Sous un certain angle
What does the future hold for paintings in the prolific world of screens and images? As early as the 1960s, Daniel Dezeuze, a founding member of the Supports/Surfaces group, foresaw this exponential evolution.
Since then he has sought to deconstruct the traditional media and materials of painting. Radical to the core, Daniel Dezeuze has used the stretcher as a tool for questioning and reassessing. Freed from the canvas, he flips paintings against the walls, playing with empty spaces and three-dimensionality: by going beyond the limits of artistic traditions, Daniel Dezeuze opens up a new space.
In the first part of this new exhibition, Daniel Dezeuze pays tribute, in his own way, to the art and paintings he loves: angles, brightly coloured frames, open-work surfaces. Halfway between painting and sculpture, his unclassifiable oeuvre lies ‘between between art, laid bare by the laying bare of the painting, and its relationship to space,’ explains Guy Tosatto.
Mirroring the publication by Skira and Galerie Templon of Daniel Dezeuze, Drawings, 1960-2018, a monograph dedicated to the artist’s different drawing periods (with texts by Olivier Kaeppelin and Pierre Manuel, 320 pages), the second part of the exhibition focuses on Daniel Dezeuze’s drawings.
Presented like the flesh on the bones of the first room, these works drawn in Italy, about Lascaux, the art of fortification and floating geometry, once again evoke the question of angles, open-work and the artist’s obsession with ‘capturing the uncapturable’. Through drawing, Daniel Dezeuze liberates himself of all weight and opens the door to lightness and pleasure: another way of seeing the world from a certain angle.