{"id":6141,"date":"2019-09-12T16:18:39","date_gmt":"2019-09-12T20:18:39","guid":{"rendered":"https:\/\/fondationguidomolinari.org\/?page_id=6141\/"},"modified":"2024-07-24T17:27:05","modified_gmt":"2024-07-24T21:27:05","slug":"lisettelemieux","status":"publish","type":"post","link":"https:\/\/fondationguidomolinari.org\/en\/lisettelemieux\/","title":{"rendered":"Lisette Lemieux: Consonance<\/em>"},"content":{"rendered":"\n

Curator: Richard Gagnier<\/strong><\/p>\n\n\n\n

The Guido Molinari Foundation presents Consonance<\/em>, an exhibition that brings together about twenty works by Lisette Lemieux and a dozen works by Molinari. Independent curator Richard Gagnier proposed this formal and thematic dialogue between the two bodies of work, a project that evokes mutatis mutandis certain exhibitions previously held at the Foundation, including artists like Cozic, St\u00e9phane LaRue and, more recently, Martha Townsend. The presentation is accompanied by an important monograph entitled Lisette Lemieux. Seals of Time 1972-2019<\/em> and published by Plein Sud \u00c9dition, with texts by Pascale Beaudet, Richard Gagnier, \u00c9milie Granjon and Laurier Lacroix, to be launched on the opening day.<\/p>\n\n\n\n

Lisette Lemieux<\/strong> is a Quebec artist who has lived in Montreal for over forty years, where her work as a sculptor has developed. Although Molinari and Lemieux have never worked side by side, their work shows affinities in the approach to each of the disciplines they explore. Both witnessed the development of post-World War II currents of thought in art: formalism in painting, minimalism and certainly post-minimalism in sculpture, while being well informed of the stirrings of what was unfolding in Europe (notably, Support-Surface, Arte Povera, Anti Form conceptualism). One paints rigorously, the other makes sculpture in many ways. Both, moreover, have explored in their own way what it is about drawing that constitutes a space not only for research and study, but also for the full freedom of affect (Molinari), for the perfect expression of gesture, accumulating all its returns and shortcomings, making it possible to affirm the surface through texture, to inform it, sometimes just to express the profound capacity of matter, to be properly its material (Lemieux).<\/p>\n\n\n