THE EDGE MAGAZINE PUBLISHES ON THE SALON COMPARISONS IN WHICH ARNAUD RINUCCINI APPEARS
Transcription of the article by The Edge magazine
“Salon Comparaisons – Art Capital, Palais Ephémère, February 13th to February 18th, Stand C18.”
Curated by the renowned dandy photographer and iconic figure of Parisian life, Fasnibay, the group “La Vie en Instantanée,” in its original title, is making history as the first to ever showcase photography at Salon Comparaisons. Created a few years ago by French entertainer and artist Mezig, this eclectic group gathers artists from Italy, France, Poland, Romania, Sweden, Tcheque Republic and as far as Peru, reflecting a diverse range of perspectives. Not confined to the boundaries of France, this group also travels abroad in smaller versions, expanding its reach and influence.
As tendencies shift and evolve, natural groupings emerge within the collective. These subgroups showcase distinct signatures and recurring themes, such as the exploration of aquatic realms depicted through the absurd philosophical perspectives of Arnaud Rinuccini. Conversely, we encounter intimate and restrained poetics in the photography of painter Lavenair. that serenity one is seeking forever captured in this element of the never ending summer, never ending youth, never ending horizon . Gaia Adduchio, a master of analog techniques, unveils a profound portrayal, revealing the innocence within her, liberated from the constraints of technique and expectations. These diverse expressions enrich the collective narrative, offering multifaceted insights into the human experience.
For those unfamiliar with the principle of Salon Comparaisons, a brief history lesson may be in order. Established in 1954, Salon Comparaisons aims to foster relationships between French and foreign artists, facilitating encounters and comparisons between different trends in contemporary art. This unique approach provides a highly curated platform for artists, with each group curated by a distinguished artist or curator.
Art Capital, the institutional entity hosting Salon Comparaisons, is housed in the Grand Palais Éphémère, a temporary venue during the extensive renovations of the iconic Grand Palais de Paris. Concurrently, Art Capital presents the Salon des Artistes Français, the oldest of its kind, dating back to 1880. This salon, which succeeded the Salon de l’Académie des Beaux-Arts, has deep historical roots, with artists and architects associated with it having contributed to the construction of the Grand Palais itself, for the 1900 World’s Fair.
Salon Comparaisons emerged as a counterbalance to official art, with its committee developing an international policy for free plastic arts. In 1964, to celebrate its tenth anniversary, a significant exhibition was organized at the Musée d’Art Moderne de Paris, showcasing the most significant art trends of the time. Notable artists such as Yves Klein, Christo, Max Ernst, and many others exhibited their works, marking a pivotal moment in the salon’s history.
In Rafael Nadal‘s final year as champion, his portrait, crafted by Fasnibay, the official portraitist of the games at the time, was unveiled at Roland Garros in 2006. Later, it was exhibited among a collection of a dozen other portraits, including Federer‘s, at the Roland Garros Museum. One of these portraits now resides in the esteemed collection of Ai Suhiwama.
Feminism, identity activism, ecology, and empowering art converge in a vibrant tapestry of beauty. Among the compelling pieces showcased, a self-portrait by Mas Tassini Studio, a collaborative piece between human rights advocate and photographer Marco Tassini and Alexandra Mas, inviting viewers into a profound exploration of identity and self-expression. Alongside this evocative work, the dynamic and ungraspable photography of Edmund Kurenia captivates the senses, we can feel the elusive sens of life in his art. Furthermore, Denis Dabadier‘s sincere, striking imagery leaves a lasting impression, embodying so many questions with one simple gesture. Additionally, Polish photographer Anna Marchlewska‘s manifesto and bold exploration further enrich the artistic landscape, offering thought-provoking perspectives on ecological issues.
Step by step and path by path, the photography within “La Vie en Instantanée” inspires entire narratives, capturing moments that seamlessly integrate with the group’s philosophy. These master photographers, adept at seizing the essence of life in a single frame, embody the ethos of spontaneity and intuition. As Roz Delacour articulates, “photography is just like playing, where instinct guides the lens,” yet behind this apparent simplicity lies a profound understanding of symbolism and composition.
Speaking of composition, Thiery Beyne‘s work stands as a testament to mastery. His artistry, previously featured in our magazine, reflects a profound love for the Asian continent, unveiling creations that are both timeless and evocative and could inspire entire romans.
A new addition to the group, Italian photographer Claudia Bevilacqua, brings her historically renowned name to the forefront, offering glimpses of a bygone era infused with feminist symbolism.
And in light of the recent surge of feminist activism, epitomized by figures like Margo Robin and Greta Gerwig, the works of Fabrice Sandré take on a renewed significance. Previously perceived as enigmatic, Sandré’s pieces now resonate with a broader audience, riding the crest of societal change. Go Barbie, Go !!!
Wishing you well, my dear friends, and may the exhibition of all 3000 artists under the Palais Éphémère roof captivate and inspire.
