02 n°65 mar/avr/mai 2013
02 n°65 mar/avr/mai 2013
  • Prix facial : gratuit

  • Parution : n°65 de mar/avr/mai 2013

  • Périodicité : trimestriel

  • Editeur : Association Zoo galerie

  • Format : (210 x 297) mm

  • Nombre de pages : 84

  • Taille du fichier PDF : 11,6 Mo

  • Dans ce numéro : dossier Los Angeles... Mark Hagen, Ali Subotnick, Sterling Ruby, Marc-Olivier Wahler.

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18 et Public Fiction n’ait pu déboucher tant ces deux structures déploient une activité tout à fait singulière dans des domaines assez proches comme ceux de la performance, de l’exposition et de l’édition en essayant de renouveler ces formats, le duo angeleno produisant notamment des publications qui accompagnent et prolongent la réflexion menée à l’intérieur de chacune de ses expositions 5. En revanche, il est assez surprenant qu’échoie à Isabelle le Normand la tâche de représenter la jeune scène française dans trois événements concomitants, dans la galerie de YannPerreau, Here is elswhere, à ForYourArt et à Machine Project : rien de moins sûr que la liste d’artistes mise en avant par la curatrice soit vraiment représentative de la scène française la plus percutante, encore faudrait-il un minimum de commissariat pour pouvoir en juger… Un autre temps fort à venir, mis à part Paris Photo LA que nous avons déjà présentée comme une alternative plus que crédible à Art Los Angeles Contemporary, est l’exposition de Cyprien Gaillard au Hammer Museum What Ceci n’est pas… is not Some thirty exhibitions, meetings, conferences and seminars, evenings of performances, and every manner of exchange : this is the stuff of Ceci n’est pas… Art between France and Los Angeles. Coordinated by the Institut Français, this multifaceted event got under way last year with « Lost in LA », Marc-Olivier Wahler’s show at the Hammer Museum. It will continue until April 2013 with the Cyprien Gaillard exhibition, also at the Hammer Museum, co-opting as it goes such events as Paris Photo Los Angeles, which will open at the same time. Although Ceci n’est pas… is a brainchild of the Institut Français, it does not represent a « season » at the Institut which, every year, pays tribute to a country chosen on the basis of criteria which are, above all, diplomatic, involving a host of events encompassing every discipline. Rather, it is a series of events dedicated to the visual arts focusing solely on the city of Los Angeles. Major museums like the Hammer as wellas smaller venues like the LACE, and places of residency have been handed a brief that they become more in tune with their Parisian counterparts. The fact that the programme spans several months makes it harder to grasp as a whole, and hampers any overall view of it. This said, the preview introduction of Cyprien Gaillard’s show by Ali Subotnik, and a visit to the Paramount studios where Paris Photo Dossier Los Angeles suite à sa résidence, en attendant celle de Pierre Huyghe l’année prochaine au LACMA et à condition de considérer cette dernière comme faisant également partie de Ceci n’est pas… D’ici là, d’autres manifestations auront vu le jour comme une série de rencontres entre architectes et artistes organisée par Francois Perrin, architecte français expatrié à LA : au vu de l’exubérance architecturale et de l’ambition artistique affichée par la capitale californienne, il y a fort à parier que de riches moments naîtront de ce programme intitulé Dialogues, dans la plus pure tradition d’échanges naguère initiée au sein du fameux salon de la Schindler House dans les années vingt 6. C’est manifestement ce type de projet, instituant un dialogue sur le long terme et permettant d’identifier les zones de convergence, qui permettra d’installer dans la durée une reconnaissance réelle et réciproque entre les deux capitales. – LA will be organized have given us a chance to get a slightly better idea of the outlines of this genuine pseudo season. Ceci n’est pas… does not have the goal of a show like Pacific Standard Time, whose purpose was to re-write an official history of American art by showing the importance of the « discoveries » and visual innovations coming from the West Coast throughout the 1970s and 1980s 1. Rather, it comes in the wake of that movement and attempts to be part of that ascendancy in Los Angeles by trying to hitch the wagon of the French scene to the LA locomotive. The intention is nothing if not laudable, but it is not a given that the projects setup by the French people involved areup to the challenge. What is missing is a significant exhibition comparing an emerging French Vue du stand de New galerie à ALAC/Installation view of New galerie at ALAC. Artistes/Artists : Lizzie Fitch, We Are The Painters. Courtesy les artistes/the artists, New Galerie. Photo : Florian Viel. 5. Public Fiction (Lauren Mackler, graphiste, et Andrew Berardini, curateur et critique d’art) prévoient cependant d’inviter des auteurs français dans le cadre d’un nouveau projet intitulé The Foreign Correspondent. 6. Les rencontres auront lieu principalement à la Schindler House et à ForYourArt (voir le programme complet sur www.dialoguesproject.org).
LOS ANGELES CONTEMPORARY EXHIBITJON 1. Pacific Standard Time, an event organized by the Getty Museum from October 2011 to February 2012 (Cf. the article by Julie Portier in 02 n˚60 : www.zerodeux.fr/reviews/california-way/). 2. Paris Photo Los Angeles from 26 to 28 April 2013, Paramount Studios. 3. Involved here : Davide Balula being shown at François Ghebaly (« 1. Turn West/2. Forma Circle with your Mouth/3. Let the Sun Set In », from 25 January to 2 March 2013) and Bernard Piffaretti on view at Cherry and Martin (» Report », from 12 January to 16 February 2013). 4. Cf. the interview with Marc-Olivier Wahler in this issue. 5. Public Fiction (Lauren Mackler, graphic artist, and Andrew Berardini, curator and art critic) is nevertheless planning to invite some French authors as part of a new project titled The Foreign Correspondent. 6. The encounters will mainly take place at the Schindler House and at ForYourArt (see the complete programme on www.dialoguesproject.org). scene with the cornucopia of Californian output (Cyprien Gaillard and Neil Beloufa cannot assume this task unabetted), and conveying the wealth of exchanges and the attention paid on this side of the pond to the scene in the Californian metropolis. And more’s the pity because, for many years now, Paris galleries have been earmarking plenty of room for LA artists in their programmes. It would have been a shrewd move to get them to make a more plentiful contribution. What is more, one of the most exciting projects entails the art market with Paris Photo Los Angeles 2, which, by choosing to setup shop in the Paramount Studios with an art fair dedicated to the moving image, has every chance of creating the main event by filling in an obvious gap—for Art Los Angeles Contemporary and Art Platformboth seen signally undynamic. In the same register, the work being undertaken by certain Parisian gallery owners, such as Frank Elbaz, seems to be one of the most interesting avenues to follow, in order to create lasting exchanges between the two art scenes. For some years, Elbaz has been developing special links with LA gallery owners with whom, at the moment of the event, he managed to organize two exhibitions of French artists—one emerging, the other established. 3 Like Marc-Olivier Wahler’s exhibition, « Lost in LA », based on the idea of replicating the principle behind the famous eponymous series by accumulating the strata and passages between these latter, 4 Ceci n’est pas… is presented like a show in which different levels are overlaid to encourage liaisons between similarly « important » structures. So we have Machine Project and ForYourArt, both not-for-profit organizations, which are inviting Isabelle Le Normand from Mains d’Œuvres ; Public Fiction, another not-for-profit venue supposed to joinup with its Parisian counterpart castillo/corrales ; and LACE, a historic LA organization accommodating a Marie de Brugerolle project, « LA existencial », pending Martha Kirszenbaum’s project LACE, vue de la façade/front view. Rideaux/curtains : La couleur des jours/The Colors of the Days, 2013, Marie de Brugerolle. Photo : Joshua White. 19 in the spring, and concocting in its back rooms a very enigmatic think-tank project under the auspices of Piero Golia and Marc-Olivier Wahler. What is original here is the fact that the connections between Paris and LA are less obvious than those between our capital and New York, for example. So anything that might highlight a specific base takes on another dimension in this context. Marie de Brugerolle’s project, which is based on the descendants of Guy de Cointet, an artist who spent many years in Los Angeles, where he left a distinctive mark, thus fits perfectly in the logic behind Ceci n’est pas…, just as Martha Kirszenbaum’s does, getting those two superstars, Henri-Georges Clouzot and Kenneth Anger, to meet in LA, film city. It is regrettable that the association between the Belleville people behind castillo/corrales and Public Fiction has not managed to lead to anything, particularly because both these organizations are developing a thoroughly special activity in areas as closely related as those of performance, exhibitions and publishing. They have been trying to revive these formats in new ways, with the LA twosome producing, in particular, publications which go hand-in-hand with the exhibitions, and extend the line of thinking at work within each one of them. 5 On the other hand, it is somewhat surprising that it fell to Isabelle Le Normand to represent the young French scene in three concomitant events–in YannPerreau’s gallery, Here is Elsewhere, at ForYourArt, and at Machine Project. Nothing could be less sure than the list of artists put forward by the curator being seen as truly representative of the most striking elements of the French scene, although it would need some minimal curating to be seen this way… Another imminent significant moment, apart from Paris Photo LA, which we have already introduced as a more than credible alternative to Art Los Angeles Contemporary, is the Cyprien Gaillard exhibition at the Hammer Museum, following his residency, pending the show of Pierre Huyghe’s work next year at the LACMA, provided that this latter is regarded as also being part and parcel of Ceci n’est pas… Between now and then, other shows will have seen the light of say, such as a series of encounters between architects and artists organized by François Perrin, an expatriate French architect now based in LA. Given the architectural exuberance and the artistic ambition being displayed by the Californian capital, we can wager that several rich moments will come about from this programme titled Dialogues, in the purest tradition formerly ushered in within the famous Schindler House salon in the 1920s. 6 It is clearly this kind of project, introducing a long-termdialogue and helping to identify areas of convergence, which will make it possible, over time, to establish a real and reciprocal recognition between the two capitals. – 02 n°65 Printemps 2013



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