In this month of October, full of cultural events and exhibitions, Charim Gallery Vienna is pleased to introduce to the Parisian public the Viennese artist Eva Beresin, who has made a resounding breakthrough on the contemporary scene in recent years. 

Eva Beresin has been working for decades, but lately she's found a very spontaneous and unique way of painting. Confronted with ghosts from a destructive past, she takes undisguised pleasure in inventing her canvases and painting herself, the immediacy of her gesture, the freedom of her composition and the intensity of her colors bear witness to this joy. In her works, she tackles everyday life and reveals lust and informality in such a liberating way that we ourselves are freed from all prejudice and tip over into empathy.

Ruthlessness and tenderness mingle in the new paintings, which depict versions of herself and her family in scenes where visual and emotional intensity is at its peak. The ghosts have an unmistakable James Ensor presence. Concrete sculptures emerging from the matrix of her paintings, as if extracted directly from her canvases, they materialize as a kind of three-dimensional painting and amplify the allegorical mood. Since 2015, Charim Gallery has represented Beresin. In the same year, the gallery exhibited the artist's confrontation with her mother's diary, written after her liberation from Auschwitz. The book "Ninety-Eight Pages" was published by Verlag für moderne Kunst (first edition 2015). The artist-woman explores her body and familiar characters, all indebted to the burden of memory without weighing it down. Her fleshy, alluvial figures are often barely legible, sometimes crammed into crudely defined piles of bodies that suggest mass graves, an inherited trauma that reverberates.