The world of the Visual Arts...

Gerhard Richter I... (To be continued...)

7:03 p.m.
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Let's talk about Balthus...

Balthasar Klossowski de Rola, known as Balthus (1908-2001), was an artist whose work is characterized by a profound exploration of the world of childhood, particularly regarding the psychological complexities of adolescence. His paintings frequently feature adolescent figures in attitudes and gestures that oscillate between innocence and ambiguity.

The artist spent time with young female caregivers and that gave him a unique insight into female psychology, allowing him to detect nuances ranging from socially acceptable behavior to the initial stages of erotic awakening. Each of his works possesses a distinct air of mystery, as well as a cryptic expression that invites multiple interpretations.

The Card Game, by Balthus (1948-1950)

Technique: oil on canvas

Balthus depicted children engaged in play only in his early series, created between 1925 and 1927-28, particularly in his paintings of card games. In the work The Card Game, the young female player's face is shown, her expression conveying security and confidence in her apparent victory. Beside her, the artist portrays a young man, identified as her opponent, who embodies the unfortunate adversary in the game. The composition draws attention to the female figure and her determined expression, complemented by a light blue dress with a child's collar that lends her an air of innocence. Meanwhile, the male figure's red sweater creates a chromatic contrast, while both figures appear visibly engrossed in the game.

La Phalène (The Moth), by Balthus (1959-1960)

Technique: tempera on canvas

The erotic content present in Balthus's paintings was not publicly acknowledged by the artist himself; a similar situation can be observed in the case of Georgia O'Keeffe, who attributed any prior interpretation to the viewer. In the work Moth, this erotic dimension takes on an almost sacred character, since the young woman's nudity represents the moment before she dresses in the nightgown she holds in her left hand. The lamplight highlights her figure, visually comparing her to the large moth flying in the room. Her right hand seems to be trying to ward the insect away from the potentially dangerous influence of the lamp, although the interpretation of this gesture remains open.

Ultimately, one must ask whether Balthus deliberately sought to provoke through his works or whether he was simply acting as a rigorous portraitist of his time.

6:23 p.m.
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When glass is the admired object...

Sculpture

Monira Al Qadiri (1983, Senegal) presented her works at the Perrotin Gallery in Paris, in an exhibition dominated by sculptures, though perhaps the term “petro-sculptures” would be more fitting. The artist explores the potential future of oil drilling and the corruption associated with its extraction from the Earth's crust, along with its consequences and vicissitudes.

Because the remote nature of oil infrastructure and the industrial technology surrounding it is largely unknown to us (the average consumer), Al Qadiri proposes to include us in it through her iridescent sculptures. These objects, based on drilling equipment, are made from a rotating glass drill head that spins silently on its pedestal, but in the opposite direction to the real thing. By decontextualizing this oil drill bit, its resemblance to the Tower of Babel becomes undeniable. In this way, Al Qadiri evokes the grandiose architecture of ancient civilizations as a means of manifesting the grandeur and extravagant wealth of those who built it.

Orbital (Auger), by Monira Al Qadiri (2025)

Materials: Fiberglass, automotive paint, rotation machine / Measures: 120 cm x 85 cm x 85 cm

In addition to Orbital (Auger), the Man of War series is on display, in which Monira Al Qadiri reinvents the eponymous marine creature: a striking organism composed of multiple beings acting as one. Its venomous tentacles can extend up to 30 meters, and its gas-filled chamber keeps it afloat. The creature embodies the paradox of being both powerful and fragile—a single entity sustained by collective interdependence. Perhaps that's why she chose glass as her medium. She also tells us that the work questions the concept of individuality in a world beset by crises, prompting reflection on collective identity and the interconnectedness of life in the face of shared vulnerability.

Man of War, by Monira Al Qadiri (2023)

Technique: hand-blown glass

Al Qadiri enlightens us on aspects we were unaware of and forces us to question human fragility, interconnectedness, and the absolute ignorance we have as a society regarding issues that only a few on our planet understand.