Portfolio_Anglais_Mattenberger_Luc
Transcription
Portfolio_Anglais_Mattenberger_Luc
Luc Mattenberger Recent works 97 rue de Lausanne CH-1202 Genève [email protected] +41 76 537 46 67 www.lucmattenberger.com ------------------------------Rotwand Lutherstrasse 34, 8004 Zürich 044 240 30 55 www.rotwandgallery.com ------------------------------- LUC MATTENBERGER - THE TOXIC POETICS OF PETROL ENGINES Luc Mattenberger’s Sac à dos à moteur (Backpack with Engine, 2007) arouses curiosity. At first glance, it looks like it could be used for mowing the lawn, trimming hedges or clearing away dead leaves – or else, along totally different lines, for propelling someone skywards like a novice astronaut. Yet, since it drives no “useful” machine, it serves none of these purposes. Nor can it be qualified as the sort of “useless” object that the art world could label simply as sculpture. Indeed, this two-stroke engine runs – that is, produces noise, a smell and stains. As a portable contraption that uses fuel and pollutes for nothing but its own sake, this object is incorrect both ecologically and politically. Moreover, from an artistic point of view, it suggests a position as disturbing as it is radical with respect to the status of sculpture, (non-) performance and viewer participation. Sac à dos à moteur makes no claim to the poetic beauty of Panamarenko’s utopian machines, nor does it imply any consumerist criticism in the vein of César’s compressed car sculptures. Nor again does it owe anything to the luxury fetishes of Sylvie Fleury’s bronze chrome car engines. Then, too, it looks very different from the cars that such diverse artists as Olaf Breuning, Alain Bublex, Bertrand Lavier and Sarah Lucas incorporate into their works. It also differs from Lori Hersberger’s intricately choreographed motorcycle-tire skid marks, Fabien Giraud’s installations of motorcycles endowed with an artificial intelligence system or the mini-motorcycle races set up by the artist duo Sophie Dejode and Bertrand Lacombe. No, Sac à dos à moteur is strictly straightforward, no matter how varied the origins of its component parts: the minimotorcycle engine and the weed-eater suspenders were purchased as spare parts, the exhaust pipe’s position was modified, and the gas tank and metal support to which the various elements are attached were custom-made. Scaled to human proportion, the object is shown hanging from a hook – yet the smell of petrol and the grease stains on the floor imply occasional usage to ends that nonetheless remain enigmatic. One wonders whether, once running, the engine represents a danger for anyone close-by, or for the person wearing the backpack. Also, is that person a potential rescuer or, on the contrary, a human bomb in-the-making? You might come across an individual revving up his Sac à dos à moteur somewhere in the midst of a crowd. However, such a possibility will not provide all the answers to the questions this work brings to mind, since this object’s power, its inherent violence, comes across above all when it is viewed during its “off duty” phase. Another work implying potential use and a need for polluting fuel is his Disqueuse à essence (Petrol-Driven Circular Saw, 2007). The distinguishing feature here is that the object – coming from a hardware store and presented as is – remains out of the viewer’s reach. This is because it is enclosed in a galvanized steel plate housing, into which a picture window has been pierced. On one side we see a small metallic instrument, in red, which immediately brings to mind the “in case of emergency, break glass” warning associated with a rescue gesture in case of accident. Here, however, to follow the emergency instructions would be to provide access to a powerful machine customarily serving to cut through metal or pierce walls. It is an object suited to providing life-saving openings, or else to enabling prison escapes by sawing through jail cell bars or again, in a more dramatic situation still, to spreading terror in the fashion of Jack Nicholson’s hysteria-driven antics in Stanley Kubrick’s The Shining. Mattenberger lives in a world of weird objects lying in wait to pounce and turn the places where they appear topsy-turvy. A mere push of the starter button on his Excavatrice (Excavator, 2006) could enable its sharp blades to tear up a wooden floor. Likewise, and as its very title indicates, his Baignoire à moteur hors-bord (Bathtub with Outboard Motor, 2006) can stir up a thunderous swirl in a commonplace bathtub filled with oil-soaked water. Whatever else, the smell of petrol imbues the places where these works are displayed, lending them garage-like overtones at opposite extremes from traditional art venues. These are no autonomous objects – we are reminded of the tanker whose driver viewers never get to see in Spielberg’s Duel, or the 1957 Plymouth in John Carpenter’s film Christine. With Mattenberger, it is just the opposite: although all his works are operational, their functioning is up to each of us. Luc Mattenberger loves engines. He knows exactly how they run. He is a sculptor who explains synchronous piston movement, a painter who describes the spurts of fuel coming out of an exhaust pipe, a musician who analyzes an engine’s noisy explosions, a perfumer who breathes in the smell of old burned oil... His toxic petrol-engine poetics convey not only his fascination with machines destined to gradually disappear, but also demonstrate the laughable and potentially dangerous aspect of a fascination – particularly masculine – that has, for over a century, contaminated a good share of the world population. Before becoming a problem of global dimensions, petrol-driven machines were part and parcel of modernism’s wildest epics – the rise of industry, the democratization of the automobile, the progress of aviation, the growth of business trade, the advance of technology, the conquest of space, and more. Without waxing moralistic, Mattenberger’s art probes, among other things, the idea of pollution, not only in cities and in Nature, but also in a more figurative sense, in the realm of art. One day, perhaps, it will be considered meaningful as well in the context of an industrial and cultural heritage from a bygone era wont to quench its thirst for energy at the petrol station. Jean-Paul Felley & Olivier Kaeser Directors of attitudes – a non-profit contemporary art space, Geneva and of the Centre culturel suisse, Paris www.attitudes.ch Translation: Margie Mounier Tools (Revolution) 2014 Steel and stainless steel, leather, brass, Enamelled earthenware 400 x 300 x 330 cm Down to the Limit 2014/2015 Inkjet print on paper 355 x 245 cm Pinto Canyon 2014 HD video on flat screen 24 min (loop) During a 3 months stay in the USA, I imposed upon myself as a single playlist for the car radio, the songs used in Guantanamo for torture. Then, for three weeks, every night, I took the road from Marfa to Mexico, driving down the Pinto Canyon Road. Souffleuse 2014 Galvanized steel, led, leaf blower, fan, acrylic glass 185 x 62 x 36 cm Grille 2014 Galvanized steel, flammable liquid, cotton, glass, leather 81 x 62 x 15 cm Croix 2013 / 2014 Steel, chain 35 x 25 cm x variable height Ian Wilson The 10th Circle on the Floor, 1968, white chalk drawing, coll. Mamco Masque 2014 Enamelled earthenware, leather, brass Edition Nationale Suisse Sans titre (Restraint) 2014 rope, hand suction lifters, glass, steel 70 x 22 cm x variable height A thin glass is sandwiched between two suction lifters. The plate is kept in a precarious balance, requiring daily human intervention to regenerate the suction; otherwise, the Earth’s gravity will take over, causing the irreparable loss and breakage of the glass plate. Born and Raised 2014/2015 Inkjet print on PVC tarpaulin, leather, aluminium 210 x 300 cm Ghost Tape Number 10 2013 Vinyl 18.5 x 18.5 x 0.5 cm « Ghost Tape Number 10 » or « The Wandering Soul ». A fictional wandering soul. Fruit of the imagination of American brains. A war. Propaganda sound. Not just any. A powerful sound projected above the jungle by helicopters. A polyphony. Myth and reality. Leaves to absorb sound, there are none left. Drop 2012 Brass, stainless steel, water tank, amplifier 100 x 60 x 60 cm A drop of water falls regularly on a wide brass disc. Four loudspeakers amplify the effect. The structure is always on the edge of feedback. Siren Backpack 2011/2012 Steel, aluminium, electromechanical siren, battery 40 x 50 x 115 cm Swiss Confederation Collection Stretcher 2011 Stainless steel, steel, hydraulic pump and 5 T jack 200 x 38 x 110 cm Flare 2012 Steel, concrete, aluminium, rubber, electric motor, galvanized steel 640 x 640 x 220 cm Wall 2012 Concrete, brass, galvanized steel 185 x 90 x 5 cm - 250kg Avec le soutien de PRELCO Préfabrication d’Eléments de Construction SA Heimat 2011 Dural, stainless steel, wood, glass 22 x 33 x 8 cm Booby Trap 2011 Engine, aluminium, F-5 Tiger tank, turbine 80 x 120 x 550 cm Kunstmuseum Bern collection [ ... ] la torpille de Luc Mattenberger, [ qui ] comme ses devancières imaginées par la marine japonaise à la fin de la seconde guerre mondiale, nécessite un pilote humain pour atteindre son but. Dans Le robot qui rêvait d’Asimov, Elvex (LVX-1) est détruit précisément parce que ses rêves, cette part humaine qui se développe en lui, pourraient lui faire négliger les trois lois de la robotique. Voilà une oeuvre pie. Comme l’aurait dit jadis Arnaud Amaury, archevêque de Narbonne et légat du pape : “Cædite eos !” Shoot’em up, quoi ! in Les robots prennent le contrôle de Bâle, Le Monde, Harry Bellet Cross 2011 Steel, stainless steel 70 x 11 cm x variable height Black Matter 2010 EPDM rubber, aluminium, cable winch and electric drive 600 x 800cm Prix Pasquart, Société des Beaux-arts, Bienne A horizontal winch pull the rubber membrane until the maximum extension point is reached and then invert the direction, in other to let the membrane take its original shape. Before starting a new cycle. Brancard 2010 Aluminium, stainless steel, resistor, converter 60 x 20 x 180 cm [ ... ] Au travers des oeuvres de l’artiste le moteur tend vers le fétiche. Moteur que l’on admire pour ses qualités plastiques, sa beauté et sa force; tel un objet de contemplation, une relique ou un symbole du développement d’une société qui cherche à se surpasser en permanence. [ ... ] Mais ces engins au si fort pouvoir évocateur, peuvent se révéler à double tranchant; aussi utiles que dangereux (Brancard). Extraits de Modifier, likeyou, Boris Magrini (traduction) Smell 2010 - 2011 Galvanized steel, barrels, filtration and distribution unit 240 x 100 x 1080 cm IBA Stadtumbau program - Bahaus-Dessau Used vegetable oil is proposed to be collected by the inhabitants of the town. An organized filtration and distribution unit is set, in order to help them to convert the old vegetable oil - a waste - into fuel that can be mix with diesel. If the structure is used, the result will be a smell of french fries spread over the city: a collateral cost. go to filtration unit slow drip with 5 µm filtration distribution through manual pump and 1 µm filter oil collect when full move to 2 weeks storage (settling) when full move to 1 month storage filtration diagram go back to the beginning after settling, go distribution unit Luc Mattenberger 1980 Born in Geneva, Switzerland Lives and works in Geneva Swiss / British Education 2007 Postgrade, Pôle CIE, Haute école d’art et de design, Genève 2006 Diplôme HES en arts visuels, avec les félicitations du jury, Haute école d’art et de design, Genève Luc Mattenberger (*1980) is a Swiss artist who lives and works in Geneva and Berlin. He completed his Academic degree (Hons.) and a postgraduate at the Geneva university of art and design (HEAD) in 2007. He works essentially in the field of sculpture and installation. His works explore the multiples convinces between man and machine, with a particular interest for the engine as vector and symbol of power. During his career, the artist have been rewarded by several prizes, (e.g. «Prix de la Fondation UBS», «Swiss art award», etc.) and residency programs in Roma, Prague, Paris, Berlin and Marfa. Mattenberger is co-founder and co-editor of the literary review Coma. Awards and Grants 2014 Bourse 2014 de la Société des Arts de Genève – Résidence Fieldwork: Marfa, Texas 2013 Résidence Gleis 70, Zurich – Résidence à Berlin du département de la culture de l’Etat de Genève 2012 Résidence à l’Institut Suisse de Rome 2011 Prix de la fondation Irène Reymond 2011 – Prix fédéral d’art 2011 (Swiss Art Award) – Résidence Pro Helvetia, Futura - Centre for Contemporary Art, Prague 2010 Prix x-mas+ 2010, Société des Beaux-arts, Bienne – Prix de la Fondation Dr. René Liechti, 2010 2009 Bourse Berthoud en arts plastiques de la Ville de Genève, 2010 – Attribution d’un atelier à la Maison des arts du Grütli, Genève, 2010-2012 – Prix de la Fondation UBS pour la culture, Zurich 2008 Bourse de la Fondation Simon I. Patiño, Genève – Résidence à la Cité internationale des arts, Paris, 2008–2009 – Prix d’art de l’Union européenne en Suisse, délégation de la Commission européenne , Berne – Résidence à Berlin, Zwanzigquadratmeter, avec le soutien du Fond cantonal d’art contemporain de Genève et de Alfred Richterich Stiftung, Berlin 2007 Prix d’art de la Nationale Suisse, Prix d’encouragement aux jeunes artistes, Bâle Solo Exhibitions (selection) 2015 Zeitlücke *, Kunstlehrstuhl, BBB, Baden – Double X, Wohnung, Zurich, curator : Patrick Gosatti - Pinto Canyon, SIK-ISEA, artgenève, Geneva, avec une sélection du fonds Olivier Mosset – Art Rotterdam, Rotterdam – Rotwand, Zurich 2012 The Oil, the Metal and the Drop, Rotwand, Zürich 2011 Le syndrome de stendhal, Mario Mauroner Contemporary Art, Vienne – Scena & Dungeon, Galeria Raquel Ponce, Madrid, curateur : Javier Duero – Silence Is Sexy, La rada, Locarno, curateurs : Noah Stolz & Patrick Gosatti 2010 Black Matter, Salle Poma, Pasquart, Bienne – The Walking Ghost Phase, Video tank, Zürich – Dienstgebäude, Zürich, avec Daniela Droz & Pe Lang, curateur : Boris Magrini – Dark Matter, Analix forever, Genève 2009 Machine *, Salle Crosnier, Palais de l’Athénée, Genève 2008 Une légère odeur de frite... , Espace Kugler, Genève – And the Wind is Blowing Away, Galerie Jeune création, Villa Guelma, Paris – 140 Hours Running art Gallery, Zqm, Berlin 2007 Kunstpreis der Nationale Suisse *, Liste 07, Basel Group Exhibitions (selection) 2015 Penguin Island, Stream Gallery, New York – Stella Maris *, divers emplacements, dont le Museo Arte Gallarate, MAGA, Gallarate, curateur: Noah Stolz 2014 Kunst Heute, Sammlung Gegenwartskunst *, Teil 3, Kunstmuseum Bern – MAMCO in Fonderie Kugler, curateur: Christian Bernard – Nirvana. Les étranges formes du plaisir *, mudac, Lausanne, curateur : Marco Costantini – Fundacion Teatro Odeon, Bogota, Colombie – Swiss Art Awards, Concours fédéral d’art, Bâle – Moviment, ‘ion’, Zurich – Emergences *, Bex & Arts, Bex – Folding Unfolding Space, cubus-m, Berlin, curateur : Christine Nippe – 29 Coups, Circa, Montréal – Motopoétique, MAC, Musée d’art contemporain, Lyon, curateur : Paul Ardenne – Transform - Versuchsanordnung 3, Bern 2013 Vallée de la jeunesse, Ferme-Asile, Sion – Dérive(s), Château de Réchy, Ecav, Sierre – You Always Return To The Water, Rotwand, Zurich – New Atlantis, km temporaer, Berlin 2012 La jeunesse est un art *, Aargauer Kunsthaus, Aarau – Noir clair, Galerie Vanessa Quang, Paris – Corruption *, Istituto Svizzero di Roma – Prix Irène Reymond, Musée d’art de Pully – Solidarity Action #3 – P/Act for Art, 7th Berlin Biennale, Rome - Berlin – LONDERZEEL, Draw me Work, Kris Van Assche, Paris – Big Fish, Rotwand, Zürich, Switzerland 2011 OS, Karlin Studios, Prague – Swiss Art Awards *, Concours fédéral d’art, Bâle – Môtiers 2011 * - Art en plein air, Môtiers – Multiples – Editions Ecav *, Musée cantonal d’art du Valais, Sion – ARTère, Fonds d’art contemporain de la Commune de Meyrin – Dessins, etc..., Analix forever, Genève – Ailleurs *, Espace Culturel Louis Vuitton, Paris, curateur Paul Ardenne 2010 Les Urbaines 2010, Lausanne, curateurs: Noah Stolz & Patrick Gosatti – AUTO/Portraits, Galerie Jeune Création, Paris – Common Sense, St. Michael - Eppan, Bolzano – Kunsthaus Graz *, Graz – Drive Thru, part II *, Bauhaus-Dessau, Aschersleben – Swiss Art Awards, Concours fédéral d’art, Bâle – Robot Dreams *, Tinguely Museum, Bâle – Full Vacuum *, Live in your Head, Genève – Streamliner, Centre d’art en l’Ile, Genève 2009 Drive Thru, Bauhaus-Dessau, Aschersleben – Inbetweenout *, Les Abris, espace d’art contemporain, Lausanne – Walk the Line, La Galerie des Franciscains, Centre d’art contemporain, Saint-Nazaire – Sammellust, Werke der Sammlung Finstral *, Kunst Meran, Meran – MAC, Manifestation d’art contemporain, Genève – Bourses, Centre d’art contemporain, Genève – NIFF, Actual Fears 2, CAN, Centre d’art de Neuchâtel, Neuchâtel – Dasein / Machend, MPvite, Estuaire 2009, Nantes – Wonder Bang ! , Tokyo Wonder Site, Institute of Contemporary Art, Tokyo – Post Tenebras Lux, Analix Forever, Genève 2008 Zwischenlandung, Museum Franz Gertsch, Burgdorf, curateur: Claudio Moser – Jeune création 08 *, Grande Halle de La Villette, Paris – Palinsesti 2008, Nodo Rete *, Castello, San Vito al Tagliamento – Bourses des fonds Berthoud, Lissignol-Chevalier et Galland 2008, Centre d’art contemporain, Genève – Eden Helvète, Analix Forever, Genève – 35th Anniversary Exhibithion *, MAM Mario Mauroner Contemporary Art, Salzburg-Vienne – D2 *, Interventions urbaines, Reinier – Bijoux de famille, CAN, Centre d’art de Neuchâtel, Neuchâtel 2007 Jeune création 07 *, La Bellevilloise, Paris – Bourses des fonds Berthoud, Lissignol-Chevalier et Galland 2007, Centre d’art contemporain, Genève – Plein soleil, Crac Alsace, Altkirsch – Swiss Art Awards, Concours Kiefer Hablitzel, Bâle – Mulhouse 007 *, Parc des expositions, Mulhouse – Plattform 07 *, ewz-Unterwerk Selnau, Zurich 2006 Les Yeux de la nuit 2006 *, Pont de l’île, Genève – Jury du Prix d’art 2007 de la Nationale Suisse Assurances, Regionale 7, Kunsthaus Baselland, Bâle – Les Vrais durs ne dansent pas *, Promenade de Saint- Antoine, Genève – Fais pas ci, fais pas ça *, Palais de l’Athénée, Genève, curateurs J-P. Felley & O. Kaeser 2004 Vous êtes ici, Salle Crosnier, Palais de l’Athénée, Genève 2003 Rayon d’action, Bh9, Genève – Walking, Thinking, Drawing... , Bh9, Genève * with exhibition catalogue Collections and site specific works Collection du Kunstmuseum Bern (CH) Collection de la Conféderation Helvétique (CH) Over Recontruction, Genève (CH) Fonds de la Bibliothèque Municipale de Lyon (FR) Collection Nationale Suisse, Basel (CH) Collection Finstral, Kunst Meran (A) Université Bocconi, Milan - Collection Marcegaglia (IT) Try-me, Richmond, VA, (USA) Délégation de la Commission Européenne, Berne (CH) Résidences du Pré-Babel | Gigon&Giger architectes, Cologny (CH) Monograph – Paul Ardenne, Giovanni Carmine, Irene Hofmann (textes), No Country for Engines, monographie, Edition Service après-vente, Fondation AHEAD, Genève, 2010 Selected Bibliography 2015 Monographie, Atelier Berlin Editions – Luc Mattenberger : une torpille genevoise conquiert la capitale fédérale, Kunstbuletin Nr 3, mars 2015 2012 La jeunesse est un art - JUBILAÜM MANOR KUNSTPREIS 2012, cat. exp., dir. Madeleine Schuppli. Argauer Kunstraum, Verlag Edizioni Periferia, Luzern – Solidarity Action #3 – P/Act for Art_ROMA, Journal, 7th Berlin Biennale, Rome - Berlin – Corruptions, cat. exp., dir. Luca Lo Pinto, Valerio Mannucci, Nero Magazine, Roma – LONDERZEEL NUMBER 3 / Draw me Work, Kris Van Assche, Paris fevrier 2012 2011 Luc Mattenberger, Swiss Art Awards 2011, Séverine Fromaigeat, supplément Kunstbuletin Nr 12, Novembre/décembre 2011 – Diary 16 - issue 2011 - Through A Keyhole, pp.14-17 – Ailleurs, cat. exp., dir. Paul Ardenne, Espace Culturel Louis Vuitton, Paris, France – atelier multiples 10 ans d’édition, 2001 - 2011, cat., François Locher, Sibylle Omlin, Pascal Ruedin, Laurence Schmidlin, éditions ecav, Sierre – « Luc Mattenberger, moteur de recherche », Pierre Chambonnet, Hors série Arts LeTemps, 9 novembre 2011, pp.13 – Collection de la Nationale Suisse, cat., Regula Krähenbühl, Bâle, 2011 – Môtiers 2011,cat. exp., Môtiers, 2011 2010 « Forelle blau », Villö Huszai, Neue Zürcher Zeitung, 15. Dezember 2010 – Inbetweenout, cat. exp.,dir. Marco Costantini, Les Abris, espace d’art contemporain, Sang bleu, Lausanne, 2010 – Common Sense, cat. exp., St. Michael - Eppan, Bolzano – Drive Thru, cat. exp., Bauhaus-Dessau, 2010 – Full Vacuum, cat. exp., Live in your Head, Haute école d’art et de design, Genève, 2010 – L’Hebdo, hors série art contemporain, juin 2010 – Robot Dreams, cat. exp., Tinguely Museum, Bâle / Kunsthaus Graz, Graz, 2010 – « Rencontre de l’estampe et du dessin. Chassécroisé dans l’art contemporain » in Julie Enckell Julliard (dir.), Laurence Schmidlin, Voici un dessin suisse. 19902010, Musée Jenisch, Vevey / JRP Ringier, Zurich, 2010, pp. 109-110 2009 Machine, cahier, Séverine Fromaigeat, Hervé Laurent, Julien Maret et Laurence Schmidlin (textes) Salle Crosnier, Classe des beaux-arts du Palais de l’Athénée, Genève, 2009 – Sammellust, Werke aus der Sammlung Finstral, cat. expo., Kunst Meran, Finstral, Unterinn am Ritten, 2009, pp. 88-89 – Coma, revue littéraire, divers auteurs, n° 1 à 4, 2007–2009 2008 « L’ Art en toute assurance », Roxana Azimi, Le Journal des arts, n° 282, p. 24 – Jeune création 08, cat. exp., Grande halle de La Villette, Particules, Paris, 2008, p. 65 – Nodo Rete, cat. exp., dir. Alessandro Del Puppo, Denis Viva, Palinsesti, Castello, San Vito al Tagliamento, 2008, pp. 14–15 et p. 75 14–15 et p. 75 2007 « Basel : Kunstpreis 2007 für Luc Mattenberger », Kunst-Bulletin, n° 1/2 2007, p. 86 – « La Poésie toxique des moteurs à essence », Prix de la Nationale Suisse, cahier. exp., Jean-Paul Felley et Olivier Kaeser, Liste, Nationale Suisse, Bâle, 2007 – Jeune création 07, cat. exp., La Bellevilloise, Analogues, Paris, 2007 – « Luc Mattenberger », Plattform07, cat. exp., Serena von Lear, ewz-Unterwerk Selnau, Kunstwollen, Zurich, 2007, pp. 36–39 – « Kunstpreis der Nationale Suisse », Liste 07, cat. exp., Liste, Bâle, 2007, p. 4 2006 Les Vrai durs ne dansent pas, cat. exp., Ecole supérieure des beaux-arts, Genève, 2006. pp. 146–148 – « Fais pas ci, fais pas ça », Le Journal d’attitudes (n° 29, extra muros), cat. exp., Jean-Paul Felley et Olivier Kaeser, Salle Crosnier, Palais de l’Athénée, attitudes, Genève, 2006