press release - Galerie des Galeries
Transcription
press release - Galerie des Galeries
EXHIBITION FROM JANUARY 27th TO MARCH 19th 2011 AT GALERIE DES GALERIES ALEX KATZ CLAUDE CLOSKY GENERAL IDEA HANS-PETER FELDMANN HSIA-FEI CHANG JOSÉPHINE MECKSEPER JUAN FRANCISCO CASAS MARLO PASCUAL MARTHA ROSLER MICHEL JOURNIAC REBECCA BOURNIGAULT GALERIES LAFAYETTE 40 BD HAUSSMANN 75009 PARIS Michel JOURNIAC, « 24 heures de la vie d’une femme ordinaire, les fantasmes, la strip-teaseuse » (novembre 1974). FRAC Limousin. © Adagp, Paris 2010 FASHION PHOTOGRAPHY AS MIRRORED IN CONTEMPORARY ART, FROM THE 1960’S TO THE PRESENT. AN EXHIBITION CURATED BY JONATHAN CHAUVEAU OPENING ON WEDNESDAY JANUARY 26th 2011 For over fifty years fashion photography has redefined the canons of female beauty again and again. One of the most widely shared visual cultures in the world, the province of advertising and fashion magazines, this particular art of the portrait has always had an impact to one degree or another on contemporary art. Scheduled to open during Fashion Week, COVER GIRL the art show features ten pieces each of which offers a quirky, offbeat view of the “beautiful woman” aesthetics that is normally conveyed by the world of fashion. The artworks selected for the show can be broken down into three different categories: those that are directly inspired by fashion photography (Alex Katz, Juan Francisco Casas) ; those that reappropriate its specific language in order to elaborate a critical discourse of a social or political nature (Joséphine Meckseper, Martha Rosler, General Idea, Michel Journiac, Claude Closky); and lastly those that use it as if it were an immense repertory of poetic forms (Hans-Peter Feldmann, Marlo Pascual, Rebecca Bournigault). COVER GIRL also includes an arresting selection of magazine covers published by Galeries Lafayette between 1906 and 1968. Born in 1978, Jonathan Chauveau is an exhibition curator and journalist. La Galerie des Galerie ART - MODE - DESIGN 1 st floor Galeries Lafayette 40, boulevard Haussmann 75009, Paris From Tuesday to Saturday 11 am to 7 pm Free admission Tel : + 33 (0)1 42 82 81 98 [email protected] Contacts Presse : Galerie des Galeries Elsa Janssen / Laurène Blottière Tel : + 33 (0) 1 42 82 30 90 / 35 76 [email protected] [email protected] 2nd Bureau Tel: + 33 (0) 1 42 33 93 18 Caroline Comte [email protected] Marie-Laure Girardon [email protected] Visuals to download from : www.galeriedesgaleries.com ” Walking ”, 2010. Oil on canvas / Courtesy Galerie Thaddaeus Ropac Alex Katz Solo shows (selection) Group shows (selection) Born in 1927 in Brooklyn, New-York Lives and works in New-York 2009: “Alex Katz: An American Way of Seeing”, Musée de Grenoble, France. 2010: “Wings”, Galerie Thaddaeus Ropac, Salzburg, Austria. The quiet charm given off by the young woman depicted in “ Walking ” (2010) is typical of Alex Katz’s style. The American heir of Edouard Manet, this great New York painter has been creating portraits of modern life for half a century, mostly of his wife, family and close friends. The pose of the model, the graceful look, the extreme attention paid to the elegance of the clothing, the direction of the gaze, the style of the hair: Everything in the way Katz represents the people he loves is inspired by a certain aesthetic, one that is sober, chic and refined, just the thing for fashion photography. 2004: “Alex Katz: Cartoons and Paintings”, Albertina Museum, Vienna. 2002 : “Cher Peintre... Peintures Figuratives Depuis L’ultime Picabia“, the Georges Pompidou Center, Paris. 1995: “Alex Katz: American Landscape“, Staatliche Kunsthalle, Baden-Baden, Germany. 1993 : “Autoportraits Contemporains“, Espace Lyonnais d’Art Contemporain, Lyon. 1988: “Alex Katz: a Print Retrospective”, Brooklyn Museum of Art, Brooklyn, New York. 1964: “Recent Landscapes by Eight Americans”, MoMA, New York. 1986: “Alex Katz”, Whitney Museum of American Art, New York. 1974: “Alex Katz Prints”, Whitney Museum of American Art, New York. 1954: First exhibition, Roko Gallery, New York. 1960: “Young America 1960: Thirty American Painters Under Thirty-Six”, Whitney Museum of American Art, New York. Cover of the CMNAM catalogue no. 74 winter 2000 / 2001 “A noël ma mère se déguise en Père Noël “ Collage and roller ball pen on paper Claude Closky Born in Paris in 1963 Lives and works in Paris Claude Closky reappropriates automatic reflexes, visual and linguistic ones like slogans and advertising images, which he repeats to the point where they become nonsense. He likes to amass irrefutable, though useless, classifications and tautological demonstrations. Whether in his drawings, photographs, video installations or Internet sites, Closky behaves like a contemporary clown looking to deride the rationality of commercial language, celebrity culture or the artistic pretentions of the mass media by desperately thumbing his nose at them. His “Mother Christmas” or “Mrs. Claus” cover, which he did for the Cahiers du MNAM (Pompidou Center, winter 2000 / 2001), shows his interest in spaces for artistic expression that differ from what galleries and museums usually propose. The cover girl here was lifted from the cover of a “Christmas special” sales catalogue put out by a major department store in Paris. Solo shows (selection) 2010: “Laloli”, Galerie Laurent Godin, Paris. “Yazı mı Tura mı”, Akbank Art Center, Istanbul. 2008 : “Rétrospective 8002-9891”, Mac/Val, Vitry-sur-Seine, France. 2004: “U”, Fondation Miro, Barcelona. 2003: “Television”, Location 1, New-York. 1999: “Weekend”, The Deep Gallery, Tokyo. 1993: “Point de mire”, the Georges Pompidou Center, Paris. Group shows (selection) 2006: “Eye on Europe: Prints, Books & Multiples / 1960 to Now”, MoMA, New-York. 2002: “Le diaphane & l’Obscur“, Maison Européenne de la Photographie, Paris. 2001: “Extra Art: a Survey of Artists’ Ephemera 1960-1999“, CCAC Institute, San Francisco. “Un art populaire“, Fondation Cartier, Paris. “Manipulating the Self Issue“ in FILE Megazine. “Punk ‘Til you Puke! Issue“ in FILE Megazine Vol. 1, no. 2 & 3, May / June 1972 / Courtesy Galerie Frédéric Giroux Vol. 3, no. 4, Fall 1977 / Courtesy Galerie Frédéric Giroux General Idea Artists collective (Felix Partz, Jorge Zontal and AA Bronson), active from 1967 to 1994. General Idea developed a multifaceted, subversive, humor-filled art that worked like an antidote to the dominant visual productions at the time, which they viewed as viruses. Between 1972 and 1984, General Idea published the major counterculture magazine for North America, the review FILE, a sarcastic punk reappropriation of LIFE magazine. A selection of issues of the magazine featuring a range of “anti-cover girls” on the cover will be made available to the public during the COVER GIRL show. Solo shows (selection) Group shows (selection) 2007: “General Idea: Ediciones 1967-1995”, Centro Andaluz de Arte Contemporáneo, Seville. 2006: “Into Me/Out of Me”, P.S.1, New-York. 2001: “Negative Thoughts”, Museum of Contemporary Art, Chicago. 1998: “General Idea”, Camden Arts Centre, London. 1996: “One Day of AZT / One Year of AZT”, MoMA, New-York. 1993: “Fin de siècle”, San Francisco Museum of Modern Art, San Francisco. 1987: “The Armory of the 1984 Miss General Idea Pavillion”, Setagaya Art Museum, Tokyo. 2002: “Extra Art”, Institute of Contemporary Arts, London. 2001: “Let’s Entertain”, the Georges Pompidou Center, Paris. 1999: “Word”, Museum of Contemporary Art, Sydney. 1997: “Disrupture: Postmodern Media”, San Francisco Museum of Modern Art, San Francisco. 1992: “Three or More—Multiplied Art from Duchamp to the Present”, Wacoal Art Center, Tokyo. 1973: “Canada Trajectoires ‘73“, Musée d’Art moderne de la Ville de Paris. “Legs“, 2008. 31 photographs / Courtesy Simon Lee Gallery © ADAGP, Paris 2010 Hans-Peter Feldmann Born in 1941 in Düsseldorf Lives and works in Düsseldorf In the visual desert of postwar Germany, Hans-Peter Feldmann survived thanks to the cheap trashy images that he managed to dig up, including stamps, found snapshots, magazine cuttings, old postcards and so on. Later he became an artist by turning those worthless bits and pieces that no one even thought of associating with aesthetic value into works of art. Feldmann is a methodical— some will say obsessional—collector of our visual “rubbish”; his artistic personality stands out because of his steadfast refusal to use the least word to either explain or even title his works, a way for him to assert that the system of popular images—even if the images in question are trivial, devoid of artistic intention and commercial in origin— possesses its very own language and poetic logic. la photographie, Paris. “Legs,” which the artist created from images clipped out of fashion magazines, features a visual study, both scientific and poetic, of the range of positions that the legs of a woman (dressed in a skirt) can adopt. 1972: “Billeder af Feldmann (Bilder von Feldmann)“, Daner Galleriet, Copenhagen. Solo shows (selection) 2003: Venice Biennale 2011: Retrospective, Hugo Boss Prize 2010, Guggenheim Museum, New-York. 1977: dokumenta 6, Kassel, Germany. 2010: “An Art Exhibition”, Museo Nacional Centro de Arte Reina Sofía, Madrid. 2002: “Hans-Peter Feldmann“, Centre national de 1990: “Hans-Peter Feldmann, das Museum im Kopf“, Portikus, Frankfurt. Group shows (selection) 2009: Venice Biennale 1972: dokumenta 5, Kassel, Germany. “Pin up“, 2001. Color photography / Courtesy Galerie Laurent Godin, Paris Hsia-Fei Chang Born in 1973 in Taipei, Taiwan Lives and works in Paris Hsia-Fei Chang is a young Taiwanese-born French artist. A photographer as well as a visual and performance artist, Chang often plays with her own image in order to question in an offbeat, ironic and occasionally trashy way the status of women, what they want, but also what society expects of them. Solo shows (selection) Group shows (selection) 2009: Galerie Laurent Godin, Paris. 2008: “Art for Art’s Shake”, Bologna, Italy. 2007: Frac Languedoc-Roussillon, duo with Christian Robert-Tissot, Montpellier. 2007: “Global Feminism”, Elizabeth A. Sackler Center, Brooklyn Museum, New-York. 2004: “Piñata Forever”, La Box, Bourges, France. 2006: “Notre Histoire“, Palais de Tokyo, Paris. 2003: “Miss China Beauty Room 01”, Miss China Beauty, Paris. 2004: “Live“, Palais de Tokyo, Paris. 2002: “Hsia-Fei sings....”, Paris Project Room, Paris. 2001: “Traversée“, Musée d’Art moderne de la Ville de Paris. “Blow Up (Tamara, Michelli, Laura)”, 2007. Courtesy Galerie Reinhard Hauff © ADAGP, Paris 2010 Joséphine Meckseper Born in 1964 in Lilienthal, Germany Lives and works in New-York The work of Joséphine Meckseper makes use of the aestheticizing language of the luxury goods industry to deliver a socially and politically committed message. Yet her discourse partakes of a certain ambiguity due to the fact that the counterculture no longer seems able to express itself other than through the seductive methods that are the province of consumer society. The photograph “Blow Up, Tamara, Michelli, Laura” (2007) is exemplary of her approach in this sense. The piece, which might equally be called “the models are tired,” seems to have captured the attitude of these professionals during a pause between two exhausting photo shoots. During this moment of repose, the pull of gravity, impatience and weariness appear to have once again laid claim to bodies that are supposed to offer an image of lightness, sensuality and feigned joy. Seine“, Galerie Reinhard Hauff, Stuttgart, Germany. Solo shows (selection) 2008: “Prospect.1”, New Orleans Biennial, New Orleans. 2011: The FLAG Art Foundation, New-York. 2008: “New Photography 2008: Josephine Meckseper and Mikhael Subotzky”, MoMA, New-York. 2006: “International Project Room”, with Galerie Reinhard Hauff, ARCO, Madrid. 2005: “%“, Elizabeth Dee Gallery, New-York. 2001:“Shine—oder Jedem das Group shows (selection) 2010: “2010 Whitney Biennial”, Whitney Museum of American Art, New-York. 2005: “Experiencing Duration”, Biennale d’art contemporain of Lyon. 1998: “Super Freaks: Post Pop and the New Generation. Part 1: Trash”, Greene Naftali, New-York. 1992: “Tattoo Collection,” Andrea Rosen Gallery, New York; Daniel Buchholz Gallery, Cologne; Jennifer Flay Gallery, Paris. “What lies beneath”, 2010. Series of three oil paintings on canvas / Courtesy Galerie Fernando Pradilla Juan Francisco Casas Born in 1976 in La Carolina, Spain Lives and works in Paris The joyful and lascivious insouciance of “What lies beneath” (2010) runs throughout most of Juan Francisco Casas oil paintings. This young and talented painter from Madrid paints his canvases after candid photos of his female friends. Casas’s work displays the influence of the style of deceptively improvised photo shoots that are common in so-called realist fashion photography and notably in the work of Terry Richardson. Casas is currently a painter in residence in Paris. Solo shows (selection) 2009: “Foreignaffairs”, Galería Fernando Pradilla, Madrid. 2007: “Mis(s)behave(again)”, Sala Manolo Alés, La Línea, Cadix, Spain. 2006: “Sacrebleu!», Galería Sandunga, Grenada, Spain. 2005: “Saturdaynighthbathroom”, Galería Fernando Pradilla, Madrid. 1998: “Haikús“, Casa de Jaén, Grenada, Spain. Group shows (selection) 2009: “Diez +: Arte contemporáneo español en los premios ABC”, Instituto Cervantes, Moscow. 2008: “The Joy of Sex”, White Square Gallery, Las Vegas. 2007: “4 Pintores Contemporáneos Españoles”, Galería El Museo, Bogotá, Colombia. 2005: 2nd Prague Biennial, Expanded Painting / Acción Directa. Karlin Hall, Prague. 1997: “Jóvenes Pintores Jiennenses”, Casa de Jaén, Grenada, Spain. “Untitled”, 2010. Digital C-print / Courtesy of the artist and Casey Kaplan, New York / Photo: Cary Whittier Marlo Pascual Born in 1972 in Nashville, Tennessee Lives and works in Brooklyn, New-York Still relatively unknown in France, this young American artist transforms old black-and-white portraits of American movie actresses into surprising “photosculptures.” The charm of her works lies in the discrepancy one sees between the vintage Hollywood look of the photos she recycles and the poetry she achieves in her treatment of them. Marlo Pascual adopts a perfectly mastered procedure involving surreal associations. For example, she has impaled the life-size image of a movie star on an old coat rack, highlighted the smoldering look of a woman with the flames of a real candelabra, and applied to the photo of face spread on the floor a giant seashell that closely mirrors its shape. Solo shows (selection) 2010: Aspen Art Museum, Aspen, Colorado. Casey Kaplan Gallery, New York. 2009: Studio 495, Swiss Institute, New-York. Group shows (selection) 2010: “Being there”, Meet Factory, Prague. Les rencontres d’Arles, Discovery Award, Arles, France. 2009: “In Practice”, Sculpture Center, New York. 2008: “Tales of the Grotesque”, Karma international, Zurich, Switzerland. “Transparent Box, or Vanity Fair”, from the series “Body Beautiful, or Beauty Knows No Pain”, (1966-1972) / Courtesy of the artist and Galerie Christian Nagel Martha Rosler Born in 1943 in Brooklyn Lives and works in United States Active in the antiwar and feminist movements from the late 1960s on, Martha Rosler has developed an art practice that springs from a critical reflection on American society, even in its most recent events. Excerpted from the series “Beauty Knows No Pain” (1966 –1972), the featured photomontage, “Transparent Box, or Vanity Fair,” is a perfect example of the visual “stripping away” that Rosler performs on the various representations of women that are promoted by fashion magazines. Solo shows (selection) Group shows (selection) 2010: “Martha Rosler”, Galerie Christian Nagel, Antwerp, Belgium. 2009: “1969”, P.S.1 Contemporary Art Center - MoMA, New-York. 2003: “Oleanna Space/Ship/ Station”, Utopia Station, 50th Venice Biennale. 2007: “Body politicx”, documenta 12, Kassel, Germany. 1995: «Public Information: Desire, Disaster, Document”, San Francisco Museum of Modern Art, San Francisco. 1982: “Watchwords of the Eighties”, documenta 7, Kassel, Germany. 1975: The Kitchen, New-York. 2002: “Personal and Political: The Women’s Art Movement 1969-75”, Guild Hall, New-York. 1995: “25 Years of Video Art”, MoMA, New-York. 1978: “Out of the House”, Whitney Museum Downtown Gallery, New-York. ”24 heures de la vie d’une femme ordinaire, les fantasmes, la strip-teaseuse” (November 1974). Black-and-white photography / Collection FRAC Limousin © ADAGP, Paris 2010 Michel Journiac Born in 1935 and died in 1995 in Paris An adherent of Body Art, Michel Journiac shows how society comes to mold bodies in its image. In his famous photographed performance “24h dans la vie d’une femme ordinaire” (24 Hours in the Life of an Ordinary Woman), Journiac, in drag, chronicles in the first part of his presentation called “Le quotidien” (The Day-to-Day) all the daily social obligations a woman had to conform to in the 1970s, from the careful touch-ups applied to her make-up to the dinner she had to prepare for her husband. In a later episode — “Les fantasmes” (Fantasies) — viewers are led to expect that this same woman will slip the collar of her condition by putting her imagination to work. But the very opposite occurs: the fantasies of an ordinary woman (The Bride, the Whore, the Cover Girl, the Kidnap Victim, and so on) are shown to be just as codified as her real life is. Solo shows (selection) 2004: ”Michel Journiac”, Musée d’art moderne et contemporain of Strasbourg. 1994: ”Rituel de transmutation: 12ème étape, l’icône d’alliance”, the Bilbao Museum of Contemporary Art, Portugal. 1983: ”Action de corps exclu”, the Georges Pompidou Center, Paris. 1981: ”Rituel de corps interdits I”, the Georges Pompidou Center, Paris. ”Rituel de corps interdits Il”, Museum of Modern Art, Stockholm. Group shows (selection) 2002: ”La vie, au fond, se rit du vrai”, CAPC, Bordeaux. 1998: ”Out of Actions: Between Performance and the Object”, 1949-1979, MOCA, Los Angeles. 1997: ”L’empreinte”, the Georges Pompidou Center, Paris. 1990: ”Le visage dans l’art contemporain”, Musée du Luxembourg, Paris. 1980: ”European Trends in Modern Art 1950-1980”, Espace Pierre Cardin, New York. 1979: ”Tendances de l’art en France 1963-1978”, Musée d’Art moderne de la Ville de Paris. “ X “ III, 2006. Watercolor and glitter on paper © Rebecca Bournigault – Courtesy Galerie Frédéric Giroux Rebecca Bournigault Born in 1970 in Colmar, France Lives and works in Paris and New-York Dating from the early 1990s, Rebecca Bournigault’s output represents one of the most significant bodies of video work on the French art scene. Her aesthetic displays a formal paring down in the extreme which she puts in the service of a certain emotional authenticity, notably in her “Portraits” series of videos. At the same time Bournigault has also been developing her work in watercolor and photography. For COVER GIRL, she will create a large-format watercolor from the cover of a women’s magazine of her choice. This watercolor will be the object of a screenprinting edited by Bernard Chauveau for the publication of the COVER GIRL exhibition catalog. Group shows (selection) 2010: “Let’s dance“, MAC/VAL, Vitry-sur-Seine. Solo shows (selection) 2010: “Emporte-moi / Sweep off my feet “, MAC/VAL, Vitry-sur-Seine. 2008: “Les émeutiers“, Galerie Von Bartha, Basel. 2007 : “Playback“, Musée d’art moderne/ARC, Paris. 2007: “Six cent quarante-quatre millimètres“, Galerie Frédéric Giroux, Paris. 1997: “Beyond the Banal: French Art in the Nineties”, Nexus Contemporary Art Center, Atlanta. 2005: “La chambre interdite“, Palais de Tokyo, Paris. 1994: “Winter of Love”, P.S.1 Museum, New-York. 2001:“Préliminaires“, Le studio, Yvon Lambert, Paris. 1998: “Rebecca Bournigault“, Galerie deux, Tokyo. Galeries Lafayette Sales Catalogue, 1934. Première Floraison, Color cover, 4 p. / Dreager Printers. Two copies. Patrimoine & Archives Historiques des Galeries Lafayette Galeries Lafayette Sales Catalogue, 1940/04. Toilettes d’été 12 p., b&w / G. Lang Printers, Paris. Patrimoine & Archives Historiques des Galeries Lafayette The Galeries Lafayette “COVER GIRL ” from 1906 to 1968 Galeries Lafayette has fostered the myth of the cover girl since the turn of the last century. Since 1894, the year it opened its doors to the public, this Parisian department store has widely promoted its vision of the “beautiful woman” by entrusting major art directors with creating the cover of its sales catalogue. Along with illustrious and talented unknowns, a number of names stand out today, including Georges Lepape for the 1910s; Jean-Paul Domergue and AM Cassandre for the ‘20s; Peter Knapp for the ‘50s; Jean Widmer for the ‘60s; and of course Jean-Paul Goude for the first decade of our century. For the COVER GIRL show, we have selected ten Galeries Lafayette sales catalogues that are representative of revolutions in aesthetics and on which the cover girl figures prominently of course, from the start of her career in the belle époque until the late 1960s. This project would never have seen the light of day if Philippe Houzé, the president of the Board of Directors of Groupe Galeries Lafayette, hadn’t asked the fashion historian Florence Brachet Champsaur in 2008 to create a Service du Patrimoine et des Archives Historiques (the Heritage and Historical Archives Department) for the Lafayette group, a department she is proud to head today. La Galerie des Galeries ART - MODE - DESIGN The Galerie des Galeries, designed by the architect Pascal Grasso, is a permanent exhibition venue located on the first floor of the Lafayette Coupole, in the Luxury space that brings together in one place the major names in fashion. The aim and ambition of the Galerie des Galeries is to help visitors discover the talented artists of today and tomorrow. The gallery’s exhibition program, organized around five shows per year dedicated to French, and international work in various creative fields, looks to emphasize the ability to reach across categories that exists between fashion, the finearts and design, disciplines that have always inspired Galeries Lafayette. Upcoming shows: As part of the “La Parisienne” event at Galeries Lafayette, Thibault de Montaigu and Sofia Achaval imagine an exhibition at Galerie des Galeries. From March 30th to June 4th. « Tout ou partie des œuvres figurant dans ce dossier de presse sont protégées par le droit d’auteur. Les œuvres de l’ADAGP (www.adagp.fr) peuvent être publiées aux conditions suivantes : Pour les publications de presse ayant conclu une convention avec l’ADAGP : se référer aux stipulations de celle-ci. Pour les autres publications : exonération des deux premières reproductions illustrant un article consacré à un évènement d’actualité et d’un format maximum d’ 1 /4 de page; au-delà de ce nombre ou de ce format les reproductions seront soumises More information on: [email protected] à des droits de reproduction ; toute reproduction en couverture ou à la une devra faire l’objet d’une demande d’autorisation auprès du Service Presse de l’ADAGP ; Le copyright à mentionner auprès de toute reproduction sera : nom de l’auteur, titre et de l’œuvre de © Adagp, Paris 200.. (date de publication), et ce, quelle que soit la provenance de l’image ou le lieu de conservation de l’œuvre. »