"DANS LES TEMPS" GROUP SHOW: Brussels

ARNAUD ADAMI, ROMAIN BAGOUET, MONA CARA, GRÉGORY DEFREYNE, OSCAR LEFEBVRE, RAPHAËL-BACHIR OSMAN,BRICE ROBERT & DUNE VARELA

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DANS LES TEMPS, organized by Arnaud Adami & Dhewadi Hadjab

In «Dans les Temps», eight young artists are showcased for their exploration of pictoriality and temporality, carefully selected for their contributions. Our curatorial approach is deeply influenced by our passion for painting. We sought to capture the diversity of this pictorial exploration through the use of multiple mediums, while emphasizing a serial approach for each artist. Whether through gesture, form, or the use of supports and images, our aim was to offer a rich and varied experience.

The selection of artists was partly based on the concept of play, whether directly present in their works or in the subtle connections between them. Our selection reveals an exploration of deconstruction in Mona Cara’s work, particularly our relationship with overconsumption, even destruction in Dune Varela’s pieces. In Dune’s work, a poetic mise en abyme emerges from the gestural and brutal violence with which she approaches her pieces. Conversely, Brice Robert establishes a palpable serenity in his bucolic landscapes, evoking the authentic life of the countryside through genre scenes representing his comrades. In a similar approach, Arnaud Adami  highlights apparently mundane scenes, the popular France inscribed in the history of painting.

Oscar Lefebvre and Gregory Defreyne explore different approaches to painting, questioning pictorial gesture from distinct angles. Gregory depicts a fallen world while hinting at his dreams of a more colorful uni verse, with a certain brutality. On the other hand, Oscar joins the idea of deconstruction but delves more into the inherent questions of painting, erasing his subjects through his gesture. In contrast, Romain Bagouet distinguishes himself through the meticulous construction of his works, where every detail is precisely controlled. Although sometimes abstract, his compositions always stem from concrete elements, leading to an abstract reality. Similarly, Raphaël-Bachir Osman plays with compositions, humorously depicting gluttony through wiped plates evoking paint palettes, chocolate bars questioning the canvas format, or trays illustrating the painter’s gesture.

These mise en abyme offer fascinating perspectives on the art of painting.

--  Arnaud Adami & Dhewadi Hadjab