ArtSlant - Openings & events http://www.artslant.com/par/Events/show en-us 40 Nodoka Betto, Christian Gaudin, Thierry Chasselat, Jean-Michel Jarillot, Hidetaro Takatsu, Jacky Kooken - Galerie Métanöia - April 18th 6:00 PM - 8:00 PM <p style="text-align: justify;">Les effets n&eacute;gatifs de l'inqui&eacute;tude et du stress sur la personne humaine sont connus de toute antiquit&eacute;.&nbsp;Les effets de l'anxi&eacute;t&eacute; se manifestent par des palpitations, la faiblesse musculaire, la naus&eacute;e, des douleurs thoraciques et abdominales ou encore des maux de t&ecirc;te.&nbsp;Le corps se pr&eacute;pare &agrave; affronter la peur : la pression art&eacute;rielle et le rythme cardiaque augmentent. Les signes externes peuvent inclure la p&acirc;leur, la transpiration,&nbsp;des tremblements nerveux.</p> <p style="text-align: justify;">C'est ainsi que le Christ prend la peine de nous &eacute;clairer &agrave; ce sujet et formule des recommandations qui concernent chacun d'entre nous (Mt 6:25/26) :&nbsp;&mdash;&nbsp;&laquo; Ne vous souciez pas, pour votre vie, de ce que vous mangerez, ni, pour votre corps, de quoi vous le v&ecirc;tirez. La vie ne vaut-elle pas plus que la nourriture, et le corps plus que les v&ecirc;tements ? Regardez les oiseaux du ciel : ils ne font ni semailles ni moisson, ils n&rsquo;amassent pas dans des greniers, et votre P&egrave;re c&eacute;leste les nourrit. Vous-m&ecirc;mes, ne valez-vous pas beaucoup plus qu&rsquo;eux ? &raquo;</p> Sun, 06 Apr 2014 10:47:40 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Alexander Tinei - Galerie Dukan - April 19th 6:00 PM - 9:00 PM <p style="text-align: justify;">We are pleased to present <em>What a dream </em>(April 19 - May 22, 2014), the first solo exhibition of &nbsp;Moldovan artist Alexander Tinei (1967 Caushani, Moldova) at Dukan gallery.</p> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Known for his striking portraits of tattooed young subjects derived from magazines, photographs and life sittings with friends, over the past three years Tinei has become increasingly concerned with the phenomenon of instant global visibility and the exposure of people's formerly private moments on the Internet. Using his painterly style to stage and submerge these 'icons' of cyberspace within the traditional context of portraiture, Tinei has created a series of unnerving depictions situated between reality and fiction. The sense that many people today inhabit an 'other world' online in parallel to their ordinary 'real' lives is conveyed by Tinei's treatment of his figures. Their skin is almost ethereal, as if not fully human, and he plays with the idea of private and public facades through masks and disguises. In a way Tinei is playing with fiction and inventing stories that re-connect him with the inspirations of his youth.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Growing up in Moldova he spoke Russian and accepted Russian heroes while not being actually Russian himself. Looking back the artist now feels he accepted unquestionably the imposition of another culture, an alternate reality imposed on Moldova when it became part of the Soviet Union.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">He recently exhibited at Saatchi and Sotheby's Galleries (England), at Museum Rudolfinum (Czech Republic), at Frissiras Museum (Greece) and in several galleries: Eigen + Art (Germany), Erika Deak Gallery (Hungary), &nbsp;Ana Cristea Gallery (USA).</div> <p style="text-align: justify;">&nbsp;</p> <div style="font-style: normal; font-family: Myriad,'Myriad Pro','Segoe UI','Trebuchet MS',Arial,sans-serif; text-align: justify;"><em>Nous sommes heureux de pr&eacute;senter </em>What a dream<em> (19 Avril - 22 Mai, 2014), la premi&egrave;re exposition personnelle de l&rsquo;artiste moldave Alexander Tinei (1967, Caushani, Moldovie) &agrave; la galerie Dukan.&nbsp;</em></div> <div style="font-style: normal; font-family: Myriad,'Myriad Pro','Segoe UI','Trebuchet MS',Arial,sans-serif; text-align: justify;"><em>&nbsp;</em></div> <div> <div style="font-style: normal; font-family: Myriad,'Myriad Pro','Segoe UI','Trebuchet MS',Arial,sans-serif; text-align: justify;"><em>Connu pour ses captivants portraits de jeunes tatou&eacute;s provenant des magazines, et des s&eacute;ances photographiques avec des amis, au cours des trois derni&egrave;res ann&eacute;es, Tinei est devenu de plus en plus pr&eacute;occup&eacute; par le ph&eacute;nom&egrave;ne de la visibilit&eacute; instantan&eacute;e mondiale et par l'exposition sur Internet des moments, autrefois priv&eacute;s, des gens. Utilisant son style pictural pour mettre en sc&egrave;ne et immerger ces "ic&ocirc;nes" du cyberespace dans le contexte traditionnel du portrait, Tinei a cr&eacute;&eacute; une s&eacute;rie de repr&eacute;sentations d&eacute;concertantes situ&eacute;es entre la r&eacute;alit&eacute; et la fiction. L&rsquo;artiste projette dans ces personnages le sentiment que beaucoup de gens aujourd'hui vivent dans un &laquo;autre monde&raquo; en ligne, en parall&egrave;le &agrave; leur ordinaire &laquo;r&eacute;el&raquo;. Il joue avec les situations priv&eacute;es et publiques &agrave; travers des masques et des d&eacute;guisements ; la peau des personnages est presque &eacute;th&eacute;r&eacute;e, comme si elle n'&eacute;tait pas enti&egrave;rement humaine. D'une certaine mani&egrave;re Tinei joue avec la fiction et invente des histoires qui le relient aux inspirations de sa jeunesse.</em></div> <div style="font-style: normal; font-family: Myriad,'Myriad Pro','Segoe UI','Trebuchet MS',Arial,sans-serif; text-align: justify;"><em>Alexander Tinei tout en &eacute;tant moldave &eacute;tait oblig&eacute; de parler russe et d&rsquo;accepter les h&eacute;ros russes. Aujourd&rsquo;hui ce pass&eacute; derri&egrave;re lui, l&rsquo;artiste accepte sans discussion le diktat d'une autre culture, une autre r&eacute;alit&eacute; impos&eacute;e &agrave; la Moldavie devenue une partie de l'Union sovi&eacute;tique.</em></div> <div style="font-style: normal; font-family: Myriad,'Myriad Pro','Segoe UI','Trebuchet MS',Arial,sans-serif; text-align: justify;"><em>Alexander Tinei a r&eacute;cemment expos&eacute; &agrave; la Saatchi et Sotheby's Galleries (Angleterre), au Rudolfinum Museum (R&eacute;publique Tch&egrave;que), au Frissiras Museum (Gr&egrave;ce), et dans plusieurs galeries, dont Eigen+Art (Allemagne), Erika Deak (Hongrie), Ana Cristea (USA).</em></div> </div> Tue, 15 Apr 2014 01:47:11 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list - Association Culturelle Franco-Japonaise de Tenri - April 22nd 5:30 PM - 8:00 PM <p style="text-align: justify;">Sous l&rsquo;organisation de l&rsquo;Association sans but lucratif YUU</p> <p style="text-align: justify;">Collaboration d&rsquo;une technique de menuiserie traditionnelle japonaise (Kumiko) et d&rsquo;un art contemporain occidental.</p> <p style="text-align: justify;">L&rsquo;incorporation du tableau d&rsquo;un peintre &eacute;tranger &agrave; un cadre r&eacute;alis&eacute; en utilisant la technique du Kumiko, d&eacute;coule de cette id&eacute;e d&rsquo;un &eacute;change international, &agrave; travers la collaboration d&rsquo;une technique de menuiserie traditionnelle japonaise et d&rsquo;un art contemporain occidental. </p> <p style="text-align: justify;">Cette exposition est une tentative de fusion entre la culture japonaise et l&rsquo;art occidental, constituant ainsi une partition commune jou&eacute;e par une technique et un art tous deux issus de cultures diff&eacute;rentes.</p> Sun, 06 Apr 2014 10:03:29 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Group Show - Galerie Celal - April 24th 7:00 PM - 9:00 PM Thu, 17 Apr 2014 16:13:55 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Adrien Missika - Centre culturel suisse de Paris - April 25th 6:00 PM - 9:00 PM <p style="text-align: justify;">N&eacute; &agrave; Paris en 1981, Adrien Missika est dipl&ocirc;m&eacute; de l&rsquo;ECAL. Il vit et travaille &agrave; Berlin. Il a &eacute;t&eacute; laur&eacute;at du Prix Fondation d&rsquo;entreprise Ricard 2011 et du Prix de la Fondation Georg et Josi Guggenheim 2013.</p> <p style="text-align: justify;"><em>Amexica </em>est un projet in&eacute;dit d&rsquo;Adrien Missika, issu d&rsquo;un p&eacute;riple le long de la fronti&egrave;re entre le Mexique et les &Eacute;tats-Unis. L&rsquo;artiste a principalement utilis&eacute; un drone pour filmer plusieurs sites naturels et urbains entre Ciudad Juarez et Tijuana, proposant ainsi un point de vue diff&eacute;rent sur cette zone sous haute surveillance. En d&eacute;coule une &oelig;uvre ambitieuse, la plus connot&eacute;e politiquement dans sa production, pour laquelle Missika a collabor&eacute; avec le musicien Victor Tricard.</p> <p style="text-align: justify;">Parution d&rsquo;un livre d&rsquo;artiste consacr&eacute; au projet <em>Amexica</em>, co&eacute;dition CCS / &eacute;ditons Periferia, avec le soutien de la Fondation Georg et Josi Guggenheim.</p> Sat, 12 Apr 2014 13:19:54 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Francisco Tropa - Galerie Jocelyn Wolff - April 25th 6:00 PM - 8:00 PM Tue, 15 Apr 2014 02:12:00 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Lucio Fontana - Musée d'Art moderne de la Ville de Paris / ARC - April 25th 10:00 AM - 6:00 PM <p style="text-align: justify;"><strong>&nbsp;The Mus&eacute;e d&rsquo;Art moderne de la Ville de Paris presents a major Lucio Fontana (1899-1968) retrospective. Considered one of the greatest visionaries of the 20th century, his work deeply influenced several generations of artists, from Yves Klein to the present. For the first time in France since 1987, more than 200 sculptures, paintings, ceramics and installations provide an overall view of his atypical path and his ever changing styles.</strong></p> <p style="text-align: justify;"><strong>Born in 1899 in Rosario, Argentina, son of an Italian-born trained sculptor, Fontana would spend most of his life in Milan</strong>. Exploiting all the possibilities offered by sculpture (terracotta, ceramic, mosaic) and extensively collaborating with architects, he was one of the first Italian abstract artists in the 1930&rsquo;s. During World War II he sought refuge in Argentina. Back in Milan in 1947, he became the leader figure of the Spatialist Movement, which he extensively defined and explained in his Manifestos. Light and real space (in opposition to virtual space) are the two essential elements of this movement that intended to create a new kind of art, alluding to the Space Age but&nbsp; actively connected to the world around it. The artist is embodied in his ceramic sculptures, his perforated canvases and his installations. In 1949 he creates his first Concetti spaziali (Spatial Concepts), a series of punctured canvases which he later intervenes using different materials and bright colors. Following a retrospective show at the Venice Biennial in 1958 he conceives the Tagli series, incisions on canvas. This works became a key reference for artists in the 1960&rsquo;s.</p> <p style="text-align: justify;">&nbsp;<strong>The show displays and extraordinary body of work ranging from the 1920&rsquo;s to Fontana&rsquo;s death in 1968, naturally structured by the artist&rsquo;s key cycles</strong>: primitive and abstract sculptures, drawings, polychrome ceramics, Spatialist works, punctured canvases, Art Informel works, installations, Tagli (cuts), Nature, Fine di Dio, Olii,Venezie, Metalli, Teatrini,etc, oscillating between the clean conceptual gesture and the baroque profusion of colors and materials.</p> <p style="text-align: justify;">&nbsp;<strong>The exhibition, presented in collaboration with the Lucio Fontana Foundation</strong>, highlights the diversity of his work, between abstraction and figuration, metaphysical quest and incarnation, utopia and kitsch, technological fascination and amorphous materials. His slashed canvases, iconic works of modern art, are brought into confrontation with least-known pieces, in particular his 1930&rsquo;s sculpture and his ceramics, most of which are exhibited in France for the first time.</p> <p style="text-align: justify;">&nbsp;A richly illustrated 300 pages catalog published by Paris Mus&eacute;es will include essays by Fabrice Hergott, Jean-Louis Schefer, Daniel Soutif, Anthony White, Luca Massimo Barbero, Paolo Campiglio, Marina Pugliese, S&eacute;bastien Gokalp, Choghakate Kazarian, and an anthology of chosen essays by Yve-Alain Bois, Michel Tapi&eacute;, Lawrence Alloway and other authors. Price: 44.90 euros.</p> Sun, 16 Feb 2014 11:02:40 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Pierre-Olivier Arnaud - Art:Concept - April 26th 6:00 PM - 9:00 PM Tue, 15 Apr 2014 01:10:28 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list DeWain Valentine - Galerie Almine Rech - April 26th 5:30 PM - 8:30 PM <p>All the work is about the sea and the sky.<br />I would love to have somehow a magic saw, to cut out<br />large chunks of ocean and sky and say, &ldquo;Here it is.&rdquo;</p> <p>&ndash; DeWain Valentine</p> <p>I am now having an affair with the sea and the sky.</p> <p>&ndash; DeWain Valentine</p> <p style="text-align: justify;">Almine Rech Gallery is about to present an exhibition of painting and sculpture by Californian artist DeWain Valentine (b. 1936). This will be the gallery&rsquo;s first solo exhibition of the artist and the second to be held in Europe, of this artist who represents one of the most important veins of artistic creation in Los Angeles that developed in the mid-1960s, often referred to as Light and Space (in parallel, and somewhat in opposition to New Yorkbased Minimalism).</p> <p style="text-align: justify;">History is not a seamless string of dates that covers everything of significance that happens at a given date: there are plenty of holes and lacunae in the way history is written. From the mid-1940s to the 1970s, critical attention was mostly absorbed by what was happening in and about New York City : a few decades later, one has rediscovered that there were other centers of creative energy and experimentation, just as important as New York, that had fallen off the radars of official Art History. Artistic centers have almost always impacted the way we think about and value art : in the 18th century, it was Rome; from the 19th century up until the 1930s, it was Paris; from World War II until the 1970s, it was New York.</p> <p style="text-align: justify;">Today, mercifully, the situation is becoming more complex, richer, and, more truthful to the reality -- that never followed a linear model. Major American East Coast museums, such as MoMA, are paying increasing attention on the L.A. scene, and its vernacular take on Modernism : recently, MoMA acquired a major sculpture by Valentine (Triple Disk Red Metal Flake - Black Edge, 1966) -- please note that a sister piece of this sculpture Double Yellow Disk &ndash; Red Edge, 1966 is presented today at Almine Rech Gallery.</p> <p style="text-align: justify;">The early historical chasm between the two coasts has led to opening up a more fluid dialogue between the two coasts, as works by New York Minimalists (Judd, Flavin, Jo Baer) are seen, at MoMA again, in the context of L.A. &sbquo;Light and Space&lsquo; artists, like DeWain Valentine, Craig Kauffman, John McCracken (whose work was exhibited at Almine Rech Gallery as early as in 1991).</p> <p style="text-align: justify;">The present exhibition of Valentine&lsquo;s work at Almine Rech Gallery can be seen in this new historical context, and constitutes another important step in the vast reappraisal of the important artistic force that developed in L.A. in the 1960s, and of Valentine&lsquo;s major role there up to now.</p> <p style="text-align: justify;">The show at Almine Rech Gallery, a comprehensive overview, offers a unique opportunity for audiences to delve into Valentine&rsquo;s work, one of remarkable technical virtuosity and perceptual experience.</p> <p style="text-align: justify;">Spanning across several decades, different and utterly fascinating plastic-based media<br />and technical methods (not traditionally used in Modernist sculpture), DeWain Valentine&rsquo;s<br />production has continually embodied a unique, quintessentially Southern Californian<br />aesthetic. He is best known for large-scale, translucent resin cast sculptures in a variety of<br />apparently simple, geometric shapes - that vary none the less greatly from the Minimalist<br />grids and cubes. In short, artists such as Judd and LeWitt were concerned to achieve<br />more a mechanical perfection, heightened by an interest in mathematic (or combinatorics).<br />Valentine, on the other hand, was much more interested and excited by physics than by<br />mathematics : his final goal was to endow his sculpture with a perfect gloss, a perfectly<br />smooth &sbquo;finish&lsquo; (which would take weeks and months of arduous physical efforts.) His concerns with surface transparency and translucency, the use of industrial materials and<br />processes, an emphasis on the qualities of prismatic color, and interest in the viewer&rsquo;s<br />perception and interaction connects him to the so-called Light and Space movement from<br />the 1960s and 1970s. Overall, what should be emphasized as a principal and distinctive<br />feature of DeWain Valentine&lsquo;s art (and his personality) are an unwavering attachment to an<br />aesthetic of pure visual and haptic joy, and to a sensual, and uplifting celebration of outdoor<br />life in the California of the 1960s.</p> <p style="text-align: justify;">The work of the Light and Space artists, who gathered around the fledgling, yet intense,<br />art scene located on the coast of Venice, California, was influenced by the distinctive and<br />unique qualities of the atmospheric landscape of Los Angeles, evoked by Clarence Thomas<br />Urmy, a late 19th century poet from California :</p> <p style="text-align: justify;">The measurement of time and space,<br />The depth of deepest seas,<br />The distance of the faintest star &mdash;</p> <p style="text-align: justify;">Noted for ethereal, luminous or shiny surfaces, the works by these artists not only evoked the Angeleno qualities of bright sunlight, filtered through expansive, foggy skies, but also relentlessly explored the viewer&rsquo;s perceptual experiences, and the properties of nontraditional, industrial synthetic materials, which became available during those decades due to the booming postwar aerospace and manufacturing industries. According to Catherine Grenier, curator of the exhibition Los Angeles 1955-1985. Birth of an Art Capital (Centre Georges Pompidou, 2006), &ldquo;If there is a single vector channeling Los Angeles artists as a whole [&hellip;] it is the value set on experiment.&rdquo; Artists included under the umbrella term of the Light and Space movement includes Peter Alexander, Larry Bell, Mary Corse, Robert Irwin, John McCracken, James Turrell, Craig Kauffman or Helen Pashgian, and, of course, DeWain Valentine -- although it should be said, as often in any group or movement, that few of these artists accept comfortably this label, or any label. Almine Rech Gallery&lsquo;s history is closely associated with this group, however : it is important to signal that the Gallery opened its first show with James Turrell (this was the first European gallery exhibition Turrell had in November 1989 in Paris); and in 1991, Almine Rech Gallery proposed the first exhibition of John McCracken in Paris.</p> <p style="text-align: justify;">&lsquo;Finish Fetish&rsquo; is another category employed to characterize the production of some of these artists, such is the case with DeWain Valentine. The term, often used by artist, critic and museum curator John Coplans, alludes to the embrace of new industrial technologies, surface slickness, and glossy, attractive colors. This love for the shiny, spruced up quality of the slick surfaces offered a common syntax to these artists, but spoke far more to the ubiquitous Southern California&rsquo;s surf and automobile culture, than to the search for perfection that characterized East Coast Minimalism (conjuring industrial, mass production of geometric structures in perfect line with each other), whereas Valentine&lsquo;s surfaces are the result of painstaking physical act of sanding, and polishing an initially rough resin surface into a perfectly glass-like smooth surface.)</p> <p style="text-align: justify;">DeWain Valentine was born in Colorado, and arrived in L.A. in 1965 to teach a course in plastics technology at the University of California, Los Angeles (UCLA). He is regarded today among the earliest pioneers in the use of industrial plastics and resins to execute monumental sculptures that reflect the light and engage the surrounding space through its mesmerizingly translucent surfaces that arrest one&lsquo;s gaze. The artist&rsquo;s first experience with plastics dates back to 1946 during a Junior High School course. He started to experiment with this kind of industrial materials at home &ndash; including fiberglass, recently declassified by the United States government after the Second World War &ndash; baking, molding and casting them. This technical knowledge, combined with his subsequent experience working with fiberglass-reinforced plastic in boat-building shops and painting automobiles, air planes, -- and even, according to some even, UFOs -- led to his fascination and artistic involvement with sculptures made out of colored plastic and polyester resin, all materials evoking a futurist era.</p> <p style="text-align: justify;">Valentine&rsquo;s technical excellence and inventiveness made him stand out from his contemporaries, namely through his remarkable contribution to the plastics industry. Willing to take risks, in 1966 Valentine carried out some experiments collaborating with a chemical engineer, and developed a new type of modified polyester resin that would enable him to cast monumental objects in a single pour -- a technical process that was just unconceivable until then. It was commercialized under the trade name of Valentine MasKat Resin. He thus started to work with this strong, stable and clear resin, creating larger than human-size sculptures that were integral to the architectural setting and functioned as space-modifiers, altering the spectator&rsquo;s perception of the environment.</p> <p style="text-align: justify;">On view in the exhibition are both large-scale and smaller size colored sculptures. They range from simple geometrical forms, such as slab columns or solid circles fabricated in cast polyester resin, to brightly spray-painted concave disks made of fiberglass-reinforced plastic. Whichever the format or the color, the artworks, with their smooth, highly-polished translucent surfaces explore the material&rsquo;s ability to carry and reflect light. Valentine is concerned with the transparent and diffractive qualities of spectral color, whose prismatic break-up effects become evident to the viewer with fluctuating light conditions. These circular and columnar sculptures often convey a distinctive atmospheric effect : Valentine enjoyed how, by dripping a small volume of ink or liquid color, it would remain almost magically suspended in space, refusing to dilute totally within the mass of liquid resin : Valentine loved these physical &sbquo;accidents&lsquo; : he refers to them as his &sbquo;clouds.&lsquo; Indeed, they have an eerie capacity to convey the effect of a cloud in a sky, or the effect of the smog on the atmosphere.</p> <p style="text-align: justify;">The particular forms of these sculptures are of particular note, as well : columns or prisms tend to be thicker at the bottom and thinner at the top, often resulting in something like a thin pyramidical structure. The case of circular sculptures is even more complex : the top is also thinner than the base, but the thinnest part is the center of these disks formed of a double concave circle &ndash; a signature form in Valentine&lsquo;s repertoire. Their color-scheme varies from dense tones at the thick parts to evanescent tonalities at the thinner areas ; his chromatic palette tends to evoke mother-of-pearl, or a condensed summary of the rainbow range of colors. The paler the color is, the stronger the light refraction. Surfaces and color are translucent -- although it is easy to miss this particular attribute of Valentine&lsquo;s sculpture. As one stand, facing the surface of some of these sculptures, one can gaze through this translucent resin-based substance, as one becomes aware of the inner space and the space beyond it, as if our eyes could enter through and penetrate something that our physical body could never do. In Valentine&rsquo;s own words: &ldquo;I am fascinated by the idea of being aware of the outer surface of an object, of seeing through it and of seeing also the inner surface.&rdquo; This statement also reflects the artist&rsquo;s concerns with the viewer&rsquo;s perception and the phenomenological possibilities triggered by his artworks. These aweinspiring viewing experiences are heightened by the sculptures&rsquo; responsiveness to and activation of their environments. Valentine skillfully juxtaposes the literal objecthood with the illusionist effects of atmospheric light, solidified sky, and contained fluid color.</p> <p style="text-align: justify;">On view as well are examples of Valentine&rsquo;s most recent paintings. Evoking a minimalist language permeated by sensuality, they are nonetheless illusionistic in their suggestion of a painted atmospheric surface and a glowing horizon line, made with acrylic polymer resin. Valentine&rsquo;s preoccupation with synthetic new materials and a wide range of visual and optical phenomena impacting the viewer&rsquo;s perceptual experience places him within the long tradition of artists attempting to address the intangible qualities of atmosphere and light through the intersection of technique, science and art.</p> <p style="text-align: justify;">DeWain Valentine lives and works in Los Angeles, California. He has shown extensively with one-man exhibitions at institutions and galleries such as Ace Gallery, Los Angeles (1968; 2010); Galerie Bischoberger, Z&uuml;rich (1969); Pasadena Art Museum, today Norton Simon Museum (1970); La Jolla Museum of Contemporary Art, California (1985); Los Angeles County Museum of Art (1979); and Honolulu Academy of Arts, Hawaii (1985).</p> <p style="text-align: justify;">He has also been included in many noteworthy surveys, most recently Pacific Standard Time : Crosscurrents in LA Painting and Sculpture, 1950-1970 at Paul Getty Museum, Los Angeles (2011) and Martin-Gropius-Bau in Berlin (2012), West! Frank Gehry and the Artists of Venice Beach, 1962-1978 at the Frederick R. Weisman Art Museum, Minneapolis (2005), and the collective show Primary Atmospheres: Works from California 1960-1970 at David Zwirner, New York (2010). For his efforts as an artist, DeWain Valentine has been awarded both the John Simon Guggenheim Fellowship and the National Endowment for the Arts Grants.</p> <p style="text-align: justify;">On the occasion of the exhibition, Almine Rech will publish an illustrated catalogue with an essay by Art Historian and Author Joachim Pissarro.</p> <p style="text-align: justify;">_____________________________________</p> <p style="text-align: justify;">Toute mon oeuvre se rapporte &agrave; la mer et au ciel.<br />Si j&rsquo;avais une scie magique, je d&eacute;couperais de gros morceaux<br />de l&rsquo;oc&eacute;an et du ciel et je dirais : &laquo;Voici.&raquo;</p> <p style="text-align: justify;">&ndash; DeWain Valentine</p> <p style="text-align: justify;">J&rsquo;entretiens une liaison avec la mer et le ciel.</p> <p style="text-align: justify;">&ndash; DeWain Valentine</p> <p style="text-align: justify;">La galerie Almine Rech pr&eacute;sentera prochainement une exposition de peintures et sculptures de l&rsquo;artiste californien DeWain Valentine (&deg;1936). Il s&rsquo;agira de la premi&egrave;re exposition individuelle de l&rsquo;artiste &agrave; la galerie, et de la seconde en Europe. DeWain Valentine est un repr&eacute;sentant de l&rsquo;un des courants les plus importants de la cr&eacute;ation artistique &agrave; Los Angeles, un courant qui s&rsquo;est d&eacute;velopp&eacute; au milieu des ann&eacute;es 1960, souvent appel&eacute; &laquo; L ight and Space &raquo; (en parall&egrave;le et, parfois, en opposition, au minimalisme new-yorkais).</p> <p style="text-align: justify;">L&rsquo;histoire ne se constitue pas d&rsquo;une suite ininterrompue de dates qui couvrent tout &eacute;v&eacute;nement significatif ayant eu lieu &agrave; un moment donn&eacute; : il y a bien des trous et bien des lacunes dans la mani&egrave;re dont on &eacute;crit l&rsquo;histoire. De la moiti&eacute; des ann&eacute;es 1940 jusque dans les ann&eacute;es 1970, la critique a tourn&eacute; son attention vers ce qui se passait &agrave; et autour de New York : quelques d&eacute;cennies plus tard, on a red&eacute;couvert l&rsquo;existence d&rsquo;autres centres de cr&eacute;ativit&eacute; et d&rsquo;exp&eacute;rimentation tout aussi importants que New York, mais qui &eacute;taient pass&eacute;s inaper&ccedil;us dans l&rsquo;histoire de l&rsquo;art officielle. Les p&ocirc;les artistiques ont presque toujours eu un impact sur notre mani&egrave;re de consid&eacute;rer et d&rsquo;&eacute;valuer l&rsquo;art : au XVIIe si&egrave;cle, c&rsquo;&eacute;tait Rome ; du XIXe si&egrave;cle aux ann&eacute;es 1930, c&rsquo;&eacute;tait Paris ; de la Seconde Guerre mondiale aux ann&eacute;es 1970, c&rsquo;&eacute;tait New York.</p> <p style="text-align: justify;">Aujourd&rsquo;hui, heureusement, la situation est plus complexe, plus riche et plus proche de la r&eacute;alit&eacute; &ndash; qui n&rsquo;a d&rsquo;ailleurs jamais suivi un mod&egrave;le lin&eacute;aire. D&rsquo;importants mus&eacute;es de la c&ocirc;te Est des &Eacute;tats-Unis, comme le MoMA, pr&ecirc;tent une attention accrue &agrave; la sc&egrave;ne artistique de Los Angeles et &agrave; son approche vernaculaire du modernisme. Le MoMA a r&eacute;cemment fait l&rsquo;acquisition d&rsquo;une sculpture majeure de DeWain Valentine (Triple Disk Red Metal Flake &ndash; Black Edge , 1966) et il est &agrave; noter qu&rsquo;une pi&egrave;ce soeur de cette sculpture &ndash; Double Yellow Disk &ndash; Red Edge, 1966 &ndash; est aujourd&rsquo;hui pr&eacute;sent&eacute;e &agrave; la galerie Almine Rech. L&rsquo;ab&icirc;me traditionnel qui s&eacute;pare les c&ocirc;tes Est et Ouest des Etats-Unis a fait place &agrave; l&rsquo;ouverture d&rsquo;un dialogue plus fluide entre l&rsquo;une et l&rsquo;autre. Ainsi, des oeuvres de minimalistes new-yorkais comme Judd, Flavin ou Jo Baer sont expos&eacute;es, au MoMA &agrave; nouveau, dans le cadre d&rsquo;une exposition sur les artistes &laquo; L ight and Space &raquo; de Los Angeles, comme DeWain Valentine, Craig Kauffman ou John McCracken (dont des oeuvres ont &eacute;t&eacute; pr&eacute;sent&eacute;es &agrave; la galerie Almine Rech d&egrave;s 1991).</p> <p style="text-align: justify;">On peut envisager l&rsquo;exposition consacr&eacute;e &agrave; DeWain Valentine &agrave; la galerie Almine Rech en fonction de ce nouveau contexte historique. Elle constitue une nouvelle &eacute;tape dans l&rsquo;ambitieuse r&eacute;&eacute;valuation de cet important mouvement artistique qui s&rsquo;est d&eacute;velopp&eacute; &agrave; Los Angeles dans les ann&eacute;es 1960, et du r&ocirc;le que Valentine y a jou&eacute; jusqu&rsquo;&agrave; aujourd&rsquo;hui.</p> <p style="text-align: justify;">L&rsquo;exposition pr&eacute;sente un aper&ccedil;u global de la carri&egrave;re de Valentine. Elle offre au public une occasion unique de d&eacute;couvrir une oeuvre d&rsquo;une remarquable virtuosit&eacute; technique, centr&eacute;e sur la perception du spectateur.</p> <p style="text-align: justify;">L&rsquo;oeuvre de Valentine, qui s&rsquo;&eacute;tend sur plusieurs d&eacute;cennies et repose sur une diversit&eacute; de techniques et de fascinants m&eacute;diums &agrave; base de plastique (celui-ci n&rsquo;&eacute;tant traditionnellement pas utilis&eacute; dans la sculpture moderniste), a toujours incarn&eacute; une esth&eacute;tique unique, typique de la Californie du Sud. On en conna&icirc;t surtout les grandes sculptures translucides en r&eacute;sine dans des formes g&eacute;om&eacute;triques d&rsquo;apparence assez simple, mais qui n&eacute;anmoins se distinguent nettement des grilles et des cubes minimalistes. Succinctement, des artistes comme Judd et LeWitt recherchaient une perfection m&eacute;canique et avaient un penchant particulier pour la math&eacute;matique (ou la combinatoire). Valentine, &agrave; l&rsquo;oppos&eacute;, s&rsquo;int&eacute;resse beaucoup plus &agrave; la physique qu&rsquo;aux math&eacute;matiques : il souhaite donner &agrave; ses sculptures un lustre parfait, une &laquo; finition &raquo; absolument lisse (demandant des semaines et des mois d&rsquo;intenses efforts physiques). Diverses caract&eacute;ristiques le lient au mouvement &laquo; L ight and Space &raquo; des ann&eacute;es 1960 et 1970 : un int&eacute;r&ecirc;t pour la transparence, ou, plus pr&eacute;cis&eacute;ment, la translucidit&eacute; des volumes qu&lsquo;il traite ; l&rsquo;utilisation de mat&eacute;riaux et de proc&eacute;d&eacute;s industriels ; l&rsquo;accent mis sur les qualit&eacute;s de la couleur prismatique ; un penchant pour le jeu sur la perception du spectateur et pour l&rsquo;interaction de ce dernier avec l&rsquo;oeuvre.<br />D&rsquo;une mani&egrave;re g&eacute;n&eacute;rale, le trait principal de l&rsquo;art de Valentine (et de sa personnalit&eacute;)<br />est son attachement inconditionnel &agrave; une esth&eacute;tique qui repose sur une joie visuelle<br />et tactile pure, et &agrave; une c&eacute;l&eacute;bration sensuelle et optimiste de la vie au grand air dans la<br />Californie des ann&eacute;es 1960.</p> <p style="text-align: justify;">Le travail des artistes &laquo; L ight and Space &raquo;, rassembl&eacute;s autour de la foisonnante sc&egrave;ne artistique de Venice en Californie, fut influenc&eacute; par les caract&eacute;ristiques du paysage atmosph&eacute;rique de Los Angeles, &eacute;voqu&eacute; par Clarence Thomas Urmy, un po&egrave;te californien de la fin du XIXe si&egrave;cle :</p> <p style="text-align: justify;">La mesure du temps et de l&rsquo;espace,<br />La profondeur des mers les plus profondes,<br />La distance &agrave; l&rsquo;&eacute;toile la plus &eacute;loign&eacute;e &ndash;</p> <p style="text-align: justify;">C&eacute;l&egrave;bres pour leurs surfaces &eacute;th&eacute;r&eacute;es, lumineuses, brillantes, leurs oeuvres n&rsquo;&eacute;voquent pas seulement les qualit&eacute;s &laquo; angelenas &raquo; de la lumi&egrave;re du soleil, filtr&eacute;e par de vastes cieux brumeux, mais explorent &eacute;galement sans rel&acirc;che la perception du spectateur et les propri&eacute;t&eacute;s des mati&egrave;res synth&eacute;tiques industrielles non traditionnelles, qui devinrent disponibles &agrave; cette &eacute;poque gr&acirc;ce au boom des industries a&eacute;rospatiale et manufacturi&egrave;re dans l&rsquo;apr&egrave;s-guerre. Selon Catherine Grenier, commissaire de l&rsquo;exposition &laquo; L os Angeles 1955-1985. Birth of an Art Capital &raquo; (Centre Georges Pompidou, 2006), &laquo; S&rsquo;il y a un vecteur qui guide les artistes de Los Angeles dans leur ensemble [&hellip;] c&rsquo;est l&rsquo;importance attach&eacute;e &agrave; l&rsquo;exp&eacute;rimentation. &raquo; Les artistes que d&eacute;signe le terme g&eacute;n&eacute;rique de &laquo; L ight and Space &raquo; incluent Peter Alexander, Larry Bell, Mary Corse, Robert Irwin, John McCracken, James Turrell, Craig Kauffman, Helen Pashgian et, bien s&ucirc;r, DeWain Valentine. Cependant, comme c&rsquo;est souvent le cas avec un groupe ou un mouvement, peu de ces artistes s&rsquo;accommodent de cette &eacute;tiquette, ou d&rsquo;une quelconque &eacute;tiquette. L&rsquo;histoire de la galerie Almine Rech est pourtant &eacute;troitement li&eacute;e &agrave; ce groupe : la galerie a ouvert sa premi&egrave;re exposition avec James Turrell (il s&rsquo;agissait de sa premi&egrave;re exposition europ&eacute;enne en galerie, en novembre 1989 &agrave; Paris) et en 1991, Almine Rech a pr&eacute;sent&eacute; la premi&egrave;re exposition de John McCracken &agrave; Paris.</p> <p style="text-align: justify;">&laquo; Finish Fetish &raquo; (le f&eacute;tiche de la finition) est un autre terme employ&eacute; pour caract&eacute;riser l&rsquo;oeuvre de certains de ces artistes, dont Valentine. Le terme, souvent utilis&eacute; par l&rsquo;artiste, critique et directeur de mus&eacute;e John Coplans, se rapporte &agrave; l&rsquo;adoption de nouvelles technologies industrielles, aux surfaces polies, et aux couleurs miroitantes et attirantes. Cet amour des surfaces lisses, brillantes, luisantes constituait une syntaxe commune &agrave; ces artistes, et se rapportait davantage &agrave; l&rsquo;omnipr&eacute;sente culture surf et automobile de la Californie du Sud qu&rsquo;&agrave; la recherche de la perfection qui caract&eacute;risait le minimalisme de la c&ocirc;te Est (conjurant une production industrielle de masse de structures g&eacute;om&eacute;triques parfaitement harmonis&eacute;es, alors que les surfaces de Valentine sont le r&eacute;sultat d&rsquo;un travail physique intense, consistant &agrave; polir une surface de r&eacute;sine initialement rugueuse pour en faire une surface aussi lisse que du verre).</p> <p style="text-align: justify;">N&eacute; dans le Colorado, Valentine d&eacute;m&eacute;nage &agrave; Los Angeles en 1965 pour donner un cours sur la technologie des plastiques &agrave; l&rsquo;Universit&eacute; de Californie &agrave; Los Angeles (UCLA). Il est aujourd&rsquo;hui consid&eacute;r&eacute; comme l&rsquo;un des pionniers de l&rsquo;utilisation de plastiques et r&eacute;sines industriels dans la cr&eacute;ation de sculptures monumentales qui refl&egrave;tent la lumi&egrave;re et impliquent l&rsquo;espace environnant &agrave; travers leurs fascinantes surfaces translucides qui retiennent le spectateur. Sa premi&egrave;re exp&eacute;rience avec le plastique remonte &agrave; 1946, lorsqu&rsquo;il &eacute;tait au coll&egrave;ge. Il avait commenc&eacute; chez lui &agrave; exp&eacute;rimenter avec des mat&eacute;riaux industriels &ndash; y compris la fibre de verre, d&eacute;classifi&eacute;e par le gouvernement des &Eacute;tats-Unis apr&egrave;s la Seconde Guerre mondiale. Il les cuisait, les faisait fondre et les moulait. Ce savoir faire technique &ndash; combin&eacute; avec son exp&eacute;rience acquise ult&eacute;rieurement en travaillant le plastique renforc&eacute; &agrave; la fibre de verre dans des ateliers de construction navale et en peignant des automobiles, des avions et m&ecirc;me, selon certains, des engins ressemblant fort &agrave; des OVNI&thinsp;&ndash; mena &agrave; sa fascination pour et &agrave; son implication artistique dans des sculptures faites &agrave; partir de plastique color&eacute; et de r&eacute;sine de polyester &ndash; mat&eacute;riaux &eacute;vocateurs d&rsquo;une &egrave;re futuriste.</p> <p style="text-align: justify;">Le savoir-faire technique et l&rsquo;inventivit&eacute; de Valentine l&rsquo;ont d&eacute;marqu&eacute; de ses contemporains, notamment gr&acirc;ce &agrave; sa remarquable contribution &agrave; l&rsquo;industrie plastique. Pr&ecirc;t &agrave; prendre des risques, Valentine collabora &agrave; des exp&eacute;riences avec un ing&eacute;nieur chimiste en 1966, et d&eacute;veloppa un nouveau type de r&eacute;sine de polyester modifi&eacute;e qui allait lui permettre de mouler des objets monumentaux d&rsquo;un seul geste &ndash; un processus technique inconcevable jusqu&rsquo;alors. Cette invention fut commercialis&eacute;e sous le nom de &laquo; Valentine MasKat Resin &raquo;. Il commen&ccedil;a donc &agrave; travailler avec cette r&eacute;sine puissante, stable, claire, cr&eacute;ant des sculptures plus grandes que nature qui faisaient partie int&eacute;grante du paysage architectural et fonctionnaient comme des modificateurs d&rsquo;espace, alt&eacute;rant chez le spectateur la perception de l&rsquo;environnement. Gray Column, au sein de la pr&eacute;sente exposition, offre un parfait exemple de l&lsquo;application de la d&eacute;couverte de ce proc&eacute;d&eacute;.</p> <p style="text-align: justify;">L&rsquo;exposition pr&eacute;sentera de vastes sculptures color&eacute;es ainsi que des oeuvres de moindres dimensions. Les oeuvres sculpt&eacute;es de Valentine varient, allant de simples formes g&eacute;om&eacute;triques, comme des colonnes en forme de blocs ou des cercles pleins fabriqu&eacute;s en r&eacute;sine de polyester moul&eacute;e, &agrave; des disques concaves peints &agrave; la bombe et fabriqu&eacute;s &agrave; partir de plastique renforc&eacute; &agrave; la fibre de verre. Quels que soient leurs formats ou leurs couleurs, ces oeuvres aux surfaces lisses et translucides explorent la capacit&eacute; de la mati&egrave;re &agrave; porter et &agrave; r&eacute;fl&eacute;chir la lumi&egrave;re. Valentine s&rsquo;int&eacute;resse &agrave; la transparence et &agrave; la diffraction de la lumi&egrave;re, dont les effets de fragmentation prismatique deviennent &eacute;vidents pour le spectateur sous l&rsquo;impact d&rsquo;une lumi&egrave;re fluctuante.</p> <p style="text-align: justify;">Qu&rsquo;il s&rsquo;agisse de cercles ou de colonnes, ces sculptures ont souvent un effet atmosph&eacute;rique particulier : Valentine prenait plaisir &agrave; voir comment, en faisant s&rsquo;&eacute;couler goutte &agrave; goutte un filet d&rsquo;encre ou de liquide color&eacute;, des perles restaient presque magiquement suspendues dans l&rsquo;espace et refusaient de se diluer enti&egrave;rement dans la masse de r&eacute;sine liquide. Valentine adore ces &laquo; accidents &raquo; physiques : il les appelle ses &laquo; nuages &raquo;. En effet, elles ont une capacit&eacute;, presque sinistre, &agrave; simuler un nuage sombre dans le ciel ou du smog dans l&rsquo;atmosph&egrave;re.</p> <p style="text-align: justify;">Les formes distinctes de ces sculptures offrent une autre particularit&eacute; : ces colonnes ou ces prismes ont tendance &agrave; reposer sur une base plus &eacute;paisse, dont le volume s&lsquo;affine vers le sommet, ressemblant de la sorte &agrave; une fine structure pyramidale. Le cas des sculptures circulaires est plus complexe : le sommet est &eacute;galement plus fin que la base, mais la partie la plus fine est le centre de ces disques compos&eacute;s d&rsquo;un double cercle concave, une forme, insolite, mais parfaitement typique au sein du r&eacute;pertoire de Valentine. Les valeurs chromatiques varient de m&ecirc;me, passant de tons denses dans les parties &eacute;paisses &agrave; des tonalit&eacute;s &eacute;vanescentes dans les parties plus fines. Sa palette de couleurs, riches et bigarr&eacute;es, &eacute;voque parfois la nacre, ou un condens&eacute; des couleurs de l&rsquo;arc-en-ciel. Plus la couleur est p&acirc;le, plus la r&eacute;fraction de la lumi&egrave;re est forte. Les surfaces et les couleurs sont toutes plus ou moins translucides &ndash; bien qu&rsquo;il soit facile de passer &agrave; c&ocirc;t&eacute; des sculptures de Valentine en n&eacute;gligeant cette caract&eacute;ristique qui leur est propre. Se tenant debout face &agrave; la surface de certaines sculptures, m&ecirc;me les plus denses, un spectateur peut, n&eacute;anmoins, voir &agrave; travers cette substance translucide &agrave; base de r&eacute;sine et devient ainsi conscient de l&rsquo;espace int&eacute;rieur et de l&rsquo;espace au-del&agrave;, comme si nos yeux pouvaient p&eacute;n&eacute;trer l&agrave; o&ugrave; notre corps physique ne pourrait jamais le faire. &laquo; Je suis fascin&eacute; par l&rsquo;id&eacute;e d&rsquo;&ecirc;tre conscient de la surface ext&eacute;rieure d&rsquo;un objet, &raquo; dit Valentine, &laquo; de voir &agrave; travers celui-ci et d&rsquo;en percevoir la surface interne. &raquo; Cette d&eacute;claration refl&egrave;te &eacute;galement l&lsquo;int&eacute;r&ecirc;t de l&lsquo;artiste pour la perception du spectateur et les possibilit&eacute;s ph&eacute;nom&eacute;nologiques engendr&eacute;es par ses oeuvres. Ces impressionnantes exp&eacute;riences autour de la perception sont accentu&eacute;es par la r&eacute;activit&eacute; des sculptures vis-&agrave;-vis de leur environnement et par la mani&egrave;re dont celles-ci l&rsquo;activent. Valentine juxtapose habilement l&rsquo;&laquo; objectalit&eacute; &raquo; litt&eacute;rale de ces volumes, qui mettent en contraste, tout en les intensifiant, une multitude d&lsquo;effets illusionnistes d&rsquo;une lumi&egrave;re atmosph&eacute;rique ind&eacute;finissable, d&rsquo;un pan de ciel solidifi&eacute;, de fins nuages de couleur fluide retenue en suspens.</p> <p style="text-align: justify;">Les visiteurs de l&rsquo;exposition pourront &eacute;galement voir quelques exemples des derni&egrave;res peintures de Valentine. Bien qu&rsquo;elles &eacute;voquent un langage minimaliste empreint de sensualit&eacute;, elles sont n&eacute;anmoins, elles aussi illusionnistes dans la mani&egrave;re dont elles sugg&egrave;rent une surface atmosph&eacute;rique peinte et une ligne d&rsquo;horizon rougeoyante, &eacute;labor&eacute;es &agrave; partir de r&eacute;sine polym&egrave;re acrylique.</p> <p style="text-align: justify;">Le penchant de Valentine pour jouer avec de nouveaux mat&eacute;riaux synth&eacute;tiques, lui permet de d&eacute;cliner une vaste gamme de ph&eacute;nom&egrave;nes visuels et optiques, et de modifier ainsi, &agrave; son gr&eacute;, la perception du spectateur. Cette s&eacute;rie de gestes cr&eacute;atifs, et d&lsquo;int&eacute;r&ecirc;ts po&eacute;tiques placent l&lsquo;oeuvre de Valentine au sein d&lsquo;une longue tradition d&rsquo;artistes qui explorent les qualit&eacute;s intangibles de l&rsquo;atmosph&egrave;re et de la lumi&egrave;re, &agrave; la crois&eacute;e de la technique, de la science et de l&rsquo;art.</p> <p style="text-align: justify;">DeWain Valentine vit et travaille &agrave; Los Angeles en Californie. De nombreuses expositions individuelles lui ont &eacute;t&eacute; consacr&eacute;es dans des institutions et des galeries notoires, telles, la Ace Gallery de Los Angeles (1968; 2010), la Galerie Bischofberger de Z&uuml;rich (1969), le Pasadena Art Museum, le Norton Simon Museum (1970), le La Jolla Museum of Contemporary Art de Californie (1985), le Los Angeles County Museum of Art (1979) et la Honolulu Academy of Arts de Hawaii (1985). Il fut &eacute;galement inclus dans diverses r&eacute;trospectives majeures, dont &laquo; Pacific Standard Time : Crosscurrents in LA Painting and Sculpture, 1950-1970 &raquo; au Paul Getty Museum &agrave; Los Angeles (2011) et au Martin-Gropius- Bau &agrave; Berlin (2012) ; &laquo; West! Frank Gehry and the Artists of Venice Beach, 1962-1978 &raquo; au Frederick R. Weisman Art Museum de Minneapolis (2005), ainsi que dans l&rsquo;exposition collective &laquo; Primary Atmospheres : Works from California 1960-1970 &raquo; chez David Zwirner &agrave; New York (2010). DeWain Valentine a re&ccedil;u une &laquo; John Simon Guggenheim Fellowship &raquo; et une bourse du National Endowment for the Arts.</p> <p style="text-align: justify;">A l&rsquo;occasion de l&rsquo;exposition, Almine Rech publiera un catalogue illustr&eacute; contenant un essai de l&lsquo;historien d&lsquo;art et auteur, Joachim Pissarro.</p> Wed, 16 Apr 2014 14:19:44 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Dennis Rudolph - Galerie Olivier Robert - April 26th 4:00 PM - 8:00 PM <p style="text-align: justify;">El Greco a peint au moins quatre versions de La purification du Temple. Certains y ont vu une version primitive du fordisme&hellip;. D&rsquo;autres ont compris que dans la r&eacute;p&eacute;tition du geste, le peintre cherchait un absolu, une puret&eacute; dans le message. Utilisation ironique et perverse de la m&eacute;thode des marchands contre application esth&eacute;tique de la volont&eacute; divine. Le march&eacute;, l&rsquo;artiste &ndash; et entre les deux, un courant qui ondine. Mais laissons l&agrave; cette parenth&egrave;se, incons&eacute;quente sans doute, car pendant que la recherche recherche, Dennis Rudolph avance. <br /><br />Temps faustien. <br />Est en avance, m&ecirc;me. Il a tir&eacute; avant les autres les le&ccedil;ons de l&rsquo;histoire, la politique comme l&rsquo;artistique. La division du monde, il l&rsquo;a mat&eacute;rialis&eacute;e dans son &oelig;uvre ; l&rsquo;Occident, il en a dessin&eacute; la fin. Une &eacute;bauche, des contours, d&eacute;j&agrave;. Sans pessimisme, ni fatalisme, mais avec une douce s&eacute;r&eacute;nit&eacute;, empli des certitudes du cr&eacute;ateur. Alors que cette ouverture tire vers la grandiloquence empes&eacute;e de celle du Tannh&auml;user, il est grand temps de revenir &agrave; l&rsquo;art. Avant qu&rsquo;il ne soit trop tard. </p> <p style="text-align: justify;">C&rsquo;est au beau milieu du d&eacute;sert de Mojave, aux abords de California City, que Dennis Rudolph a d&eacute;but&eacute; THE/PORTAL, projet d&eacute;mesur&eacute;, fortement empreint d&rsquo;hubris, apocalyptique dans tous les sens du terme. C&rsquo;est l&agrave; qu&rsquo;il souhaite dresser une Porte du Paradis et de l&rsquo;Enfer, s&eacute;paration mat&eacute;rielle des mondes. C&rsquo;est ici que l&rsquo;Occident s&rsquo;arr&ecirc;te, ouvrant sur le d&eacute;sert, fermant l&rsquo;horizon du Pacifique. De cette ville o&ugrave; l&rsquo;utopie a tourn&eacute; &agrave; la catastrophe, on retrouve le sublime des ruines romantiques, les envol&eacute;es g&eacute;niales des ma&icirc;tres du Land Art. <br /><br />What a nice surprise, bring your alibis.</p> <p style="text-align: justify;">Dennis Rudolph ou le Saint Antoine moderne. Comme Prom&eacute;th&eacute;e, comme Frankenstein, comme Scott Walker. De ce d&eacute;sert symbolique il a ramen&eacute; des bribes d&rsquo;&oelig;uvres qu&rsquo;il assemble, &eacute;lectrise, insufflant la vie &agrave; un monstre g&eacute;nial et effrayant. Cette Gorgone, il a choisi de la pr&eacute;senter scind&eacute;e en deux &agrave; la galerie Olivier Robert. Un premier lieu, premier temps, qui convoque autant Walter Benjamin que le merchandising le plus cru, la violence de carreaux bruts liant la mort m&eacute;canis&eacute;e &agrave; la mort contenue, les structures &eacute;ph&eacute;m&egrave;res et militaires r&eacute;v&eacute;lant la gloire des strat&eacute;gies. Le souffle ent&ecirc;tant du vent, les p&eacute;r&eacute;grinations &ndash; qui cherchent l&rsquo;Homme, qui mart&egrave;lent le Dieu mort - rythment un espace o&ugrave; le mythe de la conqu&ecirc;te spatiale porte et &eacute;teint les illusions, o&ugrave; la lumi&egrave;re du soleil s&rsquo;&eacute;tiole sur l&rsquo;oc&eacute;an. <br /><br />Des proph&egrave;tes, une proph&eacute;tie. </p> <p style="text-align: justify;">De l&rsquo;autre c&ocirc;t&eacute;, de l&rsquo;espoir, un Paradis sombre. Des enfants disparus, une R&eacute;volution qui am&egrave;ne la Lumi&egrave;re &agrave; la Terreur, des relents de Vietnam et des anges aussi beaux que d&eacute;chus. Un r&eacute;sum&eacute; de notre &eacute;poque dans des toiles symboliques, d&eacute;chass&eacute;es, violemment &eacute;l&eacute;gantes, capables de confronter la tradition &agrave; son &oelig;il cyclop&eacute;en, troisi&egrave;me du nom. <br />En deux performances, La s&eacute;paration de toutes choses (26 avril) et Le mariage de toutes choses (23 mai), il bouclera un cercle forc&eacute;ment dantesque. Remontant aux origines de toutes choses, renversant notre monde, il d&eacute;clamera une vision tragique et sublime m&ecirc;lant architecture, sociologie, art et th&eacute;ologie. Sans sacr&eacute;, tout simplement &agrave; la recherche d&rsquo;un temps perdu, celui qui a vu s&rsquo;originer l&rsquo;Enfer. Et admirer un Temple purifi&eacute;, quatre fois.<br /><br />Benjamin Bianciotto</p> Tue, 15 Apr 2014 02:25:02 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Kendell Geers - Galerie Yvon Lambert - April 26th 6:00 PM - 8:00 PM <p style="text-align: justify;">Yvon Lambert is pleased to announce Kendell Geers third solo show Solve et Coagula which will be held at the gallery from April 26th to May 31st. In this exhibition, South African artist presents a new selection of works, which question the relation between art creation and transgression by using different medias such as paintings, installations and performance.</p> <p style="text-align: justify;">Beyond all idea of Beauty or romantic form of Sublime, Kendell Geers&rsquo;s work interferes with in the experience of the spectator as an appearance of a fantasy of violence. Strongly influenced by the political context he comes from, Kendell Geers transforms his artistic production into an act of a potential fraction towards history and art history. For this exhibition Kendell Geers confronts us with a necessary break, which is preliminary to all reconstruction. In terms of alchemy, the maxim of Solve et Coagula signifies the inevitable dissolution of a body before its transfiguration into spirit. Also, during the performance Ritual Resist &mdash; which is directed by the artist &mdash;, the dancer&rsquo;s bodies initiate a dialogue of power with their own image, held prisoner by their reflection. Equally inspired by the theory of the Ligne de Fuite of Gilles Deleuze and Felix Guattari , Kendell Geers situates us in a place of instability which is both spatial and social, and where the spectator is led to take almost an ethical position. Indeed, his large paintings detain us by their tribal looking motives, by which Kendell Geers plunges us into a real Theatre of Cruelty. Also, the troubling image of the swings who&rsquo;s seat is set of broken glass, undeniably sends us back to Fragonard&rsquo;s famous painting Les Hasard Heureux de l&rsquo;escarpolette (The Swing), a metaphor of the moral decline of nobility a few years before the revolution in 1789.</p> <p style="text-align: justify;">Each work of the artist comes within the context of a form of a sensitive experience of a limit, in which the shades of an account, tormented by contemporary history, appear.</p> <p style="text-align: justify;">_________________________</p> <p style="text-align: justify;">Kendell lives and works. He was born in May 1968.</p> <p style="text-align: justify;">His work has been shown in numerous solo exhibitions : Vienna Secession and MAK in Vienna, AT ; W&uuml;rtembergischer Kunstverein and Schloss Solitude de Stuttgart, DE ; MACRO &agrave; Rome, IT ; MART &ndash; Museo di arte moderna e contemporanea di Trento e Rovereto, IT ; Castello di Ama per l&rsquo;arte contemporanea Lecchi in Chianti, IT ; Proyecto de arte contemporaneo, Murcia, ES ; Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Gent, BE ; at BPS 22 &agrave; Charleroi, BE ; in Basel for an Unlimited project, CH ; Salon 94, New York, US ; South African National Gallery, Cape Town, ZA ; Consortium de Dijon, FR ; Mus&eacute;e d&rsquo;Art contemporainde lYon, FR and au Palais de Tokyo, Paris, FR</p> <p style="text-align: justify;">He participated in several collective shows Stedelijk Museum, Amsterdam, NL ; de Appel Art Center, Amsterdam, NL ; Haus der Kulturen der Welt, Berlin, DE ; Documenta 11, Kassel, DE ; Kunstmuseum Bonn, DE ; Kunstlerhaus, Graz, AT ; Kunsthalle Bern, CH ; MNAC, Bucharest, RO ; Instituto de Arte Contempor&acirc;nea, Lisbon, PT ; MUHKA, Antwerp, BE ; Museum of Modern Art, Oxford, UK ; 52nd Biennale di Venezia, Venice, IT ; Villa Medici, Rome, IT ; Le Magasin, Grenoble, FR ; Collection Fran&ccedil;ois Pinault Foundation, Lille, FR ; Collection Yvon Lambert, Avignon, FR ; Centre Pompidou, Paris, FR et au PS1, New York, US.</p> Wed, 02 Apr 2014 15:30:56 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Olivier Mosset - Galerie Yvon Lambert - April 26th 6:00 PM - 8:00 PM <p style="text-align: justify;">Yvon Lambert is pleased to announce Olivier Mosset&rsquo;s exhibition TU M&rsquo;, MUTT, TUTU., which will be held in the section On Paper from April 26th to May 31st. With this serie of paintings, Oliver Mosset discretely pays homage to the artist Marcel Duchamp.</p> <p style="text-align: justify;">Since the late 60&rsquo;s, Olivier Mosset has maintained the aim of deconstructing painting. According to the artist, painting appears as an autonomous &laquo;objet-peinture&raquo; (object-painting), which articulates itself only with in formal structures. By working on colors and specific forms - determined by the idea of the painting per se -, Olivier Mosset situates these formal elements in a meaning of absolute literality. Placing the abstraction beyond any relation to the image, Olivier Mosset treats the &laquo;objet-peinture&raquo; as an assisted &laquo;ready-made&raquo; and demonstrates that the positions of Paul C&eacute;zanne and Marcel Duchamp don&rsquo;t exclude, but rather complete each other. As a matter of fact, the truth of the painting in Olivier Mosset&rsquo;s work doesn&rsquo;t reside in an expectation of representation, but in the relation generated by the spectators.</p> <p style="text-align: justify;">_________________________</p> <p style="text-align: justify;">Olivier Mosset was born in Bern in 1944. He lives and works in Tucson, Arizona. Together with Daniel Buren, Michel Parmentier and Niele Toroni he founded the group BMPT in 1967. This experience became apparent in three important events, two of them in the Mus&eacute;e d&rsquo;Art Moderne de la ville de Paris and one at the Mus&eacute;e des Arts D&eacute;coratifs. This young group of painters claimed the starting point of painting, namely of an existing painting per se.</p> <p style="text-align: justify;">His work has been shown in numerous solo exhibitions : Kunsthalle Bern, CH; Mus&eacute;e d&rsquo;art moderne et contemporain (MAMCO), Gen&egrave;ve, CH; Mus&eacute;e Cantonal des Beaux-Arts, Lausanne, CH; Mus&eacute;e d&rsquo;art contemporain, Lyon, FR; Spencer Brownstone Gallery, New York, USA; University of Arizona Museum of Art, Tucson, USA ...</p> <p style="text-align: justify;">He participated in several collective shows at the LACMA, Los Angeles, USA; Collection Museum Moderner Kunst, Vienne, AT; Museum of Modern Art of St Louis, Missouri, USA; Whitney Biennal, New York, USA; Grand Palais, Paris, FR; Migros Museum f&uuml;r Gegenwartskunst, Zurich, CH; Museum Fridericanum, Kassel, GER, Williams College Museum of Art, Williamstown, Ma, USA; Mus&eacute;e d&rsquo;art moderne de la Ville de Paris, FR ...</p> <p style="text-align: justify;">His installations have been selected in biennials such as the Biennial of Contemporary Art, Le Havre (2008), the Whitney Biennial (2008), Biennial of Valencia (2005), the Biennial of Contemporary Art in Lyon (2003), the Arizona Biennial in Tucson (2001), the 44th Biennial of Venice in 1990, the Biennial of Sydney (1988), the Biennial of Lugano (1968) and the Biennial of Paris (1967).</p> Wed, 02 Apr 2014 15:36:50 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Lin Utzon - Musée de la Chasse et de la Nature - April 29th 11:00 AM - 6:00 PM <p style="text-align: justify;">Issue d&rsquo;une importante famille d&rsquo;architectes danois, Lin Utzon (n&eacute;e en 1946) a d&eacute;velopp&eacute; un univers personnel, entre la sculpture et le design. Son art est profond&eacute;ment marqu&eacute; par la contemplation de la nature, et en particulier celle du nord arctique avec l&rsquo;aust&egrave;re grandeur de ses paysages de glace et de neige o&ugrave; le bouillonnement de la vie reste pourtant pr&eacute;sent. S&rsquo;inspirant de ces images fortement contrast&eacute;es elle &eacute;pure les formes et les couleurs pour mieux exprimer le dynamisme de la structure. De l&rsquo;Am&eacute;rique &agrave; l&rsquo;Australie, ses compositions monumentales accompagnent bon nombre d&rsquo;&eacute;difices publics.</p> <p style="text-align: justify;">Au mus&eacute;e de la Chasse et de la Nature, l&rsquo;exposition Cosmic Dance se veut un vibrant hymne &agrave; la vie. De la cour d&rsquo;entr&eacute;e aux salles d&rsquo;exposition permanente, Lin Utzon envahit l&rsquo;espace du mus&eacute;e avec ses sculptures organiques en terre crue et en c&eacute;ramique auxquelles elle veut garder la spontan&eacute;it&eacute; d&rsquo;une &eacute;bauche. Jouant du contraste entre la fluidit&eacute; des formes et l&rsquo;extr&ecirc;me rigueur chromatique du noir et blanc, elle &eacute;voque les formes de vie les plus primitives&nbsp;: le mouvement jubilatoire des pollens en suspension dans l&rsquo;air, l&rsquo;architecture des madr&eacute;pores dans les fonds marins, la d&eacute;rive des glaces dans les mers arctiques.</p> <p>Exposition pr&eacute;sent&eacute;e en partenariat avec les Designer&rsquo;s Days (19-25 mai).</p> Sat, 12 Apr 2014 12:05:25 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Levalet - le cabinet d'amateur - May 1st 6:00 PM - 7:00 PM <p style="text-align: justify;"><span style="font-size: small;">Un peu plus d'un an apr&egrave;s sa premi&egrave;re exposition personnelle, Levalet revient poser ses valises au cabinet d'amateur. Une ann&eacute;e riche en cr&eacute;ations, collages &eacute;ph&eacute;m&egrave;res, voyages en France et &agrave; l'&eacute;tranger. Il nous pr&eacute;sente ses sc&egrave;nes de vie du quotidien, avec humour et po&eacute;sie. Levalet va &agrave; l'essentiel. Loin des influences et de l'appropriation des figures iconiques il observe le monde, se met en situation entour&eacute; de ses proches ou d'anonymes et nous transporte dans son univers. Voyage &agrave; l'envers, tout est l&agrave; sous nos yeux, l'humain, au coeur de son oeuvre, reprend sa place en toute simplicit&eacute;.</span><br /> <br /><span style="font-size: small;"> Pour cette exposition, Levalet a mis dans ses bagages ses collages de rue, un fragment de vie, un microcosme, un th&eacute;&acirc;tre miniature, sorte de com&eacute;die humaine. Il utilise l'espace en saisissant subtilement les interactions entre les &ecirc;tres humains et leur environnement. Il joue avec les situations, les sens, les r&eacute;f&eacute;rences artistiques de ses ma&icirc;tres. Ses personnages deviennent des &ecirc;tres hybrides par mim&eacute;tisme, de l'homme-objet &agrave; l'homme-animal. Levalet nous invite &agrave; un voyage int&eacute;rieur : pr&ecirc;t pour un nouveau d&eacute;part ? Les valises sont faites...</span></p> Thu, 17 Apr 2014 16:05:32 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Joel Shapiro - Galerie Karsten Greve - May 3rd 5:00 PM - 8:00 PM <p style="text-align: justify;">La Galerie Karsten Greve est heureuse de pr&eacute;senter l&rsquo;exposition <em>Wood Plaster Paint</em> consacr&eacute;e &agrave; Joel Shapiro. Fascin&eacute; par le d&eacute;ploiement de la mati&egrave;re dans l&rsquo;espace, l&rsquo;artiste newyorkais con&ccedil;oit la sculpture comme une condensation de son exp&eacute;rience&nbsp;: le mouvement de l&rsquo;&oelig;uvre est alors le miroir d&rsquo;une pratique &eacute;motive concr&eacute;tis&eacute;e dans l&rsquo;espace, ce qui donne vie &agrave; un art de la vibration et de l&rsquo;extase. L&rsquo;exposition pr&eacute;sente des &oelig;uvres aux mat&eacute;riaux et aux pratiques divers r&eacute;alis&eacute;es &agrave; partir des ann&eacute;es 80. Bien que diff&eacute;rentes, chaque &oelig;uvre a la caract&eacute;ristique de d&eacute;mystifier les cat&eacute;gories suppos&eacute;es mais tant d&eacute;clam&eacute;es entre art figuratif, abstrait ou conceptuel, en ramenant ainsi l&rsquo;attention au <em>hic et nunc</em> de l&rsquo;&oelig;uvre.</p> <p style="text-align: justify;">La perception des &oelig;uvres de Joel Shapiro est possible seulement lorsque l&rsquo;on consid&egrave;re la forme comme un langage en soi, renon&ccedil;ant au moins au d&eacute;but &agrave; toute description verbale. Le travail de l&rsquo;artiste a toujours &eacute;t&eacute; centr&eacute; autour de la notion d&rsquo;espace et de l&rsquo;exp&eacute;rience qu&rsquo;on en fait&nbsp;: se d&eacute;veloppant dans toutes les directions, la forme des sculptures se d&eacute;ploie dans les salles et envahit les trois dimensions dont elles se composent. L&rsquo;objectif de l&rsquo;artiste est la libert&eacute; de la sculpture, aussi bien dans sa l&eacute;g&egrave;ret&eacute; que dans son ancrage au sol : de cette mani&egrave;re les &oelig;uvres instaurent avec le spectateur un rapport dynamique qui est fait de proportions, de distances et de directions. Pour ne pas nuire &agrave; ce dialogue, d&egrave;s les ann&eacute;es 80 Joel Shapiro supprime de ses sculptures le socle qui, comme le cadre ou la sc&egrave;ne, a l&rsquo;obscur pouvoir d&rsquo;&eacute;loigner l&rsquo;art du monde.</p> <p style="text-align: justify;">Le dynamisme des sculptures de Joel Shapiro est donn&eacute; principalement par deux aspects : la disposition des &eacute;l&eacute;ments et leur couleur. L&rsquo;artiste commence &agrave; peindre le bois pour en quelque sorte le transformer&nbsp;: la couleur permet de&nbsp;changer la forme, de l&rsquo;enrichir d&rsquo;un sens qui autrement lui &eacute;chapperait. Un &eacute;l&eacute;ment se fait par exemple plus &eacute;pais et volumineux s&rsquo;il est peint en noir&nbsp;: la couleur modifie la perception de la forme et, par cons&eacute;quent, la pr&eacute;sence de la mati&egrave;re devant l&rsquo;observateur. Dans ce sens, si la sculpture garde la m&eacute;moire du mouvement, la couleur aide &agrave; l&rsquo;&eacute;voquer. Le processus cr&eacute;atif se fait lui-m&ecirc;me en devenir&nbsp;: l&rsquo;artiste retravaille la configuration en remaniant la disposition des &eacute;l&eacute;ments jusqu&rsquo;&agrave; ce qu&rsquo;il trouve une forme qui ait du sens, puisque la forme, au de-l&agrave; des mots, signifie quelque chose.</p> <p style="text-align: justify;">Le travail de Joel Shapiro se d&eacute;cline dans des techniques&nbsp;et des mat&eacute;riaux divers : son corpus se compose de dessins, sculptures en bronze, fonte, pl&acirc;tre, argile ou bois. Coul&eacute;s dans le bronze, les morceaux de bois gardent tous les d&eacute;tails du mat&eacute;riel pr&eacute;alablement travaill&eacute; : les veines, les n&oelig;uds et les autres irr&eacute;gularit&eacute;s sont ainsi fig&eacute;es dans le m&eacute;tal, t&eacute;moins d&rsquo;une vitalit&eacute; qui reste ainsi visible. Les sculptures de Joel Shapiro prennent parfois la forme d&rsquo;installations architecturales&nbsp;: connect&eacute;s entre eux par du fil de fer, des clous ou des vis, les &eacute;l&eacute;ments composant l&rsquo;&oelig;uvre forment des constellations suspendues dans un &eacute;quilibre parfait et presqu&rsquo;id&eacute;al. Le spectateur peut alors p&eacute;n&eacute;trer l&rsquo;espace habit&eacute; par l&rsquo;&oelig;uvre et y d&eacute;ambuler.</p> <p style="text-align: justify;">Si le spectateur est sans doute libre dans sa perception de l&rsquo;&oelig;uvre et il peut attribuer aux formes ce qu&rsquo;il croit reconnaitre en elles, les sculptures de Shapiro ne sont pas volontairement figuratives&nbsp;: elles &eacute;voquent quelque chose sans le repr&eacute;senter explicitement. Ce qui est int&eacute;ressant dans son travail est que, quoique non figuratif, il n&rsquo;est pas non plus abstrait. Les sculptures sont envahies d&rsquo;une attitude, d&rsquo;un &eacute;lan qui parfois rappelle une entit&eacute; sans pourtant la signifier directement. Il s&rsquo;agit donc d&rsquo;une sculpture vitale et pleine de possibilit&eacute;squi n&rsquo;est pas la synth&egrave;se de quelque chose en particulier et qui vise toujours la vibration de l&rsquo;&oelig;uvre&nbsp;: les sculptures de Joel Shapiro condensent une action, un mouvement qui passe d&rsquo;un &eacute;l&eacute;ment &agrave; l&rsquo;autre et qui permet ainsi de <em>sentir l&rsquo;espace</em>.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Joel Shapiro est n&eacute; en 1941 &agrave; New York o&ugrave; il vit et travaille. Il a re&ccedil;u les distinctions de l&rsquo;Acad&eacute;mie royale su&eacute;doise des arts en 1994 et de l&rsquo;Acad&eacute;mie am&eacute;ricaine des arts et des lettres en 1998. En France, l&rsquo;artiste est nomm&eacute; Chevalier des Arts et des Lettres en 2005. En 2013 les Etats-Unis lui ont attribu&eacute; le prestigieux National Art Award for Outstanding Achievement. Parmi ses commandes publiques les plus importantes figurent celles pour le Mus&eacute;e M&eacute;morial de l&rsquo;Holocauste de Washington et pour l&rsquo;Ambassade d&rsquo;Ottawa. Ses &oelig;uvres ont int&eacute;gr&eacute; de nombreuses collections internationales telles que le MOMA, le Metropolitan Museum de New York, le Centre Pompidou et la TATE Gallery.&nbsp;</p> <p style="text-align: justify;"><strong>____________________________________________________________________________________<br /> </strong><br /> Galerie Karsten Greve is pleased to present the <em>Wood Plaster Paint</em> exhibition devoted to Joel Shapiro. Fascinated by the deployment of matter in space, the New York artist creates sculpture as a condensation of his experience: the movement of the work is thus the mirror of an emotional practice embodied in the space, which gives life to an art of vibration and ecstasy. The exhibition presents works of diverse materials and practices produced from the 1980s. Although different, each work has the characteristic of demystifying assumed categories as declaimed between figurative, abstract or conceptual art, thus bringing attention to the <em>hic et nunc</em> of the work.</p> <p style="text-align: justify;">The perception of Joel Shapiro's works is possible only when we consider the form as a language in itself, giving up, at least initially, any verbal description. The artist's work has always been centred around the notion of space and the experience that is made of it: growing in all directions, the shapes of the sculptures spread out in the rooms, invading the three dimensions of which they consist. The goal of the artist is the freedom of the sculpture, both in its lightness and its attachment to the ground. In this way the works establish a dynamic relationship with the viewer that is made of proportions, distances and directions. So as not to prejudice this dialogue, Joel Shapiro removed the base of his sculptures in the 80's, which like a frame or a stage set, have the dark power of distancing the art from the world.</p> <p style="text-align: justify;">The dynamism of Joel Shapiro's sculptures derives mainly from two aspects: the disposition of elements and their colour. The artist begins to paint wood to somehow transform it: colour makes it possible to change the shape, to enrich it with a meaning that would otherwise escape it. An element is made thicker and more voluminous if painted black, for example: the colour modifies our perception of the shape and, consequently, the presence of the material to the observer. In this sense, if the sculpture keeps the memory of the movement, the colour helps to evoke it. The creative process is itself done by becoming: the artist reworks the configuration redesigning the layout of elements until he finds a form that makes sense, since the form, beyond words, means something.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Joel Shapiro's work comes in various techniques and materials: the corpus consists of drawings, sculptures in bronze, iron, plaster, clay and wood. Cast in bronze, wood pieces keep all the details of materials previously worked: the veins, knots and other irregularities are thus fixed in metal, witnesses to a vitality that remains visible. Joel Shapiro's sculptures sometimes take the form of architectural installations: interconnected by wire, nails or screws, the elements composing the work form suspended constellations in perfect and almost ideal balance. The viewer can then enter the space inhabited by the work and roam around.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Though the viewer is undoubtedly free in their perception of the work and can attribute to the shapes whatever they believe they recognize in them, Shapiro's sculptures are not voluntarily figurative: they evoke something without explicitly representing it. What is interesting in his work is that, although not figurative, it is not abstract either. The sculptures are invaded by an attitude, an approach that sometimes recalls an entity without however directly signifying it. It is therefore a sculpture that is vital and full of possibilities that is not the synthesis of anything in particular and which always strives for the vibration in the work: sculptures by Joel Shapiro condense an action, a movement that passes from one element to another and which thus makes it possible to <em>feel the</em> <em>space</em>.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Joel Shapiro was born in 1941 in New York, where he lives and works. He has received awards from the Royal Swedish Academy of Arts in 1994 and the American Academy of Arts and Letters in 1998. In France, the artist was appointed Chevalier des Arts et des Lettres in 2005. In 2013 the United States awarded the prestigious National Art Award for Outstanding Achievement. Among his most important public commissions include those for the Holocaust Memorial Museum in Washington and the Embassy of Ottawa. His works have included numerous international collections such as the MOMA, the Metropolitan Museum in New York, the Centre Pompidou and the Tate Gallery.</p> Wed, 09 Apr 2014 14:11:27 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list - Fondation Cartier - May 10th 11:00 AM - 9:00 PM <p style="text-align: justify;">The Fondation Cartier pour l'art contemporain has provided a unique creative space for artists since 1984. Initially in Jouy-en-Josas, then in Paris, it has consistently promoted discovery and openness, a multidisciplinary perspective and the diversity of different voices.</p> <p style="text-align: justify;"><strong>From Saturday, May 10th 2014,</strong> and throughout the following year, the Fondation Cartier pour l&rsquo;art contemporain invites you to share in a celebration of 30 years of pioneering patronage - 30 years during which engagement and continuous exchange with artists and creative players from all walks of life have asserted a bold and free-spirited approach.</p> <p style="text-align: justify;">From May to September 2014, <em>M&eacute;moires Vives</em> will form the first part of the anniversary year. A succession of works from the Fondation Cartier collection will be shown, making this an exhibition in continuous evolution.</p> Tue, 15 Apr 2014 04:11:26 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list