Exposition Rancillac ‘Récits’ 15 February/11 May 2014

 

L’Aspirateur

Lieu d’art contemporain

Avenue Hubert Mouly Narbonne Tel.04 68 90 50 91

Open Wednesday to Sunday except Bank Holidays Entry fee 4€

 

Bernard Rancillac is presently the invited artist at l’Aspirateur, the former industrial building re-converted as a Contemporary Art Centresince May 2013.

 

The Centre has hence joined the L.A.C in Sigean (Contemporary Art Centre, Aude) which was created in 1991 by Piet Moget and his daughter Layla.

 

L’Aspirateur‘ is not a museum, but a place for creation and exhibition’ whose aim is ‘to re-define the urban entry of Eastern Narbonne’. It is near the future Musée Régional de Narbonne antique (Regional Museum of Ancient Narbonne) destined to house the exceptional collection of the roman period.

 

The attractive look of the concrete building appeals to contemporary art fans but the giant space which has kept its industrial spirit remains a challenge as an Art Centre.

 

Last season, Erro’s giant paintings seemed lost there. Today, Rancillac’s exhibition is more convincing.

 

Bernard Rancillac himself admits that he never saw his paintings in such a large space before. When asked to share a word about his work, the artist simply says: ‘I try to talk about what’s going on in the world’.

 

And? ‘

 

Nothing’. His paintings say it all.

 

Very political and openly so, they are not to be taken lightly. They serve as a vehicle for expression, opinion and denunciation.

 

Bernard Rancillac, alongside Jacques Monory, Peter Klasen and Richard Fromanger is at the source of the Figuration Narrative movement born in France at the beginning of the 1960’s as a reaction against abstract and Pop art. ‘At the origin of all artistic creation, an emotion is needed,’ said Rancillac. ‘For me, it is one of political nature even when I paint Mickey, jazz musicians, cars or cinema movies’.

 

La Malle de Chine (Trunk from China, 1992) is a painting and sculpture installation. A Chinese boy drinking Coke and wearing a uniform is painted at the back of the top. The trunk contains a dismembered and bloody mannequin, a tank, toys and shoes denouncing violence and abuse.

 

Les Chemins du desert (Desert paths, 1993) is an allusion to Gas Power taking over local traditions and alludes to a superficial sense of happiness.

 

Le Sommier (The box spring, 1998) a large painting,representing the portrait of a veiled woman, and on which stands a box spring,is covered with fixed tools: an axe, a machetes and shears.

 

The visit can be done randomly and there is no particular order to it which adds to its pleasure. A serenade of vivid colours, varied styles, some abstract and semi-abstract paintings such as the series of speedy cars next to prison cells: Ronde de voiture 24h du Mans (Round car 24 hours of Le Mans, 1977/78) and Ronde de gardiens de prison QHS (Round prison cells QHS, 1977/78) is also on display.

 

From the first floor, the display of Motocross (1984), an installation of a 100 painted cubes assembled like a child jigsaw can be clearly observed, on the ground floor.

 

Day Ceremonial, Night Ceremonial, and Hell and Paradise (2007) are series putting the orchid flower as a symbol of human feelings and sentiments.

 

Always bright and colourful, free but not complacent, his paintings capture the eye and the spirit, a way to call out to reality: ‘Hey! Look in which world we’re living today!’

 

Bernard Rancillac at l’Aspirateur Contemporary Art Centre is a frank exhibition, not to leave aside the well mastered brushstroke of a now 82 years old who has also stated when talking about Formula One: ‘if you are not killed you will retire, which is all the same’.

 

Dominique Aclange