Founded in Saint-Étienne in 2006 by François Ceysson and Loic Bénétière, subsequently joined by Bernard Ceysson, artistic advisor, the Ceysson & Bénétière gallery initially expanded its presence in French-speaking Europe: Luxembourg, Paris and then Geneva. In Luxembourg, besides the space in Luxembourg city, the gallery now has another vast space at Wandhaff /Windhof near Koerich, measuring 1400 m2 and with more than 1200 m2 devoted solely to exhibitions.

Multiplying exhibition spaces is for us neither an obsession nor a goal in itself. It is simply a matter of better serving our collectors whose trust in us is greatly appreciated. Within the context in which artistic creation develops and spreads nowadays, it is also a matter of showing to best effect the artists we have decided to promote because we are convinced of their talent and, for some of them - the exponents of the Supports/Surfaces movement - because of their historical importance.

The artists we can bring together under the somewhat reductive - so singular and exceptional are their works - yet so convenient term of "Supports/Surfaces movement", have without doubt constituted the ultimate vanguard of modernity. But they have also paved the way for subsequent generations of artists who, thanks to them, have been able to reject the sterile game of an endless repetition of the "last picture" and so revive an art able to affirm that these are not merely "attitudes" able to generate forms, fables and figures.

Art is a means and an object of knowledge. It helps us to be in the world and to think. This is what these artists have expressed in and through their works. This is what the younger American and French artists employ and we are proud to present their works. They are paving the way out of postmodernity, out of the contemporary understood as an avatar of erstwhile isms, towards a new modernity that will be nothing like the "modernism" achieved hitherto.

Other development projects are in the pipeline. They need time to mature. But despite everything, we will talk about them very soon.

Since opening in Saint-Etienne in 2006, our gallery has expanded to Luxembourg and Switzerland and also has a base in Paris. This expansion was certainly pondered, but it was determined neither by a nomadic instinct nor by a desire to be present in every market. Nor do we conduct our activity as though imbued by a sort of desire to mimic international galleries whose opening of branches only reflects a marketing strategy (albeit a fruitful and effective one). In our view, the latter do not really seem to be based on the radical changes that have instead projected us especially over the past decade towards terrae incognitae where all the signposts that until very recently demarcated the course of our lives and our activities are erased.

At the time, we were convinced that for a gallery representing and defending artists who had worked in France or were still working there, it was necessary to showcase their already historical works - and their recent work - in Europe and in Francophone countries. It was, after all, in this context, one in which these works had received their most favourable reception in the 1970s, that it would be easiest to effect the expected "revival" of their working practices and theories which both emerged from and stimulated them. We were not wrong, but, paradoxically this "renaissance" is also unfolding in the United States. Is it a coincidence? The result of a long-term undertaking carried forward with perseverance and inviting us to continue unabated?

This is why in March 2015 we opened a second gallery in Luxembourg at Windhof/Wandhaff near Koerich. In the same building in which we anticipated this opening in May 2014 with a display of works by Claude Viallat over an area of nearly 1000 m2. There, in a vast area of 1400 m2, we first arranged an exhibition space of over 850 m2 and then presented an exhibition of sculptures by Bernar Venet as though in a museum. Then we undertook a dramatic expansion which now offers us an exhibition area of 1250 m2, large work areas, an office, a library and a proper platform for storage and logistics. Luxembourg has become the de facto centre of our activity and should, very soon, also become the de jure base for our companies. We are at the heart of Europe there, close to an international airport located an hour's flight from three very large international airports: Paris, Frankfurt and London, and at the crossroads of the major North-South and East-West routes, an area in which important European institutions have their bases, and in a country undergoing intense economic, demographic and urban development.

This new state of affairs obliges us to ask ourselves about our future, our future development. And also, of course, to reposition ourselves in two fundamental contexts. That of a world undergoing the radical changes mentioned above: changes that have always brought about the technical inventions and cultural leaps that have favoured them. And that of our own field of activities.

The world's disenchantment is accompanied today by predictable disorders creating chaos in a very brief "space-time": almost the same length of time as is bizarrely described as "real" in the Internet. What is happening to the industrial and post-industrial modes of production and to lifestyles in troubled times almost falling within the scope of an archaeology understandable only to anthropologists, perhaps allows a glimpse of a scenario of liberating shocks, favouring an opportunity for effervescent creativity, for conceptualisation and scientific processes, for explorations of the imagination and prescient formal anticipations that present art offers us.

That is why the current systems and modes of distribution, propagation, consecration and "consumption" in the field of artistic creation appear increasingly inappropriate to us. Fairs and the flows of internet communication are seeing the restructuring of museums, art centres and galleries. And unexpected changes in approach, even though one may question the sustainability of the plethora of fairs that have appeared. As for museums, if we consider their existence from the perspective of a long period of time, they are but recent creations. The ideologies - and the philosophical, political and progressive convictions from which they were formalised - that created, developed and organised them are no longer relevant. Yet museums proliferate. But these museums have nothing to do with the museum as it was conceived in the Enlightenment. The fact is that like in the eighteenth century, we are living through a structurally similar crisis in European consciousness - so well described in 1935 by Paul Hazard - a global, planetary crisis. We can only foresee what the possible outcomes might be. It will affect, and is indeed already affecting the economy of art, from its production to its consumption. One observation may already be made: the borders between museums, foundations, fairs, auction houses and galleries are being erased. And at the same time, specialisations reviving those proposed by academic art in the nineteenth century are taking form. The art exhibited, for example, in art centres, museums, biennials, aims to be dramatic, uplifting, the bearer of themes determined rather than inspired by current affairs and militant sociology. A sort of will to engage with the misfortunes of the human condition and the spread of compassionate indignation is today rekindling the projects of many more or less socialist realisms or of this burning desire to bear witness to the times in a manner that used - in the fifties, in France - to be illustrated by a famous salon.

It is worth stressing this paradox: the propagation of forms, fables and figures that seem to establish new aesthetic standards everywhere, on a global scale, and briefly establish apparently international hierarchies, are opposed or spread by other plays of forms, fables, figures, that are deliberately localisable. Everything seems to happen in the field of art in the same way as in geopolitics. Aggregations of states being formed are not automatically rejected, except by fools and supporters of unfounded isolationism but arouse, as a necessary counterpoint, local cultural celebrations which often impose and disseminate cultural specificities enriching overall artistic creation. Like population flows moving from one place to another and grafting the beginnings of fruitful developments in their new locations.

The galleries are caught in this weft and chain that weave a new text to decipher. Yet showing is simple. But establishing this showing in a context of which the measure is beyond our grasp is less so. Should we perhaps simply try to forge our own new tools? The proliferation of venues is perhaps no more appropriate to this new situation than retrenching and retreating to a single one. It is not so much the place that matters as the spirit pervading it. A path has to be cleared to establish what a gallery should be in this situation, which is an apparently damning one. For both artists and collectors, whilst not forgetting that the gallery lying at the crossroads of artistic creation and the sale of works must submit willingly to a demanding ethic underpinning its actions.

Our new space in Luxembourg allows us to sketch out a pragmatic response as evidenced by the Feed The Meter exhibition dedicated to the young American scene, which is neither a gallery exhibition nor a museum one. To parody Robert Rauschenberg, we want to work in the gap that separates the museum from the gallery. How? We do not know. We only know what we learned from Supports/Surfaces: any project, any concept, any idea, can only become reality in this intertwining of paths woven by the shuttle that runs between practice and theory. So we have to ensure that we be continually critical. And to do this we must certainly change our habits wherever we work. We shall be coming back to these issues very soon.

About our new space in Luxembourg Wandhaff :

With winter drawing to an end, we will be opening a new space on the first day of spring: at Wandhaff/Windhof, in Koerich in the Grand Duchy of Luxembourg. In the heart of the Greater Region. The "wind farm" is no more and has given way to a shopping and activities centre arranged around a roundabout distributing traffic between Belgium, France, Germany and the Grand Duchy itself. This important crossing point has attracted not only shopping centres but also offices and businesses. Arlon is 19 km away, Luxembourg and its TGV railway station 16 km away, Metz is 77 km away, Sarrebruck 116 km. Brussels too is close: just two hours' journey, as are cities like Frankfurt, Cologne and Düsseldorf.

This new space has been carved from an industrial building similar to those to be found in most industrial and commercial areas, and rather like those in Brooklyn, in like manner to the garages of Chelsea. that have been transformed into art galleries. Wandhaff is a more "urbanised" Brooklyn chic. Within, however, this new space offers the size and "look" of Chelsea garages: 1400 square metres, of which more than 800 square metres dedicated to exhibitions. It includes space for stock and storage, a workshop, offices and conference rooms. And a shop located before the flexible exhibition spaces.

It seemed necessary to us that this space include a bookshop. This offers a place in which to rest and to consult books. Books and catalogues documenting the exhibition will be available, and it will also be possible to buy a range of publications, catalogues, essays, monographs on art generally, but focusing especially on modern and contemporary art and the so-called primitive arts. Visitors may also purchase objects of a carefully selected design created and made for leading international museums.

This large space - which will provide an effective complement to our gallery in rue Wiltheim - will be inaugurated with an impressive presentation of works by Bernar Venet. Rue Wiltheim will display some rare and important paintings, while Wandhaff will present recent drawings and sculptures, "Gribs", collapses, undetermined arcs and lines; in other words, the monumental pieces the artist favours. Their display demands spaces like this one. This is one of the missions and functions of a gallery of a size that we might define as being à la "Chelsea". But this is just one of the reasons for our ambitious plans for growth. The size of this space and the amplitude of its volume, the possibilities of partitioning the space it enables, strengthen our conviction that a shift in the model and modes of functioning of galleries is inevitable. This is a shift already anticipated by major international galleries, American above all. We owed it to ourselves to participate in this. We owe it to the artists we promote, to the artists who accompany us in their career. We owe it to our collectors, who have for the most part become friends. They will note that to defend the artists we love and in whom we believe with the passion I believe we demonstrate, we are ready to accept the risks that such a large, spectacular space entails, and to do so with a certain jubilation, albeit with a little anxiousness too, of course. Ours is an ambition which we demonstrate "here" - and I am looking at the drawing of the famous sculpture entitled "Here" by Barnett Newman that celebrates and exalts (in every sense of the word) New York! "Here" is thus Luxembourg! We believe that here we can develop the activities of our galleries and participate in the economic, cultural and social development of an active and energetic country that is open to innovations that we feel are already determining our future.

The size of this space enables us to envisage real exhibitions, Exhibitions that will no longer be just gallery exhibitions. This is necessary where museum exhibitions are often nothing more than enlarged gallery exhibitions. This is obvious, inevitable. The announced end of the history of art, like that of history itself in the past, the evident splintering of chronology, the triumph of a happenstance "atemporality" affecting every field of human science - especially that of art and of an approximative philosophy aiming to replace the history of art and sociology - with internet taking the place of erudition, means we are confronted with a situation as though we had suddenly been been stripped of the dangerous ponderousness of history and of determinism that this last sometimes generates. Submitted to this belief, the interpretation of works of art tends to limit itself more and more to a sort of textual packaging squeezing them into contents wrongly assigned to them. They are read and no longer seen, and their very form vanishes. Folic and Kubler are forgotten. And moreover, the mercenary value of the works henceforth obliterates their reality. As for the "connoisseur's" approach of former times, this is now considered to be anachronistic. But since chronology no longer has reason to exist…

This space will thus enable us to organise exhibitions that will happily aspire to be more than just gallery presentations. We will be able to imagine real retrospectives of the work of a given one of our artists, and organise thematic comparisons that are developed and arranged in space and time. In other words, these works will not be laid out in accordance with that "atemporality" that encourages the curse of anachronisms.

These presentations will not be limited just to works by artists our gallery represents, but will be open to all artists' works whose presence appears necessary to us, as is the case in museums. And this is what major galleries do. We will do so too, with the means at our disposal. This is why we propose, once a year, to show the works that informed and determined collectors have succeeding in acquiring. It goes without saying that in some of the exhibitions we are dreaming of, there will be no works for sale. Because we believe that, since we have been able to set up such a space here, we must participate more pro-actively in the cultural life of Luxembourg.

Having said that, this opening does, of course, obey some professional imperatives and reveals stakes that the topicality of artistic life recalls and reiterates. This is witnessed by numerous essays and articles written by talented university individuals or insightful and well-informed journalists. This is not the place to sketch out an analysis of this; I shall limit myself to stressing a few points. Anyone wishing to defend his artists must, frequently and well, facilitate their being recognised. Fairs are not sufficient. Galleries are still indispensable, therefore. But the auctioneers are re-inventing themselves as gallery owners too, organising exhibitions close to their salesrooms. Galleries need to be aware of this and re-affirm their own specificity and the missions that are still theirs. In order to show the works of artists they are promoting and impose their presence in a manner that is effective, galleries need spaces in important commercial areas. Whence the large physical size of the entrepreneurial galleries which is becoming the rule. And so we too must bend to these new rules, but in declaring that our ambition aims to breathe new life into what used to be called (and which was once the name of a periodical) the love of art: a passion for works of art. In other words, to give people something to look at. To think about!

The decision to arrange this large space as a gallery was not taken lightly. Nor was it taken without some concerns. But our decision was made easier and stimulated, by the optimistic enthusiasm of the building's owners, whose attention, support and generosity have been fundamental.

This new space will open to the public on March 21, 2015, with an impressive, spectacular exhibition of sculptures, drawings and paintings by Bernar Venet.

Bernard Ceysson
Bernard Ceysson, born in 1939

After studying literature and art history, in 1967 he was appointed curator of the musée d'Art et d'Industrie in Saint Etienne. At the time, he was youngest institutional head in office, and he led the transformation and development of the museum in such a way that since 1987 three museums in Saint-Etienne have been preserving, studying and displaying the artistic, crafts, historical and industrial heritage of the city: the musée d'Art et d'Industrie in a renovated building; the musée de la mine in the former pit mining site of Couriot with, in the basement, a spectacular reproduction of a mine shaft, and, finally, with the founding of the musée d'Art moderne which now has the second-largest French collection of modern and contemporary art.

Appointed director of the Musée national d'Art moderne, Centre Georges Pompidou in 1986, he resigned the following year and became head of the musée d'art moderne of Saint-Etienne, the project for and creation of which he had assured, together with Didier Guichard, its architect. In the same year, 1987, he was appointed director of the museums of Saint-Etienne.

From 1991, he was also employed as consultant responsible for drafting a museographical project and architectural programme for the Musée d'Art moderne Grand-Duc Jean in Luxembourg, for which the architect chosen was I.M. Pei. From 1996 to 1999, he was the artistic director of the Fondation Musée d'Art moderne Grand-Duc Jean.

He has taught as a lecturer at the universities of Lyon II and Saint Etienne. He participated twice as lecturer in art history in the French programme at Bennington College, Vermont, USA.

Bernard Ceysson is a chevalier of the Légion d'honneur, Croix de la valeur militaire with silver star and Commander of the Order of Merit of the Grand Duchy of Luxembourg.

He has been responsible for the acquisition and donation of important works of art now in the holdings of museums in Saint-Etienne. In the field of art, in addition to some fine Old Masters, made to stay true to the purchasing policy initiated by his predecessor, Maurice German, the acquisitions mainly concerned the fields of modern and contemporary art: 1967 - 1979

1972 - 1976, works by Yves Klein, Raoul Hausmann, Francis Picabia, Kurt Schwitters, Alexandra Exter, Ivan Koudriachov, Jean Hélion, Alberto Magnelli , Jean Dubuffet , Olivier Debré, Gilles Aillaud , Jacques Monory, Bernard Rancillac, Hervé Télémaque, Olivier Mosset , Michel Parmentier, Bernar Venet , Jochen Gerz, among others. But as of 1973, he mostly bought works by artists of the Supports/Surfaces movement and moment, such as Claude Viallat , Louis Cane , Toni Grand , Bernard Pagès, Jean-Michel Meurice , and Christian Jaccard , and arranged for the acquisition of works by Louise Nevelson, Sam Gilliam, Frank Stella , Kenneth Noland, Jim Dine, Tom Wesselmann, Sol LeWitt , Donald Judd, Dan Flavin, Robert Morris , Joseph Kosuth and more. These were the first works of this generation of American artists to enter French public collections.

In 1973, the museum received the donation of a Self-portrait by Andy Warhol, dedicated to Nico, from the Ileana Sonnabend Gallery.

1980 - 1997 The acquisitions grew in number and importance. It became possible to put together some exceptional series thanks to the sponsorship decided by Antoine Guichard of Casino. Two other works by Frank Stella thus joined the collection. These were followed by works by Morris Louis, Roy Lichtenstein, Carl Andre , Donald Judd, (2) Ellsworth Kelly (2), Joseph Kosuth, On Kawara and Robert Morris , the last offering a work to the museum after a major purchase. Thus was formed the only convincing collection of American art outside Paris. Other works followed; Richard Long, Victor Burgin, Art & Language, Barry Flanagan, David Tremlett, John Murphy, Anthony Cragg, Julian Schnabel, Barbara Kruger, John Baldassari, a monumental work by Claes Oldenburg and Cossje van Bruggen and a series of photographs by Berndt and Hilla Becher. Works by Georg Baselitz, Markus Lüpertz, A.R. Penck were also acquired at this time.

In 1983, following the exhibition of his recent paintings by the museum, Gerhard Richter accompanied the purchase of Glen with the donation of one of his first Vanities. That same year, after the monographic exhibition devoted to her by the museum, a work by Cindy Sherman joined the collections.

A set of works (12) by Jean Dubuffet was also brought together. Important works by César Domela, Jean Herbin, Jean Fautrier , André Masson, Yves Tanguy, Germaine Richier , Pierre Soulages (4), Hans Hartung , Bram Van Velde, Simon Hantaï, François Morellet entered the collections. Similarly, groups of works were formed by artists of or close to various movements, including New Realism - Arman , Villeglé Spoerri -– Supports/Surfaces - Claude Viallat , Daniel Dezeuze , Marc Devade , Noël Dolla, Patrick Saytour , Bernard Pagès - of which the Museum of Saint-Étienne holds the the largest collection, together with the Centre Georges Pompidou in Paris. In counterpoint, a number of Arte Povera works were also collected: Mario Merz, Gilberto Zorio, Luciano Fabro, Giuseppe Penone.

During this same period, the museum also acquired two important installations by Daniel Buren and sought to collect installations, paintings and photographs of other artists like Bertrand Lavier, Bernar Venet , Helmut Federle , Thomas Schütte, Ludger Gerdes, Thomas Ruff, Thomas Struth, Harald Klingelhöller, Jean-Michel Othoniel, Fabrice Hybert, Jana Sterbak, Choreh Feydzjou, etc.

At the same time, the museum benefited from major long-term loans of works belonging to the state: Joan Miró, Max Ernst, Pablo Picasso, Fernand Léger, Chagall, Mikhail Larionov, Gerhard Richter, A.R. Penck, etc.

Major donations further enriched the collections. The legacy of Jacqueline Victor-Brauner provided the museum with a set of 20 paintings by Victor Brauner and over 3000 drawings, constituting a unique collection by one of the key exponents of surrealism. The gift by Vicky Rémy rounded off the collection of works of the Supports/Surfaces and conceptual art movements with works by Toni Grand , Bernard Pagès, Ben and especially with the imposing collection of Art & Language works (40 ) works by Hanne Darboven, Tania Mouraud, Robert Filliou and Fluxus (200), Bernar Venet , Dennis Oppenheim, Peter Hutchinson, Bill Beckley, etc. This gift was followed by that of François and Ninon Robelin, composed of essential works by Robert Filliou, Dieter Roth, George Brecht, Sigmar Polke, Michaël Buthe, Günter Brus, Arnulf Rainer , Marcel Broodthaers, Vlassis Caniaris, Wolf Vostell, Erik Dietman , Jochen Gerz, Alighiero Boetti, Barbara and Michaël Leisgen, etc.

In 1997, the Museum of Modern Art of Saint-Etienne was the only museum in France outside Paris able to present such a "corpus" of the French and international art from the late fifties onwards. Besides the donations and long-term loans mentioned, other long-terms loans since turned into donations took place of works acquired by the Caisse des Dépôts et Consignations. This rich collection of an extraordinary set of post-conceptual works enabled the museum to complete its historical collections.

An exceptional loan in terms of quality and the identity of the lender contributed in 1998 to enhance the international status of the museum. This is the loan effected by Ileana Sonnabend of part of her collection. All of a sudden, the museum saw its American collection enhanced with series of major works by Robert Rauschenberg, Cy Twombly, Claes Oldenburg, Andy Warhol, Roy Lichtenstein, Richard Serra, Dan Flavin, Keith Sonnier, Joseph Kosuth, Jeff Koons and more. To these were added further works by Gilbert & George, Jorg Immendorf, Anselm Kiefer and so on...

More recently, the legacy of a work of Morris Louis made good on a promise made orally to Bernard Ceysson in 1997 by Madame Brenner, the artist's widow.

The writing of this "professional" biography enables its author to regret the near disappearance of the museum partitions to display a collection of such magnitude. Of course, the entire collection cannot be displayed permanently, but from time to time, groups of works could be drawn from storage to compose "exhibitions" of real interest. Some of these loans are being returned to the collectors who had made them possible and who are now somewhat vexed at knowing they have never been displayed. One can only deplore this fact with a smile, while trying not to weep from frustration at the ignorance and carelessness of both elected officials and institutional heads.

Bernard Ceysson managed to form an important collections of drawings and one of the largest collections of photography in France, and then to create the largest collection dedicated to "Design" outside Paris.

He has planned, prepared and organised the presentation of more than 150 exhibitions. There is little point in recalling them all. Suffice it to mention:

1971: Peter Saul; Bernard Rancillac. 1973: Réalité, réalités (Donald Judd, Sol LeWitt , Dan Flavin, Frank Stella , Richard Estes, Don Eddy, Claude Viallat , Christian Boltanski, Annette Messager) Hantaï. 1974: Robert Rauschenberg; Sarkis ; Robert Morris ; Réalismes en Allemagne, 1919 - 1933 (Otto Dix, Christian Schad, George Grosz, Heinrich M. Davringhausen, Hannah Höch, Karl Hubbuch, Franz Radziwill, etc.); Nouvelle peinture en France (André-Pierre Arnal, Vincent Bioulès, Daniel Dezeuze , Noël Dolla, Toni Grand , Christian Jaccard , Jean-Michel Meurice , Bernard Pagès, Jean-Pierre Pincemin, Patrick Saytour , Claude Viallat ), Claude Viallat .

These were followed by exhibitions devoted to Jean-Michel Meurice , Toni Grand and Bernard Pagès, Daniel Dezeuze Patrick Saytour , Jochen Gerz, Art & Language, Olivier Debré, etc.

1976: Pierre Soulages ; Les Années 30 en France. 1981: Toni Cragg; Après le classicisme (Georg Baselitz, Jörg Immendorf, Markus Lüpertz, A.R. Penck, Anselm Kiefer, Per Kirkeby, Frank Stella , Susan Rothenberg, Julian Schnabel, David Salle, Raysse, François Rouan, Claude Viallat , Patrick Saytour , Gérard Garouste, Robert Combas, Sandro Chia, etc.). 1982: Mythe, Drame, Tragédie (Jean-Michel Alberola, Gérard Garouste,Georg Baselitz, Markus Lüpertz, Anselm Kiefer, Sandro Chia, Enzo Cucchi, Christopher Le Brun, etc.).

1983 Giacometti; 1984: Gerhard Richter; Cindy Sherman; 1985 Bram Van de Velde; 1987: L'Art en Europe, les années décisives, 1945 - 1953; 1988 Paul Klee. 1989: L'art des années soixante et soixante-dix. La collection Panza; De la Révolution à la Perestroika. Les arts soviétiques dans la collection Ludwig. 1992 Victor Brauner; Supports/Surfaces , 1966 - 1976. 1993 L'Écriture griffée (Antonin Artaud, Victor Brauner, Bernard Buffet , César, Jean Dubuffet , Alberto Giacometti , Francis Gruber, Jean Hélion, Henri Michaux, Germaine Richier , Pierre Tal Coat , Wols). This exhibition was followed by two equally important exhibitions for which unfortunately no catalogues could be published: Entre la sérénité et l'inquiétude and Réalités noires. Both exhibitions brought together works, among others, by Rouault, Braque, Dubuffet, Bissière, Fautrier, Giacometti, Manessier, Magnelli, Bram van Velde, Beckmann, Bissier Baumeister, Corinth, Freud, Bacon, Spencer, Rothko, Tobey and others). Select bibliography:

Besides three important contributions on art in France after the war, and books on art in France and Europe, Bernard Ceylon wrote the text of Volume 3 of La grande histoire de la peinture moderne, De l'invention de l'abstraction au surréalisme, 1910 - 1930, éditions Skira, Geneva, 1982. He has contributed to the collective work: La grande tradition de la sculpture, éditions Skira, Geneva, written in 1987 and, in part, the pages devoted to sculpture in Italy in the Quattrocento. He is the author of a book on Pierre Soulages and of texts on Frank Stella , Lucio Fontana, Alberto Magnelli , Jean Dubuffet , Jean Bazaine, Roger Bissière, Alfred Manessier, Zao Wou-ki, Bram van Velde, Olivier Debré, Julius Bissier , Claude Viallat , Daniel Dezeuze , Gérard Fromanger André Fougeron, and more.

Les galeries d'art contemporain de la province au monde

Art Press 2 - Alain Quemin

February 01, 2018

Supports/Surfaces au del de la peinture

Connaissance des arts - Jean-Franois Lasnier

November 23, 2017

Qui sont les collectionneurs ligeriens ?

Le Progrs -

November 15, 2017

Portrait : Bernard Ceysson

DADADA - France Clarinval

October 27, 2017

Galerie Ceysson & Bntire

DADADA - France Clarinval

October 27, 2017

Dconstruire disent-ils

Les Inrockuptibles - Ingrid Luquet-Gad

October 25, 2017

Les galeries franaises consolident leur prsence Manhattan

Le Journal des Arts - Alain Quemin

September 08, 2017

A New York

Paperjam -

June 07, 2017

Prochain arrt : New York

Paperjam - Cline Coubray

May 03, 2017

Des galeries en mouvement...

La Gazette Drouot -

April 28, 2017

Ceysson & Bntire la conqute de Manhattan

Le Journal des Arts - Stphane Renault

April 28, 2017

Ceysson & Bntire ont pass des Bains New York

Bilan - Etienne Dumont

April 27, 2017

What to see in New York Art galleries this week

The New York Times - Roberta Smith

June 30, 2016

Weekend edition : 8 things to do in New York's art world before June 6

Observer - Culture - Ryan Steadman

February 06, 2016

Bernard Ceysson, art dealer

Journal des Arts, n450 - Vincent Noce

February 05, 2016

Bernard Ceysson doubles in Luxembourg

Connaissance des arts - Axelle Corty

May 27, 2015

From Geneva to Luxembourg with the Ceyssons - tienne Dumont

February 23, 2015

Gallerists that have succeeded abroad

Les Echos - Martine Robert

February 11, 2015

Galerie Ceysson

Le Progrs - Clment Goutelle

July 01, 2014

Ceysson Bntire, Geneva's trio

Connaissance des arts - Franoise Chauvin

February 14, 2013

Bernard Ceysson in Geneva

espaces contemporains - Josiane Guilloud-Cavat

February 19, 2012

Galerie Ceysson. Aux Bains

La Tribune de Genve - tienne Dumont

February 11, 2012

Abstraction out of bounds

Art In America - Raphael Rubenstein

November 01, 1997

Ceysson, de Luxembourg New York

Le Jeudi -

November 30, -1