07/04/2026
Simone Lacour’s work unfolds within the broader constellation of post-war Paris.
In 1963, her work was exhibited at the Musée de Reims, alongside artists such as Alfred Manessier — a central figure of what would later be described as the Seconde École de Paris — as well as Léon Zack and Key Sato, part of the wider international milieu gravitating around Paris at the time.
More significantly, Lacour also participated in an exhibition in Helsinki alongside Hans Hartung, Pierre Soulages and Zao Wou-Ki — key protagonists of post-war abstraction and the European avant-garde.
Rather than aligning herself with a clearly defined movement, Lacour’s work occupies a more elusive position. While many of her contemporaries pursued gesture, scale or intensity, her paintings seem to withdraw — reducing form to a fragile balance between matter and disappearance.
A presence that resists affirmation.
