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POSTPONED | Opening of the Jacques Monory's exhibition

POSTPONED | Opening of the Jacques Monory's exhibition

COVID-19 INFORMATION | Press release from the President of the Marguerite and Aimé Maeght Foundation

Faced with the health crisis linked to Covid-19 which affects our country, I decided, in agreement with the Board, to close the Marguerite and Aimé Maeght Foundation to the public from the evening of March 15.

The Jacques Monory exhibition, which was scheduled to open on Saturday March 28, has been postponed to a later date. It is with sadness that I make this decision.

The whole team of the Foundation remains mobilized to answer you by email or telephone, we all hope to be able to receive you as soon as possible.

Adrien Maeght, President

 

The Maeght Foundation is closed to the public from Monday March 16 until March 29 inclusive. The Jacques Monory exhibition, which was to open on Saturday March 28, has been postponed to a later date. We will keep you informed of the development of the situation via the website and social networks. Thank you for your understanding.

 

 

From 28 March to 14 June 2020, the Fondation Maeght is presenting the first monographic exhibition dedicated to Jacques Monory since his death in 2018, thus paying tribute to him. Simply entitled “Jacques Monory”, the exhibition presents sixty years of his career and revisits the work of this major Figuration Narrative artist, in constant tension between modernity and the singularity of the blue that made him famous. Organized by Laurence d’Ist, curator of the exhibition, this overview follows a non-chronological path that attempts, from one room to the next, to make the most of the echoes of and deviations from this singular work that deserves revisiting.

Out of all the Figuration Narrative painters, Monory was no doubt the only one to be fully narrative. Sometimes hyperrealist, the enigmatic scenes that he painted and juxtaposed to form a sort of haunted diary of a painter who questioned the world’s reality every day. The blue that made him famous, whether monochrome or with other colors in the spectrum, is the color of this doubt. It acts as a dreamlike veil and establishes a certain distance.

Borrowing from the cinema – and notably the thrillers of the 1950s – as well as from photography and imaging, Monory’s painting, frequently in large formats and often including objects, forms a sort of accelerated carrousel, sometimes with nearly ecstatic stasis: urban landscapes and wide expanses of nature, romantic visions and dramatic images from the news or contemporary history alternate with each other or come together. Fundamental pessimism, tinted with dark humor, coexists with a fascination for the void.

Monory does not give any lessons, he questions himself and he questions us: how do we live in a violent, unreasonable, illogical, surprising and often fake world? His painting, which reflects a modernity whose violence he conjures up by letting it run wild, comes back to us today like a slap upside the head, like a very long film from which we would like to be able to isolate each frame while letting ourselves get swept away by the power of his merciless editing.