Salo IV

Josef Hofer, who has been a resident of an Austrian institution for more than 30 years, does not speak. He draws. Tirelessly. In the metaphoric mirror that he uses and reaches out to us, people attempt to flee from the straitjacket of the frame with eroticized and untamed grace. His works - to which Michel Thévoz has devoted several essays - depict a founding duality between body and psyche. Present in numerous museum collections, he is also part of great private collections: A. de Galbert (France), A. Shaker (Switzerland) and even in the collection of A. Rainer (Austria), who considers him “one of the greatest of the brut contemporary artists.” A significant number of his works was donated to the Centre Pompidou collection in 2021 while the gallery became the owner of his estate in 2022.

At a very young age, Marilena Pelosi began to make drawings in which exuberant Catholicism and feverish Macumba, from her native Brazil, swirled to the point of delirium. The reminiscence of trance, eucharistic processions and carnivals are inextricably combined with much more intimate evocations. Established in France for several decades, she continues these same troubling drawings, made with ballpoint pens, in which doll-women are both executioners and victims. Now part of the CNAP collection, in 2019 she will join BIC (France), and in 2021 the Musée d’art moderne (Pompidou, France) and was recently included in the collections of LaM - Lille Métropole Musée d’Art Moderne, Art Contemporain, and Art Brut in 2025 (France).