TWO YEARS IN PERSPECTIVE 2019 / 2020
Two years in perspective 2019 /2020
Two years in perspective In a time when culture is globalized and accessible through smart devices and social media, art is switching to a series of multiple sources of equal interest, each bringing to the world its share of human history DNA. RUSSO YUBERO is aiming to be at the center of this whirlwind by bringing our collectors to meet a selection of international artists, both confirmed and newcomers. We wish to create bridges between cultures and offer a privileged place to upcoming artists from diverse horizons, which is the only way for art to pursue its prophetic mission. We believe the next great collections will be borne from this unique mix. We welcome you to discover in this little book a selection of works from our artists, whose exhibitions will take place in both our galleries located in the Geneva Freeport Building at a walking distance of Rolex and UBS headquarters, and in Chiang Mai, the new capital of upcoming Asian art, next to the reputed contemporary art MAIIAM Museum. We hope these works may inspire you and convey a glimpse of the future destiny of our endangered planet, altogether with the multiplicity and richness of its cultures and heritages. Helene Yubero & Francois Russo, January 2020
Thai artist Pannaphan Yodmanee (b. 1988) has quickly reached international recognition since her debut in 2014. Combining found objects, natural elements such as rocks and minerals, and painted elements that recall both traditional Thai art and architecture and western culture sediments, she brings to light a bridge between cultures. Through her mesmerising abstract works, she explores diverse cosmologies and creates a unique dialogue of ideas and materials. The natural phenomena of time, loss, devastation and death and the Karmic connection of time as we are born and reborn is encapsuled in her work, whether they are on canvas or cement demonstrating her ability to explore all kinds of media. Yodmanee was recently awarded the prestigious Benesse Prize. She has exhibited at the Singapore Art Museum, Lyon Biennale and Bangkok Art and Culture Center, amongst others.
Born in 1985, Korean artist Lee Ahnnlee studied art in Beaux-Arts National Academy in Paris and has been driven from the very beginning by the profound meaning of our daily life experiences. Inspired by the smallest events and sights that are offered to us on a daily basis, whether it is the lost wing of a butterfly on the edge of a window, a bird with a missing beak springing up from an awaken dream, or the growth of a flower, in his universe each of these small occurrences is embodying the entire universe. This is what gives a feeling of universality to each of his creations. In this diary like narrative, small and big works are cohabitating giving each a specific view of our common destiny. Then, through a mechanism of transmutation, the memory of what was becomes the vision of what will be. The accumulation of these little signs of destiny finally offers a global view of the world, and of our human condition, whether we are confined to a room, a neighborhood or a planet. This unique translation of the human condition has attracted the attention of collectors worldwide as well as of museums. In addition to solo exhibitions every year in reputed galleries in Seoul, his work has been featured in Jeju Museum of Contemporary Art and Seogbuk Creation Center. He has just been chosen by the reference Korean magazine ART IN CULTURE as one of the 111 power artists of the 2020 decade.
Born in 1996, Wongsatorn Tanapathomsinchai has been studying Graphic Arts at Faculty of Painting of the prestigious Silpakorn University. The influence of Professor Yanawit Kunchaethong, who has been conscious very early of the drama of deforestation and environmental disaster we are living today, is very present in his approach of etching as a way to combine a classical technique with a premonitory message. His work has been widely exhibited since his debut in 2018, at prestigious venues and galleries, and selected for the Indonesia International Print Triennial Competition and the Bangkok Triennale International Print and Drawing Exhibition. He was then exhibited at the Guanlan International Print Bienniale in China and the International Print Bienniale in Varna, Bulgaria. Wongsatorn Tanapathomsinchai is now exclusively represented by Russo Yubero Gallery.
Thai artist Lampu Kansanoh, born 1983, has made a name on international art scene for her bright and bold caricatures of everyday life. Parody in her work allows us to explore other ways to envision serious issues. When she compares a housewife concentrating on doing her laundry with parliamentary representatives, considered so important, sleeping on duty, she raises with humor questions which are at the center of todayâ€™s social pact. Her humor not only helps get the message get across easily, but has allowed her to install a very personal painting style and enter prestigious collections and auctions internationally. In 2012, she was one if the artists in residence at the Fukuoka Asian Art Museum, which culminated in the â€˜Winds of Artistâ€™ exhibition in November in the same year. In Singapore, she had her first solo exhibition in 2011 and 2013. In Thailand, her works have been exhibited widely in since 2009.
The work of Chaichana Luetrakun has begun with the exploration of the universe of wreckage and trash, in an obsessive attempt to draw the attention of the audience on what these abandoned items try to tell us about the world we live in today. From this aesthetic perception of piles of wreckage, used cars and demolished buildings, we start to comprehend the future that lies ahead of us if we keep building and destroying through an obsessive need of renewal. The works are offering an extensive view of the multiplication of these abandoned items, alerting us on the threat we are facing if current practices would persist. The painter offers a prediction of how a thicker and thicker cloud of ingenious inventions and innovations could finally detach the earth from space and lead to its own destruction.
Bernard Garo was born in 1964. Graduated with honors from the Lausanne Art School (ECAL) in 1989, he lives and works in his workshop in Nyon (CH), located between Lausanne and Geneva. His projects also often take him to Paris, Barcelona and Berlin. In 1998, he resided for several months in Barcelona, Berlin â€‹â€‹ and Paris to interact with other cultures, other places and experience new artistic encounters. He mainly devotes himself to painting, while at the same time developing a photographic work. In 2008, he represented Switzerland at the Summer Photographic Festival in Brussels with large format prints from a series called Topography of passage and oblivion. Garoâ€™s work praises painting as much as it does our land by incorporating entirely natural materials into his canvases that he fetches on cliffs and in volcano craters. He thus opens his painting to a multiple perception which celebrates nature, life, man and his vulnerability as much as technology and science. His work confronts us with the materiality of our origins amd with a physical and mineral impact that leaves no one indifferent. He also seeks to create transversal links between his pictorial and photographic work. Garo plays an active role in his commitment to the future of our society. He stimulates change by indifferently using the multiple media at his disposal. He carries fundamental ideas and values, through humanist and contemporary thinking, in support of a hypersensitive look. An approach that he always takes from a materialist and pictorial angle simultaneously. His art is therefore limitless. He has had more than a hundred personal exhibitions in Switzerland, Europe, the United States and China in both galleries and museums. His pictorial and photographic work is found in private and public collections scattered around the world. A reference monograph, a multidisciplinary art book, as well as several catalogs and thematic works have already been published on his work.
Thai National Artist Pichet Klunchun originally trained in Thai Classical Mask Dance, Khon, from age 16, with Chaiyot Khummanee, one of the most recognized Khon masters in Thailand. After receiving his degree in Thai Classical Dance at Chulalongkorn University in Bangkok, he pursued a career both as dancer and choreographer at high-profile venues, such as the opening and closing ceremonies of Asian Games in Bangkok in 1998. Subsequently, he also worked with contemporary dance. Pichet has earned domestic and international recognition for his efforts in contemporizing Khon. However, his main achievement is embodied in his paintings which are the result of a combination of action painting, performance art, and Thai traditional Khon. This unique mix is bringing to life exceptional pictural work, which is capturing the attention of international museums and collectors. Lately, he has participated in several intercultural performing arts programs as a Thai representative in both Asia and Europe, and has won several awards locally and internationally.
Born in 1957 in Abidjan, Ivory Coast, Ouattara Watts understood from childhood that he wanted to become a painter when, fascinated by music, dances and masks rituals surrounding the religion poro, to which he was initiated by a loved one, he discovered what he calls “painting in motion”. “I paints with brushes, but also with my hand, I flatten my two bare hands, I like this contact with matter, painting, and I go with my body, by circular movements borrowed from Sudanese architecture by the time when clay mixed with shea butter allowed houses to stand for several generations.” In 1988, he met Jean-Michel Basquiat. A friendly thunderbolt immediately binds the two men. On the advice and with the help of Basquiat, Ouattara Watts left France to settle in New York, where he has been living and working for 30 years now. The two painters exchanged a lot, travelled together to New Orleans, and had planned a stay in Korhogo but, following the early passing of his friend, Ouattara Watts decides to make a name and a place with the strength of his own talent. Before the cultural season “Africa 2020” and following the great retrospective devoted to Jean-Michel Basquiat by the Louis Vuitton Foundation, Espace Paul Rebeyrolle welcomed the work of Ouattara Watts. This exhibition, conceived both as a retrospective panorama, was an initiatory journey and an explosion of sounds and colors at the height of the energy and generosity of the painting of Ouattara Watts. Drawing on its origins and cosmopolitan experiences, the artist has developed in recent decades a practice intimately mixing music and painting, composing his works on the basis of a spirituality inherited from magic rituals and an animist philosophy linking man and nature. His paintings weave and tirelessly blend African traditions, Western modern and contemporary art, the influence of the greatest painters and the most brilliant composers of the century. His painting reminds us that the artistic genius is timeless and knows no borders. It is a happy antidote against the reactionary drifts and the folds of identity that sadly weaves the international reality.
The work of Teerapon Hosanga focuses on paradoxes in events and objects of everyday life. He believes that human creates and destroys simultaneously and focuses on adding new aesthetic values to familiar objects of life in order to illustrate these paradoxes. Thereby, the original purposes and values of objects are disintegrated and replaced by the paradox. His series â€˜White and Blue Helmetsâ€™ demonstrate how he creates new meanings and values by incorporating the fragility and preciousness of white and blue ceramic porcelain into the helmets, opening a debate about both our fragility and the true reality of how we are supposed to be protected in the world in which we live today. This contradiction between the original meaning and function of the helmets that are created to be strong, protective, and flexible and the reality of the protection they provide is a metaphor of the world we are building for our children to live in.
Following the path opened by Marcel Duchamp and his illustrious predecessors, Aurèle, nicknamed “Andy Warhol’s nephew”, has been highly acclaimed over the past 3 decades for the spectacular installations of his gigantic Lost Dogs at the heart of iconic metropolis, Paris, New York, Shanghai and Bangkok. He takes art one step further as it is now an ordinary event, the loss of the dog, which offers through his eyes the omen of human destiny, rolled over by its own craziness, its fate to be lost through wars, deforestation, pollution, extremisms. The diverse sides of the Lost Dog appearances are each expressing one kind of threat, one kind of culture, emphasising on our common destiny. Aurèle is urging us to finally understand we all are Lost Dogs, and need to find our own individual path back to sanity, thereby collectively avoiding a fatal outcome.
Born in 1994, Thai artist Aphisit Sidsunthia is exploring the effects of historical and personal events of our daily life on our imagination and dreams. His search is combining unexpected and improbable circumstances into one painting where different levels of reality interact, as they would in our dreams. The result is paintings that ask more questions than they give answers and summon our own imagination to reconcile the apparent disjunctions of the circumstances depicted in each work. This apparent contradiction is actually creating layers of consciousness into our own minds and invite us to reconsider the true relationship between evens occurring in our lives. After his graduation from Silapakorn University, Aphisit Sidsunthia showcased his work in several solo shows in Thailand and Malaysia.
Born 1994, Nuntida Inmorn is inhabited with her relationship to the past, and her work, deeply rooted in Thai culture, relates to the deceased, whether this notion relates to people or events. Her deeply mystical universe is translated through the viewer through works which are literally waking up the ghosts of those who have left or relationships that have disappeared. They are often very unsettling as the mystery of time is encapsulated into the works, leading to a new version of nostalgia. Thereby, it reaches to its potential of universality. After her graduation from Chiang Mai University Faculty of Fine Arts, her works have been featured in several group exhibitions in Thailand.
Preecha Raksornâ€™s interest lies in the portrait and figurative drawing. He also gains inspirations from subcultures such as comics and games. He usually raises questions through his self-portrait however he also paints images he saw from the internet and offline publications using his own painting technique and method. Many of his works offer a glimpse into how he pays homage to comics and show how he turns into a character in his painting. Painting is not only the showcase of technical beauty or a mere means to narrate a story. Preecha also criticizes, mocks and talks to himself through his favorite way of expression.â€‹
Born in 1980, Thai artist Ubatsat Sutta combines an education in art at the prestigious Chiang Mai university with a Doctorate in Buddhism from Chulalongkorn Univerdity in Bangkok. This double approach of art expression gives a uniqueness to his paintings which through color confer a meditation approach of the art of color. Each of his work is gathering within a circle inspired from his Buddhist approach one view of the universe, one interpretation of the diversity of the world around us. His works are features in important private collection as well as in MAIIAM Museum Collection in Chiang Mai.
Curators Hélène YUBERO Francois RUSSO
Creative Direction Francois RUSSO Assistant Pakin JANETHUMNUGUL
Coordination Raweewan CHAIMANEE
Publisher RUSSO YUBERO PUBLISHING email@example.com Route du Grand Lancy 6A 1227 GEVEVA SWITZERLAND
Printed in Bangkok January 2020 / First Edition