Carte Blanche 2019
Carte Blanche 2018
Henri-François Debailleux, invited art critic, offers during the fair his Carte Blanche:
“Like a wink, I reproduce with this Carte Blanche the very principle of the fair which consists in exposing galleries. I therefore choose to invite 4 galleries that will exhibit their artists. “
Gallery Anne-Sarah Bénichou
Gallery Thomas Bernard
|Gallery Bertrand Grimont||Gallery RX|
Henri-François Debailleux is a journalist and art critic. He worked for the newspaper Libération for more than 30 years and now works for the Journal des Arts. At the same time, he has also collaborated with Beaux-Arts Magazine, New Art International, Art Press and currently at L’Oeil and ArtAbsolument.
He is the author of numerous prefaces of exhibition catalogs (texts or interviews); curator (Lee Bae at the Museum of Modern Art of Saint Etienne September-November 2011 and Guimet Museum, September 2015-April 2016 Philippe Favier at the MEP, European House of Photography in April-June 2013 Marlène Mocquet at the Maison des Arts in Malakoff, September-October 2013, Fabien Verschaere at the Museum of Modern Art in Saint-Etienne in spring 2014); and member of different jury and committees (Colas Foundation, MEP, etc. and he was part of the FNAC buying commission).
He also teaches at ICART (Higher Institute of Artistic Careers) where he gives several courses especially on the art market, on gallery owners, on art criticism, on cultural engineering.
Carte Blanche 2017
“The work of Damien Cabanes is a dense, concrete œuvre that gives shape to life’s small manifestations”.
Olivier Kaeppelin, Exhibition Catalogue
In his sculptures, the artist’s strength to bring out shapes and vibrations is just as evident. The tortillons, for example, are simple plates of clay painted and then twisted in the artist’s two hands. From a repetitive gesture rose an infinity of shapes.
The “variation on the same theme” lies at the heart of the creative principle of Damien Cabanes, like a musician who has found the instrument, the main melody and the “colours” of the atmosphere he wishes to evoke. It would then simply remain to explore again and again the infinite possibilities offered by his power of concentration and imagination before the material, the better to express its reality.
“His paintings, his sculptures, his installations need to know, at the most authentic level, from what the real is made.”
O. Kaeppelin, id.