The First Art Newspaper on the Net   Established in 1996 Tuesday, November 24, 2020


Galerie Catherine Issert presents an exhibition imagined by Anna-Patricia Kahn and Catherine Issert
Thomas Dworzak, Chechnya. Grozny. Chechnya under the Russian occupation 1996 Archival pigment print on Hahnemühle paper. 40 × 50 cm Encadrement : 42 x 62 x 3 cm © Thomas Dworzak /Magnum Photos / Courtesy °CLAIR by Kahn Signed on verso and certificate signed by the artist and °CLAIR by Kahn.



SAINT-PAUL-DE-VENCE.- In an image by Jacques Henri Lartigue, the nanny Dudu raises her eyes to the sky to follow the flight of a ball before it falls back to earth; weightlessness made visible by the photographic act. Meanwhile, in the work of the painter John M. Armleder, the representation of circular forms on canvas resulted in a minimalist and conceptual movement. In each case, rotundity and weightlessness manifest themselves.

This resonance between the photograph and the painting is central to the Déclics Analogiques exhibition that has been conceived by Anna-Patricia Kahn and Catherine Issert. Ms. Kahn is a renowned gallerist and curator who is devoted to photography in all of its forms; Ms. Issert has run an acclaimed gallery devoted to contemporary art in Saint-Paul de Vence since 1975. Now, they are working together on this unique project that unearths sublime connections between photographs and paintings and then juxtaposes them to allow the observer to see the works of art in intriguing new ways.

The exhibition is inspired by two theories of art and perception. The Surrealist André Breton famously wrote that, “only the analogical click excites us” as he delved into the question of how humans use comparison and analogy to understand the world. Later, the filmmaker Robert Bresson observed, “An image must be transformed by contact with other images as is a color in contact with other colors… No art without transformation.”

Within this framework of perception, the works of renowned photographers such as Alvin Langdon Coburn, Philippe Halsman, Tomasz Lazar, and Eikoh Hosoe reverberate with new significance when they are compared with paintings by Jean-Charles Blais, Jean-Michel Alberola, or Minjung Kim. The profound beauty found in these juxtapositions is as much a question of resemblance as it is of counterpoint; as photography and contemporary painting developed, they mirrored each other, they transformed together, and they responded to each other. And it is this complicit dialogue between them that is utterly compelling.

The CLAIR by Kahn gallery represents the photographers and estates featured in this exhibition. You can discover more work by the photographers by visiting their artist pages: Jacques Henri Lartigue, Alvin Langdon Coburn, Philippe Halsman, Tomasz Lazar, Eikoh Hosoe, Erich Hartmann, Inge Morath, Lee Miller, Boris Savelev, Thomas Dworzak.










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