To date, the Wandhaff has hosted monographic or retrospective shows for Claude Viallat, Bernar Venet, Louis Cane, Ulrich Rückriem, Pierre Buraglio, and Noël Dolla.\nCeysson \u0026amp; Béné... more >> Today François Ceysson and Loïc Bénétière direct a system of four galleries. In Luxembourg, with its 1400 m2 exhibition space, offices, library and logistics platform, they are able to produce museum quality exhibitions for their artists. Most of these are curated by Bernard Ceysson, who continues to watch over the gallery's venerable artists and to ensure the excellence of its publications.
To date, the Wandhaff has hosted monographic or retrospective shows for Claude Viallat, Bernar Venet, Louis Cane, Ulrich Rückriem, Pierre Buraglio, and Noël Dolla.\nCeysson \u0026amp; Bénétière in New York give equal exposure to imposing masters and young talent. \nThe partnership between Ceysson \u0026amp; Bénétière began as a project for a publishing house and gallery. When François' father, Bernard Ceysson, retired from a distinguished career as a museum director and accepted a tutelary role in their enterprise, ten years of extraordinary development began. Opening a gallery is New York is both the realization of an ambition and a logical step in a strategy that considers the needs of artists a decisional factor. The pair have aspired to take their multimodal dynamic from a European to a truly international level ever since the first Galerie Ceysson opened its doors ten years ago.\nThe galleries in Paris and Saint-Étienne serve different roles. In Paris, the young artists associated with Ceysson \u0026amp; Bénétière have curated shows, bringing together kindred spirits from France and abroad, often resulting in new opportunities on both sides of the Atlantic. The gallery in Saint-Étienne is the rhizome from which everything stems. Located in Ceysson \u0026amp; Bénétière's hometown, it now functions more as an incubator for young artists or a place to display experimental works, and maintains contact with local collectors and the gallery's earliest supporters