Fondation CAB

Partenaires particulaires (supports, surfaces, dissémination)

March 14 – October 31, 2025

Exhibition curator : : Hugo Vitrani

 

André-Pierre Arnal, Vincent Bioulès, Ernest Breleur, Pierre Buraglio, Louis Cane, Daniel Dezeuze, Edith Dekyndt, Ladji Diaby, Noël Dolla, Miho Dohi, Marc Devade, Torkwase Dyson, Fred Eversley, Melinda Fourn, Hall Haus. Kapwani Kiwanga, Renée Levi, Myriam Mihindou, Brandon Ndife, Jack O’Brien, Robert Overby, Bernard Pages, Jean-Pierre Pincemin, Patrick Saytour et Claude Viallat.

 

The Partenaires particulaires exhibition acts like a field of (sometimes bad) seeds, starting with a knot bringing together a dozen historic works by Supports/Surfaces. This code name for a short-lived but still highly topical avant-garde movement marked the history of the French art scene in the late 1960s and early 1970s with a return to abstract painting in a raw version, augmented by a healthy dose of savoir-faire. Paintings without brushes, stretcherless canvases, folded and burned canvases, assembled wood, stamped prints… For La peinture en question, the first exhibition of this group that never ceased to grow and to criticize itself, only to leave publicly, these lines serve as a manifesto.

 

Supports/Surfaces has always made a point of decentering a capitalist art history (referring here as much to Paris as to commodity fetishes). All these historic works come from the collection of the CAB foundation and the Ceysson & Bénétière gallery, a loyal supporter of the movement. And yet…

 

Because the exhibition rejects individualistic conceptions of art and the enclosure of history in its own history.

 

Because the exhibition rejects an overly masculine vision of an overly masculine era

 

Because the exhibition provokes friendly, speculative, formal, intellectual relations, but also allows itself counterpoints, in the pure spirit of fertile contradictions

 

So Particle Partners also presents works by other artists, both historical and contemporary, from London, Mexico City, New York, Los Angeles, Toronto, Martinique and Paris. Kapwani Kiwanga, Brandon Ndife, Robert Overby, Ernest Breleur, Renée Levi, Jack O’Brien, Miho Dohi, Myriam Mihindou, Ladji Diaby, Torkwase Dyson, Melinda Fourn, Edith Dekyndt, Hall Haus… From painting to moving images, sculpture and design, the CAB Foundation brings together so many practices that manipulate the primary imaginations of precarious materials, from imprints to decomposed compositions, operations, moving and luminous abstractions, assemblages and recycling, etc., that the stakes are high. In this way, the stakes / the game lie in overcoming blinkers, postures and boundaries that play on the D system, the particle of matter.

D for Débrouille, Désordre, Déconstruction, Dissémination. Dé-dé-dé-débrouilles of raw matter, folded unfolded deployed beyond and through the dé-dé-dé-désordre of worldly matter and its barely stolen rebellious dreams.

 

D for Dissemination. Derrida the philosopher says that, against definitive interpretations, we must aim for difference and gaps, what he called différance – deliberately written with that inaudible -a that today recalls that of kiffance. In writing, as in the medium, as in the surface, meaning propagates without following a linear, predictable path.

 

 

Alors je cherche et je trouverai.

                                                                                                                                     Hugo Vitrani

 

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