黑料不打烊

The exhibition Corps et Ames: un regard prospectif opens with the large canvas of the Spanish Ferm铆n Aguayo, Trois nus pour un espace, wherein the visitor perceives the density of presence and absence at the same time, as if these bodies endlessly came and went through the mirror, thus reflecting, in the manner of Leonardo da Vinci, the work of the mind that animates us. Facing the entrance is a work by the Georgian Vera Pagava, an artist precociously exhibited by Jeanne Bucher: La nuit Claire ou Vision, whose contours seem to melt into the space that surrounds them. The suspended work by the American Paul Wallach, foretold, evokes the matrix of the maternal womb, whose sparkles of yellow pigment give it its entire symbolic dimension. The impalpability of Louis le Brocquy鈥檚 Etre (Being) is part of the series he created after being dazzled upon seeing a group of women leaning against a whitewashed wall. In Susumu Shingu鈥榮 sculpture, the navel appears to be the entryway to a passage through the wall under the eternal dance of breath that animates all beings.

La R茅v茅lation by Manessier beams with a mystic ardor, while Arpad Szenes鈥� Carrousel reveals a Madonna of immanent presence, spinning on her horse. The next room summons the illuminated body, incarnated by 叠颈蝉蝉颈猫谤别鈥榮 Cath茅drale, the body transfigured between earth and sky in Andr茅 Masson鈥榮 Mythologie de l鈥橢tre, and the body mirroring the soul in Hans Reichel鈥檚 Oeil cosmologique. The body as menhir in Fabienne Verdier鈥榮 homage to van Eyck鈥檚 Chanoine van der Paele; the screaming body of Asger Jorn鈥榮 Projet d鈥檜n hurlement; the body sculpted by humility in Miguel Branco鈥榮 bronze Mendiant; and Evi Keller鈥榮 monk made of Mati猫re-Lumi猫re. The body questioned by its bones in Yang Jiechang鈥檚 Allah, Jesus, Buddha and your bones, which reminds us of the origin of the vital energy; the dancing energy in Mark Tobey鈥榮 Voyage des saints; and Michael Biberstein鈥榮 aroma of pigments, dance of particles, and universal and ancestral breaths. Behind the pillars is Jean-Paul Philippe鈥榮 Inventaire (Inventory) of the body. It is a clinical inventory of bones, at once coffin and window into the body and its skull, suggesting the survival of the spirit after the disappearance of the body. Facing it are Fred Deux鈥檚 Refuge of the spirit, drawn in its most minute details, at once snail and pyramid, and the animated spine of Rui Freire鈥榮 angel. Vieira da Silva鈥榮 Petit th茅芒tre de verdure, in which the image of a fairy seems to merge with the surrounding Nature, contrasts with the density of Nicolas de Sta毛l鈥榮 female Nu couch茅 and Jean Dubuffet鈥榮 shattered face in all of Expansion de l鈥櫭猼re, from his last series Non-Lieux. Antony Gormley explores the body as a locus of memory and of transformation, while Rui Moreira, in his Madonne, celebrates the body as receptacle of a gushing, free and fertile Nature.

On the mezzanine, open by invitation only, a tribute is paid to the dancer Muriel Ja毛r through the lens of three photographers that have followed her since the 鈥�70s. While Max-Yves Brandily turns the dancer鈥檚 moving body into a drawing in space, in the luminescent photographs of Etienne Bertrand-Weill her hands and body are suffused with an original light. Bernard Boisson summons a purifying dance through a body that has become flame.