Exhibitions

Presented for the first time in an art gallery in Nice, Ronan Barrot exhibits a large panorama of his work, on the occasion of the opening of 21Contemporary.

From its first presentation at the Marc Chagall Museum in 2006 until today, fourteen years have passed which have seen Ronan Barrot's work grow. Attached and loyal to the city of Nice, he is showing his affection for it with a personal exhibition inaugurating this new Gallery. In return, 21Contemporary decided to present the painter's work from the widest angle, close to that of a retrospective: the exhibition that takes place there offers a multitude of works, including the variety of themes, pallets and dimensions will allow the public to grasp the remarkable work of Ronan Barrot as closely as possible. 

 

What is painting?

 

The painting exceeds its history. There is and there is no continuity between Giotto, Le Nain, Braque, and the cave floors painted in the Stone Age. Painting begins before the history of art. It is the product of a definitive, indecipherable discontinuity. This is why, beyond the fact that painting is by definition silent, any attempt to talk about it comes up against its deep origin. Painting is an obscure activity. Something escapes commentary, our discernment, our study, and this aphasia contains what is nevertheless the ultimate claim of painting, which is it.

There is in the ibex of Lascaux, as in the Meninas, a kind of deep movement, of experienced emergence, of flagrance, which is what we call painting, and this properly pictorial, rhythmic, dazzling moment runs through its history. and is rooted in the earliest achievements of his art.

When I discovered Ronan Barrot's painting, I immediately felt - as I experience today in front of his large canvases, Astonishment or Accompany, in the face of their sensitive vehemence, their insane precision - how much that throbbed in her was the unexpected result of this strange gesture, irreconcilable with the effectiveness of other movements of the body, lost for the job, useless, and essentially coming from that obscure vein through which, by tracing, by applying colors, by charring a silhouette, by engraving the indecisive features of our world, a form appears. And immediately I had the feeling that Ronan Barrot's canvases were one of the most compelling and distraught manifestations of what in all art dates back to its silent eruption.

Eric VUILLARD