C O N T A C T
11 rue Pastourelle
+33 (0) 1 83 56 78 21
10am - 7:30pm
and 24 hours a day, 7 days a week by appointment
JACQUELINE RABOUAN & CAROLINE MOUSSION
A GALLERY : A FAMILY AFFAIR
Rabouan Moussion is expanding! The gallery is locating to Rue Pastourelle in the Marias, moving into a former theatre to showcase its artists. We meet mother and daughter on the building site.
It has been a while since the gallery on Rue Vieille du Temple has felt too cramped for what they now want to do, the gallery owners told us. Almost thirty years after opening the gallery, Jacqueline Rabouan, who was joined shortly afterwards by her daughter, Caroline Moussion, has moved just along the street into a former lampshade factory. « Several years ago I bought some lampshades there for an exhibition and I thought the place was fantastic. Then, one year ago, I happened to hear that the company had closed down. » And a year was precisely the time she needed to negotiate to obtain what was once, years ago, a theatre, and to open it today with an exhibition by the Dutch artist Erwin Olaf, whose icily beautiful photographs are witness to internal turmoil, as the gallery owners describe them.
With its turmoil, engagement, convulsion of the soul and contortion of the body, the forms this art takes are often strident but the stakes are always political. This has been the basis of the gallery since it was founded in Paris in 1988, followed by a few years in Nantes where Jacqueline Roabouan exhibited canvases by Hervé Télémaque and the works of Bernar Venet. Before that, in 1984, she organised a pioneering movement which federated 7 French art schools. And she became interested in art, less for the art itself, rather for its « world of ideas », concepts and the commitments that convey and propagate it. But this does not stop her from « selecting artists instinctively ». Even though she is not the only head of the gallery: when asked how they agree, mother and daughter say in unison that they always agree on a work of art, even if they have discovered it separately. Despite being brought up with art, Caroline started off by leading an adventurous life, if that is the term, travelling extensively with no particular agenda, except if we talk about Brazil, where she began to collect precious stones. She came back in 1990. « It was time to stop messing around » she laughs.
KNITTED CREDIT CARDS
The gallery has always had a nomadic spirit, as it was one of the first to exhibit the Russian artistic scene after the fall of the Berlin wall. Caroline Moussion says she found the works of Oleg Kulik, Dimitri Tsykalov and even the Czech, Stanislav Kolibal profoundly romantic, and their display in the gallery sometimes caused a great deal of commotion in France.
Today, the two women want to exhibit installatios in a larger format while continuing to develop their specialisation: original works at affordable prices (and the artists do play along by producing works that cost between 200 and 1000€). They both feel that their profession has become easier since the fundamental work on art awareness for everyone was instituted by the authorities in the 90s, meaning that the artists’ view of the world is taken into account. And if we ask Jacqueline Rabouan which piece has had a particular impact on her, she brings up an installation by Tsykalov : «unfinished, knitted credit cards, with strands of wool trailing on the ground ». This constitues a way of defending a hitch or a bug in the sacrosanct relationship that neo-liberal societies have with money. And of the gallery saying that money is not the only thing that drives it.
Beaux Art Magazine, Octobre 2015