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    Booth E7

    6 – 10 April 2022

    Grand Palais Ephémère

      

    For its second year participating in Art Paris, Galerie Marguo is thrilled to present a solo booth of Polish-Thai artist Oh de LavalComprising six new paintings and two glass sculptures, this special presentation will showcase de Laval’s unique world of figurative art whose unpredictable and fun-loving qualities never shy away from the darker side of human existence. 

     

    In addition to Oh de Laval's solo presentation, a separate section of the fair booth will feature Marguo Salon, presenting a group of artists who have a shared interest in interrogating the roles that memory, place, affect and individual perception play in our contemporary, globalized lives. Marguo Salon will present new works by Soimadou Ibrahim, Laurent PernotManuel Stehli and Steingrímur Gauti, while introducing for the first time a Dijon, France-based Korean artist Semine Yang.

     

    VIP PREVIEW
    Wednesday 6 April, 11 am – 9 pm

    Thursady 7 April – Sunday 10 April, 10 am – 12 pm

     

    PUBLIC
    Thursday 7 April, 12 pm – 8 pm
    Friday 8 April, 12 pm – 9 pm
    Saturday 9 April, 12 pm – 8 pm
    Sunday 10 April, 12 pm – 8 pm

     

    Full Press Release ↓

  • booth installation views

  • OH DE LAVAL SOLO PRESENTATION

     

  • There’s a psychological phenomenon dubbed “cute aggression” that refers to an urge to fatally squeeze or bite something one finds unbearably adorable. Instead, one may dig their nails into their palms while saying things like, “I could eat you”, through gritted teeth. Similarly, when in love and desiring such closeness, one might fantasize about climbing inside of the body of their partner and wearing their skin like a coat.

     

    Scientists call this a “dimorphous” display of emotion, meaning that a positive emotion elicits a “negative” response, like crying from joy, or maybe wishing to smash one’s hands into the birthday cake of a friend as it is brought out to the table. 

  • Oh de Laval, My liver has to handle what my heart cannot, 2021

    Oh de Laval

    My liver has to handle what my heart cannot, 2021 Acrylic on canvas
    170 x 143 cm
  • Oh de Laval, No mercy, 2021 (detail)
  • We typically (hopefully) resist these urges, letting their imagined sensations course back into our body, training it to understand them as cuteness, pleasure, and delight. Or, if we are Oh de Laval, we might paint these febrile scenarios, merging the ribald hedonism of the depicted figures with the saccharine opulence of gilded rooms, sports cars, champagne, and cotton candy clouds. The artifice of the latter, which the artist renders in a naive, graphical style, acts like a trojan horse to lay bare some of the most basic human impulses, desires, and urges. This calls to mind the original concept of catharsis (κάθαρσις) in Ancient Greek theater, which meant to purge the audience of negative emotions through art.

    • Oh de Laval No mercy, 2021 Acrylic on canvas 95 x 78 cm
      Oh de Laval
      No mercy, 2021
      Acrylic on canvas
      95 x 78 cm
    • Oh de Laval Curiosity often leads to trouble, 2022 Acrylic on canvas 146 x 114 cm
      Oh de Laval
      Curiosity often leads to trouble, 2022
      Acrylic on canvas
      146 x 114 cm
  • Oh de Laval, Curiosity often leads to trouble, 2022 (detail)
  •  

    "I paint to taste life twice: in the moment and in the retrospection."

     

    — Oh de Laval

  • Oh de Laval, I remember this; arriving home so early, all quiet and calm, head full of memories of wonderful night, 2022 (detail)
  • The six new paintings presented at Art Paris are a distillation of the artist’s previous work, both formally and thematically. Featuring a reduced palette of green, red, black, and white, Oh de Laval has placed herself at the center of these mordantly expressionist compositions.

     

    Consider I remember this; arriving home so early, all quiet and calm, head full of memories of wonderful night, 2022, in which a naked de Laval tries to pour a glass of wine, cigarette in hand, while being suspended above a rushing waterfall by a wolf who has sunken his teeth into her ankle, or Life doesn’t get any better than this, 2021, that depicts a man bent over the rear of his Lamborghini with his head buried between the legs of a woman draped in the car’s protective tarp – or is it the car itself that the man is getting off on? Gathered together, the works read like visual parables – succinct, didactic stories meant to illustrate an instructive lesson or principle – yet their morals are less clear, left for the viewer to decide.

    • Oh de Laval I remember this; arriving home so early, all quiet and calm, head full of memories of wonderful night, 2022 Acrylic on canvas 150 x 120 cm
      Oh de Laval
      I remember this; arriving home so early, all quiet and calm, head full of memories of wonderful night, 2022
      Acrylic on canvas
      150 x 120 cm
    • Oh de Laval Life can’t get any better than this, 2021 Acrylic on canvas 166 x 136 cm
      Oh de Laval
      Life can’t get any better than this, 2021
      Acrylic on canvas
      166 x 136 cm
  • Oh de Laval, Life can’t get any better than this, 2021 (detail)
  • Exhibited alongside the paintings are two blown-glass sculptures, the artist’s first foray into the medium, made in collaboration with Miranda Keys. Both the little demon and the white Maltese — presumably the same one featured violently shredding the bloody organ in My heart says yes but my dog says no, 2022 — are pulled directly from Oh de Laval’s pictorial universe.

     

    Teeming with all forms of carnal pleasure and vice, the artist’s paintings prod at the viewer’s potential deep-seated fantasies or repulsions from the safe distance of a two-dimensional plane. Rendered in three-dimensional form, however, these devious little creatures stop existing as pure signs and confront the viewer with the potential horror of seeing one’s darkest impulses brought to light.  

    • Oh de Laval Popcorn, 2022 Blown and hot sculpted glass 48 x 23 x 33 cm, 12 kg Unique
      Oh de Laval
      Popcorn, 2022
      Blown and hot sculpted glass
      48 x 23 x 33 cm, 12 kg
      Unique
    • Oh de Laval Aries, 2022 Blown and hot sculpted glass 42 x 27 x 25 cm, 9 kg Unique
      Oh de Laval
      Aries, 2022
      Blown and hot sculpted glass
      42 x 27 x 25 cm, 9 kg
      Unique
  • Oh de Laval, My heart says yes but my dog says no, 2022

    Oh de Laval

    My heart says yes but my dog says no, 2022 Acrylic on canvas
    77 x 73 cm
  • Oh de Laval, My heart says yes but my dog says no, 2022 (detail)
  • Marguo Salon

     

  • Exhibiting Artists

  • Semine Yang

     

  • Semine Yang’s (b.1985, South Korea) practice has been shaped by the natural world and our inextricable relationship to it. The artist’s recent paintings are the product of a more instantaneously, process-based, and overall holistic approach. The theme of metamorphosis, repetition and difference, is most prominent in Yang’s Dragonfly series, a formal meditation on the fundamentals of painting. In the monochromatic painting Doodle Waves III, the cyclicality of time is expressed gesturally. Inspired by the ebb and flow of a roiling ocean, and the force of energy that builds and crashes in waves, the artist seeks to track this motion in a single line.

  • Semine Yang, Doodle Waves III, 2021

    Semine Yang

    Doodle Waves III, 2021 Oil on canvas
    190 x 140 cm
    • Semine Yang Constellation, 2022 Acrylic on canvas 120 x 90 cm
      Semine Yang
      Constellation, 2022
      Acrylic on canvas
      120 x 90 cm
    • Semine Yang Blooming, 2022 Acrylic on canvas 120 x 90 cm
      Semine Yang
      Blooming, 2022
      Acrylic on canvas
      120 x 90 cm
    • Semine Yang K-Painting Auguste, 2022 Acrylic on canvas 90 x 70 cm
      Semine Yang
      K-Painting Auguste, 2022
      Acrylic on canvas
      90 x 70 cm
  • Manuel Stehli

     

  • Manuel Stehli’s (b.1988, Switzerland) paintings hover somewhere in the space between outside and inside, specific and general, real and unreal. His life-size portraits of standing and lounging figures depict familiar scenes of casual contact that feel warm and intimate, yet simultaneously muted. The mysterious air of these portraits, as with the vibrant ficus plants, landscapes, or the gingerly positioned compositions of hands, is in part due to their meticulously defined volumes and lines that paradoxically seem to only enhance their elusive, generic quality. 
    • Manuel Stehli Untitled, 2022 Oil on canvas 240 x 190 cm
      Manuel Stehli
      Untitled, 2022
      Oil on canvas
      240 x 190 cm
    • Manuel Stehli Untitled, 2022 Oil on canvas 160 x 200 cm
      Manuel Stehli
      Untitled, 2022
      Oil on canvas
      160 x 200 cm
  • Manuel Stehli, Untitled (Bay 1), 2022 (detail)
    • Manuel Stehli Untitled (Bay 1), 2022 Oil on wood panel 30 x 35 cm
      Manuel Stehli
      Untitled (Bay 1), 2022
      Oil on wood panel
      30 x 35 cm
    • Manuel Stehli Untitled (Bay 2), 2022 Oil on wood panel 30 x 35 cm
      Manuel Stehli
      Untitled (Bay 2), 2022
      Oil on wood panel
      30 x 35 cm
    • Manuel Stehli Untitled (Bay 3), 2022 Oil on wood panel 30 x 35 cm
      Manuel Stehli
      Untitled (Bay 3), 2022
      Oil on wood panel
      30 x 35 cm
  • Soimadou Ibrahim

     

  • Soimadou Ibrahim’s (b.1989, France) portraits mine the potency of familial and community ties to explore the disjunctions of distance and displacement and the effects these can have on one’s sense of identity. Centering the artist’s family and close friends, Ibrahim’s portraits – rendered in broad, expressive strokes and vibrant colors – are drawn from memory and an archive of family photos. Through the application of heavy layers of paint, Ibrahim strives to materially manifest the spirit of his kin, while also reckoning with the distance between himself and daily life in Itsinkoudi, a remote village in the Comoros Islands off the east coast of Africa, where the artist lived until the age of 9 and much of his family still resides.

    • Soimadou Ibrahim Mind on the job, 2022 Acrylic on canvas 120 x 90 cm 48 x 36 in
      Soimadou Ibrahim
      Mind on the job, 2022
      Acrylic on canvas
      120 x 90 cm
      48 x 36 in
    • Soimadou Ibrahim The chosen one, 2022 Acrylic on canvas 100 x 75 cm 39 x 29 in
      Soimadou Ibrahim
      The chosen one, 2022
      Acrylic on canvas
      100 x 75 cm
      39 x 29 in
    • Soimadou Ibrahim The other side, 2022 Acrylic on canvas 100 x 75 cm 39 x 29 in
      Soimadou Ibrahim
      The other side, 2022
      Acrylic on canvas
      100 x 75 cm
      39 x 29 in
  • Soimadou Ibrahim, The other side, 2021 (detail)
  • Laurent Pernot

     

  • Laurent Pernot (b.1980, France) has developed a polymorphous practice that explores human nature through the experience of time and memory. Contemplative and universal, discreet or sometimes spectacular, his artworks allude to a sense of timelessness through intricacies between the past, the contemporary and the future. His research draws as much from history and philosophy as from references to literature and poetry. The interactions between man and nature, memory and oblivion, the ephemeral and the eternal, or more recently human history and love, are among his major themes.

    • Laurent Pernot Je suis vivant (I am alive), 2017 Acrylic paint on canvas 97 x 130 cm
      Laurent Pernot
      Je suis vivant (I am alive), 2017
      Acrylic paint on canvas
      97 x 130 cm
    • Laurent Pernot It's a long long long long way, 2017 Acrylic paint on canvas 81 x 100 cm
      Laurent Pernot
      It's a long long long long way, 2017
      Acrylic paint on canvas
      81 x 100 cm
    • Laurent Pernot Waves that never fade, 2017 Acrylic paint on canvas 100 x 81 cm
      Laurent Pernot
      Waves that never fade, 2017
      Acrylic paint on canvas
      100 x 81 cm
    • Laurent Pernot Vision, 2020 Reconstitued stone, metal, candle 34 x 15 x 9 cm Edition 29/300
      Laurent Pernot
      Vision, 2020
      Reconstitued stone, metal, candle
      34 x 15 x 9 cm
      Edition 29/300
  • Steingrímur Gauti

     

  • Steingrímur Gauti’s (b.1986, Iceland) gestural acrylic and mixed-media abstractions are inspired in turn by twentieth century art history and more ancient philosophies of Zen Buddhism. Gauti’s process reflects an ongoing meditation in motion in which he works continuously with whatever pigments are available at hand, striving toward the uninhibited painterly expression of his internal state, that is lyrical yet devoid of formal preconceptions. Gauti’s canvases, while inevitably imbued with the layers of time, are contemplative exercises in surrendering to its inevitable passage. 
    • Steingrímur Gauti Untitled, 2022 Oil, acrylic, oil pastel on canvas 120 x 100 cm
      Steingrímur Gauti
      Untitled, 2022
      Oil, acrylic, oil pastel on canvas
      120 x 100 cm
    • Steingrímur Gauti Untitled, 2022 Oil, acrylic, oil pastel on canvas 150 x 120 cm
      Steingrímur Gauti
      Untitled, 2022
      Oil, acrylic, oil pastel on canvas
      150 x 120 cm
    • Steingrímur Gauti Untitled, 2022 Oil, acrylic, chalk, oil pastel on canvas 200 x 160 cm
      Steingrímur Gauti
      Untitled, 2022
      Oil, acrylic, chalk, oil pastel on canvas
      200 x 160 cm
    • Steingrímur Gauti Untitled, 2022 Oil, acrylic, oil pastel on canvas 100 x 80 cm
      Steingrímur Gauti
      Untitled, 2022
      Oil, acrylic, oil pastel on canvas
      100 x 80 cm
    • Steingrímur Gauti Untitled, 2021 Oil, chalk, oil pastel on paper 34.5 x 24.5 cm 43.5 x 33.5 x 3 cm (framed)
      Steingrímur Gauti
      Untitled, 2021
      Oil, chalk, oil pastel on paper
      34.5 x 24.5 cm
      43.5 x 33.5 x 3 cm (framed)
    • Steingrímur Gauti Untitled, 2021 Oil, chalk, oil pastel on paper 34.5 x 24.5 cm 43.5 x 33.5 x 3 cm (framed)
      Steingrímur Gauti
      Untitled, 2021
      Oil, chalk, oil pastel on paper
      34.5 x 24.5 cm
      43.5 x 33.5 x 3 cm (framed)
    • Steingrímur Gauti Untitled, 2021 Oil, oil pastel on paper 34.5 x 24.5 cm 43.5 x 33.5 x 3 cm (framed)
      Steingrímur Gauti
      Untitled, 2021
      Oil, oil pastel on paper
      34.5 x 24.5 cm
      43.5 x 33.5 x 3 cm (framed)
    • Steingrímur Gauti Untitled, 2021 Oil and oil pastel on paper 34.5 x 24.5 cm 43.5 x 33.5 x 3 cm (framed)
      Steingrímur Gauti
      Untitled, 2021
      Oil and oil pastel on paper
      34.5 x 24.5 cm
      43.5 x 33.5 x 3 cm (framed)
    • Steingrímur Gauti Untitled, 2021 Oil and chalk on paper 34.5 x 24.5 cm 43.5 x 33.5 x 3 cm (framed)
      Steingrímur Gauti
      Untitled, 2021
      Oil and chalk on paper
      34.5 x 24.5 cm
      43.5 x 33.5 x 3 cm (framed)
    • Steingrímur Gauti Untitled, 2021 Oil, oil pastel, chalk and graphite 34.5 x 24.5 cm 43.5 x 33.5 x 3 cm (framed)
      Steingrímur Gauti
      Untitled, 2021
      Oil, oil pastel, chalk and graphite
      34.5 x 24.5 cm
      43.5 x 33.5 x 3 cm (framed)
  • Get in touch

    Semine Yang, Constellation, 2022 (detail)