Artwork
« Vigor, balance, majesty, interior light emanating from an admirable structuration: the master’s signature is there, identified by the orthogonal momentum and by the subtle alternation of curved planes and straight lines. Facing the sculpture, we get the insidious but very insistent feeling that the author of this composition is imbued with nostalgia for the epoch of cathedrals. »
In the 90’s, Francesco Marino di Teana conceives compositions where the elements are liberated from their physical properties. Thanks to his work on the cognitive space, he reworks geometrical shapes of apparent simplicity that hide an incredible complexity in their arrangement.
It’s the era of his most symbolic works such as Liberté (Liberty). Erected in 1990 in a 20m high monumental format at Fontenay-Sous-Bois (France) the lines and voids of the work multiply to better create a ballet of extreme precision, exploring curves in the continuity of his researches on the disintegration of the circle. He hence reveals the movement and the rhythms that are able to be extracted from metal, be it in the shape of a gigantic monument of over 100 tons or a sculpture that can be held in the palm of our hand.
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Edition “Art For All” by Loft Gallery
1979-90 – ED. 2022
Chrome plated cast metal
H.20 x W. 10 x D. 9 cm
1100 grams
Edition of 300 copies.
Dim. of the box with protective case : H. 24 x W. 14,5 x D. 12 cm
Video
Presented at ART PARIS ART FAIR 2019, this video provides an insight into Marino di Teana’s creative process.
Artwork
« Vigor, balance, majesty, interior light emanating from an admirable structuration: the master’s signature is there, identified by the orthogonal momentum and by the subtle alternation of curved planes and straight lines. Facing the sculpture, we get the insidious but very insistent feeling that the author of this composition is imbued with nostalgia for the epoch of cathedrals. »
In the 90’s, Francesco Marino di Teana conceives compositions where the elements are liberated from their physical properties. Thanks to his work on the cognitive space, he reworks geometrical shapes of apparent simplicity that hide an incredible complexity in their arrangement.
It’s the era of his most symbolic works such as Liberté (Liberty). Erected in 1990 in a 20m high monumental format at Fontenay-Sous-Bois (France) the lines and voids of the work multiply to better create a ballet of extreme precision, exploring curves in the continuity of his researches on the disintegration of the circle. He hence reveals the movement and the rhythms that are able to be extracted from metal, be it in the shape of a gigantic monument of over 100 tons or a sculpture that can be held in the palm of our hand.
—
Edition “Art For All” by Loft Gallery
1979-90 – ED. 2022
Chrome plated cast metal
H.20 x W. 10 x D. 9 cm
1100 grams
Edition of 300 copies.
Dim. of the box with protective case : H. 24 x W. 14,5 x D. 12 cm
Video
Presented at ART PARIS ART FAIR 2019, this video provides an insight into Marino di Teana’s creative process.
Artwork
The element that highly symbolizes the work of Yazid Oulab is very probably the “Alif“. The “Alif” is the link between the gesture and the spirit, but also between the different worlds and eras that inspire the artist, not only Western culture with mysticism of Judeo-Christian but also Arab culture. “Alif” is the first letter of the alphabet, the first letter of the name of Allah and also the first syllable of the verb “to read, to learn”, a sign of transmission of the divine word and knowledge. This small fundamental object of architectural constructions is also present in many mythologies, symbolizing destiny among the Greeks, protection among the Chaldeans and power among the Gauls. It is also the source of the oldest form of writing, the cuneiform writing of the Mesopotamians. The nails of Yazid Oulab are real pretexts for questioning the place of man in the universe, in the confrontation with cultures, eras and beliefs from which he is built or defined. For Art for All Yazid Oulab realizes a new version of his work, multiplied and sublimated in an equally symbolic trinary form.
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Edition”ART FOR ALL”,
2012 – Ed. 2020
Silver plated cast iron,
H. 3.7 x L. 13 x D. 12 cm – 405 gr.
Signed on one of the elements and numbered 500 copies.
Dimensions of the box (with protective case): H. 16 x 16 x 9 cm
Video
Discover what the Alif nail means to Yazid Oulab!
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.
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Édition “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
“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
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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
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 1967before 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.
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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
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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
“I discovered the writings of Lao Tseu when I was young. His reflections have always fascinated me and I felt the need to make a tribute to him, as a sculpture or a painting. My work “Tribute to Lao Tseu” is the fruit of my repeated reading of the Tao Tö King (the Book of Path and Virtue)”.
In the 1970’s Francesco Marino di Teana starts conceiving compositions that he liberates from their earthly properties (weight, shapes, materials) thanks to the work on cognitive space.
It is during that time that he makes his most iconic works such as “Hommage à Lao Tseu” (Tribute to Lao Tseu), that makes reference to oriental philosophy but also the multiple cultures that he represented (France – Italy – Argentina). Embodying the equilibrium of energies, this sculpture is composed, in the centre, of four same size vertical pillars who create a perfect base to the four horizontal lances that point in different directions whilst projecting themselves to the exterior. Its simple and refined profile, underlined by the mat of chromed iron, brings to mind either the bow of a vessel and a diapason hence becoming a plural symbol of Nature and Culture.
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Edition “ART FOR ALL” by Galerie Loft,
Silver plated cast iron,
Dim. of the box : 20 x 13 x 5,5 cm.
Video
Marino di Teana’s 1 + 1 = 3 tri-unit theory will hold no secrets for you!
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.
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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.
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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
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.
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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
