Tokyo Big Sight Odaiba
DES VACHES SALERS SUR LE FUJI YAMA
Cet automne, Rémy RAULT sera l'un des rares artistes peintres français conviés au Design-Festa (D-F) de Tokyo, la plus importante manifestation d’art contemporain d’Asie*.
L'artiste français a séduit les organisateurs du D-F en réalisant, en juin dernier, une mini-fresque toujours visible dans l’enceinte de leur galerie tokyoïte - Harajuku.
Séduction largement partagée. Au premier regard, l'artiste s’est épris de l’Empire du soleil levant, son extrême raffinement, la courtoisie de son peuple, une modernité débridée, un décor de science fiction où la tradition demeure encore vivace.
C’est un peu de cette alchimie entre tradition et hyper modernité que l’artiste tente d’explorer. Pour ce faire, Rémy RAULT a choisi de faire appel à une messagère rustique : la magnifique Salers des monts du Cantal – modelée à la sauce nipponne en 20 tableaux qui ne devraient pas laisser le public asiatique insensible. Les superbes cornes de l’animal ne font-elles pas songer aux courbes majestueuses du Mont Fuji ?
Sur ses toiles, Rémy RAULT donne vie à un univers personnel et original. Quand le grand calme cosmique percute de plein fouet une vision du monde apocalyptique. Les planètes s'y bousculent autour de personnages torturés et inquiétants perdus dans des cités tentaculaires. Peintre du rythme et de la couleur quasi-saturée, les éléments disparates de ses tableaux semblent flotter sur la toile dans un balai hésitant, entre visions cauchemardesques et une ironie toujours présente, même si le rire tient plus souvent du rictus.
Et puis, la quiétude d’une branche de cerisier en fleurs ou la majesté du Fuji Yama apporte une touche apaisante à des scènes tendues parfois jusqu'à la suffocation.
Un artiste à découvrir au Designfesta, les 8 et 9 novembre 2008 - Tokyo - Japon.
* 7 000 exposants et plus de 50 000 visiteurs en deux jours lors de l’édition 2007.
Espace Champerret (Porte de Champerret)75017
rémy. r’ alias r.r’ sera heureux de vous accueillir :
(Manifestation d’Art Contemporain)
Du 22 au 25 novembre 2007
Vernissage ouvert à tous jeudi 22 novembre 2007 de 14h à 22h
22 au 25 novembre 2007 à l’Espace Champerret, Hall A
Porte de Champerret, Paris 17° (75)Accès :
Metro : porte de Champerret (ligne 3), Louise Michel (Ligne 3)
Bus : 84, 92, 163, 164
Vernissage ouvert à tous jeudi 22 novembre 2007 de 14h à 22h
Vendredi 23 et samedi 24 de 10h à 22h
Dimanche 25 de 10h à 20h
Plein tarif – 8 euros
Tarifs réduits (sur justificatif)
- 5 euros : étudiant de moins de 26 ans, adhérent à la maison des
artistes, chômeur, RMIste, enfants de 13 à 18 ans…
- 2 euros : étudiants de moins de 26 ans en école d’art...
Gratuité pour les enfants de moins de 12 ans, les enseignants
accompagnateurs d’un groupe de scolaires.
Entrée + catalogue : 23 euros
Catalogue : 18 euros
Restauration sur place
Renseignements au .37 – –
Remy Rault promotes Cebu art scene in Paris
While the world may remember 1957 as the year Sputnik was launched into space, it is also, and perhaps not entirely coincidentally, the year Rémy Rault was born.
With a passion for design and the arts, the future painter went on to study fine arts at Le Mans, in western France. His true creative period eventually took off in the early 90s with his exposure to urbanart – especially graffiti.
Graffiti had a seminal influence in liberating Rault’s artistic expression.
“Do not confuse an inscription on a wall in our city as that intended to provide useful information for the city, a personal message, funny or insulting, and urban painting with real artistic intent,” expressed Rault pertaining to the question on graffiti art being perceived as a form of vandalism.
“The first human beings have left many marks on the walls of their caves.
At the time there were no laws prohibiting it, now the law describes this natural act by the word ‘vandalism’,” he added.
“It is innate to human beings to want to leave a trace, a sign, a testament to their existence and it is one of the common denominators of humanity.”
Over time though, and with more maturity, the elements of urban art – graffiti underlined - helped open up a psychedelic universe combining the darkest and brightest hues and peopled by outlandish characters. Rémy Rault was said to be “born again!”
In fact, his works stood out in recent exhibitions here in Cebu City; defining them as “new figurative free” works mainly using acrylic on canvas.
In his work Carpe Diem, for example, he pointed out that since he was born in 1957, it was a great year for the conquest of space. “This was the year of the first launch of an object made by humans out of Earth’s gravity. I’ve always been fascinated by astronomy, an inexhaustible source of permanent reverie and poetry,” Rault emphasized.
Such cosmic painting gives a hint of Rault’s rich spiritual connection. “For me, God does not require churches to exist in the human heart. I respect all religions that respect me. Unity is not uniformity.
I believe in the existence of a benevolent higher power that we can call God. This higher power is intimate, positive, and constructive for me because it is a constant source of strength and inexhaustible.”
Other works depict as to how Rault went through the Parisian underground like a comet, covering the painted walls of Belleville and Menimontant areas (popular and cosmopolitan areas of Paris).
Created in the secret of his workshop are very special and lively paintings which take their origin from urban and trashy visions revisited by fierce humor, this was further learned. So you would see a combination of grimacing characters; hallucinated, flashy and logical colors; as well as labyrinthine decors. There’s also a symbol made of (bar) codes and invented typographies. These elements mark the rhythm of his masterpieces. Each canvas is painted in such fashion that there’s this “kind of emergency as if the artist after his slumber felt for himself a frenetic need to create that nothing will, sort of, interrupt.”
Noticeable during the April 28 free art forum at the Museo Sugbo Art Gallery organized by the Ramon Aboitiz Foundation, Inc. and the Ateneo Art Gallery was the presence of Rault who has intensively promoted the Cebu art scene in Paris.
As a member of the Le 100 Etablissement Culturel, Solidaire () on rue de Charenton in Paris which is an important place in the cultural landscape of France, Rault said that they develop, among other things, a project of cultural exchange. “Of which, I am responsible for the Philippines,” he also said. “The idea is to create permanent homes for visual artists on Philippine soil. A project is already under study in Davao.
I grabbed the opportunity when I visited Paris last month to take 30 artistic works of our group, Cebuano Artists Incorporated, headed by Sonia Yrastorza and Celso Duazo Pepito. I had the honor to introduce to Parisian audience the works and they were very interested and curious about the contemporary Filipino art.”
“I thank the president of the association THE 100, Frederic de Beauvoir, for actively supporting me in this exchange project. He helped me to quickly find a date and place of exposure within the premises of their association,” he further shared.
Take note how Rault connects to the said group by calling it “our”. This is because of the universality of the direction of the arts. Though he has lived in Cebu since December 15, 2010 and resided previously in Bohol since January 2010, he shares in the insights on the state of the arts in Cebu, the directions they hope it will go, and how they see their roles in the community.
When asked what a Cebuano visual artist can learn from a European like him whose appreciation for the arts is deeply embedded in their culture, Rault replied: “The European artist that I am is not a teacher. I can pass my experience and testimony. I do not want to give a lesson to anyone at all. I share with those who wish. The artist is a witness of his time.”
“I had this chance to travel for the pleasure of meeting different cultures and ways of understanding pictorial art but also music, film, literature, cooking, etcetera. Art is a terrific means of communication. It is universal, it is always constructive. It is very precious and essential to humans; the more we share, the more we are enriched,” he added.
“The message is altruistic and humanist; it is addressed directly to the heart of man. It allows humans to learn to know themselves better and to better know each other.
It causes enthusiasm, excitement and fun. It is like a child full of life, of energy!”
“I must admit that the Philippines is a country whose reputation is often linked to corruption and extreme poverty; its image is blurred and little known to the French public. Under cover of the exhibition ‘Cultural Confluence in Paris’, CAI image of the Philippines has been very popular and many questions were raised,” he further mentioned.
“I am convinced that we are at the heart of the interest of such an exchange. The exhibit in Paris created a desire to know more about the Philippines and meet the artists and their surroundings. Art is one of the good ways in promoting the beauty of the Philippines. Art is a great way to achieve that goal!
We are already preparing for the ‘Cultural Confluence’ with CAI in Paris in 2012.”
While the world may remember 1957 as the year Sputnik was launched into space, it is also, and perhaps not entirely coincidentally, the year Rémy Rault was born. With a passion for design and the arts, the future painter went on to study fine arts at Le Mans, in western France. His true creative period eventually took off in the early nineties
Exposure to urban art, and especially graffiti, had a seminal influence in liberating Rault’s artistic expression. Over time, and with more maturity, these elements helped open up a psychedelic universe combining the darkest and brightest hues and peopled by outlandish characters. Rémy Rault was born again!
Rault uses dazzling colors in an explosive, caustic and at times comic manner to depict unique images conjuring up America and its popular culture, myths, contradictions, extraordinary triumphs and fatalistic moods.
Since 1998 Rault’s work has been shown in many diverse galleries and locations. He has participated in several events and received support from influential sources (the Paris City Hall, the MAC contemporary art show, the Salon d’Automne, the French banks BICS and Banques Populaires, Forum des Sciences in Lille, Méridien Hotel, , etc.). His works have also been displayed at public cultural venues where a wide range of urban artists and performers converge: Ateliers de Ménilmontant, Maison des Métallos, Cabaret Culture Rapide, etc. There, “RR” was exposed to wall paining and was offered his first chance to work on murals in the Paris Ménilmontant district, where the works of such renowned artists as Cartier-Bresson, MissTic and Nemo have been featured.
Glancing through the catalog of the MACparis 2007 contemporary art show, French fashion designer Alexandre Barthet was struck by the works of Rémy Rault. Wanting to meet the artist, he promptly contacted Rault and suggested they examine how he could help him. At Rault’s studio, he picked out Klin-Kqui, a painting that features several hats, and offered to put it up for auction in the fall of 2008, as part of a special sale conducted by the prestigious auctioneer Cornette de Saint-Cyr.
Klin-Kqui takes an ironic and humorous look at the aseptic universe of the pharmaceutical industry.
Born the same year as the world historical Sputnik launch in 1957, Remy Rault continues to embody mankind’s quest to explore the unknown with his art.
His space odyssey began in the 1960’s when as a child, he played with pen and paper, letting his hand wander aimlessly across the page, with both his eyes closed--- later seeking out images and figures thus putting some sense into the otherwise meaningless composite of random marks and lines.
He studied Fine Arts in ESBA of Paris, where his experiments with diverse techniques, as well as his exposure to urban art (especially graffiti) in the 1990’s expanded his repertoire of tools and means of expressing his artistic vision.
Today, Remy Rault’s works convey psychedelic universes populated by vibrant creatures and planets in hues reminiscent of Matisse and Pollock. Juxtaposed with everyday objects against pitch black darkness, these images have the effect of a Pink Floyd song or David Lynch film—evoking a chaos of fragmented thoughts and emotions that would otherwise remain confined to one’s subconscious.
As for the purpose that art serves to him, Remy hints the answer in his latest work called “Auto-Portrait”, where he likens the painting process to computer hard disk defragmentation.
Like the computer, the psyche too can get cluttered up with fragmented files—feelings, impulses and associations that can slow one down if not sorted out.
Painting offers an amenable tool to put them back into their proper places. With the deliberate strokes of paint on, canvas, inner visions are translated into outer reality. The process is similar to exorcism and likewise, the outcome is always relieving.
Leizl G. Quiwag