Fiac

For this new edition of Fiac, Galerie 8+4 is pleased to present some of the productions created with the artists during the long months of confinement. All of them have in common to have lived this time as a period of introspection and critical look on their practice. The productions that emerged attest to these questions and mark, for some, a real turning point.

At 97 years of age, Vera Molnar never stops reinventing herself, as evidenced by her new sculpture of 196 squares cut out of metal and tilted slightly outwards or inwards. The subtle play of the gaps between these squares is reminiscent of one of her major pieces: 100 yellow squares from 1977. 

With the same precision and rigor, Alan Charlton offers us an exceptional multiple composed of 9 squares of canvas gathered in a large triptych declining different variations of uniform greys used by the artist. It is the first multiple of this scale made by Alan Charlton.

From a series of nightmares, the Spanish artist Javier Perez has made a set of 7 marble pillows keeping the imprint of his restless nights. Photographed, then printed on Canson paper, these images become the support of a series of hand-enhanced interventions, between fright and enchantment.

For her part, Claire Trotignon stages new compositions made up of fragments of old engravings and chromos from the 1950s, carefully cut out. These new works do not fail to evoke by subtly thwarting certain references to artists of the Italian Quattrocento.

Lionel Sabatté is an artist of experimentation, of materials, forms and iconoclastic supports. On this occasion, we will be presenting several sets in which the artist spectacularly hijacks the classic techniques of engraving or silk-screening, forcefully bringing out fantastic sets that are still unheard of in his practice. 

Recognized architect, Odile Decq pursues in parallel a work of artist in full share. For the Fiac, she delivers three new multiples inspired by her work. Starting from the ground plans of her buildings, she reduces an architecture to simple relationships of abstract forms which are not without evoking the minimal art of the 1960s, magnifying the destructuring of the free plans of her architecture.