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Philippe Parreno Hypothesis

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Philippe Parreno Hypothesis Philippe Parreno EN Hypothesis 2 HangarBicocca Cover Philippe Parreno, The Crowd, 2015 Philippe Parreno Courtesy of the Artist. Pilar Corrias Gallery, Gladstone Gallery, Esther Schipper Hypothesis Public Programme The exhibition is accompanied by a series of 22 Oct 2015 – 14 Feb 2016 conferences, video screenings, concerts and guided tours that allow visitors to learn more curated by Andrea Lissoni about various aspects of the artist’s work. For information: www.hangarbicocca.org. Fondazione HangarBicocca Via Chiese, 2 20126 Milano Opening Hours Thursday to Sunday 11 am – 11 pm Monday to Wednesday closed Free entrance Contacts T. +39 02 66111573 [email protected] hangarbicocca.org 4 HangarBicocca 5 Philippe Parreno Philippe Parreno has been considered one of the most impor- tant artists in the international contemporary art scene since the 1990s. His work explores the borders between reality and its representation utilizing the vocabulary and means typically asso- ciated with a variety of media such as radio, television, cinema and information technology. Interested more in dynamics and the forms in which a work of art is presented to the public than he is in its production, Parreno uses film, installation, performance and text to overturn the codes connected with exhibition space, questioning the conventions of an exhibition and inserting a temporal dimension through differ- ent kinds of events. Since his early works, Parreno has called into question the con- cept of authorship, collaborating in the creation of his artworks with some of the most influential artists of the last two decades, including Douglas Gordon, Liam Gillick, Dominique Gonzalez- Foerster, Carsten Höller, Pierre Huyghe, Tino Sehgal and Rirkrit Tiravanija. He has also worked with music bands like Mogwai, composers and musicians like Devendra Banhart, Pierre Boulez, the pianist Mikhail Rudy, the sound designer Nicolas Becker as well as with the architect François Roche. Exhibition image from “May”, Kunsthalle Zürich, Zürich, 2009. Photo © Stefan Altenburger Photography, Zürich / Kunsthalle Zürich. Courtesy of the Artist Philippe Parreno 7 The Exhibition works of the 20th century. The elements realized by Johns were designed for the performance Walkaround Time held in 1968 by “Hypothesis” is Philippe Parreno’s first anthological exhibition in the avant-garde choreographer Merce Cunningham (1919- Italy, and is conceived as a choreographed space modulated 2009), among the first to have worked on the relationship by a series of events. between dance, music and art within staged actions. The exhibition presents several of the artist’s most significant Set elements for “Walkaround Time” recalls the influences and works, recombining them to radically redefine perception of modalities upon which Parreno bases his practices, founded by HangarBicocca’s industrial spaces: light, shadow, sound and the continuous transformation of his own artworks, the habit of moving images extend the physical limits of both the works and “hosting” other works, artists, and collaboration. The artist recalls surrounding architectural elements like columns, immersing this subject speaking about the exhibition “Dancing Around the visitors in an environment in which spatial dimensions and tem- Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp”, poral references cease to be certainties, seeming to participate held in 2012, to which he participated as metteur-en-scène: «It’s in a score according to which each is both cause and conse- a really cool show called “Dancing around the Bride” and it’s a quence of something else. precise moment in the 1950’s and 1960’s in the United States, which is really a sensitive subject for me, when a group of artists “Hypothesis” is the hypothesis of an exhibition, and in this sense – including Duchamp, John Cage, Robert Rauschenberg and reflects all of Parreno’s investigations: a show at once personal Merce Cunningham – who were for a while really challenging, and collaborative, anthological and open, retrospective and really freely, thoughts and ideas and motifs, and one element perspective, temporary and temporal, the shadow of what would appear in the work of one artist without the notion of cop- came before and undoubtedly the light of what will come next. yright, and things were circulating and moving, and the fact that for me as a student it was the most fantastic waltz ever.» 1 Jasper Johns, set elements for “Walkaround Time” (1968) 2 Danny the Street (2006 – 2015) Situated at the entrance to the exhibition space, are set elements 3 Another Day with Another Sun (2014) for “Walkaround Time” (1968), a series of props by American artist Jasper Johns made up of seven rectangular, transparent struc- The installation Danny the Street (named after the character tures on which are reproduced images from The Bride Stripped created by Grant Morrison and Brendan McCarthy for DC Bare by her Bachelors, Even (The Large Glass) (1915–1923) by Comics) is composed of nineteen Marquees (sculptures in Marcel Duchamp, one of the most significant and enigmatic art- Plexiglass, lights and sounds realized between 2006 and 2015), 8 HangarBicocca Philippe Parreno 9 10 HangarBicocca Philippe Parreno 11 and is an imaginary street that winds its way through the “Navate” Set in a line, the nineteen suspended Marquees light up at inter- in HangarBicocca. Made of different sizes, the Marquees are mittent moments and, like musical instruments, follow a score suspended at various height. They were inspired by the luminous conceived by Parreno with Nicolas Becker together with a num- signs which hung over the entrances to American movie theatres ber of different artists and musicians, including Agoria, Thomas in the 1950s to advertise films. In Parreno’s work theMarquees Bartlett, Liam Gillick, Ranjana Leyendecker, Mirwais, and Robert become indicators that, no longer advertising a cinematographic AA Lowe. Two Disklavier pianos are placed on the floor and show, mark the space by introducing the possibility of an event. play a score that determines the timing sequence for the entire exhibition, and appear to play conducted by an invisible pres- The first work in the series is Marquee (Esther Schipper Plans), ence (the pianist Mikhail Rudy was recorded in New York on the realized in 2006 for the entrance to the Esther Schipper gallery occasion of Parreno’s solo show at Park Avenue Armory in July in Berlin. On the front of the Marquee, where the film ad was 2015). As the artist explains, «all of the elements in the exhibi- traditionally set, a neon sign reproduces a map of the gallery. tion—the videos, music recordings, and marquees—can be con- The artist conceived these works as enormous 3D captions that trolled from a master keyboard that looks like a piano but con- can also substitute the object they are supposed to indicate, ceptually is more like a gamelan, with diverse instruments that becoming artworks and at the same time premises or introduc- can be played together.» tions to other artworks. The installation Another Day with Another Sun (2014), realized In 2013, on occasion of his retrospective at the Palais de Tokyo in in collaboration with the artist Liam Gillick, is suspended on the Paris, Parreno gathered various Marquees, assembling them in side opposite the Marquees. The artwork – an artificial light a single installation titled Danny the Street, conceived as a spe- that crosses through the exhibition space thanks to a system of cific group and composition of works to last for the length of the suspended tracks – seems to evoke the passage of the sun from exhibition. As the artist affirmed, a central element of his artistic dawn to dusk. Along its path, the light strikes the columns of the practice is «the pleasure of taking an object and not reinventing “Navate” in HangarBicocca, as well as the Marquees, casting it but renegotiating the way it becomes public.» In the comic their shadows on the floor and on a curtain created with a spe- book novel Doom Patrol by DC Comics, Danny is a sentient and cial white textile. sapient roadway that “transports” itself into cities. The interplay of shadows is doubled and interwoven: on the floor visitors can see silhouettes of the Marquees, while at the same time their profiles are projected against the white surface, Previous pages: Danny The Street (detail), 2015; “Philippe Parreno H {N)Y P N(Y} OSIS”, Park Avenue Armory, New York, 2015. Photo Andrea Rossetti. Courtesy of the Artist and creating a phantasmagorical landscape. Pilar Corrias Gallery, Gladstone Gallery, Esther Schipper 12 HangarBicocca Philippe Parreno 13 The pairing of Another Day with Another Sun and Marquees Parreno’s film is the first episode in this series of projects, and is generates a unique, single artwork accompanied by an interplay characterized by a unique sequence in which Annlee presents of cross-references, causes and effects and evokes absences that herself as a girl without a past, and declares her existence as a become real presences. The result is an enigmatic, suspended product free of any copyright or market restrictions. Annlee’s space that recalls an ephemeral urban scenario that penetrates voice was created digitally by the artist. Her presence has an the exhibition space; a science fiction set, but also the history of ambiguous quality: she is a melancholy character, devoid of pre-cinema and son et lumière performances. quality, destined to remain a simulated reality. Made up of a pattern of LEDs that brings together various films and videos by Parreno, Marquee (2015) is part of the series and stands out for its physical presence in the space. A structure typi- cal of urban public spaces, the large-scale LED screen is an architectural element, and its surface combines the traditional functions of a film screen, but broadcasts videos in a sequence the way a television channel would. In this sense, the combination of the Marquees and Another Day with Another Sun amplifies the image of an abstract, cinematic city evoked by Danny the Street.
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