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Alexandre Devals

@adevals

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Akihiro Nikaido
Seven Vases
June 4th - July 30th.
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[Hors les murs] Sol LeWitt Wall Drawing #420 G Isometric figure with gray, yellow, red and blue superimposed progressively on each plane Color ink wash En 1984, avec le walldrawing #420G, Sol LeWitt offre une synthèse remarquable de son travail, alliant les lignes et la couleur, la réconciliation des Anciens et des Modernes. Le cube est au centre de l’œuvre de LeWitt et traverse toute son œuvre depuis le début des années 1960. Au début des années 1980, il invente de nouvelles formes dérivées du cube dont des éléments ont été ajoutés ou retranchés. Ils succèdent aux cubes assemblés des années 1960 et aux cubes incomplets des années 1970. LeWitt est l’artiste de l’exploration des formes, des combinaisons dont témoignent ses dessins, gravures, sculptures et walldrawings. La couleur, elle, apparaît plus tard. Installé à Spoleto depuis 1972, les séjours de l’artiste s’y intensifient dans les années 1980. L’influence de la renaissance italienne joue un rôle prédominant alors qu’il associe des tons chauds et doux empruntés à Giotto, Masaccio et Filippo Lippi. Il superpose des couleurs dont la transparence enrichit la surface à la manière de la feuille d’or laissant apparaître le bol d’Arménie en sous-couche. « Je voudrais faire une œuvre d’art que je n’aurais pas honte de montrer à Giotto » déclare-t-il alors. La palette est réduite à quatre couleurs qui se superposent sur chaque plan : Gris, Gris-jaune, Gris-jaune-rouge, Gris-jaune-rouge-bleu. Dans cette recherche de sensualité, LeWitt n’abandonne pas le système et la sérialité qui définissent le minimalisme. L’agencement des couleurs répond à une suite simple, mais invisible à l’œil (1 ;1-2 ;1-2-3 ;1-2-3-4). La peinture est une chose de l’esprit, le certificat de LeWitt nous le révèle. En associant les tons italiens aux systèmes sous-jacents du minimalisme new yorkais, LeWitt nous offre une œuvre riche et passionnante, et avec le walldrawing 420G, il parvient à inscrire l’art conceptuel dans la grande tradition de peintures à fresque. Il est présenté sur rendez-vous à Paris @paulinpaulinpaulin @lewittstudio #sollewitt Photographie : @adriendirand Pour tout renseignement : +33 6 08 41 21 45 by @adevals
12
3 years ago
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(Dans les murs) Bouche-trous, de la parodie au pastiche Du 1er décembre au 31 décembre. L’exposition est visible tous les jours jusqu’à 22h. La série des Plaster surrogates d’Allan McCollum mime les monochromes noirs modernistes. En y regardant de plus près, les irrégularités du cadre nous font comprendre qu’il ne s’agit pas d’un tableau traditionnel. Éclairés par leur titre, nous comprenons qu’il s’agit d’objets en plâtre, en trois couleurs (le cadre, la marie-louise, le centre du tableau), et donc d’un pastiche de monochrome. Emblématique de l’abstraction des années 1980, un ensemble de plaster surrogates trouve sa place dans l’appartement de Patrick Bateman, le héros d’American Psycho interprété par Christian Bale dans le film de Mary Harron adapté du chef d’œuvre de Bret Easton Ellis. "I'm interested to encourage an analysis of art, but through the pleasure of looking, that's all. I would like to see us be a little more anthropological in the way that we assess our own cultural production. I feel that art now functions to keep people apart, to reinforce and maintain class boundaries, and to encourage exclusion and inequality through the cult of 'taste.' "David A. Robbins: An interview with Allan McCollum", - in: Arts Magazine, October 1985, p. 44. #allanmccollum #adevals taken in Palais Royal by @adevals
9
4 years ago
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DEVALS presents Susanna Fritscher’s (@fritschersusanna ) first solo exhibition with the gallery, Pulse II, on view from September 10 through October 10. Conceived specifically for the gallery, Pulse II continues Fritscher’s ongoing research into space, movement, and sound. A network of suspended threads gradually enters into oscillation, transmitting its vibrations to thin discs positioned just above the floor. The installation forms a shifting perceptual field, where what is seen and what is heard constantly overlap. In Fritscher’s work, movement happens at the threshold of perception: a slight vibration is enough to change how we sense space. This research continues in the Détissé series, presented in the library space at 15 Galerie de Montpensier, where a textile is progressively undone to the limits of its visibility, a study of air, density, and barely perceptible movement. Pulse II September 10–October 10, 2026 37–38 Galerie de Montpensier, 75001 Paris & 15 Galerie de Montpensier, 75001 Paris Jardin du Palais-Royal (Access via the garden or through 24 rue de Montpensier) Image: Susanna Fritscher, Pulse II (Installation view), DEVALS Courtesy Susanna Fritscher & DEVALS — Photo: Jiayun DENG — Susanna Fritscher (b. 1960, Vienna) lives and works in Montreuil, near Paris. Since the 1980s, her practice has explored the conditions of perception through an evolving language of painting, sculpture, architecture, light, air, and sound. Her work has been the subject of solo exhibitions at the Centre Pompidou-Metz, the Musée d’arts de Nantes, and the Kunsthistorisches Museum Vienna. She has also participated in group exhibitions at institutions including the Louvre Abu Dhabi, the Collection Lambert, the Fondation d’entreprise Hermès, Tokyo, the Mori Art Museum Tokyo, and the Lyon Biennale, among others. Her work is held in the collections of the Centre Pompidou, Paris, and MUMOK, Vienna. In 2024, Fritscher was awarded the Aurélie Nemours Prize. In 2023, she was appointed an Officier de l’ordre des Arts et des Lettres by the French Ministry of Culture. by @adevals
7
16 days ago
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Dan Flavin. De simples tubes fluorescents, curated by Erik Verhagen (@erikverhagen ), has been extended until October 3, 2026, at the Venet Foundation in Le Muy (@venetfoundation ). From the homage to Barbara Rose and the Diagonal of May 25, 1963 the first sculpture made with industrial fluorescent tubes until the latter homages to Hans Copper and Lucie Rie, “The works selected for this exhibition reflect the diversity of his approach and testify, given the immateriality of the medium he made his own, to the difficulty of defining them. A material that shapes a floating space with which we, the viewers, form a whole with indeterminate contours.“ — Erik Verhagen We were very pleased to lend Untitled (to Barbara Lipper) (1973), which we presented at the gallery last year. First shown at Flavin’s first exhibition in the United Kingdom, at Lisson Gallery in November–December 1973, the work is composed of three four-foot (122 cm) fluorescent tubes in blue, red and pink. Their delicate interplay of luminous tones bathes the surrounding corner in an atmosphere that is at once soft, sensual and sophisticated. The work is dedicated to Barbara Lipper, then director of the Leo Castelli Gallery and an important confidante and cultural interlocutor within New York’s experimental art scene. As with many of Flavin’s works, the dedication places the work within a broader network of relationships connecting the artist to his peers, friends and patrons. The exhibition also offers an opportunity to discover the magnificent grounds of the Venet Foundation, including its sculpture park, which features works by James Turrell, Larry Bell, Sol LeWitt, Anish Kapoor and Frank Stella, among others, as well as an exceptional body of works by Bernar Venet, including Effondrement : 32 Arcs, created on site in July. Dan Flavin. De simples tubes fluorescents May 8 – October 3, 2026 Curated by Erik Verhagen Venet Foundation 365, chemin du Moulin-des-Serres 83490 Le Muy, France Image: Dan Flavin, Untitled (to Barbara Lipper), 1973 Photo: Jérôme Cavalière Courtesy of the Estate of Dan Flavin, Venet Foundation and DEVALS by @adevals
4
a month ago
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Akihiro Nikaido first solo exhibition at DEVALS, Seven Vases, is on view through July 30 at our library space, 15 galerie de Montpensier. For this new body of work, Akihiro Nikaido explores the interaction of three ceramic materials: red clay, yellow clay, and black glaze. Through their combination, he develops a distinctive surface whose fractured skin appears to reveal the very core of the vessel. This effect results from a meticulous mastery of successive firings, allowing him to control both the degree of crackling and the thickness of the material. In the gallery vitrine, the seven pieces rotate daily. Seven Vases June 4 – July 30, 2026 15 Galerie de Montpensier, 75001 Paris Jardin du Palais-Royal (Access via the garden or through 6 rue de Montpensier) Image: Akihiro Nikaido, Untitled, 2026 (overall installation views & details) Courtesy of the artist and DEVALS — Photo: Fabrice Gousset by @adevals
6
3 months ago
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Akihiro Nikaido first solo exhibition at DEVALS, Seven Vases, is on view through July 30 at our library space, 15 galerie de Montpensier. In Seven Vases, Japanese artist Akihiro Nikaido extends his rigorous inquiry into the formal and philosophical dimensions of clay. Drawing from Mashiko’s centuries-old heritage, these works manifest through increasingly layered surfaces and subtle optical shifts, material traces of time’s passage and nature’s transformation. Embodying the Japanese aesthetic principle of Yūgen, each piece creates a threshold offering silence and resonance. In the gallery vitrine, the seven pieces rotate daily. Seven Vases June 4 – July 30, 2026 15 Galerie de Montpensier, 75001 Paris Jardin du Palais-Royal (Access via the garden or through 6 rue de Montpensier) Image: Akihiro Nikaido, Untitled, 2026 Courtesy of the artist and DEVALS — Photo: Fabrice Gousset by @adevals
8
3 months ago
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Philippe Decrauzat’s exhibition, Intercisio, is currently on view at the Mrac Occitanie @mracserignan The exhibition at the Mrac brings together a group of works that explore vision as a field of operations rather than a simple act of observation. The exhibition unfolds as a choreographed journey in which paintings and projections generate shifts in intensity: changes in scale, variations in light, and unstable thresholds of visibility. Checkerboards, labyrinths, patterns, grids, and gradients, the recurring motifs in Philippe Decrauzat’s practice, compose a visual passage where geometric compositions, through fluctuations in luminous intensity and effects of scale reversal, resist any stabilization of the gaze, revealing that perception does not function as a continuous process. Intercisio is curated by Clément Nouet @clementnouet Intercisio is on view at the MRAC Occitanie through August 30, 2026. *Intercisio* Musée régional d’art contemporain Occitanie / Pyrénées-Méditerranée 146 avenue de la plage 34410 Sérignan, France Video: Courtesy of Mrac Sérignan and Aloïs Aurelle. taken in Mrac Musée régional d'art contemporain Occitanie / Pyrénées-Méditerranée by @adevals
1
4 months ago
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Last chance to visit Philippe Decrauzat’s second solo exhibition at DEVALS, Dedans Dehors. To celebrate the closing of the exhibition, we are pleased to invite you to a book signing for Muriel Pic’s new publication, Escamotages, which traces her encounter with and journey alongside Philippe Decrauzat. Muriel Pic @muriel_pic Escamotages: Portrait de Philippe Decrauzat Wednesday, June 3 7:00–8:30 PM In the presence of the artist and the author. Dedans Dehors April 3–June 6, 2026 37–38 Galerie de Montpensier, 75001 Paris Jardin du Palais-Royal (Access via the garden or through 24 rue de Montpensier) Image: Philippe Decrauzat, Feedback Loop, Dedans Et Dehors, 2021 Courtesy of the artist and DEVALS — Photo: Mike Derez Muriel Pic, Escamotages, Portrait de Philippe Decrauzat (Lausanne : Art&fiction, 2025) @muriel_pic by @adevals
1
4 months ago
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Philippe Decrauzat’s second solo exhibition at DEVALS, Dedans Dehors is extended through June 7. « From the inner world, the outer world sways, and I am drawn back to that outward intimacy that is the experience of perception,» Muriel Pic writes as she reflects on her encounter with Philippe Decrauzat. [1] Dedans Dehors explores the continuous exchange between interior and exterior, tracing the shifting dynamics of perception that animate Philippe Decrauzat’s Feedback Loop works. Dedans Dehors April 3–May 23, 2026 37–38 Galerie de Montpensier, 75001 Paris Jardin du Palais-Royal (Access via the garden or through 24 rue de Montpensier) Image: Feedback Loop, Running Entire Lens, Double, 2023 Courtesy of the artist and DEVALS — Photo: Mike Derez [1] Muriel Pic, Escamotages, Portrait de Philippe Decrauzat (Lausanne : Art&fiction, 2025), 8. Original quote : « Depuis le monde intérieur, le monde extérieur tangue, et je suis rappelée à cette intimité du dehors qu’est l’expérience de la perception » by @adevals
2
5 months ago
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Philippe Decrauzat’s The Shooting is currently on view within Brion Gysin, le dernier musée at the Musée d’Art Moderne de Paris ( @museedartmodernedeparis ) Brion Gysin (1916–1986), poet, painter, performer and musician, developed a practice at the intersection of painting and writing, closely tied to the Beat Generation. Co-inventor of the cut-up technique with William S. Burroughs and co-creator of the Dreamachine with Ian Sommerville, he worked through fragmentation, repetition, and altered perception across poetry, experimental film, sound, and visual art. Moving between Paris, Tangier, London and New York, and engaging with underground scenes, his work reflects a constant circulation of forms and ideas. The exhibition brings together more than 140 works, tracing this trajectory across the avant-gardes of the 20th century and in dialogue with artists such as William S. Burroughs, John Giorno, Keith Haring, Patti Smith and Ramuntcho Matta. Decrauzat’s The Shooting operates within the formal lineage of the Dreamachine. Its circular structure echoes the device’s rotational logic, translating it into a visual register akin to a looped film reel: an image in continuous motion, engaging perception directly through the interplay of form, rhythm, and optical activation. Brion Gysin, le dernier musée is Curated by Olivier Weil, with Hélène Leroy, assisted by Juliette Theureau. On view through July 12, 2026 Musée d’Art Moderne de Paris 11 avenue du Président Wilson, 75116 Paris Image 1: Philippe Decrauzat, The shooting, 2006. Courtesy of the artist and DEVALS - Photo: Fabrice Gousset Image 2,3,4,5,6 : Brion Gysin, le dernier musée, MAM (exhibition views) - Photo: Nicolas Borel taken in Musée d'Art Moderne de Paris by @adevals
1
5 months ago
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Philippe Decrauzat’s second solo exhibition at DEVALS, Dedans Dehors, is on view through May 23. The meandering paths traced by the shaped canvases of the Feedback Loop works outline an inner cartography, whose organic quality and dynamism stem from a dual origin, both human and modernist. In Decrauzat’s practice, painting engages less in a purely optical relationship than in a physiological process: it tests the interaction between the viewer and the forms presented, as well as the more internal connection linking the viewer to their own perceptual system. Dedans Dehors April 3–May 23, 2026 37–38 Galerie de Montpensier, 75001 Paris Jardin du Palais-Royal (Access via the garden or through 24 rue de Montpensier) Image: Feedback Loop, The Presence of Immediate, 2021 Courtesy of the artist and DEVALS — Photo: Mike Derez by @adevals
8
6 months ago
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OPENING TODAY DEVALS is pleased to present Dedans Dehors, Philippe Decrauzat’s second solo exhibition at the gallery. Dedans Dehors unfolds as a precise and disorienting system of shaped canvases, where Philippe Decrauzat extends his Feedback Loop into a sustained inquiry on vision and its conditions. Please join us tonight for the opening of the exhibition: Friday, April 3, 6–8:30 pm 37–38 Galerie de Montpensier, 75001 Paris Jardin du Palais-Royal (Access via the garden or through 24, rue de Montpensier) Image: Philippe Decrauzat, Dedans Dehors, 2026 (exhibition view) Courtesy of the artist & DEVALS - Photo : Mike Derez by @adevals
16
6 months ago
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