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Alighiero Boetti, Entre chien et loup, 1988, Tapestry, Embroidery/fabric, 18 x 18 cm, Courtesy : Pron

Pron

Femme Jibóia, Kássia Borges Mytara, photo Sami Korhonen @ricardofernandesgallery

Ricardo Fernandes

RABOUAN MOUSSION

Dimitri Tsykalov 1963, Rusia

"ELEMENTS"

  • Adam et Eve, 2020-2021, bois, caisses de munitions, diptyque : 242 x 99 x 12 cm / 244 x 100 x 10,5 cm.

Adam et Eve, 2020-2021, bois, caisses de munitions, diptyque : 242 x 99 x 12 cm / 244 x 100 x 10,5 cm.

Dimitri Tsykalov has long affectionately referred to his studio as “the bunker”. So it’s hardly surprising that this casemate – both shelter and outpost – should be the setting for this exhibition, with pieces that all have something to do with violence and war. Not that their subject is warmongering or military strategy. More subtly, with his sculptures and drawings, Tsykalov expresses art through the means of what materially makes war possible, at the most basic level: ammunition containers.

This is not in the least an “art of war”, but a stunning way of making art triumph through the means and tools of what a priori seems furthest from it: war. To the shadow cast by war over culture, the artist opposes the shadow cast by culture over war. In a striking paradox, Tsykalov creates with what destroys. All the pieces in ELEMENTS are built from the dismemberment, cutting up and rearrangement of those boxes without which war simply could not take place.

With ELEMENTS, art has taken up arms. And we’re now forced to realize that the words “art” and “artillery” have something in common.

A monumental work of art dominates the exhibition: “Temple”. The piece may suggest the shape of the Empire State Building. Here, it’s the signifier “empire” that’s important to remember. “Empire State Building” can be translated as “Empire State Construction”. How does an empire build itself up, if not through weapons and the violence it inflicts on those it subjugates? With its two legs resting on the ground in front of it, “Temple” also evokes the Sphynx of Giza. The piece seems to carry an enigma that would ask every visitor to the exhibition the question of the origin of hatred and violence – a question destined to remain eternally unanswered. As they might be in an arsenal, the empty ammunition boxes that make up “Temple” are stacked whole, while the other pieces are made of cut-up pieces. Thus, even more obviously composed than the other works, “Temple” provides the key to reading the exhibition as a whole, in the sense that it brutally designates its main subject.

Matter is Dimitri Tsykalov’s primary object, his obsession. His sculptural work to date has been divided into four phases, each organized around a different material: wood (with WOODLAND, a ramshackle, second-degree evocation of the high-tech world, with a material evocative of birch wood, a central figure in Russian literary culture), fruit and vegetables (with SKULLS, which explores their capacity to fade, lose their shape and become damaged), meat (with MEAT, weapons are identically reconstituted from meat), to arrive at the current period, centered around the ammunition box, the subject of a series of still lifes.

Solo show of Dimitri Tsykalov

From March 15th to May 31st, 2025

11 Rue Pastourelle
75003 Paris, France
01 48 87 75 91 www.rabouanmoussion.com/fr

The gallery

In 1989, Jacqueline Rabouan Moussion opened a gallery rue Vieille du Temple in Paris and showed artists like Hervé Télémaque, Jean Degottex, Valie Export, Otto Muehl, Sandy Skoglund and Oleg Kulik. In 2015, the gallery inaugurates a new space rue Pastourelle with a solo show of Erwin Olaf « Waiting ».

Since its creation, the gallery favors an exploratory approach towards emerging scenes drawing its energy between subculture and political commitment. Thus, artists represented from their beginnings and today recognized by institutions (Hervé Télémaque, Erwin Olaf, Oleg Kulik) meet the creations of young talents and established artists.

Gallery artists

Ghyslain Bertholon, Florence Cantié-Kramer, Kirill Chelushkin, Guillaume Durrieu, Vincent Fournier, Claude Gassian, Louis Jammes, JonOne, Oleg Kulik, Quentin Lefranc, Erwin Olaf, Jonathan Potana, Jay Ramier, Denis Rouvre, Val Smets, Hervé Télémaque, Dimitri Tsykalov, Stephan Vanfleteren, Romain Vayson de Pradenne, Xavier Zimmermann

In the thematic « Art contemporain »

Galerie Taménaga

Jean-Pierre Cassigneul 1935, France

"Jean-Pierre Cassigneul : Carnets intimes"

Martin Boyce, Drawn from Depths, 2025 (détail), acier peint, acier galvanisé, verre soufflé à la main, composants électriques, installation : 300 x 200 x 200 cm. Production du verre : Cirva, Marseille. Courtesy de l’artiste et Esther Schipper Berlin/Paris/Séoul. Photo © Eoin Carey

Esther Schipper

Martin Boyce 1967, Scotland

"Unhome"

Robert Irwin, #3 x 6' D Four Fold, 2016
© ARS, NY and DACS, London 2025.
Photo: Philipp Scholz Ritterman. Courtesy of the Estate of Robert Irwin

WHITE CUBE

Robert Irwin 1928 — 2023, United States

"Robert Irwin"

In the thematic « Contemporary Art »

 Arnulf Rainer
Sans titre, 1987/1988
Crayon gras et huile sur toile, 200,5 × 124 cm
© Arnulf Rainer. Courtesy Galerie Lelong

Galerie Lelong

Arnulf Rainer 1929, Austria

"Reminiszenz"

1955-2025

Perrotin

Exposition collective

Christian Fogarolli, MauvaisCorps

Galerie Alberta Pane

Christian Fogarolli 1983, France

"Mauvais Corps"

In the thematic « Sculpture »

Giorgio Morandi, Fiori, 1943, huile sur toile, 35,5 × 25,5 cm, Bertozzi & Casoni, Per Morandi, 2020, céramique polychrome et bronze, H. 50,5 × 31,5 × 32,5 cm Courtesy of Galleria Maggiore g.a.m.

Galerie d’Art Maggiore g.a.m.

Giorgio Morandi et Bertozzi & Casoni

--

"La rencontre entre le quotidien et l’extraordinaire"

Jeanne Vicerial, Présence Amnios, 2025, Cordes, fils, cuivre et laiton doré à l'or fin, Photographie : Laurent Edeline, Courtesy TEMPLON, Paris-Bruxelles-New York

TEMPLON, Paris-Bruxelles-New York

Jeanne Vicerial 1991, France

"Nymphose"

Femme Jibóia, Kássia Borges Mytara, photo Sami Korhonen @ricardofernandesgallery

Ricardo Fernandes

Kássia Borges Mytara 1962, Brazil

"'Femme Jibóia"

In the tour « Marais »

Michel Potage, Dans la vase, Technique Mixte, 130 x 195 cm

L'Avant Galerie Vossen

Michel Potage 1949 — 2020, France

"Michel POTAGE Peintures et Dessins"

Paul Wesenberg, Carmin River, 2024, huile sur toile, toile cirée, 200 x 150 cm, Courtesy RX&SLAG

Galerie RX&SLAG

Paul Wesenberg 1973, Germany

"Found New Paradise"

Soufia Erfanian,
I Truly Love Both of You, 2024, Acrylique sur toile, 230 x 180 cm.

Galerie Christophe Gaillard

Soufia Erfanian 1990, Iran

"Lies That Bled Blue"

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