Swiss artist Jürg Kreienbühl came to France after his apprenticeship as a house painter in Basel. It is in the slums in the suburbs of Paris that he settled and painted for a decade the migrants, gypsies and social outcasts. He worked in different medium (painting, drawing, etching, lithography) to describe, in a very realistic manner, the life on the fringes of society, the contaminated industrial seashores and nuclear power stations, the lost worlds of a factory of saints for churches or the Museum of Natural History.

"Post scriptum" is the title of María Dávila’s new series that deals with the representational nature of relationships between people with themselves and with others. Through a dialogue with cinema and theater, the paintings highlight the narrative construction in personal relationships, expressed by the translation into language and the discursive interpretation of the lived event.

Pretending the quest of a father to achieve the education of his teenage daughter, Pierre Lamalattie reveals in L'art des interstices what has to be known about contemporary art. 

For the new edition of FACBA17 (Festival de Artes Contemporáneas), María Dávila was selected to work on a project based on the collection of the University of Granada. After having chosen an anonymous family album from 40’s-60’s, she realized a series of drawings and paintings which explores the boundaries between photographic reproduction and artwork, reality and fiction.

Monique de Roux has been selected alongside three Spanish artists to commemorate the 400th anniversary of Cervantes’ death in China. Each invited artist has to create two large etchings on the theme of the Knight-errant at the Xuyuan Center during their two months residency. This project is also set up by the Beijing Cervantes institute and the National Chalcography in Madrid.

Jean-Marie Oger is very pleased to now represent Spanish artist María Dávila (b.1990).

María Dávila works by series, each one is the result of a meticulous research based on photographic or cinematographic material: family archives, still from movies or documentary films. By the appropriation of other visual languages, she explores the limits of the visible and the boundaries between fiction and reality.

Everybody is crazy, but me marks the fifth anniversary of Maison Particulière. For the first time, the works on display originate from a single collection: that of its founders.

The gesture of mind

The verb faire (to do) + s has become for me not only the title of this exhibition but also a long-term project. My wish was to deal with technique and gesture without which nothing is possible. Gesture that enables to shape the thaught of a moment or the thaught of a life. Gesture that makes things happen even without saying a word.

Yves Sabourin, curator

Tables and feasts show the pleasure of spiritual or epicurean sharing. A surprising and festive meeting between Old Master paintings and comics, motivated by the desire to compare two “storyteller” arts.

Sergio Ceccotti is for many years a reference point for Italian figurative painting. From the "metaphysical tradition" of the early 20^th century, he is now an "avant-garde" at the threshold of the 21^st century. In the works displayed in this exhibition curated by Massimo Scaringella, the artist expresses his need to enter, almost always furtively, in "intimate moments" of our daily reality.

Jean-Marie Oger is proud to represent now Dutch artist Demiak (b. 1967).

Pseudonym of Maarten Demmink, Demiak paints landscapes. From his early works to his most recent series, his art oscillates from heavenly to post-apocalyptic pictures or objects in different mediums: paintings, mural wood sculptures, mixed media and staged photographs.

A vibrant new exhibition curated by artist Chris Stevens and organised by the Sainsbury Centre, brings together over 50 works celebrating the strength of British painting, with some of the best and most influential artists of the last 60 years.

From "icône" in French to "icon" in English, from holy image to visual sign, from the sacred and venerated image to the symbol, this fourteenth exhibit at Maison Particulière explores both the intellectual significance and the emblematic figures of icons.

In 1981, Jürg Kreienbühl was invited by one of his friend painter to visit the Great Gallery of Evolution (former gallery of Zoology) in Paris. He already realized a series of paintings in the Gallery of Paleontology and Comparative Anatomy ten years ago. Since 1965, it was closed to the public because of disrepair reasons, to the great despair of researchers from the Museum.

Curated by Cesare Biasini Selvaggi, the Casino del Principe of the Musei di Villa Torlonia dedicates an exhibition to the Roman painter, Sergio Ceccotti, precursor of the revolution in the Italian painting during the last thirty years.

This is her second solo exhibition in Pelayo 47, Monique de Roux guides us through her drawings by a world created from sensitivity, where a magical atmosphere brings us the uncertain reality of narrated time.

I have not had any difficulty to get interested in women of my time. It happens naturally. Of course, some of them have seemed to me quite irritating. It’s inevitable. But on the whole, my opinion is quite positive. I am what might be called a kindly macho.

Pierre Lamalattie

The exhibition is focused on the 1960/1970 period of the painter Jürg Kreienbühl (1932-2007) who, after leaving Basel and his native Switzerland, "settles" in the slums, quite numerous at the time in the North-West of Paris (Argenteuil, Colombes, Bezons, Gennevilliers, Carrières-sur-Seine, Nanterre).

LaStellina Arte Contemporanea is glad to announce ‘ Capolinea 19 ‘ , the solo exhibition by Sergio Ceccotti, matched to the texts of the book ‘19’ by Edoardo Albinati. The exhibition common theme is the route of the historic tram ‘19’ , crossing Rome, from terminus to terminus, from downtown up to the outskirts.

The work of Francine Van Hove allegorizes the everyday life: the instant becomes definitive and the meaning of anecdotal grows a little. She stages young women in closed interiors; a kind of “home” which would be so enclosed that the probability of entering would be non-existent. In a safe place, unconscious or unconcerned by their own beauty, they let themselves go to laziness or devote themselves to immobile pleasures: reading, having tea, being immersed in reflection. Moments extracted from the passage of time, recalled here by a still-life, there by the endless questioning of a mirror.

Along with artworks by Francine Van Hove and Christian Renonciat, the galerie Alain Blondel shows for the first time a real-size sculpture in organdy by Angélique which represents a state security policeman (CRS).

Pierre is forty-or-so, weary and more and more circumspect about the vacuity of his everyday life: his wife Béné who devotes herself to coaching, his job of consultant in the process of becoming external collaborator at Right-In-The-Middle-Consulting, the Pongibauds who come to dinner three times a week, the pike for New Year's Eve, holidays in Villefranche-de-Rouergue, in short a deep boredom.

Sergio Ceccotti likes the long urban walks off the beaten track, preferably on Sunday when offices and shops are closed, devoid of their function and of the human bustle. In the course of his wanderings, he finds the settings, like a moviemaker in scouting, in which he dramatizes his stories of everyday life, anecdotal and harmless in appearance. Because the simple evidence of the narrative weft is disturbed by the incongruous presence of a common object or by the coexistence of secondary plots.

That sinless Paradise, full of furtive pleasures,

Is it farther off now than India and China?

Moesta et Errabunda (Grieving and Wandering), Charles Baudelaire

IIt was after a visit to an exhibition at the Louvre on the French and Chinese imperial courts in the eighteenth century that I started this series.

II was particularly struck by the portraits of the emperor Qianlong (and later by those of his wife the empress Xiao Xian) painted by the jesuit Giuseppe Castiglione. These were frontal portraits with no modelling or chiaroscuro, which the emperor thought made his face look dirty, combined with the attention to detail and fabric typical of renaissance painting. There were also an impressive series of portraits of the horses that the emperor had received as gifts.

Michael Bastow

The Frac Franche-Comté proposes to discover a selection of figurative paintings from its collection, questioning the richness and the permanence of this medium.

A multitude of references, a rush of words, often troubling works of art… Red unleashes passion. Why expect otherwise? Red evokes something out of the ordinary.

The "Sacré blanc! Hommage à Thomas Gleb" exhibition compares Gleb’s work with the productions of 50 or so contemporary artists on the themes of the colour white and the sacred.

During a car ride with his ill mother, Pierre, an artist always complaining, has an idea. That day, he decides to begin at last something serious:  to paint a cycle of 121 portraits of women and men of his time, each one represented by a kind of CV; a “tombeau”, in the musical sense of the word, is a solemn tribute to living or dead people.

Timed to the 6oth anniversary of the master, the opening of a retrospective exhibition entitled The Price of Freedom and presentation of the first two-volume book by Ivan Lubennikov, the People’s Artist of the Russian Federation, Corresponding Member of the Russian Academy of Arts, Professor of V. Surikov Moscow State Academy Art Institute will take place in the Central Artist’s House on October 21, 2011.

This exposition covers her work produced from 2009-2011. In keeping with her former work, there are several paintings of sleepers. The other figures who are awake give the impression of desiring to prolong the contentment they had known during their "deep sleep." They linger in bed with a book or occupy themselves with television while drinking their coffee or tea in the morning. They are not manifestly driven to prepare themselves to go out and confront the outside world. Each live solely in this privileged and psychologically timeless moment. All is simple and intimate once more.

French painter, Monique de Roux has lived for a long time in Panama; the memory of this stay still impregnates her works. The luxuriance of these landscapes drenched with light is the equatorial backdrop of her timeless visions of this strange eldorado.

Based on the collection of the FRAC Haute-Normandie and curated by Marc Donnadieu, the "Doublures" exhibition displays a selection of drawings, sculptures, photographs or videos using cotton or fabric.

The Musée d’Évreux and the Frac Haute-Normandie present at the Ancien Évêché an exhibition called "Memento Mori (jusqu’à que la mort nous rassemble...)". Based on the idea of cabinets of curiosities, it shows artworks linked to death and grief from the collections of the Musée d’Évreux, the Frac and private collections.

British painter born in 1964, Ray Richardson presents his recent paintings at the Alain Blondel gallery for the first time for six years. The title of this exhibition, “Music for pleasure”, is an ironic reference to some “easy listening” music of the 1970’s. It is a way of reminding that painting is a visual pleasure but it must also provokes reactions, emotions and a reflexion about ourselves.

“Icons and other recreations” express Michael Bastow’s fascination for female bodies; these women he creates with oil pastel on raw paper that appears hot and crumpled, just like sheets after lovemaking.

First retrospective in France, curated by Héléna Bastais, of the Basel artist who lives in the suburbs of Paris: about sixty works tell the suburbs and slums, the industrial seashores and nuclear power stations, the abandoned treasures of the Museum of Natural History and the life of migrants and social outcasts that the painter has known.