Last week to discover - Galerie John Ferrère
Last week to discover

Last week to discover
2011 – 2021 Gallery L’inlassable

For the tenth anniversary of the Galerie L’inlassable and on the occasion of the inauguration of the new space in Monteverita, the recent works of the 28 artists who have made the history of the gallery are brought together. A catalogue is also published for this occasion.

2011 – 2021 Galerie L’inlassable
M O N T E V E R I T A – 127 rue de Turenne | Paris 3

Until July 10th 2021

Giulia Andreani
Marcella Barceló
Charlie Boisson
Caroline Corbasson
Anne Deleporte
Angelique Heidler
Simon Martin
Francisco Pinzón Samper
James Rielly
Justin Williams

Joël Andrianomearisoa
Pierre Bellot
Kai-Chun Chang
Nicolas Gaume
Célia Gondol
Frédérique Loutz
Audrey Perzo
Tatiana Pozzo di Borgo
Edgar Sarin

Bianca Argimón
Elvire Bonduelle
Matthew Cole
Stephen Dean
Arthur Grosbois
Gaspard Maîtrepierre
Kevin Perkins
Victor Puš-Perchaud
Morten Viskum

More than a list of artists, the Galerie L’inlassable has brought together a family of creators over the past ten years, most often before they have gained any real recognition in the art world. More than an enumeration of names and styles, which vary according to market expectations, L’inlassable is a community of plastic writings, federated by the first feeling that comes to mind when we look back on it: freedom. What does « being free » mean for an art gallery? It certainly means daring to take the risk of never giving in to one’s own commercial comfort, it means making a profession a periodic adventure. I believe that the most difficult movement in our daily life with artists is to never give in to complacency, to a kind of habit tinged with weariness that would gradually take away the demands we make of the forms. The most difficult thing in our relationship with art is to keep our minds awake and our eyes wide open for what is unfamiliar. It is to cultivate our intranquillity. It means surveying and defending practices that lead us into uncertain lands, where art is more mystical than political, sometimes even mute to the greatest number, draped in its secrecy, with no desire to explain itself. It means opening a window on the rue Dauphine, which has often been transformed into a kind of theatre, not for an audience, but in the audience, the shared space of the city. It is to have kept on a few square metres, with the obstinacy one can imagine, this space of the infinitely possible, in the middle of a world of shrinking ideas.

Like others I imagine, it was a very dear person who first took me into the modest space of the gallery. We entered, I believe, via the Rue de Nevers. Over the years, it seems to me that, like others, I never had a very clear idea of what was going on there. I met artists who were important to me, different personalities, often young and seeking, like me, a different perspective. I felt this benevolence that needs no demonstration. And I have always felt this fraternal connivance, which guarantees that if something must change one day, it will surely come from one of these precious and rare places in the world.

Gaël Charbau

Open Tuesday – Saturday, 11am – 7pm
127 rue de Turenne Paris 3
Article on the 10th anniversary of the gallery in PortrayMag


Ceci est la couleur de mon coeur
Victor Puš-Perchaud   

Until 28 August 2021

Galerie l’inlassable, 18 rue Dauphine Paris 6 – 24/7
Second part of the exhibition open by appointment.

The density of the void in Victor Puš-Perchaud’s painting “With the void, full powers”, this is what Albert Camus scribbled as he left the Vides exhibition organised by Yves Klein. If Victor Puš-Perchaud does not hide his admiration for Camus’ philosophy, this paradoxical statement, bringing together in an oxymoronic way the void and the full, applies in a certain way to his painting, which is so dense and rich. We are indeed far from the minimalist or conceptual art presented in the Yves Klein exhibition. When one enters Victor Puš-Perchaud’s studio, one is struck by the presence and visual impact of his paintings: one delights in the warm colours, browns, ochres and bursts of bright colour in the background of the landscape or between the fingers of the pensive young man. The paint, which a coating of marble powder has absorbed and diffused on the canvas, seems to crystallise an indefinite and precious temporal duration. The eyes of the characters, lowered, half-closed or hidden in the shadows, give them the appearance of dreamers. The cat stands still, Mount Minerva, bathed in lava, is silent. Sometimes an arm reaches out to the imaginary
the imaginary edge of the frame, held in the air. It is indeed a question of capturing a moment, but a moment that one would like to be eternal. Through the superposition of more or less thick layers, the mineral reference, the reminder of coloured patterns from one end of the canvas to the other (a golden yellow wink of a tree that is leafing out or the vermilion reminder of the parasol in the striations of a shutter), Victor Puš-Perchaud sublimates the materiality of painting, he gives it back its “full powers”. Because it is necessary to be able to start from emptiness and silence to give place to such a serene plenitude. In a corner of his studio are the images that inspire him. An Indian miniature gives two thirds of the space to the empty horizon; by hiding the foreground, we discover a Rothko! The void is a matrix from which the details emerge without, however, being completely freed from it.
The silent – but not silent – melody of the work can be created from the appreciated and observed emptiness of the canvas. Sometimes the work remains in an empty state for a few days or weeks in the painter’s studio, sometimes the canvas remains in a state of “grisaille”, finding its perfect form in the unfinished. The different layers of paint – some of which are barely a white veil on a red cuff – take their time. Let us do the same.

Miriam Smadja