CHRISTIAN BONNEFOI
SARAH CHARLESWORTH
LIZ DESCHENES
ROE ETHRIDGE
JUTTA KOETHER
DANIEL LEFCOURT
VALENTINA LIERNUR
JASON LOEBS
SCOTT LYALL
NICK MAUSS
CHARLES MAYTON
JOHN MILLER
OLIVIER MOSSET
SEAN PAUL
JULIA PHILLIPS
EILEEN QUINLAN
BLAKE RAYNE
CLEMENT RODZIELSKI
CHRISTOPH RUCKHÄBERLE
NORA SCHULTZ
AMY SILLMAN
REENA SPAULINGS
JOANNE TATHAM & TOM O’SULLIVAN
CHEYNEY THOMPSON

CHRISTIAN BONNEFOI

Born 1948, Salindres, France
Lives and works between Paris and Changy

 

PUBLIC COLLECTIONS

Centre Georges Pompidou, Paris

Musée d’art moderne de la ville de Paris

Musée régional d’art contemporain Languedoc-Roussillon, France

FRAC – Fonds national d’art contemporain (National Arts Fund), Paris, France

FRAC – Fonds régional d’art contemporain (Regional Arts Fund), Picardie, France

FRAC – Fonds régional d’art contemporain (Regional Arts Fund), Centre, France

FRAC – Fonds régional d’art contemporain (Regional Arts Fund), Bretagne, France

Tourcoing Fine Arts Museum, France

Morlaix Fine Arts Museum, France

Orléans Fine Arts Museum, France

Montbéliard Fine Arts Museum, France

Sens Fine Arts Museum, France

Guangzhou Museum of Fine Arts, China

 

SELECTED SOLO EXHIBITIONS

2017 Campoli Presti, Paris

Campoli Presti, London

Visite à Zulma, Galerie Municipale de Julio Gonzalez, Arcueil 

2016 Christian Bonnefoi, Jean-Paul Najar Foundation for Contemporary Art, Dubai

Christian Bonnefoi, Campoli Presti at Thea Westreich and Ethan Wagner, New York

2015   Matmut Contemporary Arts Centre, Saint-Pierre-de-Varengeville, France

2013   Hermès Foundation, Le Forum, Tokyo

Dom Luis Foundation, Cascais, Portugal

Bonjour Monsieur Matisse, Musée d’art contemporain de Nice, France

2012   Dos à dos, Musée Matisse, Le Cateau-Cambrésis, France

Contemporary Arts Centre, Domaine de Kerguéhennec, Morbihan

Modern Art Museum, Ceret, France

2009   Hermès Foundation, La Verrière, Brussels, Belgium

Temple University, Rome, Italy

Casa della Letteratura, Rome, Italy

2008   Christian Bonnefoi, l’apparition du visible, Centre Pompidou, Galerie du Musée et Galerie d’art
graphique. Catalogue: texts from Jean Louis Schefer, Ann Hindry, Philippe-Alain Michaud.

2007   Intervention, Chapel of Saint Nicolas des Eaux, Brittany, France. Catalogue

2005   Beatus, G. Fayet Contemporary Arts Centre, Sérignan, France. Catalogue

Musée des Beaux-Arts, Orléans

Musée de Sens

2004   Toulon Museum of Fine Arts, France

2002   Galerie de France, book launch of « Christian Bonnefoi: De l’in- à l’ex- en passant par l’ob- », éd. Janninck

2001   Galerie Turetzky, Genève, Suisse

2000   Guangzhou Museum of Fine Arts, China

1999   Galerie de France, Paris

1998   G. Fayet Contemporary Arts Centre, Sérignan, France

1997   Fine Arts Institute, Pékin, China. Catalogue: texts from Pierre Morel and Tristan Trémeau.
Musée du Berri, Bourges, France

1996   Galerie de France, Paris
Pierre André Benoît Foundation, Alès. Catalogue: text by Tristan Trémeau : « Le creuset de point de colle »
Mandet Museum, Riom, France

1995   MUba Eugène Leroy, Tourcoing Fine Arts Museum, France

Evreux Museum of Fine Arts, France

Contemporary Arts Centre, Montbéliard. Catalogue.

1994   Prophètes, Galerie Regards, Paris. Catalogue.

Musée des Jacobins, Morlaix, France

1993   La stratégie du tableau, Galerie Alfredo Melgar, Madrid, Catalogue.

1992   Galerie Regards, Paris. Catalogue et texte d’Yve-Alain Bois : « l’épingle »

1991   Annandale Gallery, Sydney

1990   Galerie Regards, Paris

 

SELECTED GROUP EXHIBITIONS

2016   Tales of Ratiocination, Campoli Presti, London

2013   MaMaC, (Museum of Contemporary and Modern Art), Nice, France

2006   Idées de la peinture : hommage à Martin Barré, Galerie Nathalie Obadia

La collection, G.Fayet , Contemporary Arts Centre, Sérignan

2005   Comme le rêve, le dessin, Centre Pompidou and Musée du Louvre

2003   Royal Academy of Brussels, Belgium

Jours de fête, Orléans Fine Arts Museum, France

1999   Tableaux, la peinture n’est pas un genre Musée des Jacobins, Morlaix; Musée de Brou, Bourg-en-Bresse ;

Musée des Beaux Arts de Tourcoing. Catalogue.

Galerie de France, Paris

Una collection particular, Girona Museum of Fine Arts, Spain. Catalogue.

1997   Peintures françaises, Villa Medicis, Rome. Catalogue.

1996   Contemporary Arts Center, Orléans

L’informe, Centre Pompidou, Paris. Catalogue (texts by Yve-Alain Bois and Rosalind Krauss).

1993   Ils ont cité Matisse, Galerie de France, Paris

1992   Regards, Brussels Royal Academy of Beaux-Arts, Belgium. Catalogue.

1991   Ecole des Beaux-Arts de Paris. Catalogue (text by Yves Michaud).

Presentation of the permanent collection, Musée des Beaux-Arts, Tourcoing

1990   L’Aventure de l’abstraction, Collection Najar-Obregon. Fondation Deutsch, Lausanne, Switzerland. Catalogue.

1984   JA NA PA, Galerie Jean Fournier, Paris

1983   Bonjour M. Manet, Centre Georges Pompidou, Paris

1981   Baroques 81, Musée d’Art Moderne de la Ville, Paris. Catalogue (texts by Catherine Millet et Severo Sarduy).

 

BIBLIOGRAPHY

2008    « Christian Bonnefoi: pour trouver la face du dos de Matisse, construire Babel », catalogue

« Christian Bonnefoi, l’apparition du visible », Gallimard-Centre Pompidou.
Michaud Philippe –Alain, « Inachever / Sur l’identité de surface et sa destruction », catalogue

Christian Bonnefoi, l’apparition du visible, Gallimard-Centre Pompidou.

Schefer Jean-Louis, « Question de corps », catalogue Christian Bonnefoi, l’apparition du visible,
Gallimard-Centre Pompidou.

Schefer Jean-Louis, « Dialogue de la plume et du pinceau », catalogue Christian Bonnefoi,
œuvres 2002-2004 , Ljubana, galerie Piran, 2005

2004   Drathen, Doris von, « Echo de l’existence » and « Conversation » (avec Christian Bonnefoi), in
catalogue Christian Bonnefoi, Beatus, Ed. Actes Sud.

2001   Amstrong, Philip, « Série et aporie » in « La peinture après le minimalisme », Bruxelles, La Part de
l’Oeil

Boddaert, François, « Sur les travaux récents de Christian Bonnefoi », Europe, n° 871-972,

November-December 2001, pp.288-291

1999   Drathen, Doris von, « Christian Bonnefoi », Shiffbruch als strukturalistiche Strategie, Kunstforum, n°144, March-April 1999.

1998   Melville, Stephen, (Untitled) in Catalogue Bonnefoi, New York, Rausenberg and Kaufman Fine Art,
1998.

1997   Amstrong, Philip, « Introduction » in Christian Bonnefoi, Ecrits sur l’art ( 1974 – 1981), Paris, La
Part de l’Oeil

Morel, Pierre, Christian Bonnefoi, catalogue, Pekin, ed. Chin Dong Chen, 1996

Trémeau, Tristan, « Le creuset du point de colle » in catalogue Christian Bonnefoi, Oeuvres
graphiques 1973-1996, Ales, Fondation PAB, 1996

1994   « Christian Bonnefoi », Beaux-Arts, n° 122, avril 1994, p. 120

Hindry, Ann, Christian Bonnefoi, catalogue « Bonnefoi », éd Musées de Morlaix, Evreux, Tourcoing,
CAC Montbéliard

Hindry, Ann, « L’objectif tableau de Christian Bonnefoi », Art Press, mars 1994, pp. 71-73, ill. 1994

Laurent, Jenny, « Tableau sans fond », Po&sie n° 68, éd. Belin, 1994, pp. 119-121, ill.

Trémeau, Tristan, « Christian Bonnefoi – Sans Titre », Dix ans d’acquisitions du F.R.A.M. de La
région Nord-Pas-de-calais, éd. l’Association des conservateurs du Nord-Pas-de-Calais, 1994, pp. 274-
275, ill. (Musée de Tourcoing).

1993   Bernard, Yves-Michel, « Christian Bonnefoi », Acquisitions du Fonds Départemental d’Art
Contemporain Seine Saint-Denis 1992-1993, pp. 18-19, ill.

1992   Bois, Yve-Alain, « The Pin», catalogue of the exhibition « Bonnefoi: la stratégie du tableau »

1991   Giquel, Pierre, « Christian Bonnefoi », Art Press, n° 155, février 1991, p. 106.

1990   Schefer, Jean-Louis, Sfr n° 1*, « Du point de vue de l’œuvre d’art , Spécial Christian Bonnefoi »,
Marseille, octobre 1990, ill. (texts by de Christian Bonnefoi, Georges Didi-Huberman, Stanislas
Breton, Paulin Paris, Alain-Georges Huraut,Jean-Marc Pons, Bernard Laks and Pascal Dusapin)

1988   Bernard, Yves-Michel, Sans titre, in catalogue « Christian Bonnefoi. Le botaniste sans maître »,
Orléans, Centre d’Art Contemporain, 1988, ill.

Grynpas N’Guyen, Alberte, « Christian Bonnefoi – Babel II, 3, 1988 », Fonds National d’Art
Contemporain 1988, Paris, Ed. Ministère de la Culture et de la Communication, des Grands Travaux
et Du Bicentenaire, 1988, ill.

Johnson, Anna, « Eros emerges from a mattress », Sydney Morning Herald, 28 October 1988

1987   Johnson, Anna, « Christian Bonnefoi », Interior Architecture Australia, n° 15, 1987, pp. 174-179, ill.

1986   Guégan, Stéphane, « Christian Bonnefoi sous la coupole », Le Matin, 30 juin 1986, p.31, ill.

1984   Couturier, Elisabeth,« Christian Bonnefoi », Art Press, n° 83, août 1984, p. 74

Didi-Huberman, Georges, « Eloge du Diaphane », Artiste, n° 21, 1984, pp. 106-111 (repris in Sfr, n°
1, 1990, pp. 12-25 ; and in Phasmes, éd. de Minuit, 1998).

1981   Bois, Yve-Alain, «A propos du Double bind », trois questions à Christian Bonnefoi », Critique n° 408, mai 1981, pp. 546-554.

Nadaud, Catherine, “La couleur collée de Christian Bonnefoi”, Libération, 20 jJanuary 1981

Stoullig, Claire, « La dimension impossible », Art Press, n° 44, January 1981, pp. 22-23, ill.

1980   Bois, Yve-Alain, « Le futur antérieur », Macula, n° 5-6, 1980, pp. 229-233

1979   Bauduin, Wolfgang «Ein heiteres spiel », Kölner Kultur, 4 May 1979

1978   « Abstrakt Poetisch », Kölner Kultur, 2 February 1978

1977   Béret, Chantal, « Christian Bonnefoi », Art Press, n° 8, June 1977, pp. 22-23, ill.

Plazy, Gilles, « Christian Bonnefoi, Faire la peinture », Le Quotidien de Paris, 18 April 1977

Solo Exhibition

23 Mar, 2017-20 May, 2017

Campoli Presti, London

no images were found

Christian Bonnefoi

15 March – 15 April 2017
Campoli Presti, Paris

24 March – 20 May 2017
Campoli Presti, London

Campoli Presti is pleased to announce Christian Bonnefoi’s first solo exhibition at the gallery, running concurrently in London and Paris.

Over the past 40 years, Christian Bonnefoi has largely contributed to the fundamental distinction between painting – a visible surface – and tableau – an analytical plane subject to division and structure.

Bonnefoi has organized his work in long series, developing them around his ongoing Babel series, which he started in 1978. His parallel series Janapa, inspired by constructivist interrogations on painting, started the same year and acted as their geometric counterpart. To dismantle the unity of the surface, the artist engages in a set of operations that consider the temporal effects of the collage (doubling, drying time, repetition of steps) and assume the three-dimensionality of the canvas, by rotating and displacing its orientation. In Bonnefoi’s paintings, transparency is not merely a recurring formal element but the organizing principle of his work. In his interweavings, cuts and divisions the terms of his practice are also rendered transparent, allowing the viewer to take part in an infinite interplay between what is visible and what is concealed.

For his exhibition at Campoli Presti in London, Bonnefoi presents new paintings from his latest Babel series, a freestanding double-sided panel, and new collages. The exhibition in Paris is dedicated exclusively to Bonnefoi’s recent collages, giving accent to his elaborate use of masks, cuts and openings.

Bonnefoi’s new Babel series originated from a remake, a starting point in the process of creation that evolves from a former procedure, present in a previous Babel. Caught up in unending cycles of return, the artist engages in a retrospective reading of his work. As in the Big Bounce cosmological model, the formation of a material reality does not expand from a single event but rather follows an eternal series of oscillations between the past and the present. For this new series, Bonnefoi explores further manipulations of the tarlatan, a sheer, open-weaved fabric applied in different volumes, allowing the surface to become more complex in depth. His double-sided panels include the position of the viewer as a necessary element to define the work’s standing point.

In his wall-based collages, different levels of transparency are achieved through the use of cut-out tissue paper. The compositions are made by independent elements pinned at a finely calculated distance that could be continuously replaced or expanded throughout the entire wall. The spending of the material in different curved sections takes the plane into a wider spatial organization. These compositions abound in literary references that take time as an obsession, such as Marcel Proust’s incessant need to receive a nightly kiss from his mother in “Remembrance of things past” or Giambattista Vico’s cyclical -corsi e ricorsi- evolution theory.

A student of Hubert Damisch and Jean-Louis Schefer, Bonnefoi worked closely with Yve-Alain Bois and Jean Clay around the journal Macula in the mid-seventies. Bonnefoi’s work has been later contextualized within revised discussions on American and French perspectives on painting, forming part of the exhibition As Painting, at the Wexner Center for the Arts in 2001.

Christian Bonnefoi’s work is part of the permanent collections of Centre Pompidou, Paris; Musée d’art moderne de la ville de Paris; Musée régional d’art contemporain LanguedocRoussillon; FRAC Paris; FRAC Picardie; FRAC Centre; FRAC Bretagne; Tourcoing Fine Arts Museum; Morlaix Fine Arts Museum; Orléans Fine Arts Museum; Montbéliard Fine Arts Museum; Sens Fine Arts Museum; Guangzhou Museum of Fine Arts, China. In 2008, Bonnefoi had a retrospective at Centre Pompidou, Paris with an accompanying catalogue. Past solo exhibitions include Jean-Paul Najar Foundation for Contemporary Art, Dubai (2016); Campoli Presti & Westreich/Wagner, New York (2016); Museum of Modern and Contemporary Art, Nice (2013); Guangzhou Museum of Fine Arts, China (2000), Rothschild Foundation, Paris (1989), Museum of Nuremberg, Germany (1981); P.S.1 Contemporary Art Centre, New York (1980).

Tales of Ratiocination

23 Feb, 2016-02 Apr, 2016

Campoli Presti, London

no images were found

Martin Barré
Christian Bonnefoi
André Cadere
René Daniëls
Sheila Hicks
Jacqueline Humphries
Barbara Kasten
Charles Mayton
Michel Parmentier
Blake Rayne
Carol Rama
Amy Sillman
Cheyney Thompson

Tales of Ratiocination
23 February – 2 April 2016
Campoli Presti, London

Tales of Ratiocination focuses on the delineation of a chain of operations, a subtle reasoning that establishes a set process for the making of artworks. For Edgar Allan Poe, ‘ratiocination’ meant the use of analytical powers to solve mysteries, using different kinds of information to explore, question and sometimes satirize the certainty of a deductive method. The artists in the exhibition share a common concern with developing compositional or even anti-compositional strategies that explore the role of the artist and the historically set rules of artistic agency.

Martin Barré, André Cadere and Michel Parmentier deliberately introduce an anomaly into their method to destroy its underlying logic and to question the artist’s gesture. In 1977, Martin Barré stated that painting was a game between the rule and the subversion of the rule. His diagonal markings reveal the interdependence of the canvases, diverting the calculation of a geometric order. The striped pattern of André Cadere‘s Barres de bois rond, (round bars of wood) follows a distinctive sequence. Each colour succeeds the previous one in a constant mathematical permutation that includes a systematic error. The diameter of the wooden segment equals its length and, in each case, the colour of one segment is represented by a number. The segments are set together in order resulting from a permutation which includes random shifts – and an error results from the inversion of two segments in the sequence. In 1983 Michel Parmentier reiterated his 1965 horizontal stripe folding technique, changing its colour arbitrarily each year for three years, so as to detach himself from a personal preference and to objectify the nature of colour.

Correspondingly Cheyney Thompson’s Stochastic Process Paintings combine algorithms employed by financial theorists to predict market patterns with colours taken from Albert Munsell’s 19th century three dimensional colour system. This succession of random, scientifically dubious steps, provides a system that registers the repetition of an inexact rule, commenting on the subject’s ability to enunciate it.

The intentional reiteration of a pattern, often applied in a playful fashion, operates as a means to speculate around the stability of a method. The use of motifs such as the bowtie in René Daniëls‘ and Charles Mayton‘s work reflects their interest in painting as an instrument of encoded meaning, introducing different mechanisms without resulting in closed iconographic interpretations. Carol Rama describes the repeated use of strips of rubber as joyful, following her unceasing commitment to adding everyday life materials into her works. Sheila Hicks‘ playful yet reverential subversions of weaving traditions result in laborious abstract compositions.

Christian Bonnefoi finds the strategy of his paintings in the physical threads moving through his paintings. The minimal gaps and transparencies of the material lead to his attempted direction, usually alluding to the figure of the labyrinth to describe the eternal back and forth between his intentional manipulations and the visual end. Describing a comparable continuous process, Jacqueline Humphries has said, “I start a painting by finishing it, then may proceed to unfinish it, make holes in it or undo it in various ways, as a kind of escape from that finitude.”

Amy Sillman‘s layered abstractions are based on the tension between an affective and a formal method, negotiating between the improvisatory and the structural aspects of thinking itself. Blake Rayne’s Wild Country series equally explore the properties of a fluctuating movement, as its wandering line moves across the surface of a layered background, in an intuitive movement that recalls automatic writing.

Barbara Kasten designates the studio as an environment of transitory structures that exist only to be photographed. Following the compositional vocabulary of constructivism, Kasten transfers rules from other artistic fields into photography, expanding its limits.

For further information or visuals please contact cora@campolipresti.com

Solo Exhibition

14 Mar, 2017-14 Apr, 2017

Campoli Presti, Paris

no images were found

Christian Bonnefoi

15 March – 15 April 2017
Campoli Presti, Paris

24 March – 20 May 2017
Campoli Presti, London

Campoli Presti is pleased to announce Christian Bonnefoi’s first solo exhibition at the gallery, running concurrently in London and Paris.

Over the past 40 years, Christian Bonnefoi has largely contributed to the fundamental distinction between painting – a visible surface – and tableau – an analytical plane subject to division and structure.

Bonnefoi has organized his work in long series, developing them around his ongoing Babel series, which he started in 1978. His parallel series Janapa, inspired by constructivist interrogations on painting, started the same year and acted as their geometric counterpart. To dismantle the unity of the surface, the artist engages in a set of operations that consider the temporal effects of the collage (doubling, drying time, repetition of steps) and assume the three-dimensionality of the canvas, by rotating and displacing its orientation. In Bonnefoi’s paintings, transparency is not merely a recurring formal element but the organizing principle of his work. In his interweavings, cuts and divisions the terms of his practice are also rendered transparent, allowing the viewer to take part in an infinite interplay between what is visible and what is concealed.

For his exhibition at Campoli Presti in London, Bonnefoi presents new paintings from his latest Babel series, a freestanding double-sided panel, and new collages. The exhibition in Paris is dedicated exclusively to Bonnefoi’s recent collages, giving accent to his elaborate use of masks, cuts and openings.

Bonnefoi’s new Babel series originated from a remake, a starting point in the process of creation that evolves from a former procedure, present in a previous Babel. Caught up in unending cycles of return, the artist engages in a retrospective reading of his work. As in the Big Bounce cosmological model, the formation of a material reality does not expand from a single event but rather follows an eternal series of oscillations between the past and the present. For this new series, Bonnefoi explores further manipulations of the tarlatan, a sheer, open-weaved fabric applied in different volumes, allowing the surface to become more complex in depth. His double-sided panels include the position of the viewer as a necessary element to define the work’s standing point.

In his wall-based collages, different levels of transparency are achieved through the use of cut-out tissue paper. The compositions are made by independent elements pinned at a finely calculated distance that could be continuously replaced or expanded throughout the entire wall. The spending of the material in different curved sections takes the plane into a wider spatial organization. These compositions abound in literary references that take time as an obsession, such as Marcel Proust’s incessant need to receive a nightly kiss from his mother in “Remembrance of things past” or Giambattista Vico’s cyclical -corsi e ricorsi- evolution theory.

A student of Hubert Damisch and Jean-Louis Schefer, Bonnefoi worked closely with Yve-Alain Bois and Jean Clay around the journal Macula in the mid-seventies. Bonnefoi’s work has been later contextualized within revised discussions on American and French perspectives on painting, forming part of the exhibition As Painting, at the Wexner Center for the Arts in 2001.

Christian Bonnefoi’s work is part of the permanent collections of Centre Pompidou, Paris; Musée d’art moderne de la ville de Paris; Musée régional d’art contemporain LanguedocRoussillon; FRAC Paris; FRAC Picardie; FRAC Centre; FRAC Bretagne; Tourcoing Fine Arts Museum; Morlaix Fine Arts Museum; Orléans Fine Arts Museum; Montbéliard Fine Arts Museum; Sens Fine Arts Museum; Guangzhou Museum of Fine Arts, China. In 2008, Bonnefoi had a retrospective at Centre Pompidou, Paris with an accompanying catalogue. Past solo exhibitions include Jean-Paul Najar Foundation for Contemporary Art, Dubai (2016); Campoli Presti & Westreich/Wagner, New York (2016); Museum of Modern and Contemporary Art, Nice (2013); Guangzhou Museum of Fine Arts, China (2000), Rothschild Foundation, Paris (1989), Museum of Nuremberg, Germany (1981); P.S.1 Contemporary Art Centre, New York (1980).

Solo Exhibition

02 May, 2016-19 May, 2016

Campoli Presti at Westreich Wagner, New York

no images were found

Christian Bonnefoi
2-­19 May 2016

Westreich Wagner, 114 Greene St #2, 10012 New York

Thea Westreich Wagner & Ethan Wagner and Campoli Presti are pleased to announce Christian Bonnefoi’s solo exhibition featuring early works at 114 Greene St #2, New York.

Over the past 40 years, Christian Bonnefoi has markedly contributed to the art-­historical conversation that distinguishes painting – a visible surface -­ from tableau – an analytical plane subject to division and structure. A student of Hubert Damisch and Jean-­Louis Schefer, Bonnefoi worked closely with Yve-­Alain Bois and Jean Clay around the journal Macula in the mid-­seventies. Bonnefoi’s work has been later contextualized within revised discussions on American and French perspectives on painting, forming part of the exhibition As Painting, at the Wexner Center for the Arts in 2001.

Bonnefoi has organized his work in long series, developing them around his ongoing Babel series, which he started in 1978. To dismantle the unity of the surface, the artist engages in a set of operations that consider the temporal effects of the collage (doubling, drying time, repetition of steps) and assume the three-­dimensionality of the canvas, by rotating and displacing its standing point. Some works nominatively evoke such manipulations, such as Babel I “de la sphère 90°” and Babel I “180° “R” from 1978.

Through a system of fragmentary application, Bonnefoi covers a flat surface with pigment, draws black lines with graphite, masks the translucent tarlatan with glue, peels it off, turns it around and rotates it, and then starts the process all over again. With a minimum of resources, the parallel series Janapa and Hypérion disrupt the visual order of the surface, in a process informed by the constructivist research of El Lissitsky and László Moholy-­Nagy.

In Bonnefoi’s paintings, transparency is not merely a recurring formal element but the organizing principle of his work. In his interweavings, cuts and divisions the terms of his practice are also rendered transparent, allowing the viewer to take part in an infinite interplay between what is visible and what is concealed.

It is in the relationship between front (devant) and back (dos) where Bonnefoi finds the possibility of escaping the surface and entering into the strategy of the plane. In his 1992 essay The Pin, Yve-­Alain Bois finds the focus of Bonnefoi’s pictorial energy in the pin, an element that divides the surface on the basis of its thickness, its material depth, involving a lamellar stratification. By producing a surface of veils, interstices and thickness, Bonnefoi’s paintings go towards the surface.

Christian Bonnefoi’s work is part of the permanent collections of Centre Pompidou, Paris;; Musée d’art moderne de la ville de Paris;; Musée régional d’art contemporain Languedoc-­Roussillon;; FRAC Paris;; FRAC Picardie;; FRAC Centre;; FRAC Bretagne;; Tourcoing Fine Arts Museum;; Morlaix Fine Arts Museum;; Orléans Fine Arts Museum;; Montbéliard Fine Arts Museum;; Sens Fine Arts Museum;; Guangzhou Museum of Fine Arts, China. In 2008, Bonnefoi had a retrospective at Centre Pompidou, Paris with an accompanying catalogue. Past solo exhibitions include Museum of Modern and Contemporary Art, Nice (2013);; Guangzhou Museum of Fine Arts, China (2000), Rothschild Foundation, Paris (1989), Museum of

Nuremberg, Germany (1981);; P.S.1 Contemporary Art Centre, New York (1980).