La Depeche du midi

Galloping horses, birds of (good) omen, intriguing ghosts, chubby angels, doves of peace or abyssal fish, some thirty artists have fantasised their “visions of the 90s” at the Vertical invitation. Visions that were sometimes worrying against a background of AIDS for Dupuy, of the “Rise of Fundamentalism” for Roux, of hope or Eveno’s birds, of love for Jane Le Besque’s “Song of Solomon” or threatening for Havez.

Marriage of tradition and contemporary art, all these works have given rise to a great delirious rifle where artists and amateurs have pointed quines and full boxes at “La Graine de Lupin”.

The only sculpture standing at the back of the bar, in the middle of oils on canvas, from photo mountains to another collage, is the work of Patrick Tarres, a young creator who wants to “rehabilitate a discipline in crisis” and who, in the tradition of Marcel Duchamp and conceptual art, works with recycled metals and rubbers; objects and volumes that he assembles to create new forms and give them a real aesthetic dimension. His vision of the next decade is that of “a section of the tunnel of time” where “everything is under control and nothing can happen”. Not for him in any case, who will soon be flying to Brussels and whose works you can discover soon at Balma and at the Espace A.g.f. In September 1990

Jane Le Besque