To celebrate its tenth anniversary, the Gallery invited Olivier Mosset. The internationally renowned artist has responded positively to the invitation of Céline Lange and Stefano Pult, with whom he has been collaborating since 2002.
A true spearhead of contemporary art in Neuchâtel and the guardian figure of a whole generation of artists and gallery owners, he will blow out the ten candles of their gallery with them in Auvernier as a friend. For the occasion, the exhibition space was occupied along the entire length of its walls by the limited edition of a wallpaper, produced in collaboration with Amy Granat (USA, *1976). This work has only 160 rolls and on each of them is repeated an obsessive motif, the circle.
This pure form, recognizable among all is in a way, since the 70s, the registered trademark of Olivier Mosset. A signature work, the circle was Mosset’s emblem during his years as a member of the BMPT. Tinted pink, it is a wallpaper with the appearance of a giant film that unfolds on the walls of the gallery and shows in a fixed shot, the image of an atemporal circle, already part of the history of art of the 20th
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To celebrate its tenth anniversary, the Gallery invited Olivier Mosset. The internationally renowned artist has responded positively to the invitation of Céline Lange and Stefano Pult, with whom he has been collaborating since 2002.
A true spearhead of contemporary art in Neuchâtel and the guardian figure of a whole generation of artists and gallery owners, he will blow out the ten candles of their gallery with them in Auvernier as a friend. For the occasion, the exhibition space was occupied along the entire length of its walls by the limited edition of a wallpaper, produced in collaboration with Amy Granat (USA, *1976). This work has only 160 rolls and on each of them is repeated an obsessive motif, the circle.
This pure form, recognizable among all is in a way, since the 70s, the registered trademark of Olivier Mosset. A signature work, the circle was Mosset’s emblem during his years as a member of the BMPT. Tinted pink, it is a wallpaper with the appearance of a giant film that unfolds on the walls of the gallery and shows in a fixed shot, the image of an atemporal circle, already part of the history of art of the 20th century. To the endless repetition of a heady image, answers the raw structure of a sculpture “on the factory roof”.
This room with its imposing volume corresponds to another side of Olivier Mosset’s creation, the exercise here is to capture the purity that hides in an urban environment. This work has been built through several achievements, including its anti-tank Toblerones and concrete drum towers. Known worldwide as a radical painter and practising a resolutely minimal art, the exhibition could not end without the presence of two monochromes. These are two geometric figures, one square, the other circular, which maintain that “there must be nothing in the painting that is “beyond what is there””.
Valerie A. Clerk
