Auteur : Boris Garreau (page 1 of 20)

Bureaucracy, portrait of a time UK 2019⁣⁣

『•』 Bureaucracy, portrait of a time 🇬🇧 2019⁣⁣
This painting by #ClaudeMarieDubufe, a portraitist of the nobility and the great bourgeoisie under the Restoration and then the July Monarchy, reminds me of the aesthetic and economic changes in the art world that are adapting to the new realities.⁣⁣
British museums are preparing to leave the European Union on 31 October.⁣⁣
No information at this time on government funding for national museums. However, their budgets have been considerably reduced for years and this has created a lot of debate. ⁣⁣
One of the first effects of Brexit on museums should be a concern about partnerships with other museums around the world for temporary exhibitions.⁣⁣
Why? Because shipping works of art between the EU and the United Kingdom after 31 October will become more complex. We will have to assimilate the new procedures, adapt and see how they will be applied in practice.⁣⁣

There is a risk that customs procedures may become more cumbersome and require more patience.⁣⁣
We, the people who do not reside in the United Kingdom, will need proof of loans to prove to customs that the goods are in free circulation and to obtain a new graal: an export licence between the EU and the United Kingdom. A second passport.⁣⁣
Finally, if I travel alone with a work, I will also have to apply for a specific visa: This will leave me little flexibility in the event of unforeseen circumstances. Me, who loves to improvise Aha so much, I’m already starting to prepare myself! 🙈⁣⁣
However, the unexpected, on an exhibition, a last-minute sale or a transport problem, always remains a possibility…⁣⁣
Like this pretty Parisian woman of 1830, in reality a embellished representation of the painter according to codified attitudes, I remain alert, patient and a little thoughtful. We will see just after the FIAC, what the situation is ✨⁣⁣


Quand l’art prend acte de la société de consommation 🥄🥛

A l’origine de cette œuvre, 32 posters de conserves ont été posés les uns à côté des autres sur une ligne puis après les unes au dessus et à côté des suivantes comme dans un garde-manger.

C’était le 9 juillet 1962 et si je me souviens bien, c’était à New-York dans la galerie Férus créée par Walter Hopps, Edward Kienholz, and Bob Alexander. Des pionniers de l’ère moderne : Un curateur d’exposition, un artiste et un poète.

Le Pop-art entrait en galerie avant d’être aujourd’hui un habitué des enchères.

D’ailleurs, je n’oublie pas mes amis chinois amateurs d’art qui qui, je trouve sont de plus en plus stylés et ont peut-être manqué mon dernier article sur le marché de l’art 😉 👇

全球两大拍卖行都在法国亿万富翁手中。继François Pinault收购佳士得之后,Patrick Drahi入主苏富比。


博物馆也紧随潮流成为指标之一。 10场大型拍卖中有8场是由公共和私人机构举行的。艺术给亿万富翁或国家带来新的形象,当然,还有盈利能力。那些“轰动一时”的展览-例如巴黎当下的埃及展览,又或一位著名艺术家的回顾展-吸引了关注的同时也通过衍生品获得了利润。

苏富比刚与BidFair USA签署了一份合并协议,后者由传媒及电讯业巨子、艺术收藏家Patrick Drahi全资拥有。



作为Altice Europe,Altice USA,Suddenlink,Cablevision和Cheddar的首席执行官Patrick Drahi似乎不愿意改变战略并长期投资。




You and me and “the other” this animal

『•』 🦓 ⁣⁣⁣

Marguerite Humeau talked a lot with paleontologists, zoologists, veterinarians, engineers, explorers, surgeons, doctors and radiologists for his research on prehistoric animals to rebuild, for example, their vocal cords and imagine the sound they could produce.⁣⁣⁣
A work of art and sometimes of design where past and present are untiringly ixed.⁣⁣⁣
I like her research on the meaning of a presence. What is a presence? How do I feel about it? What’s left of it? This research seems so close to questions about feelings of love and emotions to me.⁣
I even wonder, from my daily playground, how a sculpture can stand out from the rest of things in my mind? ⁣⁣⁣

This sculpture is a mixture of silhouettes and images of animal brains. It would take too long to tell you more about it here, but there is work on the shamanic aspect of our ancestral relationship with Nature. ⁣⁣It touched me again with questions that catch up with those on environmental sustainability in the world today. ⁣



『•』 Rembrandt’s gesture

as I feel it when I think of the two artists.⁣

I observe at length this vehement painting – like that of a few centuries ago – but which has nothing, in fact, unprepared because Hans carried his precise preparatory drawings on his canvases. This gesture makes me forget where I am.⁣

Thinking of Hans Hartung also reminds me of Anna-Eva Bergman his partner. They were united over a century of disunity. ⁣

I imagine myself in one of his studios that Hans systematically drew. All of them staged shadows and light, which I find here in his work and in many of his paintings.⁣

It is one of the informal forms that make up the artistic movement “Lyrical abstraction” ⁣

Anna-Eva remained for a long time in the shadow of the one she married and then left, remarrying with another, then found again to stay with him until the end. ⁣

I really like female artists, they have something in their gesture. ⁣

Anna-Eva painted Finnmark and Northern Norway where she came from. Two places where light and space are distinct, distant and yet the atmosphere makes them meet. His in-depth work on perspective took its strength from all these layers of air and lines of light that give the impression of separating these regions. ⁣

In Hans’ work, I like the game, as I see it, between chance and tension through the composition of the coloured surfaces, here with yellow, red and blue, and these lines drawn like arrows. ⁣


The New Deal in the art market 2019

Two major auction houses in the hands of French billionaires. After François Pinault with Christie’s, it is Patrick Drahi with Sotheby’s.

The art market grew by another 4% in 2018, the market is still dynamic in the United Kingdom despite the Brexit ^^

Museums are also following the trend and are among the indicators. 8 of the 10 largest auctions were carried out by public and private institutions. There is the image that art brings to a billionaire or a state, certainly, but also profitability because a “sensational” exhibition – such as the one on Egypt at the moment in Paris – or quite simply a beautiful retrospective on a well-known artist makes admissions and, of course, profits thanks to derived products.

Sotheby’s has just signed a merger agreement with BidFair USA, an entity wholly owned by Patrick Drahi, a media entrepreneur and art lover.

Shareholders, including employee shareholders, received $57.00 in cash per Sotheby’s common share, equivalent to a bonus of 61% over the June 2019 price and a bonus of 56.3% over the average price.

The operation makes the auction house once again become a private independent company after 31 years during which it was valued every day on the stock exchange (NYC)

Patrick Drahi, CEO of Altice Europe, Altice USA, Suddenlink, Cablevision and Cheddar, seems unwilling to change the strategy and invest for the long term.

The transaction was carried out through a combination of equity and financing through BNP Paribas of more than USD 3.5 billion for a value at Wall Streets that is 60% higher than the stock market price 🤯

I note, of course, that the number of millionaires and billionaires in Asia and the Middle East and the explosion of private foundations are fuelling the desire to do business. Especially since these new actors rely heavily on deceased artists. And then another advantage of auction houses is that they sell not only art but also all kinds of collectibles. To be continued….


What is the Street Art market really worth? It depends on who you ask

『•』 ⁣⁣
When I am like yesterday, in the middle of nature, in the heart of Paris, on an abandoned train track – you can still see my stories 👆 – I feel the Street-art of the origins. ⁣⁣
Free, without ties and without complexes. Without money too. ⁣⁣
I remember the chase races with the subway agents & cops when I was a teenager, I even had a tag and I ran aha very quickly. ⁣⁣
We’ve been up on the rooftops and it was pretty sporty. ⁣⁣

Since then, I have entered the market of contemporary art. ⁣⁣
I see today the growing pressure from a generation that wants to make all this dtreet-art work profitable. If course, I understand them. ⁣⁣
There are also investors and enlightened amateurs. Fluctuart has just opened in Paris, it’s bold and it doesn’t surprise me coming from its founder who is a real rebel at heart. But what is the market? ⁣⁣
Does it exist? ⁣⁣
Are the orders public or is there a real interest in the private sector? The private sector is both a collector who will do everything to raise his artist and institutions that will invest in ROI and image. ⁣⁣

Comparing or even assimilating Street-art to contemporary art is difficult. ⁣⁣

It seems also that this is even dangerous ground, you shouldn’t make enemies because of misunderstandings.

But I want to know more behind this culture and as soon as I can this winter, I’ll investigate this question further. Street-artists also have to open their doors to me. ⁣⁣

Ghost Story

『•』 👻 ⁣

When I passed in front of this painting of Thomas Houseago I wondered if the faces hadn’t come out of one of Enki Bilal’s creations or the universe of #1984 ⁣

Child, I often read these stories very popular in the seventies and from which I found comic strips in the family attic. ⁣

The future seemed so different from the one I imagine today. Before, I used to see missions with close-knit teams discovering other universes. ⁣

Today I have the impression that I am travelling on internal journeys without worrying about the distance that some of these journeys or these causes put between each of us. ⁣

One of the paradoxes I observe is the voluntary distance coming from someone who doesn’t understand why I’m on social networks and yet who knows how to use them very well 😅 ⁣

Is the notion of sharing relative? ⁣

What I like about Thomas’ work is the trace of his personal journey. ⁣

Like his works coming from the earth, he experienced the worst difficulties and bit the dust several times over. He is a survivor and that is one of the reasons for his success for me. ⁣

Beyond his drawings, paintings and sculptures, there is a will to express himself through silence in this world where so many voices are heard. ⁣

When I see this artwork here un this pic, I see ghosts, images from the past, sometimes recent, with which I can learn to live. ⁣

Fortunately, for my part, I have already found a solution, the most effective for me: Accept what is, take care of my body, act without forgetting what the other feels and continue to do what I love in my own way and especially as best I can. ⁣

The rest… The ghosts and the inner worlds can always try to catch up with me because I no longer run 🤹🏃😊 ⁣

Good Saturday to you!⁣

The flowers of goodness


The ones that make me breathe every day, without me really realizing it ☀️

This composition of wire, chewed wood, plaster and painted canvas shaped by Bernard Schultze at the beginning of the sixties reminds me of the flowers of Baudelaire. ⁣

I see from life and even a little something eternal, an eternal dried into a work now hanging in the eyes of the one who has the chance to see it. ⁣

A little like in poetry, words and forms remain in memory without me often understanding why. ⁣

At Baudelaire, it is neither the spleen nor the non-conformism that touches me, but the gesture of describing a feeling and the willingness to open up to the other without fear of looks. ⁣

In Bernard’s case, the exploded aspect of these lines, which resemble a rose bush that has long since died, vibrates in front of me and I have the impression that I see all these fine and invisible things inside me that make my body move forward every day. ⁣

Good or bad, I don’t want to choose. ⁣

I’m here for a while and my eyes are wide open. ⁣

I see colours and flowers in Bernard’s work and I imagine them as challenges to be passed and landmarks, as lights that I sometimes see in the other when he tells me “keep going! “⁣

I also see artworks like this from time to time in young artists. More ecological or in vogue, they bring something really organic to life by putting plants in water for example. On occasion, I’ll show you. ⁣

This sculpture is in fact an apparently organic construction, which is what makes it, in my opinion, a modern but not contemporary work. A thoughtful, calculated work and even if I find it very beautiful, I don’t see it as more interactive, more accessible than many works today. ⁣

As in Beauty and the Beast with Jean Marais I am fascinated by the vegetation but I remain at a distance with patience. ⁣

I choose the beauty of these flowers and I patiently wait for those who will follow Bernard⁣

Spacings – chases ⚡ ⁣⁣

When I first met Quentin, my daily run slowed down. Look at his work on the internet, I also recommend you to follow him on instagram: He is a raising artist.⁣⁣
I can’t tell you everything yet.⁣⁣
Quentin questions, in my opinion, our (living) spaces and their environment (an activity in a context) and dialogues in three stages (on three exhibitions on different dates) with 3 artists. ⁣⁣
After the enigmatic voices of the writer Ninaleger – Exhibition 1 – whose echoing murmurs (speakers were arranged in the exhibition) gave voice to Quentin’s movable partitions. ⁣⁣
Here are Ronan’s Fly Poursuit in Video. Ronan arranged the sculptures extracted from burnt beams between the walls. ⁣⁣
The process instantly reminds me of Lee Bae (on which I wrote a post in my feed a few months ago. ⁣⁣
The material is heavy and chiseled into pieces, yet each piece seems impatient to jump and fly away. The impression of lightness gives a balance that I feel even in the atmosphere and architecture of the place. As we did the voices before (they were invisible…), these works disperse the space between the partitions. ⁣⁣
I also think @Junyaishigami who questions the space in the middle of nature (also previous post). ⁣⁣
What I feel in Quentin’s work is the question of our space today and our relative independence – what can the community of tomorrow be, how can it divide up spaces to breathe, when there are more and more of us, and what will be the place of each one? – in a world where social ties are changing. ⁣⁣
Here, it’s also about the escape. ⁣⁣
A poetic escape, as I like it.⁣⁣




The sexy puzzles of Rorschach


or how to let the imagination build the image I can have of reality. ⁣

When I look at these paintings, I think of the deep colours that relax me there, in front of me, in these small-format paintings, but also of the tests that have used all these abstract or even cubic forms. ⁣

I tell myself that I can see what I want in these tests as in any painting, according to my history, my mood and how I feel when I think about it. ⁣

As a mirror of art history where I can believe that there is no history, no before and no continuity, I can also tell myself that I can interpret everything because everything seems interpretable. ⁣

Is that true? ⁣

Not so sure. ⁣

There is my feeling and the history of the artist, his teaching and our time.⁣

What I like about #sebastianblack is to simply put on a plastic form the questioning I see and which, of course, only involves my point of view 😉 ⁣

Is everything really relative today? Or are things linked and connected in this way between them and between us do they make sense? A meaning that gives me perspective on my time, on my life choices and especially on my possible certainties in this world. ⁣

When I walk around here, like nothing, from one painting to another, among a few drawings and these canvases rounded in their lines, almost feminine and therefore terribly sensitive, that’s what I think of… ⁣

I hope you like Sebastian’s work too?

Edited Video from the exhibition to follow on my IGTV ⁣@borisgarreau on Instagram


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