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Paris

Galerie Michel Rein

Exhibition Detail
The Beggar's Things
42 rue de Turenne
75003 Paris
France


March 10th, 2012 - April 7th, 2012
Opening: 
March 10th, 2012 4:00 PM - 9:00 PM
 
, Dora GarciaDora Garcia
© Courtesy of the artist and Galerie Michel Rein
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> DESCRIPTION

La galerie Michel Rein est heureuse d'accueillir la troisième exposition personnelle de Dora García (Letters to other planets, 2005, What a fucking wonderful audience, 2009). Cette exposition présente l'oeuvre The Beggar's Things, issue de la performance The Beggar's Opera, réalisée pour le Münster Skulptur Projekte en 2007.

Dora Garcia, pour la performance The Beggar's Opera met en scène le personnage de Filch, apparu d'abord dans l'opéra du même nom de John Gay (1728), puis plus tard dans l'Opéra de Quat'sous de Bertolt Brecht (1928). Un acteur a ainsi endossé le rôle de ce personnage et déambulait dans la ville, à la rencontre des habitants et des touristes. Incarnant le personnage du mendiant, l'acteur devenait marginal, parfois invisible, et donc, selon les mots de l'artiste, « pouvait parler à tout le monde, dire ce qu'il voulait, sans être vraiment remarqué – comme les serviteurs et les fous. ».

L'artiste interagissait avec le public, suivant un script ou de façon improvisée, de façon à provoquer des situations et des réactions. Son activité quotidienne fut ensuite racontée tous les quinze jours au public d'un théâtre de Münster, retranscrite sur le site Internet HYPERLINK "http://www.thebeggarsopera.org/"www.thebeggarsopera.org et enfin publiée dans l'ouvrage The Beggar's Diary. À l’occasion de cette performance, un grand nombre d'objets ont été collectés, chacun ayant sa propre histoire et son propre rôle au sein du projet. Tous ces éléments ont été rassemblés afin de créer l'oeuvre The Beggar's Things, une sculpture sociale, qui nous renseigne non seulement sur la performance historique de Dora García à Münster, mais aussi sur nos interactions quotidiennes, qui tombent bien souvent dans l'oubli.

L'œuvre a été présentée à l'occasion des expositions Contes Choisis au Centre de Arte Santa Monica à Barcelone (2007), Where do Characters go when the story is over au CGAC (Centro Galego de Arte Contemporanea) à Saint Jacques de Compostelle, (2009), Not to play with dead things à la Villa Arson de Nice (2010) et dans le pavillon espagnol The Inadequate conçu par Dora García pour la Biennale de Venise 2011.
Dora García enquête sur les relations qui existent entre l'artiste, l'oeuvre d'art, le public et l'espace. Son travail nous apprend à questionner à la fois notre réalité et nous-mêmes. L'artiste s'engage elle-même dans les questions : qu'est-ce que la réalité et qu'est-ce que la fiction, incitant le visiteur à devenir protagoniste, parfois sciemment, mais pas toujours.

Avant de représenter l'Espagne à la Biennale de Venise en 2011, Dora García a bénéficié de nombreuses expositions personnelles, notamment au au FRAC Bourgogne (2005), au CGAC de Saint Jacques de Compostelle (2009), à la Kunsthalle Bern (2010) et à l'Index Contemporary Art Foundation à Stockholm (2010). Dora Garcia sera exposée à la dOCUMENTA (13) qui ouvre en juin 2012. Elle a participé à de nombreuses expositions collectives, notamment au MACBA (Barcelone), à la Tate Modern (Londres) et à la Schirn Kunthalle de Francfort. Son travail est présent dans de nombreuses collections privées et publiques : Museo National Centro de Arte Reina Sofia, Madrid, le Fond National d'Art Contemporain, le MoMA de San Francisco, le MUSAC, Leon, et la Fondation Kadist qui soutient son projet pour la dOCUMENTA (13).

Dora Garca, The Beggar's Diary, 2008, Verlag der Buchhandlung Walther König, Köln, textes de Brigitte Franzen, Dora García, Samir Kandil, Jan Mech et Peter Aers, 567 pages.

Galerie Michel Rein is pleased to present its third solo exhibition by Dora García at the gallery (previous exhibitions: Letters to other planets, 2005, What a fucking wonderful audience, 2009). This exhibition will present the artwork The Beggar’s Things which is made up of the performance The Beggar’s Opera, created by Dora García for Münster Skulptur Projekte in 2007.

The Beggar’s Opera consisted of an extended performance in which Dora García adopted the character of Filch, who first appeared in the opera of the same name by John Gay and later in Bertolt Brecht’s The Threepenny Opera. An actor inhabited this character and wandered around the town meeting with locals and tourists. By taking on the character of the beggar, the actor became marginal, at times invisible, and therefore, in the words of the artist, was “able to talk to everybody, to say whatever he pleased, and be there without really being noticed – like servants and madmen.” In this way the performer interacted with the public in a half scripted, half improvised manner in order to create situations and reactions. His daily activity was fortnightly recounted in front of a theatre audience in Münster, noted down on the website www.thebeggarsopera.org and later printed in the book The Beggar’s Diary1. The scope of this performance resulted in the collection of a great number of objects, each with its own story and its own part played in the action. These elements were brought together to create the artwork The Beggar’s Things, a social sculpture that documents not only Dora García’s historic performance at Münster but also our daily interactions, which, more often than not, fall into oblivion.

This artwork has been presented at the exhibitions
Contes Choisis at the Centre de Arte Santa Monica in Barcelona (2007), Where to Characters go when the story is over at the CGAC (Centro Galego de Arte Contemporanea) in Santiago de Compostela (2009), Not to play with dead things at the Villa Arson in Nice (2010), and as part of Dora García’s Spanish pavilion The Inadequate at the Venice Biennale 2011.

Dora García uses her work to investigate the relationship between artist, artwork, audience and space. By engaging with Dora García's work we learn to question ourselves and our reality. The artist engages herself with the question of what is reality and what is fiction, drawing the visitor into becoming a protagonist: sometimes knowingly, sometimes not.


As well as representing Spain at the Venice Biennale in 2011, Dora García has had a number international solo shows, notably at the FRAC Bourgogne (2005), the Kunsthalle Bern, the CGAC in Santiago de Compostela (2009) and Index Contemporary Art Foundation in Stockholm. She will be taking part in dOCUMENTA (13) opening in June this year, adding to her list of group shows in places including the MACBA (Barcelona), Tate Modern (London), Schirn Kunthalle Frankfurt, and the Sao Paulo Biennale. Her work is held in many public and private collections such as the Museo Nacional Centro de Arte Reina Sofía. Madrid, the Centre National des Arts Plastiques in France, the San Francisco MoMA , the MUSAC, Leon and the Kadist Foundation in Paris which is kindly supporting her project for dOCUMENTA (13).


1 Dora Garca, The Beggar's Diary, 2008, Verlag der Buchhandlung Walther König, Köln, texts by Brigitte Franzen, Dora García, Samir Kandil, Jan Mech et Peter Aers, 567p.

Galerie Michel Rein is pleased to present its third solo exhibition by Dora García at the gallery (previous exhibitions: Letters to other planets, 2005, What a fucking wonderful audience, 2009). This exhibition will present the artwork The Beggar’s Things which is made up of the performance The Beggar’s Opera, created by Dora García for Münster Skulptur Projekte in 2007.

The Beggar’s Opera consisted of an extended performance in which Dora García adopted the character of Filch, who first appeared in the opera of the same name by John Gay and later in Bertolt Brecht’s The Threepenny Opera. An actor inhabited this character and wandered around the town meeting with locals and tourists. By taking on the character of the beggar, the actor became marginal, at times invisible, and therefore, in the words of the artist, was “able to talk to everybody, to say whatever he pleased, and be there without really being noticed – like servants and madmen.” In this way the performer interacted with the public in a half scripted, half improvised manner in order to create situations and reactions. His daily activity was fortnightly recounted in front of a theatre audience in Münster, noted down on the website www.thebeggarsopera.org and later printed in the book The Beggar’s Diary1. The scope of this performance resulted in the collection of a great number of objects, each with its own story and its own part played in the action. These elements were brought together to create the artwork The Beggar’s Things, a social sculpture that documents not only Dora García’s historic performance at Münster but also our daily interactions, which, more often than not, fall into oblivion.

This artwork has been presented at the exhibitions
Contes Choisis at the Centre de Arte Santa Monica in Barcelona (2007), Where to Characters go when the story is over at the CGAC (Centro Galego de Arte Contemporanea) in Santiago de Compostela (2009), Not to play with dead things at the Villa Arson in Nice (2010), and as part of Dora García’s Spanish pavilion The Inadequate at the Venice Biennale 2011.

Dora García uses her work to investigate the relationship between artist, artwork, audience and space. By engaging with Dora García's work we learn to question ourselves and our reality. The artist engages herself with the question of what is reality and what is fiction, drawing the visitor into becoming a protagonist: sometimes knowingly, sometimes not.


As well as representing Spain at the Venice Biennale in 2011, Dora García has had a number international solo shows, notably at the FRAC Bourgogne (2005), the Kunsthalle Bern, the CGAC in Santiago de Compostela (2009) and Index Contemporary Art Foundation in Stockholm. She will be taking part in dOCUMENTA (13) opening in June this year, adding to her list of group shows in places including the MACBA (Barcelona), Tate Modern (London), Schirn Kunthalle Frankfurt, and the Sao Paulo Biennale. Her work is held in many public and private collections such as the Museo Nacional Centro de Arte Reina Sofía. Madrid, the Centre National des Arts Plastiques in France, the San Francisco MoMA , the MUSAC, Leon and the Kadist Foundation in Paris which is kindly supporting her project for dOCUMENTA (13).


1 Dora Garca, The Beggar's Diary, 2008, Verlag der Buchhandlung Walther König, Köln, texts by Brigitte Franzen, Dora García, Samir Kandil, Jan Mech et Peter Aers, 567p.

Galerie Michel Rein is pleased to present its third solo exhibition by Dora García at the gallery (previous exhibitions: Letters to other planets, 2005, What a fucking wonderful audience, 2009). This exhibition will present the artwork The Beggar’s Things which is made up of the performance The Beggar’s Opera, created by Dora García for Münster Skulptur Projekte in 2007.

The Beggar’s Opera consisted of an extended performance in which Dora García adopted the character of Filch, who first appeared in the opera of the same name by John Gay and later in Bertolt Brecht’s The Threepenny Opera. An actor inhabited this character and wandered around the town meeting with locals and tourists. By taking on the character of the beggar, the actor became marginal, at times invisible, and therefore, in the words of the artist, was “able to talk to everybody, to say whatever he pleased, and be there without really being noticed – like servants and madmen.” In this way the performer interacted with the public in a half scripted, half improvised manner in order to create situations and reactions. His daily activity was fortnightly recounted in front of a theatre audience in Münster, noted down on the website www.thebeggarsopera.org and later printed in the book The Beggar’s Diary1. The scope of this performance resulted in the collection of a great number of objects, each with its own story and its own part played in the action. These elements were brought together to create the artwork The Beggar’s Things, a social sculpture that documents not only Dora García’s historic performance at Münster but also our daily interactions, which, more often than not, fall into oblivion.

This artwork has been presented at the exhibitions
Contes Choisis at the Centre de Arte Santa Monica in Barcelona (2007), Where to Characters go when the story is over at the CGAC (Centro Galego de Arte Contemporanea) in Santiago de Compostela (2009), Not to play with dead things at the Villa Arson in Nice (2010), and as part of Dora García’s Spanish pavilion The Inadequate at the Venice Biennale 2011.

Dora García uses her work to investigate the relationship between artist, artwork, audience and space. By engaging with Dora García's work we learn to question ourselves and our reality. The artist engages herself with the question of what is reality and what is fiction, drawing the visitor into becoming a protagonist: sometimes knowingly, sometimes not.


As well as representing Spain at the Venice Biennale in 2011, Dora García has had a number international solo shows, notably at the FRAC Bourgogne (2005), the Kunsthalle Bern, the CGAC in Santiago de Compostela (2009) and Index Contemporary Art Foundation in Stockholm. She will be taking part in dOCUMENTA (13) opening in June this year, adding to her list of group shows in places including the MACBA (Barcelona), Tate Modern (London), Schirn Kunthalle Frankfurt, and the Sao Paulo Biennale. Her work is held in many public and private collections such as the Museo Nacional Centro de Arte Reina Sofía. Madrid, the Centre National des Arts Plastiques in France, the San Francisco MoMA , the MUSAC, Leon and the Kadist Foundation in Paris which is kindly supporting her project for dOCUMENTA (13).


1 Dora Garca, The Beggar's Diary, 2008, Verlag der Buchhandlung Walther König, Köln, texts by Brigitte Franzen, Dora García, Samir Kandil, Jan Mech et Peter Aers, 567p.


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