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Since his exhibitions in Moscow in 2004, Montreal in 2005 and Toulouse (Les Abattoirs) in 2011, no major retrospective has been devoted to Vladimir Velickovic, an internationally renowned painter, draftsman, engraver and sculptor.

Jean-Luc Chalumeau, curator of the exhibition, brings together a group of about a hundred works for “Le Grand Style et le Tragique”. Velickovic is obviously an artist of paroxysm, an artist of what is called the Great Style, as Friedrich Nietzsche understood it: “the Great Style consists in despising small and brief beauty.” His work in the exhibition is displayed around major themes, the integration of time, harmony and rhythm, all of which lead to the centre of the exhibition, to the moment dedicated to the painter’s essential relationship with Grünewald, who took the representation of the Passion to the intolerable level. Framing these four sequences, the first, devoted to early works, and the sixth, with recent works, will reveal a disturbing constant over more than half a century: the absence of nature.

The artist has understood (like Pascal, Lucretia or the sophists) that everything happens as if, deep down, the human species has lost the sense of nature. However, this dissolution necessarily leads to a frightening thought, which Velickovic tirelessly expressed. He did so with such vital energy that his way of evoking the mystery of the human condition becomes a symmetrical affirmation of the beauty of life. A beauty that is obviously “neither small nor brief”.

Fonds Hélène & Édouard Leclerc pour la culture

aux Capucins

29800 Landerneau, France


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