Paris

I WANT!

3 Feb - 17 Mar 2018

Oh Bad!, 2018
Jean Charles de Castelbajac
Oh Bad!, 2018
Drawing on paper bag
45 x 43 cm
Supreme Matisse, 2018
Jean Charles de Castelbajac
Supreme Matisse, 2018
drawing on paper
32 x 24 cm
Popagation selfie, Dali, 2018
Jean Charles de Castelbajac
Popagation selfie, Dali, 2018
drawing on paper
21 x 14.5 cm
Design industriel, 2018
Jean Charles de Castelbajac
Design industriel, 2018
drawing on paper
32 x 43 cm
Hierograffs 2, 2018
Jean Charles de Castelbajac
Hierograffs 2, 2018
acrylic on canvas
220 x 223 cm
Alone, 2018
Jean Charles de Castelbajac
Alone, 2018
drawing on paper
21 x 30 cm
Goya, 2018
Jean Charles de Castelbajac
Goya, 2018
drawing on bag
35 x 41 cm
Epic / D'or (Bowie), 2018
Jean Charles de Castelbajac
Epic / D'or (Bowie), 2018
Acrylique et blanc d'espagne sur toile
147 x 153.5 cm
Branded punk ©Diane_Arques, 2018
Jean Charles de Castelbajac
Branded punk ©Diane_Arques, 2018
Acrylique sur toile
217 x 217 cm
Sonia x Sonia, 2018
Jean Charles de Castelbajac
Sonia x Sonia, 2018
acrylic on canvas
61 x 50 cm
Kazimir X Walt x Raymond (SuprÍme artists), 2018
Jean Charles de Castelbajac
Kazimir X Walt x Raymond (SuprÍme artists), 2018
acrylic on canvas
107 x 130 cm
Craieature, 2018
Jean Charles de Castelbajac
Craieature, 2018
chalk on paper
30 x 21 cm
Jeremy Stop, 2018
Jean Charles de Castelbajac
Jeremy Stop, 2018
drawing on paper
42 x 29 cm
The Godfather, 2018
Jean Charles de Castelbajac
The Godfather, 2018
drawing on paper
29.5 x 42 cm
Forever young, 2018
Jean Charles de Castelbajac
Forever young, 2018
drawing on bag
40 x 60 cm
Too fast to live, too young to die (Malcolm), 2018
Jean Charles de Castelbajac
Too fast to live, too young to die (Malcolm), 2018
drawing on bag
37,5 x 41,5 cm
Palace Palasse, 2018
Jean Charles de Castelbajac
Palace Palasse, 2018
acrylic on canvas
25 x 25 cm
No brand, 2018
Jean Charles de Castelbajac
No brand, 2018
drawing on paper
37.5 x 40 cm
The Battle, 2018
Jean Charles de Castelbajac
The Battle, 2018
drawing on bag
42 x 53 cm
Dio le veult, 2018
Jean Charles de Castelbajac
Dio le veult, 2018
drawing on bag
13 x 12 cm
A rock'n'roll band, 2018
Jean Charles de Castelbajac
A rock'n'roll band, 2018
Drawing on paper bag
44.5 x 54 cm
Clair asile, 2018
Jean Charles de Castelbajac
Clair asile, 2018
drawing on bag
42.5 x 28 cm
Niki, 2018
Jean Charles de Castelbajac
Niki, 2018
drawing on bag
37 x 40 cm

"There are no ideas without being two. »Montaigne

 

Since the beginning of his career, Jean-Charles de Castelbajac has been highlighting the manifesto of collaboration through multiple partnerships with brands. He likes to invest the territories of tradition incarnated by emblematic brands such as Weston or Hermes in order to electrify the history and give reflections of modernity. He calls this approach contemporary archeology, even going to the sources of the most popular and traditional products such as the Cachou Lajaunie.

 

Jean Charles de Castelbajac creates, since the seventies and eighties, clothes integrating the cartoon characters of Walt Disney and the iconic Snoopy.

 

From his exhibition, "The Triumph of the Signs" in 2009 at Paradise Row in London,in a visionary gesture, he combines logos with iconic canvases of art history such as the Lunch on the Grass of Manet and Louis Vuitton, the Odalisque of Ingres and Gucci, Liberty guiding the people of Delacroix and Nike. He continues this incursion with the exhibition "The tyranny of beauty" in 2010 by abyssing artists such as Botticelli and Walt Disney, creating a new hybrid aesthetic, chaotic and iconoclastic, announcing the beginnings of cultural confusion now stone angular of our society flooded with sometimes meaningless collaborations.

 

Jean-Charles de Castelbajac is himself a major player in this sprawling system of collaborations, after having been one of the initiators by bridging the gap between art and fashion. Thus, he lives and lived from the inside through this universe as a fashion designer and artist.

 

For his new exhibition at the Magda Danysz gallery, "The Empire of collaborations", the last chapter of the artistic triptych initiated in 2009, Jean-Charles de Castelbajac closes the saga by exploring on the one hand the hegemony of this new collaborative empire, his contradictions, its mirages, its emptiness and its fleeting splendor, and on the other hand, arises as curator of desynchronized collaborations provoked by the meeting of artists, different eras and styles, through his canvases.