FIAC 2001
Paris Expo, Porte de Versailles, Hall 4

FIAC 2001
dal 9/10/2001 al 15/10/2001

Segnalato da

Lionel Bayol

calendario eventi  :: 


FIAC 2001

FIAC 2001, Paris

FIAC 2001: comes at a time of renewal for the French art scene, one marked by many new private and public initiatives. The opening of new contemporary art centres, the creation of foundations and important collections of contemporary art, along with the emergence of collections dedicated to video and multimedia, all attest the new vitality of the French art scene in which, naturally, the FIAC hopes to play a pivotal role.

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FIAC 2001, which will be held this year from 10 to 15 October at the Porte de Versailles, Paris, comes at a time of renewal for the French art scene, one marked by many new private and public initiatives. The opening of new contemporary art centres, the creation of foundations and important collections of contemporary art, along with the emergence of collections dedicated to video and multimedia , all attest the new vitality of the French art scene in which, naturally, the FIAC hopes to play a pivotal role.

Throughout its duration, the FIAC will be proposing new events and activities in line with the repositioning begun with the "200 one man shows" of FIAC 2000.

- The rigorous selection made by the COFIAC has led the FIAC to limit itself to 163 international galleries (as opposed to 196 in 2000), the emphasis being on the quality of the projects - individual or thematic shows, new or previously unseen works, installations specially conceived for the FIAC.

- the "Vidéo Cube", a new 500 square-metre space dedicated to video art, will offer galleries optimum conditions for presenting this medium, and allow visitors an ideal environment in which to discover the works.

- The debates and talks at the Café des Arts, reflecting current concerns that run from the art market to cultural politics, will provide a forum for players on the international art market - artists, gallerists, collectors, journalists, museum curators, etc.

- The Parcours privé, specially conceived for international collectors and art professionals, will highlight the effervescence and richness of the Parisian art scene, with a series of outstanding events including the pre-opening of the Palais de Tokyo, a presentation of the future foundation at Bastille, plus private tours and views at leading Paris art world venues.

Over 600 artists of the 20th and 21st centuries, hailing from all five continents, will be presented by the exhibiting galleries over 4 different sections: One-Person Shows, Group Shows, Perspectives, Prints. To these can be added the 14 video projects selected for the Vidéo Cube.

The emphasis is deliberately if not exclusively on one person shows, which represent 45% of the exhibits. Once again, the FIAC is pursuing its original approach, centring on recognition of artists and underscoring the role of galleries as investors in and stimulators of new art. Thus 74 of the exhibitors (in the One-Person Shows, Perspectives and Prints sections) will be presenting new works, installations specially conceived for the FIAC and special homages, thus giving visitors the opportunity to get an in-depth view of a series of original bodies of work in ideal viewing conditions.

The variety of works in the group shows will give connoisseurs and art lovers a chance to dig out some rare gems. Of the 85 galleries in this section, 20 have chosen to present thematic exhibitions exploring movements and historical situations, as well as contemporary issues.

The Perspectives section, which features 14 young galleries as well as the new Vidéo Cube space dedicated to 10 video artists, will present the 80,000 expected visitors with a broad overview of today's art, confirming the FIAC's strong focus on art of the present and future.

FIAC 2001 is welcoming 163 galleries representing a total of 17 countries in Europe, the Americas and Asia. Their geographical breakdown is as follows:

Thus, 14 galleries will be participating at the FIAC for the first time, including such leading spaces as Jay Jopling/White Cube (London) and Metro Pictures (New York), as well as dynamic young galleries like In Situ (Paris-, ShanghArt (Shanghai), Shine (London) and Maze (Turin)...

Also, 13 galleries are returning to the FIAC after what, for some, was a long hiatus. These include important modern art galleries such as The Mayor Gallery, Helly Nahmad and Waddington Gallery in England and, in Germany, the Levy and Georg Nothelfer galleries. As regards contemporary art, FIAC is welcoming back Micheline Szwajcer (Antwerp), Almine Rech and Evelyne Canus (both Paris).

Every kind of art form will be represented at FIAC 2001, including photography, painting, video, multimedia, drawing, sculpture (and objects), installation, printmaking and mixed media.

FIAC 2001 is a boldly contemporary event, showcasing the '60s generation of artists who are currently rising to prominence on the French and international art scene.

Representatives of new French art include Corinne Marchetti (Galerie Pailhas), Pierre Ardouvin (Galerie Chez Valentin), Fabrice Langlade (Galerie Steinek), Bertrand Lamarche (Galerie Le Sous-Sol), Philippe Ramette (Galerie Xippas), Christelle Familiari (Galerie Anton Weller), Jean Luc Verna (Air de Paris) and Rebecca Bournigault (Galerie Almine Rech).

Among the promising new talents on the international scene, the FIAC is proud to present Marko Lehanka (Galerie Art Attitude Hervé Bize), Matthew McCaslin (Galerie Evelyne Canus), Bjarne Melgaard (Galerie Krinzinger), Botto & Bruno (Galerie Artiaco), Tobias Rehberger (Galerie Hussenot), David Claerbout (Galerie Micheline Szwajcer), Javier Perez (Galerie Salvador Diaz), Susy Gomez (Persano) and Hans Op de Beeck (Galerie Barbara Farber / La Serre).

Looking to the contemporary and modern classics, there are homages to such major 20th-century figures as Louise Nevelson (Galerie Marwan Hoss), Meret Oppenheim (Galerie Levy), Jacques Villon (Galerie Louis Carré & Cie), Alexander Calder (Crane Kalman Gallery), Joan Miro (Galerie Larock Granoff), Joseph Beuys (Galerie Tendance) and Jean Dubuffet (Atelier Hervé Bordas), Jules Olitski (Galerie Jacobson).

In the wake of Les Années Pop, the survey show at the Centre Georges Pompidou, Pop Art is back with a series of thematic exhibits ("American Art of the 1960s" at the Galerie Beaubourg, "The Sculpture-object: the 1960s" at JGM, "The 1960s" at Jean Boghici), as well as in monograph shows featuring Robert Indiana (Guy Pieters), Yayoi Kusama (Galerie Pièce Unique), Erro (Zannettacci gallery), Jean Jacques Lebel (Galerie 1900-2000), Mimmo Rotella (San Carlo gallery).

The diversity and richness of photographic work is well in evidence with Cindy Sherman (Metro Pictures), Annelies Strba (Gandy Gallery), Richard Misrach (Hue-Williams Gallery), Jean-Marc Bustamante (Galerie Nathalie Obadia), Ed Ruscha (Védovi), Hiroshi Sugimoto (Rodolphe Janssen), Philip Lorca Di Corcia (Almine Rech and Rodolphe Janssen galleries), Elisa Sighicelli (Galerie Zurcher), Paolo Salerno (M. & T. de la Châtre), Nan Goldin (Galerie Yvon Lambert), James Welling (Galerie Hufkens), Aziz + Cucher (Yvonamor Palix) and Larry Clark (Kamel Menour).

FIAC 2001 also reflects the growing maturity of video as an art form. This year, for the first time, a number of galleries have decided to devote their stands to the moving image. There, is for example, the "Projection Room" at Yvon Lambert (with videos by Slater Bradley, Douglas Gordon and Vibeke Tandberg), the multimedia space at Galerie Anton Weller, plus one-person shows by the Turpin brothers (Galerie Alain Le Gaillard) and Pierrick Sorin (Galerie Rabouan Moussion), Tony Oursler's installation at Metro Pictures and videos by Anri Sala at Chantal Crousel.
This tendency is crowned by the innovative Video Cube place right at the centre of the FIAC.

Reflecting global trends, FIAC 2001 is also giving increased prominence to artists from emerging centres such as China and Latin America.
Visitors will thus be able to explore the Chinese avant-garde at Chinese Contemporary, the work of Cuban artists such as Manuel Pina (Nina Menocal), Tomas Sanchez (Marlborough Gallery), Enrique Martinez Celaya (Ramis Barquet Gallery) and Ana Mendieta (Galerie Nathalie Obadia), as well as new pieces by the Colombian Nadin Ospina (El Museo gallery) and the Dominican José Garcia Cordero (Galerie Trigano, whose stand is dedicated to a thematic exhibition: "Visions of Latin-American Art").

More than ever, this year's rigorously selected Perspectives section is asserting its ambitions as a showcase for the newest art. Supported the second year running by Ricard S.A., 13 young galleries (6 from France, 7 from abroad, with 6 of them participating for the first time), will present 15 one-person shows, focusing on young and, in most cases, relatively unknown artists from 9 countries: Germany, China, Spain, France, Japan, Luxembourg, United Kingdom, Switzerland, USA.

Featuring video, photography, installation and painting, and often highly experimental, this section reflects the diversity of contemporary artistic tendencies, situations and forms in today's age of globalization.

In the field of photography, the Maze Gallery from Turin is showing recent works by Jessica Craig Martin. This English photographer likes to pass herself of as a paparazzo in order to infiltrate society galas and opening nights, where she records the finery and trophies of the jet set. Her close-ups of their flamboyant and garish outfits, their flashy jewellery and designer accessories reveal the subjacent cruelty of a world where appearance is all: flaccid flesh under silk, wrinkled necks, withered skin. Oscillating between documentary and art photography, Jessica Craig Martin offers her own singular remake of the "Bonfire of the Vanities".

At Spencer Brownstone Gallery (New York) Jordan Tinker, born 1968, is presenting his Gas(oil) series of photographs with lightboxes. Their composition is determined by an unvarying rule: a huge sky fills three quarters of the image, on the edge of which, sometimes barely legible, we can make out the logo of an oil corporation. This striking contrast sets up several layers of meaning: the logos evoke travel and escapism but also man's exploitation of the world's natural resources. While Jordan Tinker uses photography to analyse signs and symbols, for his fellow American, Warren Neidich, at the Gandy Gallery (Prague), it is a medium for questioning perception and representation. Shown alternately with new photos by Annelies Strba, Beyond the Vanishing Point is a series of photos, taken at regular intervals, of the glass frontage of a building in Los Angeles, capturing its reflections of the street and sky. These multiple "mirror images" play with our perception of space, fragment the visible and confront the gaze with the interplay of real and virtual.

There is a paradox at the heart of the photographs of Nahoko Kudo, a Japanese artist born in 1968 who is being shown by the Shine Gallery from London: she uses concrete objects to express abstract ideas. Taking photographs of geographical maps and statistical charts, of "single-shape" (usually cylindrical) sculptural objects, accompanied by video or sound recordings, Nahoko Kudo sets out to "think the unquantifiable" - concepts like "the shape of the universe", "the idea of cultural progress" and "death". Her tools are slight, fragile. In contrast to this conceptual approach, Hee Jin Kang (born 1974), a Korean American who also has a one-person show at the Shine Gallery, uses the magic of the photographic image. Taken from public performances and videos, his works have a striking visual poetry and lead the viewer into a nocturnal world inhabited by colourful chimerical apparitions-a ghostly woman in I Have a Lover, or a two-headed, anamorphous monster in Concave. Hee Jin Kang shuffles roles as she explores the malleability of identity and the unresolved dualities, competing drives and polymorphous energies that lie behind it.

Presented by Galerie Damasquine & Aeoroplastic from Brussels, the work of Simone Decker, born 1968, strives for elusiveness. She sets out to occupy space in a given setting or situation. Her chewing gum sculptures and reflective geometric metal structures are scattered through urban space, affording the viewer the twofold experience of a mental journey through space and the surprise of trickery, since it turns out that these sculptures never existed, except in the photos.

Elsewhere, painting is ready to confront the omnipresence of the electronic or photographic image, constantly inventing new tricks to win back its territory.

Born in 1962, Patrice Mortier, who is presenting a project specially conceived for the FIAC on behalf of the Galerie Houg (Lyon), does oil paintings of urban scenes taken from webcams all around the world, from Florence to the Mexican border or on a busy street in Manila. The painter does more than reproduce these images. He disrupts the "photo-optical" machine with the work of the brush. The touches of grey, beige and purple mixed with white blur the forms and take them to the brink of abstraction. Displayed on the painting, the time, given to the closest second, fixes the photographic image in the eternity of painting.

Another artist born in 1962 whose relation to painting involves filmed images is Bruno Perramant (Galerie In Situ, Paris). He takes inspiration from such varied sources as television news, cinema, literature, philosophy, theology and everyday life. Combining different images (photos of Lady Di's car crash, film images, advertisements), texts (Pasolini, Sollers), situations and sites (Central Park, JFK airport), Perramant's work is presented in series or sets of images in the form of polyptychs. The viewer is always given a certain amount of interpretative leeway. Rich and complex in its relation to text and image, the paintings of this promising artist are anything but pleasant and decorative.

Standard House, Standard Apartment, Standard Lounge, Standard Bedroom - the titles of the flesh-coloured paintings by the Chinese artist Yang Mian (born 1970) shown at the ShanghArt Gallery from Shanghai bring to mind the bland and sterile interiors of the 21st century, embodying the "standard happiness" touted by housing advertisements and dreamed of by a Chinese population in thrall to the mirages of Westernization. However, these charming images of heavenly bliss are disrupted by brushstrokes of reddish-blue or yellow paint that run across parts of the canvas like wounds. These expressive gestures relativize the standardization of beauty. The intensity of painting wins out.
The installation as experiment and integration of three-dimensional space is one of the modes of expression chosen by many current artists whose work probes the real, the everyday and aspects of space.
Moving into space and questioning the real by subtly displacing it through the mise-en-scène of situations and everyday objects, such is the approach taken by Marko Lehanka (born 1961), whose work is being shown for the first time in Paris by the Nancy-based gallery Art Attitude Hervé Bize. The FIAC will give visitors the chance to discover a set of recent works by this German artist who won a prize at the Venice Biennale. These include TV House (2000), an intimate space in which visitors will be able to view videos such as Gone Fishing with Marko, a burlesque beach scene involving a boat made by the artist.

The recent installations by Pierre Ardouvin (born 1955), a French artist exhibited by the Chez Valentin gallery from Paris, confronts the spectator with a series of perplexing paradoxes: a pool without fish, but with real water, plus wind and corrugated iron, all together, all disparate, with sound, light and a screen. Ardouvin recycles old objects and everyday images, contrasting, manipulating and theatricalizing as if to arrive at the starting point for new narratives.

In the case of Bertrand Lamarche (Galerie Le Sous-Sol, Paris), installation becomes a space for the reconstitution of physical, aural and optical phenomena, from a cyclone to a vortex via a black hole. In AAA (Aluminium Acetate Action), a piece shown at the FIAC, this French artist born in 1966 uses a device that combines a mixing console with vortex machines fitted with cameras, in order to create the "tornado field", a sequence of projected video images in which whirlwinds sweep up barely recognizable debris.

Pose (2000): an assemblage of sheets of glass, alternately painted in white acrylic or left transparent and arranged on the floor. Elevage de couleurs ("Colour Raising", 2000): sheets of glass lined up on the wall and covered with words in blue pen or carbon - the installations by Jérôme Touron (born 1966) shown at Galerie La Ferronnerie/Brigitte Négrier (Paris) have the immediacy and concision of writing, transforming both physical and mental space with the signs that they inscribe there.

An interest in factors of social differentiation is what drives the multidisciplinary work (photography, objects, installation) of Luis Vidal Garcia (Espai 292 Gallery, Barcelona), which crystallizes around the theme of "street children". In the photographic series of the same name, Meninos de rua, this Spanish artist born in 1970 showed how babies from a variety of backgrounds grew up to become individuals defined and distinguished by social class and family name. This series lies behind his latest project, Umbilical Kids, which is being shown at the FIAC. It features a set of children's dolls in resin sporting disturbing deformities and infirmities.

The big innovation at FIAC 2001 is the Video Cube, a 500 square metre space in the middle of the fair designed to fulfil two requirements by allowing galleries to show work in this medium by emerging artists, and by enabling visitors to experience an art form in ideal conditions.

Video first appeared in the 1960s, when it was simply a means of recording. It subsequently spawned fully-fledged artworks and is now one of the most widely used media in the work of the new generation. Its growing presence will be particularly conspicuous this year on the booths at the FIAC, with, among others, a Tony Oursler installation at Metro Pictures (New York), the solo show by the video makers and brothers Franck and Olivier Turpin at Galerie Alain Le Gaillard, the multimedia space at Galerie Anton Weller ...

The new Video Cube will be used to present 10 videos selected by a committee of experts (collectors and museum and gallery professionals), with each one being projected in an individual module measuring between 20 and 30 square metres.

On Thursday 11 October, during the late opening, the La Cinquième-Video Cube video prize, worth 50 000 FF, will be awarded to the artist with the best video project. He or she will be chosen by the selection committee* and the jury of La Cinquième.

Video Cube enjoys the support of La Cinquième, its official partner, and its official supplier the Vidéo Synergie group.

Parcours privé offers international collectors a privileged experience of FIAC 2001, with chauffeur-driven transfer, a complementary night at the Hôtel Le Faubourg and a VIP welcome, as well as a vivid introduction to the artistic highlights of what is a particularly rich and dense new Paris season, together with events specially designed to convey the current effervescence of the French scene.

A different contemporary art event every day

Every day throughout the duration of the FIAC, Parcours privé will open the doors of a prestigious Parisian art site for a contemporary event. Highlights include:

Pompidou Centre
Nan Goldin, Galerie Sud, vernissage 10 October
Jean Dubuffet, centenary exhibition, Galerie 1 (level 6), to 31 December
Marlène Dumas, Cabinet d'Art Graphique
Pevsner, Galerie du Musée, (level 4).

Musée d'Art Moderne de la Ville de Paris
Dan Graham, to 14 October, evening
Morandi, to 6 January, 2002.

Galeries Nationales du Grand-Palais
Paris-Barcelona de Gaudi à Miro, to 14 January, 2002

Ecole Nationale Supérieure des Beaux-Arts
Des territoires, vernissage 8 October.

Caisse des Dépôts
Rio scénario, to 14 October.

Centre National de la Photographie
Helen Levitt, to 19 November
Laurent Montaron, L'Atelier, to 14 October

Chapelle Saint-Louis de la Salpêtrière
Jenny Holzer, to 4 November.

Espace Paul Ricard
Lost in the Supermarket, to 26 October

Fondation Cartier pour l'Art Contemporain
Un art populaire, to 4 November.

Fondation Dina Vierny - Musée Maillol
Maillol peintre, to 20 October.

Fondation Dubuffet
Jean Dubuffet, une biographie au pas de course, 5 October, 2001 to 12 January, 2002

Maison Européenne de la Photographie
The Model Wife, Denis Roche - Les preuves du temps
Henri Maccheroni and Michel Butor - Paris ville lumière
André Martin
Alain Bublex

Musée des Arts Décoratifs - UCAD
Niki de Saint-Phalle, la vie joyeuse des objets
Torno Subito, Pierre Charpin au Cirva - 1998-2001

Musée du Louvre, Salle d'Afrique, d'Asie, d'Océanie et des Amériques
Musée du Louvre, Pavillon des Sessions

LE CAFE DES ARTS No less than 20 round tables and debates will be held in the convivial space of the Café des Arts. Here, guest speakers from the French and international media, both specialist and generalist, will debate such subjects as the art market (tax issues, the art of collecting in France and internationally, the presence of French artists on the market), cultural politics (teaching art in France, the changing role of museums, artists' views on art and its institutions) and, of course, recent trends in contemporary art (interdisciplinarity, the crossovers between art and fashion, video and the new technologies). Partnered by La Cinquième , the Café des Arts thus aims to make its own contribution to knowledge and awareness in the field of art. The debates will be filmed by Creativ TV, which will relay them to the Bang & Olufsen television screens and netcast them on and in its special FIAC edition.

Location: Hall 4, Paris Expo, Porte de Versailles

Wednesday 10 October to Monday 15 October, 2001
Wednesday to Friday 12 October: 12.00-20.00
Late night on 11 October: 12.00-22 H
Saturday 13 October and Sunday 14 October: 11.00-20.00
Monday 15 October: 12-18.00
Admission: 90 F / 13.72

FIAC 2001
dal 9/10/2001 al 15/10/2001

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