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Cartographie Ma 03.10.2020 — 28.03.2021 Eliza Douglas, Nothing but Fog , 2017. The Erling Kagge Collection, Oslo. Courtesy : Air de Paris, Paris. Photo © Ivan Murzin MA CARTOGRAPHIE LA COLLECTION ERLING KAGGE Press Relations: PIERRE COLLET | IMAGINE T +33 1 40 26 35 26 / M +33 6 80 84 87 71 PRESS KIT [email protected] Eliza Douglas, Nothing but Fog, 2017. The Erling Kagge Collection, Oslo. Courtesy Air de Paris, Romainville. Photo: Ivan Murzin MY CARTOGRAPHY THE ERLING KAGGE COLLECTION DARREN ALMOND SERGEJ JENSEN DIANE ARBUS KAREN KILIMNIK TAUBA AUERBACH JIM LAMBIE JOHN BOCK KLARA LIDÉN IAN CHENG BIRGIT MEGERLE ANNE COLLIER DAIDO MORIYAMA TRISHA DONNELLY JORGE PARDO ELIZA DOUGLAS RAYMOND PETTIBON CARROLL DUNHAM LARI PITTMAN OLAFUR ELIASSON TORBJØRN RØDLAND ROE ETHRIDGE JOSH SMITH JANA EULER VIBEKE TANDBERG MATIAS FALDBAKKEN WOLFGANG TILLMANS URS FISCHER RIRKRIT TIRAVANIJA ISA GENZKEN PETER WÄCHTLER MARK HANDFORTH LAWRENCE WEINER FABRICE HYBER FRANZ WEST ANNE IMHOF SUE WILLIAMS and Square Saint-Pierre at Sunset, Paris, May 1887 by VINCENT VAN GOGH 03.10.2020 — 28.03.2021 TABLE OF CONTENTS Exhibition presentation p. 1 "Everybody Is Born an Explorer" A Conversation between Bice Curiger and Erling Kagge p. 2-9 Press images p. 10-12 The Fondation Vincent van Gogh Arles p. 13 List of exhibitions held at the Fondation p. 14 Practical information p. 15 "MY CARTOGRAPHY THE ERLING KAGGE COLLECTION" 03.10.2020 — 28.03.2021 As from October 2020 the Fondation Vincent van Gogh Arles is presenting a very personal take on contemporary artistic production: that of modern-day adventurer Erling Kagge. Seen through his eyes, contemporary art assumes its role as a compass. Inspiring and accessible, Erling Kagge’s collection, commenced in 1999, communicates the vital information at stake in the world of the visual arts: “A great work of art,” he says, “is like a thought machine that reflects the artist’s ideas, hopes, lovesickness, failures, and intuitions, among other experiences and emotions.” Erling Kagge is a Norwegian explorer born in 1963 in Oslo. Famous for having successfully completed the Three Poles Challenge, reaching the South Pole, the North Pole and the summit of Mount Everest, he is also a lawyer, writer, publisher and collector. He has entrusted Bice Curiger, artistic director of the Fondation Vincent van Gogh Arles, with the task of curating an exhibition of his collection, the main strands of which reflect Kagge’s enduring sense of wonder and curiosity in the face of the world. Erling Kagge, photo: Simon Skreddernes The Erwin Kagge Collection today encompasses more than 800 works by artists of different nationalities and generations – all of them pieces The reflection of an intimate passion, the Erling that have helped Kagge, in his own words, Kagge Collection reveals – like the works of Van “to grow”. The collection draws its coherence from Gogh – the importance of artists in their ability its very diversity: there is nothing coincidental, to appropriate and interrogate the world so as therefore, in the fact that it contains objects to keep us constantly on the alert. playing upon visual perception, such as those by Olafur Eliasson, at the same time as critical works such as those by Klara Lidén, which evoke Exhibition curator: Bice Curiger the notion of (topographical and conceptual) “underground”. The exhibition My Cartography: The Erling Kagge Collection was previously shown at the Santander Art Gallery (Fundación Banco Santander, Madrid) and includes work by Diane Arbus, Tauba Auerbach, Trisha Donnelly, Raymond Pettibon, Wolfgang Tillmans and Franz West. 1/15 EVERYBODY IS BORN AN EXPLORER: A CONVERSATION BETWEEN BICE CURIGER AND ERLING KAGGE BC: So, you are trained as a lawyer? growing as a branch? When did your interest EK: Yes. in contemporary art start? All this knowledge... BC: And you are an outstanding adventurer Were your parents close to art or did you and a writer. And you are also an important experience some kind of a revelation at a given businessman... moment? EK: Yes. EK: I can still remember the first time I saw BC: And you are a collector, an important a great piece by a contemporary artist. It must collector. Can you tell me how this all came have been 1976. I was thirteen years old. It was together? I mean, there must have been steps at the Louisiana, the museum in Copenhagen. involved in developing your different activities... I was with my cousin, who is my same age. EK: I think it’s very much about curiosity, We saw an installation by Richard Long which about wonder. For an explorer, a lot of things consisted of grey rocks arranged in a circle boil down to “wonder,” which is one of the on the floor. I remember that I thought it was purest forms of joy I can imagine. Everybody is absolutely pathetic as they were the same kind born an explorer, and that spirit of exploration of rocks we had all around our neighborhood. never goes away. You are gradually corrupted Both my cousin and I laughed, joked, and felt by family, friends, kindergarten, and school superior to Richard Long. But some years later but it never completely disappears. While you I started to understand there was something are alive, all eventualities exist on a kind of more, and I began to feel curious about what “possibility meter,” which ranges from 0.1 to that was and to understand that art takes time. 99.9% certainty. That was kind of the beginning of my interest If I thought about my life for a while, I might in art. find some steps or a plan, but to me it kind At home, we didn’t have much of a relation of feels like if everything is happening at the to art. My father’s uncle was a painter—a good same time. It’s all related: expeditions, being a painter with no market—and his paintings hung publisher, collecting art... in our sitting room. When I was eight years old BC: You also became a well-known writer at my parents bought a lithograph by Chagall. I a certain stage in your life. remember it was this huge thing. My father was EK: As I said, it’s about curiosity, and also a jazz critic and my mother was an editor at a about making life more difficult than necessary. book publishing company... I’m a strong believer in the latter. I also worked BC: A jazz critic! That’s artistic. as a lawyer for two years and learned a good EK: Yes, there was art in that sense, although deal about seeing things from different sides not contemporary art specifically. I was very and understanding that there is a big difference privileged in the sense that... between honesty and truth, that there are many BC: And you remember visiting the Louisiana truths. So I don’t see it as a series of steps. I Museum, that marvelous institution directly on think it’s all kind of one big thing. the seaside. BC: Ok, maybe not steps but something more EK: That was kind of like a summerschool like a tree, which grows and... activity in Copenhagen. But I was very fortunate EK: Yes. It’s more like a tree, a gnarled tree. in the sense that we had great books at home— BC: So, when exactly did the art start because of my mother’s work at the publishing 2/15 company—and listened to superb music. Also, since my expeditions. But I kept going to art shows in Norway father was a jazz critic, we went to concerts, and he and in the different cities that I traveled to. I kind invited musicians back home afterwards to play some of followed the art scene in different places. During more. That was a very integrated part of my youth: those years I bought one piece per year, or maybe great literature and jazz music. My father considered two. Something like that. But in 1995, when I was that all other kinds of music were a disease—with the living in Cambridge, my girlfriend got pregnant and exception of blues and gospel. We never listened to I moved back home. I wanted to have a family life in pop music at home. And we didn’t have a TV. Norway so I started a book publishing company. It was BC: When was your father born? a good moment to start because experts at the time EK: He was born in 1933. thought the Internet would make book businesses BC: It’s a generational thing. You had to be in your go down the drain. My goal, in addition to having a teens when pop music started in the early 1960s... good time at the office, was to earn enough money to EK: Yes. However, in general, I still find really buy a home for my family. After three years I bought good jazz more fascinating than other genres, Villa Dammann. I had seen a photo of the house as a more impressive. I like the whole idea of musicians teenager and I loved the functionalistic architecture, improvising and of everybody in the band having their but I never imagined I could afford it or that it should own solo. come up for sale at a time I needed a house. That was BC: It depends... I mean, jazz today can be so in 1999. And then, after another good year for my conventional, with patterns that are just ritualistically company, I started buying art. I soon found myself repeated. But I agree: it’s also a pool with immense spending all my money on art, and that’s what I have possibilities, and intelligence too.
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