Christian Bonnefoi
Christian Bonnefoi (born 1948 in Salindres, France) is an artist and historian, who lives and works in Gy-les-Nonains and Paris, France.
Early life and career
Bonnefoi was born in in Salindres, France, in 1948. He received a degree in Social Sciences from École Pratique des Hautes Études, Paris. Following his degree, Bonnefoi continued his studies in earning a PhD in Art History at the University of Paris-Sorbonne.
He began his career by studying under art historians and philosophers Hubert Damisch and Jean Louis Schefer. During his studies, he worked closely with Yve-Alain Bois and Jean Clay for the architecture journal Macula. He focused his studies on architecture until 1970, when he came across Nu de Dos, Henri Matisse’s relief sculpture of a woman, at the Grand Palais in 1970, prompting him to begin his ventures into painting.
In the mid 1970s, Bonnefoi published a series of essays on modern artists, including Josef Albers, Piet Mondrian, Pablo Picasso, Marin Barré, Robert Ryman, Robert Mallet-Stevens and Louis Kahn. During this period, Bonnefoi had his first exhibition in Paris, at the Galerie Jean Chauvelin, in 1974 and his first solo exhibition in 1977 at the Hiperion Piltzer Gallery in Paris. In 1977, Bonnefoi was invited to show in the 10th Biennale de Paris. In 1980, he had his first show outside of Europe at P.S.1 Contemporary Art Center in New York. Bonnefoi held his first retrospective in 2008 at the Centre-Georges Pompidou in Paris, and was followed by a second retrospective at the Ginza Maison Hermes in Tokyo, Japan, in 2014. Bonnefoi has shown his work internationally, predominately in France, Denmark, Australia, Belgium, England and Switzerland.
Bonnefoi is an active art historian and critic who has lectured at the Tate Modern in London and the Wexner Center for the Arts in Columbus, Ohio. He continues to publish various monographs and essays, studying art from its conception to its theory.
Selected exhibitions
Year |
Exhibition |
|---|---|
2014 |
Christian Bonnefoi, Maison Hermés at Le Forum, Tokyo |
2014 |
The Other Side and In Between, Longhouse Projects, New York |
2013 |
Museum of Modern and Contemporary Art, Nice, France |
2012 |
Sliding Doors, Museum of Modern Art in Ceret, France |
2008 |
The Appearance of Visible, MNAM-Centre Georges Pompidou, Paris |
2005 |
Musee des beaux-arts d’Orleans, France |
2001 |
As Painting: Division and Displacement, organized by Phillip Armstrong, Laura Lisbon, Stephen Melville; Wexner Center for the Arts, Columbus, OH |
2000 |
Guangzhou Museum of Fine Arts, China |
1989 |
Rothschild Foundation, Paris |
1982 |
Carnegie Price, Modern Museum of Art, Pittsburgh, PA |
1981 |
Museum of Nuremberg, Germany |
1980 |
P.S.1 Contemporary Art Center, New York |
Writing
Year |
Work |
|---|---|
2003 |
Christian Bonnefoi, Siuation picturale, ed. Obsidiane |
2002 |
Christian Bonnefoi, De l’in- a l’ex- en passant par l’ob-, ed. Janninck, Paris |
1997 |
Christian Bonnefoi, Ecrits sur l’art (1974–1984), ed. La Part de l’oeil, Brussels, Belgium |
1982 |
"Louis Kahn and Minimalism" Objections No. 24. The Institute for Architecture and Urban Studies; MIT Press, p. 2–25. |
1979 |
"The interior design in the inter-war period: Mallet-Stevens," "Louis Kahn and minimalism," Architectures, Visual Arts, ed. Corda, p. And pp 118–136 and pp. 189–232 (with John Clay, Yve-Alain Bois, Damisch and Nancy Troy). Objections included in No. 24, Spring 1981 Artists and nº19, April 1984. |
1977 |
"Folder Ryman. About the destruction of the surface entity, "Macula, No. 3-4, p. To be published in English in about Robert Ryman 163–166 (Critical Texts since 1967.edited by Vittorio Colaizzi; Riding House Publishing, London, 2008) |
1977 |
"The 10 rue Mallet-Stevens," AMC, No. 41, March, p. 23–27. |
1977 |
"Modern architecture and signs, review under the direction of Hubert Damisch, Jean Clay; Yve-Alain Bois, ed. Corda. |
1976 |
"The function Albers" Macula 2, p. 88–93. |
1976 |
"Interview with Martin Barre" Documents 4, 1976 (reprinted in Martin Barré, ARC, Museum of Modern Art of the City of Paris, 1979, p. 41). |
1975 |
"Space, practice time (on Martin Barre)," Paintings Theoretical Papers, No. 10–11, Fall, p. 186–188. |
1973 |
"The line de Chardin," Critique, No. 315-316, August–September, p. 679–690 (common text under the; direction of Hubert Damisch with Yve-Alain Bois, Jean-Claude and Jean-Claude Bonne Lebensztein). |
1972 |
"Robert Mallet-Stevens, architect," The information in the history of Art, No. 5, November–December; p. 233-235. |
Public collections
Public Collections |
|---|
Centre Georges Pompidou, Paris |
National Fund for Contemporary Art, La Defense |
Museum of Fine Arts, Tourcoing |
Museum Morlaix |
Orleans Museum |
Contemporary Art Center G. Fayet, Serignan |
Musee d’Art Moderne de la ville de Paris |
Museum of Sens |
Gallery of Contemporary Art, Beijing |
Musee de Beaux-Arts, Canton, Chine |
FRAC, Bretagne |
Canton |