Marcel Broodthaers
Michael Krebber
Robert Malaval
Sigmar Polke
Josephine Pryde
Reena Spaulings
Andy Warhol
L'esposizione propone opere di Marcel Broodthaers, Michael Krebber, Robert Malaval, Sigmar Polke, Josephine Pryde, Reena Spaulings et Andy Warhol. In mostra dipinti, sculture, fotografie, disegni, installazioni e video-performance.
Marcel Broodthaers
Michael Krebber
Robert Malaval
Sigmar Polke
Josephine Pryde
Reena Spaulings
Andy Warhol
MARCEL BROODTHAERS
"Me too, I asked myself if I could not sell something and succeed in life.
For some time now, I have been a good-for-nothing. I have forty years of
ages"
"And the language of these plaques ? Let's say a rebus. And the subject: a
speculation on a difficulty in reading caused by the use of this material.
You should know that one produces these plaques like waffles." MB
MICHAEL KREBBER
A leading figure of the Cologne conceptuel scene that has delevoped there
since the eighties.
A student of Lupertz, then an assistant of Baselitz, he soon becomes the
long lasting sharer of Kippenberger¹s practices. During several years
following this period, and for obvious reasons, he takes his distance to
painting, before coming back to the foreground with his own works:
paintings, collages and altered ready-mades of all sorts.
ROBERT MALAVAL
"The purpose of painting is not only to 'express itself', but to make a
concrete object for the others. This is why the decorative aspect does not
disturb me at all. Le'ger, Matisse have been decorative. If a painting is not
at all decorative, one does not look at it." RM
"Glitter is the make-up of painting. I have seen that glitter
multiplied, amplified the brush stroke (like the passage of the classic
guitar to the rock guitar, with its effects of distortion). Rock is glitter;
it is the global articulation that matter : glitter increases intensity. (...)
Through glitter, I have rediscovered the pleasure in the gesture of
painting, the physical, manual pleasure of moving." RM
SIGMAR POLKE
To close the series of 22 paintings that frame the Bicentennial anniversary
of the French Revolution, Sigmar Polke has painted Paper rolls with motifs
based on the revolution I, a metaphorical parody on a major episode in
modern history. This pop style parody winks at the coloured popular imagery
in which Polke has dug out to compose the 21 preceding paintings. As opposed
to these, in the last painting of the series his palette is reduced to
black, blue, white and red.
The source of this painting is a motif drawn from a Co.re'.di.mag catalogue
of shop furnishings, spring-summer 1989.
JOSEPHINE PRYDE
A British conceptual artist, Josephine Pryde works in the field of
photography, drawing, installation and performance. "Her works always
describe what can be seen in them; they are both signifier and signified.
The artist is responsible for what is depicted and its description, but also
for the role models and replicas, the historical material that she allows.
(...) Pryde exploits the added value that images can create for her purposes
without fully giving away the secret of the project. These pictures describe
the distance between focused and blurred, picture and empty space, encoding
and reception." (Matthias Herrmann)
In the present context: money or the absence of money the fluid, the game,
the capitalistic system or its dream.
REENA SPAULINGS
A New York artist on whom the whole art world (artists, critics, galleries,
collectors) has its eyes fixed. Referring to her multiple, often
contradictory professional activities, Spaulings quoted the invitation card
for Marcel Broodthaers’ first solo exhibition in Brussels, April 10-25,
1964, where he announces his career shift from poetry to visual art (see
above: Marcel Broodthaers).
The Money Paintings series presented here was originally produced for the
Baltic Triennial, Vilnius, autumn 2005. These works (mixed media on canvas)
are based on bank notes from the E.U., various countries and former
colonies, erasing their concrete values and authenticating marks in order to
produce generic, painterly abstractions. They are "aesthetic dollars"
whose space, colors and design elements are taken from the governments and
monetary institutions that issued them.
ANDY WARHOL
Andy Warhol makes the Piss Paintings (1978) during the same period as the
Oxidation Painting.
"Although the Oxidation Paintings (1977-1978) were consciously made to
refute (..) negative reputation when he was told that a New York
tastemaker had said that he wasn't avant-garde anymore, Warhol retorted:"
Did you tell her about the Piss Paintings?" - these were not shown until
late in 1986, and thus their impact along with the critical attention and
acclaimer they excited was delayed by almost a decade. "(Rosalind Krauss,"
The Madness of the Day")
In his text "A Primer for Urochrome Painting", Benjamin Buchloh states:"
Urinating onto the canvas is not only an act of public defilement of a once
sacred or virginal space (in that sense it operates like graffiti), it is
also an ostentatiously polemical gesture of defiance of the demand for
painting as production.
By contrast, painting - as spilling - is waste, and in as much as the
process of staining is out of manual control, it defies the economies of
order and measure warranted by a well-crafted product."
Image: Andy Warhol, Piss Painting, 1978 (1 and 2), urine on gesso on canvas 102 x 76 cm
BEWARE OF A HOLY WHORE
A film by Rainer-Werner Fassbinder, 1970
A DETAILED DOCUMENTATION ON EACH ARTIST IS AVAILABLE AT THE GALLERY
Opening on March 4, 5 8 pm
Galerie Chantal Crousel
10 rue Charlot 75003 Paris