ANTHROPO-SCENES

«ANTHROPO-SCENES »

QU LEILEI, DU ZHENJUN AND LIFANG Digital Trio Exhibition (Drawings, photography and paintings)

27  – 29 May 2020

->>> ARTPARIS LIVE , ARTPARIS: RED ZONE ARTS VIEWINGROOM https://onlineviewingroom.com/exhibition/EVLXDVKF1WLM/

Art Paris (http://www.artparis.com) is pleased to announce an evolution in its partnership with Artsy, which will be presenting an online edition of the fair. Collectors are invited to an exclusive preview on May 25th and 26th on Art Paris’s microsite, before it opens to the general public on May 27th. Throughout the event, new and original content will be added to the Art Paris profile on Artsy’s website.

Thanks to a range of digital tools and applications, Art Paris Live presents an immersive and interactive visit experience, which you will find on the micro-sites of exhibiting galleries.

The 2020 edition, which should have brought together 150 galleries from 20 different countries, presents a critical and subjective overview of the French scene with a selection of 22 artists curated by Gaël Charbau around the notions of narrative and the juxtaposition of unique and universal stories, while a focus, led by Carolina Grau, will explore the identity and diversity of the Iberian Peninsula.

DU ZHENJUN. The Tower of Babel: RAN (Walls). 2011. Photography Diasec. 160x120cm or 240x180cm

QU LEILEI, Between Sky and Earth, 170X92cm, Chinese ink on paper, 2018

LIFANG, Traversée 3, Oil, 2019, 89x146cm

ANTHROPO-SCENES

A painter, photographer and videographer, Du Zhenjun revisits the myth of the Tower of Babel, as Dante traveled through the circles of hell. Through the Internet, man’s lust for power brings humanity into the era of the Anthropocene and his influence on the Earth’s ecosystem is both devastating and irreversible.

Du Zhenjun transposes paintings dealing with the myth of Babel, be they from Cornelius Anthoniscz, Gustave Doré or Peter Brueghel. He uses thousands of images extracted from the World Wide Web, and poses the question of the future of humanity, prey to conflicts, natural disasters, violence and intolerance.

Lifang, a painter, presents, for her part, with her Crossings series, the drama of migrants fleeing the ravages of global warming. The expressionist force of her oil paintings cause amazement, as well as her powerful brushstrokes, the violent contrasts between the idyllic blue of the sea, and the crowding of bodies on these miserable Rafts of the Medusa.

QU Leilei, a painter, offers a counterpoint to the shattered worlds of Du Zhenjun and Lifang or, perhaps, a proposal for a happier alternative. His unique technique of painting with Chinese ink constitutes a strong link with the Taoist tradition which places man in harmony with the universe he lives in. With his drawings ofHands reaching out, touching, or joining, Qu Leilei recalls the beauty and love to which humanity aspires, and advocates that tolerance and brotherhood can still save humanity.

For Qu Leilei, the fall of Babel is also, as professed by Mallarmé, the beginning of multiculturalism and literature inasmuch as words, ceasing to correspond only to objects, open up the space of poetry, and thereby that of beauty and harmony.

ANTHROPO-SCENES

Peintre, photographe et vidéaste, Du Zhenjun revisite le mythe de la Tour de Babel, comme Dante parcourait les cercles de l’enfer. A travers Internet, la volonté de puissance de l’homme fait entrer l’humanité dans l’ère de l’Anthropocène et son influence sur le système terrestre est aussi dévastatrice qu’irréversible.

Du Zhenjun transpose des peintures traitant du mythe de Babel, de Cornelius Anthoniscz à Gustave Doré en passant par Brueghel, à l’aide de milliers d’images extraites du web, pose la question du devenir de l’humanité, en proie aux conflits, aux catastrophes naturelles, aux violences et à l’intolérance.

Lifang, artiste peintre, pour sa part, présente, avec sa série des Traversées, le drame des migrants fuyant les ravages du réchauffement climatique. La force expressionniste de ses huiles, ses puissants coups de brosses, les contrastes violents entre le bleu idyllique de la mer et l’entassement des corps sur ces misérables Radeaux de la Méduse provoquent la stupeur.

Qu Leilei, artiste peintre, lui, offre un contrepoint aux mondes en perdition de Du Zhenjun et de Lifang, ou peut-être, une proposition d’alternative heureuse. Avec sa technique unique de peinture à l’encre de chine, lien affirmé avec la tradition taoïste qui place l’homme en harmonie avec l’univers qu’il habite, Qu Leilei rappelle la beauté et l’amour auxquels l’humanité aspire. Avec ses dessins de Mains qui se tendent, qui s’effleurent, qui se joignent, Qu Leilei se fait l’avocat de la tolérance et de la fraternité qui peuvent encore sauver l’humanité.

Pour Qu Leilei, la chute de Babel est aussi, comme l’affirme Mallarmé, le début du multiculturalisme et de la littérature puisque les mots, cessant de correspondre uniquement à des objets, ouvrent l’espace de la poésie, c’est à dire de la beauté et de l’harmonie.