Expositions personnelles (sélection)
2019 – Le sang rose des arbres verts, Galerie Kashagan, Lyon (en collaboration avec Françoise
Besson)
2018 – La lenteur, Atelier Royal , rue Paul Chenavard, Lyon
2018 – Basculements, Galerie Françoise Besson, Lyon (jusqu’en février)
2017 – Basculements, Galerie Françoise Besson, Lyon (depuis décembre)
2016 – L’énigme intérieure , Galerie Bertrand Gillig, Strasbourg
2015 – Galeria de arte contemporaneo – Museo del Ruso, Alarcon , Espagne
2014 – Mystères évidents , Galerie Françoise Besson, Lyon (cahier de Crimée : texte d’Anne-Sophie
Coppin)
2011 – Montolio and Guests , Galerie Bertrand Gillig Strasbourg
2011L’avenir attendait, Galerie Territoires Partagés, 20, rue Nau, Marseille
2010Cabanes d’incertitude, Galerie Françoise Besson, 10, rue de Crimée, Lyon
(Catalogue en coédition avec le CAC de Lacoux: Texte de Gwilherm Perthuis et entretien
avec Gwilherm Perthuis)
2010Motifs et Affinités, Centre d’art contemporain de Lacoux, (01) France
(Catalogue en coédition avec la Galerie Françoise Besson, Lyon)
2009Espaces intranquilles, Galerie [art] room 03, Françoise Besson et Jean-
Philippe Besson, Thônes
2008 – L’Attrape-couleurs, Lyon
2006 – Galerie Territoires partagés, Marseille
2005J e suis cet homme, Galerie Françoise Besson, Lyon
2004 – Galerie Françoise Besson, Lyon
2002 – Galerie IUFM Confluence(s), Lyon (Catalogue: Texte de Marc Desgrandchamps)
2001 – Palais de justice de Lyon
2000 – Galerie HP, site d’Eybens

sans titre,

acrylique sur toile, 61 x 50 cm

1800 euros

 

Sans titre, 2019
Acrylique sur toile, 46 x 38 cm
1400 euros

Sans titre – 2019
Acrylique sur toile, 27 x 22 cm
900 euros

Sans titre – 2017
Huile sur toile, 33 x 24 cm
1000 euros

Sans titre – 2019
Acrylique sur Vélin, 38 x 28 cm,

900 euros

Sans titre – 2019
Acrylique sur Vélin, 38 x 28 cm,

900 euros

Sans titre – 2019
Acrylique sur Vélin, 38 x 28 cm,

900 euros

sans titre, 2014

acrylique sur toile, 61 x 50 cm

1800 euros

Sans titre – 2019
Acrylique sur Vélin, 38 x 28 cm,

900 euros

Sans titre – 2019
Acrylique sur toile, 61 x 50 cm
collection

Sans titre, 2019

huile sur toile, 200 x 140 cm

Sans titre, 2018

acrylique sur toile, 61 x 50 cm

Sans titre, 2017

huile sur toile, 50 x 61 cm

Sans titre, 2017,

huile sur toile, 50 x 61 cm

Sans titre, 2015

acrylique sur toile, 92 x 73 cm

Cabane Blanche, 2014

technique mixte, 108 x 88 x 78 cm

Sans titre, 2013

acrylique sur toile, 61 x 50 cm

Sans titre, 2013

acrylique sur toile, 200 x 143 cm

Femme cheval, 2011

aquarelle & gouache sur papier, 113 x 142 cm

Le corbeau, 2011,

gouache sur papier,126 x 114 cm

Sans titre, 2011

technique mixte, 7 x 7 x 20 cm

Sans titre, 2011

aquarelle & encre sur papier, 65 x 50 cm

Sans titre, 2010

acrylique sur toile, 61 x 50 cm

 

Sans titre, 2010

acrylique sur toile, 61 x 50 cm

 

Sans titre, 2009,

acrylique sur toile, 184 x 132 cm

Sans titre, 2009

acrylique sur toile, 56 x 48 cm

Sans titre, 2009

acrylique sur papier, 38 x 28 cm

Sans titre, 2008

acrylique sur papier, 38 x 28 cm

Sans titre, 2008

Acrylique sur toile, 162 x 114 cm

 

Sans titre, 2007

triptyque, huile sur toile, 190 x 136 cm chaque panneau

Nu, 2006

huile sur toile, 100 x 160 cm chaque panneau

 

Sans titre, 2006

huile sur toile, 74 x 94 cm

Sans titre, 2006

huile sur toile, 60 x 80 cm

Je suis CM, 2005

huile sur toile, 195 x 130 cm

je suis un boxeur, 2005

Acrylique sur papier, 38 x 28 cm

Sans titre, 2004

huile sur toile, 18 x 25 cm

Sans titre, 2000

acrylique sur toile,142 x 112 cm

x

Forms and the world
“What happens when we stop looking at paintings and look at the world around us? Are they still there? Do they cling to our consciousness to transform our vision? Or does the mind repress them and save them for other delights? Do the forms of painting “exist” in the midst of a crowd or on a highway? It is a valid proposition. Painting does not compete with reality but can sometimes resonate with it. However, it is not a question of literal restitution: it is not a question of “presenting” an image of the world but rather of trying to represent “a being in the world”, a way of vibrating with it. Without grandiloquence or mysterious career, what we see in my paintings is not a subject. What we see in my paintings is not a subject, but rather a collision of motives put in relative coherence. Figure and industrial structure, nature and figure, nature and bits of architecture. The treatment of these motifs in painting opens up to a reminiscence (often a sensation, a climate, a season or a biographical location, a childhood landscape) At the same time the first terms of questions begin to be asked: what do I see? Why does it matter to me? There is the abandonment of what man has done, there is landscape near or far, there are things that were not there before and are there now. With the hypnotic and fragile force of things seen in dreams, I do not however present a catalogue of my obsessions. I try to make visible a point of view from which the viewer will make his journey. ”

Clement Montolio

 

Expositions collectives ( sélection)

2020 Le souffle, galerie Françoise Besson

2019 Nuit noire/ hotel Triki

2018 La lenteur, Atelier Royal, rue Paul Chenavard

2017
Monstrare avec le collectif Korper, Brest
Vivre sa vie, Galerie Fleuriste, Helsinki
Archi-Paysage, Galerie Bertrand Gillig , Strasbourg
2016
Paréidolie, saison du dessin , dessiner disent-ils, Chapelle des pénitents noirs, Aubagne
Forêts – Galerie Exit art contemporain, Boulogne Billancourt
2015 Galerie Bertrand Gillig , Strasbourg
2014
Devenir arbre, Galerie Françoise Besson
Art Paris Art Fair, Galerie Françoise Besson
2013- 14
Nature et découvertes, Galerie Bertrand Gillig , Strasbourg
2013
Story & spirit, Galerie Françoise Besson, Lyon
Bestiaire philosophique, cpct , Lyon
Drawing Now, Carrousel du Louvre, Paris avec la Galerie Françoise Besson , Lyon
La ligne et l’étendue, Halle du Jeu de Paume, Vic-le-Comte
Locus solus, cpct , Lyon
Contes d’hiver, Galerie Bertrand Gillig , Strasbourg
2012
Dédoublements, Galerie Françoise Besson , Lyon
Art on Paper, The Brussels Contemporary Drawing Fair
avec la Galerie Françoise Besson , Lyon
Sous le soleil exactement, Galerie Françoise Besson , Lyon
TOUT S’ETEINDRA, Galerie Françoise Besson, Lyon
Drawing now, Carrousel du Louvre ,Paris ( avec la Galerie Françoise Besson)
Autour des poissons rouges de Henri Matisse de 1912, Galerie Territoires partagés – Marseille
2011
Galerie IUFM Confluences Lyon – Hommage à Christian Calligarot
St-Art, Strasbourg (avec la Galerie Bertrand Gillig)
Docks Art Fair, Lyon (avec la Galerie Bertrand Gillig)
Galerie Bertrand Gillig, Strasbourg
Drawing now, salon du dessin, Paris (avec la Galerie Françoise Besson)
2009
Docks art fair, Lyon (Galerie Françoise Besson)

> Inside

Clément Montolio

Vers les forêts

15 septembre > 18 novembre 2016

In Europe, as on other continents, forests predate civilizations, providing material benefits to mankind and nourishing the imagination over the centuries, imbuing a significant part of literature and the arts with poetry, mysteries and symbols. Going towards the forests means projecting oneself into the dark side of the world, where one may be at risk of getting lost but where it is possible to wander along paths full of enchanted, intimate and unspoiled echoes. It is to run in front of a sanctuary with many doors, where the words of the great ancestors still echo and offer those they approach an indispensable shelter, to metamorphose an inner exile, alluded to by Pushkin in his Eugene Onegin (towards the forests and towards the ice), into an initiatory journey where the mysteries of life are slowly opening up to return to the depths of the unknown.
Clément Montolio

> Inside

Clément Montolio

Vers les forêts

15 septembre > 18 novembre 2016

In Europe, as on other continents, forests predate civilizations, providing material benefits to mankind and nourishing the imagination over the centuries, imbuing a significant part of literature and the arts with poetry, mysteries and symbols. Going towards the forests means projecting oneself into the dark side of the world, where one may be at risk of getting lost but where it is possible to wander along paths full of enchanted, intimate and unspoiled echoes. It is to run in front of a sanctuary with many doors, where the words of the great ancestors still echo and offer those they approach an indispensable shelter, to metamorphose an inner exile, alluded to by Pushkin in his Eugene Onegin (towards the forests and towards the ice), into an initiatory journey where the mysteries of life are slowly opening up to return to the depths of the unknown.
Clément Montolio

> Inside

Clément Montolio

Vers les forêts

15 septembre > 18 novembre 2016

In Europe, as on other continents, forests predate civilizations, providing material benefits to mankind and nourishing the imagination over the centuries, imbuing a significant part of literature and the arts with poetry, mysteries and symbols. Going towards the forests means projecting oneself into the dark side of the world, where one may be at risk of getting lost but where it is possible to wander along paths full of enchanted, intimate and unspoiled echoes. It is to run in front of a sanctuary with many doors, where the words of the great ancestors still echo and offer those they approach an indispensable shelter, to metamorphose an inner exile, alluded to by Pushkin in his Eugene Onegin (towards the forests and towards the ice), into an initiatory journey where the mysteries of life are slowly opening up to return to the depths of the unknown.
Clément Montolio

> Inside

Clément Montolio

Vers les forêts

15 septembre > 18 novembre 2016

In Europe, as on other continents, forests predate civilizations, providing material benefits to mankind and nourishing the imagination over the centuries, imbuing a significant part of literature and the arts with poetry, mysteries and symbols. Going towards the forests means projecting oneself into the dark side of the world, where one may be at risk of getting lost but where it is possible to wander along paths full of enchanted, intimate and unspoiled echoes. It is to run in front of a sanctuary with many doors, where the words of the great ancestors still echo and offer those they approach an indispensable shelter, to metamorphose an inner exile, alluded to by Pushkin in his Eugene Onegin (towards the forests and towards the ice), into an initiatory journey where the mysteries of life are slowly opening up to return to the depths of the unknown.
Clément Montolio

> Inside

Clément Montolio

Vers les forêts

15 septembre > 18 novembre 2016

In Europe, as on other continents, forests predate civilizations, providing material benefits to mankind and nourishing the imagination over the centuries, imbuing a significant part of literature and the arts with poetry, mysteries and symbols. Going towards the forests means projecting oneself into the dark side of the world, where one may be at risk of getting lost but where it is possible to wander along paths full of enchanted, intimate and unspoiled echoes. It is to run in front of a sanctuary with many doors, where the words of the great ancestors still echo and offer those they approach an indispensable shelter, to metamorphose an inner exile, alluded to by Pushkin in his Eugene Onegin (towards the forests and towards the ice), into an initiatory journey where the mysteries of life are slowly opening up to return to the depths of the unknown.
Clément Montolio

> Inside

Clément Montolio

Vers les forêts

15 septembre > 18 novembre 2016

In Europe, as on other continents, forests predate civilizations, providing material benefits to mankind and nourishing the imagination over the centuries, imbuing a significant part of literature and the arts with poetry, mysteries and symbols. Going towards the forests means projecting oneself into the dark side of the world, where one may be at risk of getting lost but where it is possible to wander along paths full of enchanted, intimate and unspoiled echoes. It is to run in front of a sanctuary with many doors, where the words of the great ancestors still echo and offer those they approach an indispensable shelter, to metamorphose an inner exile, alluded to by Pushkin in his Eugene Onegin (towards the forests and towards the ice), into an initiatory journey where the mysteries of life are slowly opening up to return to the depths of the unknown.
Clément Montolio

> Inside

Clément Montolio

Vers les forêts

15 septembre > 18 novembre 2016

In Europe, as on other continents, forests predate civilizations, providing material benefits to mankind and nourishing the imagination over the centuries, imbuing a significant part of literature and the arts with poetry, mysteries and symbols. Going towards the forests means projecting oneself into the dark side of the world, where one may be at risk of getting lost but where it is possible to wander along paths full of enchanted, intimate and unspoiled echoes. It is to run in front of a sanctuary with many doors, where the words of the great ancestors still echo and offer those they approach an indispensable shelter, to metamorphose an inner exile, alluded to by Pushkin in his Eugene Onegin (towards the forests and towards the ice), into an initiatory journey where the mysteries of life are slowly opening up to return to the depths of the unknown.
Clément Montolio

>Inside

Clément Montolio

Cabanes d’incertitude

29 avril > 05 juin 2010

Although the continuation of the affinities is always open, since 2006, the painting of Clément Montolio has been focused on the question of motive and on the progressive constitution by successive deformed coverings brought to evolve from one session to another. Contrary to more immediate affinities and operating on a principle of juxtaposition, the autonomous paintings worked from a repertoire of forms play on the overlapping, the stratification of elements, the appearance and disappearance of details or motifs…(G.Perthuis, extracts from the catalogue “Motifs et affinités”, 2010)….

>Inside

Clément Montolio

Cabanes d’incertitude

29 avril > 05 juin 2010

Although the continuation of the affinities is always open, since 2006, the painting of Clément Montolio has been focused on the question of motive and on the progressive constitution by successive deformed coverings brought to evolve from one session to another. Contrary to more immediate affinities and operating on a principle of juxtaposition, the autonomous paintings worked from a repertoire of forms play on the overlapping, the stratification of elements, the appearance and disappearance of details or motifs…(G.Perthuis, extracts from the catalogue “Motifs et affinités”, 2010)….

>Inside

Clément Montolio

Cabanes d’incertitude

29 avril > 05 juin 2010

Although the continuation of the affinities is always open, since 2006, the painting of Clément Montolio has been focused on the question of motive and on the progressive constitution by successive deformed coverings brought to evolve from one session to another. Contrary to more immediate affinities and operating on a principle of juxtaposition, the autonomous paintings worked from a repertoire of forms play on the overlapping, the stratification of elements, the appearance and disappearance of details or motifs…(G.Perthuis, extracts from the catalogue “Motifs et affinités”, 2010)….

>Inside

Clément Montolio

Cabanes d’incertitude

29 avril > 05 juin 2010

Although the continuation of the affinities is always open, since 2006, the painting of Clément Montolio has been focused on the question of motive and on the progressive constitution by successive deformed coverings brought to evolve from one session to another. Contrary to more immediate affinities and operating on a principle of juxtaposition, the autonomous paintings worked from a repertoire of forms play on the overlapping, the stratification of elements, the appearance and disappearance of details or motifs…(G.Perthuis, extracts from the catalogue “Motifs et affinités”, 2010)….

>Inside

Clément Montolio

Cabanes d’incertitude

29 avril > 05 juin 2010

Although the continuation of the affinities is always open, since 2006, the painting of Clément Montolio has been focused on the question of motive and on the progressive constitution by successive deformed coverings brought to evolve from one session to another. Contrary to more immediate affinities and operating on a principle of juxtaposition, the autonomous paintings worked from a repertoire of forms play on the overlapping, the stratification of elements, the appearance and disappearance of details or motifs…(G.Perthuis, extracts from the catalogue “Motifs et affinités”, 2010)….

>Inside

Clément Montolio

Cabanes d’incertitude

29 avril > 05 juin 2010

Although the continuation of the affinities is always open, since 2006, the painting of Clément Montolio has been focused on the question of motive and on the progressive constitution by successive deformed coverings brought to evolve from one session to another. Contrary to more immediate affinities and operating on a principle of juxtaposition, the autonomous paintings worked from a repertoire of forms play on the overlapping, the stratification of elements, the appearance and disappearance of details or motifs…(G.Perthuis, extracts from the catalogue “Motifs et affinités”, 2010)….

>Inside

Clément Montolio

Cabanes d’incertitude

29 avril > 05 juin 2010

Although the continuation of the affinities is always open, since 2006, the painting of Clément Montolio has been focused on the question of motive and on the progressive constitution by successive deformed coverings brought to evolve from one session to another. Contrary to more immediate affinities and operating on a principle of juxtaposition, the autonomous paintings worked from a repertoire of forms play on the overlapping, the stratification of elements, the appearance and disappearance of details or motifs…(G.Perthuis, extracts from the catalogue “Motifs et affinités”, 2010)….

Outside the walls> [art]room Thônes

Clément Montolio

Espaces intranquilles

2009

Outside the walls> [art]room Thônes

Clément Montolio

Espaces intranquilles

2009

Outside the walls> [art]room Thônes

Clément Montolio

Espaces intranquilles

2009

Outside the walls> [art]room Thônes

Clément Montolio

Espaces intranquilles

2009

> Montée Allouche

Clément Montolio

Je suis cet homme

10 septembre > 29 octobre 2005

> Montée Allouche

Clément Montolio

Je suis cet homme

10 septembre > 29 octobre 2005

> Montée Allouche

Clément Montolio

Je suis cet homme

10 septembre > 29 octobre 2005

> Montée Allouche

Clément Montolio

Je suis cet homme

10 septembre > 29 octobre 2005

> Montée Allouche

Clément Montolio

Présence et affinités

15 octobre > 31 novembre 2004

First historical exhibition of Françoise Besson, in her lodging transformed into Montée Allouche gallery.

> Montée Allouche

Clément Montolio

Présence et affinités

15 octobre > 31 novembre 2004

First historical exhibition of Françoise Besson, in her lodging transformed into Montée Allouche gallery.

> Montée Allouche

Clément Montolio

Présence et affinités

15 octobre > 31 novembre 2004

First historical exhibition of Françoise Besson, in her lodging transformed into Montée Allouche gallery.

> Montée Allouche

Clément Montolio

Présence et affinités

15 octobre > 31 novembre 2004

First historical exhibition of Françoise Besson, in her lodging transformed into Montée Allouche gallery.

> Montée Allouche

Clément Montolio

Présence et affinités

15 octobre > 31 novembre 2004

First historical exhibition of Françoise Besson, in her lodging transformed into Montée Allouche gallery.

x