édouard Jaguer, André Masson, Mayo, Milan Nápravník, Christian d’Orgeix, Manou Pouderoux, Jean-Claude Silbermann, Ugo Sterpini, Max Walter Svanberg, Endre Rozsda, Claude Tarnaud, Jean Terrossian, Václav Tikal, R. van den Abeele, R. von Holten, Yoshiko.

Works shown

• R. Garcia York, Pheyaudrium Aquaticum, 1964, oil on canvas, 73.3 x 92 cm
• Claude Tarnaud, Mogadisque, inks and oil on antelope skin, 56 x 42 cm
• Max Walter Svanberg, Sans titre, 1960, gouache on paper, 45 x 37.5 cm
• André Masson, Rue Saint-Denis, circa 1955, gouache on paper, 32 x 50 cm, signed lower left, certificate from the Comité Masson
• Jean Terrossian, En chute libre, circa 1965, oil on canvas, 81 x 100 cm
• Václav Tikal, Sans titre, 1957, graphite drawing, 34 x 23 cm

Artists: Endre Bálint, Hans Bellmer, Robert Benayoun, Max Bucaille, Jorge Camacho, Adrien Dax, Irena Dedicova, Gabriel Der Kevorkian, Henri Goetz, Jacques Hérold, Édouard Jaguer, André Masson, Mayo, Milan Nápravník, Christian d’Orgeix, Manou Pouderoux, Jean-Claude Silbermann, Ugo Sterpini, Max Walter Svanberg, Endre Rozsda, Claude Tarnaud, Jean Terrossian, Václav Tikal

From 3 May to 1 June 2024
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 2 May 2024, 5 to 9 pm

We are delighted to invite you to this double exhibition: Olena Donichenko, Tissage de destins (Weaving Destinies), and Jorge Vigil, Au delà de mes rêves (Beyond My Dreams).

With Jorge Vigil and Olena Donichenko.

Works shown

• Olena Donichenko, Atropos, 2024, watercolour, tempera, ink on paper, 50 x 50 cm
• Jorge Vigil, Vestiges, 2015, watercolour, charcoal and acrylic on paper, 27 x 19 cm
• Jorge Vigil, Coïncidences, 2019, drawing, mixed media on paper, 31 x 45 cm

Artist: Jorge Vigil

From 15 March to 18 April 2024
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 14 March 2024, 5 to 9 pm

Art Brut, Naive Art, Art Singulier
A. Bauchant, P. Bettencourt, A. Boix-Vives, A. Caillaud, P. Dereux, E. Gabritschevsky, S. Kopač, E. Monsiel, L. Pons, J. Rispal, and a few others…

Pierre Bettencourt: in 1953, after a stay in the Alpes-de-Haute-Provence with Jean Dubuffet, Bettencourt composed his first collages and high reliefs in which unconventional materials (fragments of slate, coffee beans, eggshells, butterfly wings, hessian, stones…) appear on painted grounds, giving the figures their singular texture and unsettling thickness. Two rare works of 1953 and 1954, among his very first, are shown.

Eugène Gabritschevsky: first a brilliant scientist from Moscow to New York in the 1930s, he was then permanently confined for fifty years. It was in this psychiatric setting that he developed an immense, varied, poetic and fantastical body of work. Two gouaches showing his passion for the scientific and morphological study of insects are shown.

Philippe Dereux: in Lyon and Vence, from the mid-1950s, this schoolteacher took part in artistic research shared with his friends Pierre Bettencourt and Jean Dubuffet. These gatherings of butterflies, feathers and stones would make up original “texture pictures”.

A few artists from the exhibition L’Esprit singulier (Treger/Saint-Sylvestre collection), shown at the same time at the Halle Saint-Pierre, were also present at the gallery. Originally planned until 13 April, the exhibition was extended on the afternoons of Wednesday 17 and Thursday 18 April 2024.

Works shown

• Aristide Caillaud, Sans titre, 1958-1959, oil on panel, 174 x 114 cm
• Philippe Dereux, Paris la nuit, 1973, paint on a collage of peelings on panel, 64 x 48.5 cm
• Philippe Dereux, Que le ciel s’étoile, 1968, paint on a collage of peelings on panel, 64 x 50 cm
• Eugène Gabritschevsky, Petite fable, gouache on paper, 20 x 22.5 cm
• Louis Pons, Grands docks, 1998, mixed media, 182 x 126 cm. Shown in the double retrospective of Louis Pons in Nice and then Marseille in 2023, reproduced in the catalogue p. 131 and chosen for the exhibition poster
• Pierre Bettencourt, Ève, 1953, mixed media, 35 x 28 x 2.5 cm
• Edmund Monsiel, Sans titre, 1947, mixed media, 15 x 10 cm
• Ursula, Vase boule et bouquet de formes, circa 1957, oil on cardboard, 75 x 52 cm

Artists: André Bauchant, Pierre Bettencourt, Anselme Boix-Vives, Aristide Caillaud, Philippe Dereux, Eugène Gabritschevsky, Slavko Kopač, Edmund Monsiel, Louis Pons, Josette Rispal, Ursula Schultze-Bluhm

From 26 January to 9 March 2024
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Opening on Thursday 25 January 2024, 4 to 9 pm

Both came to Paris in 1959 with a one-year study grant, and neither went back. Friends of Lam, their elder, and of Cárdenas since Havana, they met again in a Paris where South Americans and Surrealists already held one another in esteem.

The two friends met in the Havana of the late 1950s, a friendship also shared with Cárdenas and Lam. They met again in Paris at the Maison de Cuba in the Cité universitaire in 1960, where they spent a decisive year, since both decided to settle in Paris for good. They took part in the major exhibition Art latino-américain organised in 1962 by Jean-Clarence Lambert at the Musée d’Art moderne de la Ville de Paris, which highlighted the diversity and richness of Latin American artists’ output. Their paths in Saint-Germain-des-Prés ran in parallel: a meeting with Breton, who prefaced Camacho’s exhibition at Raymond Cordier’s in 1963, and, for Ferrer, a meeting with Max Ernst and Jean Hugues’s gallery, Le Point Cardinal.

Éditions Palatines would devote a major monograph to each of them, and the Maison de l’Amérique latine a retrospective to Jorge Camacho in 2004, and to Joaquín Ferrer in 2017.

Works shown

• Jorge Camacho, Cendres, 1972, oil on canvas, 130 x 97 cm, signed and titled on the reverse
• Jorge Camacho, L’Engoulevent, 1972, oil on canvas, 98 x 130 cm, signed and titled on the reverse
• Joaquín Ferrer, L’Arbre S, 1979, oil on canvas, 128 x 128 cm, signed lower left
• Joaquín Ferrer, Sans titre, circa 1965, oil on paper, 76 x 56 cm, signed lower left

Artists: Jorge Camacho, Joaquín Ferrer