08/09/2022 - 27/10/2022
Opening 08/09/2022

So softly evening blends with night,
You scarce can say when day is done.
Emily Brontë

The "return of painting" in France, predicted a few years ago as a radical shift of paradigm, amounts in the end to one and the same observation: this medium has always been the guiding principle of the art market (and if art in France considered itself immune to taking this into account, this would reflect a form of provincialism that is on the verge of disappearing). To write about "painting" is also to make it seem like every painting is a product for the market and that all paintings are equal. This is reminiscent of those sometimes awkward conversations during which people outside the art world ask you to justify the existence of contemporary artworks that they have experienced (often unsatisfactorily). You are then meant to be the champion of art without distinguishing between good and bad works, major and minor practices with regard to art histories, and to speak of "painting" as something immutable because it has been produced by human societies "since time immemorial", embracing, in a single movement, both parietal art and works using digital tools.
To show and to promote Mira Schor's paintings is not a trivial matter in this context: her work has demonstrated, for 50 years, an exemplary continuity of perspective in favor of feminist painting, which is in permanent discussion with the stakes of art histories as well as those of the art market.