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11 Jun 2011

Hervé Bize Galerie presents 'STRATES ET ARTS, autour de François Morellet'

from left to right : Joseph Kosuth, 'L.W.'s Last Word' (1991),
Guillaume Leblon, 'Correction' (2004)
and François Morellet, 'Contorsions n°9' (2008)
© Herve Bize Galerie

'STRATES ET ARTS, autour de François Morellet'
Hervé Bize Galerie


Until July 9th 2011
Tue - Fri 2 - 6 pm
Sat 10 - 12 am / 2 - 6 pm


+33 383 301 731
+33 383 301 717

Galerie Hervé Bize
17 - 19 rue Gambetta
54000 NANCY

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The title of this project 'STRATES ET ARTS, autour de François Morellet' refers to a palindrome created by François Morellet in 1999.

It takes place at the gallery simultaneously to the current retrospective exhibition, 'François Morellet, Réinstallations' (March 2 - July 4), to be held at the Centre Pompidou in Paris.

The Galerie Hervé Bize, which has a special relationship with the artist since over twenty years, is conceiving an exhibition that includes works by French and international artists: Bernard Piffaretti, Claude Closky, Stéphane Dafflon, Vera Molnar, Silvia Bächli, Yann Sérandour, Guillaume Leblon, Alan Charlton, Joseph Kosuth, Günther Förg, Olivier Mosset, Chuck Nanney, Blinky Palermo, Helmut Federle, Daniel Dezeuze, Franz Erhard Walther and naturally François Morellet.

This exhibition should be considered as a small constellation of affinities woven around a towering figure in contemporary art, François Morellet, whose influence, constantly growing, is not always measured as it is not limited to field strictly connected to geometrical abstraction: the introduction of a process, the establishment of a program or system, the reduction of subjective decisions, questions about color, monochrome , black / white, or delegate the execution and the introduction of new materials or a technique of reproduction, the relation to the language, etc. are some of the parameters which are the heart of the approach shared by Morellet and the invited artists.

'STRATES ET ARTS' is assembling paintings, drawings, installations and some rare editions.

It is also returning the viewer to an aesthetic whose foundations derive the intellectual revival of the 1960-70 period, largely anticipated by Morellet in the early 1950s.

It is naturally impossible, through this exhibition, to understand what connects all these different personalities but so far, all these works give ostensibly a corpus of art thoughts at the junction of minimalism and an impression of radicalism iconoclast.