What is ABICA ?
ABICA is a non-profit association established in 1989. Our primary ambition is to support and encourage all artistic creation. We promote talented creators from all cultural areas – painters, sculptors, filmmakers, weavers, designers, stylists, and architects – by providing them with grants.
We develop actions aimed at improving the visibility and media coverage of artists and their works, such as publishing of monographs, catalogues, videos, organising exhibitions and events in public spaces, and producing films. We also attach great importance to crossing disciplines, since bringing together artists and craftsmen to collaborate has prompted exceptionally original results.
Donations and tax reductions
Your donations will finance the associations’ actions as well as the grants awarded to carefully selected artists. In accordance with Articles 200 and 238 of the French General Tax Code, ABICA is authorized to issue tax receipts.
Private individuals : Donations to ABICA are deductible by 60% of the donated sum off the personal income tax for a donation below €10,000, or by 5% of the total revenue for a donation over €10,000. A €1,000 donation will cost only €340.
Companies : Donations to ABICA are tax deductible by 60% of the donated amount below €10,000 or by 5% of the total revenue for a donation over €10,000. Any company subject to income tax or corporation tax is eligible for tax deductions. A €1,000 donation will cost only €400.
ABICA gives its members the opportunity to work for the preservation of artistic creation in today’s complex and demanding context.
Latest projects
Sculpture Monumentale
Sculpture Monumentale
‘This is the second monograph dedicated to Pierre Marie Lejeune published by ABICA, whom we have been supporting proudly for seven years now. […] This new book addresses monumental art to allow volume to then arise as a dialogue in the face of light. It is the light that casts the shadow on the shape, and composes the dialogue in a way that knows no end. The shapes of these sculptures will always present as many aspects as places from where to look at them, or as cultures from which to contemplate them. From Europe to Asia, from the cities to the countryside, each and everyone will now be able to find in these sculptures the articulation of a necessary dialogue.’ Blaise Parinaud
Peinture Sculpture
Peinture Sculpture
‘My way of painting is not, strictly speaking, abstract but rather non-figurative. It is fueled by multiple sources and references, by hybridization, and by sampling of both daily life and art history. This all feeds into positioning and constructing the artwork. In painting, as in life, I have a hard time with classifications. I prefer to obfuscate things. I work more by substraction than by addition. In other words, I know where I don’t want to go, that’s for sure: I’m more interested in preconceptions.’ Marc Rebollo, interview by Brigitte Ollier
‘After. The painting titles follow one another like songs on a Columbia Records LP. The miracle of Art is not to reveal the Gods’ presence anymore, but to unite us, together as one.’ Laurent Innocenzi
«pas d’histoire...» Sculpture
«pas d’histoire...» Sculpture
‘A lover of minimalism, Jean Isnard is inexorably driven by a need for simplicity. Jean Isnard doesn’t tell stories. Or so it seems.’ Stéphanie Bernardin
‘Demanding curious meticulous modest free determined audacious sensitive tenacious perfectionist precise obstinate, Jean Isnard’s brain is home to a precipitate of surprinsignly contradictory traits seldom gathered inside the same cranium. […] The inquiring, free-minded scientist, the just as inquiring and free-minded artist are the same man who plucks from the infinity of possibilities powerful yet fragile forms. Each of his sculptures is a utopia. A utopia which exists in complete otherness, in complete obviousness. With no justification other than its own existence. Like a pebble, a mountain… A flower, a wave…’ Colin Cyvoct
«PARCOURS» Château de Breteuil
«PARCOURS» Château de Breteuil
‘In thirty years, this artist has succeeded in creating a particular project that reveals a world of its own. That much might be obvious, but few would disagree that it is rare.’ Jean-Luc Chalumeau
‘What could be more crucial for the artist than to take a general look at his work? Pierre marie Lejeune has gathered together several of the catalogues that accompanied his exhibitions in France and abroad. In this we have the pleasure of glimpsing over 400 of his works in this hefty volume. From Luxor, where he spent a year, to Hallier in Normandy, we discover and rediscover, and are able to take in his artistic journey and creative output.’ Blaise Parinaud
Sculpture
