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Sacha Sosno. Un témoin particulier de l’'Ecole de Nice 

Musée Regards de Provence, Marseille, France
6 September 2014 - 4 January 2015
  • Sacha Sosno. Un témoin particulier de l’'Ecole de Nice 
    View of the exhibition "Sacha Sosno. Un témoin particulier de l’'Ecole de Nice", Musée Regards de Provence, 2014 (F 31, SE 221, IKB 282, ANT 26)
  • Sacha Sosno. Un témoin particulier de l’'Ecole de Nice 
    View of the exhibition "Sacha Sosno. Un témoin particulier de l’'Ecole de Nice", Musée Regards de Provence, 2014 (S 20)
The Regards de Provence Museum aims to trace the location of modern art in Nice and the region in the sixties, through a journey of works and documents. A special tribute is paid to the sculptor, painter and visual artist Sacha Sosno, born in Marseille in 1937, who was a witness of this artistic adventure and the formation of the Schools of Nice. This exhibition revives Sosno's privileged dialogue with the great names of the New Realist Manifesto who worked in Nice and more independent artists. Paintings, drawings, photographs, sculptures and installations of Arman, Caesar, Christo, Hains, Klein, Raysse, Niki of St. Phalle, Ben, Charvolen, Gilli, Farhi, Serge III, Dan, De Domenico, Villers, and other artists rub shoulders in the exhibition halls of the Musée Regards de Provence.

The sixties are like the beginning of a new century in the history of art. It is the acceleration in time and space of communications, a sort of leap forward, in art. What were New York and the East-West Coast of the United States, Paris and the Côte d'Azur at the same time. Another revolution takes place, that of architectures, of urbanism where new materials and techniques impose a new social space. The painting then asserts itself differently and the sculptures return to the street, the public square.

What is invented in Nice, in those same years, is a freedom that goes through a festive rage of expression. It was not until the seventies, in Europe, that contemporary art galleries and museums flourished and that the fashion of the exhibitions became embedded in our societies everywhere. Many artists will not come back to Paris, but will go to Nice. The city is considered a land of welcome, passage, offering a climate of creation, a home slowly constituted by a long work of grouping and confrontation of the artists.
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