BEL-AIR FINE ART
The Bel-Air Fine Art gallery, established since 2004 within the heart of Geneva, inaugurated in 2010 its 200 square meter exhibition space. The group has an international presence through galleries in London, Paris, Saint-Tropez, Cannes, Venice, Forte dei Marmi, Crans-Montana, Verbier, Gstaad, Knokke and Miami. The gallery also organises art exhibitions throughout Europe, Lebanon, the United Arab Emirates and the United States.
In parallel to his specialised galleries in Street Art, Neo Pop Art and Optical Art, François Chabanian, art dealer for now more than thirty years, art collector himself, and his son Gregory Chabanian are involved in the promotion of their most iconic artists at exclusive events and international art fairs.
For its second participation at the « Art Elysées » art fair, the Bel-Air Fine Art group wishes to present international and French artists who approach several major themes of contemporary art : destruction, creation, escape and dialogue.
The creative destruction is in the heart of the work of Omar Hassan and Sandra Shashou. Despite a brutal plastic technique, fragility is inherent in their production. Porcelain, this fragile material used by Jeff Koons in partnership with the Bernardaud company, offered him the opportunity to design a concrete and hypperrealist balloon like the bathers of the international artist Carole Feuerman who seem has been fixed in time.
Jean-François Rauzier, founder of the hyperphotography, combines the infinitely large and the infinitely small in his photographs to design an image out of time. Through aerial shots, Antoine Rose also offers us an escape and creates a loss of scale synonymous of a new beach vision. Anne Valverde invites us to escape in sumptuous landscapes where the writing of light expresses a strong message on a desertic background.
The strength of the condensed message in one word has always been central in the production of internationally renowned artist Robert Indiana. In his sculptures of raw materials such as steel and stainless steel, Joseph uses this same force of the word and tries to introduce a dialogue about our cultural references.