ART PARIS ART FAIR

Art & Commitment. Exile

Miguel Branco, Nicolas de Staël, Jean Dubuffet, Yang Jiechang, Dani Karavan, Evi Keller, Rui Moreira, Jean-Paul Philippe, Paul Rebeyrolle, Mark Tobey, Maria Ana Vasco Costa, Zarina, Antonella Zazzera

Grand Palais Ephémère, Paris, France

Foires

Paul Rebeyrolle, Le Chien blanc (série Madagascar), 2000<br/>© Jeanne Bucher Jaeger — **Paul Rebeyrolle, Le Chien blanc (série Madagascar), 2000**
Sélection "Art & Engagement" de Marc Donnadieu, Art Paris 2023
Photograph by Jean-Louis Losi

Paul Rebeyrolle, La vache rouge (série Monétarisme), 1998<br/>© Jeanne Bucher Jaeger — **Paul Rebeyrolle, La vache rouge (série Monétarisme), 1998**
Sélection "Art & Engagement" de Marc Donnadieu, Art Paris 2023
Photograph by Jean-Louis Losi

Zarina Hashmi, Sinking Boat with a Heartbeat, 2015<br/>© Jeanne Bucher Jaeger — **Zarina Hashmi, Sinking Boat with a Heartbeat, 2015**
Sélection Exil d'Amanda Abi Khalil, Art Paris 2023
Photograph All rights reserved

Zarina Hashmi, Cities I Called Home, 2010<br/>© Jeanne Bucher Jaeger — **Zarina Hashmi, Cities I Called Home, 2010**
Sélection "L'Exil" d'Amanda Abi Khalil, Art Paris 2023
Photograph All rights reserved

Evi Keller, Matière-Lumière, 2023<br/>© Jeanne Bucher Jaeger — **Evi Keller, Matière-Lumière, 2023**
Photograph by Evi Keller

Evi Keller, Matière-Lumière, ML-V-23-0321, 2023<br/>© Jeanne Bucher Jaeger — **Evi Keller, Matière-Lumière, ML-V-23-0321, 2023**
Mixed media
88,5 x 66,9 in
Photograph by Evi Keller

Jean-Paul Philippe, Mare Nostrum, 2022<br/>© Jeanne Bucher Jaeger — **Jean-Paul Philippe, Mare Nostrum, 2022**
Photograph by Jean-Louis Losi

Miguel Branco, Untitled (Acteon), 2023<br/>© Jeanne Bucher Jaeger — **Miguel Branco, Untitled (Acteon), 2023**
Oil on wood
7,9 x 5,1 in
Photograph All rights reserved

Miguel Branco, Untitled (Acteon), 2022<br/>© Jeanne Bucher Jaeger — **Miguel Branco, Untitled (Acteon), 2022**
Château de Fontainebleau, France
Photograph by Thibault Chapotot

Maria Ana Vasco Costa, Untitled #4 (5 A.M.), 2022<br/>© Jeanne Bucher Jaeger — **Maria Ana Vasco Costa, Untitled #4 (5 A.M.), 2022**
Photograph All rights reserved

Maria Ana Vasco Costa, Untitled #2 (5 A.M.), 2022<br/>© Jeanne Bucher Jaeger — **Maria Ana Vasco Costa, Untitled #2 (5 A.M.), 2022**
Photograph All rights reserved

Antonella Zazzera, Quadro XIXL 18, 2018<br/>© Jeanne Bucher Jaeger — **Antonella Zazzera, Quadro XIXL 18, 2018**
Photograph All rights reserved

Yang Jiechang, The Last Tree, 2021<br/>© Jeanne Bucher Jaeger — **Yang Jiechang, The Last Tree, 2021**
Mineral ink and color on silk mounted on canvas
92,5 x 38,5 in
Photograph by Felicitas Yang

Dani Karavan, Alachson (Diagonal), 2014<br/>© Jeanne Bucher Jaeger — Dani Karavan, Alachson (Diagonal), 2014
Ed. 1/7
Earth sculpture
19,7 × 23,6 × 2 in
Photograph by Grégory Copitet

Jean Dubuffet, Homme menhir (buste d’homme brun-violâtre sur fond clair), May 1950<br/>© Jeanne Bucher Jaeger — **Jean Dubuffet, Homme menhir (buste d’homme brun-violâtre sur fond clair), May 1950**
Oil on isorel
28,7 x 23,6 in
Photograph by Jean-Louis Losi

Nicolas de Staël, Paysage, 1952<br/>© Jeanne Bucher Jaeger — **Nicolas de Staël, Paysage, 1952**
Oil on cardboard
14,9 x 21,7 in
Photograph All rights reserved

Paul Rebeyrolle, selection Art & Commitment, A Focus on the French Scene by Marc Donnadieu

The instinctive and generous painting of Paul Rebeyrolle established itself on the French art scene thanks to its singularity, radicality and raw power. Perfectly in phase with the times, it defended a freedom of tone and rebellion against the authorities, enslavement and alienation and the fight for independence and emancipation for one and all. Incorporating found objects that could be considered barbarous (wire, animal hide), La Vache rouge (1998) from the series “Monétarisme” announces a world in decline in which man’s cynicism leads him to destroy the human condition and his relationship with the living world. On the other hand, the almost magical density of Le Chien blanc (2000) from the series “Madagascar” announces its intention to be an ode to difference, to a new-found relationship with nature and the pleasure of living. “What is happening in the world seems to be stron- ger and more dramatic than painting, which could perhaps seem rather vain […], but that corresponds to my way of being a painter and it is the only way. […] I paint every day and yet I wonder if I don’t think just as much about life and people’s living conditions as painting. I believe that these two obsessions, painting and contemporary history are inextricably entwined in me.”

Marc Donnadieu

Zarina Hashmi, selection “Exile : dispossession and resistance” by Amanda Abi Khalil

Finding somewhere to take refuge is far from easy. The logistics of exile and its inherent itinerancy mean resettling at each new stage of your life, constantly making a new home for yourself until you finally elect a definitive home. But what happens when this mobility, this homelessness is never-ending? What refuge exists for the dispossessed when a home is lacking? Perhaps a sheet of paper is enough? Sinking Boat with a heartbeat (2016) brings together fragility, finesse, humility and the force of collage, in other words it resembles the life of Zarina herself, over which her entire body of work looks back.

Zarina (1937-2020) was born in Aligarh in the North of India and was living in London when she embarked on her final journey. In 1947, the partition of India and the imposition of an artificial border set the artist, who was just ten years old at the time, on a path that would be marked by displacement. Her life of exile continued for more than twenty years as she followed her husband, a diplomat, on his many postings, which she retraces in Cities I Called Home (2010). The drawings and woodblock prints that made her famous followed her throughout the course of her life, expressing the alienation of exile and geographical dislocation, of being forced to abandon one’s home.

As Zarina once admitted: “I don’t feel at home anywhere, but the idea of home follows me wherever I go”.

Amanda Abi Khalil