Simon Bérard and Tom Giampieri “Shooting the address”

Simon Bérard ,Dentier soufflé, 2018 acrylique, jus de choux, œuf de caille, chewing gum, paille, 30 x 30 cm Photo@sidney guillemin

Simon Bérard&Tom Giampieri, Tirer l’adresse, 2019 cadre aluminium, toile nylon, émulsion photosensible, pailles, 200 x 300 cm Photo@sidney guillemin

Tom Giampieri, Perroquet trois couleurs, 2019 teinture trois couleurs sur coton, couture, 100 x 80 cm. photo @sidney guillemin

Tom Giampieri, zenithtournuage, 2019,sous-couche, peinture acrylique, colorant universel, fer, jus de grenade, 250x120cm Photo Sidney Guillemin

Trulli
Simon Bérard ,Dentier soufflé, 2018 acrylique, jus de choux, œuf de caille, chewing gum, paille, 30 x 30 cm Photo@sidney guillemin
Trulli
Simon Bérard&Tom Giampieri, Tirer l’adresse, 2019 cadre aluminium, toile nylon, émulsion photosensible, pailles, 200 x 300 cm Photo@sidney guillemin
Trulli
Tom Giampieri, Perroquet trois couleurs, 2019 teinture trois couleurs sur coton, couture, 100 x 80 cm. photo @sidney guillemin
Trulli
Tom Giampieri, zenithtournuage, 2019,sous-couche, peinture acrylique, colorant universel, fer, jus de grenade, 250x120cm Photo Sidney Guillemin

#NICE Two artists, Simon Bérard and Tom Giampieri, invest “the castle”, i. e. the vast room formerly devoted to an electric generator, at the end of the courtyard of L’Espace à Vendre. Both are driven by experimental research on colour chemistry and, while each exhibits its own pieces, some are produced jointly and reflect the similar objectives they pursue. But the common thread of the exhibition develops from other artists from whom their reflection has been built. We will therefore find as soon as we enter the works of Roland Flexner, John Armleder, Stéphane Steiner and Dominique Figarella who provide a key to the exhibition by opening the research field of the two artists.

The work of Simon Bérard is widely quoted and based on the difference in language and how to access colour. Starting with the words “quail” and “straw”, he establishes a material and chromatic relationship on various supports in relation to nature. By metonymy, a shift occurs between quail, mouth, egg and similar images from beans for shape and colour equivalence. The artist materializes this axis by using straw for the mouth that can project the egg yolk on a support as for the old technique of tempera. And the semantic game continues with the use of, for example, red cabbage and lemon. The effects are surprising and the artist sets out to conquer the old techniques by using images as ironic detours of these processes.

Tom Giamperi s’s more directly interested in the color, in the external modifications that it can support, for example through UV. He too explores its roots, enjoying the pigments linked to wood or iron. He adds the object that diverts the process, the plastic fork. The derisory becomes form. The overheated fork spreads its white threads and draws lines that play with or disharmonious with the colored background. The result is a form of colourful poaching junk or humorous rebus. It all depends on the philosophical credibility that is given to the two artists. They meet in certain rooms where the identity of one or the other tends to merge when the work is not collective. Moreover, as a synthesis of these practices, a miniature workshop is built like a greenhouse containing all the real or intellectual materials on which this research is based. There is something serious and mischievous about this. We’re having fun and wondering about this hazardous trajectory. You never get bored.

“Pull the address” is the title of the exhibition that unfolds from floor to ceiling when the starting point refers to the rhizome that Deleuze mentioned. All the practices thus follow one another on a horizontal axis as well as on a horizon line in the infinity of the work and its repels. All you have to do is believe in it.

 

Until September 28th

Simon Bérard and Tom Giampieri, “Pull the address”

The Space for Sale, Nice

Michel Gathier

With a literary background, Michel Gathier developed a passion for art very early, particularly during long stays abroad. He has contributed to the magazine “L’art vivant” and now...

View Profile and Articles

More Contemporary art articles

MORE ARTICLES FOR YOU

#NICE Confining oneself in an illustrative approach despite the variety of approaches and forms that it can take remains the risk of any thematic exhibition. Very often images and genres are juxtaposed or…
#NICE There was this moment when, as early as the mid-1950s, art took hold of the street, everyday life and the signs of a society engulfed in the illusions of post-war technological progress.…
#NICE Here is an exhibition where everything is presented in shots and sequences, where cinema is contemplated in the development of a city from the end of the 19th century. "Nice, cinémapolis" is…