{"id":12310,"date":"2026-04-23T16:31:26","date_gmt":"2026-04-23T14:31:26","guid":{"rendered":"https:\/\/preprodlafab.sisso.fr\/?post_type=evenements&p=12310"},"modified":"2026-06-11T12:09:16","modified_gmt":"2026-06-11T10:09:16","slug":"in-praise-of-the-line","status":"publish","type":"evenements","link":"https:\/\/preprodlafab.sisso.fr\/en\/evenements\/in-praise-of-the-line\/","title":{"rendered":"IN PRAISE OF THE LINE"},"content":{"rendered":"\n

IN PRAISE OF THE LINE : GROUP SHOW \/ AGN\u00c8S B. COLLECTION<\/h2>\n\n\n\n

May 22nd – October 25th, 2026<\/strong><\/p>\n\n\n\n

Opening on Thursday, May 21st 2026 ; 6-9 p.m.<\/strong><\/p>\n\n\n\n

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Sans titre, 1996 \u00a9 Danghi Korwa <\/figcaption><\/figure>\n\n\n\n
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Tabula, 1980 \u00a9 Simon Hanta\u00ef
\u00a9 Archives Simon Hanta\u00ef \/ ADAGP, Paris, 2026<\/figcaption><\/figure>\n\n\n\n
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Sans titre, 1991 \u00a9 Vyakul<\/figcaption><\/figure>\n\n\n\n
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Sometimes I look at Myself, 2000
\u00a9 Tracey Emin
<\/figcaption><\/figure>\n\n\n\n
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Peinture Tantrique, circa 2000,
\u00a9 Anonyme
<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

<\/p>\n\n\n\n

In Praise of the Line<\/strong> (\u00c9loge du trait) draws its inspiration from Henri Michaux<\/strong>‘s Aventures de lignes<\/em> (1954), in which the author celebrates the line as a primary, pure, and immediate gesture. For Henri Michaux, drawing is above all an internal act: the line springs from impulse, preceding language, without a project of representation. Each line thus becomes the direct expression of a vital movement, of energy in tension, of a breath passing through the hand. The point, the line, and the plane are no longer mere formal elements, but active forces, capable of structuring the visible and offering a glimpse of the invisible. The work follows this lineage, highlighting drawing as an autonomous, intimate, and poetic gesture, where action precedes the image and the trace reveals the artist\u2019s inner state.<\/p>\n\n\n\n


Through a selection of works from the agn\u00e8s b. collection<\/strong>, the journey unfolds in a space where the gaze confronts the fundamental structures of perception. The exhibition questions the line’s capacity to articulate emptiness, to delimit space, and to produce an architecture of the sensible. From the gesture traced on paper to the surface inhabited by matter, geometric rigor dialogues with organic momentum, revealing how these elementary forms become vectors of raw expression.<\/p>\n\n\n\n


The line first asserts itself as a measure of time and effort. In Cyprien Chabert<\/strong>\u2019s work, obsessive repetitions in ink draw a cartography of the gesture. They find an echo in the nervous writings of Tracey Emin<\/strong>, where the red line becomes the receptacle of an immediate confession. Linearity then leaves the plane to inhabit volume: with Alexander Calder<\/strong>, the line draws in the void; in Didier Marcel<\/strong>\u2019s work, twisted rebar transforms an industrial material into an organic silhouette standing in space.<\/p>\n\n\n\n


Structural rigor becomes radicalized with Donald Judd<\/strong>, whose anodized aluminum volumes assert the plane as an autonomous presence. This geometry is answered by the photography of Lucien Herv\u00e9<\/strong>, which carves out planes of light and shadow to reveal the invisible skeleton of reality through the architecture of Brasilia or UNESCO.<\/p>\n\n\n\n

The point becomes an existential unit of account for Jonathan Borofsky<\/strong>, marking the passage of time through numbers, while Louise Bourgeois<\/strong> makes it the center of an infinite spiral, generating a movement that seems to absorb the plane.<\/p>\n\n\n\n


This dynamic continues in the compositions of Simon Hanta\u00ef<\/strong>, where folding sculpts the surface of the canvas in an alternation of void and fullness, resonating with the ink saturations of Houston Maludi<\/strong>.<\/p>\n\n\n\n


A symbolic convergence crystallizes around the cross, the intersection of the vertical and the horizontal: it appears in Alan Vega<\/strong>\u2019s assemblage as an electric totem, and finds a meditative counterpoint in the paintings of Vyakul<\/strong>, where the ritual form charges the plane with spiritual intensity.<\/p>\n\n\n\n


The line condenses further in Man Ray<\/strong>\u2019s small-format work, Vieux Jeu<\/em>, where the composition freezes dark and precise lines. This economy of means finds a vibratory extension in Henri Michaux<\/strong>\u2019s watercolor, Untitled<\/em> (circa 1973). Here, the line no longer seeks to delimit but to release appearances: against an evanescent background, threadlike silhouettes and organic signs seem to emerge from an altered state of consciousness. The work perfectly embodies this “adventure of lines” so dear to the artist, where the hand, guided by an inner necessity, allows figures to surface at the edge of abstraction and life. Conversely, in Emanuel Bovet<\/strong>\u2019s work, the trajectory of a bullet crosses the image like a vanishing line that tears through space. Finally, in Fran\u00e7ois Curlet<\/strong>\u2019s work, the horizon line imposes an absolute stability, a definitive boundary that structures the visual field.<\/p>\n\n\n\n


From the initial point to the horizon, from the intimate gesture to the monumental construction, the exhibition affirms that the line is not an abstraction detached from the world. It is sensitive writing, tension, rhythm : a way of inhabiting space and revealing the invisible forces that organize our perception.<\/p>\n\n\n\n

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EXHIBITED ARTISTS<\/strong> : <\/p>\n\n\n\n

ANDY WARHOL \u2605 LOUISE BOURGEOIS \u2605 ARCHARYA VYAKUL \u2605 DONALD JUDD \u2605 ANONYME \u2605 TANTRA \u2605 ANTONIO RECALCATI \u2605 LAJJHO KORWA \u2605 DANGHI KORWA \u2605 DHULONG KORWA \u2605 LAHANGI KORWA \u2605 ALEXANDER CALDER \u2605 SIMON HANTAI \u2605 DIDIER MARCEL \u2605 EMANUEL BOVET \u2605 HARMONY KORINE \u2605 ROBERT WILSON \u2605 RAFAEL GRAY \u2605 MARCEL MIRACLE \u2605 CYPRIEN GAILLARD \u2605 MONA HATOUM \u2605 HENRI MICHAUX \u2605 JONATHAN BOROFSKY \u2605 LUCIEN HERV\u00c9 \u2605 MAN RAY \u2605 BRIGITTE CORNAND \u2605 GERMAINE KRULL \u2605 FRAN\u00c7OIS CURLET \u2605 HIRAKU SUZUKI \u2605 WOLFRAM \u2605 ADALBERT SCHEFFLER \u2605 JEAN-MICHEL BASQUIAT \u2605 CAMERON JAMIE \u2605 ROBERT ESTERMANN \u2605 DOUGLAS GORDON \u2605 TOSHIKATSU ENDO \u2605 TRACEY EMIN \u2605 JEAN-MICHEL ALBEROLA \u2605 CYPRIEN CHABERT \u2605 CLAUDE CLOSKY \u2605 VEIT STRATMANN \u2605 HOUSTON MALUDI \u2605 AGNES TROUBL\u00c9 \u2605 EMIL HALMOS \u2605 VALENTIN RANGER \u2605 THOMAS HIRSCHHORN \u2605 BANGER<\/p>\n\n\n\n

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PRESS RELEASE<\/a><\/div>\n<\/div>\n\n\n\n

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