In Geneva, Plainpalais district is the place to be if you have any interest into contemporary Art. 15 galleries and 4 cultural institutions, aims to encourage and promote contemporary art in Geneva, in particular in the Quartier des Bains area, which has become over the last few years a platform for contemporary art in Switzerland.

As in New York, Paris, Berlin or Zurich, you can find in Geneva a district where contemporary galleries are concentrated. Based in the center of the city, the galleries show fascinating exhibitions for art lovers. They have the great advantage to be near two strong institutions: the Mamco (Musée d’art moderne et contemporain), and the Centre d’art Contemporain Genève.
Blondeau & Cie will presents an exhibition by the American artist Sol LeWitt.
At the heart of the exhibition are four Wall Drawings #343a, #343b, #343c and #343g. Their first installation  at the Gagosian Gallery in Venice, California, goes back to 1980,  the date at which Sol LeWitt  conceived a series of nine geometrical figures. The four  Wall Drawings  were exhibited  in 1 994  at 14/ 1 6 Verneuil, Paris. They will be accompanied in Geneva by several works on paper from the 1990s. The visitor will therefore have the opportunity to gain a unique experience of LeWitt’s work.
The first Wall Drawing  by LeWitt  was made for  the  Paula Cooper  Gallery in New  York on October  1968.
Wall Drawings are made up of straight lines, arcs and broken lines; later, geometrical figures appear.

LeWitt  chooses a wall as the  support  for  his work  in order  to  avoid any illusionism.  Each drawing  is therefore ephemeral and can be seen only for the duration of an exhibition. lts permanence is, however, ensured by a title and a succinct definition  given by Sol LeWitt. Thus one of the Wall Drawings in the exhibition is defined by the artist in these words: ‘On a black wall, the triangle within a square, the background is filled in solid white’. At first glanee, the work produced by this definition seems to be a simple black triangle on a white background. But the Wall Drawing is in fact the white background, made up of many lines according to the instructions of the artist.

Thanks  to LeWitt’s  instructions, the work can be reproduced  by an assistant trained  in his technique, through  the auspices of the LeWitt Estate, thus perpetuating the artist’s intentions. By bringing other hands than his own into the execution  of the work, LeWitt  renews the practice  of the fresco  painters of the Renaissance. Every Wall Drawing therefore remains distinct and unique and corresponds to the place where it is executed. For Sol LeWitt, the material result is secondary to the initial concept. ldeas can thus be works of art in their own right and exist independent of their material execution.

LeWitt declared in his “Paragraphs on Conceptual Art” (1967):
“I will refer to the kind of art in which I am involved as conceptual art. ln conceptual art the idea or the concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that off of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea is a machine that makes art.”

The works of Sol LeWitt  can be found in the most important  collections  from MOMA  in New York to the Centre Pompidou  in Paris. He is considered  a founding  representative  of Minimalism and conceptual art. Wall Drawings constitute  a major part of LeWitt’s oeuvre: a retrospective of the Wall Drawings, initiated  by the artist himself, began in 2008 (for  the  extraordinary duration  of  25  years) at the  Massachusetts  Museum of Contemporary  Art, North Adams. The four Wall Drawings exhibited in Geneva have been selected for this retrospective.
Nuit des Bains: 2 May 2013

Open Days Weekend*: 4-5 May 2013
Nuit des Bains: 12 September 2013
Open Days Weekend: 9-10 November 2013