Martine Bedin, Anne Bourse, Sol Calero, Julien Carreyn, Luigi Ghirri, Alain Guiraudie, Ernst Yohji Jaeger, Nino Kapanadze, Tomasz Kowalski, Wolfgang Matuschek, Fuyumi Murata, Ron Nagle, Yu Nishimura, Jessi Reaves, Louise Sartor, Naoki Sutter-Shudo, Barbara Wesołowska

Café Crèvecœur
Montesquiou

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Poster by Naoki Sutter-Shudo

Crèvecœur is pleased to present this summer an exhibition in the central café of Montesquiou, a charming village perched on a hill in the southwest of France, facing the Pyrenees. Although the café is now closed, its owner still lives there and occasionally opens it for friends. This group exhibition is set in this specific venue, echoing the significance of the “café” or “bistro” in the history of art and the collective imagination of artists.

While one might immediately think of 19th-century French painters such as Manet, Caillebotte, Degas, and Renoir, the representation of cafés extends far beyond this era. From their very beginnings, cafés have been meeting places par excellence, where people exchange news and talk politics, where worlds are made and remade. Over the years, they have become ubiquitous in our society and have become indispensable meeting places, taking on multiple social and generational roles.

Cafés are thus conceived as an intermediary space between work and home, between public and private realms. It’s a place of refuge, of in-between time, of affinities, whether social or spatial.

Crèvecœur a le plaisir de présenter une exposition cet été dans la salle du café central de Montesquiou, un charmant village perché sur une colline dans le sud-ouest de la France, qui fait face aux Pyrénées. Le café est maintenant fermé mais le propriétaire y vit toujours et l’ouvre parfois pour ses amis. Cette exposition collective s’inscrit dans ce lieu spécifique, faisant écho à la place du “café” ou “bistrot” dans l’histoire de l’art et dans l’imaginaire collectif des artistes.

Si on pense immédiatement aux peintres français du XIXe siècle (Manet, Caillebotte, Degas, Renoir), l’histoire de sa représentation s’inscrit dans des perspectives plus larges. Dès leur origine, les cafés ont été des lieux de rencontre par excellence, où l’on échange des nouvelles, où l’on parle politique, où l’on fait et refait le monde… Au fil des années, ils sont devenus omniprésents dans notre société et se sont imposés comme des lieux de rencontre incontournables, assumant de multiples rôles sociaux et générationnels.

Les cafés sont ainsi conçus comme un espace intermédiaire entre le travail et la maison, entre l’espace public et l’espace privé. C’est un lieu de refuge, d’entre-deux, d’affinités, qu’elles soient sociales ou spatiales.

EN : Crèvecœur is pleased to present this summer an exhibition in the central café of Montesquiou, a charming village perched on a hill in the southwest of France, facing the Pyrenees. Although the café is now closed, its owner still lives there and occasionally opens it for friends. This grou...
FR: Crèvecœur a le plaisir de présenter une exposition cet été dans la salle du café central de Montesquiou, un charmant village perché sur une colline dans le sud-ouest de la France, qui fait face aux Pyrénées. Le café est maintenant fermé mais le propriétaire y vit toujou...
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Martine Bedin, Même le chat y croit, 2024, Watercolor on linen paper, 65 × 92 cm. Courtesy of the artist and Crèvecœur, Paris.

Louise Sartor, read 18:37 ✓ read 08:16 ✓, 2015

Louise Sartor, read 18:37 ✓ read 08:16 ✓, 2015

Louise Sartor, read 18:37 ✓ read 08:16 ✓, 2015, Gouache on cardboard, Diptyque - 13.5 × 13.5 cm, 33 × 33 × 3 cm framed each. Courtesy of the artist and Crèvecœur, Paris.

Ron Nagle, Untitled, 1968, Low-fired earthenware, china paint, fabric, lacquer and plastic, in maple box cup, 12.7 × 20.3 × 20.3 cm, 6.3 × 11.4 × 7.6 cm closed. Courtesy of the artist and Crèvecœur, Paris.

Wolfgang Matuschek, Untitled, 2024, Ink on paper in aluminum uv glass clipframe, 29.7 × 42 cm. Courtesy of the artist and Crèvecœur, Paris.

Wolfgang Matuschek, Table 1, 2023, Print and pencil on paper in aluminum uv glass clipframe, 20 cm (diameter). Courtesy of the artist and Crèvecœur, Paris.

Wolfgang Matuschek, Character Notes 2, 2023, Pencil on paper in aluminum uv glass clipframe, 20 cm (diameter). Courtesy of the artist and Crèvecœur, Paris.

Nino Kapanadze, Untitled, 2024, Oil on linen, 22.5 × 27.5 cm. Courtesy of the artist and Crèvecœur, Paris.

Luigi Ghirri, Bitonto (Serie: Paesaggio Italiano), 1990, Mat C-print, vintage, 15.4 × 19.3 cm, 41.5 × 51.5 cm framed. Courtesy of the artist and Crèvecœur, Paris.

Barbara Wesołowska, Forgetting, 2024, Oil on canvas, 50 × 40 × 1.8 cm. Courtesy of the artist and Crèvecœur, Paris.

Ernst Yohji Jaeger, To be titled, 2024, Oil on canvas, 82 × 67 cm framed. Courtesy of the artist and Crèvecœur, Paris.

Ernst Yohji Jaeger, To be titled, 2024 
Detail

Yu Nishimura, carrot and radish, 2024, Oil on canvas, 22 × 27.3 cm. Courtesy of the artist and Crèvecœur, Paris.

Anne Bourse, New legs and shoes, 2024, Ballpoint pen on coated paper, cast plexiglass, 25.5 × 22.5 cm. Courtesy of the artist and Crèvecœur, Paris.

Anne Bourse, New legs and shoes, 2024 
Detail

Anne Bourse, Boire, 2016, Ballpoint pen on coated paper, cast plexiglass, 28.7 × 22.4 cm. Courtesy of the artist and Crèvecœur, Paris.

Tomasz Kowalski, Untitled, 2023, Oil and gouache on canvas, 44 × 78 cm. Courtesy of the artist and Crèvecœur, Paris.

Tomasz Kowalski, Untitled, 2023 
Detail

Yu Nishimura, wild flowers, 2024, Oil on canvas, 14 × 18 cm. Courtesy of the artist and Crèvecœur, Paris.

Alain Guiraudie, Homme au bar, 2021 C-print on Fuji Flex paper, 24 × 24 cm, 60 × 46 cm framed, Edition 3/3 + I AP. Courtesy of the artist and Crèvecœur, Paris.

Fuyumi Murata, Wonderland (#12), 2024, Giclée Inkjet print on hand-cut paper, 27.4 × 19.4 × 9 cm. Courtesy of the artist and Crèvecœur, Paris.

Fuyumi Murata, Wonderland (#11), 2024, Giclée Inkjet print on hand-cut paper, 27.4 × 19.4 × 9 cm. Courtesy of the artist and Crèvecœur, Paris.

Fuyumi Murata, Wonderland (#4), 2024, Giclée Inkjet print on hand-cut paper, 27.4 × 19.4 × 9 cm. Courtesy of the artist and Crèvecœur, Paris.

Jessi Reaves, Mirror w/ moodboard, 2024, Metal, mirror, paper, adhesive, 38 × 31 × 18 cm. Courtesy of the artist and Crèvecœur, Paris.

Jessi Reaves, Mirror w/ moodboard, 2024

Naoki Sutter-Shudo, Untitled, 2019, Plastic, enamel, wine corks, 5 × 3 × 4.5 cm each. Courtesy of the artist and Crèvecœur, Paris.

Naoki Sutter-Shudo, Untitled, 2019

Louise Sartor, Always, 2023, Acrylic on cardboard, 47.9 × 35.8 cm. Courtesy of the artist and Crèvecœur, Paris.

Sol Calero, Espiga, 2018, Wood, acrylic paint, mosaic, copper sheets, metal sheets, 90 × 23 cm. Courtesy of the artist and Crèvecœur, Paris.

Sol Calero, Espiga, 2018 
Detail

Julien Carreyn, ii Amélie Meuse a, 2024, Mixed media, perspex artist frame, 5.5 × 7.8 cm, 28.5 × 22 cm framed. Courtesy of the artist and Crèvecœur, Paris.

Julien Carreyn, ii Amélie Meuse a, 2024

Julien Carreyn, ii Amélie Meuse b, 2024, Mixed media, perspex artist frame, 5.5 × 7.8 cm, 28.5 × 22 cm framed. Courtesy of the artist and Crèvecœur, Paris.

Julien Carreyn, ii Amélie Meuse b, 2024 




Special thanks to Bridget Donahue, Mai 36, Modern Art and Stereo.


Exhibition views: Cyril Boixel
Work views: Martin Argyroglo, Mark Blower, Cyril Boixel and Alex Kostromin