There is for him only one absolute attraction, only one incandescent center to the dispersion of his works, only one central power to his career as a painter. It is not the painting that loves all his approach but Painting. Painting without article painting as one says the name of a goddess or an absolute. Painting is the fertile energy that Gerard Gasiorowski, this intense artist admired by artists, this sumptuous neglected painter who died nearly forty years ago, prays in the spectacular gesture of his work. Gasiorowski died aged 56 in August 1986.
Gasiorowski never ceased for thirty years to slaughter everything in his art that would bring aesthetic charm, perfection or image, for in absolute mysticism of his only goddess to approach through works, rituals, ceremonies, performances, objects , paintings that paradoxically led him to achieve both spectacularly and secretly, in complete privacy and yet explosively a deep song dedicated to Painting.
Despite his admirable friends who constantly accompanied him, Bernard Lamarche-Vadel, Michel Enrici, Olivier Kaeppelin, etc. Gasiorowski is an artist whose memory floats like a disaster or an already distant brilliance. For us, this star is not extinguished and an exhibition accomplished by the devotion of a few young artists who have joined this ancient cult is an opportunity to return to this enterprise of destruction and creation that was the irascible trajectory of Gerard Gasiorowski. Gerard who in 1983 decided, once again, to make his name disappear and to stamp his work with the mysterious letters GXXS, therefore Gasio 20th century, and as he inscribes it under a painted and sardonic self-portrait: basically it was a classic!
“Gasiorowski, that’s all” at SHEDL’Académie site (Maromme) from May 14 to July 17, 2022
Reading of the texts: Andréa Brusque
- **Music Alva Noto & Ryuichi Sakamoto / “**Glass”
- Misha Alperin / “Ostinato”
- Steve Reich / “Different Trains”
- Herbie Hancock / “Bring Down the Birds”
- Misha Alperin / “Tuesday”
- Emmanuelle Bertrand / Hans Werner Henze / “Tango” and “Pastoral”
In charge of research : Maurine Roy
In partnership with Beaux Arts Magazine