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Born in 1989, François Malingrëy graduated from L'École des Arts Décoratifs of Strasbourg in 2013. In 205, he participated in the Salont de Montrouge, where he win the prize of the Conseil General des Hauts de Seine and showed his work at the Palais de Tokyo (Paris).
At the same time, François Malingrëy had his first solo and group exhibitions between Paris, Strasbourg, Nancy and Luxembourg where he presented "Les moqueurs" in 2018 at the Hervé Lancelin gallery. It was during this period that he met Franck Le Feuvre and Jonathan Roze who have represented him ever since. François Malingrëy made his debut at Le Feuvre & Roze gallery alongside Julien Colombier for the duo exhibition "Les Nouveaux" at the end of 2018. This was followed by three solo exhibitions (for each one a catalog is published): "Les Silencieux", from March to May 2020, "La Chambre Rouge", in September 2021 (a double solo show at Art Paris Art Fair and at the gallery) and "Les reflets, la naissance, les effondrés" in May 2023. For this last exhibition, the gallery is partnering with Christie's to unveil, a few days before the opening, a selection of twelve works in the salons of the Parisian auction house.
François Malingrëy's work, whether painting, mural or sculpture, has also attracted the interest of renowed collectors, as well as public and private institutions, including: Le Musée des Beaux-Arts de Nancy, Le Palais de Tokyo, le Musée de La Chasse et de La Nature (Paris), the Museo Villa Dei Cedri (Bellinzona, Switzerland), and the Fondation Pierre and Poppy Salinger (Le Thor, France).
Joanthan ROZE
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François Malingrëy, text by Marie Maertens
Ever-generous for each of his exhibitions, François Malingrëy likes to showcase myriadcanvases in diverse formats, sometimes overlooked by painted wood panels, andenhanced here with new plaster or bronze sculptures. Accompanying his stages of life- for the models in his paintings are the people he shares his own life with -, the works primarily bear on the upheaval of a new child’s arrival and question what it means tobe born in this day and age. Even depicting himself as a somewhat inquiring father -waiting to see what will happen next -, churning out images of his partner and the mother of his first child, he repeats images of a baby’s body such that it becomes a stereotype, a sort of generic, sculptural model by its immaculate whiteness, a timeless mythological figure, all the while being the protagonist of an energetic storyboard.Drawn from photographs, these babies are reminiscent of putti from history of art and could be likened to the figure of a cheeky, mischievous Cupid. The artist knows his classics, but will not openly share any references, aside from name-droppingVilhelm Hammershoi and Félix Vallotton, for the compositions of his interiors. Despite their apparent sense of calm, we wonder - worrying slightly, even - about what is coming or about this highlighting of cracks and possibilities that each one might collapse. These intimate settings are clearly outlined, balanced, and often begin - likeon a stage - with a piece of scenery. The artist allows a form of almost natural creative virtuosity to emerge there, especially in the rendering of fabrics, before positioning his characters, whose faces are sometimes hidden, so as not to reveal their intentions straightaway or so as to maintain a certain distance. Against neutral or more narrative backdrops, grounds lit in different densities, the same model is seen adopting several positions from one canvas to the next, alternating between hieratic sculptural poses and lively, dance-like juxtapositions. So it hardly comes as a surprise to learn that he admires Pina Bausch, since the actors’ muscled legs and arms or chests convey their vitality - all the while emphasising the idea of a freeze-frame shot. Read full text here