Visible poetry

But what does this sentence really mean, often associated with abstraction? Does Klee seek to make the invisible visible in a religious sense, that of a revelation? Certainly not. Rather, it would be advisable to speak of “the involu”: all that the human eye does not perceive directly. For Klee, as for Hans Reichel (1892-1958)-an artist still largely unknown in France-, it is above all the organic process: germination and growth specific to nature. Both have a rare gift, that of inventing new forms, condensed expressions of both personal and universal poetry. Endowed with what could be called an inner eye, they dare to explore territories that have so far been inaccessible. Without insistence, their images resonate with nature. Their works are not similar, and yet what unites them is stronger than what distinguishes them: Klee, Growth (1921), Reichel, The chaotic garden (1928). If the latter is inspired by Klee, he nevertheless manages to find a discreet melody which is its own. Two young contemporary artists accompany their elders. Anne-Charlotte Finel (born in 1986) presents two videos, one of which features a lush landscape: a mini-garden buried in a station on the Paris metro, on which the gaze of users no longer stops (Gardens2017). Julien Discrit (born in 1978) explores biological processes through various techniques. His sculpture Pierre, Re-Member 2 (2021) is a hand holding a fossil which he himself shaped: a kind of telescoping between distant past and archeology of the future. Other fossils, from collections of the museum, enrich an elegant scenography. However, the imbalance is regretted – probably due to difficulties of obtaining loans – between the works of Reichel, about sixty, and the seven pieces of Klee.