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In parallel with the exhibition at the Centre Pompidou, 40 Parisian galleries are presenting artists claiming an attachment to the movement born a hundred years ago. Among them, Kévin Bray and his digital and analog collages, and Corentin Grossmann, who creates imaginary worlds with colored pencil. “Libération” met them.
While in Paris, 40 galleries are falling into step with the parent company (Beaubourg) by programming exhibitions of surrealist and neo-surrealist artists – the market has always been fond of their favorite formats, figurative paintings, drawings, collages, and their overflowing aesthetics – the ranks of contemporary art once again include many artists who are taking on this heritage. Long considered old-fashioned, kitsch, or even reactionary, it is now experiencing a comeback. It must be said that between the place given to female artists, the curiosity for non-Western cultures, their pre-ecological intuition and the multiple formal and intellectual maneuvers that they put in place to fight against the rise of authoritarianism, surrealism resonates strongly with contemporary parameters.
Alongside the exhibitions dedicated this fall to Jean-Marie Appriou (Perrotin gallery), to the Cuban artist Jorge Luis Miranda Carracedo (Valois gallery) or to the Présence Panchounette collective which believes that “the resources of bad taste remain invigorating” (Semiose gallery), Release gives voice to two artists who reinterpret the surrealist legacy. Kévin Bray (born in 1989) experiments with a new mutant and elastic imagery from digital and analog collages. Corentin Grossmann (born in 1980) produces
