Rob Pruitt You Get the Face You Deserve Guest Gallery: Château Shatto on Plane Air

Total Page:16

File Type:pdf, Size:1020Kb

Rob Pruitt You Get the Face You Deserve Guest Gallery: Château Shatto on Plane Air Rob Pruitt You Get the Face You Deserve Guest gallery: Château Shatto On Plane Air Save the date Opening September 15th 6-9 pm Air de Paris www.airdeparis.com [email protected] Rob Pruitt You Get The Face You Deserve Depuis 1998, Rob Pruitt (né en 1964, Washington DC) utilise le motif du panda dans une volonté de constante répétition. Initialement imaginé comme une forme d’humour, ce refrain est à la fois une réponse à une mul- tiplicité d’émotions, de sensibilités, de revendications mais aussi la médiatisation d’une espèce en voie d’ex- tinction parmi d’autres dont la rencontre fût intimement politique. En effet, le gouvernement chinois offrit en 1972 deux pandas à la Nixon White House située à Washington DC où Rob Pruitt a grandi, un événement qui a participé à sa naturelle fascination pour l’animal. Nous fêterons l’année prochaine, les vingt premières années de la série, et tant qu’il y aura des pandas, Rob Pruitt les peindra ! Le panda se camoufle aujourd’hui sous forme de “motivational posters“ transformés pour l’exposition en “motivational panda“. Ainsi l’animal se retrouve associé à des messages de coaching et développement per- sonnel sensés décupler notre motivation voire améliorer notre connaissance de soi. Ils proviennent notam- ment de citations du philosophe et naturaliste Henry David Thoreau, (auteur de l’illustre «Walden ou la vie dans les bois»), de personnalités issues de la mode alias Coco Chanel auteure du titre de l’exposition et dont l’énoncé complet est le suivant : “Nature gives you the face you have at twenty. Life shapes the face you have at thirty. But at fifty you get the face you deserve”, mais aussi de personnages emblématiques d’une culture populaire à l’instar d’Obi-Wan Kenobi et de son fameux «May the Force Be With You» (extrait du film La guerre des étoiles) ! Tant de “mantras“ d’encouragement ayant quitté leurs modèles jadis épinglés dans l’espace des bureaux, écoles ou encore hôpitaux états-uniens pour rejoindre ceux d’Air de Paris. Le panda ira même cette fois jusqu’à se confondre avec le statut même du spectateur dans sa version géante comme figé en pleine contem- plation d’un coucher de soleil ou dégradé polychromatique. Le titre de cette quatrième exposition personnelle “You Get The Face You Deserve“ provient des “motiva- tional panda“ certes, mais il résonne aussi avec les «Artificial Intelligence Style Transfer Self-Portraits», une nouvelle série réalisée grâce à un logiciel confiant à un savant algorithme le mélange et glissement des contours du visage de l’artiste sur celui de certains maîtres et icônes de l’histoire de l’art. Par là-même, Rob Pruitt ose un joyeux face à face avec le bleu swimming-pool de D. Hockney, les rayures signatures de B. Riley ou encore les courbes fauves du niçois H. Matisse. À la relecture du titre de cette quatrième exposition personnelle, les «Polar Bear» semblent aussi se charger d’une toute autre signification. En effet, l’ours blanc est également une espèce en voie de disparition, sa figure à présent associée à des prises de parole de personnalités politiques ou politisées - telles que Barack Obama, Brian Eno, Desmond Tutu, Jane Goodall, Ansel Adams - intervient comme un manifeste écologique nous rap- pelant leurs volontés de prises de conscience et engagements dans une lutte urgente contre le réchauffement climatique. Rob Pruitt (né en 1964 à Washington DC), vit et travaille à New York. En 2018, la Kunsthalle Zurich lui consacrera une exposition monographique organisée par Daniel Baumann. Il bénéficie actuellement d’une exposition personnelle sur une invitation de Bjarne Melgaard à la galerie Rod Bianco à Oslo. Rob Pruitt a bénéficié de nombreuses expositions personnelles dont récemment au Museum of Contemporary Art Detroit, The Brant Foundation, Greenwich, Aspen Art Museum, et au Palais de Tokyo. Un de ses projets les plus ico- niques Rob Pruitt’s Flea Market a été organisé dans de nombreux lieux dans le monde dont Palm Springs Art Museum (2017), Museum of Contemporary Art Detroit (2015), AplusA Gallery, Venice (2015), La Monnaie de Paris (2012) et Tate Modern (2009). Air de Paris www.airdeparis.com [email protected] Rob Pruitt You Get The Face You Deserve Since 1998 Rob Pruitt (1964, Washington DC) has been making deliberately repetitive use of the panda motif. Initially intended as a form of humour, this refrain is both a response to a host of emotions, sensibilities and causes and a publicising of an endangered species the artist first encountered in a personal political context: in 1972 the Chinese government gave two pandas to the Nixon White House in Pruitt’s home town, an event that contributed to the future artist’s innate fascination with the animal. Next year we will be celebrating the series’ first twenty years; and as long as there are pandas Rob Pruitt will paint them! These days his panda comes camouflaged as «motivational posters» – or, for the purposes of the exhibi- tion, under the heading «motivational pandas». Here our animal is associated with coaching and personal growth messages supposed to unleash motivation and even boost our self-knowledge. Their sources notably include the philosopher and naturalist Henry David Thoreau (author of the celebrated Walden; or, Life in the Woods); fashion personalities like Coco Chanel, who provides the title of the exhibition with the statement “Nature gives you the face you have at twenty. Life shapes the face you have at thirty. But at fifty you get the face you deserve“; and such emblematic pop culture figures as Star Wars’ Obi-Wan Kenobi and his famous “May the Force Be With you“. All these «mantras» of encouragement have left behind the models pinned up on the walls of America’s offices, schools and hospitals and joined the ones here at Air de Paris. And this time the panda will even be there on the same footing as the viewer: a giant version seemingly locked into contemplation of a sunset or colours shading off into each other. “You Get The Face You Deserve“: the title of this fourth solo show comes from these “motivational pan- das“, but it also chimes with the Artificial Intelligence Style Transfer Self-Portraits, a new series created with software whose smart algorithm takes the contours of the artist’s face and mixes them into the features of art history masters and icons. And so we see Pruitt daring a joyous face-to-face with David Hockney’s blue swimming pool, Bridget Riley’s signature stripes and the Fauvist curves of Henri Matisse. In the light of a second reading of the exhibition title, the Polar Bears also seem to take on quite different meaning. The big white bear is an endangered species, too, and its presence here alongside statements from political or politically connoted figures – among them Barack Obama, Brian Eno, Desmond Tutu, Jane Goo- dall and Ansel Adams – comes as an manifesto reminding us of their ecological awareness their commitment in the urgent struggle against global warming. Rob Pruitt (*1964, Washington DC) lives and works in New York. In 2018, the Kunsthalle Zurich will be pre- senting a monographic exhibition of his work curated by Daniel Baumann. At the invitation of Bjarne Mel- gaard he is currently showing solo at the Rod Bianco Gallery in Oslo. He has had numerous other individual exhibitions, most recently at the Museum of Contemporary Art Detroit, The Brant Foundation in Greenwich, the Aspen Art Museum and the Palais de Tokyo in Paris. «Rob Pruitt’s Flea Market», one of his most ico- nic projects, has featured in many venues around the world, including Palm Springs Art Museum (2017), Museum of Contemporary Art Detroit (2015), AplusA Gallery, Venice (2015), the Paris Mint (2012) and Tate Modern (2009). Air de Paris www.airdeparis.com [email protected] Motivational Panda (Coco Chanel), 2017 sérigraphie sur toile / silkscreen on linen 32 1/2 x 42 inches / 106,7 x 82,6 cm unique Air de Paris www.airdeparis.com [email protected] Artificial Intelligence Style Transfer Self-Portrait (Henri Matisse & My Face), 2017 encre UV sur panneau / UV ink on wrapped panel 64 x 48 inches / 162.6 x 121.9 cm unique Air de Paris www.airdeparis.com [email protected] Exhibition views : The Obama Paintings and The Lincoln Monument, Museum of Contemporary Art Detroit, 2015 Exhibition views : Rob Pruitt 50th Birthday Bash, The Brant Foundation Art Study Center, 2015 Air de Paris www.airdeparis.com [email protected] Exhibition views : Rob Pruitt 50th Birthday Bash, The Brant Foundation Art Study Center, 2015 Air de Paris www.airdeparis.com [email protected] ROB PRUITT 1964 Born Washington, D.C. Lives and works in New York SOLO SHOWS (selection) 2018 Kunsthalle Zurich, Zurich, Switzerland (curated by Daniel Baumann) 2017 Rod Bianco, Oslo, Norway Air de Paris, Paris, France 2016 The Obama Paintings, Gavin Brown’s enterprise, 291 Grand St, New York Hong Kong Panda, Massimo de Carlo, Hong Kong, China Rob Pruitt Flea Market, LAND, Los Angeles 2015 Rob Pruitt, Museum of Contemporary Art Detroit, Detroit Rob Pruitt, The Brant Foundation Art Study Center, Greenwich, CT Rob Pruitt’s Flea Market, AplusA Gallery, Venice, Italy 2014 Multiple Personalities, Gavin Brown’s enterprise, 620 Greenwich St, New York Three Blind Mice, Museum Dhondt Daenens, Deurle, Belgium Struktur & Organismuss, Müldorf, Austria 2013 Wild Life, Karma, Amagansett, New York Suicide Paintings, Massimo de Carlo, London, UK Us, Art Unlimited, Art Basel, Basel, Switzerland The Last Panda, Gavin Brown’s enterprise, 436 W 15 St, New York Rob Pruitt: An American Folk Artist, Aspen Art Museum, Aspen 2012 The Andy
Recommended publications
  • The Game of War, MW-Spring 2008
    The Game of War: Debord as Strategist By McKenzie Wark for Issue 29 Sloth Spring 2008 The only member of the Situationist International to remain at its dissolution in 1972 was Guy Debord (1931–1994). He is often held to be synonymous with the movement, but anti- Debordist accounts rightly stress the role of others, such as Asger Jorn (1914–1973) or Constant Nieuwenhuys (1920–2005) who both left the movement as it headed out of its “aesthetic” phase towards its ostensibly more “political” one. Take, for example, Constant’s extraordinary New Babylon project, which he began while a member of the Situationist International and continued independently after separating from it. Constant imagined an entirely new landscape for the earth, one devoted entirely to play. But New Babylon is a landscape that began from the premise that the transition to this new landscape is a secondary problem. Play is one of the key categories of Situationist thought and practice, but would it really be possible to bring this new landscape for play into being entirely by means of play itself? This is the locus where the work of Constant and Debord might be brought back into some kind of relation to each other, despite their personal and organizational estrangement in 1960. Constant offered the kinds of landscape that the Situationists experiments might conceivably bring about. It was Debord who proposed an architecture for investigating the strategic potential escaping from the existing landscape of overdeveloped or spectacular society. Between the two possibilities lies the situation. Debord is best known as the author of The Society of the Spectacle (1967), but in many ways it is not quite a representative text.
    [Show full text]
  • Cosmonauts of the Future: Texts from the Situationist
    COSMONAUTS OF THE FUTURE Texts from The Situationist Movement in Scandinavia and Elsewhere Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen 1 COSMONAUTS OF THE FUTURE 2 COSMONAUTS OF THE FUTURE Texts from the Situationist Movement in Scandinavia and Elsewhere 3 COSMONAUTS OF THE FUTURE TEXTS FROM THE SITUATIONIST MOVEMENT IN SCANDINAVIA AND ELSEWHERE Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen COSMONAUTS OF THE FUTURE Published 2015 by Nebula in association with Autonomedia Nebula Autonomedia TEXTS FROM THE SITUATIONIST Læssøegade 3,4 PO Box 568, Williamsburgh Station DK-2200 Copenhagen Brooklyn, NY 11211-0568 Denmark USA MOVEMENT IN SCANDINAVIA www.nebulabooks.dk www.autonomedia.org [email protected] [email protected] AND ELSEWHERE Tel/Fax: 718-963-2603 ISBN 978-87-993651-8-0 ISBN 978-1-57027-304-9 Edited by Editors: Mikkel Bolt Rasmussen & Jakob Jakobsen | Translators: Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Fabian Tompsett, Jakob Jakobsen | Copyeditor: Marina Mikkel Bolt Rasmussen Vishmidt | Proofreading: Danny Hayward | Design: Åse Eg |Printed by: Naryana Press in 1,200 copies & Jakob Jakobsen Thanks to: Jacqueline de Jong, Lis Zwick, Ulla Borchenius, Fabian Tompsett, Howard Slater, Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Danny Hayward, Marina Vishmidt, Stevphen Shukaitis, Jim Fleming, Mathias Kokholm, Lukas Haberkorn, Keith Towndrow, Åse Eg and Infopool (www.scansitu.antipool.org.uk) All texts by Jorn are © Donation Jorn, Silkeborg Asger Jorn: “Luck and Change”, “The Natural Order” and “Value and Economy”. Reprinted by permission of the publishers from The Natural Order and Other Texts translated by Peter Shield (Farnham: Ashgate, 2002), pp. 9-46, 121-146, 235-245, 248-263.
    [Show full text]
  • How Language Looks: on Asger Jorn and Noël Arnaud's La Langue Verte*
    How Language Looks: On Asger Jorn and No ël Arnaud’s La Langue verte* STEVEN HARRIS In November 1968, the Paris publisher Jean-Jacques Pauvert brought out Asger Jorn and Noël Arnaud’s La Langue verte et la cuite , an event accompanied by a banquet for 2,000 at a Danish restaurant in Paris, and a considerable response from the press, though the book has largely dropped from view since. 1 Initially titled La Langue crue et la cuite , the book was written in French by artist Asger Jorn, founding member of Cobra and of the Situationist International, and revised by Arnaud, member of the Surrealist “Main à plume” group in occupied Paris, founding member of the Revolutionary Surrealist group in postwar Paris (with which Jorn was also involved), and later regent in the Collège de ’Pataphysique. 2 Jorn, in addition to writing the text, also chose the illustrations, while Arnaud added sections of his own and reordered the material in collaboration with Jorn. It is thus the collective labor of two individuals who had first met in Paris in 1946, and who were both involved in the Revolutionary Surrealist group, a splinter group of Communist persuasion that had seceded from the main body of the Surrealist group shortly before the opening of its exhibition Le Surréalisme en 1947 , at the Galerie Maeght. If Cobra was very much ori - ented against Arnaud when it was first formed in 1948, the paths of the two men crossed numerous times in subsequent years. Jorn turned to Arnaud as a trusted friend who was in in sympathy with his aims, who corrected Jorn’s rather casual French, and who in general was willing to lend a hand to the enterprise.
    [Show full text]
  • HUMAN ANIMALS the ART of COBRA COBRA CONTEMPORARY LEGACY
    HUMAN ANIMALS THe ART OF COBRA COBRA CONTEMPORARY LEGACY September 15-November 20, 2016 University Museum of Contemporary Art The Cobra Belgium, included twice as many works as the first and displayed a more mature and sophisticated side of Cobra. The show included Movement several well-known artists like Alberto Giacometti, Joan Miró and Wifredo Lam, and thus demonstrated Cobra’s acceptance into the wider artistic community. Despite this, the show’s unfavorable reviews and the onset of tuberculosis in Jorn and Dotremont forced the group Cobra was formed in Paris in 1948 as an international avant-garde to split up and cease to exist as a coherent, international network. movement that united artists and poets of three cities —Copenhagen, Brussels, and Amsterdam—by Christian Dotremont (Belgian, 1922– In the 1950s, artists all around Europe searched for ways to confront 1979), Joseph Noiret (Belgian, 1927–2012), Asger Jorn (Danish, 1914– the traumatic history and legacy of the Second World War. Artists 1973), Karel Appel (Dutch, 1921–2006), Constant (Dutch, 1920–2005), focused internationally on new forms of expressive abstraction in and Corneille (Dutch, 1922–2010). The Cobra artists were inspired paint as well as other materials. Interest was revived in movements by the idea of the “human animal,” a playful or perhaps satirical like German Expressionism, formerly considered “degenerate” under representation of people’s animalistic instincts and desires, while Fascism. Historical Expressionism and Surrealism were the major evoking the symbolic relationship between humans, animals, and the inspirations for Cobra. Abstract Expressionism in the United States natural environment. The group chose the snake as a totem because was a parallel contemporary movement, but Cobra artists differed of the animal’s universal presence as a mythic and religious symbol.
    [Show full text]
  • JACQUELINE DE JONG Born 1939 in Hengelo, Netherlands Lives And
    JACQUELINE DE JONG Born 1939 in Hengelo, Netherlands Lives and works in Amsterdam and in the Bourbonnais, France Solo Exhibitions 2021 Jacqueline de Jong, MOSTYN Contemporary Art Gallery, Wales (upcoming); touring to WIELS Contemporary Art Centre, Brussels Solo exhibition, Treize, Paris (upcoming) 2020 Jacqueline de Jong, Galerie Rodolphe Janssen, Brussels 2019-20 Resilience(s), Pippy Houldsworth Gallery, London Sprouted Behaviour, Eenwerk Gallery, Amsterdam Pinball Wizard: the Work and Life of Jacqueline de Jong, Stedelijk Museum, Amsterdam Billiards, 1976-78, Chateau Shatto, Los Angeles 2018-19 Jacqueline de Jong & The Situationist Times: Same Player Shoots Again!, Malmö Konsthall, Malmö: touring to Museum Jorn, Silkeborg 2018 Jacqueline de Jong, Les Abattoirs, Toulouse 2017 Imagination à Rebours, Dürst Britt & Mayhew, The Hague Imaginary Disobedience, Château Shatto, Los Angeles Potato Blues, onestar press, Paris 2016 The Case of the Ascetic Satyr, Galerie Clemens Thimme, Karlsruhe 2015 Trains, Jacqueline de Jong & Celine Manz, Sociëteit De Kring, Amsterdam 2014 Art Traverse, Gemeentehuis de Bilt, Bilthoven Pommes de Jong, Gallery Clemens Thimme, Karlsruhe WAR: The imminent conflict (again), Gallery Suzanne Biederberg, Amsterdam 2012 All the King’s Horses, Moderna Museet, Stockholm Yale University Beinecke Rare Books and manuscripts library, New Haven, Connecticut Jacqueline de Jong: Life and Times…Recent Work, Gallery Suzanne Biederberg Jacqueline de Jong: The Situationist Times 1962-1967, Gallery Boo-Hooray, New York, Connecticut
    [Show full text]
  • MAMCO DP 27Fev 2018 UK 1
    M�M�M�M�M� M�M�M�M�M�M� �M �M �M �M �M �M �M M� �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M Die Welt als Labyrinth Art & Entertainment New Images Opening : Tuesday February 27 2018 – 6pm 10, rue des Vieux-Grenadiers, 1205 Geneva � � � � � � � p. 3 Press Release Die Welt als Labyrinth (3rd floor) p. 5 Introduction p. 6 Gil Joseph Wolman p. 8 Letterism and the letterist International p. 9 ”Cavern of Antimatter” / Modifications p. 11 SPUR / Situationist Times p. 12 Destruction of the RSG-6 p. 15 Ralph Rumney p.16 Movement for an imaginist Bauhaus Alba’s experimental laboratory p.18 Art & Entertainment (2nd floor) p. 20 New Images (1st floor) Other Exhibition p. 22 A Collection of Spaces p.24 L’ Appartement p.26 Informations and Partners M�M�M�M�M� M�M�M�M�M�M� �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M � � � � � � � � � � � � � Die Welt als Labyrinth Art & Entertainment Nouvelles images Opening : Tuesday February 27 2018 – 6pm 10, rue des Vieux-Grenadiers, 1205 Geneva Press Conference Tuesday February 27 2018 – 11am This spring, MAMCO has decided to turn aimed at art criticism (Piet de Groof’s action back to Letterism and the Situationist Inter- with Debord and Wyckaert against the gene- national, two artistic movements from Paris ral assembly of the AICA in Brussels), art mar- which occupied a very special place on the ket galleries (Jorn’s and Gallizio’s shows political horizon of May 1968.
    [Show full text]
  • Jacqueline De Jong Resilience(S) 28 November
    Jacqueline de Jong Resilience(s) 28 November 2019 - 18 January 2020 Pippy Houldsworth Gallery is delighted to present Resilience(s), Jacqueline de Jong’s first solo exhibition in the UK, running from 28 November 2019 to 18 January 2020. The exhibition will focus on paintings made in the 1980s and early 1990s, bringing together key works from her Upstairs Downstairs and Paysages Dramatiques series. Exuberant, sensual, violent and contradictory, Resilience(s) manifests the defiance and adaptability inherent in de Jong’s practice. Towards the middle of the 1980s de Jong began to return to a more expressionist style of painting, her work having become increasingly figurative in the 1970s. Here the grotesque figures from her 1960s paintings make a reappearance with a more overtly animal form. The Upstairs Downstairs series, originally commissioned for the Amsterdam Town Hall, places its protagonists in the liminal space of the stairwell, ascending and descending, seemingly without purpose. In contrast, the paintings of the Paysages Dramatiques series draw upon a trip de Jong made to the Dutch island of Schiermonnikoog depicting its characters against an apocalyptic landscape of twisted trees and swirling waters. Certain of the Paysages Dramatiques dispense with figures, leaving the same unbridled emotions to be expressed through the colour and form of the landscape alone. Clashing with one another, de Jong’s creatures are driven by violent and carnal lusts. In Ceux qui vont en bateau (1987), bestial creatures collide in passionate embrace as the simian visage of one sucks in the other and a human figure looks on grinning, its face distorted into a fanged mask.
    [Show full text]
  • 1 Defacement, Curated by Amanda Schmitt
    1 Defacement, curated by Amanda Schmitt INTRODUCTION In 1961, Asger Jorn and Jacqueline de Jong (artists and original members of the Situationist International) began working on a multi-volume publication of photographic picture books called the Institute for Comparative Vandalism which aimed to understand how the evolving defacement of Northern European cultural objects and edifices could alter and supersede the meaning of the artifacts that were vandalized (per se). The Institute was focused on illustrating how this vandalism was driven by aesthetic, artistic forces without any concrete reasons: an artistic vandalism without political, violent, dictatorial or revolutionary motivations. In Jorn's purview, this concept is aligned with the classic situationist strategy of détournement, the “integration of present or past artistic production into a superior construction of a milieu,”1 and was further explored in the publication The Situationist Times (published and edited by de Jong from 1962-67). In Jorn’s own words, "Détournement is a game made possible by the capacity of devaluation. Only he who is able to devalorize can create new values...It is up to us to devalorize or to be devalorized according to our ability to reinvest in our own culture.”2 In short, one must sacrifice the past to make way for the future. Détournement is closely related to defacement –as illustrated in this exhibition-- in which both the source and the meaning of the original subject or object are subverted to create a new work. The artworks in Defacement thus fulfill Jorn’s premise of vandalism and the collective situationist notion of détournement, while also investigating the concept as explored by anthropologist Michael Taussig in his eponymous book, asking what surfaces when an artist defaces the surface? One of the most notorious examples of defacement is illustrated in Guy Debord’s graffito, “Ne Travaillez Jamais,” scrawled on a public embankment in Paris in 1963.
    [Show full text]
  • The Situationist International
    Peter Wollen The Situationist International De Sade liberated from the Bastille in 1789, Baudelaire on the barricades in 1848, Courbet tearing down the Vendôme Column in 1870—French political history is distinguished by a series of glorious and legendary moments which serve to celebrate the convergence of popular revolution with art in revolt. In this century avant-garde artistic movements took up the banner of revolution consciously and enduringly. The political career of André Breton and the sur- realists began with their manifestoes against the Moroccan war (the ‘Riff’ war) in 1925 and persisted through to the Manifesto of the 121, which Breton signed in 1960, shortly before his death, denouncing the Algerian war and justifying resistance. In May 1968 the same emblematic role was enacted once again by the militants of the Situationist International. The SI was founded in 1957, at Cosio d’Arroscia in northern Italy, principally out of the union of two prior avant-garde groups, the Movement for an Imaginist Bauhaus (Asger Jorn, Pinot Gallizio and others) and the Lettrist International (led by Guy Debord).1 The Movement for an Imaginist Bauhaus itself originated from splits in the post-war Cobra group of artists, which Jorn had helped found, and the SI was 67 soon joined by another key Cobra artist, Constant. The ancestry of both Cobra and Lettrism can be traced back to the international Surrealist movement, whose break-up after the war led to a proliferation of new splinter groups and an accompanying surge of new experimentation and position-taking.2 The SI brought together again many of the dispersed threads which signalled the decay and eventual decomposition of surrealism.
    [Show full text]
  • Read CIMAM's 2018 Conference Proceedings
    CIMAM 2018 Annual Conference Proceedings November 2–4, Stockholm, Sweden 1 CIMAM 2018 Annual Conference Proceedings Day 1 1 Day 3 63 Friday, November 2, Moderna Museet Sunday, November 4, Kulturhuset Global Realities — Challenges for Modern Ethics of Museums in an Age of Mixed and Contemporary Museums Economy Keynote 1 4 Keynote 4 64 Daniel Birnbaum, Director and Jörg Heiser, Prof. Dr., Ann-Sofi Noring, Co-Director, University for the Arts, Moderna Museet, Berlin, Germany Stockholm, Sweden Perspective 6 72 Keynote 2 15 Ahmet Öğüt, Artist, Victoria Noorthoorn, Director, Amsterdam, Netherlands Museo de Arte Moderno de Buenos Aires, Buenos Aires, Argentina Perspective 7 75 Ann Gallagher, Director of Collections, Perspective 1 21 British Art, Tate, Katya García-Antón, Director, London, United Kingdom Office for Contemporary Art, Oslo, Norway Perspective 8 82 Mami Kataoka, Deputy Director Perspective 2 34 and Chief Curator, Mori Art Museum, Loulou Cherinet, Artist, Professor, Tokyo, Japan Konstfack University of Arts, Craft and Design, Speakers’ Biographies 87 Stockholm, Sweden Workshop conclusions 90 Day 2 36 Colophon 94 Saturday, November 3, Bonniers Konsthall The Future Intelligence of Museums Keynote 3 37 Michelle Kuo, The Marlene Hess Curator of Painting and Sculpture, The Museum of Modern Art, New York, USA Perspective 3 43 Lars Bang Larsen, Guest Professor, Royal Institute of Art and Adjunct Curator, Moderna Museet, Stockholm, Sweden / Copenhagen, Denmark Perspective 4 48 Ho Tzu Nyen, Artist, Singapore Perspective 5 59 Yuk Hui, Philosopher, Writer, Berlin, Germany Note: Click on any of the items above to jump to the corresponding page. Throughout the document, click on any of the page numbers to return to the table of contents.
    [Show full text]
  • Jacqueline De Jong Et the Situationist Times
    SAME PLAYERS SHOOT AGAIN : JACQUELINE DE JONG ET THE SITUATIONIST TIMES 12 décembre 2020 - 23 janvier 2021 TREIZE, 24 rue Moret, 75011 Paris Le 18 septembre 2016, lors d’une visite au Massachusetts Institute of Technology (MIT) de Boston, la peintre néerlandaise Jacqueline de Jong (née en 1939) tombe sur le Digi-Comp II, un jouet éducatif présentant les rudiments de la logique computationnelle à l’aide de boules, d’un plan incliné et de déviateurs. Cette rencontre fortuite lui rappelle le souvenir d’une passion de jeunesse pour une autre machine, autrement plus ludique : le flipper. Au début des années 1970, l’artiste avait en effet entrepris de consacrer à ce jeu le septième numéro de sa revue The Situationist Times. Conçu avec le designer et galeriste Hans Brinkmann, ce Pinball issue n’a finalement pas vu le jour. Il en reste un ensemble de documents préparatoires – photographies, correspondance, coupures de presse, imprimés divers –, jusque là conservés dans un carton, oublié dans la maison d’Amsterdam de l’artiste. Ces archives sont au cœur du projet éditorial et curatorial “These Are Situationist Times”, mené par le chercheur norvégien Ellef Prestæter et Torpedo Press (Oslo) en étroite collaboration avec Jacqueline de Jong. Elles rejoindront bientôt le reste du fonds Jacqueline de Jong de la Beinecke Library à l’université de Yale. “Same Players Shoot Again” constitue l’adaptation parisienne d’une exposition qui, depuis 2018, a connu plusieurs étapes et met à l’honneur le livre et l’interface numérique, élaborés avec Torpedo Press et l’Institute for Computational Vandalism.
    [Show full text]
  • 1 Ejler Bille Eugène Brands
    Ejler Bille Eugène Brands (Danish, 1910–2004) (Dutch, 1913–2002) Large Mask (Store Maske), Mask, 1946 1944 Papier maché Bronze NSU Art Museum Fort Lauderdale, NSU Art Museum Fort Lauderdale, The Golda and Meyer Marks Cobra The Golda and Meyer Marks Cobra Collection; M-352 Collection; M-235 After studying commercial drawing at the Amsterdam School for Applied Arts, Eugène Ejler Bille, a writer and a painter, was a Brands became an artist in the 1930s, key member of the Danish avant-garde making assemblages of found objects groups Linien (The Line), Helhesten (The inspired by Surrealism. Just after the end of Hell-Horse), and Høst (Autumn), which the war, Amsterdam art dealer Frits Lemaire continued the avant-garde legacy of Dada, commissioned Brands to create precise Surrealism, and German Expressionism in pencil drawings of his extensive collection Denmark in the 1930s and 1940s. Bille’s of ethnographic masks and objects from Large Mask reflects the Danish avant-garde’s west Africa and Oceania for a book he was investigation of ethnographic objects and publishing. This project inspired Brands to ancient Scandinavian art. Rather than a design and manufacture his own versions of mask to be worn, the heaviness of the masks. Often beginning with a papier-mâché bronze suggests something ancient and base, he would add paint and elements of permanent, much like the prehistoric Nordic assemblage, such as egg shell or snake rock carvings discussed in the journal skin, to form the masks. Lemaire also took a Helhesten (1941–1944). The mask takes on series of photographs of Brands imaginatively an anthropomorphic quality through the posing with these masks, as seen in the extensions suggesting limbs that protrude exhibition slide show.
    [Show full text]