The Thomas Bernard - Cortex Athletico gallery was created in Bordeaux in 2006. Until 2015, when it moved to Paris, it was part of a local ecosystem, while having a much wider reach. She has collaborated with many structures, shown theater, dance, performances, films. She organized cycles of projections, published a small review. It is all these experiences that allowed his team to understand how much collaboration is necessary. The Bad Reputation was created in Bordeaux in 2003. Since then, it has offered a rich and varied program of exhibitions. It presents painting, drawing, sculpture, video but also performance, thus creating events outside the walls. It also publishes artists' silkscreens. With these 16 years of experience, she now defends recognized contemporary artists or beginners, national and international. Like the Thomas Bernard / Cortex Athletico gallery, collaborating is its strength. It is from this observation that the two galleries were able to foster many exchanges, and cross certain projects. Today, they want to strengthen this collaboration, redefine a presence in Bordeaux for the Thomas Bernard / Cortex Athletico gallery and support LMR gallery projects abroad. For the 2018-2019 season, this will take the form of a cross-program. Also the Thomas Bernard / Cortex Athletico galleries, and LMR offers the Back to the hood exhibition. A hanging designed around the works of Thierry Lagalla, Vincent Gicquel, Charles Mason (Thomas Bernard gallery - Cortex Athletico), Gorka Mohamed and Manuel Ocampo (LMR gallery). The exhibition will begin on September 15 at 10 rue des Argentiers in Bordeaux and will be the first in a series of collaborations. Back to the hood: an exhibition of paintings by Thierry Lagalla, Vincent Gicquel, Gorka Mohamed, Manuel Ocampo and drawings by Charles Mason. Thierry Lagalla and Vincent Gicquel are French, the first is from Nice, the second of Breton origin lives and works in Bordeaux. We can say that Thierry Lagalla is part of the family of Pierrick Sorin, Joël Bartoloméo or even Serge Comte. It is with finesse and skill that he manages to combine humor and burlesque in the service of the production of a real world created by the spirit that invades the world of things, a real hospital service to the ambivalence, neither antithesis, nor succession. Laughter is also present in Vincent Gicquel. In these works he is the incarnation of a revolt of the mind against the absurd. Laughter born from a conception of life “sub speciae ironiae”, resulting from an awareness of the human condition. Everything is entertainment, derivative to death. Each of his paintings constitutes the point of incidence of a reflection; the faithful mirror of reality in which man comes to reflect. Gorka Mohamed is Spanish, he lives between Madrid and London. His work is anchored in the history of painting in his country. Some of these canvases are reminiscent of the decadent portraits that Goya was able to draw of the powerful of his time. Distorted, tortured, austere characters, collages and assemblages of shapes, we are often close to the Spanish baroque, but the one that Gorka offers is funny and totally hallucinatory. Manuel Ocampo is Filipino, he lives between Madrid, Manila and the United States. He is not one of those artists who always offer the same thing, the same invoice. He is not in the aesthetic, the comfortable, he dares everything, really everything and it's jubilant! Charles Mason was a draftsman and sculptor, he was English. If his sculpture work is known, his drawings are less so. Made in lead pencil, they are the preparatory acts for these sculptures. Delicate, complex, subtle, sensitive, they are quite simply sublime. The play on formal balances is improbable, of an almost comical dignity, often absurd, tinged with humor and irony, and this recurring, shapeless feminine "thing" is presented hanging, spread out, hanging in the most hazardous like an improbable aerial acrobat. Each of the works in this collective exhibition is an artistic conquest. Each earns her present. Thus, the past that nourished him cannot be enough: he must conquer the passing moment and sometimes offer the vision of a possible future, offering the viewer a sensitive, living, erotic space. Here, there are more than realists, there are delicate and strong performers who knew how to render every detail of reality without falling into drought. If the invoice of each one is particular and committed, if the angle of view is different, the common point of their works is a force, a living and vibrant energy, that essential to the essential reality of art. An exhibition to watch and listen to, formal conversations, colorists, historians, passionate and fascinating philosophers.