#PARIS Eight years after a first exhibition on Japanese Art Brut, Halle Saint Pierre is back and presents until March 10, 2019 a second series featuring 36 artists as mysterious as they are powerful.
Well beyond the event, raw art always questions our artistic perception and its relationship to the intuitive, to the unconscious and sometimes to madness. The interest of this exhibition lies in particular in the geographical and exotic dimension of the works presented and the influence of Japanese culture on this movement.
The exhibition is divided into two parts, one on the ground floor and the other on the first floor. In the first one, black is required, only the works are illuminated, the panoptic vision offered by the scenography allows you to choose your wing and progress like a “prisoner” in the heart of Japanese raw art. The origami made from the leaves of Yoshihihiro Watanabe’s plants and Naoya Matsumoto’s “Shachihoko” clay sculpture pierce this intense and deep black, and the imposing cultures of Keisuke Atsumi are remarkable.
Then comes a breath, time to access the floor. The exhibition resumes in a striking contrast. The room on the first floor, under the roof of the Hall, is very bright and reveals, like the spirit and/or art, the transition from shadow to light: the overall staging is a success.
In this colourful, beautiful and touching setting, how not to fall under the spell of Tomoaki Sakai’s cardboard and paper household appliances, or to remain petrified in front of Marie Suzuki’s two sumptuous screens.
Even its founder, Jean Dubuffet, would not be mistaken: the art that encompasses both madmen and the marginalized is as strong as a plunge into the enigmatic, into the unknown. There is something magical in this exhibition.
“Art Brut Japonais II”
From September 8, 2018 to March 10, 2019
Halle Saint Pierre
2 rue Ronsard, Paris