Group show at Fondation Pernod Ricard with Vidya Gastaldon,\u00a0Huguette Caland,\u00a0Ad\u00e9la\u00efde F\u00e9riot,\u00a0Loie Hollowell,\u00a0Serge Alain, Nitegeka,\u00a0Rafa\u00ebl Rozendaal,\u00a0N. Dash Mohamed Hamidi,\u00a0Daniel Steegmann Mangran\u00e9,\u00a0La\u00ebtitia Badaut Haussmann,\u00a0Seulgi Lee,\u00a0Ad Minoliti,\u00a0St\u00e9phanie Saad\u00e9, Ulrike M\u00fcller<\/p>\n
Curator: Marjolaine L\u00e9vy<\/p>\n
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\u00ab\u00a0Elles font l\u2019abstraction <\/em>[Women Artists in Abstraction], Journeys of Abstraction<\/em>, Living Abstraction<\/em>, Ways of Abstraction<\/em>, Abstraction Singularity<\/em>, Affinities for Abstraction<\/em>, Structural Abstraction<\/em>, Spirituality and Abstraction<\/em>, Ways of Seeing Abstraction, Epic Abstraction, Abstraction in the Expanded Field<\/em>, Plein air Abstraction <\/em>[Open-Air Abstraction], The Shape of Abstraction<\/em>, Queer Abstraction\u2026 <\/em>Since the start of the year 2020, over a dozen museum exhibitions presented worldwide have taken abstraction as their subject. As diverse as they are, the common denominator of these exhibitions is that they present the latest news in abstraction while attesting to the irreducibility of contemporary forms, but also historical ones, from the abstract art that they present to the broader teleology that American art historian Clement Greenberg (1909\u20131994) constructed about it. This narrative has apparently dominated thinking about abstraction for decades. In an artistic context that is constantly (and rightly so) calling into question the Western-centric and gendered axioms of the history of art, such exhibitions offer an original and plural reading of abstraction, far from Greenbergian theories. The thirty-eight essays in Art and Culture<\/em> (1961) written between 1939 and 1960 paved the way for the great modernist fable of abstraction. This was presented as the end of a long \u201cprocess of self-purification\u201d in art: \u201cIt would appear that it is a law of modernism\u2026 that any conventions that are non-essential to the viability of a medium are rejected as soon as they are recognized\u2026 Painting therefore continues to develop its modernism with the same momentum, since it still has a relatively long way to go before it is reduced to its vital essence.\u201dPictorial art, in this essentialist logic, must confine itself to its two specific conventions: planarity and the delimitation of planarity, and the refusal of any narrative or external reference. Thanks to abstraction, painting could thus speak only about itself. (…)\u00a0\u00bb<\/p>\n","protected":false},"featured_media":15130,"menu_order":0,"template":"","class_list":["post-15129","expositions","type-expositions","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\n