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‘Nightly’, 2009 9 Archival Digital Prints © Courtesy of the artist and FONDATION RICARD

12, rue Boissy d'Anglas
75008 Paris
January 10th, 2012 - February 11th, 2012
Opening: January 9th, 2012 7:30 PM - 9:30 PM

8th Arrondissement
33 (0)1 53 30 88 00
Open Tuesday to Saturday from 11 am to 7 pm except holidays


After the Frac Aquitaine in Bordeaux, the Fondation d’entreprise Ricard will present the second version of the exhibition, a reactualization of the first which will privilege a point of view on the current period, re-centering the exhibition around living artists, some emerging on the international art scene, and new or recent works, in keeping with the Fondation’s actions

The exhibition proposes a line of sight, a subjective and critical point of view on an artistic scene rich in contradictions, defined both by its cultural diversity and its geographic and political insularity, at once a symbol of openness and mastery.

“Ahoy, an island!”  is an exhibition devoted  to  the contemporary British art scene, even as a scene such as  this cannot exist  in and  for  itself, but may  instead be an object of description, analysis, and fantasy. The difficulty of the initial proposition can thus be averted thanks to the singularity of two perspectives and a common approach developed out of an image, the island.

This  ideological space and visual motif makes  it possible  to set up dialectic within  the British political  and  cultural  heritage  to  avoid  hard  and  fast  oppositions,  but  also  to  renew  this heritage, to make  it moving. The island is a geographic reality and an allegory, a position and the abstract  representation of an elsewhere. A Romantic motif, it also  represents exoticism and dream, the concretion of any insularity. It is another space, a margin, an exile. It evokes the visual field of the earth against the sea. It is an oasis: there the sea is the sand, the water is the earth.

If an exhibition amounts to putting into perspective a history and a reading of forms, and if the look cast  from  overseas  is  necessarily  uncertain,  it  produces  as  a  consequence  a  play  of mobile points of view. The perspective is neither chronological nor thematic. It proposes a line of  sight,  a subjective  and  critical  point  of  view  on  an  artistic  scene  rich  in  contradictions, defined  both by its  cultural  diversity  and  its  geographic  and  political  insularity,  at  once  a symbol of  openness and mastery.