Artwork
« Angel Bear is a totem, a message to alert all men. »
A few years ago shaken by the photography of a polar bear drifting on an iceberg, destined to certain death, Richard Texier imagines Angel Bear a hybrid and bionic winged bear. This mystical animal over 7 meters high, of whom the existence is threatened by global warming, relates to our world in constant evolution but also offers a symbolic echo to our childhood companion. When the artist placed him on his majestic pedestal at the entrance of the Gare du Nord, the most important train station in Paris that sees 700000 people commute daily, the bear traps the attention of the travellers and delivers his silent message on the fragility of the world and climate change. Adorning him of a red skin accentuates even more his alert message and the danger it expresses underlines the nature of his being, that is like that of men, both powerful and fragile. Texier’s ultimate dream is that this work may find it’s on way amidst the human community.
—
Edition “Art For All”,
2015 – Ed. 2021,
Painted cast metal – Red color
H.22 x L.18 x P.16,5 cm – 1080 gr.
Signed on the side and numbered 600 copies.
Video
In the video, discover the artist Richard Texier and the message conveyed by this work.
Artwork
“Even the workers who do the smallest tasks accomplish an important work every day.”
At the crossroads of cultures and worlds, Li Lihong never ceases to surprise us with his hybrid figures that emerge from the encounter of art and contemporary iconography.
His latest work Michelin China finds its shape in both religious art and publicity. In a state of meditation, the Michelin mascot, famous icon of the French brandthat brings to mind throughout the world, gastronomic excellency and luxury, is now portrayed as a Buddha. His impassive face, practically fading away as the fea- tures underline a serene face that inspires a profound feeling of calm and relaxation that contrasts with the high sense of parody that comes from the cultural clash. In such, the colors and patterns that ornate this work relate either to temple idols or to ancient Chinese pottery reminding us how much Li Lihong is a master at creating bridges between the ancient and the contemporary. The artist brings a smile to our face as he also makes our mind wonder as he takes us to the heart of his universe with this new work that is to be included in the Art For All collection. An incredible concentration of delight.
—
Edition “ART FOR ALL” by Galerie Loft,
2020, Painted metal cast,
Blue clouds patterns,
H.10 x L. 9 x P. 8 cm – 855 gr.
Signed below and numbered in 999 copies
Dim. of the box (with protective case) : H.11 x 15 x 15 cm.
Artwork
In the 1960’s, BERNARD QUENTIN creates his first inflatable sculptures (Cybules)after having realized that a 20th century artist should work with new materials of his time and try, with his vision of the world, to maybe modify it or create objects at an industrial scale. He will be the first designer to conceive inflatable armchairs, they will be shown in 1963 by the Iris Clert gallery in Paris during an exhibition that had futuristic ambitions (the sitting room of the year 2104), then at the New York international fair of 1964 before being mass produced by Plasteco Milano in Italy. In the process Bernard Quentin designed a set of inflatable architectures, cars and furniture including the“Croissant” (Half-Moon) Armchairreleased by Printemps which had been chosen to dress the bar of the French Pavilion at the Montreal Universal Exhibition in 1967 before joining the collections of the Center Pompidou. Bernard Quentin has always had the ambition to make art accessible to everybody, his works such as this “croissant” (Half Moon) armchair is in perfect accordance with the Art For All concept. It’s very natural that these inflatable pieces joined the Art For All collection, especially as it symbolizes a historic turning point in the democratization not only of art but also of contemporary design.
—
Collection of Centre Pompidou (2007) & Musée national d’art moderne
Presentation of the permanent collections (contemporary collections), National Museum of Modern Art , Paris, France, 01 April 2007 – 01 April 2009
Building the air: Málaga, Center Pompidou Málaga, Spain, 8 November 2018-10 February
New waves: Toulon, Cercle naval de Toulon, France, June 27, 2019 – November 24, 2019
—
Edition “ART FOR ALL” by Galerie Loft Paris
1963 – Ed. 2019
Inflatable PVC furniture
Colored PVC
Edition of 600 copies
H. 60 cm x D.100 cm
H. of the seat : 30 cm
Titled, signed, dated and numbered
Dim. of the box : H.24 x L. 43 x D. 14 cm
Inflate & Deflate Electric Air Pump inclus (230V, Type C)
Video
Discover Bernard Quentin’s passion for air and pneumatic structures through these examples of modernity and poetry!
Artwork
“Bernard Quentin what have you just done? Well I’ve simply blown up a balloon and given it life. It’s a simple envelope that takes a shape and evolves. Since I can’t represent reality as I see it, I try in fact to apprehend in a tactile manner, the intimate rhythms, even the great cosmic rhythms and all the mystery of biology.” (Interview with Bernard Quentin, INA, 1968.) Bernard Quentin’s researches on pneumatic struc- tures bring him to be in the 1960’s the first designer to conceive seats entirely inflatable and without holding structures. With this line of work he then develops, from 1966, the Molecul’Air idea, infla- table structures made from an agglomeration of spheres, in the manner of a cloud of atoms suscep- tible to be transformed into a piece of furniture or even a house. His Molecul’Air armchair, hybrid piece between sculpture and furniture expresses maybe better than any other work the poetry, the magic, and the futurism of Bernard Quentin’s work. Artwork imagined in 1966, its technical complexity did not permit the edition of it till today. Beyond that, its innovative strength and crazy modernity have remained intact. With the idea in mind of revealingit to the great public, the artist wished to include it in the Art For All collection just before leaving us. Exhibition 2021, AERODREAM, Centre Pompidou-Metz , France 2020, Le siège se révolte, Musée Saint Quentin, Yvelines, France — Edition “ART FOR ALL” by Galerie Loft Paris 1966 – Ed. 2020 Inflatable PVC furniture H.60 x L.150 x D.112 cm H. of the seat : 40 cm Edition of 600 copies Signed below Dim. of the box : H. 23 x L. 48 x P. 27,5 cm Inflate & Deflate Electric Air Pump inclus (230V, Type C)
Video
Discover Bernard Quentin’s passion for air and pneumatic structures through these examples of modernity and poetry!
Artwork
“One of the great conquests of contemporary art is to have seen writing as such, recognizing its specific plasticity. Quentin is one of those who has drawn the most from it, meaning artworks. Everything he has created in this hollowness of our modernity refers to the landmark in the world that is writing.”
When the world becomes earth and earth becomes the world … A poetic breeze accompanies the work of Bernard Quentin. Poetic since his works mirror plays on words and playful signs. But where do they start? In the word or in their shape? In the sounds or in the calligraphy? Is it inside or outside? Earth destroyed, earth multiplied.
In the “Art For All” collection, Bernard Quentin’s semiotic art takes the shape of a silver globe, where the words in perspective cradle in the palm of our hands. Our precious earth, both cradle of humanity and land of opportunities, is universal, in this case the artist could not have given a better tribute for the “Art For All” collection.
—
Edition “ART FOR ALL” by Loft Gallery,
Cast metal,
D. 8 cm – 1 1 50 gr.
Signed at the bottom and numbered 500 copies.
Dim. of the box : 9 x 10 x 10 cm.
Artwork
« There was a period of time when they estimated the two biggest stars in Hollywood were Charlie Chaplin and Mickey Mouse. »
John Lasseter
As he takes into consideration the great symbols of our time, Li Lihong comes to explore some of the greatest icons of our time, in this case the most famous of mice whose figure has become in less than a century a uni- versal symbol linked to childhood and nostalgia.
His Mickey-China resumes the outline of the famous ears, that have now become the brand of the Disney empire, transposing them in a harmoniously rounded sculpture, dipped at its base in a swirl of waves. The work hence symbolises the encounter of Nature and Culture, both ancestral and in constant movement.
In this Art For All piece, Li Lihong concentrates all the potential of his work in an accessible format, giving us what he does best, an amusing view of today’s world instilled with the irony and harmony of his art.
—
Edition “ART FOR ALL” by Galerie Loft,
Painted cast metal – Gold or silver color
H. 7,5 x W. 9 x D. 5,5 cm – 555 g
Éd. 300 ex.
Dim. of the box : H. 10 x W. 10 x D. 9 cm
Artwork
« There was a period of time when they estimated the two biggest stars in Hollywood were Charlie Chaplin and Mickey Mouse. » John Lasseter
As he takes into consideration the great symbols of our time, Li Lihong comes to explore some of the greatest icons of our time, in this case the most famous of mice whose figure has become in less than a century a uni- versal symbol linked to childhood and nostalgia.
His Mickey-China resumes the outline of the famous ears, that have now become the brand of the Disney empire, transposing them in a harmoniously rounded sculpture, dipped at its base in a swirl of waves. The work hence symbolises the encounter of Nature and Culture, both ancestral and in constant movement.
In this Art For All piece, Li Lihong concentrates all the potential of his work in an accessible format, giving us what he does best, an amusing view of today’s world instilled with the irony and harmony of his art.
—
2018
Painted cast metal – Gold or silver color White and blue dragon pattern
H. 6.2 x D. 5 cm – 435 grams
Edition of 300 copies
Signed below
Dim. of the box : L. 8.5 x P. 8 x H. 7 cm
