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Michel Rein: PANORAMA - 27 Nov 2010 to 15 Jan 2011 Current Exhibition |
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PANORAMA 27.11.2010 - 15.01.2011 Vernissage samedi 27 novembre, 16-21h Opening Saturday, November 27th, 2010, 4-9PM PANORAMA is a group show exhibiting selected artworks by artists of the gallery. The exhibition plays with the double sense of the title: at once a vast landscape and the overview of a situation. Panorama shows the diversity of the works presented (sculpture, painting, video, drawing...) within the gallery's programme. Sa�dane Afif, Stalactites (Few More Mistakes), 2004 Round wooden blocks 190 x 3,5 cm, unique piece Sa�dane Afif takes Andr� Cadere's artwork Six barres en bois rond (1975) and suspends it as a stalactite. The original colours, which come from the mathematical principles developed from Andr� Cadere walks in urban spaces, are here tainted in shades of grey under the title Few More Mistakes. Afif freezes the ensemble of Cadere's walks and creates an artwork using the principles of remixing and development that are so familiar to him. With this work the artist conjures up the idea of wandering around an urban landscape, as well as the notions of copy sharing, displacement and perspective. Winner for the Prix Marcel Duchamp 2009, Sa�dane Afif presents his project Anthologie de l'humour noir at the Centre Pompidou until the 3rd January 2011. Jean-Pierre Bertrand, RED 001136, 2006 Acrylic on honey paper, plexiglas, steel frame 204 x 153,5 x 1,8 cm "The plasmic paintings are the imprint of a transparent body, as close as possible to the volume of Plexiglas. The imprint that appears on the surface remains fresh, so as to not coagulate. It seems to be a hollow in the uniformity of the surface. The frames that surround it are factors of the appearance or disappearance of imprints in the surface that they confine, in particular the dark frames; silvered matt frames deviate from it, let it live. They want to be neutral, the neutrality being a choice in itself. The red acquires a strong power of coagulation when mixed with a small quantity of honey. The light colored nuance is the result of the beam of light after it penetrated the paper. The light bounced on a green yellow colored base, hidden by the papers, to cross them again the other way around. There is an optical translation within the very weak thickness of the frame." Jean-Pierre Bertrand Jordi Colomer, Anarchitekton (Bucarest), 2003 Model in wood and cardboard, 185 x 58 x 50 cm, video 3'10 Unique piece "After studying architecture, with a particular interest in modernism, Jordi Colomer went to explore the emancipatory potential of architecture and the discrepancy between modern buildings and how they are appropriated by their occupants. [...] In Bucharest the sequence begins like a parody of the progress of the Olympic flame with a plastic bottle fixed to a wooden handle - no doubt a found object that was immediately integrated into the mise-en-sc�ne. The figure runs alongside a lake, in a no-man's-land, toward the city. Idroj then crosses Bucharest with models of the skeleton buildings from the late Ceaucescu era, which were left unfinished, and arrives in front of the House of the People, now the Palace of the Parliament. [...] Anarchitekton could thus be seen as a kind of oxymoron, travestying various kinds of walks in art history, from the practices of the Surrealists to those of the Situationists, by drawing its narrative dimension from the utopian discourse of the architectural avant-gardes." Marie-Ange Brayer in Jordi Colomer, Fuegogratis, Editions du Jeu de Paume / Le point du Jour, 2008 Didier Faustino, Hand Architecture, 2009 Megaphone, 35 x 67 cm edition 3 + 1AP, edition n�2/3 Megaphones are usually used to broadcast to a wide audience. Here it becomes a medium for the meeting of two individuals. With a silencer, the user of the megaphone can whisper an intimate message to one single person. It is the antithesis of a demonstration, a sort of collective intimacy involving only two people anywhere in the public space. The person captured by Hand Architecture becomes visually and aurally isolated from his or her surroundings, their only reference being the voice of the interlocutor. Mathew Hale, Pages of the MIRIAM BOOKS, Page 179 of DIE NEUE MIRIAM, 2007 Collages, mixed media Unique piece, 69 x 30,5 x 3 cm Mathew Hale defines his collages and his drawings as resulting from "associative improvisations", affirming chance as a selective tool and means of development within his work. His aesthetic is produced by creating unexpected links between a mixture of images which in turn develop their own political or often humorous language. Armand Jalut, Paesagio Grandioso I, 2010 Rapeseed oil and pastel on paper 7 unique pieces, 48 x 48 cm each "This series of pizzas is a variation on the theme of landscape. The technique is inspired by Jasper John's Study for Skin (1962). The pizza's imprint is created using rapeseed oil, then, pastel is applied by finger over the greasy area. The colours themselves come from a series called "Landscape" by Sennelier. The process of the work hijacks the classical usage of pastels. It makes a reference to the pallet, reorganised from its conventional selection. They also play with the contrast of the two media, one rather clumsy and awkward whilst the other deemed rather noble. The landscape is lunar and the gestures used are simplified to the extreme, rather the opposite of the emphasis present in my paintings. The use of Italian in the title recalls the origin of the pizza and brings a touch of romanticism to this rather prosaic series." Armand Jalut This artwork was exhibited at the Palais de Tokyo for the group show Dynasty (11.06 - 05.09.2010). Didier Marcel, sans titre (campus), 2007 Pure wool, hand woven rug, mixed media, rotating system, stainless steel. 145 x 92 x 75 cm, ed 2 + 1AP, AP This model forms part of a series which began in 1993 and which first saw "architectural objects" evolving from the reconstitution of demolished buildings towards normative objects and industrial areas which have structurally erased all functionality and where their value is reduced to simply the quality of the surface. Sans titre (campus) captures a hill in Dijon close to the university campus where we find the vestiges of a billboard. The "grass rug" is made of carpet, a material towards which Didier Marcel is particularly affectionate "At the beginning of the 90s, it was something rather tricky to use because it brought to mind the office environment . Today its become rather a noble material. For me it represents a sort of dissolution of the pedestal." Didier Marcel ORLAN, Diff�rences et r�p�titions, Robe sans corps, Super White, 2009 Sculpture of folds in resin, paint 190 x diam 130 cm, unique piece The Robes sans corps are sculptures of folds which come under ORLAN's series of baroque artworks. Since the 1980s ORLAN, draped in folds, has created a discussion with art history and in particular the statue of Bernin. The reinterpretation of historical artworks, these sculptures constitute a series of unique pieces each one different, bringing to the forefront the question of copying and cloning, difference and repetition. They bring together different eras of art history (from the gothic period to pop-art, passing by the baroque) and the permanence of representations. This artwork was exhibited at l'Abbaye de Maubuisson for the exhibition "ORLAN, Unions mixtes, mariages libres et noces barbares" (cur. Caroline Coll, Sept 2009 - March 2010) and at the Mus�e Bourdelle for the exhibition "En Mai fais ce qu'il te pla�t !" (cur. Juliette Laffon, 06.05 - 19.09.2010). Dan Perjovschi, Free style, 2009 Felt tip on paper, 29,7 x 42 cm For 10 years, Dan Perjovschi, has moved from one wall to another (occasionally stumbling across a floor or a ceiling) describing the world which surrounds us. As he himself says if he draws something its because he understands it. The style is anarchic, without apparent structure. A sort of visual jazz. There is very little separating decisions of international importance from the first drop of coffee in the morning. Drawing after drawing Perjovschi weaves the large history of the contemporary world. With humour, irony, empathy, with no need for people and without predefined rules, Dan Perjovschi mixes in his works, sketches, caricatures and graffiti, drawing directly on gallery and museum walls. The subjects of his drawings range from social to political and cultural events Free Style is the title of the last solo show of Dan Perjovschi at galerie Michel Rein (18/04 - 23/05/2009). Allan Sekula, Polonia and Other Fables, Ladies Auxilaary Polish Army Veterans of World War II. Polish, 2007-2009 Chromogenic print, 122 x 122 cm Edition 5 + 1AP,exemplaire n�2/5 The series Polonia and Other Fables contains a number of autobiographical references, Allan Sekula's grandparents having emigrated from Poland to the United States at the beginning of the 20th century. "The Polonia series is neither a sociologically-grounded documentary nor an autobiography, but rather another attempt to make something with photographs, video, graphics and text that functions like a historical novel gone crazy or a fiction film with erratic epic scope, stopping once or twice too often to linger on the details, as is often the case with photographs." Allan Sekula Polonia and Other Fables has been exhibited at Renaissance Society, University of Chicago (20.09 - 13.12.2009), at Zacheta National Gallery of Art, Varsovie (12.12.09 - 28.02.10) and at Ludwig Museum, Budapest (09.07 - 19.09.2010), Christian Hidaka, The Others, 2010 Oil on canvas, 200 x 220 cm "The English artist Chistian Hidaka depicts vast imaginary and truly psychedelic landscapes, on large horizontal canvases, which he renders from a successive layered construction of grounds openly referring to Sino-Japanese paintings. From Japanese descent and with an interest for Impressionist Art, he got rapidly familiarized with this part of art history, which the ruling occident-centric continues to consider too often as a mere curiosity. The particularity of Christian's paintings originates from his intricate motifs and technique. The mist and moss, often blending into the landscape, are often dabbed on with a hard brush. Whereas the concentric tracks left behind by the hairs in the oil paint undoubtedly recalls the raking of Zen gardens, the technique resembles equally some of Bernard Frize's paintings and the Chinese precept of the unique brushstroke precluding any corrections." Rapha�l Zarka Maria Thereza Alves, Iracema (de Questembert), 2009 Video on DVD, 26'43 ed 5 + 2AP, n�2/5 "Maria Thereza Alves's art is based on ecological ideas. She approaches ecosystems via the balance created by the diversity of species. She sets up investigations into specific human and territorial landscapes that she approaches." Pascal Beausse Iracema (of Questembert) tells the story of a young, native Brazilian woman who inherits a French property and makes the journey to France. Later, she will there establish an institute for arts and science. Maria Thereza Alves examines the social and cultural phenomenons, in particular the situations which question the social circumstances which concern what we think and who we think we are. Iracema (of Questembert) was created for the 2009 Lyon Biennial (curator Hou Hanrou), where it received the Francophony Prize. The edition 1/5 is own by the National Gallery of Canada. Yuri Leiderman, Geopoetics-15 (Louvre variant), 2010 Video on DVD, color, sound , 2'09 ed 3 + 1 AP, n�1/3 Yuri Leideman held this performance at the opening of the exhibition "Contrepoint russe, de l'ic�ne au mus�e en passant par l'avant-garde" at the Mus�e du Louvre (on show until 15.01.2011, curator Marie-Laure Bernadac). Through this action, the artist convokes the ghost of political ideologies which become inexistent objects. A new Geopoetics appears which holds a "free and perverse" relationship with geopolitics and which equally expresses nothing. Elisa P�ne, I'm looking for something to believe in, 2007 Video on DVD, 8' ed 5+1 , n�4/5 "Elisa P�ne reveals the tension inherent in fireworks, contrasting their gratuitous use for pleasure with the act of destruction represented by a burned out car. Her work is also poetic, however, its use of vibrant colour bringing to mind the historical vocabulary of painting [...]. P�ne's fireworks are made for use indoors, in confined spaces. This heightens their visual impact and the intensity of their smell and sound, due to the unwonted closeness of the spectators. Her video "I'm looking for something to believe in", a reference to the Ramones song "Something to believe in", is a fixed shot, by day, showing a white car abandoned beside a pond in a forest. The frogs are croaking, the birds are singing, and then suddenly come the deafening noise of the first explosions. The structure cannot withhold the blast for long. The passenger compartment gives way, the windows shatter. Smoke seeps out, spreads, and then nature regains the upper hand. Party over." Julien Blanpied This video work is currently exhibited at MAC/VAL in the exhibition "Let's Dance" (22.10.10 - 16.01.2011). Rapha�l Zarka, Gibellina Vecchia, 2010 16 mm Film transferred into HD, 10'30 ed 5 + 1, n�1/5 For Gibellina Vechia, Rapha�l Zarka returned to the location in Sicily where Italian artist Alberto Burri created Il Grande Cretto between 1985-89 and where Zarka filmed his work Cretto in 2005. The work refers to the artwork Melancholia by D�rer and to the poetry of Hubert Robert's ruins. Here he attempts to follow the daily tours of the work from shepherds to tourists, from students to architects, each one giving a singular representation of it. Rapha�l Zarka invites us to think of the work as a venue and of the daily gesture as a way of appropriation and experience. He is currently in residence at the Villa Medicis, Rome. GALERIE MICHEL REIN 42 rue de Turenne - F-75003 Paris tel +33 1 42 72 68 13 fax +33 1 42 72 81 94 [email protected] http://www.michelrein.com gallery artists: Sa�dane Afif, Maria Thereza Alves, Maja Bajevic, Jean-Pierre Bertrand, Jordi Colomer, Jimmie Durham, Didier Fiuza Faustino, Dora Garcia, Mathew Hale, Jean-Charles Hue, Armand Jalut, Yuri Leiderman, Didier Ma |
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