Press Kit Take Me (I`m Yours) | pdf

PRESS RELEASE
TAKE ME (I’M YOURS)
FROM 16 SEPTEMBER TO 8 NOVEMBER 2015
From 16 September to 8 November 2015, Monnaie de Paris presents Take Me
(I'm Yours), a collective and interactive exhibition which brings together the
work of fortyforty-four international artists under the curatorship of Christian
Boltanski, Hans Ulrich Obrist and Chiara Parisi.
Take Me (I’m Yours) at Monnaie de Paris
15 september 2015
MONNAIE DE PARIS
11, Quai de Conti
75006 Paris
Communications Director
Guillaume Robic
tel: + 33 (0)1 40 46 58 18
[email protected]
Claudine Colin Communication
Avril Boisneault
tel: + 33 (0)1 42 72 60 01
[email protected]
VISITOR INFORMATION
Opening hours:
Open every day, 11 a.m. --- 7 p.m.
Late Thursday opening till 10 p.m.
Monnaie de Paris Flammarion
bookshop
11, Quai de Conti
75006 Paris
Open every day, 11 a.m. --- 7 p.m.
Late Thursday opening till 10 p.m.
Monnaie de Paris boutique
2, Rue Guénégaud
75006 Paris
Open Monday to Saturday
11 a.m. --- 7 p.m.
GROUPS
Monnaie de Paris hosts a wide range
of tours and workshops every day of
the week for all types of groups. A
programme of conferences will run
for the duration of the exhibition.
[email protected]
FIND US ON
monnaiedeparis.fr
facebook.com/monnaiedeparis
twitter.com/monnaiedeparis
youtube.com/monnaiedeparis
instagram.com/monnaiedeparis
Transformed into Paul McCarthy's
McCarthy Chocolate Factory for its reopening in October
2014, then into Marcel Broodthaers' Musée d’Art Moderne – Département des
Aigles Monnaie de Paris is once again inviting visitors to rediscover its spaces
through an unusual artistic project: Take Me (I’m Yours) will turn the Quai de
Conti’s 18th-century rooms into a venue for free and creative exchange, designed
to unsettle the conventional relationship between a work of art and its viewer.
Visitors are invited, even encouraged, to touch, use and take away the invited
artists’ projects and ideas.
The exhibition curators, Christian Boltanski and Hans Ulrich Obrist,
Obrist have taken
the original principle which motivated them in 1995 at the Serpentine Gallery and
brought it up to date. They are joined by Chiara Parisi,
Parisi director of Monnaie de Paris
cultural programmes, who brings a fresh perspective. With more than forty
projects, the Paris exhibition is greater in magnitude and scope. The project sees
the return of artists who took part in the first event (Christian
Christian Boltanski, Maria
Eichhorn
Eichhorn,
hhorn HansHans-Peter Feldmann,
Feldmann Jef Geys,
Geys Gilbert & George,
George Douglas Gordon,
Gordon
Christine Hill,
Hill Carsten Höller, Fabrice Hyber,
Hyber Wolfgang Tillmans,
Tillmans Lawrence
Weiner and Franz West),
Etel Adnan &
West and has given rise to new collaborations (Etel
Simone Fattal, Paweł Althamer, Kerstin Brätsch & Sarah Ortmeyer, James Lee
Byars, Heman Chong, Jeremy Deller, Andrea Fraser, Gloria Friedmann, Felix
GonzalezJeong--A, Alison
Gonzalez-Torres, Bertrand Lavier, Jonathan Horowitz, Koo Jeong
Knowles, Angelika Markul, Gustav Metzger, Otobong Nkanga, Roman Ondák,
Yoko Ono, Philippe Parreno, Sean Raspet, Takako Saito, Daniel Spoerri, Rirkrit
Tiravanija, Amalia Ulman,
Ulman Franco Vaccari,
Vaccari Danh Võ and the artists Ho Rui An,
Felix Gaudlitz and Charlie Malgat from 89plus, the multiplatform international
research project designed to map the generation born on and after 1989 by Hans
Ulrich Obrist and Simon Castets.
Castets The exhibition is also an outlet for distributing
issues of point d'ironie (agnès b.).
Displayed on the walls of the last factory in the centre of Paris, the exhibition is an
opportunity to revisit the myth of the unique artwork and question its methods of
production. Like coins, works of art are destined to be disseminated. This
exhibition, designed to create interaction between visitors and artists, is
characterised by its open form which evolves in time. When it ends, the pieces will
have disappeared, distributed in their entirety. Going beyond conventional
economic channels, Take Me (I’m Yours) will present a model based on exchange
and sharing, thus raising questions about the exchange value of art, an issue of
fundamental importance to Monnaie de Paris.
Take Me (I’m Yours) centres the exhibition around its visitors, by inviting them to
take the artworks away with them, and in doing so, contribute to their
dissemination. The talents of the artists involved enable the public to pass through
this physical and moral barrier which separates them from works of art as they
appropriate them and give them a new lease of life.
The artists choose to give visitors a variety of objects, created specifically for the
exhibition - such as the wishbones produced on a 3D printer (Angelika
Angelika Markul)
Markul - or
in the artist's studio (Simone
Simone Fattal).
Gilbert &
Fattal Other examples include badges (Gilbert
George),
George DVDs which gradually wipe their content
as they are played (Philippe
Philippe Parreno),
Amalia
Parreno bookmarks made of leather, (Amalia
Ulman),
Ulman lost property such as clothing that can be taken away in a bag (Christian
Christian
Boltanski),
Boltanski objects that we are all familiar with such as small models of the Eiffel
Tower (Hans
HansHans-Peter Feldmann),
Feldmann paper items like cards featuring the names of
poets (Etel
Etel Adnan),
Adnan brochures offering a cultural service to institutions and
companies (Andrea
Andrea Fraser),
Fraser a bibliography with a selection of works by the three
curators of the exhibition (Maria
Maria Eichhorn),
Eichhorn pink paper confetti bearing the words
"Be Quiet" (James
James Lee Byars),
Heman Chong),
Byars business cards painted in black (Heman
Chong
posters, (Felix
Felix GonzalezLawrence Weiner),
Gonzalez-Torres),
Torres stencils, tattoos (Lawrence
Weiner postcards
(Hans
HansHans-Peter Feldmann,
Feldmann Yoko Ono,
Ono Danh Võ),
Võ a newspaper specially published for
Monnaie de Paris (Jef
Jef Geys),
point d’ironie).
Geys and magazines created by artists (point
d’ironie
Artists also present works which disappear through consumption by visitors such
as tins of sardines and pieces of a marzipan skeleton (Daniel
Daniel Spoerri),
Spoerri distilled
rose water with holy wafers (Rirkrit
Rirkrit Tiravanija),
Tiravanija pills with unknown effects
(Carsten
Carsten Höller),
Felix GonzalezKerstin
Höller sky-blue sweets (Felix
Gonzalez-Torres)
Torres and eggs (Kerstin
Brätsch & Sarah Ortmeyer).
Ortmeyer
Visitors may also participate in other forms of interaction such as monetary
transactions to acquire an object, especially by vending machine (Fabrice
Fabrice Hyber,
Hyber
Christine Hill, Yoko Ono),
Paweł Althamer, Roman
Ono but also through bartering (Paweł
Ondák)
Jonathan Horowitz,
Ondák or even a self-service area (Jonathan
Horowitz Bertrand Lavier, Sean
Raspet,
Raspet Wolfgang Tillmans).
Tillmans The public is also invited to follow the instructions
given by the artists to take part in a game (Douglas
Douglas Gordon),
Gordon to personalise
objects (Jeremy
Jeremy Deller),
Gustav
Deller or contribute to the daily creation of a work (Gustav
Metzger, Yoko Ono, Franco Vaccari, Lawrence Weiner).
Weiner Other artists offer a
service to visitors such as a chance to have a rest (Franz
Franz West)
West or take a dog for a
walk (Koo
Koo JeongJeong-A).
With each day that passes, it is the show’s visitors who will transform it. The
exhibition extends beyond the rooms dedicated to it: artists will use the Google app
(Charlie
Charlie Malgat and Ho Rui
R ui An)
An to offer a virtual tour combining the exhibition's
past at the Serpentine in London in 1995, its present at the Monnaie de Paris in
2015, and its future - with forthcoming versions destined to travel further afield. It
also makes its presence felt at the stand of a Parisian bouquiniste - a second-hand
bookseller opposite Monnaie de Paris (Felix
Felix Gaudlitz)
Gaudlitz - and gets a breath of fresh
air every day through the actions of the artists who surprise visitors during
impromptu artistic interventions: featuring Etel Adnan,
Adnan Paweł Althamer, James
Lee Byars,
Byars Kerstin Brätsch & Sarah Ortmeyer, Gloria Friedmann, Gilbert &
George, Fabrice Hyber,
Hyber Alison Knowles, Otobong Nkanga, Roman Ondák, Sean
Raspet, Takako Saito et Daniel Spoerri (during the exhibition and more
frequently during the FIAC from 22 to 24 October).
October Alongside these events, the
writer Federico Nicolao will post a daily report on the exhibition on Instagram
(#kikerikidide
#kikerikidide).
#kikerikidide
On 16 and 17 September, a special event will take place in the Paris metro to mark
the opening of the exhibition, during which passengers will be invited to take a
pieces of the poster with them. This part of the poster will give them free entry for
one person to the exhibition (station corridors: Châtelet; Opéra; Saint Lazare;
Montparnasse; Nation; République; Gare de l’Est; Place d’Italie)
Monnaie de Paris: Revamped Cultural Programme
Founded in 864, Monnaie de Paris is the oldest of French institutions. Its artistic
workshops in Paris have been in existence since 1775.
Monnaie de Paris is committed to an ambitious transformation of its Parisian
buildings in order to present this vast heritage to visitors. Since 2014, the new
cultural presentation has included: an arts programme based on large-scale
projects commissioned to experienced and emerging artists (Rob Pruitt, John
Baldessari, Mohamed Bourouissa, Paul McCarthy, Marcel Broodthaers, etc.) in the
restored 18th-century rooms opposite Guy Savoy's gastronomic restaurant.
The Take me (I’m Yours) exhibition has been created in association with Eva Albarran et Three Steps to
Heaven. Et avec le soutien agnès b., Briochine, Ecotextile, Givaudan, Google Cultural Institute, Kolor GoPro,
89plus, Photomaton® , Presstalis and Sony mobile.
Take Me (I’m Yours)
at Monnaie de Paris
Chiara Parisi
Director of Cultural Programmes and Exhibition Co-curator
Every work of art has a narrative of consumption and dispersal. The artistic act as a means of
dispersal is a construct of the energy exerted by the artist during the creative process and the efforts
involved in production to which the work is subjected. It is perhaps in this progressive abandonment of the
self - of one's own thoughts, one's own body - that the artist's foremost gift to those who view the work is
made manifest. Quoting Paul Valéry, Maurice Merleau-Ponty explained it thus: "The painter 'takes his body
with him,' [...] Indeed we cannot imagine how a mind could paint. It is by lending his body to the world that
the artist changes the world into paintings".1
In all fairness to Merleau-Ponty, the word "painter" could be replaced by that of "artist" these days.
A more inclusive term certainly, and one which represents the diversity of contemporary artistic mediums.
And yet, Merleau-Ponty's premise still has currency. The notion of bringing one's own body to the work has
informed the attitude with which the artists of Take Me (I'm Yours) at Monnaie de Paris offer themselves to
the exhibition's public; a public invited to play the part of actor rather than spectator. Such an exercise
requires application, dedication and trust. It demands an act of faith. In this sense, then, there is almost
something of the ritual journey about Take Me (I'm Yours).
One of the first times we met to discuss the exhibition, Christian Boltanski asked me what came to
my mind when I thought of a first holy communion (and who knows to what extent the childhood memory of
his mother eating the edges of the wafers as they were being prepared inspired the concept behind the
exhibition?) In Rome - the city where I was born and raised - it was common to see priests eating and
chatting in the trattorias. I would hear stories about first communion day, this event that came ever closer,
the rhythm of its approach unbroken, its pace unstoppable until you took the host in your mouth.
There is a strong correlation between a ritual of this sort and the curation of Take Me (I'm Yours).
Even its title implies a conception of the work of art as a gift and an image of the artist as a sharing creator,
the friendly demiurge. Equally significant is the link with the edible dimension of the ceremony. The artists'
works become things from which one can "take nourishment" - sometimes quite literally as with pieces by
Felix Gonzalez-Torres or Rirkrit Tiravanija - and one can experience them in the same way as the young
person who, reaching that long-anticipated moment, takes the communion wafer.
The table set by Christian Boltanski and Hans Ulrich Obrist - reunited twenty years after that first,
ground-breaking "holy communion" and taking the seats of honour - is packed with forty-four exceptionally
eminent guests.
The exhibition is like some huge, evolving endeavour of creativity and industry situated on the
banks of the Seine. The route through it is unpredictable, often of uncertain destination, and unquestionably
impartial (each artwork is a genuine gift from the artist, to be considered as such). The pieces featured
should be approached with humour, used up, touched and consumed. Only in this way can the work of art behind which the artist's body tends to disappear - be experienced. The process engenders a change of state
that encourages the initiated visitor to take responsibility. Many of the works in Take Me (I'm Yours) accept
1
Maurice Merleau-Ponty, L’Œil et l’esprit, Paris, Gallimard, coll. « Folio Essais », 1993, p. 16. Translation: The
Merleau Ponty Aesthetics Reader: Philosophy and Painting, Edited by Galen A. Johnson, Northwestern
University Press, 1993, Part 2: 6, Eye and Mind, p.123
the consequences of an interactive and inter-relational intervention, during which artist and viewer manage
potentially to merge one with the other, and the artist takes on the role of stage director.2
Take Me (I’m Yours) presents the notion of the exhibition as rite, divested of the deference and
conventional endorsement that are part and parcel of the dedicated exhibition space. The idea is one that
Christian Boltanski is deeply familiar with. At Monnaie de Paris, he is exhibiting a re-enactment of a work first
shown in London at the Serpentine Gallery, where the whole concept for the exhibition was born in 1995. At
the time, the artist and Hans Ulrich Obrist saw a lot of Julia Peyton-Jones and Andrea Schlieker. It was Julia
Peyton-Jones, director of the Serpentine Gallery, who asked Hans Ulrich Obrist to stage the original
exhibition. Its success marked the start of a long collaboration between Obrist and Peyton-Jones, who would
become the art world's emblematic duo.
The title of Boltanski's work remains unchanged: Dispersion. This word encapsulates the
underlying theme of the whole exhibition, like a sub-heading that defines the stance of the works by the
artists featured: edible works, "retail-ready" objects, gadgets to collect and instructions to follow that
contradict the clichés of the untouchable, the unique and the eternal traditionally associated with artistic
creation. Take Me (I'm Yours) at Monnaie de Paris sees the original group (Christian Boltanski, Maria
Eichhorn, Hans-Peter Feldmann, Jef Geys, Gilbert & George, Douglas Gordon, Christine Hill, Carsten Höller,
Fabrice Hyber, Wolfang Tillmans, Lawrence Weiner and Franz West) joined by new artists (Etel Adnan &
Simone Fattal, Paweł Althamer, Kerstin Brätsch & Sarah Ortmeyer, James Lee Byars, Heman Chong, Jeremy
Deller, Andrea Fraser, Gloria Friedmann, Felix Gaudlitz, Felix Gonzalez-Torres, Jonathan Horowitz, Koo
Jeong-A, Alison Knowles, Bertrand Lavier, Charlie Malgat, Angelika Markul, Gustav Metzger, Otobong
Nkanga, Roman Ondák, Yoko Ono, Philippe Parreno, Sean Raspet, Ho Rui An, Takako Saito, Daniel Spoerri,
Rirkrit Tiravanija, Amalia Ulman, Franco Vaccari and Danh Võ). The exhibition represents a coming together
of generations and a mix of approaches that only an exceptional "connector" such as Hans Ulrich Obrist
could make possible.
Gift and dispersal, exchange and participation: this reincarnation of Take Me (I'm Yours) intends to perturb
visitors who will test the enduring quality of works previously shown in London, now in Paris, and bound for
new destinations in the future.
2
Nicolas Bourriaud, Esthétique relationnelle, Dijon, Les presses du réel, coll. « Documents sur l’art », 1988, p.
62
4
Take Me (I’m Yours)
Genesis
Christian Boltanski and Hans Ulrich Obrist
Exhibition co-curators
The following are extracts from a conversation between Christian Boltanski, Hans Ulrich Obrist, Arnaud Esquerre and
Patrice Maniglier reproduced in the Take Me (I'm Yours) exhibition catalogue published by Éditions Dilecta.
Christian Boltanski (CB):
(CB) It started twenty years ago. Hans Ulrich and I used to spend a lot of time in cafés
together, and because we enjoyed talking about it, we used to try and reinvent exhibition formats, and ways
not only of working as an artist, but of how to show artistic work. We came up with a lot of projects, some of
them completely hare-brained that luckily never went any further. But then there were those that did.
Like do it. This idea for an exhibition was based on a manual that we put together, in which all the artists
involved described a work. The manual was then sent out to arts centres that were supposed to make the
work, but we never saw the finished piece. It was like a musical score, it introduced the possibility of personal
interpretation, for better or worse. We imagined that in some places the "score" was played well, in others,
badly. But we never checked. Later on, Hans Ulrich compiled a version called Home do it, this time for
individuals, who could produce the works in their own homes. At the same time, we had the idea for point
d’ironie, a free, 8-page magazine with a large print run of up to 200,000 copies and one artist as the sole
contributor. In principle, it only contained 100 words so there would be no translation issues. The project was
financed by agnès b., and we used her boutiques, in cities all over the world, as distribution points. It meant
there was someone there who was responsible for leaving copies in cafés, in art colleges, and so on. Take Me
(I’m Yours) represents a similar attempt to change the way art is shown. The common denominator of these
three projects is a questioning of the concept of the holy relic. For do it, the object was made not by us, but
by others. Although we created point d’ironie, it was distributed by people we didn't know at all. I live next
door to a a small psychiatric centre. They papered the walls with point d’ironie; they didn't know who I was.
It could have been wrapping paper for presents. Our work was used by people who didn't necessarily have an
artistic purpose in mind, or who in any case might not have known who we were.
Take Me (I’m Yours) intended to break the taboo that holds sway in museums, dictating that we can touch
nothing, because the work of art is sacred. We've all experienced this. One of my large-scale works, in the
museum in Hamburg, is made of biscuit tins. When I showed it in the Oslo museum, the 500 biscuit tins
arrived wrapped in tissue paper. The curator made the museum staff wear white gloves to handle them,
which were soon red with the rust on the tins. For them, the tins were sacrosanct. Obviously, I told them, if a
tin is damaged, we'll get another, it couldn't matter less. At the time, it was a concern for us all to think about
the rules, or rather what makes or doesn't make a relic.
Hans Ulrich Obrist (HUO):
(HUO) I remember my first conversation with Christian. I was on a school trip to Paris in
1985. I didn't do what the school had organised, I went to see Christian Boltanski and Annette Messager in
Malakoff instead. The first thing Christian said me made a deep impression: he said we only remember the
exhibitions that invent the rules of play. These rules can be strategic, spatial, or temporal. So we began to
ask ourselves: what exhibitions had never been done? We needed to rewrite the rulebook.
The first thing Christian and I became aware of was a loss of intimacy in art, because the art world had
significantly expanded during the 80s. We wanted to go back to the kitchen (The Kitchen Show, "World
Soup", 1991) and do something very intimate. Then we thought about how art could travel, how we could
create different structures to enable dissemination. We came up with do it first: an instruction manual based
on the concept that individuals the world over could create this exhibition and interpret it in their own way.
Art could travel, not as an object but as a sort of musical score that could still be played even 50 or 100
years' after it was first written. I remember we had discussed how artists might create sets of instructions,
for works to be created at a later date, following these instructions. But it was already an old idea. What was
5
new was that we had entered a period of global awareness. It was important that we did it in a way that
encompassed the whole world, by taking the idea to 60 or so countries where it could be interpreted.
The starting point for these things is always the tangible work of the artist. For Take Me, it started with a
work by Christian, Quai de la Gare. We had asked ourselves how to move from an immaterial to material
form of dissemination; where the work would be broken up and taken away; where people could do
everything they couldn't usually do at an exhibition.
CB:
CB For Quai de la Gare , I had a friend who had a big space in a sort of squat in what was a poor area back
then. I filled the place with heaps of second-hand clothes and bags with the word "Dispersion" written on
them. You could buy the clothes and, for the equivalent of a euro today, fill the bag. Lots of people came, and
most of them thought it was a good deal to be able to take away so many clothes for a euro. Others, who
knew me, kept the bag with the clothes in it, and treated it as they would have treated one of my works. It
came to the same thing, but each individual made use of the bags of clothes in a different way. I talked to
Hans about it. It was the piece I did for the Serpentine, and that I'm going to do again here in Paris. Naturally,
for me - with my Fluxus connection and as an admirer of Beuys - all that can be contextualised by an art
movement. Perhaps more so than for Hans, who was born after 1968. To be honest, you have to understand
it as a political gesture that negated itself, because we all continued with our lives as normal artists, showing
in galleries. I do it less and less, but I still do it. We all have things to sell. There was no total break with the
way the art world operates. What you can say, is that it was more about games, experimentation, in a
tradition that began with the Surrealists' exquisite corpses. Exquisite corpses that didn't stop them creating
large works and showing them in museums. For me, the concept of the relic has always been a subject of
reflection, on what it was, and even more so today when I destroy all my works with the idea of redoing them
later.
[...]
HUO:
HUO The dispersal, the dissemination of a work is the rule of play. All types of artist, of every generation,
have works to which this can be applied. The idea is to bring these artists together. There are four or five
generations of artists involved in this exhibition. In 1995, we focused on the West, because that was the art
world we were in. But today a polyphony of artistic hubs means that artists from every continent are
featured. The exhibition has been reborn through Chiara Parisi's initiative. It's the polar opposite of do it,
which has never ended and which, each time it goes somewhere, takes on board something new, like a
sponge, becoming ever more intelligent and complex. There are so many ways of restaging an exhibition.
Here we have an exhibition that the artists, Christian especially, who was there at the beginning, are looking
at again with new eyes.
[...]
CB : Two huge changes have taken place over the last twenty years. On the one hand, there is the extreme
commercialisation of art, which was already happening before, but to a lesser extent. On the other hand,
there's the internet, Wikipedia, Facebook. Nowadays, so many things can be shared that didn't exist twenty
years ago. If I put a photo on Facebook, I can give it to everyone. The idea of the collectively appropriated
object seems to me to be even more prevalent today. As a concept, taking something for free, via networking
and digital technology, is more and more widespread. This is sharing.
HUO: It has to be said, though, that this question has been about for a long time in art. William Morris
addressed ways of developing greater artistic democracy - art for the people (Gilbert and George's Art for
All). And then there's the idea of "commons", which is by no means new. Even in his day, Joseph Conrad was
already saying that the artist appeals to that part of our being that is a gift, not an acquisition. Starobinski
has also been an inspiration, with his writing on the notion of the gift in the history of art; he believes we don't
just give things, we also give words, and signs. Giving is not always objects passed from one person to
another, it is the fabric of life itself: "Things can be given, but so can signs, words, missions, and duties. Gifts
do not always pass from one hand to another... In truth, giving and receiving (in which a substance offered
becomes mine) form the very fabric of every life, beginning with the first mouthful of food. Giving and
receiving are first behaviours, which belong to a language of the body prior to speech: the maternal breast in
contact with the child's lips. Simultaneously, as the human being is constructed, the acts of appropriating
and giving, of monopolizing and dispensing, are made manifest through different intermediaries, through
more complex paths - from the mother's lips to the child's ear - and through a changing series of more or less
6
codified symbolic elements. The gift of speech cannot be separated from the gift of the first nourishment."
It's what Lewis Hyde says in The Gift. It's a recurring theme in art.
As for the idea that the economic context has changed so radically since 1995, I both agree and disagree. All
areas of artistic endeavour have become industrialised. The only one that hasn't is poetry. [...] Rather, it's a
question of degree. It's like globalisation. It existed in 1987. But it's solely as a result of technology that we
can say it's a thousand times more predominant today than it was then. And on that point, do it and Take Me
belong in a globalised world. These exhibitions are designed to become global entities. Alighiero Boetti's
puzzles or Christian's objects are taken away by people from all over the world. Take Me is held in Paris, but
the exhibition will be visited by people from countless countries, and afterwards, objects from the exhibition
will turn up anywhere and everywhere. This is why Édouard Glissant has been an important influence for me.
Glissant draws our attention to the dangers of homogenisation that go hand in hand with globalisation. We
must therefore invent rules of play that make this homogenisation more difficult. It's the idea behind do it,
which spans the planet, yet is in constant flux. The preface to do it goes into this in depth: how do we create
an exhibition that is learning, evolving and transforming itself? These things all play a part. I don't think
there's been a categorical paradigm shift. It's just become more extreme. So it's true, restaging the
exhibition today involves making a more direct gesture. Because in this case it acts as a call to practice
generosity.
7
The Artists
* The artists marked with an asterisk took part in the
1995 exhibition at the Serpentine Gallery, London.
Etel Adnan & Simone Fattal
(1925, Beirut and 1942, Damascus)
Live and work in Paris.
Felix Gaudlitz
(1990, Munich)
Lives and works in Vienna.
Paweł Althamer
(1967, Warsaw)
Lives and works in Warsaw.
Jef Geys*
(1934, Leopoldsburg, Belgium)
Lives and works in Balen, Belgium.
Christian Boltanski*
(1944, Paris)
Lives and works in Malakoff.
Gilbert & George*
(1943, the Dolomites, Italy and 1942, Devon, England)
Live and work in London.
Kerstin Brätsch & Sarah Ortmeyer
(1979, Hamburg and 1980, Frankfurt)
Live and work in New York and Vienna.
Felix GonzalezGonzalez-Torres
(1957, Guáimaro, Cuba)
Lived and worked in New York.
James Lee Byars
(1932, Detroit)
Lived and worked in New York, Venice, San
Francisco, Kyoto, Bern, the Swiss Alps, Los Angeles
and the American southwest.
Douglas Gordon
(1966, Glasgow)
Lives and works in Berlin, Glasgow and New York.
Heman Chong
(1977, Muar, Malaysia)
Lives and works in Singapore.
Jeremy Deller
(1966, London)
Lives and works in London.
Maria Eichhorn*
(1966, Bamberg, Germany)
Lives and works in Berlin.
HansHans-Peter Feldmann*
(1941, Düsseldorf)
Lives and works in Düsseldorf.
Andrea Fraser*
Fraser
(1965, Billings, United States)
Lives and works in Santa Monica.
Gloria Friedmann
(1950, Kronach, Germany)
Lives and works in Aignay-le-Duc, France.
Christine Hill*
(1968, Binghamton, New York)
Lives and works in Berlin and New York.
Carsten Höller*
(1961, Brussels)
Lives and works in Stockholm.
Jonathan Horowitz
(1966, New York)
Lives and works in New York.
Fabrice Hyber*
(1961, Luçon, France)
Lives and works in Paris.
Koo JeongJeong-A
(1967, Seoul)
Lives and works in London
Alison Knowles
(1933, New York)
Lives and works in New York.
Bertrand Lavier
(1949, Châtillon-sur-Seine, France)
Lives and works in Aignay-le-Duc, France.
Charlie Malgat
(1990, Bergerac, France)
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Lives and works in Paris.
Angelika Markul
(1977, Szczecin, Poland)
Lives and works in Paris.
Gustav Metzger
(1926, Nuremberg)
Lives and works in London.
Otobong Nkanga
(1974, Kano, Nigeria)
Lives and works in Antwerp.
Roman Ondák
(1966, Zilina, Slovakia)
Lives and works in Bratislava.
Yoko Ono
(1933, Tokyo)
Lives and works in New York.
Philippe Parreno
(1964, Oran, Algeria)
Lives and works in Paris.
Sean Raspet
(1981, Washington)
Lives and works in Los Angeles.
Ho Rui An
(1990, Singapore)
Lives and works in New York and Singapore.
Takako Saito
(1929, Sabae, Japan)
Lives and works in Düsseldorf.
Daniel Spoerri
(1930, Galați, Romania)
Lives and works in Vienna and Seggiano, Italy.
Wolfgang Tillmans*
(1968, Remscheid, Germany)
Lives and works in London and Berlin.
Rirkrit Tiravanija
(1961, Buenos Aires)
Lives and works in Berlin, New York and Bangkok.
Amalia Ulman
(1989, Argentina)
Lives and works in London and Gijón, Spain.
Franco Vaccari
(1936, Modena, Italy)
Lives and works in Modena.
Danh Võ
(1975, Bà Ria, Vietnam)
Lives and works in Mexico City.
Lawrence Weiner*
(1942, New York)
Lives and works in New York.
Franz West*
(1947, Vienna)
Lived and worked in Vienna.
9
point d’ironie
Issues featured in the exhibition:
Christian Boltanski
Itsuko Hasegawa and Dan Graham
Hans-Peter Feldmann
Frédéric Bruly Bouabré
John Giorno / Ugo Rondinone
Rosemarie Trockel
Ken Lum / Chen Zhen
Raymond Hains
Gilbert & George
Thomas Hirschhorn
Navin Rawanchaikul
Matthew Barney
Hanne Darboven
Raqs Media Collective
Édouard Glissant
Paul-Armand Gette
Abattoirs agnès b. collection
Yona Friedman
Nancy Spero
Damien Hirst
Homage to Raymond Hains
Tobias Büche
Hreinn Fridffinsson
Hugues Reip / Melanie Counsell
Robert Crumb
Carlos Cruz-Diez
Koo Jeong-A
Ryan McGinley
Agnès Varda
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Guest Curators
Christian Boltanski
Christian Boltanski is a French contemporary artist. In 2010, he took over the nave of the Grand Palais for the
Monumenta exhibition and the following year represented France at the 54th Venice Biennale (2011). Major
exhibitions of his work have been held at the Centre Pompidou in Paris (1984), the Chicago and Los Angeles
Museums of Contemporary Art (1998) and at London's Whitechapel Gallery (1990). He also took part in
documenta V (1972), VI (1977) and VIII (1987).
More recently, the artist has shown at the Fondation Louis Vuitton (2014), Park Avenue Armory in New York
(2010) and the Serpentine Gallery in London (2010). He has won a number of distinguished awards: the
Kaiser Ring (2001), the Kunstpreis given by Nord/LB, Braunschweig (2001), Créateurs sans frontières
(2007) and the Praemium Imperiale Award (2007).
In 2015, he received the Generalitat Valenciana’s International Julio González prize.
Hans Ulrich Obrist
One of the most influential curators on the contemporary art scene, Hans Ulrich Obrist has organised
numerous solo exhibitions (Olafur Eliasson, Philippe Parreno, Jonas Mekas, Pierre Huyghe, Anri Sala, Doug
Aitken, among others) and group shows (such as do it; Cities on the Move, 1997; the 1st Berlin Biennale,
1998; Mutations, 2000; Utopia Station, 2003; and the 9th Lyon Contemporary Art Biennale).
In 1993, he oversaw the "Migrateurs" programme at the Museum of Modern Art in Paris, where he was
curator for contemporary art. Since 2006, he has co-directed the Serpentine Gallery in London.
Hans Ulrich Obrist became interested in the history of curation very early on. His conversations with
pioneering figures in exhibition curation were published in 2008 in A Brief History of Curating, followed in
2011 by Everything You Always Wanted to Know About Curating But Were Afraid to Ask.
In 2009, he became an honorary member of the Royal Institute of British Architects. In March 2011, he
received the Bard College Award for Curatorial Excellence and the same year launched the Institute of the
21st century (i21c), a collaborative initiative devoted to archiving and distributing his Interview Project, for
which the Van Alen Institute awarded him the New York Prize Senior Fellowship for 2007-2008.
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When you leave Take Me (I'm Yours) at Monnaie de Paris, you will be given:
A paper bag - Christian Boltanski
A small white bag stamped with Take Me (I’m Yours) Monnaie de Paris 2015
Labels stamped with Take Me (I’m Yours) Monnaie de Paris 2015
...so that you can carry, organise and label the artists' works.
Created objects:
Badges - Gilbert & George
A wishbone - Angelika Markul
DVDs which erase themselves when played - Philippe Parreno
Leather bookmarks - Amalia Ulman
Found objects:
Clothes - Christian Boltanski
Any object left by visitors to the exhibition - Jonathan Horowitz
Any object to swap - Roman Ondák
Distributed objects:
Mini Eiffel Towers - Hans-Peter Feldmann
Objects to purchase:
Pens, coins - Christine Hill
An écu, the exhibition's currency - Fabrice Hyber
Air capsules - Yoko Ono
Photos taken in a photo booth on site together with a certificate of participation - Franco Vaccari
Paper objects:
Pink confetti printed with the words "Be quiet" - James Lee Byars
Black-painted business cards - - Heman Chong
A bibliography of recommended texts compiled by the exhibition curators - Maria Eichhorn
Postcards of the Eiffel Towers - Hans-Peter Feldmann
A prospectus of the services offered by the artist - Andrea Fraser
A pale blue poster - Felix Gonzalez-Torres
A red poster - Felix Gonzalez-Torres
A white poster with two golden circles - Felix Gonzalez-Torres
A poster of a photo of a bird in the sky - Felix Gonzalez-Torres
Leaflets for Bateau-Mouche boat trips on the Seine - Bertrand Lavier
Postcards - Yoko Ono
A flyer - Yoko Ono
Postcards - Danh Võ
NAU EM I ART BILONG YUMI stencils - Lawrence Weiner
NAU EM I ART BILONG YUMI tattoos - Lawrence Weiner
Newspapers:
The special issue of KEMPENS Informatieblad for Monnaie de Paris - Jef Geys
Various issues of point d'ironie
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Food:
Eggs - Kerstin Brätsch and Sarah Ortmeyer
Mint-flavoured blue sweets - Felix Gonzalez-Torres
Pills with unknown effects - Carsten Höller
Soylent drinks - Sean Raspet
Tins of sardines - Daniel Spoerri
Pieces of human skeleton made of marzipan - Daniel Spoerri
Rosewater communion wafers - Rirkrit Tiravanija
Rosewater - Rirkrit Tiravanija
Virtual works (Monnaie de Paris Google app):
A video - Ho Rui An
A route for taking a dog for a walk in the area around Monnaie de Paris - Koo Jeong-A
A virtual reality audio guide - Charlie Malgat
Books can be purchased at:
The Monnaie de Paris Flammarion Bookshop, where you will find the publications featured in the
bibliography compiled by the exhibition curators - Maria Eichhorn
The second-hand bookseller opposite Monnaie de Paris, where a pop-up stall will have a selection of works
on the exhibition artists available, produced by a young publishing house - saxpublishers/Felix Gaudlitz
Sound works are exhibited in:
The exhibition rooms - Franck Krawczyk
The peristyle and the Escalier d'Honneur - Yoko Ono
You can take part in the exhibition by using objects made available by the artists:
Draw a picture and trade it for a free place on one of the Monnaie de Paris workshops and the opportunity to
visit the contemporary art exhibitions organised by TRAM (Paris/Ile de France contemporary art network) Paweł Althamer
Use newspaper cuttings to display in the exhibition - Gustav Metzger
Write a wish on a label and hang it on the Wish Trees - Yoko Ono
Put a photo taken in the photo booth up on the wall - Franco Vaccari
Enjoy the rest places - Franz West
by bringing objects, to give or exchange:
Any object - Jonathan Horowitz
Any object to swap - Roman Ondák
by actively participating in the works:
Take a dog for a walk in the area around Monnaie de Paris following a route planned by the artist - Koo JeongA
Play for, and perhaps win, a one-to-one dinner with the artist - Douglas Gordon
Download and take away artists' books - Wolfgang Tillmans
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A full programme of impromptu events will run throughout the exhibition, and
especially during the FIAC (Paris Foire Internationale d'Art Contemporain) from 22 to
24 October. At the end of these events, you might leave in possession of:
Paper objects:
Cards made of Japanese paper with the names of poets hand-written on them - Etel Adnan
The 22 POF flyers (Prototypes d'Objets en Fonctionnement (POF), Protoypes of Functioning Objects) Fabric Hyber
Objects from the artist's studio:
Painted eggs - Kerstin Brätsch and Sarah Ortmeyer
Words and rumours:
Gilbert & George's talk with Hans Ulrich Obrist
Launch of the Bourg-Lastique Biennale - Bertand Lavier
There will also be poetic and political interventions:
Poetry readings - Etel Adnan
A surprise performance - Paweł Althamer
A ghost performance - James Lee Byars
A discussion with a gorilla - Gloria Friedmann
A new ephemeral creation - Otobong Nkanga
A work from the exhibition revisited - Roman Ondák
A creative workshop - Takako Saito
and you will be able to participate interactively:
Come and create a work with red objects - Alison Knowles
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Visitor Programme
The exhibition will be transformed every day by the actions of visitors and the presence of the artists.
Performances will take place at regular intervals and surprise visitors as they walk through the exhibition
rooms.
Etel Adnan's
Adnan piece - a series of poetry readings - will invite poets to read their own works or pay homage to
others. Visitors will take away with them not only the experience of the reading, but also drawings and verses
as a gift from the artist.
A fuller events programme is scheduled for the three days of the FIAC, from 22 to 24 October,
October when artists
Etel Adnan,
Adnan Paweł Althamer, James Lee Byars,
Byars Kerstin Brätsch & Sarah Ortmeyer, Gloria Friedmann,
Gilbert & George, Fabrice Hyber,
Hyber Alison Knowles, Otobong Nkanga, Roman Ondák, Sean Raspet,
T akako Saito and Daniel Spoerri will be encouraging visitors to get involved interactively.
On 5 November, Federico Nicolao, writer and Theory of Images teacher at the ENSAPC (École Nationale
Supérieure d'Arts de Paris, Cergy) and three young artists, Joaquim
Joaquim Brissaud, Maï Ito Delhomme and
Charli Tapp will hold three concerts in recognition of the open-ended, evolving form of Take Me (I'm Yours),
conceptualised in response to the notion of dissemination and the spirit of the exhibition.
Events
/// European Heritage Days: Saturday 19 and Sunday 20 September
Take Me (I’m Yours) brings together contemporary artists who are, every day, engaged in constructing the
cultural heritage of the 21st century. For the 2015 European Heritage Days, artists involved in the 89plus
research project, all born in or after 1989, will take centre stage. The particular focus will be on their digital
works, which explore new artistic media such as the Monnaie de Paris Google app.
Monnaie de Paris will be offering "European Heritage Day" guided tours and special workshops which will
look at the idea of modern-day heritage against a backdrop of the Quai de Conti's 18th-century rooms
overlooking the Seine.
Guided visitor tours will take place every hour from 11 am to 6 pm.
Workshops
Workshops for Young People (free if you book in advance)
45-minute workshop for 3- to 5-year-olds accompanied by an adult at 11 am
1-hour workshop for 6- to 12-year-olds accompanied by an adult at 2 pm
/// Nuit Blanche: Saturday 3 October
The Nuit Blanche will highlight Jonathan Horowitz's work, Free Store - a market that aims to encourage the
free-flowing exchange of merchandise with no need for cash.
Parodying the standard art fair model, the artist creates "an alternate economy parallel to that of the art
fair." Visitors can thus exchange a work for an object they've brought with them, or interact with the piece by
contributing to it or taking an object from it with no strings attached.
Free admission from 7 pm to 7 am.
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Cultural Initiatives
Monnaie de Paris guided tours prioritise discussion and dialogue with visitors. During this exhibition,
where visitors have a vested interest in what happens to the works, mediators will be available every
day in the exhibition rooms to provide
provide information on visitor routes through the exhibition, workshops
for young people, sign language tours, and audio described tours for the visually impaired.
The Educational Team: Monnaie d’Échange
An internship programme for students puts each individual in charge of a project that he or she is required to
lead from start to finish, from the original concept prior to the opening of the exhibition right up to its
completion. This project is designed as a "laboratory" that stimulates ideas about new forms of mediation,
and new formats for tours and workshops, through an approach based on the visitor's personal discovery
during discussions and conversations with the guide.
Run in partnership with the École du Louvre and the École Nationale Supérieure des Beaux Arts.
Cultural Mediation
The Monnaie d'Échange team is permanently on hand in the exhibition spaces. Cultural mediators will
approach visitors from time to time to offer them additional information or to engage with them in
conversation. Visitors are free to take advantage of this service or not.
VISITOR TOURS
Visitors who explore the exhibition independently can then talk about it with a mediator in a maximum of 10
per group. Because the individuals in the group vary, so does the form and content of each discussion. All
tours are included in the price of the admission ticket and are also available in English and sign language.
/// Focus Monnaie
Who has never felt pressed for time while visiting an exhibition? Monnaie de Paris cultural mediators will give
you an introduction to the exhibition that focuses on a specific theme so that you can approach the works of
art in an original way.
20-minute tour, Tuesdays 4 pm / Thursdays 7 pm / Saturdays 5 pm
On Thursday 24/09 and Thursday 22/10 at 7 pm in French and sign language
On Thursday 01/10 and Thursday 29/10 at 7 pm in English
Tour included in the price of the admission ticket, subject to availability
/// Expo Monnaie
The visitor's own observations and comments provide the direction for guided tours led by mediators.
Reflecting its history, architecture and mission, Monnaie de Paris gives visitors the opportunity to approach
contemporary art exhibitions in a unique way, tailored to them.
50-minute tour, Tuesdays 5 pm / Thursdays 8 pm / Saturdays 4 pm
On Thursday 24/09 and Thursday 22/10 at 8 pm in French and sign language
On Thursday 01/10 and Thursday 29/10 at 8 pm in English
Tour included in the price of the admission ticket, subject to availability
/// Archi Monnaie
This tour puts the spotlight on the history and architecture of Monnaie de Paris and gives an introduction to
the exhibition.
50-minute tour, Wednesdays at 5 pm
On Wednesday 23/09 and Wednesday 21/10 in French and sign language
On Wednesday 30/09 and Wednesday 28/10 in English
Tour included in the price of the admission ticket, subject to availability
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WORKSHOPS FOR CHILDREN, TEENS AND FAMILIES
Monnaie de Paris's mediators, the Monnaie d'Échange team, will be running a series of original events based
on the exhibition that children will experience as giant workshops where freedom and creativity have free
rein. A different workshop will be organised each time. Heads or Tails and Clan Monnaie workshops are
available in English and French sign language.
/// Heads or Tails Workshop
These Wednesday afternoon workshops for 6- to 9-year-olds and 10- to 12-year-olds aim to stimulate and
develop the ways in which children see the works using creative tools consistent with the pieces on show
such as cameras, sketch books and microphones. They will be guided by Monnaie d'Échange mediators.
50-minute workshop on Wednesdays at 3 pm for 6- to 9-year-olds and 4 pm for 10- to 12-year-olds
On Wednesday 23/09 and Wednesday 21/10 in French and sign language
On Wednesday 30/09 and Wednesday 28/10 at in English
Price: €8 per child
/// Clan Monnaie
Saturday afternoons provide an opportunity for 3- to 5- year olds and 6- to 12-year-olds and their parents to
come and talk about the works on display. Monnaie d'Échange mediators are full of ideas to enrich the
discovery process for young and older children alike: stories, role plays and experiments requiring several
pairs of hands all make the afternoon an original experience.
50-minute workshop on Saturdays for children accompanied by their parents at 11 am for 3- to 5year-olds and 2 pm for 6- to 12-year-olds
On Saturday 26/09 and Saturday 24/10 in French and sign language
On Saturday 03/10 and Saturday 07/11 in English
Price: €14 for one child and one adult.
/// Mini Monnaie
Mini Monnaie reserves the exhibition spaces for parents and children from 0 to 18 months, giving them the
freedom to discover the exhibition at their own pace and in their own time. There are opportunities to handle
objects on display to develop the child's sense of touch, while other works stimulate their capacity to see and
hear. Visiting the exhibition becomes an experience of sharing between parents and children, who are
introduced to contemporary art in a sensory awakening.
Tuesday 29/09 and Tuesday 27/10 at 10 am
Price: €14 for one child and one adult
WORKSHOPS FOR ADULTS
// Le Grand Monnayage - Series workshop
A young artist leads this video workshop based on the exhibition and Aiming to move participants to "the
other side": visitors become artists.
The result is a collective endeavour with participants and the guest artist making a video work together.
Everyone is involved at every stage of the process, from scenario development, production and filming
through to editing. Participants become co-directors of one episode in a series, as this workshop unfolds
over six sessions.
2-hour workshop in six sessions.
Monday evenings at 7 pm from 28/09 to 02/11
Price: €30 for the whole workshop including unlimited access to the exhibition
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ACCESSIBILITY
// Sign language tours and workshops
These tours provide opportunities for visitors who would not normally meet to experience the exhibition
together. Monnaie de Paris has put time and thought into how we communicate about artworks by signing in
order to offer bilingual French and French sign language tours.
The tours
On Thursday 24/09 and Thursday 22/10: Focus Monnaie tour at 7 pm (20 mins) and Expo Monnaie
tour at 8 pm (50 mins).
Tours included in the price of the exhibition admission ticket
Workshops for young people
Wednesday 23/09 and Wednesday 21/10: Heads or Tails workshop for 6- to 9-year-olds at 3 pm and
10- to 12-year-olds at 4 pm (50 mins). Archi Monnaie tour at 5 pm (50 mins)
Price: €8 per child.
Saturday 26/09 and Saturday 24/10: Clan Monnaie workshop for 3- to 5-year-olds at 11 am and 6to 12-year-olds at 2 pm (50 mins)
Price: €14 for one child and one adult.
// Audio described tours for visually impaired visitors
A mediator from the Monnaie d'Échange team accompanies visually impaired visitors as they explore this
exhibition that involves touching, handling and even taking works away. The audio described tour takes
visitors through the sensory experience this exhibition offers.
Saturday 31 October at 10 am
Tour included in the price of the exhibition admission ticket
// "Souffleurs d’images" for visually impaired visitors
In partnership with the Centre de Recherche Théâtre et Handicap, Monnaie de Paris facilitates access to
cultural events for visually impaired visitors through the "Soufffleurs d'image" initiative. Art students
accompany visitors, providing them with the information they need to gain an understanding of the works on
display. It's a service tailor-made for you!
For further information and/or to make a booking (requested 15 days prior to the date of the tour)
call +33 (0)1 42 74 17 87 or email [email protected]
Free accompanied tour
In partnership with the École du Louvre, the École Nationale Supérieure des Beaux-Arts de Paris, the École
Supérieure d’Interprètes et de Traducteurs, the ESAG Penninghen, the École Nationale Supérieure d’Arts de
Paris-Cergy, the Université de Paris-Ouest Nanterre La Défense and Sciences Po.
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Discover our mobile app
Visit Monnaie de Paris with a free mobile app for company, created in partnership with the Google Cultural
Institute.
Available on iTunes and Google Play, this app for smartphones and tablets offers an unprecedented,
multimedia approach to the temporary art exhibitions. It gives an introduction to the architecture of the
Palais Conti and takes a brief look on video at the projects by contemporary artists developed as part of the
Factory programme.
Visitors can use their own devices or borrow tablets at the ticket desk to take with them around the
exhibition and use when they want to access a virtual tour.
You can use the app to participate interactively in Take Me, (I’m Yours) through the contributions of
three artists:
Koo JeongJeong-A
Gravissimousss Pmomd, 2015
Come to Monnaie de Paris and set off on a walk with a one of man's best friends. Koo Jeong-A's dog walks
offer a fun experience of discovery and sharing .
With canine companion in tow and equipped with the mobile app, the visitor follows one of the four routes
planned by the artist and, for the duration of the walk, experiences Paris in a different way.
Charlie Malgat
Mariage entre les zones 15 & 95, 2015
Charlie Malgat has designed an audio guide for Monnaie de Paris's Google app based on the spatio-temporal
fissure between the two exhibitions (1995 - 2015) with a narrative that superimposes the past within the
present. With exceptional input from Fabrice Hyber, it will take you right into the Salle Guillaume Dupré and
give you an in-depth insight into the works on display there.
Ho Rui An
Handle (with care), 2015
The artist presents a 7-minute video created from the textual and visual archives of the 1995 Take Me (I'm
Yours) exhibition at the Serpentine Gallery in London.
On Instagram
Writer Federico Nicolao will produce an digital, daily news feature during the exhibition
to be posted on Instagram at #kikerikidide,
#kikerikidide a tribute to the writings of curator Hans Ulrich Obrist.
Theoretical texts and images will provide a narrative for the exhibition throughout its duration.
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Publication
30 x 22 cm
66 pages
Retail price : €39
Limited edition, available at the ticket desk
Interaction with the object, touching it and holding it, is the fundamental principle which guided the design of
this publication, continuing the underpinning theme of Take Me (I'm Yours) at Monnaie de Paris.
The intrinsic nature of the exhibition is reflected in this atypical catalogue. It takes the form of a sticker book,
where the reader peels off images and sticks them in the empty boxes corresponding to the works of the 44
featured artists.
Commentary by Christophe Beaux and Chiara Parisi complete the catalogue, as well as the transcript of a
conversation between Christian Boltanski, Hans Ulrich Obrist, Arnaud Esquerre and Patrice Maniglier, who
examine the issues presented by an exhibition such as Take Me (I'm Yours) from different angles
(philosophical, sociological, artistic and economic).
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Exhibition currency
Fabrice Hyber, un écu, 19891989 -2015
25 mm, 8g
Retail price: 1 euro
A product of cutting-edge technology and the very latest, most innovative research carried out by Monnaie
de Paris, this mini-medal made of a copper-nickel alloy has a golden obverse and a silver reverse
Fabrice Hyber worked collaboratively with the Monnaie de Paris workshops to create this piece, which is 25
centimetres in diameter. By continuing to work with a range of materials through partnerships with
businesses offering unique expertise, the artist questions notions of exchange and monetary value, both
from a complex European perspective but also simply from the point of view of craftsmanship and technique.
The mini-medal's obverse depicts the different ways of indicating the number one using the hands.
This écu extends the scope of a project started in 1989 for which Fabrice Hyber created three limited edition
pieces using traditional methods. For this fourth piece, the artist has been introduced to the knowledge,
skills and large-scale production processes of Monnaie de Paris.
Visitor Information
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Monnaie de Paris
https://billetterie.monnaiedeparis.fr
11, Quai de Conti
75006 Paris
Monnaie de Paris Flammarion bookshop
11, Quai de Conti, 75006 Paris
Open every day, 11 am --- 7 pm
Late Thursday opening till 10 pm
Take Me (I’m Yours)
Open to visitors from 16 September to 8
November 2015
Open every day, 11 am --- 7 pm (ticket desk closes
at 6.30 pm)
Open Thursday until 10 pm (ticket desk closes at
9.30 pm)
/// Student Nights
Free admission for students on Thursdays from 6
pm
/// Prices
Full price: €12
Concessions: €8
Under 18s, students, teachers, tourism
professionals, Monnaie de Paris employees and
companions, tourism professionals, partners:
holders of a UGC card
Free admission: Under 13s, affiliate Maison des
Artistes artists, job seekers/those receiving
minimum social benefits, large families, people
with disabilities and a companion, press
representatives, ICOM (International Council of
Museums) members, partners: Ecole Nationale
Supérieure des Beaux Arts (students and staff),
Ecole du Louvre (students and staff), students on
the "Médiation Culturelle, Patrimoine et
Numérique" master's course at Université de
Vincennes à Saint-Denis (Paris 8) and Université
Paris Ouest Nanterre La Défense (Paris 10),
Ateliers des Beaux Arts de la Ville de Paris
students, professionals from TRAM member
institutions (Paris/Ile de France contemporary art
network), student "Souffleurs d’images"
volunteers
Monnaie de Paris boutique
2, Rue Guénégaud, 75006 Paris
Open Monday to Saturday, 11 am --- 7 pm
Cultural initiatives / Visitor programme
La Monnaie de Paris offers a wide range of visits
and workshops for all, every day.
Visitor information and reservations from Monday
to Friday, 10 am to 6 pm: +33 (0)1 40 46 57 57
For all requests: [email protected]
Visitor programme: [email protected]
FIND US ON
www.monnaiedeparis.fr
facebook.com/monnaiedeparis
twitter.com/monnaiedeparis
youtube.com/monnaiedeparis
instagram.com/monnaiedeparis
/// 33-day Performance Pass
Unlimited admission from 22 to 24 October
Full price €18 / Concessions €12
Online booking
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Visuals available after the exhibition opening
*In situ visuals of the exhibition will be available from 17 September 2015
The exhibition poster
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Etel Adnan,
Adnan 2015
Courtesy of the artist
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Paweł Althamer,
Althamer 2015
Courtesy of the artist and neugerriemschneider, Berlin
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Christian Boltanski,
Boltanski
Take Me (I’m Yours),
Serpentine Gallery, London
Photo © Armin Linke, 1995
Christian Boltanski,
Boltanski
Personnes, 2010
© Agostino Osio
Courtesy of the artist, the
HangarBicocca Foundation
and the Marian Goodman
Gallery, Paris
Christian Boltanski,
Boltanski
Personnes, 2010
Installation, Monumenta 2010,
Grand Palais, Paris
Photo © Didier Plow
Courtesy of the artist and the
Marian Goodman Gallery,
Paris
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Heman Chong,
Chong
Monument to the people
we've conveniently forgotten
(I hate you), 2008
Courtesy of the artist and the
Wilkinson Gallery, London
Jeremy Deller,
Deller
Joy in People, at an exhibition
at the Hayward Gallery,
London, 2012
© Linda Nylind
Andrea Fraser,
Fraser
Please Ask For Assistance,
exhibition, 1993, installation
with Preliminary
Prospectuses, American Fine
Arts, Co., New York, USA
Courtesy of the artist
27
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
HansHans-Peter Feldmann,
Feldmann Take Me (I’m Yours), Serpentine Gallery, London
Photo © Armin Linke, 1995
HansHans-Peter Feldmann,
Feldmann
Postcards,
Photo © Guy-Editions A.
Leconte
28
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Jef Geys,
Geys
Exhibition at Air de Paris,
Paris, 2014
Photo © Marc Domage
Courtesy of the artist and Air
de Paris, Paris
Jef Geys,
Geys
!questions de femmes!,
1980/2015
Courtesy of the artist
29
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Gilbert & George, Hans Ulrich Obrist, Take Me (I'm Yours), Serpentine Gallery, London
Photo © Armin Linke, 1995
Gilbert & George,
George 2015
Courtesy of the artists
30
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Felix GonzalezGonzalez-Torres,
Torres
Untitled, 1990
© The Felix Gonzales-Torres
Foundation / CNAP / Musée
départemental d'art
contemporain de
Rochechouart
Felix GonzalezGonzalez-Torres,
Torres
Untitled, 1990
© The Felix Gonzalez-Torres
Foundation
Courtesy of the Andrea Rosen
Gallery, New York
31
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Christine Hill,
Hill Take Me (I’m Yours), Serpentine Gallery, London
Photo © Armin Linke, 1995
Christine Hill,
Hill
Vendible, 1995
Interactive installation
Photo © Steven White
Courtesy of Ronald Feldman
Fine Arts, New York
32
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Carsten Höller,
Höller Take Me (I’m Yours), Serpentine Gallery, London
Photo © Armin Linke, 1995
Carsten Höller,
Pill Clock, 2015
Courtesy of the artist and Air
de Paris, Paris
Photo © Attilio Maranzano
33
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Jonathan Horowitz,
Horowitz
FREE STORE, 2009
© Courtesy of the artist and Sadie Coles HQ, London
34
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Fabrice Hyber,
Hyber Take Me (I’m Yours), Serpentine Gallery, London
Photo © Armin Linke, 1995
Fabrice Hyber,
Hyber
un écu, 1989-2015
Courtesy of the artist
35
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Koo JeongJeong-A,
arrogation
© The artist
Courtesy of Pilar Corrias,
London
Koo JeongJeong-A,
looking for the adventure
© The artist
Courtesy of Pilar Corrias,
London
Koo Jeong,A,
Jeong,A
we were born to be shining
together
© The artist
Courtesy of the artist and Pilar
Corrias, London
36
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Angelika Markul,
Markul
L’os du bonheur, 2015
Courtesy of the artist
Gustav Metzger,
Metzger
MASS MEDIA: Today and
Yesterday, 2009
Installation, Gustav Metzger
Decades: 1959 – 2009,
Serpentine Gallery, London
Photo © Jerry HardmanJones
Courtesy of the Serpentine
Gallery, London
Gustav Metzger,
Metzger
MASS MEDIA: Today and
Yesterday, 2009/2013.
Installation, Mass Media /
Media Mess, Christine König
Galerie, Vienna
Photo © Leanne Dmyterko
37
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Otobong Nkanga,
Nkanga
Contained measures of
Shifting states, 2012
The Tanks, Tate Modern,
London
Roman Ondák,
Ondák
Swap, 2011
Courtesy of the artist and gb
agency, Paris
38
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Sean Raspet,
Raspet
CCCCC1CCC(=O)O1
CCCCCCC1CCC(=O)O1
CCCCCCCCC1CCC(=O)O1
CCCC1CCCC(=O)O1
CCCCCC1CCCC(=O)O1
CCCCCCCC1CCCC(=O)O1
(Technical Milk)
CC1=CC=CC(C)=N1
CCC1=CN=C(C=C1)C
CCC1=CN=CC=C1
CC1C(=O)C(=C(O1)C)O
CCC1C(=O)C(=C(O1)C)O
(Technical Food), 2015
Courtesy of the artist and
Rosa Labs
39
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Ho Rui An,
An 2015
Courtesy of the artist
Rirkrit Tiravanija,
Tiravanija
Untitled, 2015 (Eau de RRose
of Damascus)
Commissioned by the Sharjah
Art Foundation
Installation, Sharjah Biennial
12
Photo © Shanavas
Jamaluddin
Courtesy of the artist and the
Sharjah Art Foundation
40
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Rirkrit Tiravanija,
Tiravanija
Untitled, 2015 (Eau de RRose
of Damascus)
Commissioned by the Sharjah
Art Foundation
Installation, Sharjah Biennial
12
Photo © Shanavas
Jamaluddin
Courtesy of the artist and the
Sharjah Art Foundation
Amalia Ulman,
Ulman
What to do about money,
2015
Courtesy of the artist and
James Fuentes, New York
Franco Vaccari,
Vaccari
Esposizione in tempo reale
N.4
Lascia su queste pareti una
traccia fotografica del tuo
passaggio
Installation, Venice Biennale,
1972
Courtesy of the artist and
P420, Bologna
41
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Danh Võ,
Võ
ydob eht ni mraw si ti, 2015
Photo © Danh Võ
Danh Võ,
Võ
ydob eht ni mraw si ti, 2015
Photo © Danh Võ
Danh Võ,
Võ
ydob eht ni mraw si ti, 2015
Photo © Danh Võ
Danh Võ,
Võ
ydob eht ni mraw si ti, 2015
Photo © Danh Võ
42
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Lawrence Weiner,
Weiner
NAU EM I ART BILONG YUMI,
1995-2015
Courtesy of the artist and the
Marian Goodman Gallery
Lawrence Weiner,
Weiner
THE SECOND ONE AFTER &
DIRECTLY IN FRONT IN
FRONT OF THE SUN AT THE
LEFT OF THE LAST + A RISE
IN THE ROAD + A STONE IN
THE ROAD BEHIND THE SUN
& STRAIGHT ON, 1998
Courtesy of the artist and the
Marian Goodman Gallery
43
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr
Christine Hill, Franz West,
West Take Me (I’m Yours), Serpentine Gallery, London
Photo © Armin Linke, 1995
44
Monnaie de Paris
11, quai de Conti - 75006 Paris
www.monnaiedeparis.fr