there is that long suspended frames to inhabit the space. In it, documents, turned yellow, similar to scrolls the horizontal of more than 2 meters. An army of small girls anime. They have been copied to the carbon on the paper, they are not all the same size, but have the same expression impassive. Sometimes, they are equipped with butterfly wings, sometimes they are dressed as girl scouts and some of them have a penis. They often find themselves at the center of tables, apocalyptic, mixing massacres, éviscérations and other abuses.
One of the illustrations of Henry Darger at the American Folk Art Museum New York (AP/SIPA).
What we see, it is the major work of Henry Darger, “in The Realms of the Unreal” (or “The Story of The Vivian Girls in What is known as The Realms of the Unreal or the Glandelinian War Storm or the Glandico-Abbiennian Wars as Caused by the Child Slave Rebellion”). This novel river began in 1911 and illustrated in the 1920s tells the story of a kingdom led by a general, a father of seven small “Vivian Girls”. They defend their kingdom from the assaults of the neighbouring countries and trying to rescue children enslaved and massacred by the enemy soldiers. Henry Darger, a diseased brain ? A tramp in heaven ? His work, a singular art brut, is in any case fascinating.
We are in 2006 and we are at The Maison Rouge, an exhibition opened two years earlier to the public. “Henry Darger, noise and fury” is the first monographic exhibition in France devoted to this american artist, the fate to sob. Orphan from mother at 4 years, placed 8 years in maintenance in 12 years in an institution for the mentally handicapped which he fled at age 17 when his father died, he lived all his life cloistered in his room in Chicago, il where his neighbors consider it a little “dopey”.
The flair of Antoine de Galbert, the founder of The House Red, do not lie : in 2015, the museum of modern Art of the City of Paris is devoting an enormous exhibition at… Henry Darger.
from all walks Of life
The genius pioneer of The Red House is nearing its end. The private foundation will close its doors at the end of 2018, like Antoine de Galbert indicates to “Release”. In an interview with the “World”, manager of business and a great lover of contemporary art explains his decision :
“I don’t see how we could do better, go further. By creating The House Red, I knew that the adventure would end one day. It seems to me best that it ended, so it is – I think we can say, even if it’s a lack of modesty – at the top of the wave, rather than run the risk of end badly”.
Antoine de Galbert started as a gallerist in Grenoble, his hometown, before creating The Red House in 2000. Located in an old factory, which gives it its name, this place of 1,300 m2 consists of a café, a patio, a hall and a multi-media room. The aim of Red House is to promote different forms of creating current through a programming in particular made up of private collections from all walks of life. Thanks to the originality of its exhibitions, proposed at a rate of 3 to 6 per year, the place soon became an institution, placing in Parisu heart of the circuit of contemporary art.
artists and different mediums
In the lineage of Henry Darger, other painters “crazy” have been exposed to, such as “Louis Soutter, the tremor of modernity”, the swiss artist who has lived for the last 20 years of his life in hospice. Last year, we could admire the strange scenery and the critters-hybrid-d’Eugen Gabritschevsky, Russian biologist, who had painted during his internment in a psychiatric hospital. If these names tell you nothing, not anything to be embarrassed about : The Red House has always made a point of honor to get off the beaten track of the history of contemporary art and the recognition of artists marginalized or different.
“Painted ladies” by Jessica Harrison, in the framework of the exhibition “Ceramix” (GINIES/SIPA).
similarly, the Red House has also tried to put forward other centers of contemporary art, as with the exhibition “video Collection of Jean-Conrad and Isabelle Lemaître, a vision of the world”, in 2006, which enabled it to not only understand this medium in all its seams (images, news, cinema, documentaries, tv programs), but also thanks to artists from 25 different nationalities. Other cities have been put in the spotlight, with My Winnipeg (Canada) My Joburg (South Africa), or My Buenos Aires (Argentina).
As with the video, The Red House has avoided any distinction between the noble art and the rest. We remember of the exhibition Vraoum !, treasures of the comic strip and contemporary art” devoted to the comic strip ; “Ceramix, Rodin, Schütte”, highlighting the relationship between art and ceramics in the Twentieth and Twenty-first centuries ; or the focus on the neon lights with a “Who’s afraid of red, yellow and blue ?”. It was the first large international exhibition dedicated to neon in art from the 1940s to today, from pioneers, Gyula Kosice and Lucio Fontana until Claude Lévêque, passing by Bruce Nauman and Joseph Kosuth.
Exposition “Néon, who’s afraid of red yellow and blue?” at The Maison rouge (A. Schmitt).
At this time, The Red House covers the developments of the work of Hervé Di Rosa since the early 1980s, as well as his selection of works and objects falling within what he calls the “modest art”, that it collects and for which it opened in 2000 the Miam Museum of modest arts in Sète, his hometown.
Hervé di Rosa, prolific artist and collector compulsive disorder
As for the founder of the place, Antoine de Galbert, he waited 10 years before presenting his own collection, in the form of accumulation (“The Wall”, 2014). Before the closing, there will still be “The French spirit – Against-cultures, 1969-1989″ from February et “Foreign resident”, the collection of Marin Karmitz, founder of MK2, from 21 October.
“On 30 October 2018, this will be the end of The Red House, but the Foundation Antoine de Galbert will not disappear for as much,” says his creator in the “World”. “It will act differently and will refocus its efforts on the sponsorship. Until now, The House Red was absorbing all the financial resources of the Foundation. It will therefore have a latitude of action greater. It may act with more freedom, in directions more numerous.” We can’t wait to see it.
Amandine Schmitt
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