philippe decrauzat

PHILIPPE DECRAUZAT
Born 1974, Lausanne, Romandy, Switzerland
Lives and works in Lausanne and Paris
Professor at Ecole cantonale d'art - ECAL, Lausanne, CH
EDUCATION
1999 DNSEP Ecole Cantonale d’art de Lausanne, Renens, Lausanne, Switzerland
Founding member of CIRCUIT, Lausanne, CH
SELECTED SOLO EXHIBITIONS
2016 Bright phase, Dark Phase, Medhi Chouakri, Berlin, DE
Philippe Decrauzat , Francesca Pia, Zurich, CH
2015 A Personal Sonic Geology, FRAC Île de France, group show conceived by Philippe
Decrauzat and Mathieu Copeland
Philippe Decrauzat, Parra & Romero, Ibiza, ES
Philippe Decrauzat, Praz Delavallade @ Vedovi, Brussels, BE
2014 pour tout diviser, Elizabeth Dee, New York, US
Notes, Tones, Stone, Le Magasin, Grenoble, FR
2013 Folding, Praz-Delavallade, Paris, FR
Corps Flottants, Parra & Romero, Madrid, ES
Anti-Illusion, Mehdi Chouakri, Berlin, DE
2012 Philippe Decrauzat, Gallery at Barnsdall Park, Los Angeles, US
Philippe Decrauzat, Elizabeth Dee, New York, US
2011 NYSTAGMUS, Centre d'édition Contemporaine, Geneva, CH
Philippe Decrauzat on the Retina, House of Art Ceské Budejovice, Ceské Budejovice,
Philippe Decrauzat, Le Magasin, Grenoble, FR
Anistrophy, Le Plateau/FRAC Ile de France, Paris, FR
2010 screen-o-scope, Praz-Delavallade, Paris, FR
Prix Gustave Buchet 2010: Philippe Decrauzat et Jean-Luc Manz, Musée Cantonal des
Beaux Arts de Lausanne, CH
Philippe Decrauzat, Parra & Romero, Madrid, ES
Philippe Decrauzat, Praz-Delavallade, Paris, FR
2009 Philippe Decrauzat, Haus Konstruktiv, Zurich, CH
Philippe Decrauzat, Elizabeth Dee, New York, US
2008 Philippe Decrauzat, Secession, Vienna, AT
Philippe Decrauzat, Praz-Delavalade, Berlin, DE
Philippe Decrauzat, Galerie Francesca Pia, Zürich, CH
Philippe Decrauzat, Kunstverein, Bonn, DE
Printemps de Septembre, Les Abattoirs, Toulouse, FR
Philippe Decrauzat, Musée de l'Abbaye de Sainte Croix, Les Sables d'Olonne, FR
2007
2006
2005
2003
2002
2001
2000
1998
1997
Screening, The Fabric Workshop and Museum, Philadelphia, US
Undercover, Kunstraum Walchetrum, Zurich, CH
And on to the Discotheque Comrade?, Fri-art, Fribourg, CH
Philippe Decrauzat, Centre d’Art Contemporain, Geneva, CH
Vista Vision, Praz-Delavallade, Paris, FR
Plate 28, Swiss Institute, New York, US
Komaniko, Mamco, Geneva, CH
General Dynamics, Synagogue de Delme Centre d’art Contemporain, Delme, FR
Nowherenow, Kunstaus Baselland, Basel, CH
That’s the Image I Want, Glassbox, Paris, FR
Go for a Ride, Le Hall, Enba, Lyon, FR
Prix Manor, Elac, Lausanne, CH
Philippe Decrauzat, Galerie Patrick Roy, Lausanne, CH
Le Rez, Musée Cantonal des Beaux Arts, Lausanne, CH
Permanent Show, Lausanne, CH
Philippe Decrauzat, Galerie Tutti Edition, Verduno, IT
Rien que pour Vous, Lausanne, CH
SELECTED GROUP EXHIBITIONS
2016 The Promise of Total Automation, curated by Anne Faucheret, Kunsthalle, Wien, AT
ALL OVER (curated by Samuel Gross), Galerie des Galeries, Paris, FR
2015 Anatomie de l'automate, La Panacée, Montpellier, FR
The Exhibition of a Film, by Matthew Copeland, Centre Pompidou & Tate Modern
Inflected Objects #1: Abstraction Rising Automated Reasoning, Istituto Svizzero, Milan, IT
James, Circuit & Le Freistilmuseum, Xippas, Paris, FR
NOTYETSEENINBERLIN, Mehdi Chouakri, Berlin, DE
Free Admission, Praz-Delavallade, Paris, FR
2014 Explore, Le Château, Rentilly, FR
The Exhibition of a Film, Curated by Mathieu Copeland, Geneva, CH
The Optical Unconscious, Curated by Bob Nickas, Kunst(Zeug)Haus, Rapperswil-Jona, CH
Docking Station, Aargauer Kunsthaus, Aarau, CH
Global exchange: astrazione geometrica dal 1950, MACRO - Museo d'arte contemporanea Roma,
Roma IT
1:1 Sets for Erwin Olaf & Bekleidung, The New Institute, Rotterdam, NL
2013 Pathfinder, Curated by Arlène Berceliot Courtin, Moins Un, Paris, FR
Dynamo. Un siècle de lumière et de Mouvement Dans l’art. 1913-2013, Curated by
Serge Lemoine, Galeries Nationales du Grand Palais, Paris, FR
Capitale(s), Galerie Gourvennec Ogor, Marseille, FR
Sin Titulo, Elizabeth Dee, New York, US
Abstract Generation: Now in Print, The Paul J. Sachs Print and Illustrated Books
Galleries, MoMA, New York, US
2012
2011
Des Mondes Possibles, Frac Franche-Comté, Besançon, FR
Moving. Norman Foster on Art, Curated by Norman Foster, Carré d'Art, Nîmes, FR
An Exhibition as a Mental Mandala, Curated by Mathieu Copeland, MUAC, Mexico City, MX
Things from Before. Beside. Things from After. Around. Things of The Moment, Parra &
Romero, Ibiza, ES
20 years of Square Art, Museum of Contemporary Art, Nimes, FR
DNA: Strands of Abstraction, Curated by Paul Sinclair, Loretta Howard Gallery, New
York, US
Projections : Vers d'Autres Mondes, Musée de l'Abbaye Sainte-Croix, Les Sables
d'Olonne, FR
The Beginning of Beyond, Parra & Romero, Madrid, ES
Paramor in Songe d'une nuit d'été, FRAC des Pays de la Loire, Carquefou, FR
La jeunesse est un art. Anniversaire du Prix Manor 2012, Aargauer Kunsthaus, Aarau, CH
Au delà du Tableau, Le 19 CRAC - Centre Régional d'art Contemporain, Montbéliard, FR
Advert, Insert, Cover, Headline... Or A Secret and Arbitrary Connection Between London
and Lake Geneva, Curated by Julien Fronsacq, BISCHOFF/WEISS, London, UK
Le Blues du Chien, FRAC Basse-Normandie, Caen, FR
Un Monde Invérifiable, Couvent des Minimes, Perpignan, FR
The Old, The New, The Different, Curated by Fabrice Stroun, Kunsthalle, Bern, CH
Tell The Children/Abstraction pour Enfants, La Salle de Bains, Lyon, FR
Le Confort Moderne, Curated by Mathieu Copeland, Confort Moderne, Poitiers, FR
10th Anniversary Summer Exhibition, Elizabeth Dee, New York, NY, US
Take Off Your Silver Spurs And Help Me Pass The Time, Curated by Gerold Miller,
Galerie Niklaus Ruzicska, Salzburg, DE
Collection Amplifiée, Curated by Arnaud Maguet, Musée Départemental d'art
Contemporain, Rochechouart, FR
Mr. I, Graff Mourge d'Algue, Geneva, CH
LOST (in LA), Curated by Marc-Olivier Wahler, presented by FLAX, Los Angeles, US
Municipal Art Paramor in Songe d'une nuit d'été, FRAC des Pays de la Loire, Carquefou,FR
L'Ecal à Paris, Cité Internationale des Arts, Paris, FR
Et Pis Meu là, et Pis Teu là!, Frac Languedoc-Roussillon, Montpellier, FR
Echoes, Centre Culturel Suisse, Paris, FR
Europunk, la Culture Visuelle Punk en Europe: 1976-1980, Villa Médicis, Roma, IT
Black Should Bleed to Edge, Organized by Spot du Havre, ERBA de Rouen, Rouen, FR
Le Château, Collection du CAPC, Musée d'art Contemporain de Bordeaux,
Bordeaux, FR
Safari, Curated by Patrice Joly, Le Lieu Unique, Nantes, FR
Philippe Decrauzat, Olivier Mosset, Paul Snowden, Nymphius Projekte, Berlin, DE
L'art au Château, Château de Portes, Portes, FR
Play Bach, CIRCUIT, Lausanne, CH
Ventajas de Viajar en Tren, Parra & Romero Gallery, Madrid, ES
2010
2009
2008
All of the Above, Curated by John Armleder, Palais de Tokyo, Paris, FR
Uchronie ou des Récits de Collection, Organized by Le Bureau, Institut Français de
Prague / Galerie Klatovy-Klenova, Prague / Klatovy, PL
Schwarz Weiss - Design für Gegensätze, Museum für Gestaltung, Zurich, CH
Electro Geo, FRAC Limousin, Limoges, FR
It's all American, Curated by Haley Mellin & Alex Gartenfeld, New Jersey MOCA,
Asbury Park, NJ
Babel, FRAC Auvergne, Clermont-Ferrand, FR
Radical Postures, Galerie les Fille du Calvaire, Brussels, BE
Cut – Stéphane Dafflon, Philippe Decrauzat, Evergreen, Geneva, CH
NEGATION, SUBTRACTION, DISSOLUTION, Curated by Front Desk Apparatus,
Kantor Gallery, Los Angeles, US
Chim Chim Cheree, Curated by Anne-Laure Chamboissier, L. A. P., Brussels, BE
Black Hole, Centro Cultural Andratx, Andratx Mallorque, ES
Collection 10, Institut d'Art Contemporain de Villeurbanne, FRAC Rhones-Alpes, FR
Nothingness and Being, Fundación/Colección Jumex, Mexico, MX
Drawings, Praz-Delavallade, Paris, FR
Cave Painting, Curated by Bob Nickas, PSM Gallery, Berlin, DE
Three Leap Seconds Later, Kunsthaus Grenchen, Grenchen, CH
La Rose Pourpre du Caire: Works from the FRAC Collection, Les Ecuries –
Jardin des Carmes, Aurillac, FR
Solaris, Gio Marconi, Milan, IT
T - Quelques Possibilités de Textes, Centre d'édition Contemporaine, Geneva, CH
Geoplay (Part I), Pillar Parra & Romero, Madrid, ES
Just with Your Eyes I Will See: Works from the FRAC Collection, Fond d'art Moderne et
Contemporain, Montluçon, FR
Made by ECAL, L’Elac, Lausanne, CH
Notorious, Le Plateau / Frac Ile-de-France, Paris, FR
Reinvented: Study and Play, Galerie Jan Wentrup, Berlin, DE
Le Spectarium (les Fantômes dans la Machine), Cité le Corbusier, Pavillon Suisse, Cité
Internationale Universitaire, Paris, FR
Fade In / Fade Out, Bloomberg Space, London, UK
L’exposition Continue, Curated by Mathieu Copeland, 1m3 & Circuit, Lausanne, CH
The Eternal Flame, Kunsthaus Baselland, Basel, CH
Abstraction Extension, Curated by Christian Besson, Julien Fronsacq, and Samuel
Gross, Foundation Solomon, Chateau d'Arenthon, Alex
Rolf Ricke Collection: A Contemporary Museum on Time, Villa Merkel, Esslingen, DE
No Picture Available, Galerie Art & Essai, Rennes, FR
Toute la Collection du Frac (ou Presque), MAC/VAL, Vitry-sur Seine, FR
Abstraction Étendue - Une scène Romandes et ses Connexions, Espace de l'Art
Concret / Château de Mouans, Mouans-Sartoux, FR
2007
2006
2005
Black Noise: A Tribute to Steven Parrino, CNEAI, Chatou, FR
Welschland, Substitut – Raum für Aktuelle Kunst aus der Schweiz, Berlin, DE
Black Noise, A Tribute to Steven Parrino, MAMCO, Geneva, CH
Secondary Structures, KIT/Kunsthalle Dusseldorf, Dusseldorf, DE
Rooms, Conversations, Le Plateau, Frac Ile-de-France, Paris, FR
The Freak Show, Musée d’Art Contemporain, Lyon, FR
A Moitié Carré A Moitié Fou, Curated by Lili Reynaud Dewar, Vincent Pécoil, Elisabeth
Wetterwald, Villa Arson, Nice, FR
White Light Write It, Lieu-Commun, Toulouse, FR
At Home In The Universe, Curated by John Armleder, Mongin Art Center, Séoul, KR
Introvert, Extrovert, Makes no Difference, Catherine Issert Gallery, Saint Paul de Vence,
FR
The Happiness of Objects, Sculpture Center, New York, US
At Home in the Universe, Mongin Art Center, Seoul, KR
Painting as Fact and Fact as Painting, curated by Bob Nickas, de Pury & Luxembourg,
Zürich, CH
Peintures Aller/Retour, Centre Culturel Suisse, Paris, FR
Accélération, Curated by Gauthier Huber & Arthur de Pury, Centre d’Art Neuchatel,
Neuchatel, CH
Hysteria Siberiana, Cristina Guerra Contemporary Art, Lisbon, PT
Cinq Milliards d’Années, Palais de Tokyo, Paris, FR
Black/White & Chewing Gum, Galerie Krobath Wimmer, Vienna, AT
War on 45 / My Mirrors Are Painted Black (For You), Curated by Banks Violette,
Bortolami, New York, US
Bring the War Home, Curated by Drew Heitzler, Elizabeth Dee, New York, and QED,
Los Angeles, US
Hradacany, La Générale, Paris, FR
Surfaces Polyphoniques, Centre Régional d’Art Contemporain Languedoc-Roussillon,
Sète, FR
Branding, Centre PasquArt, Bienne, CH
Objets d’hier et d’aujourd’hui, Ecole Municipale des Beaux-Arts, Galerie Edouard Manet,
Gennevilliers, FR
Supernova, Domaine Pommery, Reims, FR
HERENOWHERE, Kunstaus Baseland, Basel, CH
L’humanité Mise à nu et l’art en Frac, Même, Casino Luxembourg, Luxembourg, LU
Group Show, Rolf Ricke, Köln, DE
Especial, Galerie Shmidt Maczollek, Cologne, DE
Decrauzat, Dafflon, Kropf, Proposed by d’Olivier Mosset, Verney-Carron,
Villeurbanne, FR
Odiseado tra Tempo, Curated by Charlotte Mailler, Peter Kilchmann Gallery, Zurich, CH
Group Show, Les Abris Antiatomiques de l’ARSENIC, Geneva, CH
2004
2003
2002
2001
2000
1999
1998
Shimmy II, Musée d’art Moderne et Contemporain de Strasbourg, Strasbourg, FR
Sensations Suisse, Place Vendôme, Paris, FR
La Piste Noire, Galerie Loevenbruck, Paris, FR
None of The Above, Curated by John Armleder, Swiss Institute, New York, US
The Age Of Optimism, No Picture Available, with Francis Baudevin and Stéphane
Dafflon, Peter Kilchmann Gallery, Zurich, CH
La Lettre Volée, Musée des Beaux Arts de Dôle, Dôle, FR
Circa Circé, Forde, Geneva, CH
Programm VIII, Galerie Rolph Ricke, Köln, DE
Unter 30”, Museum Liner, Appenzell, CH
En Mouvement, Galerie Jean Brolly, Paris, FR
Jour d’hypnose, Le Rectangle, Lyon, FR
Hot Lunch, Kunsthaus Glarus, Glarus, CH
5 Billion Years, Swiss Institute, New York, US
Circuit, Galerie Arte Ricambi, Verona, IT
Group Show, Galerie Lovenbruck, Paris, FR
La Partie Continue, Crédac, Ivry-sur-Seine, Paris, FR
Dessins, Galerie Jean Brolly, Paris, FR
Meanwhile In The Real World, Chapelle de La Sorbonne, Paris, FR
Lee 3 Tau Ceti Central Armory Show, Villa Arson, Nice, FR
Des Voisinages, Le Plateau / FRAC Ile de France, Paris, FR
Drawing by Numbers, Glassbox, Paris, FR
MURSOLAICI, Centre Culturel Suisse, Paris, FR
VOID, CAN, Neuchatel, CH
Galerie des Multiples, Paris, FR
Rétrospective des prix Manor, Elac, Lausanne, CH
Les Heures Claires, Villa Savoye, Poissy, FR
Help, Elac, Lausanne, CH
Inside the sixties, MCBA, Lausanne, CH
FRI-ART 81, Fri-art, Fribourg, CH
BCV Art, Musée Jenish, Vevey, FR
Perspectives Romandes 3, Musée Arlaud, Lausanne, CH
Record Collection, Forde, Genève, CH
Quotidien Aidé (les Locataires), ESBA, Tours, FR
The Doors, Luzerne, US
CC La Santa, Barcelone Art Contemporain, Barcelona, ES
CIRCUIT, Galerie éof, Paris, FR
CIRCUIT, Celeste & Eliot Kunstsalon, Zürich, CH
Carte Blanche, Paris, FR
Scène Ouverte, Nouvelle Galerie, Grenoble, FR
Glassbox, Paris, FR
1997
Circuit, Lausanne, CH
Commerce, Galerie Gaxotte, Porrentruy, CH
In Vitro, alternative spaces, Zürich, CH
(…), Casablanca, MA
Espace MAC, Lausanne, CH
Villa Gracieuse 5, Lausanne, CH
VIDEOS/SCREENING
2016
2014
Anisotropy, La Panacée, Montpellier, FR (with Alan Licht)
Anistropy The Promise of Total Automation, curated by Anne Faucheret, Kunsthalle, Wien,
Anisotropy, Centre Culturel Suisse, Paris, FR (with Alan Licht. Co-produced by La Batie 20
Anisotropy in La Batie 2014, Cave 12, Geneva, CH (with Alan Licht)
After Birds, FRAC Basse-Normandie, Caen, FR
PROJECTS
2015 A Personal Sonic Geology, FRAC Île de France, group show conceived by Philippe
Decrauzat and Mathieu Copeland
SELECTED PUBLIC COLLECTIONS
Albright-Knox Art Museum, Buffalo, US
CAPC, Musée d'art Contemporain de Bordeaux, Bordeaux, FR
Collection Assurance Bâloise, Basel, CH
Collection d’art Swiss Life Groupe, Zurich, CH
Collection de la Banque Cantonale Vaudoise, Lausanne, CH
Collection de la Banque Nationale Suisse, Zurich, CH
Collection of the Swiss Confederation, Federal Office for Culture, Bern, CH
Collection Julius Baer, Zurich, CH
Collection Kunsthaus, Zurich, CH
Collection LVMH, Paris, FR
Collection Rhône-Alpes, Institut d’art Contemporain, Villeurbanne, FR
Espacio 1414: Berezdivin Collection, San Juan, PR, US
Fondation pour l-art contemporain Claudine et Jean-Marc Salomon, Alex, FR
FNAC, Paris, FR
FRAC Basse-Normandie, Caen, FR
FRAC Franche-Comté, Dôle, FR
FRAC Ile-de-France/Le Plateau, Paris, FR
FRAC Nord Pas-de-Calais, Dunkerque, FR
FRAC Languedoc-Rousillon, Montpellier, FR
FRAC Pays de Loire, Nantes, FR
Les Abattoirs, Toulouse, FR
Museo de Arte Contemporaneo de Buenos Aires, AR
Musée de l'Abbaye de Sainte Croix, Les Sables d'Olonne, FR
Musée Cantonal des Beaux-Arts, Lausanne, CH
Museum of Modern Art, New York, US
BIBLIOGRAPHY
Barachon, Charles. “Philippe Decrauzat, l'hypnose sur un plateau.” Technikart, April 2011.
Baumann, Daniel. "Undercover." Spike, Spring 2007.
Bigman, Alex. “Philippe Decrauzat: Pour Tout Diviser at Elizabeth Dee.” Daily Serving, October 9,
2014.
Bonaspetti, Edoardo. “Philippe Decrauzat.” Mousse, no.6 January/February2007.
Bonnet, F. “Paroles d’Artistes: Philippe Decrauzat; J’avais envie d’une confrontation avec le
soleil,” Le Journal des Arts, 16-29 April 2010, p.15.
Boucher, Brian. “The Top 10 Booths at Independent New York 2016”. ArtNet News, March 4, 2016.
Carmine, Giovanni. "OP& LOW," 20/27, no. 1 2006.
Christiansen, Jen. “Art and Science of the Moire’ Scientific American, September 2014.
Copeland, Mathieu. Decrauzat, Philippe, Partons de zéro, Madrid, Parra & Romero, 2011.
Davies, Lillian. "Paris, Critics’ Picks: Philippe Decrauzat." Artforum.com, February 2006.
De Pahlen, Tatiana. “Philippe Decrauzat, Centre Culturel Suisse / Paris”, Flash Art, 25 January
2015.
Decrauzat, Philippe, Trois films photographiés - A Change of Speed, a Change of Style, a
Change of Scene - After Birds - Screen O Scope, livre d'artiste, Geneva, Centre d'édition
contemporaine, 2011.
Demousseaux, Astrid. Paris-art, January 2006.
Derieux, Florence, Flash Art, March-April 2006.
Descombes, Mireille, “Philippe Decrauzat.” Le Phare, January-April 2011.
Francblin, Catherine. "Art Cinétique, la Sortie du Purgatoire.” Art press : 314, July/August 2005.
Fronsacq, Julien. "Philippe Decrauzat - CAC Genève." Frog, Spring/Summer, p.100-103 2007.
Gagnebin de Bons, David. “Decrauzat hyperartiste,” Edelweiss, October 2011, pp.50-51.
Grandjean, Emmanuel. "Vertige au Centre d’art avec Philippe Decrauzat." Tribune de Genève,
November 4, 2006
Greenberg, Kevin. “Philippe Decrauzat.” Last Magazine, 2011.
Gross, Samuel. "L’exposition du spectateur – le jeu spatial de Philippe Decrauzat."
Kunstbulletin, January/February 2007.
Houston, Joe. Optic Nerve: Perceptual Art of the 1960’s. Columbus: Columbus Museum, 2007.
Indrisek, Scott. “Independent New York Is a Cute Above: Moment by Moment.” BlouinArt Info. March 2016
Jakubowicz, Alexis. “Philippe Decrauzat.” Artpress: 378, March 17-May 15, 2011.
Jaumin, Francoise. “Philippe Decrauzat rayonne a Zurich.” 24 Heures, September 2009.
“L'art op...pop...optique”, Mouvement, April-June 2011.
Launay, Aude. “Entretien avec Philippe Decrauzat.” 02, N°57, Spring 2011, pp.12-16.
Lavrador, Judicael. "Art élastique." Les Inrockuptibles, January 2006.
Lavrador, Judicaël. “La playlist de Philippe Decrauzat.”Beaux Arts Magazine, n°323, May 2011, p.38
Lavrador, Judicaël. “Fatale attraction.” Les Inrockuptibles, March 30-April 5, 2011.
Lavrador, Judicael. “Qu’est-ce que la peinture aujourd’hui?” Beaux Arts Editions, December 2008.
Lequeux, Emmanuelle. “Philippe Decrauzat nous met les pupilles au carré.” Beaux Arts Magazine: 323,
May 2011, p.141.
Lesauvage, Magali. “Philippe Decrauzat sert son cocktail visuel au Plateau,” Fluctuat,
“Le Top 10 2008.” Technikart, December 2008 Januray 2009.
Link, Christina. "Art Premiere." Art Investor.
Martinez, Alanna. “The Independent Fair’s New Tribeca Home is the Best Place to View art the Week”.
The Observer. March 2016
Meade, Fionn. “Review: Philippe Decrauzat at Elizabeth Dee Gallery.” Artforum, May 2009.
Nikas, Bob. Painting Abstraction: New Elements in Abstract Painting. Phaidon Press Ltd.
October 2009.
Pécoil, Vincent. "Op-ed World: Philippe Decrauzat." Contemporary no. 82 2006.
Perret, Mai-Thu. “Favorite Exhibition of the Year.” Artforum, December 2008.
Piettre, Céline. “Philippe Decrauzat – Anisotropy.” ParisArt, April 18, 2011.
Poirier, Matthieu. “Philippe Decrauzat”, Code 2.0 : 10, Spring 2015.
Portier, Julie. “Peinture-onde.” Journal des Arts: 345, April 15-28, 2011, p.12.
Prodhon, Françoise-Claire. “Le mouvement et la lumière.” AD Magazine: 116, May 2013, p.76.
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March 4, 2016
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"Un chef d’orchestre de la perception." Beaux-Arts Magazine, no. 272, February 2007.
"Visual Effect." Vogue, January, p78 2006.
Vicente, Anne Lou. “L'illusioniste - Philippe Decrauzat au Plateau.” Trois Couleurs,
March 2011.
Velasco, David. "Review about the show in the Swiss Institute." Artforum, October 2006.
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PHILIPPE DECRAUZAT
25/01/2015
PRESS
REVIEW
FLASH ART DAILY
Philippe Decrauzat Centre Culturel Suisse / Paris
Philippe Decrauzat “Anisotropy” (2013) Courtesy of the Artist
Philippe Decrauzat is known for his multidisciplinary practice. Shifting from one medium to another, his
paintings, films, installations, drawings and sculptures find common ground in their complex geometrical
compositions. Although often associated with abstraction and Op art, his work precisely amalgamates contrasting influences.
Decrauzat positions himself not far from a historian’s perspective, investigating the past in order to divulge
the future. Creating bridges through space-time, the references in his work are abundant but always discreetly
integrated and are never completely visible on the surface.
As in a game, the artist deftly collects his source material from eclectic fields: popular culture, scientific literature, graphic design, experimental cinema. A point of departure might be the logo of the punk rock band
Dead Kennedys, the cover of a scientific review, the geometric carpet in Kubrick’s The Shining or the mirror
paintings of Roy Lichtenstein. Decrauzat often distorts those found elements and sets them into motion, questioning the notions of perception and the status of the image in a passive poetic manner.
For “Anisotropy,” the artist is showing a succession of filmic sequences that take for their subject a scientific
object produced as part of research on the misappropriation of waves. The object rotates on an axis and evokes
the zoetrope, the early filmic animation device that produced the illusion of movement due to the persistence
of vision.
Decrauzat invited New Y
York–based musician Alan Licht to compose live over and in response to the blackand-white graphic images. Merging layers of perception, the audio-visual installation leaves the viewer in a
state of consciousness in which sound, images and speed reverberate and meld into a single form. Reality is
abruptly erased, only to become heightened through a synesthesia of the senses.
- by Tatiana
T
De Pahlen
ELIZABETH DEE
545 WEST 20TH STREET
T 1 212 924 7545
PHILIPPE DEcRAuZAT
Spring 2015
ELIZABETH DEE
PRESS
NO 10
545 WEST 20TH STREET
T 1 212 924 7545
PHILIPPE DEcRAuZAT
ELIZABETH DEE
545 WEST 20TH STREET
PRESS
T 1 212 924 7545
PHILIPPE DECRAUZAT
PRESS
SEP 2014
Art and Science of the Moiré
By Jen Christiansen
The views expressed are those of the author and are not necessarily those of Scientific American.
I’m
a
bit
obsessed
with
Scientific
American
covers,
but
my
knowledge
of
the
archive
during
the
years
before
my
time
on
staff
is
broad
rather
than
deep.
Artist
Philippe
Decrauzat,
on
the
other
hand,
has
developed
an
intense
connection
with
a
very
specific
cover
image:
May
1963.
It
was
the
inspiration
point
for
his
series
of
paintings,
On
Cover,
initiated
in
2011.
The
latest
iteration
of
that
series
can
be
seen
now
in
the
Pour
Tout
Diviser
exhibition
at
the
Elizabeth
Dee
Gallery
in
Manhattan
(September
13-­Octo-­
ber
29,
2014).
Clearly
well
versed
in
moiré
effects,
Decrauzat
breathes
life
into
the
classic
cover
image.
Cover credit: Joan Starwood and
Photo-Lettering
View of "pour tout diviser" exhibition, by Philippe Decrauzat. Photograph by Etienne Frossard. Courtesy the Artist and Elizabeth Dee, New York
ELIZABETH DEE
545 WEST 20TH STREET
T 1 212 924
PHILIPPE DECRAUZAT
PRESS
The May 1963 article “Moiré Patterns” (by Gerald Oster and Yasunori Nishijima) defines moiré patterns
thusly,
“When one looks through a window screen that happens to be in front of another window
screen, one sees a curious pattern that results from a combination of the lines in the two
screens. Such patterns are called moirés, and they are produced whenever two periodic
structures are overlapped… In the typical moiré pattern the moiré effect materializes when
two sets of straight lines are superposed so that they intersect at a small angle. If the superposed lines are nearly parallel, a tiny displacement of one of the figures will give rise to a
large displacement in the elements of the moiré pattern. In other words, the displacement is
magnified. This phenomenon has far-reaching implications in many disciplines of science.”
Graphic by Joan Starwood and Photo-Lettering, In “Moiré Patterns” by Gerald Oster and Yasunori Nishijima, in Scientific American, May
1963
ELIZABETH DEE
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PHILIPPE DECRAUZAT
PRESS
Painting by Philippe Decrauzat (On Cover, 2014; Acrylic on canvas; 74 3/4 x 31 1/2 inches (190 x 80 cm); Image courtesy the Artist and Elizabeth
Dee, NY; Photographer: Etienne Frossard)
A conversation with Decrauzat about his research and influences—which includes the co-author of the
article mentioned above, Gerald Oster (1918-1993)—inspired me to learn more.
ELIZABETH DEE
545 WEST 20TH STREET
T 1 212 924
PHILIPPE DECRAUZAT
PRESS
Author of seven articles for Scientific American
magazine (his bio as it appeared in the February
1970 issue is shown to the right), Oster also taught
biophysics at Mount Sinai School of Medicine and
polymer chemistry at the Polytechnic Institute of
Brooklyn. He was exhibited at the Howard Wise
Gallery (Oster’s Magic Moirés in 1965, and Moirés and Phosphenes in 1966), and was included in
the Museum of Modern Art’s (MoMA) 1965 exhibition entitled The Responsive Eye, a collection of
works that existed “less as objects to be examined
than as generators of perceptual responses in the
eye and mind of the viewer.” (Click here for a pdf
download of the original release). Despite the fact
that he was an artist in his own right, it is interesting to note that Oster did not execute any of the
illustrations in the May 1963 article. Credits go to
Joan Starwood and Photo-Lettering for the cover
image, and Joan Starwood, Photo-Lettering, and
Martin J. Weber Studio for the article graphics.
Many thanks to Decrauzat for sharing his work, and highlighting Scientific American’s connections to
the Op art (optical art) movement.
ELIZABETH DEE
545 WEST 20TH STREET
T 1 212 924
PHILIPPE DECRAUZAT
PRESS
SOUNDTRACK
For the past several years, Philippe Decrauzat has developed a body of film and video work concurrent
with his pictorial practice. Through this filmography, he develops iconographic references within the work
– which enriches the entire oeuvre. For his most recent film Anisotropy (2014) Decrauzat invited Alan
Licht, a key figure of the noise and minimal scenes, to collaborate. This alliance can be read, seen and heard
as a modern visual demonstration, shifting boundaries and perception thresholds in the history of art and
visual culture.
- Text by Olivier Michelon
In 2003 Alan Licht released A New York Minute, an opus
divided in two parts. Part one, ”Studio” is composed of a
series of recordings exploring the possibilities of multitrack recording – that is, the layering and mixing of multiple sound recordings to create a cohesive whole. Part
two, “Live,” is concerned with instrumental virtuosity.
With an electric guitar, Licht weaves fluid landscapes in
endless variations, stridency and harmonic touches. The
achievement of this supposed duality is exemplified in
A New York Minute’s fifteen-minute compositional introduction. Composed by a series of weather reports,
it simultaneously condenses, summarizes and introduces the atmospheric content of the album. This preface precisely situates the work, while strengthening the
abstraction of its content. A New York Minute is also well
interpreted as the spectral expansion of a short never
ending meditation, an endless climb – a quality consistent with drone music, of which Licht is a contemporary
disciple. Minute translates from French as a physical
cartography. In legal terms, it refers to the origin of a
decision, its first official record. However, as accurate
as their initial perception and interpretations may be,
both parts of A New York Minute gain their gravity once
experiences at the appropriate volume. The last track,
“Remington Khan,” subtitled Hearing Test, begins at an
indiscernible level and rises gradually. A New York Minute comes across as central in Licht’s discography, as it
is sufficiently punctuated by indications, iconography
or titles – making the “sound fiction” intelligible, which
his output has been exploring for the last twenty years.
His affliation with historical vanguards is crystallized in
his relationship with the Minimalist experimentations
of the 60’s and 70’s, the heterogeneity of their flirtation
with the counter-cultures and subjective permeability.
Probably driven by a pop sentimentalism, Licht
chose Perfect Lovers by Felix Gonzalez-Torres to illustrate his record. In relation with the lover clocks of Gonzalez-Torres, the revolutions of Anisotropy are monomaniacal and limited to a single face, yet still disruptive.
Carved in an aluminum block, the sculpture featured in
the film is a third larger than a record; it has a diameter of
48cm and is about 9cm thick. Eventually, the repetitive
rotations divert light waves of the solid and make them
visible. “Anisotropic” is an object whose characteristics
vary according to its orientation. The film manifestation
of the anisotropic object’s rotations closely resembles a
vortex and its interference creates unconventional visual
distortions. This singularity is also on Decrauzat’s filmography, although Anisotrophy knows no filmography
equivalent in Decrauzat’s practice. Unlike A Change
of Speed. A Change of Style, a Change of Scene (2006),
After Birds (2008) or Screen O Scope (2010), the film
is not a product of recycling of pre-existent shots - geometric grids, images, movies - but from the direct input
of a camera on a three-dimensional moving object. For
those familiar with the work Decrauzat, Anisotropy can
be read as a sequel to László Moholy-Nagy’s Ein Lichtspiel Schwarz-Weiss-Grau, a long-standing influence
within Decrauzat’s environmental installations and
sculptures. But the interference on the film goes beyond
the mechanical ballet world of the 20’s and 30’s. Apart
from its film existence the disk of Anisotropy could have
never had any material existence. Beginning with the
digital extrapolation from a 2D scientific illustration, it
is then built into a 3D mechanism, and then captured at
a rate of 24, 48 or 64 frames per second on silver film.
Like Screen O Scope and its cloaked reference
to the naturalistic cinema of Kurosawa , Anisotropy is
a return to cinema. The plateau that runs in front of the
viewer is a reconstructed rotation. Projected on a screen,
the luminous body derives from the rhythm of the shutter
of the camera and the projector. In this form, it reminds
in a obvious way of praxinoscope trays. Therefore disguised as a tribute to the avant-gardes of the 1920s and
1930s, Anisotropy revives a fundamental aspect of the
experimental cinema of the 60’s and 70’s: the spatial and
temporal inversion bordering led near the minimalism.
Like Michael Snow’s Wavelength (1967), which
was a clear breakthrough towards photography, or
Sharits’ structural cinema practice touched with optical
nervousness, or the poetic reflexivity of Frampton, or the
covert candidness of Warhol’s photography, Anisotropy
develops both a horizontal and temporal vision of the shot.
More than a lighted picture rail, the experience of the
black room amplifies the frontal aspect of the screen until its dissolution. The exploration at the same time of the
drone by La Monte Young and Phill Niblock, operated in
a similar way. In a comparable style, the minimal compositions of Licht amplify the moment, the sound, the
magnetic vibration and are placed in a gritty landscape.
It is these gestures that drive Decrauzat’s painting, irretrievably too minimal to be further classified as Op Art.
This is not Decrauzat’s first collaboration with
Alan Licht. This invitation follows an encounter between
the musician and Marrakech Press (a collaboration between Decrauzat and Mathieu Copeland). In Alan Licht /
regional press (2011), a musical improvisation on guitar
is superimposed on views of a destroyed printing shop.
The amplified fragments, themselves audio tools used
by Licht, fit within images of the brutally scattered fonts.
Licht’s sound intervention in Anisotropy pursues these disturbances between amplification systems,
reproduction and distortion. It is not synchronized or
analogue but “friendly transformations”. It distorts, but
in the direction of sameness, so that if his power was
not balanced the world would be reduced to a point, to
a homogeneous mass, the dismal figure of the same:
all its parts would be held and communicate with one
another without break or distance, as the metal chains
suspended by sympathy to the attraction of one magnet” (2) Namely the magnetic windings organ agreement supported the early five variations of Rabbi
Sky (1999) by Licht or the visual dust of Anisotropy.
1- One of the main pattern on Screen O scope is inspired by the sun reflected on
the water, which appeared in Rashomon
2 - Giambattista della Porta “Magie Naturelle” 1615 mentioned by Michel Foucault, Les Mots et les Choses p.39, Gallimard
PHILIPPE DECRAUZAT
PRESS
9 MARCH 2012
PHILIPPE DECRAUZAT: FOR THE BIRDS
By STEVE PULIMOOD
ELIZABETH DEE
545 WEST 20TH STREET
T 1 212 924 7545
PHILIPPE DECRAUZAT
By Kevin Greenberg
“No one can own a striped painting,” the
artist Philippe Decrauzat remarks, noting that
the technical vocabulary that has become
his trademark over the past twelve years “is
certainly indebted to the history of 20 th-century
abstraction, but its foundation rests on forms and
patterns that are deeply charged with cultural
and historic meaning.”
At their most effective, the paintings and
installations for which Decrauzat is best known
engross and beguile the viewer with borderless
striations and bottomless vortices that
simultaneously call to mind the most hypnotic
examples of Op Art and the most esoteric fringes
of Minimalism and Constructivism. On both
standard rectangular and custom-cut canvases,
Decrauzat renders simple linear patterns as
well as elegantly baroque parametric forms
seemingly indebted to complex mathematics.
In their clinical simplicity, Decrauzat’s canvases
practically leap from the walls, creating an
almost queasy dual impression of extreme
flatness and limitless depth.
Though many of his works are rendered in
a stark palette of black and white, the artist’s
most seductive pieces showcase a sophisticated
understanding of color. A piece like 2009’s Novo,
for example, is rendered more powerful by the
subtlety of the single hue the artist chose for the
composition, and the restraint with which it was
applied. Though its evenly spaced vertical stripes
inevitably recall the work of Daniel Buren, the
subtle gradient that lends 2008’s Slow Motion
its rich depth seems like an integral component
of an equation, as crisply logical as the sharp,
repeated, triangular canvases that comprise the
piece.
Ambitious in scale and remarkable for their
technical rigor and precision, Decrauzat’s works
offer much more on closer inspection than the
rolling moire patterns and bold graphic motifs
that color a viewer’s first impression. Decrauzat’s
use of these perceptual manipulations is as much
at the heart of his project as the grand scale
and site-specificity of many of his works. He is
interested in time, he says, and motion, in the
frailty and fallibility of human perception, the
gap between mind and eye. His works are often
most effective when they temporarily overwhelm
the visual apparatus. By forcing the viewer to
grapple with perspective, his work becomes less
susceptible to strict formal analysis and engages
more explicitly with space and the observer’s
place within it.
“The idea is that these forms should create
a very personal relationship with the viewer.
They should locate the viewer in a very specific
situation,” Decrauzat explains, almost as a film
might. In fact, he notes, the larger pieces are
meant to function the way a film or animation
does, obscuring the line between time and space,
enhancing illusions of depth and movement, and
forcing the viewer to engage fully with an image
projected into a room at large.
A growing portion of Decrauzat’s practice
is explicitly concerned with cinema, and in
recent years he has begun to experiment with
film works. After Birds, from 2008, is one such
experiment, an elegant 16mm manipulation
that reworks footage from the title sequence of
Alfred Hitchcock’s 1963 film into a pulsing nearabstraction reminiscent of the “flicker” films of
Ken Jacobs and Peter Kubelka. Experiencing
After Birds, it’s evident that Decrauzat intends to
parse the experience of cinema into something
like the classic Deleuzian pairing of time-image
and movement-image—the better to underscore
the subtleties of the medium’s spatial component.
Decrauzat notes that forthcoming work will
also actively incorporate sound, adding a more
substantial sonic treatment of space to his usual
visual palette. One thinks of La Monte Young and
Marian Zazeela’s Dream House, the longstanding
light and sound installation tucked into a Tribeca
walkup, as well as the deep bass pulsations of
experimental musicians like Eliane Radigue or
Eleh, whose mystical drones possess a neartangible spatial character.
Decrauzat’s concern with intangibles is offset
by his use of objects, which often occur as simple,
starkly crafted three-dimensional shapes carefully
placed within his installations. The resulting figureground relationship is an unsettling one, ultimately
enhancing the viewer’s sense of subjectivity, of
being one of several points in a flattened field
without limit or edge. A new project promises still a
different perspective. For an upcoming exhibition in
Geneva, Decrauzat will create a book of condensed
stills from his film manipulations that fuse time
and image in a way that’s different from his
paintings, films, or installations. By creating a
bound and printed series of compositions from
film stills, Decrauzat can capture the essentials of
his practice in a pocket-sized object.
After so much time creating works on walls and
in spaces, working with images and the nuances of
projected light, “I’m looking forward to a return to
paper,” Decrauzat says. “This is my chance to take
all of these elements and to come back to the start,”
a trajectory not unlike the complex shapes of many
of his most intriguing canvases. “It will be a perfect
media loop,” he laughs.
Above left: Philippe Decrauzat, Process II, 2009 (Installation View). Courtesy of the artist and Elizabeth Dee. Photography by Tom Powel Imaging Inc.
Above center: Philippe Decrauzat, Exhibition View, “Printemps de Septembre,” Les Abattoirs, 2008. Courtesy of the artist and Galerie Praz-Delavallade. Photography by Damien Aspe.
Above right: Philippe Decrauzat, SEYES, 2009. Courtesy of the artist and Elizabeth Dee.
Below: Philippe Decrauzat, Exhibition View, “Philippe Decrauzat,” Elizabeth Dee, 2009. Courtesy of the artist and Elizabeth Dee. Photography by Tom Powel Imaging Inc.
PHILIPPE DECARUZAT
PRESS
MAY 2009
PHILIPPE DECRAUZAT
ELIZABETH DEE
The so-called neo-geo artists of the 1980s — New York painters Peter Halley, Ashley Bickerton, Philip
Taaffe, and a few others—promoted an ironic distance from the often doctrinaire history of abstract painting, arguing
that various art styles and effects be understood as nothing more than a series of ready-mades borrowed an brought
together. Seeking to reveal complicity between the maker, viewer, and consumer in appreciating its own clearly
Philippe Decrauzat’s composite style of reference and reproduction recalls this stance. His paintings, sculpJohn Armleder. It closely resembles the latter’s use of various inherited styles, devices, and installation effects as
outmoded, given the propensity for art to serve, in the end, as décor.
in a shape faintly resembling a swastika; modeled on a bench designed by Laszlo Moholy-Nagy to allow views in
all directions in a circular room, Decrauzat’s work, with its hasty brush marks and drab color choice, makes for a
seems today.
-
View of “Philippe Decrauzat,”
2009.
ELIZABETH DEE
545 WEST 20TH STREET
T 1 212 924 7545
PHILIPPE DECARUZAT
PRESS
staff in his performace I Like America and America Likes Me, 1974), the bars also brought to mind the
parodic gesture of Armleder’s Don’t Do It!, 1997-2000, a work composed of a series of Flavin-like neon
suggest three rectangles halved, their respective two parts hung, in this show, opposite each other. The
compositions inevitably recall Daniel Buren’s signature motif—borrowed from an industrially produced
awning pattern—though the allusion is vitiated by a gradual darkening at the edges of the red, as if to
-
contraction.
ELIZABETH DEE
545 WEST 20TH STREET
T 1 212 924 7545
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