Tim Eitel at Jousse Entreprise and a return to the source of crypto-art at L’Avant Galerie Vossen

Tim Eitel at Jousse Enterprise

Too quickly looked at, Tim Eitel’s painting passes for realistic. We see casually dressed women and men in neutral spaces. It seems that nothing is happening, and the faces do not express any particular feeling, even those of the relatives whom the artist has portrayed in small formats. It takes a little attention to notice the anomalies that affect these deceptively simple representations. The chair has no backrest. The trestles do not have enough legs. The shadow of a television crew is projected abnormally above these four members and the interviewee facing them. Do the flat areas of color really define a real space or are they just monochrome backgrounds stretched from one edge of the canvas to the other, without any density, without even any ties between them? In several works, the human figures seem on the point of deserting, like extras leaving a scene where they are tired of having to appear. From this painting, which admits to being made up of fictions and pretenses, emanates an insidious melancholy, quite close to that which spreads in the works of Edward Hopper’s last years. Philippe Dagen

“#TrashArt: NFT Garbology” at L’Avant Galerie Vossen

How to expose crypto-art and its existing works in the form of digital tokens, the famous NFTs? Even online, on specialized platforms, these are rarely shown in a “curated” way, with words and perspective. Demonstration by L’Avant Galerie Vossen, which achieves a nice tour de force by presenting the #TrashArt movement, whose history dates back to 2019, that is to say before the explosion of the phenomenon. The American Max Osiris was then ousted from SuperRare.com, where his pieces were deemed too easy to produce: an image retrieved from the Internet, processed by software to give a graphic effect. In reaction, another American artist, Robness, persists and signs by proposing, in particular, an image of a trash can. The provocation will fly: Robness will be excluded in turn, but the gesture will trigger a wave of solidarity and creativity around the image of the trash can. The gallery invited Robness to present a vast and tasty selection of them in a maelstrom of screens (laptops, tablets, computer screens, projections…), completed by twisted garbage cans, gleaned from the street by the young sculptor Prosper Legault. Gifs, memes, glitch and trash, for the better. Emmanuelle Jardonnet

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