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2 • 3 • 4 • 5 July 2020

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Hermann Nitsch, Untitled, 200 x 150 cm, 2019, Courtesy Galerie RX

Galerie RX

Gil Heitor Cortesão, The Crossing #1, 2019, oil on plexiglas, 72x180cm, Courtesy artist & Galerie Suzanne Tarasieve, Paris

Galerie Suzanne Tarasieve

Galerie Sator

J’ai été chassée du Paradis - Nazanin Pouyandeh (Marais) 1981, Iran

Secteur Général - Group show (Romainville)

  • Nazanin Pouyandeh, L’invisible fièvre, 40 x 50 cm, oil on canvas, 2020, Courtesy artiste & galerie Sator

Nazanin Pouyandeh, L’invisible fièvre, 40 x 50 cm, oil on canvas, 2020, Courtesy artiste & galerie Sator

One encounters the paintings of  Nazanin Pouyandeh in fits and starts; one discovers   them in a cascade of observations. Their strokes are realist enough, and despite the proliferation of details, one can easily project oneself into the image – to such an extent, in fact, that a clear and plausible story effortlessly takes shape before us. And yet this narrative is anything but linear: it contains multiple, overlapping realities which are at once complementary and contradictory. Pouyandeh’s stories are legion, and she blends them freely. She makes direct reference to the history of art in the form of Masaccio’s Adam and Eve or through images of joyous, drunken bacchanals. At the same time, more subtly – insidiously, even – she names her paintings just as an author might select a title for their novel. In doing so, she gestures towards one kind of story whilst leaving space for others, for the emergence of new lines of thinking. And what of the mise en abyme that she institutes in her canvases? Ultimately, J’ai été chassée du paradis (I was driven from paradise) is less a call for pious introspection than an acknowledgment of the price that must be paid for liberty, namely the renunciation of the ideal of representation. The contours of a line will never curve as beautifully as a hip, and for an artist to suggest as much would indeed be a refusal of freedom. Nazanin Pouyandeh has found a way to break with such absolute perfection, and now paints beyond all constraint.
Camille Bardin — February 2020

On the evening of Saturday 14th March, we learned of the imminent closure of all the spaces of social life in France. On Monday 16th, the confinement of the entire population was officially announced, and went into force the next day. Our galleries closed, the exhibitions continued in darkness and in silence. Time went slack. We waited on announcements and statements from the government. One by one, the major events of the spring season were postponed, and then cancelled altogether. Art fairs were no exception, including Art Paris Art Fair and Drawing Now in our case. We had been working with artists and supporting their production for a period of several months, devising two specific projects for these fairs: one for a group exhibition (featuring Raphaël Denis, Christian Gonzenbach, Evangelia Kranioti, Kokou Ferdinand Makouvia, Nazanin Pouyandeh and a focus on the work of Gabriel Leger) and another for a solo show by TrucAnh. Our first post-confinement exhibition thus evokes the spirit of the group shows that were scheduled to take place beneath the skylights of the Grand Palais and the Carreau du Temple. Secteur Général brings together sculpture, objects, photographs, paintings and drawings which together illustrate the plastic diversity of our artists’ practice. Unfolding across the entirety of our Komunuma space, visitors to the exhibition are invited to wander through the works and immerse themselves in the new dialogues that emerge between them – in short, to return to the gallery once again.

Rendez-Vous

Sunday 5 July 2020 from 11:00 am to 7:00 pm

Garden party

View all events
43 Rue de la Commune de Paris
Romainville, France
8 Passage des Gravilliers
75003 Paris, France
+33 (0) 1 42 78 04 84 galeriesator.com

The gallery

Opened in 2011 in the Marais in Paris, the Galerie Satoris committed to the promotion of emerging international artists. The gallery is defined in a referenced relationship between art and other forms of art or thought creation: politics, history, art history, literature, philosophy or sciences intended to question the human being’s place in the world, to provide a tool for reflection on contemporary societies, their evolution and mutation, their relation to the territory.
In the fall of 2019, the Galerie Sator joined Komunuma in Romainville. In this second space, on a plateau of one hundred and thirty square meters, it presents and defends specific and curatorial projects.

Gallery artists

Jean-Marc Cerino • Sylvain Ciavaldini • Raphaël Denis • Yevgeniy Fiks • Christian Gonzenbach • Yan Heng • Evangelia Kranioti • Romain Kronenberg • Hayoun Kwon • Gabriel Leger • Kokou • Ferdinand Makouvia • Éric Manigaud • Nazanin Pouyandeh • Truc-Anh • Pu Yingwei

D’autres galeries dans le quartier « Marais (Temple - Beaubourg) »

Sabrina Vitali, Paravent veiné, 2019, photo Thomas Lannes, Courtesy Galerie Papillon

Galerie Papillon

Cathryn Boch 1968, France

Erik Dietman 1937 — 2002, Sweden

Linda Sanchez 1983, France

Sabrina Vitali 1986, France

Galerie Christophe Gaillard

Casanova - Thibault Hazelzet 1975, France

Chourouk Hriech, Illusion of you #1, 2020, India ink on arch paper, 70 x 55 cm,
Courtesy artist & Gallery Anne-Sarah Bénichou

Galerie Anne-Sarah Bénichou

…et des échelles pour les oiseaux - Chourouk Hriech 1977, France

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Event organized by CHOICES
Association loi de 1901