Any Ever. For over five years now the duo's videos, installations and sculptures have been blowing consumer culture and intergenerational relations up to absurd proportions. This exhibition has been designed as a protean environment, involving the viewer in a joyous, endlessly anarchic cut-and-paste process.
Curated by Odile Burluraux et François Michaud
Under the title Any Ever the Musée d’Art Moderne de la Ville de Paris is presenting the first major exhibition in France by American artists Ryan Trecartin and Lizzie Fitch. For over five years now the duo's videos, installations and sculptures have been blowing consumer culture and intergenerational relations up to absurd proportions. Ryan Trecartin and Lizzie Fitch work together, the roles of each depending on the project in question. For the videos, Trecartin writes the scenarios, directs the actors and does the editing, while Fitch takes care of production. For the installations, as well as the sculptures, made in collaboration, are at once flexible and specific, with the details appearing in the credits for the films and the other artworks.
Over and above the creator/collaborator relationship, their work involves the invention of a new form of connective creativity In his videos Trecartin functions as a kind of one-man-band, although the contributions from his friends are true individual performances. The characters intermingle, merge and subdivide, with gender, age, appearance and function as random factors whose permutations serve as triggers for his fictions.
Any Ever is an expanding universe, one you can enter only by consenting to reconsider the codes of the real world and the rules of language.
At ARC the three-part Trill-ogy Comp (2009) and the four films making up Re’Search Wait’S (2009–10) are viewed in rooms designed to be inhabited like a theatre stage; this gives each video a space of its own in which sound is a value in its own right.
The outcome of two years' work with the artists, this exhibition has been designed as a protean environment, involving the viewer in a joyous, endlessly anarchic cut-and-paste process. None of the narratives is unambiguous: the characters' behaviour either repeats itself in loops or abruptly breaks free of its apparent motivations. Lizzie Fitch and Ryan Trecartin were born in 1981, in Indiana and Texas respectively. Both studied at the Rhode Island School of Design and now live and work in Los Angeles.
2011 MoMA PS1, New York: 19 June–3 September 2011/Museum of Contemporary Art, Miami: 24 June–4 September 2011
2010 Any Ever, The Museum of Contemporary Art, Los Angeles/Any Ever, The Power Plant, Toronto, Canada
2009 The Generational: Younger than Jesus, the New Museum, New York (group Until 4 September 2011 exhibition)
Catalogue Ryan Trecartin (English only), 144 pp., 300 colour illustrations, New York, Skira Rizzoli, 32 €
Image: Ryan Trecartin, Negative Beach + Lizzie Fitch, 2010. Courtesy the artist and Elizabeth Dee, New York. Photo: Sebastian Kim
Press Officer, Peggy Delahalle tel. 01 53674050, firstname.lastname@example.org
Press preview: Monday 17 October, 1:00 – 4:00 pm
Musée d’Art moderne de la Ville de Paris
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