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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And the boardwalk artists, was it easy to involve them in a « biennial » ? The boardwalk artists were much more difficult to persuade. They were for the most part quite skeptical of us and at first when we tried to discuss the project with many of them, they were completely uninterested. Also, they work on a more day-to-day basis and when we first approached them about a project that would take place over a year away, it was just too far off for them to even consider participating. One artist however, Arthure « Art » Moore, was quite open to our ideas and he became a sort of ambassador or liaison for us and he introduced us to many of the boardwalk artists and did a lot of promotion on our behalf. He gave us lists of artists to talk to, and provided us with some background info on them. And by having him as our liaison, the artists began to trust us and to understand that we were proposing a project that would bring them a new audience and greater exposure. My aim was to—as much as possible—get rid of the distinctions between the two artists’communities and present them all side-by-side, without any hierarchy. And that’s what I think made the project so successful. Many visitors complained that they couldn’t identify which artists were the regulars, and which were brought in just for the weekend. That was exactly what I had hoped for. A complete blurring of the lines that divide these two worlds. So, apart from the nice play on words with the other Venice Biennial, do you plan to go ahead with the VBB in 2014 or was it a one-off experience ? I always planned on it being a one-off. Coming back to « Made In LA », it’s really interesting to see an institution such as the Hammer collaborating with a nonprofit art space such as LAXART. How did it happen ? This collaboration grew organically out of some smaller partnerships we had with LAXART. We collaborated with them on the Joel Kyack Supperclogger project and then also when we did our Hammer Projects show with Shannon Ebner, they produced a public art project with Ebner that ran concurrently with our show. We share similar ideals and missions and we were interested in exploring how we could pool our resources and expand our reach by working together. After having seen and curated some exhibitions that were part of the series called the Hammer Invitationals, that is to say, dedicated partly or completely to the LA art scene, can Interview Ali Subotnick you see something so specific to that scene that the works shown there couldn’t have been produced somewhere else ? I think it’s very difficult to make generalizations like that. But I do think that working in LA can color work that is made here. Certain things like the light, the space, the sprawl, the ability to disappear, and the city’s openness to change and reinvention can influence art that is made here. Do you think it is helpful for an artist, nowadays, to be labelled as coming from a particular city ? I don’t think the label is necessarily helpful or harmful, but focusing on a region that is home to so many artists can provide an overview of the climate of the city’s cultural output. You’re currently settingup shows with two young French artists, Cyprien Gaillard and Neil Beloufa. Can you tell me more about what prompted you make these choices ? Both projects came out of residencies with the artists. We invited Gaillard for a residency after I saw his work in Basel’s Art Unlimited section and I thought that he could get a lot out of exploring the city and after his residency we naturally wanted to show the work that was directly influenced by his stay here. Neil Beloufa shows with a young gallery in town, Francois Ghebaly, and I’ve followed his work for a few years and he actually came tome with his idea for a new film and it was a perfect fit for our residency which supports research and development of new work. We planned his residency with the intention of exhibiting the film for a Hammer Project show. After a trip to Paris a couple of years ago, I was really inspired by some of the art I encountered and it felt like a new generation of artists coming out of Paris and beyond is making compelling and engaging work. – Meleko Mokgosi Pax Kaffraria : Sikhuselo Sembumbulu, 2012. Vue de l'exposition/Installation view, « Made inL.A. 2012 », Hammer Museum, Los Angeles. 2.06-2.09.2012. Photo : Brian Forrest. r j- 4 ai
Entretien avec/Interview with Georges-Philippe Vallois * Aude Launay – Vous avez commencé à travailler avec Paul McCarthy très tôt, comment cette rencontre s’est-elle passée ? On a entendu parler de Paul McCarthy en 1992, lorsqu’Éric Troncy nous avait montré une photo de la performance Grand Pop (1977) le représentant avec un masque et tenant une bouteille de ketchup, une poupée badigeonnée coincée entre ses jambes ; la brutalité de cette image nous a marqués. Puis nous avons vu son travail à la Biennale de Venise et avons décidé d’aller le rencontrer à Los Angeles où il nous a présenté certains de ses étudiants, dont Martin Kersels, avec qui nous travaillons depuis 1999. Il avait quarante-cinq ans et ne commençait à vendre que depuis peu ; il enseignait à UCLA avec Chris Burden pour gagner sa vie et avait un petit atelier derrière sa maison. À cette époque, les artistes de la côte Ouest étaient reconnus mais n’existaient pas commercialement. C’était la crise financière des années quatrevingt-dix. Du coup, il était assez facile d’aller rencontrer des artistes de cette envergure ; les galeries, importantes ou non, étaient alors plus ou moins sur un pied d’égalité. Nous avons produit l’une de ses premières grandes sculptures motorisées, cela nous avait coûté 12 000 francs, je crois, ce qui pour nous était alors une somme énorme. Dans l’exposition, il y avait donc douze dessins à 60 000 francs l’ensemble et cette œuvre : Innocence, une pièce qui jouait du contraste entre clichés racistes et une esthétique Disney à destination des enfants. Autant dire qu’elle fut très mal perçue… Ce fut un fiasco financier ! Pourtant vous avez persévéré dans cette lignée en présentant d’autres artistes proches de lui… Paul nous a en effet fait rencontrer Richard Jackson, alors totalement inconnu et qui avait dix ans de plus que lui. Puis Jackson nous a à son tour présenté Adam Janes, Mike Bouchet et Julien Bismuth. Nous n’avons que peu retravaillé avec Paul. Le marché américain s’est remis en place avant le marché français et ensuite Hauser & Wirth s’est intéressée à McCarthy avec d’autres moyens que les nôtres. Aujourd’hui, ces artistes sont restés les mêmes, malgré le changement d’échelle, ils sont toujours un peu bohèmes. Ils font des installations dingues mais continuent à mener des vies très tranquilles avec barbecues dominicaux. L’exposition Pacific Standard Time, à Los Angeles, a fait redécouvrir de nombreuses perles ; si McCarthy ou Jackson s’en sont tirés par miracle, il en reste sûrement encore beaucoup dans l’ombre, comme Wallace Berman que Frank Elbaz a contribué à faire reconnaître. Nous avons récemment présenté Paul Kos, qui est de San Francisco et a, de fait, un travail beaucoup plus européen que les Angelenos. Il y a aussi Spandau Parks que nous avons exposé il y a huit ans et qui peint depuis plus de trente ans la même série de vingt toiles dont il ne montre jamais que des images, photo ou vidéo… Bien sûr, nous continuons à regarder les jeunes artistes de LA, mais nous nous tournons également vers ceux des années soixante-dix et, surtout, nous cherchons tout autant à exporter nos artistes français là-bas, Julien Berthier y est d’ailleurs en résidence. – Paul McCarthy Innocence (Appearance of Innocence, Disney as Mother, Father as Mother, Mother as Fantasy), 1994. Fibre de verre, vêtements, caoutchouc, acier, peinture, moteurs électriques/Fiberglas, clothes, rubber, steel, paint, motors, 177 × 277 × 132 cm. Vue d'exposition, Galerie GP & N Vallois, Paris. Courtesy Galerie GP & N Vallois, Paris. You started working with Paul McCarthy very early on. How did you happen to meet him ? We started to hear things about Paul McCarthy in 1992, when Eric Troncy showed us a photo of the performance Grand Pop (1977), depicting him with a mask and holding a bottle of ketchup, with a doll splattered with sauce wedged between his legs. We were struck by the image’s brutality. Then we saw his work at the Venice Biennale and decided to go and meet him in Los Angeles, where he introduced us to some of his students, including Martin Kersels, whom we’ve been working with since 1999. He was 45 and had only just started selling ; he was teaching at UCLA with Chris Burden, to make a living, and he had a small studio behind his house. At that time, West Coast artists were recognized but they didn’t exist commercially. It was the financial crisis of the 1990s. All of a sudden it was quite easy to go and meet artists of that stature ; at that time, galleries, large and smallalike, were all more or less on an equal footing. We produced one of McCarthy’s first large mechanized sculptures. It cost us 12,000 francs I think, which was a huge amount of money for us then. So in the show there were twelve drawings priced at 60,000 francs for the whole lot, and that work : Innocence, a piece that played with the contrast between racist clichés and a Disney aesthetic aimedat kids. Needless to say, it was not well regarded… That was a financial fiasco ! Yet you persevered in that spirit by showing other artists close to him… Paul in fact got us to meet Richard Jackson, then totally unknown, who was ten years older than he. Then, in his turn, Jackson introduced us to Adam Janes, Mike Bouchet and Julien Bismuth. We haven’t worked much with Paul since then. The American market recovered before the French market, and then Hauser & Wirth became interested in McCarthy, with a different kind of money to ours. Today, these artists have remained the same, despite the change of scale ; they’re stilla tad Bohemian. They make crazy installations, but they go on leading very quiet lives, with Sunday barbecues. The exhibition Pacific Standard Time, in Los Angeles, turnedup a lot of gems. If McCarthy and Jackson miraculously emerged from all that unscathed, there are certainly plenty still in the shadows, one such being Wallace Berman, whom Frank Elbaz helped bring to notice. We recently showed Paul Kos, who’s from San Francisco ; his work is actually much more European than the Angelenos. There’s also Spandau Parks, whom we exhibitedeight years ago, and who, for more than thirty years, has been painting the same series of twenty canvases, which he never shows, except in photo or video images… Needless to say, we’re still looking at young LA artists, but we’re also turning towards people from the 1970s, and, above all, we’re trying just as much to export our French artists over there. Incidentally, Julien Berthier has a residency there right now. * Galerie Georges-Philippe et Nathalie Vallois, 36 rue de Seine, 75006 Paris.



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