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Cristof YvoréUntitled2013oil on canvas135,5 x 110,3 cm
Cristof YvoréUntitled2013oil on canvas200 x 165 cm
Cristof YvoréUntitled2013acrylic on paper10 x 15,2 cm
Cristof YvoréUntitled2013oil on canvas35,5 x 35,5 cm
Cristof YvoréUntitled2013oil on canvas40,5 x 33,5 cm
Cristof YvoréUntitled2013oil on canvas32,5 x 40 cm
Cristof YvoréUntitled2013oil on canvas40 x 30 cm
Cristof YvoréUntitled2013oil on canvas104 x 90,5 cm
Cristof YvoréUntitled2013oil on canvas132 x 156,3 cm
Cristof YvoréUntitled2013oil on canvas70,5 x 70 cm
Cristof YvoréUntitled2013oil on canvas135 x 110 cm
Cristof YvoréUntitled2013oil on canvas165,5 x 200 cm
Cristof YvoréUntitled2012oil on canvas47 x 41 cm
Cristof YvoréUntitled2012oil on canvas94 x 112 cm
Cristof YvoréUntitled2012oil on canvas100,5 x 125 cm
Cristof YvoréUntitled2011oil on canvas86 x 67 cm
Cristof YvoréUntitled2011oil on canvas112 x 94,5 cm
Cristof YvoréUntitled2011oil on canvas60 x 70,5 cm
Cristof YvoréUntitled2010oil on canvas120 x 102 cm
Cristof YvoréUntitled2009oil on canvas78 x 92,5 cm
Cristof YvoréUntitled2009oil on canvas44,5 x 57,5 cm
Cristof YvoréUntitled2009oil on canvas92 x 73,5 cm
Cristof YvoréUntitled2009oil on canvas74,5 x 147 cm
Cristof YvoréUntitled2009oil on canvas60,5 x 54 cm
Cristof YvoréUntitled2008oil on canvas145,5 x 169,5 cm
Cristof YvoréUntitled2008oil on canvas46,5 x 64,5 cm
Cristof YvoréUntitled2007oil on canvas75 x 104 cm
Cristof YvoréUntitled2006oil on canvas80 x 55,5 cm
Cristof YvoréUntitled2006oil on canvas55,5 x 46,5 cm
Cristof YvoréUntitled2005oil on canvas71,5 x 60,5 cm
Cristof YvoréUntitled ("on the beach")2005oil on canvas82 x 62,5 cm
Cristof YvoréUntitled2003oil on canvas79 x 55 cm
Cristof YvoréUntitled2002 - 2003oil on canvas121 x 85,5 cm
Cristof YvoréL'eau bouillante1997 - 1999oil on canvas46 x 38 cm
Cristof YvoréLe tapis d'Edward1993oil on canvas33,5 x 31 cm
COI
La Verrière, Brussels, Belgium September 7 - November 4, 2023
STILL LIFE
Kunstforum – Technische Universität Darmstadt, Darmstadt, Germany November 12, 2022 - March 26, 2023
POTS, LAPIN, FENÊTRES, FLEURS
FRAC Auvergne, Clermont Ferrand, France October 12, 2019 - January 19, 2020
A video about the practice of Cristof Yvoré, in the context of his traveling solo show 'Vases, Rabbit, Windows, Flowers'.
Directed and edited by Nicola Bergamaschi. Narration by Valérie Bourdel, with quotations from the text by Eric Suchère.
FRAC Provence-Alpes-Côte-d’Azur, Marseilles, France June 29 - September 22, 2019
CRISTOF YVORÉ
M WOODS, Beijing, China March 4 - June 11, 2017
Cristof Yvoré (1967– 2013, Marseilles (FR))
Cristof Yvoré starts out from remembered images in which a recognizable commonplace is reduced to its simplest form of expression. A patch of light on the wall of a room, the folds at the bottom of a drawn curtain, a table with a vase on it, empty or filled with flowers of all shapes and colours. Yvoré painted these tranquil still-lifes consistently for years, refusing to provide any theoretical background, appearing isolated from any form of contemporary influence. The wear and tear these subjects have endured over the centuries gives these images a superficial feel that was precisely Yvoré’s starting point for his explorations as a painter. By building up lots of grainy layers and using paint he mixed himself, Yvoré often found his paintings had the effect of being ‘overpainted’. The substance of the paint formed a pastose crust. It is precisely in the working of the material that the boundary between an exaggerated, heavy painting and a stimulating new image was explored.
Cristof Yvoré had solo exhibitions at FRAC Auvergne (Clermont-Ferrand), M WOODS (Beijing), FRAC Provence-Alpes-Côte d’Azur (Marseilles) and Museo d'Arte Contemporanea Villa Croce (Genoa).
His work is included in the collections of Bronx Museum of the Arts (New York), FRAC Auvergne (Clermont-Ferrand), M WOODS (Beijing), FRAC Provence-Alpes-Côte d’Azur (Marseilles), Hudson Valley for Contemporary Art (New York) and Het Domein (Sittard).
Cristof Yvoré joined the gallery in 1994.
Zeno X Gallery is celebrating its 40th anniversary with a series of exhibitions that shed light on the different decades of the gallery. From April 2 onwards, '40 YEARS Zeno X Gallery: the nineties' presents the seven artists who joined the gallery in the 1990s: Luc Tuymans (1990), Marlene Dumas (1993), Mark Manders (1994), Cristof Yvoré (1994), Anton Corbijn (1996), Dirk Braeckman (1999) and Johannes Kahrs (1999). The show brings historical works into dialogue with recent pieces created specially for this exhibition.
With the exhibition ‘Hommage’ Zeno X Gallery wishes to honour an extraordinary artist, who left this world too young. Cristof Yvoré (1967-2013) passed away on Monday, December 2, 2013. At the time, he was working on a new solo exhibition for the gallery, but this was unfortunately never completed. ‘Hommage’ brings together recent works and paintings from different periods, allowing the visitor to contemplate different aspects of Yvoré’s work. A film by David Dupont which shows the artists at work in his studio in Marseille, can be viewed in the exhibition space. We are very grateful for the beautiful work Cristof Yvoré has left us, after a long collaboration of almost 20 years, since 1994. For us, the story is not over yet.
In May 2013, FRAC Provence-Alpes-Côte-d’Azur in Marseille organised a solo exhibition of Cristof Yvore in Lurs (FR). A few months later, a second solo exhibition was on view at Museum of Contemporary Art, Villa Croce in Genoa (IT). In connection with these two exhibitions, an extensive catalogue was published. FRAC PACA acquired three paintings by Cristof Yvore last year. From the 14th until the 30th of March, 2014 the museum will present these works in commemoration of the artist.
Cristof Yvoré’s Archetypical Paintings
When I saw Cristof Yvoré’s paintings for the first time, reproduced on a small catalogue, my immediate response was one of dismissal. What on earth did it mean to create small apparently out-dated still-lives, which could have emerged from a thrift shop? Why obsessively focus on insignificant and neutral subjects? Yet there was something in these images, which made them unique. I don’t know if it was their thick painterly presence or the vaguely metaphysical atmosphere they evoked, but they would not leave my imagination, and remained alive in my memory, as a sort of open question on what painting could or could not be.
I decided I needed to see the works in real life in order to free myself from their haunting presence. Thus I planned a visit to Cristof Yvoré’s studio. It turned out to be an experience of enlightenment: I found myself totally absorbed and seduced in a succession of still lives and abstract spaces, in which what captivated my attention was the paint itself, how it defined forms through nuances of colours, how it created a closed universe in which emptiness was articulated through the volume of different objects, how the superimposition of multiple brushstrokes of pigment was not expressionist or instinctive but calibrated and precise, capable of defining objects and spaces.
There is nothing modern, digital or photographic about these small and medium sized canvases on which multiple layers of paint have been layered to a point of total saturation. Instead they feel suspended out of time as if their very existence could question the notion of a progressive development in art history. Cristof Yvoré’s paintings portray vases of flowers, corners of rooms, balloons on a ceiling, empty plates, pots or jars, close-ups of fruits or vegetables that simply exist occupying the canvas and denying any trace of human presence or narrative; architectural non-places and still-lives, consumed by visual culture to such an extent that they evoke a constant sense of dejà-vu. The sophisticated balance between compositional elements and the dissonance in the choice of colours and texture, as much as the anonymous nature of the images allows for them to become, for each viewer, acquired memories, non-subjects that already occupy our unconscious. This is not related to any form of esoteric or mysterious vision but to the fact that Yvoré paints from memory images of unspecific, often anonymous, places or still lives, stripped of any specific details or narrative elements.
Yvoré talks unwillingly about what is the origin of his work, which has coherently developed since the beginning of his career in the field of figuration. ‘The process of executing each painting is quite long; I rethink the figure and the background several times and load them with successive thick layers of paint. By applying paint so extravagantly I run the risk that at any moment each painting could deteriorate into a thick crust. I play with the possibility of going as far as the boundary beyond which everything flips over into a complete mess. Having reached that line I can decide whether to start all over again or just to carry on.’
There is in his work a deep knowledge of painting’s history, and numerous formal references. Yet even if Cristof Yvoré’s work can be analysed through the lens of art history, it is important to contextualize his canvases in the art that is being produced today.
The history of painting in the south of France and in particular Cézanne’s heritage of ‘constructive brushstrokes’ of pure colour can be mentioned as reference for Yvoré’s work; yet I feel it is important to relate his artistic production with the developments of Italian early 20th century painting (Pittura Metafisica, Novecento Italiano) to understand the complex nature of his work. If Giorgio Morandi’s seductive and beautiful paintings were born on nuances of semi-colours, through a unique unity between space and objects, Yvoré’s works are marked by the essential archaic sculptural presence of his objects, which recalling some of Carlo Carra’s early metaphysical experiments, develop through the contrast of volumes.
Even if Yvoré’s paintings could be read as obsessive, introvert experiments, isolated from contemporary artistic developments, after careful analysis his oeuvre manifests itself as a form of post-conceptual practice. This is clear when comparing his still-lives with Morandi’s production. If the Italian master worked in a claustrophobic universe in which the still-lives he created and obsessively portrayed, became an existential limit for the definition of his poetics, Yvorè is apparently indifferent to the subjects he decides to portray. I say apparently because even if it is undeniable that there is no research for the subject or theme of his paintings there is a conscious decision to depict anonymous subjects. Instead of choosing images in some way loaded with personal meanings or emotions, Yvoré singles out insignificant memories or better abstract memories of non-places that allow the practice of painting of become more important than the painting itself.
Since the beginning of his career, this artist has chosen to work as a figurative painter, yet none of his subjects can possibly have any relevance to his personal life or to our vision of reality. His paintings are always articulated around an idea of absence and emptiness: the corner of a room, the curtains bathed in sunlight, the details of a vase of flowers, a pair of empty plates, yet the canvas is so thick with the multiple layers of paint, which he mixes personally, that the emptiness is contradicted by the feeling of painterly over-saturation. Similarly his canvases evoke a sense of claustrophobia due to the fact that there is no horizon that opens up to a viewer, his subjects are shoved a little to close to us; the corners of his anonymous rooms are dead ends that do not allow for our gaze to move or explore the spaces he depicts. These paintings aren’t windows that open up but instead spaces over-saturated with matter. Therefore the superimposition of multiple layers of paint metaphorically represents the number of times these subjects have been represented in the history of western art. Can an empty jar or vase of flowers still be the subject of a painting? The mechanism of this work is fascinating as what irresistibly pulls you inside the work is the fact that the work itself refuses any interpretation.
There is a profound dichotomy in the work, which is post-conceptual in the sense that it is born out of multiple contradictions that articulate the question of what figurative painting can be today, but, on the other hand, the elaborate painterly nature of the work, as well as the actual execution of each painting, involves the artist in months of intense personal effort. Working with a subtle toned palette of greys, pinks, beiges and browns in which hues of red or blue occasionally stand out, Yvoré seems to be experimenting on the limit of what a painting is and can be. It is as if the modernist lecture of reducing a painting to canvas and paint is taken one step further. Cristof Yvoré seems to answer the question of what a painting can be in post-conceptual mode: a painting is a painting is a painting, or better a painting is a painting of paint that paints something. (Ilaria Bonacossa)
Contact: Pascal Neveux, FRAC PACA: pascal.neveux@fracpaca.org & assistant expo à Lurs: cecile.coudreau@fracpaca.org (diffusionhlm@frac-provence-alpes-cotedazur.org)
Luc TuymansThe Cry1989oil on canvas37 x 45 cm
Luc TuymansDolls I2022oil on canvas102,5 x 66,5 cm
Luc TuymansDolls II2022oil on canvas102,5 x 67,5 cm
Luc TuymansDolls III2022oil on canvas103 x 82,5 cm
Anton CorbijnAllen Ginsberg, New York1996lithprint (edition of 20 + 2 AP)69 x 68 cm
Anton CorbijnWilliam S. Burroughs, Lawrence1993lithprint (edition of 20)68 x 69 cm
Anton CorbijnNaomi Campbell, London1994pigment print on Hahnemühle fine art paper, mounted on aluminium (edition of 5)142 x 142 cm
Mark MandersUnfired Clay Head2015 - 2016painted epoxy, wood, stainless steel, glass43,2 x 31 x 31 cm
Dirk BraeckmanE.P.-S.V.-931993gelatin silver print mounted on aluminium support (edition of 3 + 1 AP)120 x 80 cm
Johannes KahrsGirl with Yellow Wig2005oil on canvas63,0 x 56,4 cm
Dirk BraeckmanT.I.-A.B.-152015gelatin silver print reversibly mounted on aluminium support (edition of 5 + 1 AP)90 x 60 cm
Johannes Kahrsuntitled (zu bett gehen)2021oil on canvas45,2 x 80 cm
Johannes Kahrsuntitled (zu bett gehen)2020oil on canvas45,2 x 80 cm
Marlene DumasPornoblues19936 watercolours on pape
Mark MandersFox / Mouse / Belt1993painted bronze, belt (edition of 3 + 2 AP)15 x 120 x 40 cm
Marlene DumasBaudelaire (double)2020oil on canvas40 x 30 cm
Photo: Peter CoxCourtesy Zeno X GalleryInstallation view
Photo: Ludovic CombeCourtesy FRAC AuvergneInstallation view
Photo: Laurent LecatCourtesy FRAC PACA, MarseilleInstallation view
Anton CorbijnJohnny Halliday, London1994inkjet print on Hahnemühle 285 grs. fine art pearl photo paper, mounted on dibond (edition of 5 + 2 AP)
Anton CorbijnKurt Cobain, Seattle1993inkjet print on Hahnemühle 285 grs. fine art pearl photo paper mounted on dibond (edition of 5 + 2 AP)
John KörmelingDrollie's Kamer (Drollie's Room)2015pencil on coloured paper21 x 29,7 cm
John KörmelingDe Wereld in Rechte Lijnen2016pencil on paper21 x 30 cm
John KörmelingDe Kloppende Kalender2017pencil on paper29 x 41,5 cm
Raoul De KeyserUntitled1999watercolour on paper16 x 11 cm
Anne-Mie Van KerckhovenModerne Anesthesie (Modern Anesthesia)2017pencil, coloured pencil, oil pastel, soft pastel and ink on paper30,5 x 40,5 cm
Anne-Mie Van KerckhovenIl l'avait connu à port Said (He Had Known Him in Port Said)2017pencil, coloured pencil, oil pastel, soft pastel and ink on paper30,5 x 40,5 cm
Anne-Mie Van KerckhovenUne italienne nommée Carmen (An Italian Woman Named Carmen)2015-2017pencil, coloured pencil, oil pastel, soft pastel and ink on paper30,5 x 40,5 cm
Anne-Mie Van KerckhovenI Tried to Drown My Sorrows2017pencil, coloured pencil, oil pastel, soft pastel and ink on paper32 x 24 cm
Anne-Mie Van KerckhovenSome Style Is Legendary2017pencil, coloured pencil, oil pastel, soft pastel and ink on paper30,5 x 22,8 cm
Mircea SuciuStudy for Noumena (2)2015oil, acrylic and silkscreen on paper65,5 x 45,5 cm
Mircea SuciuStudy for Noumena (4)2015oil, acrylic and silkscreen on paper65,5 x 45,5 cm
Mircea SuciuStudy for Noumena (3)2015oil, acrylic and silkscreen on paper65,5 x 45,5 cm
Mircea SuciuStudy for Noumena (1)2015oil, acrylic and silkscreen on paper65,5 x 45,5 cm
Johannes KahrsUntitled (nude with shadow)2017charcoal and pastel on paper143,5 x 109,2 cm
Yun-Fei JiParty Secretary's Dream2015ink and watercolour on Xuan paper mounted on silk38,6 x 104,4 cm
Yun-Fei JiThe Meeting2015ink and watercolour on Xuan paper mounted on silk80,4 x 62,8 cm
Cristof YvoréUntitled2008collage, pencil and graphite on digital print27 x 39 cm
Cristof YvoréUntitled2013ballpoint pen and soft pastel on paper21,9 x 29,7 cm
Cristof YvoréUntitled2011gouache on paper14 x 11,5 cm
Jan De MaesschalckDeparture at the crack of day2016acrylic on paper68,5 x 52 cm
Jan De MaesschalckDomesticated #82015acrylic on newspaper30 x 44,4 cm
Jan De MaesschalckDomesticated #212015acrylic on newspaper30 x 22,2 cm
Anton CorbijnNick Cave (piano), London1997inkjet print on Hahnemühle 285 grs. fine art pearl photo paper, mounted on dibond (edition of 5 + 2 AP)125 x 125 cm
Bart StolleLFMS0502152015ink and pencil on paper21 x 13,2 cm
Bart StolleLFMS1508152015ink and pencil on paper13,2 x 21 cm
Bart StolleLFMS0608152015ink and pencil on paper13,2 x 21 cm
Bart StolleUntitledDBS2015_091pencil and ink on pape
Grace SchwindtThree Steel Sculptures and Salt in Corridor from Above2015pencil, acrylic on paper42 x 27,5 cm
Grace SchwindtDancer in Colour Dress2016pencil, acrylic on paper42 x 29,7 cm
Grace SchwindtFamily House2014pencil, acrylic on paper40,5 x 29,3 cm
Grace SchwindtDancer Pausing on Shape2016pencil, acrylic on paper29,7 x 42 cm
Grace SchwindtBlade2014pencil, acrylic on paper34,9 x 27,7 cm
Grace SchwindtRed Rectangle2014pencil, acrylic on paper34,2 x 27,7 cm
Grace SchwindtFigure for a Dance2015pencil, acrylic on paper42 x 29,7 cm
Photo: Peter CoxCourtesy Zeno X Gallery, AntwerpInstallation view
Photo: Jean-Christophe LettCourtesy the artist and FRAC PACA, MarseilleInstallation view
Cristof YvoréUntitled2013oil on canvas170,5 x 190,5 x 4 cm
Cristof YvoréUntitled2013oil on canvas42,5 x 30,5 cm
Cristof YvoréUntitled2006 - 2013oil on canvas86 x 80,5 cm
Cristof YvoréUn lapin1993oil on canvas25 x 40 cm
Cristof YvoréUntitled1995oil on canvas35 x 27 cm
Cristof YvoréMississippi1998oil on canvas65 x 54 cm
Cristof YvoréUntitled1998oil on canvas38 x 46 cm
Cristof YvoréUntitled2005oil on canvas66 x 69,5 cm
Cristof YvoréUntitled2013oil on canvas66,5 x 85,5 cm
Photo: Peter CoxCourtesy Zeno X Gallery - Antwerp
Cristof YvoréUntitled2010oil on canvas94,5 x 112 cm
Cristof YvoréUntitled2010oil on canvas80 x 90 cm
Cristof YvoréUntitled2011oil on canvas40 x 30 cm
Cristof YvoréUntitled2011oil on canvas100 x 80 cm
Cristof YvoréUntitled2011oil on canvas68,5 x 86 cm
Cristof YvoréUntitled2011oil on canvas85 x 67,5 cm
Cristof YvoréUntitled2011oil on canvas80,5 x 90,5 cm
Raoul De KeyserUntitled1987oil on canvas48 x 30 cm
John KörmelingGlass Bridge, Ponte dell'Academia, Venice1985scale model: glass, plexi dome, marble and blue limestone21,5 x 65,0 x 21,0 cm
Marlene DumasGive the People What They Want1992oil on canvas40 x 30 cm
Luc TuymansDer Diagnostische Blick IV1992oil on paper57 x 38 cm
Yun-Fei JiThe Water Buffalo2006mineral pigment on rice paper33 x 32,8 cm
Anton CorbijnBjörk, Los Angeles1994gelatin silver print handprinted on oriental Seagull paper (edition of 20)68 x 69 cm
Dirk BraeckmanA.D.F.-B.E.-032003gelatin silver print mounted on aluminium support (edition of 3 + 1 AP)180 x 120 cm
Dirk BraeckmanHinge #12006ultrachrome inkjet print on Fuji photo rag paper mounted on aluminium support (edition of 5 + 1 AP)49 x 36 cm
Mark MandersFragment from Self-Portrait as a Building1986 - 1992painted bronze, mixed media (1 of 3)variable dimensions
Anne-Mie Van KerckhovenHomo Bulla1983 - 1984acrylic on plexi, mounted on steel plate100,3 x 201,5 cm
Patrick Van CaeckenberghSchildpad (Turtle)1990turtle shell, mixed media15 x 20 x 30 cm
Michaël BorremansThe Resemblance2006oil on canvas2 x (36 x 42 cm)
Michaël BorremansWeight200535mm, 9'44", continuous loop (edition of 3 + 1 AP)35,5 x 27,5 x 4 cm
Miriam CahnKrieg1998oil on canvas(90,5 x 56,8) + (105 x 60,5) cm
Raoul De KeyserDisaster2006charcoal, oil and gesso on canvas56 x 48 cm
Raoul De KeyserFlow2006oil on canvas36 x 30 cm
Jan De MaesschalckUntitled2002acrylic on paper27,3 x 36 cm
Jan De MaesschalckUntitled2003acrylic on paper27 x 35,7 cm
Stan DouglasRookery, Burnaby2001C-print (edition of 7)125 x 171 cm
Marlene DumasTina2006oil on canvas110 x 130 cm
Marc GoethalsUntitled1986oil on canvas18 x 24 cm
Kees GoudzwaardScreen2006oil on canvas120 x 80 cm
Mary HeilmannJohngiorno1995oil on canvas196 x 146 cm
Arturo HerreraUntitled (Dia Collage)1998mixed media on paper30,5 x 22,8 cm
Yun-Fei JiTwo Men with Bags2006mineral pigment on rice paper50,5 x 39,5 cm
Kim JonesUntitled (war drawing)2005 - 2006pencil on paper63,6 x 96,3 cm
Johannes Kahrsuntitled (origine du monde)1997charcoal and pastel on paper118 x 84 cm
Johannes KahrsMik's hand2005oil on canvas52 x 62 cm
John KörmelingMeeting point2005scale model, metal11 x 38 x 20 cm
Bernd LohausUntitled1984wooden crate with silver paper44,5 x 35 x 6 cm
Mark MandersFragment from Self-Portrait as a Building1993mixed media(12 x 90 x 15,5 cm) + (24,5 x Ø11,5 cm) + (12,5 x Ø10 cm)
Arno Nollendoped at anna's Barcelona2002colour photograph (edition of 5)45,5 x 30 cm
Arno NollenTrainingsjasje2004colour photograph (edition of 5)45 x 30 cm
Avery PreesmanUntitled2000wood, concrete95 x 70 x 45 cm
Gert Robijns26 x 26 alphabet1985mixed media32,5 x 110 x 130 cm
Jenny ScobelMackerel Sky2006graphite, watercolour and wax on gessoed wood107 x 61 cm
Maria SerebriakovaUntitled1989wood161 x 41 x 53 cm
Maria SerebriakovaUntitled1989wood160 x 70 x 31 cm
Maria SerebriakovaUntitled1989wood160 x 49 x 48 cm
Maria SerebriakovaUntitled1992book sculpture with house20 x 37 x 25 cm
Maria SerebriakovaLandscape2006oil on wood45 x 35 cm
Miroslav TichyUntitled (inv.nr.4-6-121)black and white photograph16,8 x 12,4 cm
Miroslav TichyUntitled (inv.nr.4-6-133)black and white photograph17,9 x 7,9 cm
Miroslav TichyUntitled (inv.nr.4-6-199)gelatin silver print27,2 x 19,6 cm
Luc TuymansImperméable2006oil on canvas224 x 94 cm
Anne-Mie Van KerckhovenRewritten, It Was Later to Become2005digital print, plexi and Forex41 x 75 cm
Anne-Mie Van KerckhovenChippendale (Angel in the House)2005digital print, plexi and Forex35 x 75 cm
Anne-Mie Van KerckhovenRewritten, It Was Later to Become2005Lambda print integrated in plexi lightbox41 x 75 x 14,5 cm
Cristof YvoréUntitled2006oil on canvas68,5 x 86 cm
Photo: Peter CoxCourtesy Zeno X Gallery, Antwerp25 years Zeno X Gallery - installation view
Cristof YvoréMa chérie1997oil on canvas38 x 46 cm
Untitled1996oil on canvas55 x 46 cm
Cristof YvoréUntitled1997oil on canvas33 x 24 cm
Cristof YvoréUntitled1997oil on canvas41 x 33 cm
Cristof YvoréDes saisons dans les villes1996 - 1997oil on canvas
Cristof YvoréLina1996 - 1997oil on canvas41 x 24 cm
Cristof YvoréUntitled1994oil on canvas37,5 x 21 cm
Cristof YvoréLes deux amis1994oil on canvas116 x 78 cm
Cristof YvoréPatrick Travail1995oil on canvas125 x 125 cm
Cristof YvoréLes chanteurs1995oil on canvas200 x 200 cm
Cristof YvoréRoméos1995oil on canvas
Cristof YvoréLa gifle1995oil on canvas27 x 46 cm
Cristof YvoréUntitled1995oil on canvas81 x 100 cm
Cristof YvoréLa tradition du Pôle1994Chinese ink on canvas155 x 170 cm
Cristof YvoréLe cheval bleu1994oil on canvas51 x 62,5 cm
Cristof YvoréL'Armoire1994oil on canvas200 x 200 cm
Bronx Museum of the Arts, Bronx, United States of America FRAC Auvergne, Clermont-Ferrand, France FRAC Normandi Rouen, Sotteville-lès-Rouen, France FRAC Provence-Alpes-Côte d’Azur, Marseille, France Hudson Valley Center for Contemporary Art, Peekskill, United States of America Museum Het Domein, Sittard, The Netherlands M WOODS, Beijing, China
“Hommage an Cristof Yvoré im Kunstforum der TU Darmstadt” www.fr.de, article by Joachim Jens (online) January 2023
“Cristof Yvoré: Pots, lapin, fenêtres, fleurs” Ce Même Monde – Le magazine du Frac / Fonds régional d’art contemporain Provence-Alpes-Côte d’Azur 2019
“Cristof Yvoré” M Woods, Beijing (China) (press release) March – June 2017
“Au bord du champ; Cristof Yvoré” Journal Officiel Marseille, no. 054, article by Frédéric Valabrègue (p.10-12) 2014
“Cristof Yvoré ou la solitude en peinture” La République de l’art, text by Patrick Scemama September 2013
“Les peintures archétypales de Cristof Yvoré” FRAC Provence Alpes Cote d’Azur, text by Ilaria Bonacossa May – June 2013
FRAC Provence-Alpes-Côte d'AzurMarseille, France, 2019191 pages, ISBN 9782907672283
Roma Publications 208Amsterdam, Netherlands, 2013232 pages, ISBN 9789491843020
Roma Publications 76Amsterdam, Netherlands, 200543 pages