Praz-Delavallade

Praz-Delavallade is pleased to present
'Enivrez-vous (Get Drunk)', a group show curâtes by and opening in Paris on November 5, 2022. The exhibition will be on view until January 7, 2023.

Enivrez-vous (Get Drunk)
Praz-Delavallade Paris
5 November 2022 – 7 January 2023
Opening: Saturday 5 November, 5-8PM

« Ever since antiquity, inebriation has been presented as a way of opening the doors to creativity, a means that is deeply connected to poetry, both by its origin, inspirational value and its subversive and exhilarating aspects. After all, is it not fêted for giving rise to sharing and festivity by worshipers of the Greek god Dionysus and his Roman counterpart Bacchus, the god of wine who is the living embodiment of this tribute to the values of drunkenness that paves the way to other excesses, madness, theatricality and tragedy. Poets claim to inebriation, asserting it as their way of accessing the inspirational divine voice and describing the latter’s light, euphoric and ephemeral condition. » René-Julien Praz

Asia Now opens today! Come see us at Booth H11 with works by Pauline Bazignan, Sepand Danesh and Golnaz Payani.

Now on

Praz-Delavallade now representing Sepand Danesh ().

Sepand Danesh focuses his research on a world of silence that remains open to multiple interpretations. Each of his works illustrates the existence of solitude, one whose roots lie in Danesh’s past: fleeing Iran and the many years of war, the artist’s family came to France where he discovered a new culture and learnt its language in books. The main subject of his canvases is the corner, traditionally a place where children are sent as a punishment, but here also somewhere you can turn your gaze inwards and reflect, whether you are there by choice or not. Carefully chosen iconographic elements complement the vertical constructions, opening the door to various interpretations that always evoke the traumatic past of a childhood cut short.

Sepand Danesh (b. 1984 Tehran, Iran, lives and works in Paris, FR). Danesh studied product design at the ENSAAMA Olivier de Serres in Paris and is a graduate of École Nationale Supérieure des Beaux-Arts de Paris where he studied under Giuseppe Penone and Philippe Cognée. Danesh also studied painting at the University of the Arts Helsinki (Uniarts Helsinki), Finland. His work has been exhibited throughout the world, including France, Belgium, UAE, Iran and Morocco and his work is including in prestigious collections such as; the Fonds National d’Art Contemporain, FRAC Poitou-Charentes, Collection Société Générale and Fondation Colas. Danesh was featured in the Dubai Expo 2020 and he regularly takes part in residencies and performances, including the Mac/Val, which has also featured his work on multiple occasions. In 2022, he had his first solo exhibition with Praz-Delavallade Los Angeles titled 'Fear of Collapse'.

Image: Sepand Danesh
The Fight, 2022
Acrylic on canvas
53,1 x 43,3 in
135 x 110 cm

Thank you to Ricky Amadour ( ) for his recent review of 𝘚𝘵𝘰𝘳𝘮 𝘉𝘦𝘧𝘰𝘳𝘦 𝘵𝘩𝘦 𝘊𝘢𝘭𝘮 in
A link to read the full review is in in our stories!

𝘚𝘵𝘰𝘳𝘮 𝘉𝘦𝘧𝘰𝘳𝘦 𝘵𝘩𝘦 𝘊𝘢𝘭𝘮 is ongoing through October 29th at Praz-Delavallade Los Angeles.

Collecting art can be a life-enhancing experience, especially when you surround yourself with it at home. This is also demonstrated by the exhibition ‘Home is where the Art is’. At the Kunsthal Rotterdam (Kunsthal Rotterdam]), the collectors Johan Poort and Manon Visser will be inviting the public to step into their home, as it were – the place where they live amidst their joint art collection. Poort and Visser started collecting art five years ago. Different movements, periods, and both ‘high’ and ‘low’ art all meet and interact with each other in this diverse and intuitively shaped collection. In an intimate, homely setting the public will be able to discover associative, unexpected connections between a wide variety of artworks that clearly show Poort and Visser's love of collecting. Guy Yanai’s () painting 'Manon’s salon' (2020) is part of their prestigious collection.

'Home is where the Art is'
On view through 11 December 2022
Kunsthal Rotterdam] Rotterdam

Still on view at : 'Toucher Terre', a group exhibition featuring works by Pauline Bazignan ()

'Toucher Terre' explores the art of ceramic sculpture by bringing together more than 130 works by 100 historical, contemporary and emerging French and international artists.

By seizing the material of clay with creativity and originality, the artists share a vision of the world that seeks to link society to nature, past cultures to future ones. More current than ever, these immemorial techniques open a new space of creativity for artists who draw from their unique strengths a profound energy and a wonderful source of inspiration for our time.

Toucher Terre
Fondation Villa Datris, L’Isle-sur-la-Sorgue, FR
Through 1 November 2022

Ish Lipman’s () 𝘛𝘩𝘦 𝘓𝘰𝘰𝘮𝘪𝘯𝘨 𝘕𝘪𝘨𝘩𝘵 curated by Michael Slenske ( ) opens tonight at 6PM here at Praz-Delavallade Los Angeles!

Ish Lipman’s () 𝘛𝘩𝘦 𝘓𝘰𝘰𝘮𝘪𝘯𝘨 𝘕𝘪𝘨𝘩𝘵 curated by Michael Slenske ( ) opens tonight at 5PM here at Praz-Delavallade Los Angeles!

Praz-Delavallade is pleased to present 𝘐𝘴𝘩 𝘓𝘪𝘱𝘮𝘢𝘯: 𝘛𝘩𝘦 𝘓𝘰𝘰𝘮𝘪𝘯𝘨 𝘕𝘪𝘨𝘩𝘵, opening in Los Angeles on September 17 at 6pm and running through October 29, 2022.

A lone psychological protagonist walks through a series of sparse, if vast, liminal landscapes, uncanny spaces where deserts and seasides merge with slightly modernist and slightly mysterious interiors and architectures. The skies appear apocalyptically oceanic or inflamed, both perhaps the result of pollution or climate change, both ready to swallow the protagonist at any moment. You follow this protagonist through this fraught landscape, through a series of jump cuts, snippets in a novella, the narrative plane constantly expanding but never really resolving. It is this protagonist, perhaps an unreliable one, perhaps the artist himself, who has been leading viewers through his work for the past five years. This same protagonist will lead you through 𝘐𝘴𝘩 𝘓𝘪𝘱𝘮𝘢𝘯: 𝘛𝘩𝘦 𝘓𝘰𝘰𝘮𝘪𝘯𝘨 𝘕𝘪𝘨𝘩𝘵, the artist’s solo debut in Los Angeles at Praz-Delavallade Projects. Titled after three paintings that follow Lipman's protagonist on a journey to an unknown destination, The Looming Night is a meditation on this protagonist’s constant pursuit of the horizon line, which is something that only exists in the distance of these paintings. Up close they lose luster, but in the distance they loom large. Says Lipman. “I want to leave enough space to let people get lost in them.”

( )

Praz-Delavallade is pleased to present 𝘚𝘵𝘰𝘳𝘮 𝘉𝘦𝘧𝘰𝘳𝘦 𝘵𝘩𝘦 𝘊𝘢𝘭𝘮, a group exhibition curated by Michael Slenske ( ), focused on work that embraces—without any didactical prescriptions—our current high entropy geo-political climate that is constantly reshaping itself. It’s a journey into the sublime of the time, a time when tomorrow will likely be more chaotic than today. Exhibition opens in Los Angeles on September 17 and runs through October 29, 2022.

Participating artists include:

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Praz-Delavallade is pleased to announce 'Dream On', Pierre Ardouvin's third personnal exhibition with the Paris gallery. Join us for the opening on 10 September, from 5-7pm!

Since the 1990’s, Pierre Ardouvin (b. 1955, FR) has steadily cultivated a reflection on popular culture’s utopic vernacular and the fate of its ritual consumption of commodities – spanning industries, class relationships and identities. Ardouvin’s astute
use of appropriation and re-presentation of everyday objects exercises a poetic scrutiny of individual and collective psyches. Ardouvin’s multidisciplinary undertaking challenges the
credibility of archetypes with playful and poignant installations, environments, assemblages, collages and drawings.

With an approach that is experimental, Matthew Brandt ( ) produces large-scale photographs through labor-intensive processes recalling the 19th-century origins of photography, often incorporating the physical matter of the subject itself. Attuned to the history of his medium — and its resolute physicality — and inspired by classical American landscape photographs, Brandt traverses the West, photographing and collecting material samples from nature and cities. The reciprocal relationships that Brandt creates between his subjects and the materials used to represent them are always conceptually grounded, often in response to social and environmental issues. He is deeply inquisitive, even fearless, in his exploration of subjects, materials, and processes, reinvigorating the medium of photography with a sense of wonder.

Through his work, Brandt poses a fundamental question about his magical-seeming medium: what is a photograph?

First slide:
𝘚𝘵𝘦𝘱𝘱𝘪𝘯𝘨 𝘚𝘵𝘰𝘯𝘦 𝘍𝘢𝘭𝘭𝘴 4 𝘊2𝘔3𝘠3, 2016
Multi layered duraclear prints processed with Flint River, Michigan water, in LED lightbox frame
65 1/4 x 46 1/4 x 2 in (framed)
165.7 x 117.5 x 5.1 cm (framed)

Second slide:
‘𝘍𝘢𝘮𝘪𝘭𝘪𝘦𝘴 𝘨𝘢𝘵𝘩𝘦𝘳 𝘪𝘯 𝘱𝘳𝘢𝘺𝘦𝘳 𝘢𝘵 𝘙𝘦𝘴𝘵𝘢𝘶𝘳𝘢𝘤𝘪𝘰𝘯 𝘪𝘯 𝘚𝘰𝘶𝘵𝘩 𝘓.𝘈.’ 𝘓.𝘈. 𝘛𝘪𝘮𝘦𝘴. 12.08.2014, 2017
Rhinestuds on canvas
55 1/4 x 32 1/4 in
140.3 x 81.9 cm

Third slide:
𝘉𝘶𝘳𝘯𝘰𝘶𝘵 𝘗𝘚𝘈01𝘑, 2017
Acid treated silk velvet with mirror
59 1/4 x 45 7/8 x 1 7/8 in
150.5 x 116.5 x 4.8 cm

A big congratulations to Cole Sternberg ( ) on receiving this review of his exhibition 𝘥𝘦𝘱𝘢𝘳𝘵𝘦𝘥 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘤𝘶𝘳𝘷𝘦 by Stella Peacock-Berardini.



Swipe to view the entire review!

With iconoclastic fervor, sculptor Nathan Mabry ( ) melds antiquity with the contemporary, producing works in wood, plaster, and clay that satirize both ethnographic art and its modernist derivatives. Invoking pre-Columbian artifacts, early modernist sculpture, pop culture, Minimalism, and a plethora of other references, Mabry samples and appropriates in order to question the narratives of progress that frame the history of Western art, and to interrogate the values and meanings of his sources.

First slide:
Machines Turn Quickly (No. 1), 2018
Terra-cotta, giclee print on canvas, wood, steel, glaze, powder coat
74 x 21 1/2 x 21 1/2 in
(188 x 54.6 x 54.6 cm)

Second slide:
Weeping Figure II (Déjà Vu-vu), 2014
Recycled bronze, patina, powder coated aluminum, plumbing, water
Sculpture: 64 x 24 x 16 in 
(162.6 x 61 x 40.6 cm)

Third Slide:
400% (Death Grin/Ernst Face 2), 2010
Terracotta, aluminum, paint
68 29/32 x 15 3/4 x 11 13/16 in
(175 x 40 x 30 cm)

It is the last week to view 𝘥𝘦𝘱𝘢𝘳𝘵𝘦𝘥 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘤𝘶𝘳𝘷𝘦 a solo exhibition by Cole Sternberg and his first at the gallery. The exhibition will be on view through Saturday July 30th.

There will be a closing reception on Friday evening July 29th from 6-9pm in conjunction with Gallery Weekend Los Angeles.

First through second slide:
Exhibition views

Third through fifth slide:
Street view images of the gallery

Drawn from an archive of personal photographs, self-portraits, advertising imagery and anatomical studies, Chris Hood’s ( ) paintings depict layered arrangements of images set against fields of stained color, scattered landscape vignettes, picturesque vistas, “clip art” style icons and simplified central figures. Painted from behind as opposed to from the front, Hood works in a reverse layering process — as each layer dries it seals the surface, blocking the successive layers from penetrating the canvas. The imagery appears to fracture, double, and dissipate amongst the surfaces.

First Slide:
Remind Me Tomorrow, 2019 
Alkyd on canvas
66 x 54 in 
(167.6 x 137.2 cm)

Second Slide:
Eternal Plane, 2019
Alkyd on canvas
96 x 78 in
(243.8 x 198.1 cm)

Third Slide:
Ersatz Disaster, 2019
Alkyd on canvas
84 x 66 in 
(213.4 x 167.6 cm)

Continuing in his lens of narrative fiction and documentary focus Hely Omar Gonzalez ( ) had the opportunity to work alongside the farmers on a Northern California property during the 2016 season, during which he documented the cultivation process for cannabis.

𝘍𝘪𝘳𝘴𝘵 𝘏𝘢𝘳𝘷𝘦𝘴𝘵, 2020 is part of a body of works entitled 𝘛𝘩𝘦 𝘎𝘭𝘦𝘢𝘯𝘦𝘳𝘴 which gives viewers a more intimate perspective into the world of cannabis.

The ultimate goal, portray cannabis and the people involved with decency and respect; a way not traditionally represented in history.

Gonzalez’s work derives from his personal experiences and investigates a desire to communicate through representations of labor, race, and leisure.

𝘍𝘪𝘳𝘴𝘵 𝘏𝘢𝘳𝘷𝘦𝘴𝘵, 2020
Oil on shibori dyed canvas on cradled panel
44 x 2 x 61.25 in

We hope you’ve all had a great start to your day! Each and every day there’s always something and someone worth sharing about and today we’re going to talk about Sepand Danesh ( ).

Sepand was born in Tehran, Iran in 1984. He left Iran at the age of 12 for Los Angeles and then Paris where he immediately began a fragmented and obsessive drawing process. He studied product design to understand how the world is made and then while at the Beaux-Arts de Paris he became aware that there was significance in the impact from the environments in which he evolved in.

To escape the corner serves as a metaphor for Sepand’s work and is combined with unique characters and objects that each field a unique narrative. Each corner is painted without floors or ceilings to represent the human condition of being trapped and having to face our ability to conquer or succumb to that condition.

1st image
Dune Dweller, 2020
Acrylic on Canvas and woolen tapestry
59 x 49.21 in
(150 x 125 cm)

2nd image
Dream Dweller, 2020
Acrylic on canvas
47.24 x 35 in
(120 x 89 cm)

3rd image
Psychotherapy, 2021
Acrylic on Canvas
57.48 x 51.18 in
(146 x 130 cm)

We hope you’ve all had a great Wednesday! Each and everyday there’s always something and someone worth sharing about and today we’re going to talk about Sepand Danesh ( ).

Sepand was born in Tehran, Iran in 1984. He left Iran at the age of 12 for Los Angeles and then Paris where he immediately began a fragmented and obsessive drawing process. He studied product design to understand how the world is made and then while at the Beaux de Arts de Paris he became aware that there was significance in the impact from the environments in which he evolved in.

To escape the corner serves as a metaphor for Sepand’s work and is combined with unique characters and objects that each field a unique narrative. Each corner is painted without floors or ceilings to represent the human condition of being trapped and having to face our ability to conquer or succumb to that condition.

Dream Dweller, 2020
Acrylic on canvas
47.24 x 35 in
(120 x 89 cm)

We hope you’ve all had a great Wednesday! Each and everyday there’s always something and someone worth sharing about and today we’re going to talk about Sepand Danesh ( ).

Sepand was born in Tehran, Iran in 1984. He left Iran at the age of 12 for Los Angeles and then Paris where he immediately began a fragmented and obsessive drawing process. He studied product design to understand how the world is made and then while at the Beaux de Arts de Paris he became aware that there was significance in the impact from the environments in which he evolved in.

A strong visual motif that lives in the background of each work, a corner, represents both the feeling of stagnation and being trapped. Feelings only escapable through the leveraging of imagination as a way towards freedom. The corner is painted without floors or ceilings because to Sepand the removal of those surfaces represents breaking free from being stuck in his body, his thoughts, and on earth.

Dream Dweller, 2020
Acrylic on canvas
47.24 x 35 in
(120 x 89 cm)