For his first solo exhibition at Galerie Max Hetzler Paris, Loris Gréaud reconfigures the gallery’s space as a sketch.
The sketch is a very important stage in the development of a painting, a sculpture or a book: it is through it that the author tries to fix the main lines of the work.
Ample, vibrant, unruly, the vocation of the sketch, in Loris Gréaud’s project, is to fix in a rough and uninhibited way, by a few gestures, the formal and conceptual structure of the work: its essential intentions are thus laid down. As such it is a memory, at once schematic and transient. The idea of transition, indeed, takes on a particular dimension here. This infinitesimal passage, or rather, this continuous back-and-forth movement, between the programme and its trajectory, is for Gréaud the work’s true place. Therefore he uses the space of Galerie Max Hetzler in Paris as a global landscape, an incubator inside which many different propositions interact.
The nebulous arrangement of this new body of work will paradoxically be the template for future developments of ‘LADI ROGEURS’. Intended as a framework, the exhibition allows a glimpse of the petrified breath of explosions, the glimmer of opioid landscapes, the stigmata of unresolved places, the nervous agitation of an arborescence-machine whose language seems inaccessible — or the presence of a Khoomei master whose pluralistic voice resonates in echoes with the song of dead stars…
Loris Gréaud’s exhibition at Galerie Max Hetzler is the final leg of the trilogy that he started in 2008 with Cellar Door (2008-2011)1 and The Unplayed Notes (2012-2017)2. ‘LADI ROGEURS’ will continue until 2020 through different venues, making this first gesture the promise of a potential destination, which will be completed by the exhibition ‘LADI ROGEURS: GLORIUS READ’ (27 April – 2 June 2018) at Galerie Max Hetzler, Berlin, that will open during the Gallery Weekend.