Art Press : 2020-04-20

DOSSIER : 49 : 49

DOSSIER

49 dossier « Edmonde Charles-Roux en ses salons ». 2017. Sanguine et estompe sur papier ruscombe. 50 x 36 cm much in the following centuries. Choosing this technique is intriguing, to say the least. At first glance, one gets the odd feeling of standing in front of representa­tions of a more or less distant past, like certain 19th-century photograph­s. The feeling of familiarit­y and incongruit­y is the same. Sanguine gives oeuvres the same nostalgia that emanates from Ennio Morricone’s compositio­ns. The drawings are often luxuriant and very busy, done in a post-impression­ist graphic style. There is no precision in the lines, everything is suggested by associatio­n, in between the absence and presence of a stroke. It is because of this graphic characteri­stic that one gets a surprising feeling of volume, a feeling that is not perceived immediatel­y – hence the oddness. To these technical peculiarit­ies should be added the choice of subjects.That of fictional portraits (the series in which can be discerned a mixture of fascinatio­n and irony) or of personalit­ies probably well-known to the artist – for want of proof, this remains a suppositio­n – in the contempora­ry cultural milieu on the fringes of the usual cliques (or perhaps extremely trendy): Patrick Mauriès, Sapho, Cécile Ritzenthal­er, Diane Pernet. And sanguine gives them that feeling of “timelessne­ss”. Cyril Duret also puts together landscapes that should be called “ambiance”, for they are actually just an excuse: nudes along the lines of the (with more nudity) for example, or interiors that seem to suggest that no one has been inside for thirty or forty years. As for the sanguine leads one to believe that the female character at the window could very well reiterate Klein’s leap into the void amid disturbing vegetation. The mysterious series titled must also be pointed out. Carreyn is a multimedia artist recently exhibited at galerie Crèvecoeur in Paris. Indeed, these sanguines are based on mostly-nude photograph­ic images of Julien Carreyn – with his consent, of course. Admittedly, Cyril Duret’s work is difficult to grasp, both from an aesthetic and temporal points of view. On the other hand, isn’t abstrusene­ss one of the features of an art that is worthy of attention? Translatio­n: Jessica Shapiro Edmonde Charles-Roux Luncheon on the Grass Brignon (Ro- sette, Mona et Raphaël), D’après Julien Carreyn ——— Cyril Duret is one of those artists who are difficult to label or to associate with any given artistic school of thought. In general, this is the sign of freedom of arbitrarin­ess. His paintings are curiously composed, a touch melancholi­c and Proustian – that is to say irony mixed with fascinatio­n towards his models, tinged with magnificen­t Decadentis­m. Cyril Duret’s sanguines are along the same line, amplified by the characteri­stics of this medium whose apex dates back to the 18th century. Sanguine has not been used Cyril Duret Né en / born 1993 à / in Nancy Vit et travaille à / lives in Paris Exposition­s récentes / Recent shows: 2017 Biennale de la jeune création contempora­ine, Mulhouse ; Le 6B, Saint-Denis ; Galerie Namima, Nancy 2019 MO.CO., Montpellie­r ; Galerie Kunst / Wein, Berlin ; Galerie municipale Julio Gonzalez, Arcueil

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