ArtSlant - Recently added http://www.artslant.com/par/Events/show en-us 40 Ryan Gander - gb agency - September 11th - October 11th Sat, 20 Sep 2014 11:21:53 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list David McDermott, Peter McGough - Galerie Piece Unique - September 18th - November 16th <p style="text-align: justify;">David McDermott and Peter McGough - born respectively in 1952 in Hollywood (California) and in 1958 in Syracuse (New York). Live and work in Dublin and New York.<br /><br />Starting from September 18<sup>th</sup>, Marussa Gravagnuolo and Christine Lahoud will present at&nbsp;4,rue Jacques Callot -in tribute to Lucio Amelio, on the occasion of the 20<sup>th</sup>&nbsp;anniversary of his death - a painting realized by the artists for the exhibition which took place in Naples in 1986.<br /><br />David McDermott and Peter McGough met at the beginning of the 80s in the New York artistic scene. Close to Julian Schnabel and having frequented Andy Warhol and Jean-Michel Basquiat, they quickly took part to the effervescency of the New York artistic scene of that time.<br /><br />If their approach to photography leans on the appropriation of images and objects of the end of the 19<sup>th</sup>&nbsp;century, they remain, in their life, authentic, sophisticated, erudite and impertinent artists who are able to completely dive in the period which suits them best: the Victorian one. Together, they lead to &ldquo;experiment time&rdquo; in New York and Dublin.<br /><br />As their lifestyle, the works so photographic as painted by McDermott and McGough illustrate this total refusal to live in our "present". Their constant concern of authenticity finds itself in the subjects and the styles which they resuscitate, in the antidating of their works in accordance with the represented scenes, as well as in the techniques and supports of their creation: photographs taken with a device of the beginning of the century, cyanotypes, palladium or gum prints which will be exhibited at Pi&egrave;ce Unique Variations.</p> Sat, 20 Sep 2014 11:14:21 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Olivier Gagnère - Galerie Maeght - October 5th - October 10th Sat, 20 Sep 2014 11:07:26 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list - Galerie Kreo - September 6th - October 31st Sat, 20 Sep 2014 11:03:12 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Julie Beaufils, Olivia Erlanger, Alex Mackin Dolan, Aude Pariset, Jon Rafman, Evan Robarts, Bunny Rogers, Jasper Spicero, Amalia Ulman - Balice Hertling - September 11th - October 11th <p style="text-align: justify;">Today : Morrow investigates an uncertain future of hyper-technology, inhuman supremacy, disembodiment, and the quest for absolute purity. The artworks in this show explore the relationship between the virtual and real, consumerism and ideology, seduction and production, as well as between artificial intelligence and human instinct.<br /><br />The artists in the show create hybrid works by applying new technology to handmade materials. In so doing, they question the relationship between immaterial information and the physical world. Many of the works both criticize and glorify the Internet as a tool of self-promotion.<br /><br />Today : Morrow presents a precarious image, the contemporary one we collectively feel in this digital age, where incongruous combinations such as corporate design and romanticism, industrially produced wallpaper and gold-smithery, or poetry and 3D printing might appear.<br /><br />&ldquo;To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day,&rdquo;<br />William Shakespeare, Macbeth Act 5, scene 5, 19-28<br /><br />- Romain Dauriac</p> Sat, 20 Sep 2014 10:55:54 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Eiko Nakayama - Association Culturelle Franco-Japonaise de Tenri - September 30th - October 11th <p style="text-align: justify;">Particuli&egrave;rement sensible au miracle de la vie et &agrave; son expression dans tous les &eacute;v&eacute;nements qui pars&egrave;ment notre quotidien, Eiko Nakayama en a fait le th&egrave;me principal de ses &oelig;uvres, &agrave; travers lesquelles elle souhaite exprimer le bonheur de vivre.</p> Sat, 20 Sep 2014 10:51:57 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Valérie Thiaw-Woaye, Ingrid Bauer - Association Culturelle Franco-Japonaise de Tenri - September 16th - September 27th <p style="text-align: justify;">A travers l&rsquo;exploration de nouveaux papiers qu&rsquo;elle estampe avec des encres, Val&eacute;rie Thiaw-Woaye invite le visiteur &agrave; voyager au c&oelig;ur de ces ombres d&eacute;coup&eacute;es par la surface blanche du papier tel Arthur Rimbaud dans son po&egrave;me Sensations.&nbsp;</p> <p style="text-align: justify;">Ingrid Bauer transcende les motifs, les signes, les symboles, les figures g&eacute;om&eacute;triques en les alignant, les r&eacute;p&eacute;tant tels des ornements afin de cr&eacute;er un kal&eacute;idoscope de sensations color&eacute;es.</p> Sat, 20 Sep 2014 10:49:06 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Antoine Philippon, Jacqueline Lecoq - Jousse Entreprise -- rue de Seine - October 3rd - November 1st <p style="text-align: justify;">Antoine Philippon (1930-1995) a &eacute;t&eacute; form&eacute; &agrave; l&rsquo;&Eacute;cole Boulle ; Jacqueline Lecoq (1932), &agrave; l&rsquo;ENSAD. Ils se rencontrent en 1955 dans le bureau d&rsquo;&eacute;tudes de Marcel Gascoin, par o&ugrave; pass&egrave;rent la plupart des cr&eacute;ateurs importants de cette g&eacute;n&eacute;ration, de Pierre Guariche &agrave; Pierre Paulin. D&egrave;s 1956, ils d&eacute;cident de travailler ensemble, en cr&eacute;ant le bureau d&rsquo;&eacute;tudes qui porte leurs noms. Leur collaboration, exceptionnelle par sa dur&eacute;e, ne s&rsquo;ach&egrave;vera qu&rsquo;&agrave; la disparition d&rsquo;Antoine Philippon en 1995. Tout au long de leur carri&egrave;re, ils pr&eacute;sentent leurs cr&eacute;ations au Salon des Arts m&eacute;nagers et au Salon des artistes d&eacute;corateurs (que Philippon pr&eacute;side de 1970 &agrave; 1972). Ils participent aux expositions universelles de Bruxelles (1958) et de Montr&eacute;al (1967) et re&ccedil;oivent de nombreuses commandes du Mobilier national. Plusieurs r&eacute;compenses prestigieuses leur sont d&eacute;cern&eacute;es, dont le prix Ren&eacute; Gabriel en 1961. &Agrave; l&rsquo;exposition de Bruxelles, ils re&ccedil;oivent un Grand Prix pour leur Chambre d&rsquo;un jeune homme, ensemble qui fit date.</p> <p><img src="http://dbprng00ikc2j.cloudfront.net/userimages/34000/1ggx/20140920104039-pr.JPG" alt="" /></p> Sat, 20 Sep 2014 10:41:32 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Jean-Yves Jouannais - Galerie Georges-Philippe & Nathalie Vallois - October 3rd - November 8th <p style="text-align: justify;">Les deux cycles de conf&eacute;rences intitul&eacute;s l&rsquo;<em>Encyclop&eacute;die des guerres</em>, au Centre Pompidou depuis 2008 et au th&eacute;&acirc;tre La Com&eacute;die de Reims depuis 2010, font le pari de raconter, sous forme d&rsquo;ab&eacute;c&eacute;daire, l&rsquo;int&eacute;gralit&eacute; des conflits et de chacun de leurs aspects, depuis l&rsquo;Iliade jusqu&rsquo;&agrave; la fin de la Seconde Guerre mondiale.</p> <p style="text-align: justify;">Dans ce cadre de rendez-vous au long terme, la mise en circulation orale est envisag&eacute;e comme mode de production litt&eacute;raire. L&rsquo;<em>Encyclop&eacute;die des guerres</em>&nbsp;est un roman qui s&rsquo;invente &agrave; force de citations et de collages. Certaines l&eacute;gendes sont n&eacute;es au fil de ce r&eacute;cit improvis&eacute;. J&rsquo;ai par exemple progressivement invent&eacute; un r&ocirc;le &agrave; mon grand-p&egrave;re paternel, Jean Jouannais. J&rsquo;ai fantasm&eacute; une histoire familiale o&ugrave; ce grand-p&egrave;re m&rsquo;aurait racont&eacute; ses faits d&rsquo;armes. D&rsquo;o&ugrave; l&rsquo;intuition que ce que je faisais s&rsquo;apparentait &agrave; de la ventriloquie. Je me mettais dans la peau d&rsquo;un grand-p&egrave;re qui me racontait l&rsquo;histoire des guerres. Je prenais en charge, en le cr&eacute;ant, ce que quelqu&rsquo;un d&rsquo;autre aurait d&ucirc; me transmettre. Disons en somme que je suis une sorte de chercheur qui inventerait la mati&egrave;re de ses enqu&ecirc;tes.</p> <p style="text-align: justify;"><em>Systema naturae</em>&nbsp;constitue un ensemble de documents, compos&eacute;s de collages et de textes, dont j&rsquo;attribue la &laquo;&nbsp;paternit&eacute;&nbsp;&raquo; &agrave; mon grand-p&egrave;re, n&eacute; en 1913, &agrave; Saint Angel (Allier), et mort en 1945. Sergent, il s&rsquo;est noy&eacute; pendant une p&eacute;riode de r&eacute;serve &agrave; la caserne de Montlu&ccedil;on. Mort &agrave; 32 ans, &agrave; la conclusion de la Seconde Guerre mondiale, n&eacute; &agrave; l&rsquo;aube de la Premi&egrave;re, il avait nourri pour les mat&eacute;riels de guerre une passion bizarre. Scientifique tr&egrave;s amateur, entomologiste illumin&eacute;, il ne pratiqua qu&rsquo;un livre,&nbsp;<em>Systema naturae</em>&nbsp;(<em>Syst&egrave;mes de la Nature</em>) de Linn&eacute;, dont la premi&egrave;re &eacute;dition remonte &agrave; 1735. Linn&eacute; avait impos&eacute; son syst&egrave;me de nomenclature binomale. En taxinomie (botanique, zoologie, etc.), le nom binomal provient de la combinaison de deux noms servant &agrave; d&eacute;signer un taxon de rang inf&eacute;rieur au genre. Cela devint le syst&egrave;me linn&eacute;en. Toute esp&egrave;ce du monde vivant est d&eacute;sign&eacute;e par un bin&ocirc;me latin. Celui-ci se compose d&rsquo;un nom de genre suivi d&rsquo;un nom d&rsquo;esp&egrave;ce, dont l&rsquo;ensemble constitue le nom scientifique international.</p> <p style="text-align: justify;">Le voyage que Jean Jouannais fit dans l&rsquo;&oelig;uvre de Linn&eacute; s&rsquo;assimile &agrave; quelque &eacute;pop&eacute;e et finit par r&eacute;sumer sa vie enti&egrave;re. Il entreprit donc, d&egrave;s 1932 et jusqu&rsquo;&agrave; sa mort, de classer les mat&eacute;riels de guerre comme autant d&rsquo;esp&egrave;ces vivantes. Par exemple : &laquo;&nbsp;Les canons automoteurs appartiennent de plein droit &agrave; la famille des &Eacute;l&eacute;phants contrairement aux chars qui se rattachent &agrave; celle des Rhinoc&eacute;ros tandis que les automitrailleuses sont assimil&eacute;es &agrave; ces autres ongul&eacute;s que sont les Chevaux et leurs cousins.&raquo;</p> <p style="text-align: justify;">La folie ne se d&eacute;voile qu&rsquo;&eacute;pisodiquement, lorsque l&rsquo;auteur croit pouvoir identifier parmi ces mat&eacute;riels des sp&eacute;cimens m&acirc;les ou femelles. Jean Jouannais a fini par oublier leur pedigree industriel pour r&ecirc;ver plus librement le mode de reproduction et la sexualit&eacute; de ces oiseaux et mammif&egrave;res m&eacute;talliques. Si l&rsquo;on choisit d&rsquo;oublier que les prol&eacute;gom&egrave;nes de cette entreprise sont int&eacute;gralement fautifs, on rel&egrave;ve finalement peu d&rsquo;erreurs dans l&rsquo;ensemble de ses notations. Pas davantage, en tout cas, que chez Buffon qui pr&eacute;tendit, par exemple, que les martinets sont &laquo;&nbsp;eux aussi de v&eacute;ritables hirondelles, et &agrave; bien des &eacute;gards, plus hirondelles que les hirondelles elles-m&ecirc;mes.&nbsp;&raquo;</p> <p style="text-align: justify;"><em>Jean-Yves Jouannais</em></p> <p style="text-align: justify;"><em>_______________________________________________</em></p> <p style="text-align: justify;">The two series of talks titled&nbsp;<em>Encyclopaedia of Wars</em>&nbsp;at the Centre Pompidou in Paris since 2008 and the La Com&eacute;die theatre in Reims since 2010 have taken up the challenge of providing an&nbsp;ABC&nbsp;of every aspect of every conflict from the Iliad through the Second World War.</p> <p style="text-align: justify;">This long-term venture approaches the oral as a path to literature.&nbsp;<em>Encyclopaedia of Wars</em>&nbsp;is a novel assembled out of quotations and collages. A number of legends have grown out of this improvised narrative: I gradually invented, for example, a role for my paternal grandfather, Jean Jouannais, building a fantasised family history in which he told me of his military exploits. Out of this emerged the intuition that I was practising a kind of ventriloquism, speaking for a grandfather who was relating the history of wars to me: by creating what should in fact have been passed on to me by someone else, I made it my own. In brief, let&rsquo;s say I&rsquo;m a kind of researcher out to invent the subject matter of his own investigations.</p> <p style="text-align: justify;"><em>Systema naturae</em>&nbsp;is a group of documents made up of collages and texts whose &lsquo;paternity&rsquo; I attribute to my grandfather, who was born in 1913 in Saint-Angel, in the Allier d&eacute;partement, and died in 1945. A sergeant in the army, he drowned himself during a spell as a reservist in the barracks at Montlu&ccedil;on. Born on the eve of the First World War and dead at the close of the Second, he had developed a weird passion for the paraphernalia of war. A very amateur scientist and a crank entomologist, he limited his reading to a single book, Linnaeus&rsquo;s<em>Systema naturae</em>&nbsp;(<em>A General System of Nature</em>), whose first edition goes back to 1735. Linnaeus had gained acceptance for his system of binomial nomenclature &ndash; for botany, zoology, etc. &ndash; which used a two-word combination to designate any taxon. This became known as the Linnaean system and provided a Latinbased method that has become the international scientific standard for naming the world&rsquo;s species.</p> <p style="text-align: justify;">Jean Jouannais journey through Linnaeus book was a kind of epic and ultimately a r&eacute;sum&eacute; of his entire life. From 1932 until his death he devoted himself to classifying the materials of war as if they were living species. To take one example: &lsquo;Self-propelled cannon rightfully belong to the family of Elephants, unlike tanks, which belong to that of the Rhinoceroses; while armoured cars are to be equated with the ungulates &ndash; Horses and their cousins.&rsquo;</p> <p style="text-align: justify;">His mental derangement showed through only sporadically, as when he believed he could identify males and females among his military impedimenta. He eventually ignored their industrial pedigree, letting his imagination loose on the sexuality and modes of reproduction of these metal birds and mammals. If we disregard the fact that the fundamentals of his enterprise are fallacious through and through, we find very few actual errors in his notations. No more, say, than in the work of French naturalist Buffon, who claimed among other things that swifts &lsquo;also are true swallows, and in many respects truer swallows than swallows themselves.&rsquo;</p> <p style="text-align: justify;"><em>Jean-Yves Jouannais</em></p> <p><em>&nbsp;</em></p> Sat, 20 Sep 2014 10:24:30 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Alain Bublex - Galerie Georges-Philippe & Nathalie Vallois - October 3rd - November 8th <p style="text-align: justify;">Faire une exposition consisterait &agrave; mettre &agrave; l&rsquo;&eacute;preuve une hypoth&egrave;se qui ne pourrait &ecirc;tre pr&eacute;sent&eacute;e &ndash; et soutenue &ndash; que par la mise en rapport effective des &oelig;uvres qu&rsquo;elle sollicite. Une hypoth&egrave;se ne saurait donc &ecirc;tre une th&eacute;orie constitu&eacute;e et dont il s&rsquo;agirait d&rsquo;op&eacute;rer la v&eacute;rification, moins encore un discours dont les &oelig;uvres expos&eacute;es viendraient opportun&eacute;ment articuler les p&eacute;riodes. Une hypoth&egrave;se est une id&eacute;e prometteuse mais encore sans concept, l&rsquo;intuition d&rsquo;un rapprochement in&eacute;dit et qu&rsquo;on esp&egrave;re fructueux, ou bien un groupe d&rsquo;&oelig;uvres qu&rsquo;on aimerait r&eacute;unir pour observer comment elles seraient modifi&eacute;es par cette mise en regard.</p> <p style="text-align: justify;">Double hypoth&egrave;se donc : quant &agrave; ce que serait (devrait &ecirc;tre ?) une exposition et quant &agrave; ce qu&rsquo;une exposition fait effectivement. Ne pouvant &eacute;voquer ici la premi&egrave;re, nous nous int&eacute;resserons &agrave; la seconde,&nbsp;<strong>Alain Bublex</strong>proposant avec&nbsp;<strong><em>arri&egrave;re-plan</em></strong>&nbsp;de mettre &agrave; l&rsquo;&eacute;preuve une hypoth&egrave;se au sens susdit. Soit, tr&egrave;s bri&egrave;vement formul&eacute;e : &laquo;&nbsp;la fondation d&rsquo;un espace politique et culturel &lsquo;national&rsquo; s&rsquo;accompagne le plus souvent d&rsquo;un mouvement de repr&eacute;sentation de ses paysages&nbsp;&raquo;. Autrement dit, au moment de se donner un avenir commun (et de s&rsquo;inventer un pass&eacute; partag&eacute;), un peuple &eacute;prouverait le besoin de repr&eacute;senter ce qui l&rsquo;entoure et l&rsquo;a pr&eacute;c&eacute;d&eacute;. Il ferait alors deux choses qui ne sont qu&rsquo;apparemment contradictoires : donner &agrave; voir l&rsquo;&eacute;tranget&eacute; irr&eacute;ductible de ces paysages tout en les reconnaissant comme siens. Un paysage (qu&rsquo;il soit peint ou jardin&eacute;) n&rsquo;est donc pas seulement une transformation par le regard de l&rsquo;environnement naturel. Il est aussi l&rsquo;affirmation de l&rsquo;&eacute;tranget&eacute; de ce qu&rsquo;il y a. Une des &oelig;uvres dont&nbsp;<strong>Alain Bublex</strong>&nbsp;a choisi d&rsquo;exposer la reproduction en trompe-l&rsquo;&oelig;il est un paysage d&rsquo;Albert Bierstadt, peintre du grand Ouest et de la nature sauvage (ce que les Am&eacute;ricains ont appel&eacute; le &laquo;&nbsp;<em>wilderness</em>&nbsp;&raquo;). Il n&rsquo;est pas indiff&eacute;rent de rappeler que ce sont ses tableaux qui, en 1872, persuad&egrave;rent le Congr&egrave;s am&eacute;ricain de voter le Yellowstone Park Bill, donnant ainsi corps au premier parc national de l&rsquo;Histoire.</p> <p style="text-align: justify;"><strong>Alain Bublex</strong>&nbsp;ne veut pas dire que l&rsquo;espace pictural est aussi un espace politique &ndash; ce qui est un truisme, mais que la constitution d&rsquo;un pays comme espace politique passe par la repr&eacute;sentation qu&rsquo;il se fait de ses paysages. Repr&eacute;sentation qui change avec le temps : celui de l&rsquo;Histoire et celui de l&rsquo;art. Apr&egrave;s Albert Bierstadt, ce sont les tableaux de Charles Scheeler et Morris Louis qu&rsquo;<em>arri&egrave;re-plan</em>&nbsp;met en sc&egrave;ne, dessinant du<em>wilderness</em>&nbsp;&agrave; l&rsquo;expressionisme abstrait une curieuse histoire de la peinture am&eacute;ricaine. Qu&rsquo;un tableau de Morris Louis figure aux c&ocirc;t&eacute;s d&rsquo;un paysage industriel du peintre moderniste que fut Scheeler dit toute la dimension intuitive de l&rsquo;hypoth&egrave;se.</p> <p style="text-align: justify;">L&rsquo;expressionisme abstrait, en tant qu&rsquo;il fut le premier grand style que produisit la peinture am&eacute;ricaine, fait au m&ecirc;me titre que les&nbsp;<em>Rocky mountains</em>&nbsp;partie de son paysage culturel. Et un &oelig;il aguerri ne manquera pas de voir dans les superpositions de bandes de couleur &ndash; translucides &agrave; force de dilution &ndash; des &laquo;&nbsp;veils&nbsp;&raquo; de Morris Louis le lointain h&eacute;ritage des fonds spectraux des tableaux de Bierstadt, arbres et montagnes que l&rsquo;ardent soleil qui s&rsquo;&eacute;l&egrave;ve sur ses paysages rend &eacute;trangement fantomatiques.</p> <p style="text-align: justify;">Demeure cependant la question de savoir comment s&rsquo;op&egrave;re la mise en &oelig;uvre de l&rsquo;hypoth&egrave;se, de quel &laquo;&nbsp;appareillage&nbsp;&raquo; (le mot est d&rsquo;<strong>Alain Bublex</strong>) elle soutiendra son articulation : celui que rend visible l&rsquo;exposition dont la construction a &eacute;t&eacute; stopp&eacute;e &ndash; abandonn&eacute;e ou ruin&eacute;e &ndash; et qui renvoie de fait tous les objets qu&rsquo;elle montre &agrave; la contingence de leur finition. N&rsquo;en concluons pas que tout paysage est de ruine, seulement qu&rsquo;il fixe et cons&eacute;quemment finit par effacer l&rsquo;&eacute;tranget&eacute; de ce qu&rsquo;il y a. Appareiller &ndash; mot qu&rsquo;il faudrait aussi entendre en son sens maritime &ndash; consiste &agrave; rendre sensible les activit&eacute;s que l&rsquo;art suppose et souvent dissimule ; ce que disent aussi &agrave; leur mani&egrave;re les &oelig;uvres originales dont&nbsp;<strong>Alain Bublex</strong>&nbsp;a parsem&eacute;<strong><em>arri&egrave;re-plan</em></strong>&nbsp;&ndash; photographies de paysage dans lesquelles une partie est reproduite au dessin vectoriel : une autoroute, le mont Fuji, etc., ajouts dont l&rsquo;&eacute;vidence (ils ne troublent en rien l&rsquo;image) vient t&eacute;moigner de l&rsquo;artificialit&eacute; famili&egrave;re de ce qui nous environne.</p> <p style="text-align: justify;"><strong>Alain Bublex</strong>&nbsp;n&rsquo;aura jamais cess&eacute; de faire des paysages dans un pays qui n&rsquo;en produit plus depuis la fin de l&rsquo;ancien r&eacute;gime (sauf exceptions notables &ndash; le fant&ocirc;me d&rsquo;Albert Marquet traverse l&rsquo;exposition). La France r&eacute;publicaine s&rsquo;est construite sans se donner &agrave; voir. C&rsquo;est sans doute pourquoi on a tant de mal aujourd&rsquo;hui &agrave; la regarder sans nostalgie.</p> <p style="text-align: justify;"><em>Bastien Gallet</em></p> <p style="text-align: justify;"><em>_________________________________________________</em></p> <p style="text-align: justify;">Organising an exhibition can be seen as testing out a hypothesis which can only be presented &ndash; and defended &ndash; by establishing a convincing relationship between the works it has recourse to. A hypothesis, then, cannot be a clearly formulated theory demanding verification, and even less so a discourse whose lofty sentences are appropriately interconnected by the exhibits. It is either a promising idea still lacking a concept, an intuitive sense of a novel and hopefully fruitful interrelationship, or a group of works one would like to bring together to observe how this juxtaposition changes them.</p> <p style="text-align: justify;">A dual hypothesis, then: as to what would be (should be?) an exhibition and as to what an exhibition actually does. Since the first part can&rsquo;t be gone into here, let&rsquo;s take a look at the second, with&nbsp;<strong>Alain Bublex</strong>proposing, in&nbsp;<em>backdrop_* (_*arri&egrave;re-plan*</em>), to test out a hypothesis in the way mentioned above. To put it briefly: &lsquo;The creation of a &laquo;national&raquo; political and cultural space most often goes hand in hand with a trend towards representation of its landscapes.&rsquo; Or in other words, as soon as a people endows itself with a common future (and invents for itself a shared past), it feels the need to portray what surrounds it and what has preceded it. It then does two things that are only seemingly contradictory: it portrays the irreducible strangeness of these landscapes while at the same time recognising them as its own. Thus a landscape &ndash; whether painted or natural &ndash; is not solely a visual transformation of the natural environment; it is also an assertion of the strangeness of what is there. One of the works&nbsp;<strong>Bublex</strong>&nbsp;has opted for in&nbsp;<em>trompe l&rsquo;oeil</em>&nbsp;form is a landscape by Albert Bierstadt, a painter of the American West and its&nbsp;<em>wilderness</em>. Interestingly, it was Bierstadt&rsquo;s paintings that led Congress to pass the Yellowstone Park Bill in 1872 and so create history&rsquo;s first national park.&nbsp;<strong>Bublex</strong>&nbsp;is not trying to say that a pictorial space is also a political space &ndash; in itself a truism &ndash; but rather that the establishment of a country as a political space involves that country&rsquo;s representation of landscape. And this representation changes with time: the time of history and the time of art. After Bierstadt,&nbsp;<strong><em>backdrop</em></strong>&nbsp;(<em><strong>arri&eacute;re-plan</strong></em>) presents pictures by Charles Sheeler and Morris Louis, offering a curious history of American painting from<em>wilderness</em>&nbsp;to Abstract Expressionism. This placing of a Morris Louis picture beside an industrial landscape by Sheeler the modernist speaks eloquently of the intuitive aspect of the hypothesis. The first major style produced by American painting, Abstract Expressionism is, as much as Bierstadt&rsquo;s&nbsp;<em>Rocky Mountains</em>, part of the cultural landscape in question; and a trained eye will not fail to detect in the overlaid strips of colour of Louis &lsquo;<em>veils</em>&rsquo;, diluted to the point of translucency, the distant heritage of Bierstadt&rsquo;s spectral backdrops: trees and mountains given a strangely ghostly look by the scorching sun rising over his landscapes.</p> <p style="text-align: justify;">There remains, however, the question of how the hypothesis is actually put to work: of the &lsquo;rigging&rsquo; (as&nbsp;<strong>Bublex</strong>&nbsp;calls it) which underpins its structuring, which renders visible an exhibition whose construction has been halted &ndash; abandoned or gone to ruin &ndash; and which thus refers all the exhibits back to the contingency of their finish. We must not conclude, though, that all landscape is ruin; simply, rather, that it captures and as a result ultimately effaces the strangeness of what is there. &lsquo;Rigging&rsquo; &ndash; also to be taken here in its nautical sense &ndash; consists in making discernible the activities that art presupposes and often conceals; which is also the message conveyed in their own way by the original works&nbsp;<strong>Bublex</strong>&nbsp;has dotted throughout&nbsp;<strong>backdrop</strong>&nbsp;(<strong><em>arri&eacute;re-plan</em></strong>): landscape photographs in which a part &ndash; a freeway, Mount Fuji, etc. &ndash; is reproduced by vectorial drawing, as additions whose obviousness (they in no way interfere with the image) testifies to the familiar artificiality of our surroundings.</p> <p style="text-align: justify;"><strong>Alain Bublex</strong>&nbsp;has never stopped making landscapes in a country that has produced none since the end of the Ancien R&eacute;gime (with some notable exceptions: the ghost of Albert Marquet haunts the exhibition) Republican France took shape without offering any image of itself; which is probably why, today, we find it so hard to look at her without nostalgia.</p> <p><em>Bastien Gallet</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> Sat, 20 Sep 2014 10:15:31 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list - Fondation Taylor - October 2nd - October 25th Sat, 20 Sep 2014 10:03:00 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Viollet-le-Duc, Eugène Cicéri, Jacques Mandé Daguerre, Adrien Dauzats, Charles Marie Bouton, Isidore justin Taylor - Fondation Taylor - October 2nd - November 15th <p>&Agrave; l&rsquo;occasion des 170 ans de sa cr&eacute;ation, la Fondation Taylor rend hommage &agrave; son fondateur, en pr&eacute;sentant cette exposition qui s&rsquo;organisera autour des diff&eacute;rents chapitres de la vie de Taylor au travers des &oelig;uvres des artistes et amis, pour la plupart rencontr&eacute;s dans l&rsquo;atelier de&nbsp;Degotti, le c&eacute;l&egrave;bre peintre-d&eacute;corateur de l&rsquo;Op&eacute;ra, tels&nbsp;Daguerre,&nbsp;Bouton,Alaux,&nbsp;Cic&eacute;ri,&nbsp;Gu&eacute;,&nbsp;Fragonard... Troupe que rejoindra bient&ocirc;t&nbsp;Dauzats, qui deviendra le plus proche collaborateur de Taylor.</p> <p>Nombre de ces artistes accompagneront Taylor dans ses exp&eacute;riences th&eacute;&acirc;trales, les Voyages pittoresques et les missions culturelles jusqu&rsquo;&agrave; l&rsquo;aventure du mutualisme et de la cr&eacute;ation des associations. L&rsquo;exposition pr&eacute;sentera plus d&rsquo;une centaine d&rsquo;&oelig;uvres (peintures, aquarelles, dessins, estampes, maquettes, manuscrits) venues d&rsquo;institutions telles Com&eacute;die Fran&ccedil;aise, le Mus&eacute;e des Beaux-arts de Bordeaux, le Mus&eacute;e Mentienne de Bry sur Marne, la Biblioth&egrave;que de l&rsquo;Op&eacute;ra de Paris..</p> <p>L'homme et ses actions rel&egrave;vent du mythe. Taylor est d&egrave;s 1820 l'inventeur avec Nodier et de Cailleux des&nbsp;<em>Voyages pittoresques et romantiques dans l'ancienne&nbsp;</em>France&nbsp;qui constituent la plus &eacute;mouvante, la mieux parlante des plong&eacute;es dans le patrimoine national. Homme de lettres, directeur de th&eacute;&acirc;tre, passionn&eacute; des dioramas et panoramas, Taylor, nomm&eacute;administrateur de la Com&eacute;die fran&ccedil;aise permet en 1830 la bataille et la&nbsp;victoire d'<em>Hernani</em>. Diplomate, il obtient de M&eacute;h&eacute;met-Ali&nbsp;l'ob&eacute;lisque de Louxor.&nbsp;Il constitue pour Louis-Philippe la c&eacute;l&egrave;bre&nbsp;Galerie espagnole, ouverte en 1838, qui encouragea tant d'artistes, de Courbet &agrave; Manet, dans la voie du r&eacute;alisme. Il est aussi d&egrave;s 1840, l'infatigable&nbsp;philanthrope, fondateur d'associations pratiquant le secours mutuel, que ce soit pour les musiciens, les acteurs, les inventeurs, les enseignants.</p> <p>Cette exposition est organis&eacute;e avec le concours de la Com&eacute;die Fran&ccedil;aise, du Mus&eacute;e Mentienne de Bry-sur-Marne, du Mus&eacute;e des Beaux-Arts de Dole, de la Biblioth&egrave;que de l'Op&eacute;ra, du Mus&eacute;e des Beaux-Art de Bordeaux, du Mus&eacute;e Crozatier du Puy-en-Velay, du Mus&eacute;e des Beaux-Arts de Chamb&eacute;ry.</p> <p>Cette manifestation est organis&eacute;e en lien avec l'exposition "La fabrique du Romantisme, Charles Nodier et les Voyages pittoresques" pr&eacute;sent&eacute;e par le Mus&eacute;e de la vie romantique du 11 octobre 2014 au 17 janvier 2015, elle sera suivie d'une pr&eacute;sentation des "Voyages pittoresques et romantiques dans l'ancienne france" dans l'atelier de la Fondation Taylor.</p> <p>&nbsp;</p> Sat, 20 Sep 2014 09:56:59 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list Marie Angeletti, Camille Blatrix, Jean-Alain Corre, Audrey Cottin, Hendrik Hegray, Melanie Matranga - FONDATION RICARD - September 10th - October 31st <h4 style="text-align: justify;">Exhibition for the 16th Prize Fondation d'entreprise Ricard</h4> <p style="text-align: justify;">" A press release usually greets the viewer with the wrong hand. By immediately setting the exhibition in an artificial landscape of references, concepts and analysis, it awkwardly takes its distance from it. Most of the time it euphemizes the conditions of the exhibition&rsquo;s making and neutralizes the discussions and questions which sparked during its conception, in order to offer an image of self-evidence.&nbsp;</p> <p style="text-align: justify;">Nothing, however, can be taken for granted in this exhibition in particular, as the guidelines of the prize awarded by the Fondation d&rsquo;entreprise Ricard can seem to overdetermine the choice of artists taking part in it, not to mention the way they are perceived. What matters then is to set the exhibition in motion, to think of it as an investigation about the present. This consists, firstly, in articulating several positions, aesthetics and personal aspirations with one another, and in identifying certain sensibilities, which are at least temporarily shared: those of a generation or, let&rsquo;s say, of the times. But it is best not to go too far too fast and outpace everyone (including ourselves). As we write these words, this exhibition is a scaffolding of unstable, living and anxious intentions, collectively elaborated, a circumstantial dialogue between a many-facetted group of curators whose activity in Paris gravitates around the exhibition venue castillo/corrales, and six artists, barely in their thirties, intrigued by the situation: Marie Angeletti, Camille Blatrix, Jean-Alain Corre, Audrey Cottin, Hendrik Hegray, and M&eacute;lanie Matranga.</p> <p style="text-align: justify;">Choosing a title for the show that calls to mind another, Baudelairian, one &ndash; &ldquo;The Times, Fashion, Morality, Passion&rdquo; &ndash; is a way of thinking out loud. These notions probably still play a large part in the appreciation of an artist&rsquo;s works. But fashion, morality and passion are asserted in the manner of the decree, and convey maybe less well today the sensibility that informs our relation to things. In these times, everything seems to be moving all the time, over time, under changing conditions that are affecting behaviors at once fleetingly and profoundly. This is not to say that the &ldquo;generation&rdquo; which incarnates this sensibility is devoid of more lasting and resistant values than the volatile set of moods to which people often want to reduce it. Allegedly lacking in concentration, it nevertheless knows that attention is, it just so happens, the only power at hand to counter the tensions affecting it. Nothing is simple; but these artists are moving forward, tossed about between a feeling of powerlessness and extreme lucidity. "</p> <p>castillo/corrales, July 2014.</p> <p>_____________________________________________</p> <p style="text-align: justify;">&laquo; Un communiqu&eacute; de presse tend souvent la mauvaise main au visiteur. En situant d&rsquo;embl&eacute;e l&rsquo;exposition dans un paysage artificiel de r&eacute;f&eacute;rences, de concepts ou d&rsquo;analyses, il prend maladroitement ses distances avec elle. Il euph&eacute;mise la plupart du temps les conditions de son &eacute;laboration et neutralise les discussions et les questionnements qui ont accompagn&eacute; sa conception, pour donner &agrave; bon compte l&rsquo;image trompeuse de l&rsquo;&eacute;vidence.</p> <p style="text-align: justify;">Rien ne va pourtant de soi dans cette exposition en particulier, les attendus du prix de la Fondation d&rsquo;entreprise Ricard pouvant sembler surd&eacute;terminer le choix des artistes qui y participent, ainsi que leur perception. Ce qui importe alors, c&rsquo;est de mettre l&rsquo;exposition en mouvement, en la pensant comme une enqu&ecirc;te sur le pr&eacute;sent. Cela consiste d&rsquo;abord &agrave; articuler entre elles des positions, des esth&eacute;tiques, des aspirations individuelles, et d&rsquo;identifier certaines sensibilit&eacute;s, au moins temporairement communes ; celles d&rsquo;une g&eacute;n&eacute;ration, ou, disons, d&rsquo;une &eacute;poque. Mais mieux vaut ne pas chercher &agrave; &ecirc;tre l&agrave; o&ugrave; nous ne sommes pas encore, &agrave; prendre tout le monde (&agrave; commencer par nous-m&ecirc;mes) de vitesse. Cette exposition est, &agrave; l&rsquo;heure o&ugrave; nous &eacute;crivons ces lignes, un &eacute;chafaudage d&rsquo;intentions instables, vivantes et anxieuses, &eacute;labor&eacute;es collectivement, un dialogue circonstanciel entre un groupe polymorphe de curateurs dont l&rsquo;activit&eacute; &agrave; Paris s&rsquo;est constitu&eacute;e autour de l&rsquo;espace d&rsquo;exposition castillo/corrales, et six artistes &agrave; peine trentenaires intrigu&eacute;s par la situation : Marie Angeletti, Camille Blatrix, Jean-Alain Corre, Audrey Cottin, Hendrik Hegray et M&eacute;lanie Matranga.</p> <p style="text-align: justify;">Choisir un titre pour l&rsquo;exposition qui en rappelle un autre, baudelairien, &laquo; L&rsquo;&eacute;poque, la mode, la morale, la passion &raquo;, est une fa&ccedil;on de penser &agrave; voix haute. Sans doute ces notions continuent-elles de jouer &agrave; plein dans l&rsquo;appr&eacute;ciation des &oelig;uvres d&rsquo;un artiste. Mais la mode, la morale, la passion s&rsquo;affirment sur le mode du d&eacute;cret, et traduisent sans doute moins bien aujourd&rsquo;hui la sensibilit&eacute; qui caract&eacute;rise notre rapport aux choses. Dans cette &eacute;poque, tout semble se mouvoir &agrave; chaque instant, au fil du temps, un temps changeant, influant sur les comportements de mani&egrave;re &agrave; la fois passag&egrave;re et profonde. Cela ne revient pas &agrave; dire que la &laquo; g&eacute;n&eacute;ration &raquo; qui incarne cette sensibilit&eacute; soit d&eacute;nu&eacute;e de valeurs plus durables, r&eacute;sistantes, que le r&eacute;gime volatil des humeurs auquel on veut souvent la r&eacute;duire. Pr&eacute;tendument en d&eacute;faut de concentration, elle sait pourtant que l&rsquo;attention, justement, est la seule force dont elle dispose pour contrer les tensions qui l&rsquo;affectent. Rien n&rsquo;est simple ; mais ces artistes avancent, dans l&rsquo;entre-deux du sentiment d&rsquo;impuissance et de l&rsquo;hyper-lucidit&eacute;. &raquo;</p> <p>castillo/corrales, juillet 2014.</p> Mon, 15 Sep 2014 12:59:04 +0000 http://www.artslant.com/par/Events/list http://www.artslant.com/par/Events/list