{"id":3242,"date":"2024-11-05T16:44:16","date_gmt":"2024-11-05T15:44:16","guid":{"rendered":"https:\/\/remiballigand.com\/?page_id=3242"},"modified":"2025-07-06T15:46:46","modified_gmt":"2025-07-06T13:46:46","slug":"exhibitions-2","status":"publish","type":"page","link":"https:\/\/remiballigand.com\/en\/exhibitions-2\/","title":{"rendered":"Texts"},"content":{"rendered":"\t\t
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Richard Leydier<\/strong> is an art critic and curator living and working in Paris. He has organized, among others, Visions – Peinture en France au Grand Palais (Paris, 2006, as part of La Force de l’art), Robert Combas, Greatest Hits (2012, at the Mus\u00e9e d’art contemporain de Lyon), and La Derni\u00e8re vague – surf, skate and custom cultures dans l’art contemporain (2013, at the Friche Belle de Mai, Marseille, as part of Marseille-Provence 2013 European Capital of Culture). For a time, he also directed the Frac (Fonds R\u00e9gional d’Art Contemporain) du Nord-Pas de Calais, in Dunkirk.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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CRITIQUE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Richard Leydier - Art critic and curator<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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There’s something encyclopedic about R\u00e9mi Balligand’s art.<\/b> Like an attempt to bring the scattered fragments of the world together under the auspices of a single logic. Tuning together discordant sounds. He has found in a Deleuzian idea, the percept, a way of reinjecting a little coherence into a universe that may seem a little out of phase, but which reveals a particularly organized beauty when one plunges to the heart of the matter.<\/p>\n

In short, the percept is what is perceived by the senses, as opposed to the concept, which belongs to the intellect <\/b>. Figures break down in a similar way, depending on the order to which they belong.<\/p>\n

Their structure is rhizomatic, and we can see that arborescence reigns whatever the order: coral, roots, charcoal facets, crystal flakes, or plant twigs<\/b>.<\/p>\n

Networks innervate bodies like veins or arteries. Between the sea reefs, the forest or the bowels of the earth, life always finds its way.<\/p>\n

And this path takes many forms. On paper, where compound circles evoke laboratory cultures of bacteria in Petri dishes, or when bodies draw out danced movements, always in a precarious balance. These bodies are depicted in paintings, while the third dimension is approached in the form of sculptures in space, but also in bas-relief, woodcuts that are like epidermis tattooed in depth.<\/p>\n

This art draws on music and astrophysics, and as it constantly links together fields that were thought to be watertight, it seems to conceal infinite developments.<\/b><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Agathe Anglionin<\/strong> is an architect, curator and art critic.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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LOOK<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Agathe Anglionin - Curator and art critic<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Born of a fascination with codes, R\u00e9mi Balligand’s work is part of an aesthetic quest that has left its mark on conceptual painting practices. His work explores the invisible forces that govern reality, going beyond simple pictorial practice. He places himself more in the realm of experimentation than painting for its own sake, exploring both the formal and metaphysical aspects of his art. The result is a body of work that is both meditative and deceptively minimalist. It oscillates between the organic and the geometric, between the elegance of natural forms and the rigor of angular lines, in a diversity of formats and subtle textures that enrich the visual experience. Yet their apparent simplicity hides an underlying complexity. <\/p>\n

R\u00e9mi Balligand always begins with a graphic representation and then moves on to the structure underlying the form, taking into account the initial conditions of perception that it reveals to the light. This approach is present in the Blaaak<\/em> percept ,<\/em> which serves as the basis for the \u00c9clipse<\/em> series. This series is characterized by a surface composed of ultra-black, from which drawing and material emerge, before unfolding in other associated works. At first glance, these creations may evoke constructions inspired by mathematical processes, such as paintings made from wires stretched between nails, or drawings of dots connected according to numerical sequences. But the comparison stops there. These are first and foremost geometric designs aimed at reducing motifs to their essence, eliminating all depth and illusion of perspective. The result is pure surfaces that look as if they have been programmed algorithmically. <\/p>\n

Similarly, the works in the La Matrice <\/em>series , <\/em>inspired by nature and composed of arborescences – coal facets, roots, corals, crystals, plant twigs or animal interlacing – present recurring motifs that could be observed at increasingly finer scales. They evoke creations generated by fractal geometry software or revealed by microscopic observation. Through these structural explorations, the artist suggests the impossibility of directly accessing the heart of his subject, unless one can decipher its code. It’s a quasi-mystical quest for the beauty of the world, which the artist believes can only be revealed to those who possess the keys. <\/p>\n

R\u00e9mi Balligand’s work is not simply about the surface. If he attaches particular importance to plastic materiality in his work, it’s not least because of their relationship to depth, to innervated, rhizomatic and interwoven aspects, often concealed, and eluding superficial observation. Each of his works metaphorizes a latent horizontality, capable of linking in depth the elements that the artist’s drawings represent connected on the surface. The idea is to transcend the simple organic dimension of the living to explore the notion of code that encompasses it. <\/p>\n

Questions then arise: how can we access the beauty of the world beyond mere perception? How can we discover its true essence if it is only revealed through the senses? This requires going beyond a purely sensualist approach, which would be limited to simple sensory experience, to reach a deeper understanding, requiring a coded interpretation of reality. In this way, the artist sees the world as the product of complex algorithms, a perspective that stems from a logical empiricism rooted in the dual philosophical traditions of rationalism and empiricism. <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Richard Leydier is an art critic and curator living and working in Paris. He has organized, among others, Visions – Peinture en France au Grand Palais (Paris, 2006, as part of La Force de l’art), Robert Combas, Greatest Hits (2012, at the Mus\u00e9e d’art contemporain de Lyon), and La Derni\u00e8re vague – surf, skate and […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-3242","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nTexts | R\u00e9mi Balligand<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/remiballigand.com\/en\/exhibitions-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Texts - R\u00e9mi Balligand\" \/>\n<meta property=\"og:description\" content=\"Richard Leydier is an art critic and curator living and working in Paris. 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