18 Oct MONOCRIME TOO – Olivier Mosset, Joseph Marioni, Joshua Smith, Marc Angeli
Du 06-10-2018 au 18-11-2018
VERNISSAGE: 03-11-2018 5pm > 8pm
Galerie Albert Baronian / Yoko Uhoda is pleased to present Monocrime too, a group exhibition with Joseph Marioni, Olivier Mosset, Joshua Smith and Marc Angeli.
In a widely read article on GalleristNY.com, the young painter Joshua Smith reviewed an exhibition of an elder Josh Smith, which consisted, in part, of a roomful of monochrome paintings. The younger artist argued in the piece, that every painter of monochromes has a unique purpose for engaging with the practice. This exhibition assembles artists from different generations and backgrounds, each of whom make use of the monochrome for diverse reasons.
For the past five years Joshua Smith’s practice has consisted exclusively of small monochrome canvases. Unassuming in appearance, his work has sought to privilege an “experience of looking”. From 2014, Smith debuts a new body of shaped canvases, introducing a new degree of abstraction to his works, and at scale that dramatizes the physicality of both the objects, as well as the viewers who see them. His new unique and linear forms seem to dance across the walls they hang on. The artist casually dismisses the common practice of dramatizing the labour of art-making saying instead that both artists and viewers should expect more from art; fearing the cynical dismissal of “something like profundity or let alone, say, joy”.
Of the most prominent and radical living painters; Olivier Mosset is a massive influence to generations of artists. From his earliest work with the Parisian B.M.P.T. group to his current work engulfing everything since (his iconic circles, monochromes, neo-geo works and more) his practice highlights the political dimension of abstraction and the reciprocal limits of what might be accomplished with it. Conceptual and comic, rigorous and casual, his practice is marked by an engaged indifference.
Joseph Marioni’s paintings aren’t vehicles for any ideological or theoretical stance. Instead they are actual, powerful paintings, emphasizing the artist’s use of colour and light. For him the monochrome is precisely a painting of a single colour. But such a minimal description might undermine the complexity of his process and the richness of his results. Throughout the process of applying separate waves of acrylic, the canvas is held upright so that the liquid pigment flows toward the bottom of the works in pools of beautiful paint. The many undercoats of vivid paint give the works a luminescence and presence that can simply only be experienced in person.
The works of the Belgian Marc Angeli reveal an investigation of the conditions of painting as a process. In a protracted procedure, Angeli “treats” his pictorial media – these are virtually always a matter of individual pieces of wood that he’s found – with various materials. The contribution made by the wood to the ultimate image is not exhausted by its materiality, i.e. by its color, consistency and thickness. Indeed, other factors, such the original purpose of the wooden objects (e.g. their being a part of a stained oak barrel or a piece of a board), also play an important role in the appearance of the individual works.
Since the middle of the 1980s, Angeli has incorporated other natural materials along with his wooden substrates, including animal glue, oil, red wine, milk and pigments. The result is that every image is based on a unique, non-reproducible mixture of pigments that determines both the color and the consistency of the various layers.
The reality of the materials and their processing is made visible in Angeli’s paintings. This other reality is equal to the aesthetic reality of the image, which is perceived differently by each beholder.