Exhibition at the Espace à vendre art gallery, 10 Assalit street, from the 26th of february to the 7th of may 2016, from 2pm to 7pm, phone : 09.80.92.49.23 and 06.11.89.24.89., free entrance.
Inside the new local of the art gallery "Espace à vendre" the art work exhibites could be find outside and also inside a house. The artist Noël Dolla gives the spirit of this exhibition with his floor clothes where the sign of the anarchy is printed. Some artists of the exhibition adopt the same nonchalant attitude of the anarchy. The young artist from Brazil Kleber Matheus proposes to revisit the tropicalism movement towards his cube made with blue neons. Jérôme Robbe prefers showing that he really like the painting with his colorful plexiglas sheets. Ben insists on the fact that art must find his own equilibrium all the time. The french american artist Jean Dupuy puts a shirt in front of the painting of his grand father for remembering his memory. This little walk inside the nonchalant anarchy continues with the unicorm of Lionel Sabatté and Emmanuel Régent with the wrecks he has founded inside the Villefranche - sur - mer harbor for making ready mades. Lionel Scoccimaro concludes the nonchalant anarchy with a small culbuto who is a tribute to the country music.
The anarchy can also be a basis of a questioning. In his artistic serie Thierry Lagalla speaks about the limits of the absurdity when he invokes the childhood towards a broken teeter - tetler. Arnaud Labelle - Rojoux denounces also the absurdity in some of his artistic performances like the one who represent Napoléon the first on a battle field. In the same way the californian artist Sabry Tchalgadjieff uses sheeps made with steel for realizing some pictures. The gesture plays an important part because he doesn't follow any map for realizing his art work.
At the end the anarchy can also be much more radical with the aim to fight against the artistical codes. Quentin Euverte proposes a radical of the artistic commitement. In his machinery made with some neons he uses tools. The tools are connected together and they must go forward. Stéphane Steiner inspires himself with the Francis Bacon art work. He mixes it with the us technics of the crash portrait. He takes identity pictures, crease them with his hand and put them on a table before making a picture. The photographer Louis Jammes prefers to showcase committed pictures who speak about the middle east refugees. This radical approach is concluded by the artist Vivian Roubaud. He put a gel with an explosive between two renforced glasses. With the explosion of the explosive he realizes an original composition.