Marcel Lempereur-Haut, “Tete-mécanisée” (Mechanized head), 1916-1970. Oil on panel. Among the galleries in Saint-Germain-des-Près maintaining the standard set by their ancestors in the late 1940s and 1950s is OSP – Oeuvres sur Papier, with its self-professed “pronounced taste for the forgotten, the inclassable, women, writer-drawers, etching maniacs, and young painters.” The OSP also likes juxtapositions. Its recent exhibition at 7, rue Visconti — itself a mythic gallery street — paired the Modernist heads, hearts, and stars of Lempereur-Haut (1898 – 1986) with the drawings and water-colors (see below) of contemporary artist Maximilien Pellet (b. 1991), for whom, says the gallerist, “the hour of hyper-consumation visual, of the digestion of images is significant.” Photo by and courtesy Galerie OSP.
by Paul Ben-Itzak
Text copyright 2019 Paul Ben-Itzak
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PARIS — Nearing the end of my virgin visit to Paris one brisk November afternoon in 2001, I stepped on my tippy-toes to touch a corner of the pedestal of a marble statue on the periphery of one of the two large fountains in the Tuileries gardens, where Augie Renoir and his pals used to pitch stones at the window of the Princess, who would toss bon-bons back at them. The idea was that a future Paul had touched the same spot and assured me “You’ll be back.” Which I did when I was, and have continued to do over the years (on both the receiving and giving end). If I chose this particular statue, it was probably because it featured a bare-breasted woman leaning (protectively I thought) over a child. (Living at the time in New York — where nary a human bronze bust was bared and a polychrome cow had caused a scandal because its teats weren’t covered — I’d found the French embrace of the beauty of the naked human body refreshing.)
It wasn’t until Friday afternoon, returning to the Tuileries for the first time on this Paris stay and wanting to record the actual name of the statue for you, that I realized the woman (sculpted by Pal Gasq in 1893 and installed in the Tuileries since 1904) was Medea and the child was screaming.
“On laissera des traces,” Lapotoc. Painting and collage, on view through April 13 at the galerie ArtAme at 37 rue Ramponeau in Paris. (See below.) “Immersed between reality and fiction, my world is a mix of painting, words, and images-matter, with my personal history as the common denominator,” says the artist. “I work with the individual and collective sub-conscious, attempting to echo that which unites and divides us. It’s a voyage between my own life experience and that of the regardeur. My collage technique is fragmentation, based on my piecemeal vision of the world.” Courtesy Lapotoc.
But this first brilliant Spring day in Paris, palpably emanating from the alabaster sculptures arrayed around the gardens washed in the late afternoon sunlight, was too sublime to let a little Greek blood-lust way-lay my plans, which were to secure a reclining green iron chair in front of my favorite fountain — the small one at the Louvre end and Seine side of the park, a favorite of the locals — and sip my thermos coffee ‘a petites gouts’ (as Simenon’s Commissar Maigret does after his wife serves him in bed) while marveling at the statuary. The chair was waiting for me, offering the unanticipated benefit of a side view on the Eiffel tower under the partly clouded sky. The mallards in the pond outnumbered the female ducks four to two, with one already ushering in the season by vigorously bobbing his head in the universally recognized sign for “Let’s get it on.” (After playing it coy, she eventually bobbed back.)
A young couple across the pond from me was mimicking the ducks, only their heads weren’t bobbing but nuzzling. Between them and me a voluptuous blonde woman in a summer dress more willowy than she was sat down next to a male friend and gathered her arms around her scrunched-up knees as the wind blew the dress up to reveal her pallid gams.
When I poured my first cup of coffee (healthily dosed with nutmeg and cinnamon), reclined back, and sipped — continuing a ritual initiated 15 years ago after a meeting at the American consulate with the Paris representative of the IRS (no doubt the cushiest job in the agency; I’d loved the juxtaposition of an inevitably stressful meeting, although Monsieur. Greg Burns was incredibly helpful, and the least stressful most bucolic pastime one can imagine, sipping coffee before a fountain in the Tuileries), j’était rempli and sated.
Given the way the day of my most recent visit had begun, I shouldn’t have been surprised by the apparition of Medea.
“Je suis venu pour mes jumeaux,” I’ve come for my twins, I’d announced to the butcheresse at the marché on the Place des Fetes, high atop the rue Belleville (and where the market scenes in Cedric Klapisch’s “Paris” may have been shot, which would explain why I was looking for Juliette Binoche at every counter). At first she had no idea what I was talking about, understandable given that the last time I’d seen her, and used this line, was in November 2015, right after the Paris massacres, over which we’d commiserated. (“I just don’t understand how someone could do something like that,” she’d told me.) “Les lapins,” I clarified (we’re back in 2019), pointing down at the two for 12 Euro rabbits splayed out in the vitrine. “The price has gone up!” (It had been 10 for two since 2009, when I first started provisioning myself at the market.)
“Clients keep telling us that, even though we changed it in September.”
“I haven’t been here since 2015!”
“Do you want me to slice them up for you?” she asked, wielding a long narrow blade.
“Yes, just don’t forget the heads, they give it taste.”
When she bobbled one of the noggins, I couldn’t resist: “Don’t lose your head!” After I’d paid I asked, “Can I leave them here while I do the rest of my marketing?”
“Yes, we’ll keep them au frais.”
By the time I’d come back she’d apparently remembered our routine of four years ago. “Rabbits, rabbits? I have no idea what he’s talking about” she told a colleague when I returned to fetch the twins.
“Comme toujours!” I retorted.
“Come back again, before 2021!”
In fact she’d given me an excuse to return much sooner. When I’d asked if she (I keep referring to her as ‘she’ because I’ve realized that neither ‘butcheresse’ nor a physical description can do justice to the way her beauty startled me) had a recipe for Lapin au moutarde, “because I’ll be making Lapin au chasseur with the first one,” she’d begun with “it’s a lot less complicated than Lapin au chasseur.” My idea was to come back Sunday to offer her a portion of my “Hunter’s rabbit,” a dish I’ve been perfecting for 15 years, since I found the recipe in an Astra ad in the “Adieu a Churchill” 1965 issue of Paris Match. (Which I did on Sunday. Lifting the plastic quince paté container into which I’d placed the sample, she suggested, “Come back next Friday for the desert!”)
En attendant this next move, there I was this past Friday afternoon watching the ducks and other humans mating at the Tuileries fountain, decided to indulge myself with a second cup of thermos coffee. This would have to be the limit because of the paucity of toilets within a five-mile radius of the park. When the Sun disappeared, the wind kicked up, and my neighbors lit up, I decided to continue to the gardens of the Palais Royale, where an alleged vernissage had provided the putative excuse for Friday’s expedition. (I know, I shouldn’t need one to go to the Tuileries; it’s the practical Taurus in me.)
Maximilien Pellet, Untitled, 2018. Water-color and ink on paper. Photo by and courtesy Galerie OSP. (See above for more information on the gallery, its aesthetic, and this artist.)
I never found the exhibition, and the “Cocteau – Colette – Palais Royale” banner pasted to the gardens’ grill after I hop-scotched over the Daniel Burin black and white columns turned out to just be announcing that they both once lived there, but I did get to surreptiously watch a Spanish girl who sat down in the green iron chair next to me on the lip of the multi-spigot fountain carefully select a fountain pen from a small case and start sketching pictures of a far building and the tree-tops bisecting its view. When the wind picked up more and started blowing the water on me, I headed out of the gardens, turning from the short cobblestoned uphill street at the exit onto the rue Vivienne, intending to check out the bookstalls in the glass-covered Vivienne arcade. Two tres chic French girls were excitedly gaggling in the middle of the street ahead of me while marching towards their Friday evening no doubt on the Grandes Boulevards, and I’d just concluded that the one with her blonde hair bunched up artfully was another French girl I could fall in love with when she spat ungraciously and inconsequently on the cobblestones.
After walking down the long glassed arcade of the Vivienne I turned on to a corner to re-find my source for all things Max Jacob and Kees von Dongen (I’m always getting lost in and confounding the Vivienne, Panoramic, and Victoires arcades, one of which spits you out onto the Grandes Boulevards), where the bookseller was hurriedly clearing the tables outside his shop and putting the books on the 2 Euro bargain table into cartons so that he could close. Too late for me to peruse.
From Artcurial’s recent Estampes & Livres auction in Paris: Kees van Dongen, “De Seine,” 1962. Color lithograph on Japan paper, 39.1 x 59.7 cm Signed and justified “III/X.” Image copyright and courtesy Artcurial.
I did, however, discover a sanitaire that hadn’t been on my Paris toilet radar. (This is rare.) And one whose soggy floor — unlike at least half of the municipally operated sanitaires in Paris I’ve inspected — wasn’t covered in shit, despite that they’re supposedly automatically washed after each use. And had toilet paper. (Half the dispensaries are empty.) Toilet paper that on your fanny actually felt like toilet paper. This is probably because this particular sanitaire was located just outside the French stock market, on top of the 3 Metro station.
In the Metro car there was more cardboard and another blonde, this one natural, wearing an oversized plaid Mackinaw and who instead of clinging to a cell-phone as if it were a lifeline like nine in ten subway passengers I see was holding up a subway-car height, three-foot wide carton side on the top of which was scrawled:
“Et si on parlait de l’intelligence?” (How about if we talk about intelligence?)
As the girl — who might have been in her last year of high school or first year of college — looked up at me shyly I leaned my head sideways to read the rest. Under the title was written “Jours d’entrainment,” Training Days, and under that was a list of columns, suggesting a sort of intellectual Olympics, dividing the visual and other response times of “Homo-Sapiens” and “Homo Neanderthals.” (Note that I’m not the one who brought up Trump.) At the lower right corner of the slat under a cut-out of the title of the sports weekly “L’equipe” (the team) someone had added “Scientific!”
When the girl realized I was copying this all down — that I was a reporter — she raised her magazine to hide behind it.
I finished just in time to hop out at the station Arts & Metiers, whose shiny copper-colored metal walls with their displays behind portals make you feel like you’re in a submarine designed by Jules Verne.
“Don’t be Afraid,” Lapotoc. Painting and collage. Courtesy Lapotoc and on view at the galerie ArtAme in Paris through April 13.
More provocative phrases awaited me when I surfaced at Belleville, these mixed into collages by the eponymous Lapotoc, who through April 13 is sharing an exhibition with Farah Iaaich in the Galerie ArtAme (Art & Soul) at 37, rue Ramponeau, a street on which the state of artists if not art is fragile after a long fight to save the ateliers and one of Belleville’s last craftsmen workshops from eviction by city hall in a mixed-use building at No. 48.
If I continue to believe that it’s vital to support an artistic presence in what’s fast being transformed into BoBoville, this does not mean that all the art I’ve seen in Belleville this season is vital. In contrast to Saint-Germain des Pres, where the standard of the exhibitions I’ve caught in recent months often rivals the golden period of the late 1940s and 1950s, in Belleville the vernissages I’ve attended seem to be mostly populated by friends of the artists and if it’s unfair to categorize all of them as Sunday painters, many of the artists wear the etiquette “auto-didact” like a badge of honor, as if they’re proud of having received no formal training, even if this gap often reveals itself in a lack of rigor. Soit, but when this extends to ignoring their own history, it’s often manifest in work that presents itself as new but which in fact is derivative even if the author doesn’t know what it’s derived from.
So it was that fresh off the vernissage for an exhibition of animal art I’d attended Thursday at the gallery of the Associated Artists of Belleville (at least this time we weren’t treated to the cruelty of one artist bringing a live rabbit wearing a tutu), not to mention the alleged Palais Royale exhibition which had posed me as a lapin (= stood me up), I was already not of a particularly open disposition when I walked into Art & Soul. It didn’t help when the (no doubt well-meaning) gallery owner introduced one of the artists with “This is the Artist.” “This is the spectator. And journalist,” I couldn’t help responding. If I didn’t quite wince when I saw the catch-phrases mixed with catch-images (some of which were captured on Google Images, the artist in this case, Lapotoc, notes; I do have a problem with this generic attribution — before they got to Google, those images were made by real people), I still thought, “This isn’t new.” So it was as much to demonstrate my own smarts as to earnestly dialogue with the artist that I asked, pointing at a large work taking up most of one wall, “Is the canvas hand-made paper?,” noting the material’s warped shape. “No,” this “gondola” effect is the canvas’s response to the glue and other matter with which the collaged cut-outs are pasted on to it, Lapotoc explained. When she added that her purpose was to create matter for dialogue I offered, “For example, the juxtaposition between the phrase ‘Tout un parfum,’ the woman’s naked back and… is that an atomic symbol?” I was expecting a response but instead she just nodded.
“Tout un parfum,” Lapotoc. Painting and collage. Courtesy Lapotoc and on view at the galerie ArtAme in Paris through April 13.
If I dutifully copied down phrases from three other collages which particularly spoke to me — “Don’t be afraid,” “On laissera des traces” (We will leave traces), and, from the canvas “Vaisseau Beauté,” “Parce que je le vaux,” (Because I deserve it) it was just to have some images to request to accompany this chronique; even if they resonated with me personally, the phrases still seemed straight out of a women’s self-help book and once I got home I couldn’t remember any of the images.
But a funny thing happened as I was writing this piece. When the images of the four works arrived in my e-mail box from Lapotoc, they had the opposite effect of that of seeing them in front of me. The gondola’d shape and texture of the canvas didn’t come across in the two-dimensional electronic format. But it wasn’t just the words in “On laissera des traces” that left me in tears, and “Don’t be afraid,” with a unit of cell phones replacing the body between a hanging head and stilletos, seemed to crystalize the horror of seeing all these people on the Metros riveted to their devices. (And me to my laptop here in Paris, which is why I don’t have an Internet connection at my regular digs.) The images had put my verbal description of this phenomenon into a visceral form. Although I can’t help wondering if, at least in this particular work, Lapotoc is using the words as a crutch; I’m not sure we need them.
“Vaisseau Beauté,” Lapotoc. Painting and collage. Courtesy Lapotoc and on view at the galerie ArtAme in Paris through April 13.
Another thing art does, besides giving aesthetic form to our ideas and sentiments, is to invest us with the capability to view quotidian things and circumstances — our surroundings and environments — with an artistic sensibility. I already have this sensibility when I walk the streets and ride the Metros of Paris and observe certain things that resonate with my own life experience and references, or even in the greater story of Paris or of me in Paris. But what happened to me Friday night after leaving Lapotoc’s exhibition was that her artistic sensibility immediately imbued a banal object that has never interested me or resonated with me before with an exquisite beauty.
I don’t identify at all with swimmers or find myself in a swimming pool. The former (with the exception of my mentor; you know who you are) intimidate me and the latter frighten me. And yet when just moments after leaving Art & Soul, wanting to avoid the busy boulevard Belleville, I turned down a cobbled pedestrian alley one block up that I’ve been by-passing for 10 years because it’s too branché (hip), I found myself stopped and standing before the glass front of a building I’d never even noticed before: A swimming pool. The symmetry of the pool with its curved ceiling, the light reflecting off and from the bottom of the water, the contrast of that light with the night outside and the penumbra of the alley, the syncopated bodies with their slowly churning arms, their ’20s-style bathing caps which made the scene timeless — something left me so transfixed that I even read the entire two long poster-length “A History of Swimming Pools in Paris” affixed to the window. Seeing this perfect beauty — in relation to, what, the garbage around it (Paris and particularly the Right Bank is filthy)? The garbage in the air (and more polluted than ever)? The crowds? (The swimmers moved neatly and orderly in the lanes without crowding each other.) The contrast of this immaculate scene with the memory of the dirty, gym-sweat smelling, often-underground municipal swimming pools of my San Francisco youth?
I think rather it was that something in Lapotoc’s artistic way of seeing — as chaotic and crowded and sometimes even n’importe quoi some of her oeuvres seen Friday seem to me — had managed to expand even my own over-stimulated vision and way of seeing.
I’m not sure why this artist had this effect on my vision; she didn’t so much impress me as empower, or expand my ability to be impressed by even the most ordinary of surroundings. (This continued Saturday, when the crepuscule found me paused on the rue Buffon that flanks the Jardin des Plantes, leaning against the garden’s stone wall and iron fence and fascinated by a solitary tree projecting over the street from the fence, the vetuse shutters on an ancient apartment building, an oval window under the roof of another, the sunlight glinting on the chrome surface of a modern office building at the end of the street.) Maybe it’s her sincerity or determination to put the whole ugly beautiful sensory mess on a canvas without too much concern to organize or arrange it. But how often is art able to accomplish this? To not only make you see what the artist is seeing, but to expand your general vision once you leave the work of art?