Lynda Benglis, Alain Biltereyst, Marie José Burki, Jo Delahaut, Daniel Dezeuze, Lionel Estève, Michel Frere, Max Frintrop, Gilbert & George, Tony Grand, Olaf Holzapfel, Bernard Joubert, Bernd Lohaus, Joseph Marioni, Xavier Mary, Mario Merz, Olivier Mosset, Matt Mullican, Richard Nonas, Giulio Paolini, Charles Sandison, Jan Schoonhoven, Alain Séchas, Philippe Van Snick, Takis, Mitja Tusek, Richard Tuttle, Philippe Vandenberg, Charlotte Vander Borght, Claude Viallat, Stanley Whitney, Gilberto Zorio, Yves Zurstrassen
Quinquagesimum is the third exhibition that I organize at Fondation CAB after “Bande à part” (2014) and “Shaping light” (2018).
Quinquagesimum (Latin for “fiftieth anniversary”, I specify this for the ones who don’t know) is not a retrospective, but an exhibition featuring 33 artists, marking a peculiar moment in my fifty years of activity. The choice, inevitably subjective and made in collaboration with Hubert Bonnet, is determined by the spirit of the place. It is limited to a relatively small number of artists who, at one time or another, have marked my career, some for a single exhibition, others more regularly over the years.
Figuration is almost absent. There are no criteria of non-quality among the absentees … so please don’t hold it against me…
Over the past fifty years, I’ve spent time and worked with over 100 artists… with one or more solo exhibitions.
Quinquagesimum could have been another exhibition in another larger space to include the works of over a hundred artists. It’s a choice, there will be other opportunities … despite my advanced age.
My advanced age, perhaps my only claim to fame, has enabled me to witness the evolution of art, of the market, of collectors, of artists. What can I say about a profession, a passion that has given me many joys, pleasant and difficult moments and enriching encounters.
It was important for me, also for my ego and without false modesty, to show the works of artists I have exhibited, for some of them very early on, before they became well-known and exhibited with colleagues.
I’d like to thank in particular Catherine Mayeur for the text (full of praise) hereafter, which gives a very accurate account of my journey (I hate the word “career”). That’s why I don’t need to add anything else.