}

Collage Décollage

Doğançay / Villeglé

May 3 - July 13, 2008

Although from very different origins and cultures, Dogançay (born in Istanbul, Turkey, in 1929) and Villeglé (born in Quimper, France, in 1926) share the same interest in the city. Whereas Dogançay soon felt the need to travel and find out what was happening elsewhere, Villeglé moved to Paris and henceforth participated in the collective “Nouveau Réalisme” adventure. Although Dogançay’s art was originally based primarily on conventional pictorial practices –almost exclusively gouaches and watercolors, standing as a testimony to his numerous journeys– since the mid-1960s he has taken his themes uniquely from images and signs seen on the walls of the cities he has traversed. As of 1949, Villeglé’s art has been based on collecting a world of ready-made “paintings” that are offered to him by “anonymously torn posters” that he saw when exploring the city.

Collage [gluing, pasting] in the first case, décollage [tearing down, unpeeling] in the second: these two practices characterize two sets of attitudes that, if not parallel, converge, and summon up a world of colorful icons founded on the theme of the city or images, absorbed into uncompromisingly abstract compositions. The idea of bringing together two leading artists of their generation in the same exhibition aims to reveal to viewers the similarities, as well as the differences between Dogançay and Villeglé, whose works anticipate, in their own way, the arrival of “graffiti” art as part of the same aesthetic impulse.

Curator: Philippe Piguet

Exhibition Catalogue

Collage Décollage

Collage Décollage

Although from very different origins and cultures, Doğançay (born in Istanbul, Turkey, in 1929) and Villeglé (born in Quimper, France, in 1926) share the same interest in the city. Whereas the...

The First Nudes

The First Nudes

Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’. 

Shaping Forms  The Migrant Body / Shaping Ideologies

Shaping Forms The Migrant Body / Shaping Ideologies

Constituting the entirety of all the perceived aspects of an object creating their own order, form not only contains visual elements and characteristics, but can also help elucidate concepts. 

Giacometti & the Human Figure

Giacometti & the Human Figure

Giacometti worked nonstop on his sculptures, either from nature or from memory, trying to capture the universal facial expressions.