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As part of our Christmas newsletter, we invited four leading figures of the art world to share their experiences on contemporary artworks and their wishlists for the Christmas holidays.
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![L'été [The summer]. Collective show](https://editions-dilecta.com/modules/ph_simpleblog/covers/23-thumb.jpg)
"Yet already the sun, the faint breeze, the whiteness of the asphodels, the sharp blue of the sky, everything makes one fancy summer—the golden youth then covering the beach, the long hours on the sand and the sudden softness of evening."
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The exhibition "Paradis artificiels" (artificial paradises) puts in dialogue, in a new way, the paintings of Mathilde Lestiboudois and the drawings and sculptures of Ellande Jaureguiberry, inviting us to plunge into phantasmagorical spaces, favorable to the deployment of conflicting feelings. We are invited to metaphorically cross uncertain zones, oscillating between the theater stage and the votive altar, between the built and its ornament. Of the same delicacy in the gesture that shaped them; of an identical will of precision while granting an importance to the qualities of the material; the works of these two artists activate a dance of the glance, sometimes caught by the effects of depth and the details, sometimes sliding on the smooth or powdery surfaces covering the support. They lodge us in a discomfort, a productive doubt by which the imaginary as well as the memory are awakened. Thereby, the familiar ricochets on the unknown, the real intertwines with the fiction.
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Valérie Sonnier's works depict an universe defined by the notions of presence and absence, whose nostalgic architectures are punctuated by apparitions. Each project is expressed through three media: film, photography and drawing. Valérie Sonnier is more specifically interested in the architecture of the places she portrays with precision. This setting, a theatre of spirits and lives that she tries to capture and immortalise, is drawn with graphite, coloured pencil and wax on the pages of old school or account books, filmed with a Super 8 camera and photographed in silver or colour, ghostly traces that constantly transpose us into a space of time that is past, as if crystallised.
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The exhibition Letters from Utopia brings together the work of Marie Passa, a photographer who claims the action of time in her creation, and David Kowalski, a painter in search of timelessness whose images are disturbing because of their photographic aspect. Both work in shades of grey and depict empty interiors not devoid of a form of presence. They create mysterious and disturbing images tinged with melancholy. While Marie Passa is interested in utopias that have been achieved and abandoned by man, David Kowalski's utopia suggests a near future where nature reclaims its rights.
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Interiors made up of a few pieces of furniture - a chair, a bed, a table, a neon sign, shutters. Reduced to the essential, Jean Gfeller's sets unfold like archetypes of familiar places, homes, bedrooms, even waiting rooms. Ambivalent, they shape a small labyrinthine theater where doors and windows offer no escape.
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At the beginning, there is blur: foggy images that the light tends to reveal or to silence, the photography coming as much to penetrate as to resist to the drawing, also from an artist fond of theater and cinema for whom the disciplinary non-choice is widespread...
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Like a tribute to Mother Nature, this exhibition focuses on questioning humankind on its part in the gradual yet drastic annihilation of the planet; not only of its fauna and flora but also of what affects humanity in its flesh and psyche. A slow and progressive suicide which cripples day after day the beauty of the divine so perfectly described by Spinoza and so accurately embodied almost a century and a half ago by the artist Albrecht Dürer in a simple but uprooted tussocks of weed paradoxically rendered immortal by his mastery of watercolor.
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