Gallery selection: Ben Sakoguchi at Georges-Philippe & Nathalie Vallois, Laurent Lafolie at Binome, Rokni and Ramin Haerizadeh, Hesam Rahmanian at In Situ and “Cicatrices” at Mor Charpentier

  • Ben Sakoguchi
    Georges-Philippe & Nathalie Vallois Gallery
“La Vie en Rose Brand” (2008), by Ben Sakoguchi.

For once, the word “revelation” is justified: the work of Ben Sakoguchi, which is of an exceptional intelligence of composition, was unknown in France until today. Born in 1938 into a family of Japanese origin established in California, he has been developing, since the 1970s, series of small paintings according to a very particular system. He pretends to paint advertising labels for crates of Californian oranges and slips in allusions to military, political and artistic history. The first and second world wars, which he lived locked up in a camp because of the origin of his parents; Gertrude Stein; Sonia Delaunay; Hollywood; Superman; Marcel Duchamp ; the cult of the dollar: it forgets nothing. From a distance, one is seduced by the grace of the colors posed with the precision of a miniaturist. Up close, we are struck by the effectiveness of the montages, thought out by a ruthless moralist. No less remarkable are his works in four assembled paintings which have as their subject a place through time: for example, the bridges of the Seine from Impressionism to August 1944 and May 1968. Philippe Dagen

“Oranges – placards – postcards”. Georges-Philippe & Nathalie Vallois Gallery, 33, rue de Seine, Paris 6e. Until July 22, Tuesday to Friday, 10 a.m. to 1 p.m. and 2 p.m. to 7 p.m., Saturday, 10:30 a.m. to 1 p.m. and 2 p.m. to 7:30 p.m.

  • Laurent Lafolie
    Binome Gallery
“1956.30” (2023), by Laurent Lafolie.

At the Binome gallery, Laurent Lafolie continues to unfold and deepen his obsession: the evanescence of the face, and therefore the impossibility of defining the identity of a being from his appearance alone. Using very sophisticated techniques, which do not show themselves as such, the photographer plays on the appearance and disappearance of features, with ambivalent images, which can never be taken in at a single glance. The impressive portrait in the window, which includes more emptiness than matter, varies according to the viewer’s position: the artist has printed several faces on taut threads, in successive layers, like tenuous ghosts which reveal themselves or erase according to the point of view. When he packs up this work, the work is reduced to a simple ball of thread. Working with a base of impassive portraits collected over several decades, the photographer continues to experiment on different media: translucent porcelain where the face is punctuated with letters, microphotographs printed on microscope slides… So many works which, although based on the irreducible singularity of individual faces, affect people in general. Claire Guillot

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