Monthly Archives: September 2012

Angel Vergara at Almine Rech, “the feeling of jubilation with regard to painting”

Angel Vergara is not a painter in the classic sense of the word. He became known through his performances as straatman (streetman) when he was drawing hidden under a white sheet what was happening around him. Since then, he created painted films and staged the act of painting in various ways in his pictural production.  Almine Rech presents  in Brussels until 29 September 2012 a new solo show of his new project.

Courtesy Almine Rech Gallery

For the Almine Rech exhibition, Angel Vergara paints on images drawn from the media after he first edited and assembled them. Those images are the starting point and the frame serving his act of painting, aiming at enabling images to regain their colour, thickness and consistency they may have lost.

What is interesting in Vergara’s work is his dedication to painting as a medium, despite the originality of his approach: “While the words “and yes I said yes I will Yes” are borrowed from the closing line of James Joyce’s novel Ulysses, for Vergara they also serve as a pretext to proclaim, over and over again, the feeling of jubilation with regard to painting.”

The visitor is offered a “painterly journey” in the gallery staged by the artist himself and which presents his emancipated approach to painting.

ANGEL VERGARA and yes I said yes and I will Yes. 07 – 29.09.12 / Brussels –  Almine Rech

Article on Angel Vergara and the act of painting (in French):


Gerhard Richter – Panorama (II)

Yesterday I went to visit the so-much-talked-about Gerhard Richter exhibition at Centre Pompidou: PANORAMA. It’s the third part of an exhibition that travelled already at Tate Modern London and the Nationalgalerie, Staatliche Museen zu Berlin, taking on each time a different stage.

Although, I thought to have seen quite an extensive part of Gerhard Richter works, I really enjoyed to see a very didactic and indeed panoramic exhibition of M. Richter’s oeuvre. The rooms are organised chronologically and thematically. The scenography presents an interesting triangular room in the middle, a promontory room inspired by 19th century panorama. I was also glad to be able to see again the John Cage series, who inspired him the famous: I have nothing to say and I say it illustrating Richter’s prolific and varied oeuvre. But the reason why I appreciated so much to see this exhibition is that it is a statement that painting is not dead, Gerhard Richter worked all his life to defend painting as a medium by re-inventing it constantly and transforming thereby the history of art.

Instead of images I prefer to leave you with the last quote of the exhibition. “Room 10: continuing to paint”:


“A lot of people find other media more attractive – put a screen in a museum and nobody wants to look at the painting anymore. But painting is my profession, because it has always been the thing that interested me most. And now I’m of a certain age, I come from a different tradition and, in any case, I can’t do anything else. I’m still very sure that painting is one of the most basic human capacities, like dancing and singing, that make sense, that stay with us, as something human”.


Liv Vaisberg


Centre Pompidou, Paris

Until 24 September 2012

Daily except Tuesday



Gerhard Richter – Panorama