American artist Paul Wallach is showing some twenty recent works for his first extensive Parisian exhibition entitled Falling Up. Born in New York in 1960, Wallach studied Art and Applied Arts at the University of Wisconsin and Boston University, then worked with Mark di Suvero as an artist-in-residence in the 1990s, before moving to Paris –where he still lives– in 1994.
His sculptures are exempt from narrative content. With very few means, they emerge off the wall at a dynamic point and unfold in space, as if suspended in dialogue with it. After an extended moment of observation, the diverse materials, –wood, plaster, fabric, metal and glass– take on a coherence that gives the work unity. These different materials overlap, because of their own specific weight, in order to generate a delicate balance, resulting from the dynamics of gravity. The permanent quest for a center of gravity is thus one of the factors that constructs form.
None of these sculptures can be absorbed at a glance: they change radically according to the spectator’s point of view. The work is an an event that alters in composition from moment to moment under the viewer’s eye. It possesses an essential mobility that is inherent to its discovery, a motion of constant unfolding that also puts the spectator in motion, inviting them into a slow exploratory choreography of their own gravity.
Between the wall and these objects emerges an intermediate space that prompts reflection: a reflexion of the shadows and colors that are an integral part of the work and demand the viewer’s attention. Paul Wallach’s sculpture continually reveals a space in its entirety, including the hidden spaces within the work.
Concentrating space and energy in the intimate quest for a balance of forces, unfolding out into space like spatial dwellings, Paul Wallach’s works are animated by an incessant twofold movement of contraction and expansion which would seem to be the basis of all creation.
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Il propose dans ses dessins scripturés de vivre le rythme du monde en captant et en prolongeant l’intensité insaisissable de l’instant, en convoquant le hasard et en le provoquant, opposant ainsi un ralentissement délibéré à la vitesse vertigineuse de notre monde médiatique. Les formes géométriques ou encore l’entrelacs des lignes, accentués par les pliages du papier, créent une écriture énergique propre à Schimansky.
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Once again, SHOW OFF will be located at the Port of Champs Elysées at the foot of the Grand Palais and the FIAC. The only art fair offshoot of the FIAC, SHOW OFF is not to be missed.
Roger-Viollet, created in 1938, is engaged since 1998 in a program of digitization of their photo collections (350 000 images have been digitized so far).
In this exhibition, Hanns Schimansky is showing 40 drawings made between 2007 and 2010. These drawings, written as much as drawn, attempt to capture and to prolong the present moment, to mirror the rhythm of the universe. Using and provoking the idea of chance, he metaphorically slows the headlong speed at which we live in today’s world, dominated as it is by the media. Geometric shapes and intercrossing, looping lines, accentuated by the folds in the paper he uses, form Schimansky’s unmistakeable energetic graphic style: cities and landscapes appear, through which we are invited to travel.
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