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New York

MoMA PS1

Exhibition Detail
The Crystal World
Curated by: Klaus Biesenbach
22-25 Jackson Ave
Long Island City, NY 11101


January 20th, 2013 - March 18th, 2013
Opening: 
January 20th, 2013 12:00 PM - 6:00 PM
 
, Cyprien GaillardCyprien Gaillard
© Courtesy of the artist & MoMA PS1
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TAGS:  
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> DESCRIPTION

Cyprien Gaillard (b. 1980, Paris) addresses in his work the relationship between architecture and nature, evolution and erosion, and geographical sites and psychological states.  Using visual strategies that juxtapose pictorial beauty with elements of sudden violence, destruction, and popular culture, Gaillard points to the precarious nature of public space, social ritual, and civilization using a variety of artistic mediums that range from painting to photography, film, and video.

Combining minimal composition, a romantic visual sensibility, and a youthful, anarchic spirit, Gaillard’s work displays a personal vision or reading of landscapes and cities, whether he trains his gaze upon abandoned golf courses, crumbling 1960s urban high-rises, land art sites, explosive building demolition procedures, or public monuments.  He invests these sites with new traits through his interventions, resulting in architectural travelogues dense with layers of meaning and complexly suggestive symbols, as well as an incisive examination of the foundations and inventions of civilizations, both ancient and modern, revealing their often simultaneously seductive and alienating features. 

Gaillard is perhaps best known for his two films, Cities of Gold and Mirrors (2009) shot in Cancun, Mexico, which combines images of Mayan ruins with the golf courses, mega-resorts, and tourists that now saturate the area, and Artefact (2011), a reflection on the myth of Babylon that takes form through a montage of scenes from post-conflict Iraq interwoven with images of the ancient civilization’s antiquities, none more famous perhaps than the Ishtar Gate, reconstructed in an austere gallery of the Pergamon Museum in Berlin in the 1930s.  These thematic concerns are borne out through the artist’s material itself; Artefact (2011) was shot on the artist’s iPhone, and the digital video was transferred to the older 35mm format in which the work is exhibited as a continuous loop.  The work highlights the fragility of the cinematic material, which wears out and frays as it is projected over the course of the exhibition period, mimicking the cyclically endless nature of civilizations’ periods of growth and decline. Gaillard is also well-known for his Geographical Analogies (2006) series, composed grids of Polaroids that are placed in visual correspondence with one another, presenting impressionistic inventories of landscapes and entropic architectural structures that connote psychologically, emotionally, and viscerally. The photographs, like much of the artist’s work, capture images of ancient ruins, abandoned bunkers, and graffiti-covered urban structures– in short, sites that are unified by their shared states of physical change, erosion, or decay over time. 

These works encapsulate Gaillard’s audacious attempts at recuperating the past in the name of a devalued present. Combining elements of the found, the photographic, the cinematic, the architectural, and the social, Gaillard provokes visual or associative connections between ancient ruins and neglected contemporary spaces, acting as a kind of archaeologist of contemporary history.

The artist's first solo exhibition in New York is comprised of over 80 works, including five major cinematic works and two site-specific works made in New York on the occasion of his MoMA PS1 presentation. In Cities of Gold and Mirrors (2009), shot in Cancun, Mexico, images of Mayan ruins are interspersed with the golf courses, mega-resorts, and tourists that now saturate the area, as incensed adolescents guzzle tequila with the same elated fervor that characterizes a ritualistic dance performed by a gangster on the ruins of El Ray.

Shown for the first time in the U.S., Gaillard's monumental work Artefacts (2011) imparts a reflection on the myth of Babylon takes form through a montage of scenes from post-conflict Iraq interwoven with images of the ancient civilization's antiquities, none more famous perhaps than the Ishtar Gate, reconstructed in an austere gallery of the Pergamon Museum in Berlin in the 1930s. Gaillard echoes this anachronism in the artwork's material itself Artefacts (2011) was shot on the artist's iPhone, and the resulting digital video was transferred to an older 35mm format, in which the work is exhibited as a continuous loop. This scheme highlights the fragility of an outmoded cinematic material, which wears and frays as it is projected over the course of the exhibition period, mimicking the cyclically endless nature of civilizations' periods of growth and decline, and also the artist's fascination in objects that are at once obsolete and eternal.

Gaillard is perhaps best known for his Geographical Analogies (2006) series, composed grids of Polaroids that are placed in visual correspondence with one another, presenting impressionistic inventories of landscapes and entropic architectural structures that connote psychologically, emotionally, and viscerally. The photographs, like much of the artist's work, capture images of ancient ruins, abandoned bunkers, and graffiti-covered urban structures- in short, disparate sites that are unified by their shared states of physical change, erosion, or decay over time.

Combining elements of the found, the photographic, the cinematic, the architectural, and the social, Gaillard provokes visual or associative connections between ancient ruins and neglected contemporary spaces, attempting to recuperate the past in the name of a devalued present.


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