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GALERIE EMMANUEL PERROTIN PARIS: Sophie Calle | Klara Kristalova | Hernan Bas - 8 Sept 2012 to 27 Oct 2012 Current Exhibition |
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Sophie Calle
Voir la mer�, 2011 (detail) |
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Sophie Calle “Pour la dernière et pour la première fois” Opening Saturday 8th September 2012 / 4 – 9 pm 8th September – 27th October 2012 Galerie Perrotin, Paris The new solo exhibition by Sophie Calle “Pour la dernière et pour la première fois” is presented at Galerie Perrotin, Paris from 8th September to 27th October 2012. A set of 14 recent films entitled “Voir la mer” (2011) and a new series “La Dernière Image” (“The Last Image”) shot in 2010 in Istanbul are displayed, alongside with older photographs, “Aveugles” (“Blind”), 1986. “La Dernière Image” (“The Last Image”), 2010 Photographs, texts, frames. 13 separated works ‘I went to Istanbul. I spoke to blind people, most of whom had lost their sight suddenly. I asked them to describe the last thing they saw.’ “The Last Image”, realised in 2010 in Istanbul, once named the “city of the blind”, gives voice to men and women who have lost their sight and asks them to describe the last image they remember, their last memory of the visible world. “Voir la mer”, 2011 14 films Director of photography : Caroline Champetier ‘I went to Istanbul, a city surrounded by water, I met people who had never seen the sea. I filmed their first time.’ In “Voir la mer” Sophie Calle has invited people from Istanbul, most of whom coming from the interior of Turkey, to see the sea for the first time, through the lens of Caroline Champetier’s camera. For more than three decades, Sophie Calle, has made of her life - especially the most intimate moments - her works, using all forms of media (books, videos, photographs, performances...). She is now considered as one of the most important artists of our time. “Blind” has been published recently by Actes Sud and “Moi Aussi” has been launched by Éditions 591 on the series “Rituel d’Anniversaire”. The book issued by Xavier Barral extends the exhibition “Rachel, Monique”, presented at the Palais de Tokyo in 2010 and at the Festival d’Avignon in 2012 at Eglise des Célestins. Klara Kristalova “Wild Thought” Opening Saturday 8th September 2012 / 4 – 9 pm 8th September – 27th October 2012 Galerie Perrotin, Paris Galerie Perrotin, Paris is pleased to present Klara Kristalova’s solo show “Wild Thought”, from 8th September to 27th October 2012. New ceramic works in small and medium sized formats as well as two sculptures in bronze patina (“Deer”, 2012 and “Girl with flower”, 2011) will be exhibited. She also has a solo show at the Gothenburg Museum of Art in Sweden from 1st September 2012 to 3rd February 2013. After studying painting at the Royal Institute of Art in Sweden, Klara Kristalova dedicated herself to ceramics amongst other disciplines. Its characteristics, along with the concrete possibilities of being able to work this material rapidly while combining it with astonishing colours and three-dimensional shapes, fascinate Klara Kristalova who uses ceramics to create a fantastic and sometimes disturbing universe. As the artist explains: “I needed to find my own language to share with others. An obvious and simple language that in some way could be universal.” Kristalova’s universe, inspired by the popular imagination of Northern Europe, the tradition of fairy tales and the observation and direct contact with nature, is peopled with solitary figures, often young girls and animals (hares, donkeys, birds, peppered moths) and chimera that are half way between the Animal and Plant Kingdoms. These characters, who are at once pure and disruptive, evolve in an oneiric world between dream and nightmare. Rather than featuring myths or relying on an immediate symbolism, the artist plays upon the ambiguity and ambivalence of her figures, suspended between innocence and danger, beauty and repulsion, attraction and fear. The gracious and striking aspect of her sculptures, covered with a bright varnish in fact recall the world of childhood, haloed with an aura of mystery and strangeness. Her icons (a man with a donkey’s head, tree-women, young girls with faces covered with butterflies and birds or drowning in black puddles) emerge from her unconscious, translate her emotions and thus possess a fascinating and impenetrable power. Hernan Bas “Thirty-six Unknown Poets (or, decorative objects for the homosexual home)” Opening Saturday 8th September 2012 / 4 – 9 pm 8th September – 27th October 2012 Galerie Perrotin, Paris Galerie Perrotin, Paris is organising a solo show entitled “Thirty-six Unknown Poets (or, decorative objects for the homosexual home)” by the Detroit-based artist, Hernan Bas, from 8th September to 27th October 2012. His new works presented at the Gallery explore the relationship between art and décor, celebrating 36 ‘poètes maudits’. For the first time he is using gold-leaf in his drawings with ‘Klimtian’ accents and is also unveiling Japanese-like screens inspired by Nabis such as Bonnard and Vuillard. In his paintings, drawings and videos, Hernan Bas shows his fascination for the literary and artistic culture of the end of the 19th century, as well as his interest in the history of painting. The protagonists of these works are young, emaciated looking men that recall the nervous figures of Egon Schiele and the icons of contemporary fashion that inhabit a physical and mental space where they reinvent their identities. These ethereal characters are often melancholy and solitary. They belong to the romantic and decadent literature of Lautréamont, Huysmans and Wilde, coming close to the installations and performances of Bas Jan Ader. They evolve in fauve coloured landscapes provoking an implicit eroticism such as masculine nudes of Hippolyte Flandrin and Thomas Eakins. Like Cecily Brown, Karen Kilimnik, Elisabeth Peyton and Peter Doig, Hernan Bas reinterprets classical painting and finds inspiration in the myths and famous figures of literature and poetry, but also in contemporary media. In his paintings the protagonists are in the centre of the mysterious natural landscapes characterised by their rich, luxurious vegetation represented through a blend of realism and abstraction. His characters are rarely caught in action, but are contemplative in their observation of an often chaotic and oppressive environment that surrounds them. Detailed and precise painting alternates with an approach that is more gestural or with a composition of shapes that recalls collage. The sombre tones of the gothic visions that reinterpret the universe of the occult and the supernatural, contrast with certain brightly coloured landscapes that communicate a feeling of oneness with nature. |
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