London’s Saatchi Gallery has for many years been committed to giving visibility to young British and foreign artists, especially by allowing them to display selected work in its Artist Run Project, the museum’s dedicated space on the second floor.
As part of this project, Silvère Jarrosson’s Étude pour la Villa Médicis was selected from several candidates and displayed, as part of a video screening, in this space dedicated to young artists.
Exhibition from 19th September 2019 au 19th December 2019
One hour away from Copenhagen, Lys Over Lolland has become, over its nineteen years of existence, a staple feature of the Danish art scene. In 2019, France was the guest of honor, with an exceptional presentation of tapestries from Mobilier national’s Manufacture des Gobelins, never shown before in Denmark, directed by Gilles Bonnevialle, Marie Hélène Bersani and Susanne Grue Jorgensen. The only French artist displayed next to the State collection tapestries, Silvère Jarrosson, was allotted a dedicated space in the former factory hosting the exhibition.
Unlike the previous installations of the work (especially at Riga Fine Arts Academy), the set for this monumental piece was arranged in separate lots, in contrast with the initial frieze layout, offering a fresh interpretation avenue for this multifaceted work.
Over seven thousand visitors from all over Denmark came to discover this selection of pieces from Paris.
Following the Riga Fine Arts Academy and Liepaja Concert Hall, the L.U.C.A. monumental work by Silvère Jarrosson was exhibited at Madona’s City Arts Museum, as part of a monographic exhibition in a partnership with Institut français de Lettonie. A public performance took place at the opening.
The work will be included in the Museum’s collection, following a decision by its director.
This ‘Tribute to Antonin Artaud’, a Villa Medici commission to Silvère Jarrosson, was screened in mapping format on the Villa’s façade as part of the Ninth Edition of the Villa Aperta Festival. As proposed b y Artistic Director Cristiano Leone, it was made up of three videos of five minutes each, staging Silvère Jarrosson as both the painter and the dancer he once was.
The music score, composed for the occasion by Martux, included readings of poetry including references to wounds and to death—but also to love and to the possibility of rebirth through art—by Antonin Artaud and Alda Merini, in French and in Italian. With his personal background as a wounded ballet dancer, Silvère Jarrosson, provided suitable embodiment of this posture. The first video plays out an allegorical representation of a painful and merciless fight for existence. In the second screening, dancing poises gradually replaced the violence of the initial battle, symbolizing renewal. In the final part, actual dancing is in evidence, both improvised and carnal, accompanied by love messages by Alda Marini.
With this production, which was shot within the Villa, the audience witnesses an encounter between dancing and poetry, united by the madness which Antonin Artaud and Alda Merini had in common—while Silvère Jarrosson rekindles his former career as a ballet dancer, giving visibility to the reconstruction that had underpinned his work as a painter from the very beginning.
The event was extensively covered by the Italian press:
Trova Roma · Villa Aperta alza il volume · Stefano Petrella 13/6/2019
La Repubblica · Musica off genio e follia a Villa Medici · Felice Liperi 13/6/2019
Corriere della sera · Incontri di note, poesia e immagini tra arte e follia · Marco Andreetti 10/6/2019
Music : Martux
Director and editor : Luca Iavarone
Curator : Cristiano Leone
Singing by Paola Severini, Donatella Finocchiaro et Pino Saulo
Silvère Jarrosson was invited by the Frame Basel Contemporary Art Fair to occupy an individual stand in the event’s ‘Project Space’ section. As an aside to Art Basel, his main work form the spring of 2019 was on display in this satellite event, together with work by Eva Jospin, Lionel Sabatté and Vincent Corpet.
Exhibition of the monumental work L.U.C.A., previously exhibited at the Academy of fine arts in Riga, in the Hall of Liepaja Opera (Great Amber Konzerthalle), in partnership with theInstitut français de Lettonie. A performance came to accompany the opening of the exhibition to the public. A way to make dialogue music, dance and painting in an emblematic place of the Latvian cultural scene.
Silvère Jarrosson’s in situ artwork on display during this group exhibition at Galerie Mansart was unprecedented insofar as it was produced directly on the wall of the exhibition space—i.e., for the first time ever vertically. While his work consists in structuring the paint as it spreads (lines, curves, spots, borders and filaments) on a medium that I generally horizontal, in this instance the actual framework of his approach has changed, being made vertical. This brought him to design a new construction, subjected to major tropism: gravity. Like a vaulted ceiling, it is conceived to resist it. Verticality induces a fresh constraint, in turn providing an opening towards fresh liberty.
At the third exhibition organized at its historic headquarters in Boulevard Haussman, the Crédit du Nord group, which regularly supports artists, invited Silvère Jarrosson to display his work in its monumental lobby.
This provided an opportunity to create a set of large canvases specially sized to match the space. The project proposed by Silvère Jarrosson is a outsized affirmation of his Figures–this time exceeding the dimensions of human anatomy. A new form of meta corporal gestural painting can then be invented.
This second exhibition of Silvère Jarrosson at the vanities Gallery was an opportunity to sit a pictorial style already developed ten months earlier during his first exhibition in these places. Here the renewal took place in particular by a new work of the color and a more radical approach of the composition.
The title of the exhibition, closing in the passage of time and its sudden stop, underlined the parallel between the frozen works of Silvère Jarrosson and the photographs of dancers presented by Julien Benhamou in a second part of the Gallery.