Monday, November 29, 2010

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Elan Art, contemporary art in Montpellier Montpellier

7th Exhibition of Contemporary Art at the Corum in Montpellier: Elan Art

Élan d'Art, Salon d'Art Conteporain à Montpellier First, there had the nomination. Then the selection. And one day, suddenly you're part of the elect ... "No, I do not regret coming here," said Valerie Blanchart attending for the first time at the Salon d'Art Contemporain de Montpellier Art Elan, which for the seventh time, stands in Corum.

With its bright, vivid colors, the paintings of Valerie Blanchart, stand out. When approached, it was his style that stands out: a typical style of naive painting "invented" some 140 years ago by Henri Rousseau said the "Customs". His paintings reflect, simply, life. His style is imaginary, but with imagination, she paints the reality. "She does not paint abstract art," said one visitor, "the base is real life."

Élan d'Art à Montpellier : Valérie Blanchart Slices of life - a man who walks his bucket on the beach, bitch raccole young in a car, a random lottery, ... "... Scenes of the city where I live." Valerie Blanchart is Parisian, but last year, she lives in Barcelona. "I love the city." And she also likes the Elan Art exhibition: "A good exhibition," said she, "there are many. And good communication." She would return next year? - Valerie Blanchart smiled. "If I'm selected, yes, sure."

Art Sami Adra is more serious. "The painter looked sad," says a lady in her fifties who look at the artists and their works. "His paintings too," replied the companion. Sami Adra tables have titles such as "Images of Crisis" or "A first time for everything," and his style is abstract. His art, unlike that of Valerie Blanchart that expresses life in its purest form, suggests the force - the force of good and evil, real and unreal, human and inhuman.

Salon d'Art Temporaire de Montpellier : Sami Adra For Sami Adra is already the third time he has been chosen as an exhibitor at the Salon d'Art Contemporain de Montpellier. "An exhibition stands," says he, "that can make contacts."

Pascal Cazaumayou Valencia agrees. "The exhibition shows a good level, the organization is very serious," he said. "As for the works, there at all. The exhibition succeeds in expressing the difference." The difference, this also includes the works of Cazaumayou, surprising at first glance, fascinating when viewed up close. First, we think it is a photographer, then you realize it goes much further ...

The style of his works is an allusion to the propaganda posters of the 1970s in China. "I wanted to tribute not to a political era, but a graphic, "says the artist. It makes use of reportage photos in black and white, the news of the day banned by itself, a reporter in Shanghai, on paper photographic film. The pictures tell the story of the "river people", those who live along the Huang Pu Jiang of their lives, their craft. Then, in the Chinese style of graphics, he "stuck the Today's news on the pictures. The result: works that reflect the life of yore, today, tomorrow ...

Pascal Cazaumayou au Salon d'Art Contemporain de Montpellier Cazaumayou According to Pascal, we can not quite encourage organizers of Salon d'Art Contemporain de Montpellier for them again next year. The organizers, the association's "Art of Élan" Millennium located in Montpellier. Outside Exhibition organized by them in collaboration with the city of Montpellier, their care especially books and rare works.

Artists are not the only ones who appreciate the work of members of the association "Art of Élan. "This exhibition," exclaimed a gentleman of about forty years, "is worthy of being shown in Paris. This proves," he continued proudly, "that Montpellier is not a 'city Province 'unimportant. At least in terms of its taste for art. "

" I delight, "also ensures a lady in her thirties." It is rare that we get to see so many excellent works in a single exposure. "And a lady a little younger remark:" I have a friend who is an excellent painter. I tell him to apply for Elan Art next year. "

Photos and text are copyright Doris Kneller

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