THE PLACE

The legendary Tourrette, a place of inspiration that belonged to Dina Vierny, muse of the sculptor Maillol, is located opposite the eponymous museum. Today, it has been reinvented as a new contemporary art studio, a place for amateurs and collectors, a studiolo, a unique workshop, a total work of art borrowing as much from Kurt Schwitters' Merzbau as from Marcel Duchamps' suitcase box.

CAROLE KORNGOLD

Since her studies at the Ecole du Louvre and a diploma in Egyptology, Carole Korngold has continued to express an aesthetic commitment and invent her universe of expression.
An antique dealer at 24, seeking the sensitive trace of the hand, the part of the gesture, the path and the process where emotion resides, she naturally finds a place among the artists with whom this unique place is being built today, as if it were obvious.
The gallery is inspired by an aesthetic of modesty and imperfect beauty, allowing room for the revelation and expression of contemporary artists from very diverse fields - sculptors, ceramists, painters, visual artists, photographers, brought together in a personal laboratory dedicated to metamorphoses.

"Historians of art and literature know that there is a secret rendezvous between the archaic and the modern, not only because the most archaic forms seem to exert a particular fascination on the present, but above all because the key to the modern is hidden in the immemorial and the prehistoric." These lines from the Italian philosopher Giorgio Agamben perfectly define the spirit in which Carole Korngold envisages her role as a ferryman as an exercise in seduction that is not exactly innocent, gently flattering, but a demanding path that leads to essential questions. Silent lives intrigue her, or better, interest her; she sees herself as a missionary of their mysteries, certain that poetry is indispensable even if she does not really know for what. We suspect that chiaroscuro is her favorite light. Darkness emits a radiance in her that she imposes like broad daylight. She is an actor in the epiphanies of the elusive. Assemblage is the main argument in her quest for BEAUTY. She invents families where subtle relationships between art, antiquities, objects of curiosity, archaeological traces, materials and forms are played out. The dialogues she stages have the uncanny strangeness of psychoanalytic questions and the poetic provocation of the exquisite corpses dear to the surrealists. Her gaze opens the eyes of visitors to her exhibitions, always presented in inspired locations.