"CAPE FEAR"

GROUP EXHIBITION

LUC BELLIER

NOVEMBer 20 - JANUARY 12 2019

PRESS RELEASE   

                                                               

"CAPE FEAR"

LUC BELLIER

 

PRISME is pleased to welcome the collector and art dealer, Luc Bellier for the exhibition

CAPE FEAR

Presenting a selection of his collection gathered around the theme of Fear

From November 20th to January 12th

 

Luc Bellier, art dealer and collector, from a family established in the art market for a century-long, has gathered since the 80s a number of artworks about Fear. Numerous times reimagined and several times delayed, his project of creating an exhibition around a central theme in the art history finally sees for the first time the light of day, at PRISME, in the heart of the 7th district.

 

Luc Bellier confesses: “I have always been scared,” making Jean-Paul Sartre’s reflexion his own “Tous les hommes ont peur. Celui qui n’a pas peur n’est pas normal. Cela n’a rien à voir avec le courage!” (All men are scared. The one who does not know fear is not normal. This has nothing to do with courage!). Over the years, Luc Bellier has acquired very different artworks, in their style and execution, that have a strong link to this stressful emotional state of fear.

 

In this exhibition, the boundaries between the eras, styles, and genres have been abolished. Among the Old Master pieces selected are shown, the famous engraving of the terrified (Fearful or softer: Startled) self-portrait of Rembrandt (1926), a haunting Neapolitan Vanitas (c.1650), a Jan de Vos silver medallion (c.1615) that was exhibited at the Frick Collection and the carved ivory of a damned soul by Theophilus Wilhem Freese (c.1720).

 

For the Modern art are featured two engravings by James Ensor, including La mort Chassant le Troupeau des Humains (1898), a remarkable self-portrait of Otto Dix (1921), a late and virtuoso drawing by Picasso (1971) about a declination of sexual fascination as a bulwark against death.

 

As for pieces of Contemporary Art exhibited, these are mainly by artists with little exposure in France. It is the case for Vincent Desiderio, with his caravaggesque painting, Study for “A Hero’s Life” (1989). It coexists with the an authoritarian portrait by Ra’anan Levy (2017), a  Nicos Baikas cosmic drawing of obsessive touch, Sans titre (1995-200) as well as with a sculpture evident of the afro-American artist Kori Newkirk, Win Slow, showcased in 2006 at the Serpentine Gallery for a travelling exhibition and a painting by Joe Coleman, recently exhibited at the Palais de Tokyo, as well as with a captivating video by Paul Pfeiffer, Goethe’s Message to the New Negroes (2001) and a “custom led” by the Californian multimedia artist Jim Campbell (2006).

 

Photography has always had (or that has) a special place in Luc Bellier’s exhibitions and will not cease to be in Cape Fear with prints by Richard Avedon, Andres Serrano, Philip Lorca diCorcia, Barbara Kruger, Michael Light and with the surprising Mexican photojournalist Enrique Metidines.