outsider art fair
The gallery participates in the first Parisian edition of this New York fair born in 1993 by exhibiting Guo Fengyi, José Johann Seinen, Albert Moser, Josef Hofer and John Devlin.
Hotel Le A, rue d’Artois, 75008, Paris
Josef Hofer, who has been a resident of an Austrian institution for more than 30 years, does not speak, he draws instead. Tirelessly. In the mirror that he uses and hands us, individuals try to take their rise in the straitjacket of the frame with an eroticized grace, untamed. His productions - to which Michel Thévoz has devoted several essays - depict a founding duality between the body and the psyche. Present in many museum collections, he is also part of great private collections: Antoine de Galbert (France), Amr Shaker (Switzerland) or even of the collection of Arnulf Rainer (Austria), who considers him “the greatest of the brut artists.”
Living her spirituality through the paths of Qigong, it was at the dawn of her 40th birthday that Guo Fengyi began to reinterpret popular Chinese beliefs in drawings of ink and brush. On rolls of rice paper, measuring up to 10 meters, entities unfold: sometimes linked to the pantheon, sometimes to the pandemonium, they seem to float in a space-time void. These heretical scrolls were even exhibited at the 55th Venice Biennale, curated by Massimiliano Gioni.
This American artist, autistic, lived most of his life with his parents, before joining the New Jersey foster home where he still lives. Moser first gained recognition for his tinkered photographic panoramas, then for his psychedelic geometric designs. But whatever the medium, his work testifies to the same obsession with space. They report, in their own way, the vertigo through which he tries to find his place in the world. Exhibited in 2019 at the Rencontres de la photographie d’Arles, his work is as well in the collections of Antoine de Galbert (France) and Treger Saint Silvestre (Portugal).
John Devlin was only 25 years old when he left Canada to study theology at Cambridge and set himself on the path to priesthood. Although he adored Cambridge, he had to return and abandon his ecclesiastical dreams because of a psychotic disorder. He thus devoted his life to drawing his own Nova Cantabrigiensis, an idealized Cambridge that became both a symbolic projection and a healing protocol. Once his great work - developed in secret - was discovered in the late 1980s, he was the subject of numerous exhibitions and publications including the Rencontres de la Photographie d’Arles for the iconic exhibition Photo Brut.