Sous le vent de l’art brut 2

cartonkatuOK/5La Halle Saint Pierre présente :

du 17 septembre 2014 au 04 janvier 2015

Une sélection de 41 artistes – 350 œuvres

Halle Saint Pierre
2, rue Ronsard -75018 Paris.
Métro : Anvers/Abbesses
ouvert tous les jours
: en semaine de 11h à 18h
samedi de 11h à 19h / dimanche de 12h à 18h



La collection De Stadshof est la première collection néerlandaise consacrée à l’art brut, l’art outsider et l’art naïf. Initiée en 1985 par Liesbeth Reith, elle fut abritée en 1994 à Zwolle avant de s’installer en 2002 au Musée Dr Guislain à Gand en Belgique.

Riche de 7 000 œuvres réalisées par plus de 400 artistes du monde entier, elle rassemble aussi bien des figures reconnues de l’art brut que des découvertes majeures d’artistes singuliers.

Elle est dorénavant une référence parmi les institutions privées et publiques qui œuvrent à la reconnaissance d’une scène artistique autre, celle de la face cachée de l’art contemporain.

« Sous le vent de l’art brut 2 : La collection De Stadshof » est le deuxième volet d’une série d’expositions dédiées aux collections internationales d’art brut.

Les commissaires d’exposition, Martine Lusardy, directrice de la Halle de Saint Pierre avec Liesbeth Reith et Frans Smolders, conservateurs de la collection De Stadshof, ont sélectionné 350 œuvres de 40 artistes emblématiques : peintures, sculptures, dessins, installations, broderies, signées par des figures incontournables de l’art brut et de l’art singulier.

Parmi eux Willem Van Genk, grand classique de l’art brut, sera particulièrement mis à l’honneur, faisant ainsi écho à la rétrospective que l’American Folk Art Museum de New York lui offrira en 2014.

L’exposition sera en outre prolongée par des événements permettant de lui donner une visibilité plus large encore avec une présence, notamment, à la Outsider Art Fair new-yorkaise qui depuis 2013 est accueillie à Paris à l’occasion des grands foires     (FIAC …) et dont la Halle Saint Pierre est partenaire.

Commissaire de l’exposition : Martine Lusardy, directrice de la Halle Saint Pierre. Commissaires invités : Liesbeth Reith, et Frans Smolders, conservateurs de la Collection De Stadshof 

Avec la collaboration du Musée Dr. Guislain, Gand.



• ACM (France)
• AMAZINE Yassir (Belgique)
• Anonyme
• AZEMA Philippe (France)
• BOSKER Okko (Pays-Bas)
• BOSSERT Herman (Pays-Bas)
• BROS Bonifaci (Espagne)
• BURLAND François (Suisse)
• DAMMER Aaltje (Pays-Bas)
• GARBER Johann (Autriche)
• GLASTRA Siebe Wiemer (Pays-Bas)
• GRUNENWALDT Martha (Belgique)
• HUTTING Lies (Pays-Bas)
• JONKERS Bertus (Pays-Bas)
• KATUSZEWSKI Sylvia (France)
• KARDOL Truus (Pays-Bas)
• KERVEZEE Jan (Indonesia)
• KIJIMA Saï (Japan)
• KOCZY Rosemarie (USA)
• KOOCHAKI Davood (Iran)
• LAMY Marc (France)
• LANGNER Hans (Allemagne)
• LEONOV Pavel (Russie)
• LORTET Marie-Rose (France)
• MANCA Bonaria (Italie)
• MEURER Markus (Allemagne)
• MONTPIED Bruno (France)
• NEDJAR Michel (France)
• NIDZGORSKI Adam (France)
• PASS Donald (Royaume-Uni)
• SCHOLZE Hans (Pays-Bas)
• SEFOLOSHA Christine (Suisse)
• SELHORST Joseph (Pays-Bas)
• SLUITER Paula (Pays-Bas)
• VAN GENK Willem (Pays-Bas)
• VEENVLIET Henk (Pays-Bas)
• WENZEL Roy (Pays-Bas)
• WEREE Johnson (Liberia)
• ZALIN Karin (U.S.A)
• ZEMANKOVA Anna (République Tchèque)


De Stadshof Collection on show in Paris

From September 17th 2014 to January 4th 2015


De Stadshof Collection is the Halle Saint Pierre’s second exhibition devoted to international collections of Outsider Art.

It wasn’t until the end of the Second World War that Outsider Art received its first exhibition. Collected by Dubuffet who gave it scope and legitimacy, Outsider Art still would not have emerged from obscurity if it hadn’t been for a handful of enlightened enthusiasts determined on discovering, gathering and showing these works, which in Dubuffet’s words display a “spontaneous and deeply inventive nature, owing as little as possible to traditional art or cultural clichés, and whose authors are obscure, foreign to the professional artistic world.” The impetus of various initiatives and independent networks thrust Outsider Art into the traditional cultural arena. Museums around the world opened their doors, collections and exhibitions were multiplied, books, journals and fanzines were published, followed more recently by websites. Environments created by “roadside visionaries” and other “builders of dream worlds” were discovered and some salvaged from destruction. Today, Outsider Art has been the object of every undertaking of recognition and media coverage. Although it is neither a movement nor a school, it nevertheless has its own history. Eluding the orthodoxy of Dubuffet’s positions, Outsider Art has achieved its place as an unconfined heritage whose contours are constantly evolving. In its wake, a heterodox artistic world has thrived where artists fully uphold their place, while remaining at odds with the “asphyxiating culture.” Choosing the liberty of alternate pathways and the audacity of the fringes, artists with very different undertakings, designated interchangeably as singular, outsider, outside the norm or neuve invention, have made their work a genuine private stage, the backdrop of a profoundly personal story. Primitive or refined experimenters of a great art or folk art romantics, they constitute a complex and diverse tribe.

The work that has been carried out at the Halle Saint Pierre over the last twenty years bears witness to the existence of these worlds. From our first exhibition in 1995 entitled Art Brut et Compagnie, whose aim was to reveal “the dark side of contemporary art”, to HEY: Modern Art & Pop Culture and Raw Vision, we have strived to bring to life another world of art, and to apprehend the subtle relationships that propel it, disregarding the logics of hierarchy. It is deeply meaningful to include and connect the art of the explorers of archaic languages, the magicians of raw materials, the primitive and refined experimenters of a great art, and event professional artists who are willingly libertarian. This approach enriches the repertoire of styles and transports us to the heart of the creative process itself. The Dutch De Stadshof Collection belongs to the generation of collections that helped legitimate artistic categories that had long been considered marginal. With six thousand works by over four hundred artists from around the world, it comprises a body of experiences and expressions, with no mutilating compromises. Initiated by Liesbeth Reith in 1985, it was transferred to Zwolle in 1994, and since 2002 is located in the Dr. Guislain Museum in Gand. The collection has always welcomed those human and artistic adventures which, in unexpected places within our competitive and efficient society, defy all our certainties and create novel, inventive responses.