ArtSlant - Current exhibits http://www.artslant.com/par/Events/show en-us 40 Stéphane Dafflon - Air de Paris - February 22nd, 2013 - April 6th, 2013 <p>epuis presque quinze ans, Stéphane DAFFLON bâtit une oeuvre de première importance et dont l’originalité pourrait relever d’une logique de l’esquive : à aucun moment ses élégantes abstractions géométriques ne cèdent à un principe de composition univoque. Evoqués autant que révoqués, l’emprunt, la perturbation optique, l’in situ, l’index, le sample... Les titres de ses oeuvres n’autorisent pas d’interprétation superfétatoire, ne cachent aucune signification : ils annoncent la technique et le numéro (AST, acrylique sur toile ; PM, peinture murale ; SAI, sculpture sur acier inoxydable…) .<br /> <br /> C’est autant à une redécouverte du lieu qu’à une appréhension de formes autonomes que l’artiste convie son spectateur. A l’instar de Airless, son exposition inaugurale chez Air de Paris (2000), et qui faisait porter sur l’espace même d’exposition son geste propre de peinture, cette nouvelle exposition sera l’occasion de déployer son registre de lignes effilées sur châssis autant que sur murs. Affranchies de formes de design aérodynamiques auxquelles il les a peut-être empruntées, ses lignes épousent éventuellement les bords des châssis, elles divisent les murs et, selon des logiques de report, en redessinent les angles. L’espace n’est plus juste offert à une traversée, mais à être déplacé, vectorisé, translaté.<br /> <br /> Cette nouvelle exposition sera alors l’occasion de constater que la pratique de Stéphane Dafflon relève du glissement, et qu’incidemment elle subsume toutes les opérations auparavant relevées, quand aucune, seule, n’en épuiserait la complexité : glissement des formats (dimension des châssis définis en fonction des dimensions des passages), des couleurs (tonalités des peintures et peintures murales selon deux mouvements contradictoires), des emplacements (en fonction de reports)…<br /> <br /> De sorte qu’il semblerait que Stéphane Dafflon, plutôt que se soucier de répondre à la théorie de l’art, ait pris aux mots, pour les défier, les tagueurs qui ont inscrit sur la devanture de la galerie :<br />« C facil à comprendre mais complexe à réaliser ? ». Car rien n’est moins sûr.</p> <p class="Style63" align="justify">Les oeuvres de Stéphane DAFFLON (né en 1972, vit et travaille à Lausanne) ont été présentées dans de nombreuses expositions : Kunsthaus Aarau, La Maison Rouge, Kunsthalle Bern, Centre Culturel Suisse, Frac Aquitaine, Villa Médicis… En avril prochain, il participera à l’exposition Lumineux ! Dynamique ! Espace et vision dans l’art de nos jours à 1913 , Galeries nationales du Grand Palais, Paris (cur. Serge Lemoine et et Mathieu Poirier). Le centre d’art de Fribourg Fri-Art vient de lui consacrer une exposition personnelle, après le MAMCO de Genève. Ses oeuvres sont présentes dans de nombreuses collections, privées et publiques, françaises et européennes.</p> Mon, 04 Mar 2013 08:18:19 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Jacob Kassay - Art : Concept - February 23rd, 2013 - April 6th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Jacob Kassay</span><br /><span style="text-decoration: line-through;"><span style="font-size: small;">may 8th - June 5th 2010</span></span><br /><span style="text-decoration: line-through;"><span style="font-size: small;">Opening saturday May 8th, from 6 to 9 pm</span></span><br /><span style="text-decoration: line-through;"><span style="font-size: small;">concert : rhys chatham</span></span></p> <p style="text-align: justify;"><span style="font-size: small;">Art : Concept has the pleasure to announce the <span style="text-decoration: line-through;">first</span> personal exhibition of artist Jacob Kassay.</span></p> <p style="text-align: justify;"><span style="font-size: small;">His practice includes painting, <span style="text-decoration: line-through;">works on paper, mixed media</span>, film, installation <span style="text-decoration: line-through;">and collaborative </span></span><span style="font-size: small;"><span style="text-decoration: line-through;">projects</span>. However, on the occasion of the current show, this <span style="text-decoration: line-through;">new York</span> artist will present a series of </span><span style="font-size: small;">abstract paintings with silver metallic surfaces.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jacob Kassay’s pieces play, both literally and figuratively, with notions of opacity, reflection and transfer. </span><span style="font-size: small;">His monochromes are chemically produced <span style="text-decoration: line-through;">by means of an industrial technique</span> – electro-plated in silver. </span><span style="font-size: small;">they give themselves off to the spectator thanks to the interactive perceptibility that operates when he </span><span style="font-size: small;">places himself in front of them to perceive his own faint reflection.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The smooth and shiny surface of these paintings is somehow temporarily altered by the spectator’s </span><span style="font-size: small;">passage. Far from being a loss, this alteration is to be understood in the sense of “musical inflection”, </span><span style="font-size: small;">a shifting of the light level and source that influences the work much in the same way as a sharp or </span><span style="font-size: small;">a flat could modify the pitch of a musical note. The juxtaposition of an ensemble of paintings is as </span><span style="font-size: small;">important as the light-reflection and opaque denseness of the reflected environment. <span style="text-decoration: line-through;">Any variation </span></span><span style="text-decoration: line-through;"><span style="font-size: small;">of the perception of the painterly surface is to be considered as inherent to this artistic project. on </span><span style="font-size: small;">this account, the artist carefully keeps control of their reproductions and makes sure that published </span><span style="font-size: small;">images do not convey the image of simple homogeneous and silver monochrome-paintings. He refuses </span></span><span style="font-size: small;"><span style="text-decoration: line-through;">front-views of any single pieces</span>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Kassay’s paintings create a space-continuum in which the blurred and opaque reflections convey illusions of depth. Beyond the impact created by the light that alters any painting’s surface, we find that </span><span style="font-size: small;">the importance granted to the space between the spectator and the inherent flatness of the canvas </span><span style="font-size: small;">turns into a rebounding reference to the immaterial <span style="text-decoration: line-through;">and conceptual</span> sides of painting. <span style="text-decoration: line-through;">Could this be the </span></span><span style="text-decoration: line-through;"><span style="font-size: small;">calling forth of immateriality as previously evoked by Yves Klein’s iKB* monochrome-paintings ? is the </span><span style="font-size: small;">artist trying to inscribe his work in the historical tradition that consists in conceiving a painting as a </span><span style="font-size: small;">window to be opened on the world and its possible representation? or is he rather making references </span><span style="font-size: small;">to the use of mirrors in arte povera and minimal art (Smithson, pistoletto and morris) ?</span></span></p> <p style="text-align: justify;"><span style="font-size: small;">Kassay deliberately cultivates opacity of reflection. The paradoxical effect of these painterly-objects </span><span style="font-size: small;">is all based on the impossibility of operating a trans-historical synthesis and implicitly evokes the </span><span style="font-size: small;">modernist and maybe absurd desire to put an end to classicism by producing monochromes. <span style="text-decoration: line-through;">The artist </span></span><span style="font-size: small;"><span style="text-decoration: line-through;">has reached painting through photography. Expressions such as :</span> « duration », « instantaneousness </span><span style="font-size: small;">of light exposure », « image-production », « perpetual development »or « depth of focal fields » are </span><span style="font-size: small;">terms <span style="text-decoration: line-through;">that can be used to interpret his work, and they all come from the world of photography</span>.</span></p> <p style="text-align: justify;"><span style="text-decoration: line-through;"><span style="font-size: small;">Recalling the archaic photographic techniques of the end of the 19</span><span style="font-size: small;">th</span> <span style="font-size: small;">century, the technical process </span><span style="font-size: small;">used for the production of these silver images seems to involve a certain amount of nostalgia. Even </span><span style="font-size: small;">though these painting are produced in an industrial way, Kassay has somehow managed to divert </span><span style="font-size: small;">the primary function of photography, but because each painting offers a different formal result, the </span><span style="font-size: small;">process is no longer centered on reproduction.</span></span></p> <p style="text-align: justify;"><span style="font-size: small;"><span style="text-decoration: line-through;">By handing his artistic gesture over to an industrial process,</span> creating a distance between his work and </span><span style="font-size: small;">the nostalgia that was seemingly implied by the use of an obsolete technique, <span style="text-decoration: line-through;">even the mock-expressionistic texture of the canvas’s surface is evacuated. the artist merely operates a transfer from one </span></span><span style="font-size: small;"><span style="text-decoration: line-through;">medium to the other</span>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition is built around multiple considerations on illusions created by serial production and </span><span style="font-size: small;">the impossibility to operate exact reproductions; defining the loss involved both in the transfer-processes and in any interpretative attempt. <span style="text-decoration: line-through;">As an extension of such visual proposals, a performance </span></span><span style="text-decoration: line-through;"><span style="font-size: small;">and collaborative project between Jacob Kassay and rhys chatham will be part of the exhibition.</span></span></p> <p style="text-align: justify;"><span style="font-size: small;">Caroline Soyez-Petithomme</span><br /><span style="font-size: small;">translated by Frieda Schumann</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="text-decoration: line-through;"><span style="font-size: small;">*International Klein Blue : formula invented by Yves Klein to define the ultramarine luminous shade of </span><span style="font-size: small;">blue used in his monochromes.</span></span></p> <hr /> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Jacob Kassay</span><br /><span style="text-decoration: line-through;"><span style="font-size: small;">8 mai - 5 juin 2010</span></span><br /><span style="text-decoration: line-through;"><span style="font-size: small;">Vernissage le samedi 8 mai de 18h à 21h </span></span><br /><span style="text-decoration: line-through;"><span style="font-size: small;">concert : rhys chatham</span></span></p> <p style="text-align: justify;"><span style="font-size: small;">Art: concept a le plaisir d’annoncer la <span style="text-decoration: line-through;">première</span> exposition personnelle de l’artiste Jacob Kassay.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jacob Kassay est un artiste pluri-disciplinaire, sa pratique comprend aussi bien des peintures, <span style="text-decoration: line-through;">des </span></span><span style="font-size: small;"><span style="text-decoration: line-through;">œuvres sur papiers,</span> des vidéos <span style="text-decoration: line-through;">que des collaborations avec d’autres artistes et musiciens.</span></span></p> <p style="text-align: justify;"><span style="font-size: small;">Pour la présente exposition, ce jeune artiste <span style="text-decoration: line-through;">new-yorkais</span> présentera une nouvelle série de peintures </span><span style="font-size: small;">abstraites aux surfaces métalliques argentées.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Les œuvres de Jacob Kassay jouent au sens propre comme au figuré sur l’opacité, le reflet et le transfert. Ses monochromes argentés, réalisés par un procédé <span style="text-decoration: line-through;">industriel et chimique</span> d’électro-galvanisation, s’offrent directement au visiteur par l’expérience sensible, </span><span style="font-size: small;">notamment par l’interaction qui s’opère lorsque le spectateur se place dans le champ de la toile, </span><span style="font-size: small;">comme devant un miroir.</span></p> <p style="text-align: justify;"><span style="font-size: small;">La surface unie et réfléchissante des peintures est d’une certaine façon temporairement modifiée </span><span style="font-size: small;">par le passage du visiteur. cette altération est à prendre au sens musical du terme, il ne s’agit pas </span><span style="font-size: small;">d’une dégradation, mais bien d’une modification de la hauteur et de la source de la lumière, comme un </span><span style="font-size: small;">dièse ou un bémol modifie la hauteur d’une note sur une partition. La juxtaposition de l’ensemble des </span><span style="font-size: small;">peintures est aussi importante que les reflets de la lumière ou le rendu opaque de l’environnement </span><span style="font-size: small;">se réfléchissant à la surface du tableau. <span style="text-decoration: line-through;">Les variations de la surface picturale sont des composantes </span></span><span style="text-decoration: line-through;"><span style="font-size: small;">inhérentes de l’expérience de ces œuvres. À ce titre, l’artiste contrôle soigneusement leur reproduction, afin de ne pas diffuser des images qui transformaient ces œuvres en de simples tableaux à la </span><span style="font-size: small;">surface plate et argentée. il refuse donc toute prise de vue frontale et cadrée sur une seule peinture.</span></span></p> <p style="text-align: justify;"><span style="font-size: small;">Les peintures de Kassay créent un espace, les reflets opaques et flous donnant l’illusion de la </span><span style="font-size: small;">profondeur. Au-delà de l’impact de la lumière qui modifie la perception de n’importe quelle peinture, </span><span style="font-size: small;">c’est davantage l’importance donnée à l’espace entre le spectateur et la planéité de la toile qui </span><span style="font-size: small;">devient une mise en abîme de la part immatérielle <span style="text-decoration: line-through;">et conceptuelle</span> de la peinture.</span></p> <p style="text-align: justify;"><span style="text-decoration: line-through;"><span style="font-size: small;">S’agit-il d’une évocation de l’immatérialité telle qu’Yves Klein l’a révélée avec ses monochromes bleus </span><span style="font-size: small;">iKB* ? l’artiste cherche-t-il à s’inscrire dans l’alignement de la tradition historique qui consiste à </span><span style="font-size: small;">concevoir le tableau comme une fenêtre sur le monde et sa possible représentation? Serait-ce plutôt </span><span style="font-size: small;">une référence à l’usage des miroirs dans les œuvres de l’arte povera ou de l’art minimal (Smithson, </span><span style="font-size: small;">pistoletto ou morris) ?</span></span></p> <p style="text-align: justify;"><span style="font-size: small;">Kassay cultive délibérément l’opacité du reflet. L’effet paradoxal de ces objets-peintures joue sur </span><span style="font-size: small;">l’impossibilité de cette synthèse trans-historique et convoque en filigrane la volonté moderniste, </span><span style="font-size: small;">peut-être absurde, de vouloir radicalement rompre avec la peinture classique par le biais du monochrome.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;"><span style="text-decoration: line-through;">l’artiste est cependant venu à la peinture par le biais de la photographie.</span> la durée, l’instantané </span><br /><span style="font-size: small;">lié à la diffusion de la lumière, la fabrication d’une image en perpétuelle révélation et la profondeur </span><span style="font-size: small;">de champ sont autant de termes <span style="text-decoration: line-through;">qui permettent de mieux saisir son œuvre et qui sont empruntés au </span></span><span style="font-size: small;"><span style="text-decoration: line-through;">vocabulaire de la photographie</span>.</span></p> <p style="text-align: justify;"><span style="text-decoration: line-through;"><span style="font-size: small;">le procédé technique de ces images argentées participe d’une forme de nostalgie, évoquant les techniques photographiques archaïques de la fin du 19ème siècle. Bien que ces peintures soient réalisées </span><span style="font-size: small;">industriellement, Kassay a détourné la fonction première de la </span><span style="font-size: small;">photographie. </span></span></p> <p style="text-align: justify;"><span style="text-decoration: line-through;"><span style="font-size: small;">Chaque peinture offre un résultat formel différent, il ne s’agit plus donc plus de reproduire. il a également délégué son geste à l’industrie. </span></span><span style="font-size: small;">Une distance critique s’établit ainsi par rapport à </span><br /><span style="font-size: small;">la nostalgie d’une technique devenue obsolète</span><span style="text-decoration: line-through;"><span style="font-size: small;"> et aux interprétations de ces surfaces faussement expressionnistes. l’artiste opère donc par le transfert d’un médium à l’autre.</span></span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="font-size: small;">L’exposition articule de multiples réflexions sur l’illusion de la sérialité et l’impossible répétition, sur </span><span style="font-size: small;">la perte liée au transfert comme à l’interprétation. <span style="text-decoration: line-through;">Telle une extension de ces propositions visuelles, </span></span><span style="text-decoration: line-through;"><span style="font-size: small;">une collaboration entre rhys chatham, compositeur et musicien minimaliste expérimental, et Jacob </span><span style="font-size: small;">Kassay, fera partie intégrante de l’exposition.</span></span></p> <p style="text-align: justify;"><span style="font-size: small;">Caroline Soyez-Petithomme</span></p> <p style="text-align: justify;"><span style="text-decoration: line-through;"><span style="font-size: small;">* international Klein Blue: formule inventée par l’artiste pour nommer son bleu lumineux outremer</span></span></p> Wed, 09 Jul 2014 13:03:11 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Lou Perdu - Association Culturelle Franco-Japonaise de Tenri - February 19th, 2013 - March 2nd, 2013 <p style="text-align: justify;">Dans chaque image, trois photos se font écho et tissent entre elles des liens subtils, de couleurs, de thèmes, de sens...</p> <p style="text-align: justify;">Les vidéos sont de simples marches. L’instant est saisi dans sa brève durée car, au-delà de ma conscience ou de ma volonté, le réel a fait e�raction avec toute sa richesse de sons, d’ombre et de lumière, d’imprévisible. Pour cette deuxième exposition j’ai voulu témoigner de la beauté de la nature et de sa fragilité face à l’impondérable.</p> Sun, 03 Feb 2013 15:11:34 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Group Show - Balice Hertling - January 11th, 2013 - March 16th, 2013 <p style="text-align: justify;">The gallery must quite suddenly have had a hole in its program. They proposed me to try doing it.</p> <p style="text-align: justify;">Lapse of time, some of the exhibition pieces will arrive late. A place will be reserved for them, some others will be transformed or completed in the course of the exhibition. This mess forms the body of the exhibition.</p> <p style="text-align: justify;">ALWAYS YOURS. DES OBJETS MANQUÉS. DES MONUMENTS.</p> <p style="text-align: justify;">An exhibition where the works find their value in the lack of their original objects, their failure or their voluntary or involuntary contradictions.</p> <p style="text-align: justify;">«The hen is the artifice that uses an egg to create an egg»1</p> <p style="text-align: justify;">The current context may be a moment for a reevaluation of the culture. A moment in which more and more images are produced everywhere. A moment in which our figures our stereotypes our signals and our images are no longer certain. Youtube and Wikipedia put up all the information at the same level. The Axis of Evil was defeated by George Bush. James Bond goes back to its original form towards Skyfall. The hierarchys aren’t present any more.<br />The expertise disappears.</p> <p style="text-align: justify;">In this world of re-organizing; A new corps asserts itself: the curator. ( CSI is translated The Experts here). In his ardous task, he sometimes connects with figures of the past and gives them value by showing them with new prominent figures which are themselves waiting to become a figure of the past, at times he creates new figures in a past that will become actual. «He has read everything in the books»2</p> <p style="text-align: justify;">The others, the artists, those who paint, by now contribute to this authorial force. The torch has been given. The Art of showing was born and has been consolidated during our last 20 years. This practice, (practical, as it can be a medium) sometimes is substituted by what we see in exhibitions. And that in the same production of those who were often looking<br />for autonomy.</p> <p style="text-align: justify;">At this moment I organize, I classify, I inform, I think, I modify, I de-autonomize, I specifically quote Meantime the raelians find the answer to the big Why?</p> <p style="text-align: justify;">Their searchers know that the Elohim scientists have created the human after their own image. They will soon come to see us. But who has created the Elohim then? 3 « I might have misquoted »4</p> <p style="text-align: justify;">1 Umberto Eco ou Samuel Buttler<br />2 Francis Cabrel ou Stephane Mallarmé 3 Intelligent Design from the Alien 4  Robert Morris ou pas</p> <p style="text-align: justify;">**************************</p> <p style="text-align: justify;">La galerie a certainement dû avoir un trou soudain dans son programme. Ils m’ont proposé de m’y essayer.<br />Faute de temps, certaines pièces de l‘exposition arriveront en retard d’autres seront modifiées ou finies au cours de l’exposition.</p> <p style="text-align: justify;">ALWAYS YOURS. DES OBJETS MANQUÉS. DES MONUMENTS.</p> <p style="text-align: justify;">Une exposition où les travaux prennent leur valeur par le manquement de leur objet d’origine, par leur manque d’efficacité, par leur échec, ou par leurs contradictions volontaires et involontaires.</p> <p style="text-align: justify;">« La poule est l’artifice qu’utilise un oeuf pour créer un autre oeuf. »1</p> <p style="text-align: justify;">Le contexte actuel pourrait être un moment de réévaluation de la culture. Un moment où il y a de plus en plus d’images produites, partout. Un moment où nos figures, nos stéréotypes, nos signes et nos images ne sont plus certains. Youtube et wikipedia mettent au même niveau toute information. L’Axe du Mal a été vaincu par George Bush. James bond retourne à sa forme originale vers Skyfall. Les hiérarchies n’apparaissent plus. L’expertise disparaît.</p> <p style="text-align: justify;">Dans ce monde à ré organiser ; Un nouveau corps s’affirme : le commissaire. ( CSI se traduit Les Experts ici ). Dans sa lourde tache, il se rattache parfois à des figures du passé qu’il met en valeur avec de nouveaux potentiels qui attendront à leur tour de devenir bientôt des figures du passé, parfois même il crée de nouvelles figures dans un passé qui serait actuel « Il a lu tous les livres »2. </p> <p style="text-align: justify;">Les autres, les artistes, ceux qui dépeignaient, désormais, contribuent à cette nouvelle force auctoriale. Le flambeau est donné. L’Art de l’exposition est là et fédère nos vingt dernières années. Cette pratique, (pratique, car c’est peut être un medium), se substitue parfois même à ce que l’on voyait dans les expositions. Et cela dans les productions même de ceux qui avant cherchaient souvent l’autonomie.</p> <p style="text-align: justify;">Désormais, j’organise, je trie, j’informe, je réfléchi, je modifie, je désautonomise, je site spécifie Pendant que les raëliens, trouvent la réponse au grand pourquoi ?<br />Leurs chercheurs savent que les scientifiques Élohim avaient créé les humains à leur image. Ceux-ci viendront bientôt nous voir. Mais qui avait donc créé les Élohim?3 « I might have misquoted »4</p> <p style="text-align: justify;">1<br />Umberto Eco ou Samuel Buttler<br />2 Francis Cabrel ou Stephane Mallarmé<br />3 Intelligent Design from the Alien <br />4 Robert Morris ou pas</p> Thu, 17 Jan 2013 11:58:26 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Group Show - BÉTONSALON - January 23rd, 2013 - April 13th, 2013 <p style="text-align: justify;" class="style10petit">En 1970, la poétesse Robin Morgan proposait, dans l’anthologie de textes féministes <em>Sisterhood is powerful</em>, le néologisme de <em>herstory</em> pour qualifier un programme historiographique de reconstruction et pourrait-on même dire, littéralement, d’invention d’une « Histoire des femmes ». Au-delà d’une simple célébration de telles ou telles figures de femmes oubliées de l’Histoire, l’<em>herstory</em> proposait, plus ambitieusement, les prémisses d’une réécriture féministe et queer de l’Histoire, à rebours d’une Histoire positiviste qui, non seulement, s’avérait incapable de révéler la présence des minorités, en tant que sujets politiques, dans la texture de l’Histoire mais produisait davantage encore les conditions mêmes de leur subalternité (Guha 1988 ; Preciado 2005). C’est par l’invention ou le déploiement de nouvelles technologies d’écriture (telles que la fictionnalisation des archives, la mythologie, l’auto-histoire-théorie, l’histoire orale, le <em>reenactment</em> ou la dislocation temporelle) que les historiographies féministes et queer mettent en crise les procédures narratives du récit historique linéaire. </p> <p style="text-align: justify;" class="style10petit"><br /> * Monique Wittig, <em>Les Guérillères</em>, 1969</p> <p style="text-align: justify;"><em>Le peuple qui manque </em>est une plate-forme curatoriale créée en 2005 par Aliocha Imhoff et Kantuta Quiros, oeuvrant à l’intersection entre théories critiques et art contemporain.</p> <p style="text-align: justify;">***********************</p> <p style="text-align: justify;">In 1970, in the feminist text anthology <i class="spip">Sisterhood is powerful</i>, poet Robin Morgan proposed the neologism <i class="spip">herstory</i> to describe a historiographic programme reconstructing -or even literally inventing- a "History of women". Much more than a simple celebration of such or other female figure forgotten by History, <i class="spip">herstory</i> more ambitiously proposed to provide the premises for a feminist and queer rewriting of History, as opposed to positivist History, which not only proved to be unable to reveal the presence of minorities as political subjects in the course of History, but also contributed to the production of the conditions making them subalterns (Guha 1988 ; Preciado 2005). It is through the invention and diffusion of new writing technologies (such as the fictionalisation of archives, mythology, auto-history-theory, oral history, reenactment or temporal dislocation) that feminist and queer historiographies disrupt linear historical narrative processes. </p> <p style="text-align: justify;">* Monique Wittig, <i class="spip">Les Guérillères</i>, 1969, translated by David Le Vay (1973)</p> Sun, 13 Jan 2013 14:34:14 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Julio Le Parc - Bugada & Cargnel - March 1st, 2013 - April 13th, 2013 Sun, 03 Mar 2013 22:43:13 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Karl Larsson - castillo/corrales - February 8th, 2013 - April 7th, 2013 <p style="text-align: justify;">Show and tell is not that much of an easy sport. Everyone knows that. At times it feels like a good exercise—using objects for your mind to play—other times it ends up in a painful stutter—the arrogant stubbornness of the material leaving one unable to speak. The eyeball may go too fast, or too slow for the tongue; the brain may not be able to fill in the gaps that the slick surfaces try to hide; things may go wrong, and reveal themselves as decoys. Sometimes it's simply a good match —like a translation that makes so much sense, that one even forgets the text that came before. Often objects are overlooked as much as they are overwritten. One would dream that they stand up and speak by themselves, to reveal what they are—a wish or a remembrance, a prop or a metaphor.</p> <p style="text-align: justify;">“When things are not kept secret they water down.” Like the rocks break the waves and scatter their force, or ripple the surface of water as they bounce on it, the object can't but echo, trouble, or scatter the questions. Karl Larsson’s P∞L (Consensus) is a site for language to both dissolve and take place, and for objects to both matter and cut short sense. Bodies and signs, thoughts and ciphers, theatre and sculpture, words turned into things which call for words again.</p> <p style="text-align: justify;">The exhibition P∞L (Consensus) at castillo/corrales is one part of a collaborative project that comprises the book Consensus (The Room), published by Paraguay Press, and the exhibition R, A, I, N (Consensus) that took place at Signal, Malmö, from November 2012 to January 2013; three acts, or a timing, not fully meant to overlap.</p> <p style="text-align: justify;">Consensus (The Room) is a theater play in two acts, that may not be designed to be performed. Characters, props and places don’t follow each other but they look alike. They don’t communicate. They remain stubborn, or stupid—as if they were blind to their destinies, content with hearing voices. The scene gives room for writing; the stage gives way to the text. Words are to be handled and exchanged, the same way money circulates, glasses are filled up and emptied out, wars are remembered, and phones call on ghosts.</p> <p style="text-align: justify;">The book will be launched at castillo/corrales the night of the opening. Please join us for an evening of paradoxes.</p> Sun, 10 Feb 2013 15:02:59 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Marc Bauer - Centre culturel suisse de Paris - February 1st, 2013 - April 14th, 2013 <p style="text-align: justify;">Le collectionneur est celui qui regroupe ce qui est dispersé, il crée ainsi son ordre dans l'univers qui l'entoure et assoit son pouvoir dans le contrôle et la réunion des objets qui lui appartiennent. Dans cette exposition qui présente des dessins sur papier, sur aluminium, ainsi que des dessins muraux, Marc Bauer se focalise sur une période sombre de l’Histoire, la France sous l’Occupation, et en particulier sur la spoliation des biens juifs par les nazis. Il reconstitue ces atmosphères d'appartements bourgeois parisiens quittés précipitamment, et les met en perspective avec d'autres collections.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Marc Bauer (né à Genève en 1975) vit et travaille à Berlin. Des expositions personnelles sont prévues à la galerie Freymond-Guth en 2013 et au FRAC Auvergne en 2014.</p> <p style="text-align: justify;"><br /> A l’occasion du vernissage, ainsi que le samedi 13 avril, projection à 20 h du film d’animation de Marc Bauer, L’architecte (26’), accompagnée d’un live musical du groupe rock français Kafka. Ce projet s'inspire du film <i>Nosferatu, eine Symphonie des Grauens</i> (1922) de Wilhelm Friedrich Murnau.</p> Sun, 30 Dec 2012 03:40:56 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Basim Magdy - Centre culturel suisse de Paris - February 1st, 2013 - March 3rd, 2013 <p style="text-align: justify;">Artiste égyptien né en 1977, vivant à Bâle, Basim Magdy s’est récemment fait connaître en France par sa participation à la Triennale au Palais de Tokyo. Le CCS présente sa première exposition personnelle en France, composée d’une projection de film et de nouvelles œuvres sur papier. <i>Time Laughs Back at You Like a Sunken Ship</i> (2012, 9’31’’), tourné en super 8 et présenté en vidéo HD, s’inspire de l’esthétique des films amateurs des années 1970. Un personnage perçoit son environnement à travers une étrange sculpture portative, et le montage d’images crée une narration onirique sur le passage du temps. Ses œuvres sur papier, mêlant gouache, peinture acrylique, spray ou collage, proposent des scènes rétro-futuristes d’un monde en mutation, où l’homme a un statut incertain.</p> <p style="text-align: justify;">Basim Magdy a notamment exposé en Europe, en Egypte et aux Etats-Unis. En 2013, il présente son travail à la Biennale de Sharjah, au Yerba Buena Center for the Arts à San Francisco et à Project 35 de Independent Curators International à New York, et prépare des projets solo pour Idea Space à Colorado Springs, Newman Popiashvili Gallery à New York, ou chez Hunt Kastner à Prague.</p> <p> </p> Sun, 30 Dec 2012 03:45:33 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Ann Veronica Janssens, Hans-Peter Feldmann, Adel Abdessemed, Kader Attia, Jason Rhoades, Ernesto Neto - Centre Pompidou - October 17th, 2012 - September 13th, 2013 <p>Le Projet pour l'art contemporain, initié par la Société des amis du Musée national d'art moderne, est exemplaire à plus d'un titre. Il a permis en dix ans d'enrichir la collection du Centre Pompidou d'un nombre impressionnant d'œuvres contemporaines, dues pour la quasi-totalité à des artistes qui jusque là manquaient à la collection : soixante-douze artistes à ce jour, remarqués pour la plupart au début de leurs parcours et souvent devenus des figures importantes sur la scène de l'art. Certains parmi eux ont, depuis, fait l'objet d'expositions monographiques au Centre Pompidou, d'autres - en nombre - ont été nommés pour le Prix Marcel Duchamp. Beaucoup ont été présents dans les grandes expositions internationales.<br /> L'originalité de cette initiative tient à son mode de fonctionnement unique en son genre. On le dit, et avec raison, les collectionneurs d'art contemporain savent prendre des risques, ressentir intuitivement le potentiel d'un artiste. Ce sont souvent eux qui tracent la voie aux musées par leur rapidité de réaction. L'histoire de l'art est remplie d'exemples le confirmant. Ce sont donc des collectionneurs, membres de la Société des amis, qui se sont portés volontaires pour prendre part à ce projet et y participer financièrement. Ils suggèrent les artistes à acquérir lors de séances de travail, en débattent avec les conservateurs et avec les autres membres. S'ensuivent des visites approfondies, des débats passionnés, des réunions avec force exposés et questions qui aboutissent à des choix. Validés par le Musée, certes, mais tous initiés et décidés par les collectionneurs et amateurs qui constituent ce groupe et qui, à travers leur participation, sont aussi les donateurs de cet ensemble d'œuvres.<br /> Qui dira, en constatant les résultats de ce beau projet, que les collectionneurs sont en France tenus à l'écart de la sphère publique, mal considérés, traités avec méfiance, voire soupçonnés de rechercher un bénéfice financier avant toute autre démarche d'adhésion aux œuvres et aux artistes qu'ils défendent souvent avec compétence et enthousiasme ? Les musées ont besoin des collectionneurs comme complices, comme soutiens. Ils doivent créer cette proximité d'intérêt pour la cause publique de l'art contemporain. Forte de sa prestigieuse histoire, la Société des amis du Musée national d'art moderne, désormais plus que centenaire (elle fut d'abord associée au Musée du Luxembourg), accompagne cette démarche dont elle est le vecteur essentiel. Elle montre ainsi son dynamisme autour de ses présidents, hier François Trèves, initiateur de ce projet, et aujourd'hui Jacques Boissonnas.</p> <p>Le nouvel accrochage présenté dans le Musée et intitulé « Fruits de la passion » propose au public de découvrir un florilège de ces acquisitions du Projet pour l'art contemporain. Il s'en dessine un panorama vibrant et pertinent de la scène artistique française et internationale la plus actuelle.</p> <hr /> <p></p> <p style="text-align: justify;">The Project for Contemporary Art, initiated by the Friends of the national museum of modern art, is more a model than a title. In ten years it has enabled the Centre Pompidou to enrich its collection with an impressive number of contemporary works, almost all of them by artists previously missing from the collection: seventy-two artists to date, for the most part noticed at the beginning of their careers and often becoming important figures in the art world. Some, since then, have had solo exhibitions at the Centre Pompidou, others – many of them – have been nominated for the Marcel Duchamp prize. Many of them have been represented at major international exhibitions.</p> <p style="text-align: justify;">This initiative is unusual for the way it works, the only one of its kind. It is said, with reason, that collectors of contemporary art are risk takers, intuitively sensing an artist’s potential. It is often they who show museums the way by the speed of their reaction. The history of art is full of examples confirming this. So it is collectors, members of the Friends who volunteer to be part of this project and contribute financially. At their working sessions they suggest the names of artists to acquire, discussing suggestions with the curators and other members. Then follow in-depth visits, passionate debates, meetings at which strong views are expressed and questions asked, which end with decisions being made. Validated by the Museum, certainly, but all initiated and decided by the collectors and art lovers who make up this group and who, through their contribution, are also the donors of this selection of works.</p> <p style="text-align: justify;">Who will say, noting the results of this fine project, that collectors in France are remote from the public sphere, badly thought of, treated with mistrust, indeed, frequently suspected of seeking financial benefit above any other motive for commitment to the works and artists they often support with competence and enthusiasm? Museums need collectors as friends, as supporters. They should initiate and nurture this closely shared interest in the public cause of contemporary art. Bolstered by its prestigious history, the Friends of the national museum of modern art, now more than a century old (it was at first associated with the Musée du Luxembourg), supports this scheme whose key vehicle it is. It demonstrates its enthusiasm through its presidents, previously François Trèves, initiator of this project, and Jacques Boissonnas today.</p> <p style="text-align: justify;">The new display presented at the Museum under the title “Fruits of passion” gives the public the opportunity to see a treasury of these acquisitions by the Project for contemporary art. It provides a vibrant and pertinent overview of the very latest French and international art scene.</p> Sun, 20 Jan 2013 18:19:48 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list - Centre Pompidou - October 27th, 2012 - March 18th, 2013 <p style="text-align: justify;">Cette exposition fait découvrir aux enfants le potentiel expressif de la lettre, largement exploré par les artistes de disciplines variées. Elle propose un regard particulier sur la transformation poétique du signe.</p> <p style="text-align: justify;">La scénographie prend la forme d'un lieu de stockage, rempli de caisses. Habillées de signes noirs et blancs, elles s'empilent, s'entassent, s'entreposent dans une « mise en lettres » proposée par les graphistes Malte Martin et Costanza Matteucci.</p> <p style="text-align: justify;">Les lettres, lasses d'être enfermées, s'échappent et envahissent l'espace d'exposition.<br /> Douées d'autonomie, elles se déploient et évoluent dans un espace de liberté.</p> <p style="text-align: justify;">Émancipées elles se prêtent à différentes transformations, perturbent les sens, invitent les enfants dans un monde d'illusions, de changements d'échelles, de matériaux inattendus.</p> <p style="text-align: justify;">Elles perturbent l'approche rationnelle que l'on a habituellement de l'écriture et se jouent de nos perceptions visuelles.</p> <p style="text-align: justify;">Distordues ou gigantesques, précieuses ou brutes, taguées sur un mur ou faites de lumière, œuvres du Musée … les lettres s'exposent et se prêtent au jeu. <br /> Découvrir, observer, assembler, superposer, autant d'expériences à vivre dans ce drôle d'entrepôt …</p> Thu, 24 Jan 2013 23:59:36 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list - Centre Pompidou - October 27th, 2012 - March 18th, 2013 <p style="text-align: justify;" class="notice">The alphabet is one of the conventions of communication that we use in our society. This code discreetly tells stories, writes, draws and encompasses the world. Creative artists from different artistic disciplines have taken these signs, transformed them, turned them into unusual vocabularies. The letter is both the subject and object of this exhibition workshop “From Letter to Image” which invites children – and their families – to take a fresh look at these signs, to explore their expressive potential when learning to read and write. From small letters floating on a bowl of soup to those that artists transform, the subject “letter” here sharpens children’s eyes and imagination.</p> <p style="text-align: justify;" class="notice">As in a storage room, crates covered in black and white signs are piled up, stacked and stored in a graphic setting by Agraf mobile, with Malte Martin and Costanza Matteucci. Works chosen from the Centre Pompidou collection, paintings, videos and films, are presented to the children to increase their awareness of modern and contemporary creative arts. The letters, tired of being imprisoned, escape and invade the exhibition space. They disrupt the rational approach and play with visual perception; mirrors allow children to play with words which suddenly appear. Endowed with autonomy, the letters arrange themselves, are repeated on infinitely rich graphic frameworks and move freely around a space. They lend themselves to different transformations under the spotlights or in anamorphic compositions.</p> <p style="text-align: justify;" class="notice">They disturb the senses and invite the children into a world of illusions, changes of scale and unexpected materials. Freed, they talk about other places, other stories, other metamorphoses as each of them moves around. Distorted or gigantic, precious or crude, as tags on a wall or written in light, the letters are on show, ready to be manipulated. They are very attractive: discover a show of ham-acting letters, a swirling “wall of words”, make active progress in this place of writing, assemble all the fun and scripted suggestions, superimpose all these stories in exhibited images. “From Letter to Image” is an invitation to enjoy a breathtaking experience in this peculiar warehouse of letter boxes… To complete this adventure, a course of guided visits within the Museum is offered to families, based on a selection of works.</p> Tue, 26 Feb 2013 00:22:20 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Salvador Dalí - Centre Pompidou - November 21st, 2012 - March 25th, 2013 <p style="text-align: justify;">Le Centre Pompidou rend hommage à l'une des figures magistrales les plus complexes et prolifiques de l'art du 20e siècle, Salvador Dalí, plus de trente ans après la rétrospective que l'institution lui avait consacrée en 1979-1980. Souvent dénoncé pour son cabotinage, son goût de l'argent et ses prises de positions politiques provocatrices, Dalí est à la fois l'un des artistes les plus controversés et les plus populaires. C'est toute la force de son œuvre et toute la part qu'y tient sa personnalité, dans ses traits de génie comme dans ses outrances, que cette exposition sans précédent veut aussi éclairer.</p> <p style="text-align: justify;">Parmi les chefs-d'œuvre exposés, les visiteurs redécouvriront quelques-unes des plus grandes icônes, à l'exemple du plus célèbre tableau de l'artiste, <em>La Persistance de la mémoire</em>, plus communément appelé <em>Les Montres molles</em>. Ce prêt exceptionnel du MoMA rejoint un choix d'œuvres majeures réunies pour cette rétrospective grâce à une étroite collaboration nouée avec le Museo Nacional Centro de Arte Reina Sofía, de Madrid, et la participation conjointe de la Fundació Dalí à Figueres et du Dalí Museum à Saint-Petersburg (Floride). Avec plus de deux cents peintures, sculptures, dessins, auxquels s'ajoutent des films, extraits d'émissions et photographies, c'est aussi l'œuvre du pionnier du « happening », auteur d'œuvres éphémères qui est aujourd'hui exposé. Michel Déon, qui avait traduit les écrits de Dalí, souhaitait qu'on juge l'artiste sur son œuvre. C'est toute l'ambition de cette exposition. Déon souhaitait qu'il abandonnât ses « clowneries » : l'exposition au contraire montre qu'elles étaient le fait d'un artiste « performeur » avisé, précurseur, et plein d'humour. Dalí aimait mêler l'art et la science, sa fameuse méthode paranoïaque-critique fondée sur le délire d'interprétation prétendait se saisir de tous les domaines de la création comme de la connaissance, afin de « daliniser » le monde. Ce grand manipulateur de média considérait l'art comme un fait global de communication. Sous toutes ses facettes, Dalí interrogeait la figure (<em>persona</em>) de l'artiste face à la tradition et au monde.</p> <p style="text-align: justify;">DALÍ SHOW,<br /> PAR JEAN-HUBERT MARTIN : COMMISSAIRE GÉNÉRAL<br /> La célébrité de Dalí est due tout autant à l'originalité de sa peinture qu'à sa présence régulière dans les médias relayant ses interventions spectaculaires. On pense communément que ces représentations d'un imaginaire débridé relèvent du domaine des rêves. Or Dalí s'en défend et insiste sur sa méthode paranoïa-critique qui va bien au-delà d'une hallucination.</p> <p style="text-align: justify;">« La paranoïa se sert du monde extérieur pour faire valoir l'idée obsédante, avec la troublante particularité de rendre valable la réalité de cette idée pour les autres. La réalité du monde extérieur sert comme illustration et preuve, et est mise au service de la réalité de notre esprit. » D'où le passage de la peinture comme médium aux actions, performances et happenings. On a souvent réduit les apparitions publiques et les œuvres éphémères de Dalí à des provocations. Elles en prennent certes la forme, mais elles sont toujours fondées sur un propos et sur des idées qui, pour être surprenantes, n'en sont pas moins consistantes.</p> <p style="text-align: justify;">Ses apparitions médiatiques n'éludent aucune question, il suffit qu'on le traite de clown pour qu'il apparaisse déguisé en Auguste. Ses voyages aux États-Unis lui font saisir l'importance des médias et le parti qu'il peut tirer de la notoriété. L'apparition de la télévision est une aubaine et il ne rate aucune occasion de participer à un talkshow, au risque d'être parfois désarçonné par la langue et les règles du jeu, qu'il sait en revanche toujours transcender à son profit. Loin de lui l'idée d'une conception puriste d'un art indépendant à l'écart du commerce, de l'argent et du spectacle. Warhol qui dîne souvent avec lui à New York saura en tirer les leçons. Pour une génération entière, le film publicitaire pour le chocolat Lanvin l'a rendu aussi célèbre que sa peinture. Ses moustaches sont l'objet de commentaires inépuisables. Après avoir fait une peinture gestuelle de quelques coups de pinceau pour critiquer ce type de peinture à la télévision, il reprend cet exercice de virtuosité pour en faire une spécialité. Comme sa vie n'est qu'un théâtre, il s'entoure de femmes plus ou moins dénudées et de figurants auxquels il assigne des rôles et des postures dans des mises en scène de son invention. Les tableaux vivants impliquent souvent la présence d'animaux dont il s'entoure, tel que le célèbre ocelot (aux dents limées) ou le tamanoir qu'il tient en laisse en sortant du métro. Dans les années 1950 et 1960, beaucoup d'artistes participent à ses performances, qui laissent parfois place au happening, comme à Granollers où des dizaines de jeunes s'aspergent de peinture devant un grand mur.</p> <p style="text-align: justify;"><br /> Ces multiples activités médiatiques et la constante création d'événements où Dalí apparaît comme acteur principal - « Arteur » - font de lui le pionnier de l'art de la performance.</p> <hr /> <p style="text-align: justify;">The Centre Pompidou pays tribute to one of the most complex and prolific great figures in 20th century art, Salvador Dalí, more than thirty years after the retrospective that the institution devoted to him in 1979-1980. Often criticised for his theatricality, his liking for money and his provocative stance on political issues, Dalí is both one of the most controversial artists and one of the most popular. This unprecedented exhibition sets out to throw light on the full power of his work and the part played in it by his personality and his strokes of genius as much as his outrageousness.</p> <p style="text-align: justify;">Among the masterpieces exhibited, visitors will rediscover some of the greatest iconic works, including the artist’s most famous picture, <em>The Persistence of Memory</em>, more commonly called <em>Melting Watches</em>. This exceptional loan from MoMA joins a selection of major works brought together for this retrospective thanks to a close collaboration with the Museo Nacional Centro de Arte Reina Sofía in Madrid, and a joint contribution from the Fundació Dalí in Figueres and the Dali Museum in Saint Petersburg (Florida). With more than two hundred paintings, sculptures and drawings, to which are added films, extracts from broadcasts and photographs, the work of the pioneer of the “happening”, author of these ephemeral works, is also on show today. Michel Déon, who translated Dali’s writings, wanted the artist to be judged on his work. This is precisely the aim of this exhibition. Déon wanted him to abandon his “clowneries”: on the contrary, the exhibition shows that they were the acts of a shrewd artist “performer”, a pioneer, and full of humour. Dali liked to blend art and science, his famous paranoiac-critical method based on the delirium of performance claimed to treat all areas of creative activity as knowledge, in order to “dalinise” the world. This great media manipulator considered art a global act of communication. In all its facets, Dalí questioned the figure <em> (persona) </em> of the artist in the face of tradition and the world.</p> <p style="text-align: justify;"><strong>DALI SHOW, <br /> BY JEAN-HUBERT MARTIN</strong> Dalí’s fame is due as much to the originality of his painting as to his regular appearances in the media relaying his theatrical interventions. It is commonly thought that these representations of an unbridled imagination come under the heading of dreams. Yet Dali challenged this and made much of his paranoiac-critical method which goes well beyond hallucination.</p> <p style="text-align: justify;">“Paranoia makes use of the external world to validate the obsessive idea, with the disturbing characteristic of making the reality of this idea valid for others. The reality of the external world serves as an illustration of, proves, and is used to serve, the reality of our mind.” Hence the move from painting as a medium, to action, performance and happenings. Dali’s public appearances and ephemeral works have often been dismissed as provocations. Certainly, they take that form, but are always based on a point and on ideas which, to make them surprising, are no less consistent with them.</p> <p style="text-align: justify;">His media appearances ruled nothing out, simply being treated as a clown was enough for him to appear dressed up as an Auguste. His trips to the United States made him understand the importance of the media and the advantage that fame could give him. The advent of television was a godsend and he never missed an opportunity to appear on a talk show, at the risk of sometimes being disconcerted by the language and the unwritten rules, yet he was always able to rise above this and turn it to his own advantage. The idea of a purist conception of an art independent of commerce, money or showbusiness could not have been further from his own. Warhol, who often dined with him in New York, could have learned some lessons from him. For an entire generation, the advertising film for Lanvin chocolate made him as famous as his painting. His moustaches were the subject of endless comment. Having done an action painting in a few brushstrokes on television in order to criticise this type of painting, he repeated this virtuoso exercise and made a speciality of it. Since his life was nothing but theatre, he surrounded himself with women in various states of undress and bit part players to whom he assigned roles and postures in the staged scenarios of his own invention. The living pictures often involved the presence of the animals by which he was surrounded, like the famous ocelot (with filed teeth) or the anteater that he kept on a leash as he came out of the metro. In the 1950s and 1960s, a great many artists participated in his performances, which sometimes gave way to happenings, as in Granollers where dozens of young people sprayed themselves with paint in front of a large wall.</p> <p style="text-align: justify;"><br /> These multiple media activities and the constant creation of events in which Dali appeared in the starring role as – “Arteur” – made him the pioneer of performance art.</p> <p style="text-align: justify;"><strong>HARD SCIENCES AND MELTING WATCHES<br /> BY THIERRY DUFRÊNE</strong> On the subject of “melting watches” <em> (The Persistence of Memory) </em>, the archives of MoMA in New York contain a few nuggets. Dalí himself did not manage to work out its full meaning. In “notes on the interpretation of the picture” written in 1931, he associates it with two very different types of knowledge: “Morphology – Gestalt la Residencia de los Estudiantes in the early 1920s”, is also mentioned in his “notes”: <em> “The Persistence of Memory</em> should be placed in the period of formation of Dali’s <em>superego</em>, very difficult still to specify chronologically”! While the “melting watches” offer a convincing image for one of the most complicated concepts of 20th century science: that of Einstein’s “space-time” <em>continuum</em>, Dali quite quickly confers on them the status of <em>object-concept</em> which is, “theory – mystery of the unduloids – geodesic lines”, in short, hard sciences on the one hand, “Psychoanalysis”, Freudianism and depth psychology on the other. His library, conserved at the Centre for Dalinian Studies in Figueres, has a wealth of scientific works. Dalí possessed the first edition of the <em>Principes de morphologie générale</em> (1927) [<em>Principles of General Morphology</em>] by Édouard Monod-Herzen, a specialist in colloids. But Dali’s early reading of Freud’s works, from the era when he was far from being his own brand, for him, on its own, symbolises modern science. Indeed, in 1934, in a letter to the poet Paul Eluard in which he talks about ”surrealism steeped in physics” and in his piece, “The surrealist and phenomenal mystery of the bedside table”, Dalí made reference to Einstein. In 1967, he confided to Louis Pauwels, author of <em>Passions selon Dalí</em> [<em>Passions according to Dali</em>]: “I said to Watson, during a lunch in New York: My picture, <em>The Persistence of Memory</em>, painted in 1931, is a prediction of DNA” : the same fluid, flexible and repetitive structure. Crick and Watson were the discoverers of the helix structure of DNA, the genetic code of heredity: Dalí had hoped to do a book with them. He was convinced that this “staircase of the structures of heredity” was none other than a “royal ladder” and that “nothing (was) more monarchal than a DNA molecule” ! The picture <em>Galacidallahcideésoxyribonucléique</em> (1963) used it as a basic structure. As for the atomic structure of matter, the inventor of the “nuclear mystique” had had an intuition about it while observing a “swarm of flies” at Boulou, not far from Perpignan station! Dali was intrigued by the way they maintained their configuration as a group without touching each other as they moved around: “I mentally drew a shape which I was to learn later was the diagram of the atom conceived by Niels Bohr”! Had people listened to Dali, without a moment’s hesitation the headquarters of the national centre for scientific research (CNRS) would have been located at Perpignan station. For the artist, not only was the glass roof the “model of the universe”, but it revealed to anyone who really wished to see that the “universe is limited, but only on one side”: “All that comes from infinity may make a loop and arrive at Perpignan station. I was collaborating with Einstein”.</p> <p style="text-align: justify;"><strong>MISTER DALI<br /> BY JEAN-MICHEL BOUHOURS</strong> When Dali wrote <em>La Vie secrete</em> [<em>The Secret Life of Salvador Dali</em>] in 1941, he described the years in his youth when, hiding away in the laundry room under the eaves of the family house, he had already adopted a posture that he never abandoned. He would perch himself on a seat high above the crowd, so as to longer be intimidated by the girls he met in the street who “embarrassed him”. This feeling of superiority hid a boundless shyness, which deprived Dali of the pleasures of everyday life: “I, Salvador, must remain in my tub with the shapeless and embittered chimeras that surround my rebarbative personality.” (p 87, <em>La Vie secrète</em>) Dali sought to attract the attention of his teachers at the San Fernando Academy in Madrid, by activating his exhibitionist tendencies: “Since they couldn’t teach me anything, I thought that I, I, was going to explain to them what a personality is”. He constructed it like an extraordinarily valuable asset: “I would not have wanted for anything in the world to exchange my personality with that of one of my contemporaries.” (p 174, <em>La Vie secrète</em>). Nonetheless, when Gala met Dali in the summer of 1930, she found him unpleasant in the first few moments, mainly because of this construction of a somewhat eccentric <em>persona</em>, beneath the appearance of a tango dancer with slicked down hair. <br /> Dali dancing the Charleston; another photograph cut and pasted into a letter sent to his friend Federico Garcia Lorca, shows him cavorting around like a puppet waving his arms and legs, tie flying in the wind. Thirty years later, in 1958 to be precise, Pierre Argillet, the photographer and publisher, a friend of the surrealists, would film Dali dancing the Charleston in their garden. A few months later, the artist told the American talk show host Mike Wallace that his friends, surprised by his qualities as a dancer, compared him favourably to Charlie Chaplin. Dali went one step further, making it clear that since Chaplin was not a painter of genius, he was inevitably more important than Chaplin. This childish attitude sheds light on the whole of Dali’s strategy: to be famous, not as a painter, competing with the ever-present and dominant figure of Pablo Picasso, but more still: as a “super-painter”. Why not be a painter and an actor, like Buster Keaton who he and his companions at La Residencia de estudiantes in Madrid saw as both actor and a poet. Dali gave the journalist the perfect clarification of this attitude: “More important than my painting, more important than my clowning, more important than my showmanship, is MY PERSONALITY.” <br /> And to create an identity for himself he had to invent “tricks”, as he himself was to write in <em>La Vie secrète</em>. This is brought about by creating a self-image, constructing a portrait for oneself to ensure a presence and “invent oneself in it” as the philosopher Jean- Luc Nancy later wrote (<em>Le Regard du portrait</em>. Paris, 2000, Galilée, p 31). <em>Self-portrait with the neck of Raphael</em>, painted around 1921, is probably one of the very first of Dali’s manifestations or masquerades, who was seeking mimicry with this portrait, a resemblance capable of triggering an associative mechanism of the paranoic type: “I liked to adopt the pose and melancholy gaze of Raphael in his self-portrait. I waited impatiently for the appearance of the first fluffy down that I could shave, while leaving a few favourites to grow. I had to make a masterpiece of my head, compose myself a face.” (ibidem, p. 40). The question of resemblance rekindled Dali’s propensity for twinning and double narcissism, and especially “Castor and Pollux”, the couple he formed with his dead half-brother, then with Galutschka, Federico Garcia Lorca and lastly with Gala. The principle of resemblance of two subjects, and later of two forms, is the trigger factor for an outrageous character. In Dali, comparison is not reason but reasoning outrageousness. The distinctive morphological feature invented with <em>Self-portrait with the neck of Raphael</em>, relies on the exhibitionism of a phallic neck, a first manifestation of the phallic head theme, before the “cranian” harps of the 1930s which would powerfully portray his terror of the sexual act and penetration. <br /> So Dali initiated the narcissistic exhibition of his genius. Through autosuggestion, superstition or simply bravado, Dalinian excess deliberately operates by borrowing identity - at the pinnacle of his fame Salvador Dalí would borrow multiple personalities, particularly that of the Spanish painter Velázquez, a resemblance to whom he created with his famous moustache.</p> Sun, 20 Jan 2013 18:17:04 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list - Centre Pompidou - November 21st, 2012 - June 30th <p class="notice" style="text-align: justify;">N&eacute; en 1876 en Roumanie, Constantin Brancusi a v&eacute;cu et travaill&eacute; &agrave; Paris de 1904, jusqu'&agrave; sa mort en 1957. La plus grande partie de son oeuvre y fut cr&eacute;&eacute;e. Dans son testament, il l&egrave;gue &agrave; l'&eacute;tat fran&ccedil;ais la totalit&eacute; de son atelier, situ&eacute; impasse Ronsin, Paris XVe. Celui-ci fut reconstruit sur la Piazza en 1997.</p> <p class="notice" style="text-align: justify;">Une collection unique au monde, constitu&eacute;e de 137 sculptures, 87 socles, 41 dessins, deux peintures et plus de 1600 plaques photographiques de verre et tirages originaux.</p> Mon, 13 Jan 2014 11:04:15 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Eileen Gray - Centre Pompidou - February 20th, 2013 - May 20th, 2013 <p style="text-align: justify;" class="“notice”">Eileen Gray’s legacy consists of a number of unique, avant-garde artefacts, fragmentary archives – and a series of mysteries. To contribute to the understanding of this artist, Centre Pompidou is hosting an exceptional retrospective exhibition. Gray’s work has often been split into two parts by critics, with decorative arts on the one hand and architectural modernism on the other. <strong>Now, Centre Pompidou is seeking to approach the artist’s work as an unbroken whole, engaging as she did in drawing, painting, lacquering, interior decorating, architecture and photography.</strong></p> <p style="text-align: justify;" class="“notice”">Eileen Gray can be seen as a total creative artist in the spirit of <em>Gesamtkunstwerk</em>, combining different modes of expression, artistic fields and techniques in a call for a return to the emotions. Through her works, she expresses every aspect of our inner lives, seeking to embody and satisfy the feelings common to us all, whilst taking into consideration only “humanity of a certain era, with all that era’s tastes, emotions and gestures” .</p> <p style="text-align: justify;" class="“notice”">Gray was twenty-two years old in 1900. Independent and determined, the young Irishwoman was clearly keen to escape an overly Victorian family circle. She renounced marriage, preferring rather to enlist in an art school before leaving to live alone in France. Her father, an amateur artist, provided her with the means to achieve her ambitions by supporting her financially. Initially, Eileen Gray decided to attend the Slade School of Fine Art in London, attracted by its avant-garde teaching. Here, she met artists such as Percy Wyndham Lewis, Kathleen Bruce, Jessie Gavin and Jessica Dismorr, all of whom aspired to freedom and discovery of the world around them. Beyond the borders of Europe, they were keen to explore Egypt, the United States, India and Latin America. Being rather more relaxed than London in terms of morals, Paris became the capital of choice for artists. Gray moved there in 1902. That same year, she committed firmly to painting. One of her watercolours was exhibited at the Grand Palais in 1902, followed by a painting for the Society of French Artists’ Salon in 1905. Based near Montparnasse, she first joined the Académie Colarossi and then the Académie Julian. At that time, she had no connections with the worlds of decoration or architecture. As a young woman, she mixed with British and American artists. Her friends included the artist Wyndham Lewis, portrait artist Gerald Festus Kelly, the occultist poet Aleister Crowley, photographer Stephen Haweis and his wife, the poetess Mina Loy, Kathleen Bruce and Jessie Gavin, and friends from the Slade School who had also come to Paris. Through Crowley and Bruce, she met Auguste Rodin, while through Haweis and Loy, she was introduced to the writer Gertrude Stein. She was there at the beginnings of imagism and vorticism, two major English artistic movements that influenced her work. From the poetic culture of imagism, which draws its inspiration from Japanese culture, as well as from Greek and Egyptian antiquity, Gray developed a particular way of “giving objects a complex ideogrammatic form in which cultural habits, references and functions all merge”.</p> <p style="text-align: justify;" class="“notice”">In 1910, Gray opened a studio at 11, rue Guénégau with Seizo Sugawara. This marked the start of her collaborative period, working with many others, which was to last over twenty years. Gray was joined by outstanding artists and craftsmen, including talented ebony-worker Kichizo Inagaki, who built pedestals for Rodin, and whose woodworking skills were second to none. In 1908-1909 she learned to dye and weave wool with her friend Evelyn Wyld in the wilds of the Moroccan Atlas; with the latter, she decided to open a second workshop devoted to tapestry weaving at 17-19, rue Visconti. Lacquered panels and tapestries became her new media of choice. From then on, each lacquered or woven artefact, first drawn and painted with gouache, also encompassed the density and thickness of the materials used. Gradually, work in two dimensions came to incorporate an element of depth.</p> <p style="text-align: justify;" class="“notice”">In 1913, her lacquered panels began to be assembled, articulated – and mobile. Movable screens became a temporal marker of her delineation of space. Le Destin embodies this development in two key respects: it is three-dimensional, and also marks the artist’s transition from figurative to abstract art.</p> <p style="text-align: justify;" class="“notice”">From that point on, Eileen Gray came to be seen more as a decorator than as an artist. With the help of couturier Jacques Doucet, she was able to realise her desire to explore the design of furniture, and produced her most outstanding lacquered items of furniture. Following in the footsteps of American decorating pioneer Elsie de Wolfe, from the 1920s onwards Gray began to create her first interior environments for Madame Juliette Mathieu Lévy. She opened her Jean Désert gallery on May 17, 1922 at 217, rue du Faubourg-Saint-Honoré, from which she developed a predominantly Parisian and American commercial, cultural and relational network. She did not refer to herself as a designer or decorator: her calling cards simply bore the words: “Lacquered screens, lacquered furniture, wooden furniture, dyed materials, lamps, divans, mirrors, carpets, apartment decoration and installation”. Romanian architect Jean Badovici, founder of the avant-garde review <em>L’Architecture Vivante</em>, may have understood the artist better than anyone else, describing her as knowing how to establish “an atmosphere of three-dimensional infinity with a myriad of interlocking planes, in which every item can be apprehended only as one part of a much greater mysterious, living whole. For Eileen Gray, space is simply a medium that can be modelled and transformed as the decorator requires, offering the artist an infinite range of possibilities.”</p> <p style="text-align: justify;" class="“notice”">Jean Badovici gave Gray the energy and confidence she needed to work with him, from 1926 to 1929, on building what is now universally recognised as one of the masterpieces of Modernism: <em>Villa E 1027</em>. From her beginnings at the Slade School, through to <em>E 1027</em>, Eileen Gray had never had any training in architecture, except indirectly through contemporary and past issues of <em>L’Architecture Vivante</em> magazine.</p> <p style="text-align: justify;" class="“notice”">After being praised to the skies by avant-garde critics in the 1920s, Eileen Gray was largely forgotten until 1968, when historian Joseph Rykwert restored her honour in the review <em>Domus</em>. Thanks to Cheska Vallois, Gilles Peyroulet, Prunella Clough and Peter Adam, from the 1970s onwards many of her items of furniture were rescued. In 1972, the sale of Jacques Doucet’s collection marked her re-emergence in the world of decorative arts; in 2009, the sale of Pierre Bergé and Yves Saint Laurent’s collection made her one of the most highly-acclaimed designers of the twentieth century. Today, Gray’s works are preserved in museums and private collections worldwide.</p> <p style="text-align: justify;" class="“notice”">For this exhibition, Centre Pompidou has concentrated on Gray’s works for the <em>Monte-Carlo Boudoir</em>, the Rue Bonaparte bedroom, <em>E 1027</em> and the artist’s own villa, <em>Tempe a Pailla</em>. In the form of period rooms, this reconstruction allows visitors to gain a better understanding of Gray’s art and her “desire to create a purely ideal space; [...] one that is genuinely so because it responds to the deepest needs of the soul and takes into account the essential truth that lies at the core of all artistic exploration of our age: a material body is not an immutable entity but the sum of potentialities”.</p> <p></p> Tue, 26 Feb 2013 00:06:24 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Alina Szapocznikow - Centre Pompidou - February 27th, 2013 - May 20th, 2013 <p style="text-align: justify;">The work of Alina Szapocznikow (1926-1973) is to be found here and there in the museums of her native land, Poland. However, her adoptive home of France seems to have forgotten her since the exhibition devoted to her by art critic Pierre Restany on her death in 1973. Today, Centre Pompidou once again returns to her drawings, hosting an exceptional exhibition bringing together close to one hundred works on paper, along with a number of sculptures. After the invasion of Poland by the Nazis, the Jewish Szapocznikow family was shut up in the ghettos of Pabianice and then Lodz before being interned in Auschwitz and subsequently Bergen-Belsen. As a teenager, Alina worked in the camp as a nurse alongside her mother, who was a doctor. At the end of the war, she went to Prague, where she learned sculpture with Josef Wagner. In 1947, she decided to go to Paris and its School of Fine Arts to continue her studies. Her return to Poland in 1951 marks the start of her official career and significant commissions. After having represented Poland at the Venice Biennial in 1962, Alina Szapocznikow once again left her native land for France. It was in Paris that her work was to blossom fully. She experimented with new materials, including polyurethane foam and polyester resin. Like Rodin in his day, she dismembered the human body – her own – and it was to become her subject of choice. In early 1969, Alina Szapocznikow contracted breast cancer. Between then and her death in 1973, she went through a period of intense creative activity. The series of ten or so Fetishes, made using moulds of body parts and random items dates from this period. Like many other sculptors, Alina Szapocznikow also left drawings. These focus on the human body, especially her own, which was the central subject of her work. The proper catalogue of her work runs to 620 drawings, including academic studies. Some are sketch drawings for a particular sculpture, while others are freer. Characterised by what Pierre Restany refers to as “disembodiment of form,” her most productive period dates from her years in Paris before illness struck (1963-1968), during which she produced her very best drawings. A final sequence (1969-1973) sees the appearance of colour in a more dreamlike world, recalling that of surrealism.</p> <p style="text-align: justify;">The exhibition begins with drawings from her early career before moving on to focus on her years in Paris. The organic and sculptural forms and technical experiments from this period gave rise to outstanding works of graphic art. The exhibition gives pride of place to Centre Pompidou’s new acquisitions – more especially, five drawings and one sculpture, Fétiche II (1970-1971). These works have entered the museum’s collection through the generosity of the Society of Friends of the National Museum of Modern Art.</p> Mon, 25 Feb 2013 23:55:43 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list