François Lunven

François Lunven 1942-1971



2014      Les envers du réel, Galerie Alain Margaron, Paris.

2011       Galerie Alain Margaron, Paris.

2005      Galerie Alain Margaron, Paris.
Musée de l’Hospice Saint-Roch, Issoudun.

2002      Galerie Alain Margaron, Paris.

2000      Galerie Alain Margaron, Paris.

1997       Galerie Alain Margaron, Paris.

1994       Dessins et gravures, Galerie Anne Robin, Paris.

1989       Regards F. Lunven, Médiathèque de Corbeil-Essonnes.

1984       Maison de la culture de Créteil.

1981        Mairie de Douarnenez: l’oeuvre gravé complet.

1971        ARC Musée d’art moderne de la Ville de Paris.
Galerie II Caleidoscopo, Padoue.
Musée de l’Abbaye Sainte-Croix, aux Sables d’Olonne.

1970       Galerie Transat, Milan.

Public collections

Musée de Brest.

Musée des Beaux-Arts de Nantes.

Musée de Vannes.

Musée de l’Hospice Saint-Roch, Issoudun.

Musée d’Art moderne de la Ville de Paris.

Bibliothèque nationale de France, Paris.

Victoria and Albert Museum, London.

British Art Council, London.

Biblioteca Nacional, Madrid.

Museum of Modern Art, New York.

Musée d’Adélaïde, Australie.

Musée de Skopje, ex-Yougoslavie.

Musée de l’Abbaye Sainte-Croix, Sables-d’Olonne.


2005       François Lunven, textes de Ramon Alejandro, Gerard Durozoi, Manuel Jover, Bernard Noöel (Musée de l’Hospice saint-Roch/Alain Margaron Editeur, 2005).

1997       Lunven, gravures, texte de Manuel Jover Alain Margaron Editeur, 1997.

1989       “Regards F. Lunven”, textes de Ramon Alejandro, François Lunven, Bernard Nöel, 1989.

1987       Lunven, dessins, Editions calligramme, 1987

1984       “A Vif, François Lunven et ses amis”, textes de Ramon Alejandro, François Deck, Alain Le Foll, Jacques Le Maréchal, Vladimir Velickovic, Jean-Pierre Velly, 1984.

1981       Catalogue, préface de Pierre Dalle Nogare l’oeuvre gravé complet, 1981.

1970       Catalogue Galerie Transat, préface de Bernard Noël, 1970.

His paintings, with their surprising colors, seem to foreshadow a society where robotics, the virtual and biotechnologies would exert a dominant influence. Lunven worked essentially on paper (drawings and etchings) until 1966, then mostly on canvas. Attuned to the movement of the world, the works of François Lunven probe its course and frenzy, whose developments the artist had foreseen as early as the 60s, as the drawings presented in this exhibition demonstrate. The forms produced by François Lunven intercross organic and virtual, even robotic shapes, thus crystallizing a dazzling prospective vision. Represented by the Galerie Alain Margaron since 1997.

Bernard Noël, who was probably his closest friend, helps us decipher his oeuvre: “from ‘a repertoire where the machinic and the monstrous intercross and hybridize to produce an image that tears our eyes open…’ Didn’t François Lunven style himself a ‘morphologist’ rather than a painter or engraver? … Striving to invent a new sacred art, François Lunven’s artistic quest was inspired, his whole life through, by many artists and poets – from Hieronymus Bosch to Antonin Artaud by way of Nerval, Rimbaud, Lautréamont and Redon –, and reveals an extraordinarily complex thought blending personal experience, spirituality and psychoanalysis. François Lunven always taught, because his thought was always transforming, and needed exchange and sharing, to feed itself as much as to try itself out.” (Bernard Noël) “In the first years of his life as a painter, François Lunven was very interested in biology (…). Fascinated by the Arthropods, crustaceans and insects especially, he spent long hours at the Museum, and still longer observing small bits of crab and spider crabs legs, bits of shells, a grasshopper’s body… Everything about skeletons and bones interested him. The notion of entropy also obsessed him. He’d learned about it by chance, had asked me about it and I had made him read Science and the theory of information by Léon Brillouin. Two points especially were discussed: the unavoidable evolution of all living systems towards an increasing state of disorder, and the fact that life delays this evolution despite everything. The idea that death and disorder were somehow synonymous was of utmost interest to him. Thinking about energy, he had come to be interested in the origins of life. It isn’t by chance that one of these etchings is entitled ‘Birth of entropy’ or that others (…) deal with birth.” (Bernard Canguillem, 1987)