The Galerie Alain Margaron turned 20 in September 2013. The “Les Singuliers” exhibition was organized for this occasion, bringing together thirteen artists renowned for their uniqueness and their independence from the art world: Fred Deux, Michel Macréau, Dado, René Laubiès, Anselme Boix-Vives, Aurel Cojan, Clara Fierfort, Karl Godeg, Robert Groborne, InSook Hong, Lunven, Cécile Reims and Bernard Réquichot. To celebrate this anniversary, Alain Margaron published a book, La Peinture enrichit nos vies (Painting enriches our lives), which underlines the importance of painting in our visual society.
The book also chronicles the gallery’s activities, puts forward his choices of the past twenty years and recounts his close relationships with artists and collectors. From the outset, the policy of the Galerie Alain Margaron has been to collaborate intensely with a narrow circle of artists it supports financially, acting as an interface between artists who resist classification into “schools” or trends, and a volatile market that is overly dependent on fluctuations in valuation. The work of these artists, some of whom have left a lasting mark on art history, bears witness to introspective, spiritual journeys, and often to a quest for “being” that requires support over the long term. The gallery has endeavored to foster robust, sustained bonds with its artists but also with art lovers, collectors and institutions, in order to promote these artists, some of whom discovered they were “brothers in painting” at the gallery. Beyond style or art history, one of the common denominators of the thirteen artists, men and women, represented by the Alain Margaon gallery is their respect for artistic tradition, understood as earnestness, gravity and sincerity. In other words, their commitment to its heritage leaves no room for postmodern irony or pointless denunciation. What makes these singular artists stand out is that their work allows for the emergence of the unforeseen, of the subconscious, and of a variety of psychological and spiritual events they endeavor to translate directly onto the drawing sheet or canvas. For all of these artists, their personal lives, drives and subconscious play a crucial role, though they remain in tension with esthetic composition. Balancing their concerns with the execution of their drawings or paintings is essential for each of them. This is the case for Dado, who was deeply distressed by the wars in his country, the former Yugoslavia; for Macréau, who rebelled against the constraints of the era long before May 1968; for François Lunven who forcefully expressed, in the late 60s, the advent of a new society where biology would prevail and where the virtual would oust reality; and finally, for Fred Deux, who relentlessly pursues his inner quest for being.