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Michel Rein: MICHAEL RIEDEL - KUNSTE ZUR TEXT (Algorithmiques) | FRANCK SCURTI - MY CREATIVE METHOD - 18 Oct 2012 to 24 Nov 2012 Current Exhibition |
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Michael Riedel, Cover "Texte zur Kunst", 2012
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MICHAEL RIEDEL KUNSTE ZUR TEXT (Algorithmiques) 18.10 – 24.11.2012 Opening on the 18.10.2012, 7pm-11pm Galerie Michel Rein is pleased to present Michael Riedel's second solo exhibition at the gallery. With the title Kunste Zur Text - also the name of the artist's retrospective at the Schirn Kunsthalle in Frankfurt which ended in September ( Kunste zur Text , catalogue, 288 p., color) - Michael Riedel makes reference to the art magazine Texte zur Kunst , inverting its word order and creating a title which, according to German grammar rules, is no longer correct. The new phrase can, however, be understood as a challenge, as "a process or set of rules to be followed in solving a problem or a set of problems" (an algorithm) in which looking at art (discussion, assessment, mediation and reproduction) is itself the starting point for new artistic production. That it is no longer possible to speak of art ( Kunst ), but rather of a differentiated form ( Kunste ) that positions contemporary art criticism and its "sophisticated contributions to contemporary art" ( Texte zur Kunst ) in an altered situation. The beginning of Michael Riedel's artistic practice can be considered by his 1997 performance (during a lecture at the Städelschule in Frankfurt) in which he reinvented himself as an artist sporting a paper bag on his head with his name written on it, thus portraying the artist within the artist. Furthermore, with ongoing reproductions over the past years, he has succeeded in reintroducing the system of art into the art system, provoking a self-sustaining production, the abundance of which Riedel can draw upon. For his exhibition at Galerie Michel Rein, Riedel has reemployed components of his previous museum exhibition, including, for example, his poster Kunste zur Text , a printout of the website http://www.artipool.de/ausstellungmuseum.cfm?museumsID=1302 , which Riedel has pasted onto the gallery walls, and which, at the Schirn Kunsthalle, served as a background against which other groups of works were presented. In contrast to this, Riedel has now forgone the presentation of works which differentiate themselves from their backgrounds. Instead, he emphasizes these backgrounds with five silkscreens (252 x 142cm) on which the poster motif is repeated. Riedel has utilized the gallery exhibition as an advertisement for all of his works which can be tied to the concept of Kunste zur Text . Works which are not present in the exhibition are replaced by the information of their very absence, which in turn can be read as a new work. Information on, and the communication of, the art establishment is what constitutes Riedel's medium, a medium which his correspondent "click aesthetic" artistically transforms. Riedel has been termed by Frieze magazine as a "digital dandy," and it is not unusual to read that "the comparison is inevitable" between Riedel and Warhol ( The New York Times ). Riedel's immense production of posters is an aesthetic reaction to new means of communication and their attendant technologies. Situated by the introduction of the Internet for private purposes in the 1990s, Michael Riedel can be considered part of the first generation of artists of this epoch. His posters are a myriad of texts: from transcripts made using the recordings of innumerable conversations to texts with their words rearranged alphabetically, printouts of websites, the use of speech recognition software programs, lorem ipsum (Zéro Deux), instruction manuals, and even lists of made and not made works, which bring André Breton's and Philippe Soupault's écriture automatique up to date. A selection of posters made between 2005 and 2012 are also included in the exhibition. The Fondation d’entreprise Ricard invited Michael Riedel to realize a specific installation for the Bal Jaune 2012. Michael Riedel will be a DJ together with Lescop, Surkin, and Yan Wagner. Special thanks to Suzuki Etoile / Marc Foucher-Créteau 1st Floor FRANCK SCURTI MY CREATIVE METHOD 18.10 – 24.11.2012 Opening on the 18.10.2012, 7pm-11pm Ever faithful to his image as a highly active artist, it is not one, nor two, but three books* which Franck Scurti is currently presenting. One of these publications is the copy of note book whose pages offer a complete panorama of his work, another shows the totality of his collage drawings, which include the magnum-opus Nuts- De l'origine du monde jusqu'à nos jours , and the third is an object-book which develops his work on the theories of Fourier. Three types of books, each very different, which circulate between and allow us to navigate through the Home, the Street and the Museum, where the complex of the street pedlar can merge with that of the portable gallery. To complement these publications which resume around 20 years of work, Franck Scurti displays a series of drawings which find their source in the book “Natural Curiosities” by Albertus Seba. a collector of curiosities in 17th century Germany, commissioned illustrators to catalogue his collection of rare plants and animals. This extremely rare book, which has been made more readily available by the publishing house Taschen, is made up of a series of engraved and coloured panels demonstrating the curious and enlightened nature of the collection. A number of the snakes from the catalogue have been chosen by the artist to write the names of large brands from all sectors. Plants are also added to complete the decorative effect. The snake can be found throughout Scurti's work, and along with the apple, which defines the notion of sharing, and nuts, which can say everything about anything, it has enabled him to conjure up the figure of a street shaman (Caducée) and to offer the vision of a dried up world (Skin Map). The snake also represents the presence of the Devil, that of luxury and grandeur. It is as much a tool for creation as for interpretation, which allows us to navigate between the mythical, the moral and the religious. In choosing to rewrite the brand names which, from computer screens (Home) to the sponsors of large exhibitions (Museum) passing by clothes or accessories (Street) accompany us everywhere at all times, Scurti shields us from fascination or from a lecture on fascination. The companies are stripped of their visual signature and become lined up as the same reptilian family, redefining their identity by skin and a series of contortions. These animals, as we know, are often dangerous, but their beauty is undeniable and a fear of snakes is uncontrollable. Franck Scurti's “Natural Curiosities” offer the material for a fairy tale, for adults who take their place in the jungle of capitalism, as it was called not so long ago. It does not exactly constitute a political analysis but it is the expression of insolence and the means of escaping despondency. Patrick Javault *Coeditions Frank Scurti, JNF Éditions and Galerie Michel Rein His project Rédemption will be shown at FIAC Franck Scurti is nominated at Marcel Duchamp Prize 2012 Galerie Michel Rein 42 rue de Turenne 75003 Paris France Phone : +33 (0)1 42 72 68 13 - Fax : +33 (0)1 42 72 81 94 [email protected] |
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