MODERN AND CONTEMPORARY ART GALLERY IN CÉRET
Since its creation, eighteen years ago, the gallery is dedicated to Modern and Contemporary Art, depicted by its exhibitions and permanent collections.
Some of the most beautiful pages of Modern Art have been written in our locality. It all began in Céret in 1909 with the arrival of Manolo, Déodat de Severac and Burty-Havilland. Many others followed, including Picasso, Max Jacob, Braque, Gris, Herbin, Kisling; Then from 1916, Brune, Krémègne, Soutine, Loutreuil and Masson. The forties were marked by the arrival of Mucha, Dufy and that of Pignon among others. These are the roots that make up the foundations of the exhibitions.
The contemporary painters we represent open up our understanding on today’s paintings. The diversity of trends presented does not express a formal eclecticism, we are not neutral. It is the result of our many questions regarding the "effect of painting", the thread of a labyrinthine reflection but homogeneous in its foundations.
THE SHOCK OF THE POSSIBLE
Will this time have a style?
Will the spirit of the time that precedes or come after the artistic creation leave a marked imprint?
The weakness of religion, the absence of utopias or motivating ideologies, no longer provoke a vanguard that regularly reverses the dominant art.
Today’s artistic scene is too varied and uncertain. Will this indeterminacy succeed in representing our period, or does it favour exploitation by the powers of the market and institutions?
In the name of what, since there is no longer any sense, these two systems (when not in collusion) can regulate their respective excesses.
The militant speeches of the "imaginary rebels" on the social function of art deal with politico-media clichés and ignore the real and embodied connection of our lives with the style that will necessarily flow from it.
A group of artists can no longer work on a common approach, the school effect is anachronistic. Only a theme could bring them together but it would shield the present inconsistency that we want to stress on.
Its global character paradoxically forms a plural homogeneity which would finally be the hypothesis of a style, from which various aesthetic and conceptual emotional tensions will resonate together, but in an autonomous, atomised manner, without any apparent symphonic direction; All strangely inscribed with relevance in a collective history of non-totalizing art.
The partial truth of an artist presupposes the partial truth of the other, and both are experienced as absolute in their totality.
Each one traces his own path to a common goal that will later reveal itself: this is the "shock of the possible".