Author: admin

From 1 December 2018 to 12 January 2019
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Bronze, glass, plastic, clay: Josette Rispal does indeed use materials in “profusion”, as Françoise Sagan points out, to create this unique world, rich in diversity, where shells, sweets, magnificent flora, translucent masks and rag dolls rub shoulders.
Josette, born in Aurillac (Cantal) in 1946, began working with clay in 1974 and discovered, while modelling L’Homme qui se roule de douleur, that sculpture opened up the world of expression to her. The following year her research exploded in every direction: she carved on lava and used glass. There followed a prolific creativity, a multiplication of materials and an overflowing inventiveness in new techniques. From 1977 she exhibited in Paris and Germany, and her first retrospective, in September 1983, was followed by many international exhibitions.

Artist: Josette Rispal

From 1 October to 3 November 2018
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

11 ARTISTS, 11 AUTHORS, 11 WOMEN
from the worlds of Art Brut and Art Singulier

Thérèse Bonnelalbay, Yolande Fièvre, Madge Gill, Isabelle Jarousse, Rosemarie Koczy, Marina Pelosi, Josette Rispal, Ody Saban, Christhine Sefolosha, Solange Lantier, Ursula.

From 18 May to 7 July 2018
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

The sound of crystals

When you lift the compact lid of one of Sylvain’s boxes
as you might lift the matrix of a rock,
you discover in amazement
a world where lights shatter,
where geometric forms intertwine and collide,
releasing unexpected colours.
You hear the sound of streams,
the sound of metals clashing.
It is a solid world, immutable and changing like a rock crystal,
turned slowly towards the sun,
turned slowly towards the night.

Aube Breton-Elléouët
Saché, 22 March 2018

From 13 April to 12 May 2018
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Endre Rozsda (Mohács, Hungary 1913 – Paris 1999) created a personal and secret body of work on the borders of various artistic movements, rejecting the distinction between abstraction and figuration, whose essential subject is the idea of time.

In 1938 he was dazzled by a concert by Béla Bartók, which revealed his own modernity to him. He came to Paris, where he met Vieira da Silva, Giacometti and Picasso, and became friends with Françoise Gilot.

Persecuted by Nazism, he returned to Hungary, where he was trapped by Stalinism; in 1957 Rozsda decided to settle in France for good. André Breton wrote the preface to the catalogue of his first exhibition at the Galerie Fürstenberg and, in 1964, Marcel Duchamp awarded him the Copley Prize.

Supported by enlightened art lovers, Rozsda pursued his work in the privacy of his studio, far from the art market. He could spend several years on a painting “without bowing to the demands of fashion”, as Jack Lang noted. He painted and drew tirelessly until the end of his days at the Bateau-Lavoir.
After the retrospective ROZSDA le temps retrouvé, shown last June at the Orangerie du Sénat, the Galerie Les Yeux Fertiles presents the exhibition ROZSDA Reunion, in which the Paris public will be able to rediscover this exceptional body of work.

“REUNION”

It is first of all a Reunion with the city of Paris, adopted and loved by Rozsda, and tirelessly explored with pencil and camera. A Reunion, too, with the Saint-Germain-des-Prés district, where André Breton had presented his canvases for the first time in 1957, on place Fürstenberg in Simone Collinet’s gallery, the very gallery where Joyce Mansour presented Rozsda’s last public exhibition in 1963.
A Reunion, next, with the works Rozsda had hidden from the public since 1963, of which the Galerie Les Yeux Fertiles offers us a fine selection.
Finally, the Galerie Les Yeux Fertiles allows us a Reunion with Rozsda’s wandering spirit: it stands at the bottom of rue de Seine, just opposite rue des Beaux-Arts, with a view of the Académie des Arts, the former Minotaure bookshop and the Hôtel des Beaux-Arts, where Rozsda had met Jorge Luis Borges.

Artist: Endre Rozsda

From 9 March to 7 April 2018
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

FROM THE WORLD OF SPEEDS AND SLOWNESSES TO THE KNOTS OF VERTIGO

“One day a depth began to appear in my paintings, and I plunged in, I threw myself headlong into exploring it.” I would like to take up this fine quotation, used as the epigraph to a text by Xavier-Gilles Néret. Because these washes, shown today in 2018, have precisely no depth, but a flat horizontality. They do not form a Möbius knot, no about-turn, no two-faced knot, no recto-verso, but a surface with a single face, sinuous, imposing its rhythm, following the calligraphic gesture until the support is replaced by another support. The two-faced knot recalls that prehistoric tool, the biface, the first multi-purpose technology, a means of drawing a perfect curved cutting edge from the shattering of the structures of flint. Bernard Saby invites us to look at these washes with an eye laden with a whole prehistory of today’s history of painting. Or else various mediations lead us to look as such at what was, like the entire body of work no doubt, only a mental exercise of a strictly private order, a personal and intimate work, and therefore secret, inviolable and to be preserved from public profanation. These are traces and signatures. Far Eastern signatures of an unjustly overlooked painter: what is favoured here is the sensuality of the line, the trace, memory, the mnemonic trace of a strong but vanished, or evanescent, gesture. So this is a rather flat exploration, exploring the potential of the surface rather than knowledge through the abyss, an essentially old project, Baudelairean and Romantic, that of the “skirter of abysses” (Patrick Waldberg).

Artist: Bernard Saby

From 25 January to 3 March 2018
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Jacques Hérold (pseudonym of Hérold Blumer) was a painter, sculptor and illustrator associated with the Surrealist movement, born in Piatra Neamț, Neamț County, in the Moldavia region of Romania, on 10 October 1910, and died in Paris on 11 January 1987.

Artist: Jacques Hérold

From 2 December 2017 to 13 January 2018
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

An underrated entomologist suffering from acute and incurable punnitis, little Lou Dubois went off to look elsewhere. Poet and artist, he opens up worlds of infinite vastness in compressed cabinets of curiosities.
Collage is first of all cutting out. Edited like films, the images tip into the great void and are subjected to sharply felt commentary. He folds L’autre et amont into an umbrella, a sewing machine, an anatomical écorché and a few glasses for you.
He displays a discreet and courtly eroticism but takes a dim view of mothers-in-law, decking them out with turgid crucifixes and dangling sausages. Brains are occupied by inappropriate objects. A melancholy scholar, he amuses and moves us with his brilliant follies. But the worst of it is that he cuts up children to make pictures of them.
Serious once more, he contributed to the late review Supérieur inconnu, and exhibits at the Galerie Les Yeux Fertiles.

Artist: Lou Dubois

From 10 September to 1 October 2017
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

With
Jorge Camacho
Fred Deux
Joaquín Ferrer
Bernard Saby

Artists: Fred Deux, Joaquín Ferrer, Bernard Saby

From 12 May to 1 July 2017
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

After secondary school in Le Havre and Savoie, Pierre Bettencourt attended Paul Valéry’s course in poetics at the Collège de France.

A writer and visual artist, he printed his first texts on his own hand press, in the family house at Saint-Maurice-d’Ételan, which was occupied by the Germans.

Throughout his life, besides his own works, he also published Antonin Artaud, Francis Ponge, Henri Michaux, Bernard Collin and Jean Dubuffet. He himself wrote under his own name but also under pseudonyms; thus he signed his erotic works Jean Sadinet.

From 1941 he devoted himself to typography and published, still on his own press, his first books, often with singular, poetic or sarcastic colophons, as well as unpublished texts by Henri Michaux (Tu vas être père), Antonin Artaud (Le Théâtre de Séraphin), his friend Dubuffet (Plukifekler), Francis Ponge (Le Galet), etc. He did not hesitate to call on the greatest names to illustrate the books he published, while shunning media attention.

In 1953, after a stay at Saint-Michel-de-Chaillol with Dubuffet, Bettencourt composed his first high reliefs, in which unconventional materials (fragments of slate, coffee beans, eggshells…) are set on painted grounds, giving the figures their singular texture and their unsettling thickness.

Essentially thanato-erotic, these high reliefs belong to the realm of Art Brut. They express the mysterious and sacred character of life while revealing the artist’s fantasies with an innocent crudeness.

Bettencourt was one of the contemporary artists exhibited (and collected) by Daniel Cordier in the 1950s and 1960s.

Pierre Bettencourt lived in Stigny from 1963. He was married to Monique Apple. He was the brother of the industrialist and politician André Bettencourt.

Artist: Pierre Bettencourt

From 16 March to 29 April 2017
Galerie Les Yeux Fertiles, 27 rue de Seine, Paris 6e

Artists shown:

Roberto Alvarez-Rios

Jorge Camacho

Gerardo Chavez

Joaquin Ferrer

Ivan Tovar

Jorge Vigil