GALERIE BERNARD BOUCHE
BERND LOHAUS
CARLO GUAITA
JOSÉ-PEDRO CROFT
GIANNI CARAVAGGIO
Bernd Lohaus  Sans titre. 1967. Wood, rope. 210 x 95 x 31 cm / Bernd Lohaus  noch - als, 2000. Wood, chalk. 12,5 x 115,2 x 33 cm 

Bernd Lohaus  Sans titre. 1967. Wood, rope. 210 x 95 x 31 cm / Bernd Lohaus  noch - als, 2000. Wood, chalk. 12,5 x 115,2 x 33 cm 
 
 
Bernd Lohaus (Düsseldorf 1940 — Anvers 2010) mainly used powerful and dense materials such as Azobe or red ironwood. He favours elements that have already been used and bear the traces of human industry and time, laden with and enriched by a past to which they are witness. A combination of sober, massive and sculptural forms, described with enigmatic and strong linguistic fragments has for many years been the basis of Bernd Lohaus' work. Early, highly concise wood-word elements include prepositions, and the words never formed whole sentences but established the relationship between the words within a space. Even the placing of wood is language,forming a bond that says something to us. Recent solo exhibitions include Fremdkörper, M HKA, Antwerp, Belgium and MAC’s Grand Hornu, Musée des Arts Contemporains, Hornu, Belgium. 


Carlo Guaita ( Palermo, 1954) The artist works with very simple materials, and he has lately begun adding texts of some ancient naturalist authors to the work. These are the tables of the iconography of Light whose roots date back to the 18th-century French encyclopaedia. Elements or sentences on which oil or ink overlap, they are distinct and united at the same time. Each work employs a different mode of layering in its structure, application of materials, and overall physical process of formation. As Denis Viva explains in his text Carottages, the work Instead of poetry exhibited at the gallery, takes a step towards the horizontality of the sculpture. An irreducible rock placed between pages. It is poetry before being a poem. It does not follow the fundamental principles of literature but those of geology.

José Pedro Croft (Oporto, 1957) diverts daily objects from their original function. What interests him is a feeling of precarious balance between stable and unstable which, according to the artist, «reflects the transitional nature of the world». He has exhibited extensively across Portugal, Spain and South America including solo exhibitions at the Calouste Gulbenkian Foundation, the Serralves Foundation, the Berardo Collection, the National Museum Centre of Art Reina Sofia, the Pinacotheca of the State of São Paulo, and at the Museum of Modern Art of Rio de Janeiro.


Gianni Caravaggio (Rocca San Giovanni, 1968) each of his works of art is set on the ground, without a pedestal to separate them from the floor. The artist uses humble materials like flour along with marble and bronze. In Caravaggio’s works the dimension of the floor becomes a true horizon of the events, a shore of possibility.Using the intangibility of shadows as an actual sculptural material, Caravaggio creates a precariously poised object whose visual unity is always on the verge of disappearing. His latest works are displayed at The Museum of Modern Art of Saint-Etienne and at The MAGA Museum Gallarate, Italy.