Karen Kilimnik
dal 26/10/2006 al 6/1/2007
Segnalato da
26/10/2006
Karen Kilimnik
Musee d'Art Moderne de la Ville de Paris - MAM, Paris
Drawing markedly on tales, ballet, fashion magazines and TV series, her installations use the small format paintings known as modelli for the staging of a world of illusion. With a sound mastery of layout of works combining classical rigour and the creation of a setting, the artist offers a reinterpretation of Old World culture.
Solo show
Curators : Laurence Bosse', Angeline Scherf, Anne Dressen and Julia Garimorth
Karen Kilimnik first drew attention in the 1990s with the distinctive
installation approach she still uses today. Her oeuvre is patiently
built out of strangely poetic orchestrations born of a zanily imagination.
A resident of Philadelphia, this American artist gradually gained recognition with
the singular vision punctuated by countless references mixing academic art and
popular culture, historical and current events, reality and fiction.
While she seems to have halted the big “scatter art" installations that made her
famous at the end of the 1990s, she continues to make use of freewheeling scenarios
in the form of unexpected collages showing no deference to historical exactitude.
Drawing markedly on tales, legends, opera, ballet, fashion magazines and TV series,
her installations use the small format paintings known as modelli for the staging of
a world of illusion. With a sound mastery of layout of works combining classical
rigour and the creation of a setting, the artist offers a reinterpretation of
Old World culture.
After having found her way into historically charged venues in Basel and Venice in
2005, Karen Kilimnik is presenting here four installations - two of them new - in
association with some fifty paintings.
With its mix of artificial snow, candles, garlands of leaves and monochrome
paintings of the sky, the installation Good, 1995 seemingly disorganised but in fact
skilfully structured, belongs to the “scatter art" method she initiated in New York
in the early 1990s.
Antechambers, 2005 is a group of three coloured walls using arrangements of various
pieces of ornamentation to create a kind of 18th-century folly that
disconcerts in the context of a contemporary space. Paintings of antechambers and
other reading rooms are standing outside the walls, as if propelled out of the
“set".
The globbed furnitureM, 2006 recreates the absurd and artificial ads of interior
design magazines in three dimensions, with all sort of objects.
The new installation The Grotto, 2006 suggests the architecturally constructed
gardens of Renaissance Italian villas, with the foliage and the lion and tiger masks
on their elaborate bases conjuring up the atmosphere of a paganism. For the artist
this scenery recalls both Halloween costumes and a Danish ballet Napoli (by
Bournonville).
The various installations are orchestrated by fifty or so pictures of very different
kinds - oils, gouaches, watercolours and sketches - that reference the painting of
masters like Ruysdael, Stubbs and Raeburn.
The portraits are often of actors, models or dancers embodying historical or
literary figures: for instance Paris Hilton as Marie Antoinette, Leonardo di Caprio
as Prince Desire and Nureyev as the Snow Prince. Sometimes, however, they take the
form of more or less realistic self-portraits spelling out a coded identity for the
artist.
The landscapes contain a multiplicity of references to English painting; to French
preromanticism - Hubert Robert-style ruins, Horace Vernet-style storms; and to
theatre and ballet sets - weirdly fantastic castles, prancing horses, etc.
The world of Karen Kilimnik is full of paradoxes: she draws on inventiveness and
appropriation, on the present and the past, on the anonymous and the famous.
Deliberately turning her back on a certain kind of avant-garde, she succeeds in
inventing a new kind of installation.
Her genius for mise en scene is not easy to pin down, never stopping at the
context she has chosen and avoiding all certain interpretation. Subverting the
genres she uses, she recreates an imaginary reality always propped up by
sham. Parodying painting's commonplaces, she only plays at the disappearance or the
multiplication of the author. Armed with humour and wit, Karen Kilimnik depicts a
world of appearances in quest of an ambiguous, subversive beauty.
The exhibition will be shown in a different form
at the Serpentine Gallery, London in February 2007
Musee de la Ville
11, Avenue du President Wilson - Paris