ESSENTIAL

 

  

Kim NEZZAR is a French visual artist trained at the Higher Institute of Fine Arts in Besançon and then at the Higher University of Fine Arts in Madrid. He is also a film production designer and has worked for directors such as Jean Pierre Mocky, Claude Pinoteau, Jean Marboeuf and Melvin Van Peebles, leader of American Black exploitation. He also designed the sets for numerous clips such as that of Jenifer (Universal Music) or Barcella (Sony France). He designed the sets for around thirty feature films. His artistic career is protean but it is mainly in the field of Plastic Arts that we find his most daring achievements. Meeting between several disciplines: painting, photography, video, sound and installations. He is an obsessive worker who continually takes risks. “His gestures are fascinating because they don't worry about anything” as the essayist writer Hervé Palissot liked to say, thus signifying his incredible commitment in defiance of all conventions and constantly having fun with postures. Doing and undoing again. Assault tank with a mason's body, it advances with determination. He goes, determined and in a hurry. The layout of its installations is deliberately frontal and offers a scripted space constructed like a cinema set. It looks like very framed and very tight shots. And yet nothing seeks to seduce. It is even quite often disturbing and brutal. Painting inherited from the cinema of Pasolini and post-war Italian realism. A strong connection with the literature of Fante father and son and that of Char or Perec. With disproportionate installations reaching up to eight meters high and paintings measuring just a few centimeters, he seems to want to hold nothing back. Oscillating between a very mastered form of expressionism and a baroque occupation of space, Nezzar offers us to see a plastic work in rupture and tension.

Nezzar is a real identity

Eun Young Lee (Teacher researcher at the Sorbonne School of Arts, visual artist)

His name is Nezzar, a name that comes to us from some buried civilization. Gone. I confided to him that I really wanted to dislike his paintings because of their excess. But I found myself loving them in spite of myself.

Mustapha Kharmoudi (Writer, short story writer, screenwriter)
César for best screenplay co-written with Philippe Faucon for the film Fatima

 

 

We thus enter this painting, through a reflection of ourselves, as we surprise ourselves with a secret: by break-in, by surprise, but also by love.
Jacques Rittaud-Hutinet (Writer) Author of the Encyclopedia of Arts in Franche-Comté editions La Taillanderie Les Frères Lumière editions Flammarion

 

 

The eye ? Yes, this witness which targets lines, shapes and non-visible spaces. Who shapes images and things under the orders of a power sometimes called imagination, sometimes desire and sometimes will. Kim Nezzar's eye also exists in the wild.

Serge Filippini (Writer) The Burning Man editions Phébus Oscar Wilde Prize The King of Sicily editions Grasset

 

 

It would be nice to return to the exit of the Nezzar exhibition with clean hands. But from this Art, we do not emerge unscathed.
Leïla Bashaïn (Writer) The sky under our feet editions Albin Michel The Theory of Eggplants editions Albin Michel

 

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