I feel that my works are specifically feminine. There is in the female psyche something that can rise to the heavens. The feminine spirit is positive, and not in the same way as the masculine one. (…)
My work is delicate; it may look strong but it is delicate. True strength is delicate. All my life is in it, and my entire life is feminine, and my creation proceeds from a point of view entirely different than that of men. My work is a creation of the feminine spirit, there is no doubt about it. I am not very modest. I have always claimed to be building an empire. Few women have the courage to dedicate themselves to art. In a way, it is a sacrifice, but it is a choice.
Louise Nevelson
Women, and feminine creation, have been at the center of the gallery’s history since its origin. Jeanne Bucher was the first to exhibit the works of Maria Helena Vieira da Silva, to whom the gallery dedicated some fifteen solo exhibitions, and whose works were part of numerous other group exhibitions. In 1978 Jean-François Jaeger presented L’Espace en Demeure, an exhibition that brought together the works of Maria Helena Vieira da SilvaLouise Nevelson and Magdalena Abakanowicz. This theme, handled in a way that was pioneering for its time, showed works created by three women artists who expressed themselves within the interiorized space of their medium.
Forty years later, Le Féminin Demeure prolongs this theme with the same three artists, as well as other female artists who were taken on by the gallery as years passed, such as Vera PagavaYamamoto WakakoFabienne VerdierZarina Hashmi and Antonella Zazzera.
Depending on the cultural context and the generation these artists belong to, the issue of Home is treated differently by each one: be it through a space both mnemonic and futuristic, woven in networks by Maria Helena Vieira da Silva; the putting of space into a trance through geometries by Louise Nevelson; the vibrating outlines of Vera Pagava; the cement sculptures of Claude de Soria; the full Japanizing nature of Yamamoto Wakako; the space grasped as a Unique line of Abstraction by Fabienne Verdier; the maps, trips and sensations of Zarina Hashmi; or the framework of copper harmonies of Antonella Zazzera. These female artists interpret, each in her own way, a sort of Home at Home, or interior Home, evoking the memory of moments experienced or deeply felt in the Body-Home or the House-Home, so as to preserve sites or moments bound to be destroyed or forgotten, or so as to bring up the issues of nomadism or exile all the way to the asserted universality of the universal Home, evoking the contemporary issues of body-memory, energetic nature, and self universality, which offer new approaches for inspiration and questioning perceived by the poetic sensibility of the feminine approach.
If different in its approach, this exhibit nonetheless echoes the group exhibition of women artists organized at La Monnaie de Paris starting on October 20, 2017, which draws its inspiration from Virginia Woolf’s essay «A Room of One’s Own», evoking the place that women occupy in the novel and in art in general.
In 2009/2010, the exhibition Elles@centrepompidou, dedicated to female artists, brought together some 350 works by 150 artists from the beginning of the 20th century up to now. Some of the works exhibited here by Maria Helena Vieira da SilvaLouise NevelsonMagdalena Abakanowicz, as well as Fabienne Verdier and Claude de Soria, were part of that exhibit.

practical informations

St Germain Space

53 rue de Seine
75 006 Paris – France
T +33 1 42 72 60 42
F +33 1 42 72 60 49
info@jeannebucherjaeger.com

opening hours

Tuesday to Saturday
from 10 am to 6 pm

Nocturne of the Galleries

Thursday October 19
6 pm to 10 pm

Zarina Hashmi, Folded House, 2016
Collage with 22-karat gold leaf and BFK light paper mounted on Arches Cover buff paper
8,9 × 8,9 in
Louise Nevelson, Untitled, 1957
Black Wood
58,3 x 7,9 x 4,7 in
Maria Helena Vieira da Silva, L’Échelle, 1935
Gouache on paper mounted on cardboard
25,6 × 9,1 in
Photograph by Jean-Louis Losi
Zarina Hashmi, Folded House, 2016
Collage with 22-karat gold leaf and BFK light paper printed with black ink mounted on Arches Cover buff
9 × 9 in
Zarina Hashmi, Flight Log, 1987
Cast paper
8 × 4 × 7 in
Photograph by Jean-Louis Losi
Antonella Zazzera, Armonico C/S CLXXV, 2011
Copper thread
35,4 × 21,7 × 5,9 in
Photograph by Georges Poncet
Magdalena Abakanowicz, Corps n°4, 1981
Charcoal on paper
45,28 × 35,43 in
Zarina Hashmi, Folded House, 2016
Collage with 22-karat gold leaf and BFK light paper printed with black ink mounted on Arches Cover buff
9 × 9 in
Claude de Soria, Disque, 1974
Cement
ø 25,5 in
Photograph by Malala Andrialavidrazana
Vera Pagava, Nature morte sur table, c.1945-1950
Oil on canvas
23,6 × 28,5 in
Photograph by Jean-Louis Losi
Zarina Hashmi, Dreams from my Veranda in Aligarh, 2013
Collage with pewter leaf on etching with silver pencil mounted on Somerset textured Cream paper
39 × 30 in in
Photograph by Georges Poncet
Zarina Hashmi, Folded House, 2016
Collage with 22-karat gold leaf and BFK light paper printed with black ink mounted on Arches Cover buff
9 × 9 in
Yamamoto Wakako, The sound of waterfall II, 1985
Acrylique sur toile
100 x 100 cm

Acrylic on paper
39,3 x 39,3 in
Photograph by Hyde
Fabienne Verdier, Ligne espace-temps, n° 7, 2009
Pigments and ink on canvas
101,2 × 119,7 in
Photograph by Inès Dieleman
Maria Helena Vieira da Silva, Ombre et lumière, 1964
Tempera on China paper
24,4 × 39 in
Zarina Hashmi, Blinding Light, 2010
Cut Okawara paper gilded with 22-carat gold leaf
73 × 39,5 in
Photograph by Georges Poncet
folded-house08-web
Collage with 22-karat gold leaf and BFK light paper printed with black ink mounted on Arches Cover buff
9 × 9 in
Zarina Hashmi, Folded House, 2016
Collage with 22-karat gold leaf and BFK light paper printed with black ink mounted on Arches Cover buff
9 × 9 in
Fabienne Verdier, Qing (La pureté, la limpidité), 2000
Pigments and India ink on canvas
23,6 × 41,7 in
Photograph by Jean-Louis Losi
Zarina Hashmi, Weaving Memory, 2006
Woodcut printed on BFK light with woven strips of woodcut and computer generated text printed on Kozo paper
70 × 36,2 in
Maria Helena Vieira da Silva, Normandie, 1949
Gouache on canvas
15,8 × 18,5 in
Photograph by Jean-Louis Losi
Yamamoto Wakako, Flacon de Parfum IX, 1989
Charcoal, acrylic and India ink on paper
21,7 × 16,9 in
Photograph by Jean-Louis Losi