Ida Tursic & Wilfried Mille

Elizabeth Taylor in a landscape, painting nature's beauty and the caress of the smirking sun over the mountains


Paris

Opening on Thursday, June 2nd, 2016
From 6 to 8 pm

Conversation between
Ida Tursic & Wilfried Mille and Bernard Marcadé
Saturday, June 11th
From 4 to 5 pm

  • , Anachronism 1 Euphrosyne, 2016
    Oil on canvas
    220 x 165 x 5 cm
    86 5/8 x 65 x 2 inches
  • , Anachronism 2 Thalie, 2016
    Oil on canvas
    220 x 165 x 7 cm
    86 5/8 x 65 x 2 3/4 inches
  • , Anachronism 3 Aglaé, 2016
    Oil on canvas
    220 x 165 x 5 cm
    86 5/8 x 65 x 2 inches
  • , Landscape and Sainte-Victoire by night and cold flowers, 2016
    Oil on canvas
    250 x 400 x 5 cm
    98 3/8 x 157 1/2 x 2 inches
  • , River view, 2016
    Oil on canvas
    250 x 250 x 5 cm
    98 3/8 x 98 3/8 x 2 inches
  • , W4B, 2016
    Oil on canvas
    220 x 190 x 7 cm
    86 5/8 x 74 3/4 x 2 3/4 inches
  • , Ghost landscape and Blue, 2016
    Oil on screen and aluminium
    260 x 230 x 4 cm
    102 3/8 x 90 1/2 x 1 5/8 inches
  • , Walter Benjamin, 2016
    Oil on screen and aluminium
    260 x 230 x 4 cm
    102 3/8 x 90 1/2 x 1 5/8 inches
  • , Ghost landscape and orange, 2016
    Oil on screen and aluminium
    260 x 230 x 4 cm
    102 3/8 x 90 1/2 x 1 5/8 inches
  • , Lindsay preparing home made pasta, 2016
    Oil on wood
    26 x 27 x 4 cm
    10 1/4 x 10 5/8 x 1 5/8 inches
  • , David Hockney smoking smiling and shining, 2016
    Oil on wood
    36 x 35 x 3 cm
    14 1/8 x 13 3/4 x 1 1/8 inches
  • , Sex Pistols, a beer, a whiskey and two apples, 2016
    Oil on wood
    27 x 41 x 5,5 cm
    10 5/8 x 16 1/8 x 2 1/8 inches
  • , Edouard Manet in pink, 2016
    Oil on wood
    26 x 25 x 2 cm
    10 1/4 x 9 7/8 x 0 3/4 inches
  • , Martin et Max, 2016
    Oil on wood
    20 x 28 x 2,2 cm
    7 7/8 x 11 x 0 7/8 inches
  • , Piet Mondrian, 2016
    Oil on cutting board
    45 x 25 x 1,5 cm
    17 3/4 x 9 7/8 x 0 5/8 inches
  • , PPPreadingsomepoetry, 2016
    Oil and silver on wood
    30 x 38 x 2,2 cm
    11 3/4 x 15 x 0 7/8 inches
  • , Jeff, Young and Yellow, 2016
    Oil on wood
    36 x 26 x 3,5 cm
    14 1/8 x 10 1/4 x 1 3/8 inches
  • , Kurt and Courtney, 2016
    Oil on wood
    37 x 56 x 2,2 cm
    14 5/8 x 22 x 0 7/8 inches
  • , Arthur Schopenhauer, 2016
    Oil on wood
    39 x 29 x 2,2 cm
    15 3/8 x 11 3/8 x 0 7/8 inches
  • , Lou Andreas-Salomé, Paul Rée and Friedrich Nietzsche, 2016
    Oil on wood
    29,5 x 23 x 2 cm
    11 5/8 x 9 x 0 3/4 inches
  • , Marcel Duchamp, 2016
    Oil on wood
    24 x 23 x 2 cm
    9 1/2 x 9 x 0 3/4 inches
  • , Etude pour un portrait de Dorian Gray, 2016
    Oil and damar varnish on burned wood
    26 x 17,5 x 2,2 cm
    10 1/4 x 6 7/8 x 0 7/8 inches
  • , Etude pour un portrait de Dorian Gray, 2016
    Oil and damar varnish on burned wood
    35,5 x 30 x 4,5 cm
    14 x 11 3/4 x 1 3/4 inches
  • , Arthur Rimbaud, 2016
    Oil on wood
    20,5 x 28,5 x 4 cm
    8 1/8 x 11 1/4 x 1 5/8 inches
  • , Paul Cézanne, 2016
    Oil on burned wood
    25,5 x 20,5 x 2,2 cm
    10 x 8 1/8 x 0 7/8 inches
  • , La Californie, 2016
    Oil on wood
    29 x 27 x 2,2 cm
    11 3/8 x 10 5/8 x 0 7/8 inches
  • , Oscar Wilde & Lord Alfred Douglas, 2016
    Oil on wood
    40 x 30 x 2,5 cm
    15 3/4 x 11 3/4 x 1 inches
  • , Cicciolina, 2016
    Oil on wood
    23,5 x 17,5 x 2,5 cm
    9 1/4 x 6 7/8 x 1 inches
  • , Asger Jorn et le canard inquiétant, 2016
    Oil on wood
    26 x 33 x 2,5 cm
    10 1/4 x 13 x 1 inches

Press release

Almine Rech Gallery is pleased to present the third exhibition of Ida Tursic & Wilfried Mille at the gallery.

Three times Bettie. This is what viewers first encounter at Ida Tursic & Wilfried Mille’s exhibition at Almine Rech gallery in Paris. Three times Bettie Page, the memorable pin-up girl. She was famous in the Fifties, but also well-known for the numerous fetish photographs representing her. Three times Bettie Page, meaning three identical paintings which, spaced apart, finally take over in its entirety the very large wall facing the entrance of the exhibition space.

We imagine these three are identical—except for a few details, as the artists made the decision to vary the content of a small frame hanging on the background wall inside the paintings—before each receiving a different pictorial treatment, diverging not in its nature but in its consequences. This pictorial treatment is three times identical in nature then, with colored, architecturally laid-out spots applied on the surface once the portrait underneath is finished. Its consequences fluctuate according to which part of the body or the décor are covered with paint smudges, inflicting an obvious singularity to each painting by radically altering its composition.