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Oscar Tua zon

REVUE DE PRESSE | SELECTED PRESS

10 RUE CHARLOT, PARIS +33 1 42 77 38 87 | CROUSEL.COM Galerie Chantal Crousel Languin, Irène. leurgloireauparc «Quatorzeaèrent »,Tribune sculptures deGenève, June 11,2018. https://www.tdg.ch/culture/quatorze-sculptures-aerent-gloire-parc/story/20253605 Galerie Chantal Crousel Languin, Irène. leurgloireauparc «Quatorzeaèrent »,Tribune sculptures deGenève, June 11,2018. https://www.tdg.ch/culture/quatorze-sculptures-aerent-gloire-parc/story/20253605 Galerie Chantal Crousel Languin, Irène. leurgloireauparc «Quatorzeaèrent »,Tribune sculptures deGenève, June 11,2018. https://www.tdg.ch/culture/quatorze-sculptures-aerent-gloire-parc/story/20253605 Galerie Chantal Crousel Languin, Irène. leurgloireauparc «Quatorzeaèrent »,Tribune sculptures deGenève, June 11,2018. https://www.tdg.ch/culture/quatorze-sculptures-aerent-gloire-parc/story/20253605 Galerie Chantal Crousel Languin, Irène. leurgloireauparc «Quatorzeaèrent »,Tribune sculptures deGenève, June 11,2018. https://www.tdg.ch/culture/quatorze-sculptures-aerent-gloire-parc/story/20253605 Galerie Chantal Crousel Grandjean, Emmanuel.vontGrandjean, «Lessculptures aujardin »,LeTemps,June 7,2018. https://www.letemps.ch/culture/sculptures-jardin Galerie Chantal Crousel Grandjean, Emmanuel.vontGrandjean, «Lessculptures aujardin »,LeTemps,June 7,2018. https://www.letemps.ch/culture/sculptures-jardin Galerie Chantal Crousel « The artists’artists:OscarTuazon », Art Forum, VOL.56, NO.4, December 2017,p.64. Galerie Chantal Crousel « Anne Dressen :OscarTuazon,« AnneDressen UnPont (Belfort,France) (ABridge) »,Art Forum, VOL.56, NO.4, December 2017,p.148. Galerie Chantal Crousel https://www.domusweb.it/en/art/2017/10/23/a-new-environmental-installation-by-oscar-tuazon-opened-in-paris.html «Anew environmental installation by OscarTuazon openedinParis »,Domus, October23,2017 Galerie Chantal Crousel https://www.domusweb.it/en/art/2017/10/23/a-new-environmental-installation-by-oscar-tuazon-opened-in-paris.html «Anew environmental installation by OscarTuazon openedinParis »,Domus, October23,2017 Galerie Chantal Crousel https://www.domusweb.it/en/art/2017/10/23/a-new-environmental-installation-by-oscar-tuazon-opened-in-paris.html «Anew environmental installation by OscarTuazon openedinParis »,Domus, October23,2017 Galerie Chantal Crousel Title: Unecolonne d’eau Artist: Oscar Tuazon Venue: FIAC 2017Address: Place Vendôme, Paris Openingdates: until 9 November 2017 with boththesite inwhichthey are presented, aswell aswiththeirviewer, often through physical engagement. tallations. His works have roots in minimalism, conceptualism, andarchitecture, andhave adirect relationship design. Hefrequently useswood, concrete, glass,steel, andpipingasmaterials to create hisstructures andins worked side by sidewithVito Acconci –iswell known for hisartistic contribution to architecture, spaceand the environment created by Tuazon bothinternally andexternally. water monument.” Viewers are ableto enter thestructure, whichisbisected by thetree trunks, andexperience infrastructure ofwater, theserecycled pipelinesrepresent “an architecture ofwater madevisible,ahorizontal port water, andtree trunks cutfrom Paris’ BoisdeVincennes.Stemming from Tuazon’s interest inthemunicipal colonne d’eau comprises four sculptures, eachof whichisconstructed outofPVC pipe,originallyusedto trans- Based inLosAngeles, Tuazon –whostudied architecture andurbanismwhoTheinstallation, called Une https://www.domusweb.it/en/art/2017/10/23/a-new-environmental-installation-by-oscar-tuazon-opened-in-paris.html «Anew environmental installation by OscarTuazon openedinParis »,Domus, October23,2017 - Galerie Chantal Crousel http://www.numero.com/fr/art/oscar-tuazon-fiac-installation-place-vendome-artiste-seattle-scultpure-monumentale- Troncy, Eric. «QuiestOscarTuazon, laplaceVendôme? l’artiste qui amétamorphosé »,October18,2017. Galerie Chantal Crousel http://www.numero.com/fr/art/oscar-tuazon-fiac-installation-place-vendome-artiste-seattle-scultpure-monumentale- Troncy, Eric. «QuiestOscarTuazon, laplaceVendôme? l’artiste qui amétamorphosé »,October18,2017. Galerie Chantal Crousel http://www.numero.com/fr/art/oscar-tuazon-fiac-installation-place-vendome-artiste-seattle-scultpure-monumentale- Troncy, Eric. «QuiestOscarTuazon, laplaceVendôme? l’artiste qui amétamorphosé »,October18,2017. Galerie Chantal Crousel http://www.numero.com/fr/art/oscar-tuazon-fiac-installation-place-vendome-artiste-seattle-scultpure-monumentale- Troncy, Eric. «QuiestOscarTuazon, laplaceVendôme? l’artiste qui amétamorphosé »,October18,2017. Galerie Chantal Crousel Troncy, Eric. «OscarTuazon, desHippiesdeSeattle àlaPlaceVendôme »,Numéro Art, N°1, Hors sérieSeptembre 2017-Février 2018,pp.133-136 Galerie Chantal Crousel Troncy, Eric. «OscarTuazon, desHippiesdeSeattle àlaPlaceVendôme »,Numéro Art, N°1, Hors sérieSeptembre 2017-Février 2018,pp.133-136 Galerie Chantal Crousel Troncy, Eric. «OscarTuazon, desHippiesdeSeattle àlaPlaceVendôme »,Numéro Art, N°1, Hors sérieSeptembre 2017-Février 2018,pp.133-136 Galerie Chantal Crousel Troncy, Eric. «OscarTuazon, desHippiesdeSeattle àlaPlaceVendôme »,Numéro Art, N°1, Hors sérieSeptembre 2017-Février 2018,pp.133-136 Galerie Chantal Crousel Troncy, Eric. «OscarTuazon, desHippiesdeSeattle àlaPlaceVendôme »,Numéro Art, N°1, Hors sérieSeptembre 2017-Février 2018,pp.133-136 Galerie Chantal Crousel Griffin, Jonathan. « Living asasculptural process»,Momart, 2017,pp.20-23. Galerie Chantal Crousel Griffin, Jonathan. « Living asasculptural process»,Momart, 2017,pp.20-23. Galerie Chantal Crousel Griffin, Jonathan. « Living asasculptural process»,Momart, 2017,pp.20-23. Galerie Chantal Crousel Griffin, Jonathan. « Living asasculptural process»,Momart, 2017,pp.20-23. Galerie Chantal Crousel Griffin, Jonathan. « Living asasculptural process»,Momart, 2017,pp.20-23. Galerie Chantal Crousel Robert, Martine. «Letout-ParisdelaFIAC semetàl’heure »,L’oeil, #705, October2017,pp. 38-40. Galerie Chantal Crousel Robert, Martine. «Letout-ParisdelaFIAC semetàl’heure »,L’oeil, #705, October2017,pp. 38-40. Galerie Chantal Crousel Robert, Martine. «Letout-ParisdelaFIAC semetàl’heure »,L’oeil, #705, October2017,pp. 38-40. Galerie Chantal Crousel Tuazon, Oscar. «Standingrock soundtrack»,Paris LA, Issue15, Spring2017,pp.98-111. Galerie Chantal Crousel Tuazon, Oscar. «Standingrock soundtrack»,Paris LA, Issue15, Spring2017,pp.98-111. Galerie Chantal Crousel Tuazon, Oscar. «Standingrock soundtrack»,Paris LA, Issue15, Spring2017,pp.98-111. Galerie Chantal Crousel Tuazon, Oscar. «Standingrock soundtrack»,Paris LA, Issue15, Spring2017,pp.98-111. Galerie Chantal Crousel Tuazon, Oscar. «Standingrock soundtrack»,Paris LA, Issue15, Spring2017,pp.98-111. Galerie Chantal Crousel Tuazon, Oscar. «Standingrock soundtrack»,Paris LA, Issue15, Spring2017,pp.98-111. Galerie Chantal Crousel Tuazon, Oscar. «Standingrock soundtrack»,Paris LA, Issue15, Spring2017,pp.98-111. Galerie Chantal Crousel Tuazon, Oscar. «Standingrock soundtrack»,Paris LA, Issue15, Spring2017,pp.98-111. Galerie Chantal Crousel Tuazon, Oscar. «Standingrock soundtrack»,Paris LA, Issue15, Spring2017,pp.98-111. Galerie Chantal Crousel Tuazon, Oscar. «Standingrock soundtrack»,Paris LA, Issue15, Spring2017,pp.98-111. Galerie Chantal Crousel Tuazon, Oscar. «Standingrock soundtrack»,Paris LA, Issue15, Spring2017,pp.98-111. Galerie Chantal Crousel Tuazon, Oscar. «Standingrock soundtrack»,Paris LA, Issue15, Spring2017,pp.98-111. Galerie Chantal Crousel Tuazon, Oscar. «Standingrock soundtrack»,Paris LA, Issue15, Spring2017,pp.98-111. Galerie Chantal Crousel Tuazon, Oscar. «Standingrock soundtrack»,Paris LA, Issue15, Spring2017,pp.98-111. Galerie Chantal Crousel Gaimari, Caroline. «OscarTuazon, Fashion, 2017–VOL. »,Purple Spring onartandpoliticalresistance Summer III, Issue 27,pp.92-93. Galerie Chantal Crousel Gaimari, Caroline. «OscarTuazon, Fashion, 2017–VOL. »,Purple Spring onartandpoliticalresistance Summer III, Issue 27,pp.92-93. Galerie Chantal Crousel http://www.estrepublicain.fr/edition-belfort-hericourt-montbeliard/2016/11/20/le-pont-de-l-arsot-rend-hommage-aux-indigenes Lainé, Pascal. «LePontauxindigènes»»,L’Est hommage del’Arsotrend Républicain, November, 202016. Galerie Chantal Crousel http://www.estrepublicain.fr/edition-belfort-hericourt-montbeliard/2016/11/20/le-pont-de-l-arsot-rend-hommage-aux-indigenes Lainé, Pascal. «LePontauxindigènes»»,L’Est hommage del’Arsotrend Républicain, November, 202016. Galerie Chantal Crousel ot ue éi d promne. n sgaéiu et ie n lc, e bre dnet e ln de plan le donnent bornes des place, en mise est signalétique Une performances. de série une installations aux toute s’ajouter verra qui minuit, à 18h de samedi prévu ailleurs par est Night Parcours Un cours ferméesoudesinstitutions. des dans cachent se qui celles aussi apprécier pour horaires aux même de tout fiera se on mais public, désoler sous les flots. Une part d’entre elles sont visibles à toute heure, simplement posées dans l’espace Il estvraiquecette année, lamétéo n’est paspropice àlabalade et quesouvent lesœuvressemblent se Silhouettes sculptéessur laMünsterplatz Leuenberger,fondateur etcurateurdeSalts,unespaced’exposition indépendantàBirsfelden(Bâle-Campagne). Samuel commissaire, nouveau un à année cette confié été a Il ville. la de emblématique notamment, prend maintenant ses aises autour de la Münsterplatz et de cette cathédrale rose qui reste Pour saseptième édition, le Parcours,quiainvesti différents quartiersdelaville, dans lePetit-Bâle Cité rhénane,às’aventurerdanssesruelles. se voyant ainsi entrouvrir l’univers d’Art Basel et les visiteurs de la foire étant ainsi incités à découvrir la Le Parcoursestnépourfairelelien entre lafoireetville. Il estunévénement de liaison, les habitants de laMesseplatz. Et cepremier accèsdonnerasansdoutel’envie à certains deplongerunefoisdanslesimmenseshalles cité. la dans présente effet aussi en est Celle-ci centime. un débourser sans foire la de peu un profiter de redire sil’onseréfèreaunombreetàlaqualité des œuvresquisontexposéesici.Ilresteaussipossible Le prix d’uneentrée journalière à Art Basel est de 50 ments dansl’espacepublic,malgrélamétéo. La grande messe del’art contemporain distille aussi quelquesœuvresetévéne Art Basel,versionurbaineetgratuite Chardon, Elisabeth «ArtBasel,version LeTemps, urbaineetgratuite», June 16,2016. https://www.letemps.ch/culture/2016/06/16/art-basel-version-urbaine-gratuite

francs, 29

francs si l’on entre après 17h. Rien à - Galerie Chantal Crousel www.artbasel.com Art Basel,jusqu’au19 raude dontlesformessontdefaitassezcohérentes aveclaconstructiond’Oscar Tuazon. concrète, faite d’ateliers de fabrication de cemodèle de lampes, des modulesauxpetites lumières éme Light d’Olafur Eliasson. Si le titre est symbolique, comme un feu vert aux migrants, c’est Green projet aussi le une découvrir action y pour rendez-vous au l’espère, on seront, éclaircies les dimanche, et Samedi de monde. rendez-vous des visiteurs, ou même pour des événements plus officiels. Mais à vrai dire, on n’y voit peu tionnelles de sécurité à l’entrée de lafoire–devraient fonctionner comme des abrispourlespauseset par dessacsquidonnentl’impressiond’unesituation d’urgence –commeenéchoauxmesuresexcep californien Steve Bear dans les années 1960. Ces coques en bois, ouvertes solaire au ingénieur sud, protégées et sur l’architecte leur par flanc développée House Zoom la de structure la reprend Angeles Los de La pluien’estpasnonplustrèsaimable avec l’installation d’Oscar Tuazon surlaMesseplatz.L’artiste sauvé quelque12 nisme Migrant Offshore Aid Station (MOAS) qu’iront les fonds récoltés grâce à cet appel. MOAS a déjà des victimes du génocide du Rwanda. Cette fois, quand on déploie la boîte, on peut lire que c’est à l’orga faveur en imaginée avait qu’il œuvre une Don, Gift/Le The migrants des crise la de victimes des faveur des figurent Elles cartons. en boîtes vagues s’échouant sur une plage. petites Une plage de détresse et curieuses de tristesse. Alfredo Jaar de recrée aujourd’hui en distributeurs les aussi peut-être croisera On au filduparcoursdespiècesdeSamDurant, AlbertoGarutti, AllanMcCollum ouIvanNavarro. la Villede constructions ainsi des verra Département On du Bâle. cour de la dans posé est 2012 de titre, sans œuvre plots, de jeu de drôle Ce aucune. d’utilité plus sans réassemblé et démonté pick-up son avec A l’opposé,c’estunclin d’œil ànotre civilisation automobile que fait l’Américaine Viriginia Overton Des vagueséchouées la sommedenotrehumanitédepuislecommencementdestemps. proches de l’artiste ont posé pourlui. Au-delà de leur rudesse apparente, elles semblent en fait rassembler fondre en bronze. Ses formes monolithiques ne représentent personne en particulier même si des femmes en Décédé Münsterplatz. la peupler 92 à Josephsohn Zurich à 2012 Hans de sculptures les voir de plaisir un ainsi C’est n’importe quelpaysaumonde,biendécidéeàdéveloppersonindustrietouristiqueœuvredocumentée. l’ensemble du parcours, chaque étape est signalée et la Chine en effet bâtit plus de parc d’attractions que

000 personnes,enMéditerranéemaisaussidanslegolfeduBengale. Chardon, Elisabeth «ArtBasel,version LeTemps, urbaineetgratuite», June 16,2016.

https://www.letemps.ch/culture/2016/06/16/art-basel-version-urbaine-gratuite ans, l’artiste a travaillé la figure humaine, modelant ses pièces en plâtre avant de les de avant plâtre en pièces ses modelant humaine, figure la travaillé a l’artiste ans,

juin. - - - Galerie Chantal Crousel 108 agglomerations of wood,agglomerations of metal, concrete and much of Tuazon’s work to elongated date: hewn sculptural columns that are not unlike I said we should make herms.’ a antagonist mine,book of of which is the a title memoir of by the protagonist do something together called “Mein Cock”, opening in Paris in 2009: ‘He said we should mooted when she performed at an Oscar Tuazon tells it, the exhibition between artforms. As the poet Ariana Reines words – thus apt subjects for collaboration some Guardians passage,kind of of in other at crossroads, on borders, in tombs.front of objects, protective or guiding figures placed column.and squared-off Herms were apotropaic genitals, as though plonked onto the carved a head, sometimes a torso and usually male crude stone pillar or of wood. In time it acquired in ancient Greece as a mere rocksheap of or The sculptural the genre herm of originated The result is a show populated by rough- Dillon, Brian.«ArianaReines &OscarTuazon. PUBICSPACE», Art Review, May, 2016,p.108. PUBIC

SPACE Coeur de Lion. was first OLD SPICE Ariana Reines

Modern Art, London

/ , 2016, concrete, wood, soap, paint, buckets, tap, water, leaf, paper, poems, 231 × 43 × 86 cm. Courtesy Stuart Shave / the second taller and capped with a bucket of rene coffee cup at its notional crotch level, ing candles and affixed with a stained polysty a wood tower and of concrete topped with burn- are called Art, side by side like gateway ornaments. They these herms of in the first room at Modern artist calls ‘outlaw architecture’. There are two plaster that an partake aesthetic of the the show’s second space. But thematic,what of protrude here and there from the five herms in making for example the soap lumps that of two weeks working together at Tuazon’s studio, from the work itself. It turns out they spent between Reines and Tuazon is otherwise unclear a primitive of Greek herm also languishes. into the grey sump below, where an image wooden bodies of Reines’sof poems are messily pasted onto the cylindrical concrete base. A few printouts soapy water that drips constantly into a hollow The precise the nature collaboration of MA & and Oscar Tuazon PA MA ArtReview (all works 2016): the first and 25 February – 9 April PA , another stuffed Modern Art, London LA P -based -based

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S P to make/Me have no clue again.’ To understanding and then / Sometimes I feel / ‘I have no idea / to see the proportional relation’, she writes: with confused desires and ambitions. In ‘Trying citations and mundane musings, seized also her monologuist personae are given to highbrow literary history, high theory and social media; ness. Her writing snatches voraciously from confessional energy against conceptual aware the The WorldOrigin of (2014) – typically pitches such as writer and of artist? Reines’s poetry – in books conceptual or formal affinities between the work their genitals snapped clean off. herms is that sooner or later they tended to have extended dick joke. The thing about classical phallus, and the collaboration an erudite and cultural ubiquity and comic the vulnerability of S PACE ACE In light of In suchlight of lines, the herms in seem like tragicomic the assertions of The Cow (2006), What it feels like to have / A As though I’m getting close / (2011) Mercury and (2011) Something happens

Brian Dillon P UBI

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Galerie Chantal Crousel «Une oeuvre d’OscarTuazon«Une oeuvre aucoeurd’ArtBasel»,LeQuotidiendel’Art, Numéro 1057,Tuesday, May3, 2016,p.4. pour 350 000 en2013,du marchand MahmoudAntar àMiami, qu’il aacquis debonne foi lapeinture de1928 auprès proclam a réponse, le galeriste aperçue du larcin qu’il n’y a que quelques semaines. En La veuvede 88 en 2009 audomicile desépoux multimillionnaires Tisch. technologies depointe. d’Oscar Tuazon estentièrementréalisée àl’aidede architectural d’origine àlamain,version fabriqué (Nouveau en1969. Mexique) Contrairement aumodule àLa cycleLuz derencontressimilairessoussonédifice àStevesera emprunté Baer, qui avait organiséun desconférences Làencore,lethème del’habitat. le thème accueilleradivers événementssur aluminium démontable House, conçueen1972 parSteve Baer.Ce pavillon en architecturale delastructure sera uneadaptation la foire, hier, surMesseplatz, lundi.Installée du 13 au19 œuvre aucœurdeBâle,enSuisse,àl’occasion d’ArtBasel > AU CŒURD’ART BASEL UNE ŒUVRED’OSCARTUAZON de bonnefoi. acheteur desondernier l’œuvreresterait propriété Floride d’origine,qu’en tandis àsonpropriétaire soit retournée queprévoit, lapièce le casd’unvol dans d’œuvred’art, Hendel,laloinew-yorkaise SelonKenneth américains. compliquée dufait desdivergences dudroitentrelesÉtats Miami Herald de détenirune œuvrevolée dePablo Picasso,selonle accusé le20 > DE PICASSOVOLÉ QUESTIONS AUTOUR D’UNPORTRAIT www.artbasel.com L’artiste OscarTuazon unenouvelle installera américain Kenneth Hendel, galeriste à Aventura, à été a Hendel,galeriste enFloride, Kenneth BRÈVES juin 2016, ontannoncélesorganisateursde avril par un cabinet d’avocat paruncabinet avril new-yorkais . dollars (304 000 Portrait deMarie-Thérèse ans, Wilma « ans, Wilma Billie é son innocence, avançant euros). L’affaire s’est » Tisch, neseserait auraitétédérobé

Zome Alloy Zome

AE PAGE 04 pavillon Est,àunedate encore nondéfinie. Pavillon doitsecontinuersurd’autresespaces du Ouestet dumuséeadébutéen1999 agrandissement et pourle www.nga.gov Hahn/Cock de plus1 000 le 30 > FIN SEPTEMBRE SON BÂTIMENTRÉNOVÉ DE WASHINGTON INAUGURERA LA NATIONAL GALLERY OFART l’occasion entièrementrepensé.Outrel’agrandissement dontl’accrochage serapour moderne, collections d’art temporaireplusieurs espacesd’exposition ainsique les National Gallery of Art deWashington ofArt serainauguré National Gallery toit terrasse arboré qui recevra plusieurssculpturesdont arboréqui recevra toit terrasse lenouvel espacecomprendnombre d’œuvresexposées, un Image byP.Y. Chin,Architect.© Après trois Projection de l’intérieur delasalleMark Rothko, danslaTowerProjection del’intérieur Gallery septembre. Le pavillon rénové et agrandi abritera abritera septembre. Lepavillon rénovéagrandi et du bâtiment Est de la National Gallery of Art, àWashington. ofArt, du bâtimentEstdelaNational Gallery pour Art Basel2016.pour Art Oscar Tuazon, Zome © © Alloy, projection Oscar Tuazon. LE QUOTIDIENDEL’ART (2013) de Katharina Fritsch. Cette rénovation Cette (2013) Fritsch. deKatharina ans detravaux, lebâtimentEstdela mètres carrés permettant d’accroîtrele permettant mètres carrés 2013 Washington. ofArt, National Gallery

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MARDI 3MAI2016 /…

NUMÉRO 1057

308_M 16_Reviews.indd100 by witty andjoyfulmanipulationofthings. thereby allowsvisitors todiscover theartist’s grants plentyofspaceand theartworks museum labelobsolete.The exhibition and simultaneouslymakes theseparate deniesitsfunction each step,theartist another? Byinsistingtheviewernotice just becauseonestepregularlyfollows this warningsuperfluousonstaircases that therearebumpsalongtheway.Is usually actasaremindertotheinattentive (2015). Signsthatsay“watchyour step” disable thecausallinkinDominoEffect is enoughofaminimalinterventionto The fillingofthegapsbetweenblocks potential oftheirlatentchainreaction. the dominosherehave losttheinvoked unpretentiously. Setupbacktoback, precisely fittedbetweentwowalls,quite subtle irony. Ablackblockhasbeen Floyer’s worksareconnectedthrough via seeminglybanaljuxtapositions. their verbal orvisualrepresentations the relationshipbetweenobjectsand and Three Chairs (1965),alsoquestioned work ofJosephKosuth, who,withOne is reminiscentoftheearlyconceptual with languageandvisualappearances the work’s modeofoperation. The play Projection (2006)suggests,lays bare ofFloyer’sis notpart stylistictoolkit. things theirvisualform. Butdeception bulb hasnoshadow;itprovides other rare. Inordinary circumstances, thelight to us,ouractualencounters withitare as theshadowofbulbmayappear are quicktotake for granted. Asfamiliar the notionofeveryday, whichwe mischievouslythe Britishartist infiltrates predominantly installation-basedwork, where onewouldexpect ittobe.Inher the impressionthatlightsource is Only itsshadowmarksthewall,conveying ceiling inCealFloyer’s exhibition space. the bigdealis.Butthereisnobulbon Kunsthaus mightaskthemselves what from theceiling,visitors totheAargauer Upon seeingabarelightbulbhanging Aargauer Kunsthaus /Aargau Ceal Floyer Franz Krähenbühl The installation,asthetitleOverhead 308_M 16_Reviews.indd100 Aargauer Kunsthaus /Aargau Ceal Floyer by witty andjoyfulmanipulationofthings. thereby allowsvisitors todiscover theartist’s grants plentyofspaceand theartworks museum labelobsolete.The exhibition and simultaneouslymakes theseparate deniesitsfunction each step,theartist another? Byinsistingtheviewernotice just becauseonestepregularlyfollows this warningsuperfluousonstaircases that therearebumpsalongtheway.Is usually actasaremindertotheinattentive (2015). Signsthatsay“watchyour step” disable thecausallinkinDominoEffect is enoughofaminimalinterventionto The fillingofthegapsbetweenblocks potential oftheirlatentchainreaction. the dominosherehave losttheinvoked unpretentiously. Setupbacktoback, precisely fittedbetweentwowalls,quite subtle irony. Ablackblockhasbeen Floyer’s worksareconnectedthrough via seeminglybanaljuxtapositions. their verbal orvisualrepresentations the relationshipbetweenobjectsand and Three Chairs (1965),alsoquestioned work ofJosephKosuth, who,withOne is reminiscentoftheearlyconceptual with languageandvisualappearances the work’s modeofoperation. The play Projection (2006)suggests,lays bare ofFloyer’sis notpart stylistictoolkit. things theirvisualform. Butdeception bulb hasnoshadow;itprovides other rare. Inordinary circumstances, thelight to us,ouractualencounters withitare as theshadowofbulbmayappear are quicktotake for granted. Asfamiliar the notionofeveryday, whichwe mischievouslythe Britishartist infiltrates predominantly installation-basedwork, where onewouldexpect ittobe.Inher the impressionthatlightsource is Only itsshadowmarksthewall,conveying ceiling inCealFloyer’s exhibition space. the bigdealis.Butthereisnobulbon Kunsthaus mightaskthemselves what from theceiling,visitors totheAargauer Upon seeingabarelightbulbhanging Franz Krähenbühl The installation,asthetitleOverhead

by centers for thecreative (upper)middleclass. honest toreadthembothassocializing ideas andradical forms.” Butit’s muchmore — asplacestoexperiment with“adventurous these designplaygrounds withKunsthalles opening walltext Burkhaltercompares works withoutriskingbodilyharm.Inthe children swing;itisimpossibletoviewthe installed tooclosetohangingropes where plans by Group Ludic (1968–70)are strollers and parents lining the walls. Original Craft projects arestrewneverywherewith packed withthejoyfulscreamsofchildren. something similarisquestionable.Itoften itiseasyart, toimaginetheirsuccess. public spacestopromote avant-garde Holt’s site-basedwork.Createdfor Viennese early minimalisminanticipationofNancy angled concretetubes,appearasradical made from concreteblocksbisectedby Lok andKriechplastikDiesel(both1959), playground commissions,like Kriechplastik original material. Josef Schagerl’s models for that notallresearch demandsanexhibition. dense andcompelling)haserupted,proving the cataloguefor theexhibition (whichis and textual) becomesdecorative. It’s asif on foot; muchoftheinformation (bothvisual the exhibition islike flippingthrough abook blown-up photographs andscans.Viewing reflective, butreliesheavilyongigantic playgrounds placedthroughout. play over withliteral thepastcentury andinnovationshistory ofinstitutionalized Gabriela Burkhalter,theshowtraces the park insideawhitecube.Organized by but onlysucceedsinprivatizing that institution withthatofthepublicpark, Project” seekstobridgetheworldof tunnels andatrampoline, “The Playground and architects withatoweringfort, modular theorists,artists Combining midcentury Kunsthalle /Zurich Project The Playground MitchellAnderson That thisexhibition couldattain The showexcels whenitfocuses on The examination issubstantialand

by centers for thecreative (upper)middleclass. honest toreadthembothassocializing ideas andradical forms.” Butit’s muchmore — asplacestoexperiment with“adventurous these designplaygrounds withKunsthalles opening walltext Burkhaltercompares works withoutriskingbodilyharm.Inthe children swing;itisimpossibletoviewthe installed tooclosetohangingropes where plans by Group Ludic (1968–70)are strollers and parents lining the walls. Original Craft projects arestrewneverywherewith packed withthejoyfulscreamsofchildren. something similarisquestionable.Itoften itiseasyart, toimaginetheirsuccess. public spacestopromote avant-garde Holt’s site-basedwork.Createdfor Viennese early minimalisminanticipationofNancy angled concretetubes,appearasradical made from concreteblocksbisectedby Lok andKriechplastikDiesel(both1959), playground commissions,like Kriechplastik original material. Josef Schagerl’s models for that notallresearch demandsanexhibition. dense andcompelling)haserupted,proving the cataloguefor theexhibition (whichis and textual) becomesdecorative. It’s asif on foot; muchoftheinformation (bothvisual the exhibition islike flippingthrough abook blown-up photographs andscans.Viewing reflective, butreliesheavilyongigantic playgrounds placedthroughout. play over withliteral thepastcentury andinnovationshistory ofinstitutionalized Gabriela Burkhalter,theshowtraces the park insideawhitecube.Organized by but onlysucceedsinprivatizing that institution withthatofthepublicpark, Project” seekstobridgetheworldof tunnels andatrampoline, “The Playground and architects withatoweringfort, modular theorists,artists Combining midcentury Kunsthalle /Zurich Project The Playground 100 MitchellAnderson That thisexhibition couldattain The showexcels whenitfocuses on The examination issubstantialand reviews —

may 2016 100 reviews —

may 2016 Galerie Chantal Crousel by by perpetual amnesiainsteadoficonography. for acommunitythathasbeenoffering they seemtoactasthedepletedemblem used toprevent poaching.Inthiscontext, equipped withmotiondetectors, normally They wereshotintheforest by cameras are displayed sparelywithintheexhibition. adored. Imagesofhunters andanimals industrial conspiracy couldberelentlessly the threatofnuclearwarandmilitary- their cultofparanoia, thetempleinwhich designs, thedomebecameanemblemfor Appropriated from BuckminsterFuller’s almost irrational faith inarchitecture. superstructure, thelattercherishedan and smalladsfor thesurvivalistcommunity. that indexed tips,schemas,politicalanalysis fanzinea cultlibertarian publishedinthe’70s reading platforms for themagazineVonulife, Benches, sporadically installed,serveas in themonitoredspaceofwhitecube. they offer asuspectmomentofisolation Built outofmetallicpanelssuturedtogether, rooms standoneachsideofthestructure. space.Reading interplay withthegallery Kunsthalle Bern,butenters intometonymical the architecture, asinTuazon’s soloshowat skeleton doesnotparasitically merge with instead ofhidingthem.Here,themetallic transparent surface emphasizes occupants Unlike thearchetypal model,thesculpture’s modules used by military or polar expeditions. its semi-circular shapefrom theephemeral QuonsetTentof thegallery, (2016)borrows survivalist architecture. Installedinthecenter metal structuresdirectlyinspiredby could have beendulledby romantic nostalgia. manages toinjectambiguityintoascenethat could atfirst glance he fall intothatcategory, of theneo-Thoreauvian forces ofthe1970s Chantal Crousel, OscarTuazon’s exploration Even though,inhislatestsoloshowat sanctioned thecityasa“concretecemetery.” Lebensreform movement to Situationists who ideologies, from thelatenineteenth-century are thenightmareofanti-metropolitan Shenzhen, CalcuttaandMexico City Urban pandemoniumpullulates.Lagos, Chantal Crousel/ParisChantal Oscar Tuazon by by perpetual amnesiainsteadoficonography. for acommunitythathasbeenoffering they seemtoactasthedepletedemblem used toprevent poaching.Inthiscontext, equipped withmotiondetectors, normally They wereshotintheforest by cameras are displayed sparelywithintheexhibition. adored. Imagesofhunters andanimals industrial conspiracy couldberelentlessly the threatofnuclearwarandmilitary- their cultofparanoia, thetempleinwhich designs, thedomebecameanemblemfor Appropriated from BuckminsterFuller’s almost irrational faith inarchitecture. superstructure, thelattercherishedan and smalladsfor thesurvivalistcommunity. that indexed tips,schemas,politicalanalysis fanzinea cultlibertarian publishedinthe’70s reading platforms for themagazineVonulife, Benches, sporadically installed,serveas in themonitoredspaceofwhitecube. they offer asuspectmomentofisolation Built outofmetallicpanelssuturedtogether, rooms standoneachsideofthestructure. space.Reading interplay withthegallery Kunsthalle Bern,butenters intometonymical the architecture, asinTuazon’s soloshowat skeleton doesnotparasitically merge with instead ofhidingthem.Here,themetallic transparent surface emphasizes occupants Unlike thearchetypal model,thesculpture’s modules used by military or polar expeditions. its semi-circular shapefrom theephemeral QuonsetTentof thegallery, (2016)borrows survivalist architecture. Installedinthecenter metal structuresdirectlyinspiredby could have beendulledby romantic nostalgia. manages toinjectambiguityintoascenethat could atfirst glance he fall intothatcategory, of theneo-Thoreauvian forces ofthe1970s Chantal Crousel, OscarTuazon’s exploration Even though,inhislatestsoloshowat sanctioned thecityasa“concretecemetery.” Lebensreform movement to Situationists who ideologies, from thelatenineteenth-century are thenightmareofanti-metropolitan Shenzhen, CalcuttaandMexico City Urban pandemoniumpullulates.Lagos, Chantal Crousel/ParisChantal Oscar Tuazon Charles Teyssou Despite abhorringtheveryideaof The exhibition isdominatedby three Charles Teyssou Despite abhorringtheveryideaof The exhibition isdominatedby three Teyssou, Charles. «OscarTuazon. ChantalCrousel/Paris», Flash Art, May, 2016,p.100. 22/04/16 18:40 308_M 16_Reviews.indd101 22/04/16 18:40 Photography by AnnikWetter Courtesy ofKunsthalle Zürich Kunsthalle Zürich (2016) Installation view at “The Playground Project” Andrea Rossetti Photography by Esther Schipper,Berlin Courtesy and oftheArtist Helix (2015) Ceal Floyer Florian Kleinefenn Photography by Galerie ChantalCrousel, Paris Courtesy and oftheArtist Wall shelter(2016) Oscar Tuazon From top: 308_M 16_Reviews.indd101 Photography by AnnikWetter Courtesy ofKunsthalle Zürich Kunsthalle Zürich (2016) Installation view at “The Playground Project” Andrea Rossetti Photography by Esther Schipper,Berlin Courtesy and oftheArtist Helix (2015) Ceal Floyer Florian Kleinefenn Photography by Galerie ChantalCrousel, Paris Courtesy and oftheArtist Wall shelter(2016) Oscar Tuazon From top: 22/04/16 18:41 22/04/16 18:41 Galerie Chantal Crousel View of “Oscar Tuazon,” 2016. list—or pragmatist—issimplyaresolutestateofmind. grid one day and disappeared into the woods. Maybe the best kind of shelter for a contemporary surviva offthe dropped just like VONUlife’sapparently lost—perhaps who and editors, roused once at feel one dom” by “opting out” of modern life. Trying to glean the periodical’s super-tiny, jam-packed texts makes blished from 1971–72, that espoused a sustainable, radical existence and the “search for personal free pu- Oregon, from paper anarchist an VONUlife, of issue an holds backrest and seat Plexiglas-covered Each Benches. Reading steel white cantilevered artist’s the of ten are gallery the throughout Installed many promises—andfailures—ofutopianarchitecture. the of visions up stirs walls Paris’sWalkinginvisible Autolib’, service.) electric-car-sharingits through for stations charging the like lot a looks also (It shed. hobby backyard a to housing disaster provisional anything—from as function could and space versatile a It’sprefab World WarII. during of popular style hut a military after named and modeled is domicile utilitarian-looking This wood. of out made all glass, which has been kitted out with floor planks, a door with a porthole window, and a suspended table, The nucleus of this show is Quonset Tent (all works 2016), a semicylindrical structure of aluminum and and idealismthroughindustrialdesignthelensofhisPacificNorthwestupbringing. Oscar Tuazon’s currentexhibition, appropriately titled “Shelters,” examines the twinnedspectersofhope March 5–April16 10 rueCharlot GALERIE CHANTAL CROUSEL Oscar Tuazon Paris http://artforum.com/?pn=picks§ion=fr#picks59088 Jo-ey Tang. «OscarTuazon», Art Forum, March, 2016. — Jo-ey Tang - - Galerie Chantal Crousel et bienentenduauxÉtats-Unis. Étoile montante de l’art contemporain, il expose dans toutes les capitales européennes mais aussi à Tokyo 2011 oùilacréél’undesquatrepavillons. land art. Ses œuvressont d’ailleurs parfois… des lieux d’exposition. Comme à la biennale de Venise de Travaillant souvent le bois, le béton, l’acier et le verre, il crée des sculptures monumentales, inspirées du art auxfrontièresdel’architecture,l’habitatprécaireoularuine». Le magazine Vogue, quiluiaconsacréuneinterview en 2011, estime qu’Oscar Tuazon «fait évoluer son Dorothée Perretestfrançaise.L’artiste travaille aujourd’huiàLos Angeles. installé à New York, iladéménagé pour Parisen2007.IlavécuplusieursannéesFrance.Sonépouse la CooperUnionforthe Advancement of Science and Art. Ilaégalement étudié l’architecture. D’abord Oscar Tuazon est né en 1975 à Tacoma, dans l’État de Washington. Fils d’éditeurs, il a étudié les arts à IMAGINÉ «LEPONT SANSFIN» VALDOIE :L’ARTISTE OSCAR TUAZON A http://www.estrepublicain.fr/edition-belfort-hericourt-montbeliard/2016/03/21/valdoie-l-artiste-oscar- «Valdoie :l’artisteOscarTuazon «lepontsans fin »”»,l’EstRépublicain aimaginé , March 21st,2016. tuazon-a-imagine-le-pont-sans-fin Galerie Chantal Crousel Photo InèsManai AT GALERIECHANTAL CROUSEL,PARIS OSCAR TUAZON “SHELTERS” EXHIBITION [March 82016] PURPLE ART «Oscar Tuazon “Shelters”exhibition at GalerieChantalCrousel, Paris», Purple.fr, March 8th,2016. http://purple.fr/diary/oscar-tuazon-shelters-exhibition-at-galerie-chantal-crousel-paris/ Galerie Chantal Crousel [March 82016] PURPLE ART Photo InèsManai AT GALERIECHANTAL CROUSEL,PARIS OSCAR TUAZON “SHELTERS” EXHIBITION «Oscar Tuazon “Shelters”exhibition at GalerieChantalCrousel, Paris», Purple.fr, March 8th,2016. http://purple.fr/diary/oscar-tuazon-shelters-exhibition-at-galerie-chantal-crousel-paris/ Galerie Chantal Crousel Photo InèsManai AT GALERIE CHANTAL CROUSEL, PARIS OSCAR TUAZON “SHELTERS” EXHIBITION [March 82016] PURPLE ART «Oscar Tuazon “Shelters”exhibition at GalerieChantalCrousel, Paris», Purple.fr, March 8th,2016. http://purple.fr/diary/oscar-tuazon-shelters-exhibition-at-galerie-chantal-crousel-paris/ Galerie Chantal Crousel Photo InèsManai AT GALERIECHANTAL CROUSEL,PARIS OSCAR TUAZON “SHELTERS” EXHIBITION [March 82016] PURPLE ART «Oscar Tuazon “Shelters”exhibition at GalerieChantalCrousel, Paris», Purple.fr, March 8th,2016. http://purple.fr/diary/oscar-tuazon-shelters-exhibition-at-galerie-chantal-crousel-paris/ Galerie Chantal Crousel Photo InèsManai AT GALERIECHANTAL CROUSEL,PARIS OSCAR TUAZON “SHELTERS” EXHIBITION [March 82016] PURPLE ART «Oscar Tuazon “Shelters”exhibition at GalerieChantalCrousel, Paris», Purple.fr, March 8th,2016. http://purple.fr/diary/oscar-tuazon-shelters-exhibition-at-galerie-chantal-crousel-paris/ Galerie Chantal Crousel Photo InèsManai AT GALERIECHANTAL CROUSEL,PARIS OSCAR TUAZON “SHELTERS” EXHIBITION [March 82016] PURPLE ART «Oscar Tuazon “Shelters”exhibition at GalerieChantalCrousel, Paris», Purple.fr, March 8th,2016. http://purple.fr/diary/oscar-tuazon-shelters-exhibition-at-galerie-chantal-crousel-paris/ Galerie Chantal Crousel peu académiques, plutôt autour de la question la de autour plutôt académiques, peu problème pour cet artiste. L’ensemble de son œuvre,en effet, dialogue avec l’architecture sur desmodes habiter “Où question la Mais Los Angeles. pour opté a il dernier,York. donc, l’an Enfin, New à vivre de avant française) est LA, Paris, magazine du éditrice Perret, Dorothée femme, (sa Paris à en Né voyageuse. l’âme années New York, a plusieurs à installé études s’est ses Washington),de puis fait (État a Seattle il Tuazon à 1975 Oscar car temps, un pour Enfin Angeles. Los sera ce Finalement, Courtesy oftheartistandGalerieChantalCrousel,Paris. Oscar Tuazon, guant ainsiavecl’architecture.ParÉric Troncy. tures d’Oscar Tuazon imposentleurprésencepourinterrogerlesnotionsd’habitation etdefoyer, dialo- Dans unmouvementdeluttepermanenteaveclesespacesd’expositionquiaccueillent,sculp Art 05Mars2016 exposition “Shelters”àlaGalerieChantalCrousel Zoom surl’artiste Oscar Tuazon àl’occasion de son EricTroncy. «Zoomsurl’artisteOscarTuazon àl’occasiondesonexposition “Shelters”àlaGalerie http://www.numero.com/fr/art/exposition-oscar-tuazon-galerie-chantal-crousel-shelters Shelters Chantal Crousel», Numero 732,March 2016.

: “Comment habiter “Comment

?” D’ailleurs, lui-même est né dans né est lui-même D’ailleurs,

?” n’est pas le pas n’est - Galerie Chantal Crousel polystyrène etverre,232x172,5 x119 cm. Windowpane (2013),acier, acrylique, composantsélectriques,tambour, Altenburger Photography, Zurich Courtesy Oscar Tuazon etGalerieEvaPresenhuber, Zurich/Photo:Stefan de sesconstructionssculpturalesaproliféréaupointtraverserplusieurspièces,ycomprislachambre. l’une où parisien familial ex-appartement son témoigner en peut comme bois, de poutres des avec murs dimension héroïquequ’onaimeattendred’unartiste,afortioriquandilpourhabitudedetranspercerles qui apparaît épisode Un édifié. avaient parents ses rétrospectivement comme un sérieuxpointdedépart– que – 50 années les dans Fuller Buckminster R. un dômegéodésique– EricTroncy. «Zoomsurl’artisteOscarTuazon àl’occasiondesonexposition “Shelters”àlaGalerie http://www.numero.com/fr/art/exposition-oscar-tuazon-galerie-chantal-crousel-shelters

une decesconstructionshémisphériquesentreillispopulariséesparl’architecte Chantal Crousel», Numero 732,March 2016.

ou contribue de lameilleure façonquisoit.” pense que j’essayaisd’attirer l’attention, et pas Je bleuâtre. teinte une appliqué obligé de les décolorer, puisje leur avais mes cheveuxengris.J’avais d’abordété coloré j’avais où et créateurs de ments vête- des que portais ne je où phase une quelque chose de différent. J’ai connu toutes mesforcesdemetransformeren que je partais de chez moi. J’essayaisde années 2000.“C’était la première fois of Science and Art, jusqu’à l’orée des Advancement the for Union Cooper la York,à New à études ses poursuivi a il jeure bien après sonadolescence, quand semble avoirétéunepréoccupation ma d’autre.” Et devenir“quelqu’und’autre” un temps,jepouvaisdevenirquelqu’un les nomsdepersonnesinconnues.Pour chemises de paysan sur lesquelles étaient cousus des et bowling de polos des sion dela ville voisine. J’y dénichais d’occa vêtements de magasin au rendre me pour week-ends mes de profitais Je denim etàlaflanelle. de cemoment,j’aivouéunepassionau partir “À Independent. The Nir à confiait-il fois première la vana alorsquej’avais à peine 17 ans”, pour vu “J’ai située à deuxheuresde route de Seattle. die, ilagrandià Tacoma, une petite ville hoo- et casquette longs, Cheveux Clark. sorte de paisible petit frère de Larry Physiquement, Tuazon ressembleàune à donnerl’histoire de Tuazon la - - - Galerie Chantal Crousel litanie deshashtagscelui de#expressionnismeabstrait. la à bien ajouterait on et LeWitt, Sol de que Caro d’Anthony et Suvero di Mark de davantage Tuazon voluptueuse mise à mal, sinon ce qui pourrait s’apparenter à un impératif sculptural. Il y a en vérité chez vaincus, K.-O. L’expérience est saisissante, plutôt unique. Aucun bavardage inutile ne vient étayer cette traverse. Lesespacesd’expositionsemblent unilatéralement humiliés par cesoccupationsirrespectueuses, le poutre qu’une pour percé ainsi sera endroit mauvais au placé mur Un fonctions. les infirment usages, l’évidence de leurtracé,lanécessitéforme, lesexigencesdeleurdéploiement et contrarient les imposent leurlogiqueàcelle de l’espace qui lesaccueille. Peu disposéesauxconcessions,elles dictent Ses acquises. ont qu’ils simplifiées significations les grandes constructions en bois (la partie la plus saillante de son œuvre) sont d’ambitieuses sculptures qui termes ces à accorde l’on si effet, en faux, Pas aux textesconcernant son œuvresontéloquents formes, et les conjugue avec une indiscutable grâce. À ce sujet, les hashtags qui, sur Instagram, s’attachent qui l’adistingué.Unartembrassedesmoments apparemment antinomiques de l’histoire récente des art son c’est vestimentaires, choix ses que plus mais, d’autre”, “quelqu’un devenu effectivement est Il EricTroncy. «Zoomsurl’artisteOscarTuazon àl’occasiondesonexposition “Shelters”àlaGalerie http://www.numero.com/fr/art/exposition-oscar-tuazon-galerie-chantal-crousel-shelters Chantal Crousel», Numero 732,March 2016.

: #do-it-yourself,#hippie,#minimalisme 172,5 x119 cm. matériaux d’isolationetverre,232x composants électriques,tambour, Word Rain(2013),acier, acrylique, Eva Presenhuber, Zurich Courtesy Oscar Tuazon etGalerie et #artepovera. Galerie Chantal Crousel la et design le sur théorique construction”. réflexion de “studio un Studio, Acconci fondé ainsi a Il l’architecture. à des performances qui marquèrent l’histoire de l’art, préfère se consacrer depuis une vingtaine d’années Museum of American Art, Tuazon yrencontra Vito Acconci qui,s’ils’estillustré dans lesannées60par du Whitney StudyProgram Independent envié et célèbre du 2000, années des début au Étudiant, art. son C’est cependant chez un hérosde l’histoire de la performance qu’il semble avoir ajusté les paramètres de EricTroncy. «Zoomsurl’artisteOscarTuazon àl’occasiondesonexposition “Shelters”àlaGalerie http://www.numero.com/fr/art/exposition-oscar-tuazon-galerie-chantal-crousel-shelters Chantal Crousel», Numero 732,March 2016. Galerie Chantal Crousel Par Éric TroncyPar Shelters d’Oscar Tuazon àlaGalerieChantalCrousel,10,rueCharlot ParisIIIe,du5marsau16avril. construction d’unechose plutôtqueledesigndecettechose.” m’intéresse dans la construction, c’est le processus lui-même, j’entends par là l’opération physique de la était bon, pourunartiste, d’avoir àsadisposition une dizaine d’ingénieurs et autant d’assistants. “Cequi il où époque une à distingué aussi l’a œuvres, ses de monumentalité la avec apparente contradiction en “gens qui bâtissent eux-mêmes leur maison” – que moi”, avoue-t-il, bien qu’il ne délègue pas la construction de ses œuvres et porte un grand intérêt aux et j’ai la chance de pouvoir apprendre ce métier en travaillant avec des gens qui en savent beaucoup plus passées àtravailler le béton, j’en ai toujours unecompréhension très grossière.Maisj’aime ce que je fais, ne m’est pas étranger. Je sais aussi souder, mais je ne suis pas particulièrement doué. Après des années des gens réellement incroyables. Moi-même, je ne suis pas vraiment un constructeur, même si le marteau qui constituelestudio.“Cequejepréfèredansmonmétier, c’estqu’iloffre lapossibilité de travailler avec si bienserendreutilequ’ildevintviteunmembreàpartentièredel’équiped’unedizaine d’architectes Souvent magnifiée, l’histoire avoue rarement que Tuazon y fut engagé pour déménager des caisses. Il sut EricTroncy. «Zoomsurl’artisteOscarTuazon àl’occasiondesonexposition “Shelters”àlaGalerie http://www.numero.com/fr/art/exposition-oscar-tuazon-galerie-chantal-crousel-shelters Chantal Crousel», Numero 732,March 2016.

comme le firent ses parents. Cette dimension home-made, Galerie Chantal Crousel Du 5marsau16avrilàla galerieChantalCrouselàParis[...] de vie. des capsulesd’AndreaZetti, les abrisetbancsdelectures d’Oscar Tuazon invitent à réévaluer nos modes ou comment réaliser des constructions avec des poutres naturelles. À l’instar des cellules d’Absalon et entre autre,commentenseignerlalectureàmaison etgarderlesenfantsàdistancedel’écolepublique Les neufsnumérosdecefanzine libertaire des années 1970ysontdirectement incrustés. Vous yapprendrez, Si vousn’avezpasdelivre sous la main, vous pourrez toujours vous asseoir sur l’un des bancs “Vonulife”. des mots.Jeveuxcréerunespacedédiéàcela.Un espacepourlesmots,unendroitoùlire”,écritl’artiste. des abrisdelecture minimalistes. “Lire est uneactivité physique. Quelquechosequelescorpsfontavec et lesstructuresgéométriques deSteveBaeretBuckminster Fuller. SonexpositionSheltersnousoffre Oscar Tuazon puise ses références dans l’architecture underground des années 1960, les dômes futuristes Shelters http://abonnes.lesinrocks.com/2016/03/03/actualite/le-top-5-des-expos-de-la-semaine-31-11809859 Oscar Tuazon, «Le Top 5desexpos delasemaine»,LesinRock, March, Thursday, March 3rd,2016. Le top5desexposdelasemaine Shelters, Courtesydel’artisteetGalerieChantalCrousel,Paris.©Oscar Tuazon Le jeudi3mars2016 [...] Galerie Chantal Crousel amr rjcs Ocr uzn s raie b Ali by associate. organized is curatorial Gonzalez-Jarrett, Emily with curator, Tuazon Subotnick, Oscar Projects: Hammer the objects. and bodies our works, the and visitors the between out, and inside relationships the underscoring and museum, establishing the throughout spaces several across displayed project site-specific a present will Tuazon show, Projects two- Hammer his as For objects. well found and as trunks, tree concrete by-fours, and glass, steel, connects and combines, twists, mangles, he as heads their on disciplines both turns Tuazon minimalism, and by architecture engaged from influence otherwise and in or interest strong occupied, a With viewers. used, be can that installations often and and structures, inventive objects, create to functional materials industrial and natural with works Tuazon Oscar sculptor The Oscar Tuazon debutsanewsite-specificprojectforhisfirstsolomuseumexhibitioninLos Angeles. Ali Subotnick. «HammerProjects: OscarTuazon», ucla, February, Hammer 2016. https://hammer.ucla.edu/exhibitions/2016/hammer-projects-oscar-tuazon/ Galerie Chantal Crousel Ali Subotnick. «HammerProjects: OscarTuazon», ucla, February, Hammer 2016. https://hammer.ucla.edu/exhibitions/2016/hammer-projects-oscar-tuazon/ Ali Subotnick. «Hammer Projects: Oscar Tuazon», Hammer ucla, February, 2016. https://hammer.ucla.edu/exhibitions/2016/hammer-projects-oscar-tuazon/

Biography

Oscar Tuazon (b. 1975, Seattle) studied at Cooper Union and the Whitney Museum of American Art Independent Study Program, both in New York. He lives and works in Los Angeles. He has shown his work extensively in the United States and Europe, including in solo exhibitions at T-Space, Rhinebeck, New York; Le Consortium Dijon, France; deCordova Sculpture Park and Museum, Lincoln, Massachusetts; the Museum Ludwig, Cologne; Museum Boijmans Van Beuningen, Rotterdam; and the Schinkel Pavillon, Berlin. In 2012 the Public Art Fund, New York, presented three commissioned outdoor works in Brooklyn Bridge Park. Tuazon’s work has been featured in several important international group exhibitions, including the 5th Beaufort, Triennial of Contemporary Art by the Sea, Oostende, Belgium; the 2012 Whitney Biennial, Whitney Museum of American Art, New York; and ILLUMInations, 54th Venice Biennale. Essay

Architectural structures serve a specific function of providing shelter, a space shielded from the elements, separate from the environment and the unpredictable chaos of the natural world. For the artist Oscar Tuazon, architecture provides an opportunity both to engage order and to disrupt it with controlled chaos. On more than one occasion he has presented the footprint of his home inside the confines of a gallery, provoking a reconsideration of our relationship to shelter and domestic space. In the summer of 2015 Tuazon staged a performance at the alternative space Paradise Garage, in Venice, California.

Galerie The freestanding garage, which was utilized as a gallery, was being torn down to make way for a new structure. In a dramatic fashion, Tuazon yanked down the garage, using a rope attached to a come-

Chantal Crousel along, in less than a minute as spectators looked on, desperately trying to film the action before the building was completely flattened. This seemingly simple gesture demonstrated key aspects of his work. He is simultaneously an admirer of architecture and nature and an iconoclast, more than willing to tear something down in order to salvage its parts and resurrect it into a new form and/or function. Reusing and recycling are key for Tuazon as he frequently incorporates recycled two-by-fours, discarded building materials (including doors and windows), unwanted steel or aluminum, and fallen trees. His sculptures and installations often merge wood and tree parts with industrial materials such as metal, glass, and concrete. Integrating the organic with the inorganic establishes a tension but also in many cases creates an unexpected harmony. Tuazon produces objects and environments that draw out humanity’s relationship to buildings, interior and exterior spaces, and other objects and structures.

Tuazon’s frequent inclusion of trees in his work is often linked to his childhood in the Pacific Northwest. But he has also spent a significant portion of his life living in urban environments, including New York and Paris and now Los Angeles. This duality pervades his work, especially his materials: we feel the influence of the metropolis in the concrete and steel and that of the forests of Washington state in his use of trees and wood. In Los Angeles, a city in which the urban and natural coexist, Tuazon takes full advantage of the landscape, often traveling to the nearby desert and mountains.

Recently Tuazon acquired some land near the Washington coast, where he is constructing an artwork that will also function as a home. He started with a concrete slab and has slowly been building it out. The piece reflects the artist’s interest in providing a social platform and function through his artwork. He isn’t simply conceiving of and constructing objects to be looked at; he wants his viewers to actively engage Galerie Chantal Crousel onan h pee s nn-ot iee crua scin f h oiia sel qeut repurposed aqueduct, steel original the of section circular riveted nine-foot a is piece The Fountain. Memorial Mulholland the of front in neighborhood, Feliz Los the in Mulholland to monument a noticed Tuazontoday. Recently even continues here, detail to Valley.long River story,too larger-than-life The of Department WaterOwens the from water Power,source and to plan the spearheading with credited is the to predecessor the was that agency the Angeles headed Los who immigrant insufficient Irish an the River.Mulholland, William on depended had then until which city, the to water bring to long) miles poignant and dramatic. In 1913 the city of Los Angeles completed construction of particularly the firstis aqueduct (233 California Southern in water of story The concern. growing constant, a is water, of lack water.is project the the specifically water,of more any attest, theme or As can underlying Angeleno An compels visitorstoreassesstheirphysicalrelationship tothegalleryandsculpture. the interior and exterior of the building. Working with and against the architecture of the space, this piece on perspective new entirely an gain and window the to up right tube the through walk can who visitors, for passageway a as lobby.work museum this Tuazonand envisions space gallery the into beyond, and tube the into gaze can passersby outside, window.From the to up butting and gallery the the of piercing wall tube west aluminum seven-foot-diameter nearly large, a be is will there element so fourth back, The the outlet. in no merge tubes three the because pipe potential a as functions longer no version three-legged this and appendage, additional an features work areas. concrete museum’sAoutdoor third the in situated also back, its on placed version concrete a be will there Man, Natural additionto In form. the on variations four of presentation a of conceived has Tuazon exhibition, Projects Hammer his For this seeminglyordinaryform. to relationship and of experience our up opens he shape, this for uses and of manifestations various the exploiting By vessel. empty an or monument, a bench, a more: much so become can Tuazon’sit hands in yet and connector, a conduit, a is shape The time. or space another into windows light—or or air or water transport to tunnels be can openings eyes. The of pair a like landscape the of out peered openings of island Greek the on project recent a Antiparos, circular Tuazonthe and hillside, a into tubes two inset water.or air For for passageways as function new a V,a of serving more open, sprawled legs hollow its the sky and coming together in a sturdy base rooted in the earth. On its back, however, the form becomes years in a variety of materials few and dimensions. last When upright, it resembles the a over Y with exploring two arms reaching to been has Tuazon that shape a of version upright an is oak’ssculpture black The the trunk. in knot a from silently trickles it as times at noticeable barely water, of stream slow a has been given a fork shape by the addition of a concrete appendage. Like A Machine, the new work emits Museum’sthat Hammer tree the a in features planters courtyard, the outdoor of one in presented be will which (2015), Man Natural vein, similar a In surface. grassy the below deep from to moisture up appears conjure tree the rod, divining or fork tuning a Like trunk. its from emanating water of stream slow A Machine (2012), one of the works for People, consists of a forked tree planted in the grass, with a very surroundings. their from apart standing than rather landscape the into merged eventually works three the and pieces, and a tree sculpture. By situating his works in a park, he allowed the public’s engagement to activate the three distinct sculptures in Brooklyn Bridge Park: a small open cube pierced by a tree, a basketball hoop, his works also plays an important role. For his 2012–13 Public Art Fund project, titled People, he installed one another for support, provided a space for a variety of performers to present their works. The siting of on leaning precariously walls concrete of out made structure, The pavilion. outdoor an of form the took 2011Venice the (2011),TreesTuazon’sThe to work. Biennale, contribution the in participate and with Ali Subotnick. «HammerProjects: OscarTuazon», ucla, February, Hammer 2016. https://hammer.ucla.edu/exhibitions/2016/hammer-projects-oscar-tuazon/ Ali Subotnick. «Hammer Projects: Oscar Tuazon», Hammer ucla, February, 2016. https://hammer.ucla.edu/exhibitions/2016/hammer-projects-oscar-tuazon/

as a site-specific sculpture. Echoing Tuazon’s works, the pipe-sculpture takes on new meaning asit memorializes the never-ending struggle to provide water to the region. Water certainly isn’t the only material transported in such pipes and tubes, but it is an unavoidable reference in the midst of an environmental crisis that threatens to paralyze and transform the region. Like the aqueduct monument, Tuazon’s project underscores our tangled relationships with the environment, the industrial, and the organic.

-Ali Subotnick Galerie Chantal Crousel Galerie Chantal Crousel neighbourhood ofLosFeliz. and aluminiumsculpturesinspiredbyamonument toMullhollandthat Tuazon cameacrossinthe Comprising fourelementsspreadacrossdifferent areasofthemuseum, Tuazon hascreatedconcrete the HammerMuseum. the interest ofarchitect/artist Oscar Tuazon, who isrevisiting the 233 mile-long pipe for anexhibition at liam Mulholland–iswellknown,thankstoRoman Polanski’s 1974filmChinatown.Nowithaspiqued intrigue anddrama,thestoryoffirstaqueduct inLos Angeles–completedin1913andledby Wil- Who wouldhavethoughtastoryaboutanaqueduct couldbesosalacious?Riddledwithcorruption, Charlotte Jansen 10 Feb2016 Pipe dreams:Oscar Tuazon emulatesLA'saqueductsin hislatestbodyofwork Charlotte OscarTuazon Jansen.«Pipedreams: emulates LA’ work», Wallpaper saqueductsinhislatest body of , http://www.wallpaper.com/art/oscar-tuazon-emulates-los-angeles-aquaducts-in-new-work#145612 Photography courtesyoftheartistandHammerMuseum Pictured: Vena Contracta,2015 mile-long pipeforanexhibitionatHammerMuseum. ration forarchitect/artistOscar Tuazon, whoisrevisitingthe233 The Los Angeles aqueduct,constructedin1913,servesasinspi- February 10,2016. Galerie Chantal Crousel of itsown,it'salive.’ good waytounderstandwhatwaterdoes. Water isthebestmaterialformakingsculpture,ithasamind first thingswedidwasaplumbingproject–rainwater collectiontankandafiltrationsystem.Itwas Olympic rainforest.Itissurroundedbywater, itrainsconstantly, andthatdefinesthehouse.Oneof ship totheenvironment,practicallyandpolitically. ‘It'sahouse withoneroom,ontheHohRiverin a literalandconceptualsource, Tuazon’s approachislargely anattempttoreharmonisearelation constructing anartworkthatwillalsofunctionasahome.MuchlikehisworkattheHammer, wateris Recently Tuazon, originallyfromSeattle,acquiredsomelandnearthe Washington coast,whereheis things thatshouldnotbebuilt.’ There areveryrealpracticalbenefitstothiskindofprivilege,Itrytakeadvantagethatand build situations thatdon'texistanywhereelse,thingswouldliterallybeillegaltobuildasarchitecture. critique. Hisapproachtoarchitectureissomehowhopeful.Hesays,‘Anartworkcancreatespatial questions theimpactofourindustrialconstructionsonenvironment.Butitisn’ His newsite-specificworkunavoidablyarticulatesourtroubledrelationshipwithsurroundings and performance atParadiseGaragein Venice, California.) of astable,safedomesticspace.(Inrecent2015work,hecrushedwholefreestandingbuilding asa beyond thataroundtheworld. Tuazon’s workoftendismantles–literally andconceptually–theidea with theoppositeextremesbeingexperiencedonEastCoastandbeyond,toenvironmental crisis In SouthernCalifornia,waterissuescontinuetobecontentious,andthoseconnectionsarequickly made phorical connectionsbuttheyareusuallyinvisible.’ Hammer isintheformerOccidentalPetroleumbuilding(nowownedbyUCLA),sothesearenotmeta- connections betweenplaces.Plumbingispureinfrastructure. Water pipes,oilpipelines,plumbing–the dio, imaginingthemasapertures,viewingdevicesthatcouldbeplacedinalandscape,waysofmaking doesn't haveaflatfloor–butatthescaleofroom.Iwasbuildingcrudemodelspipesinstu He continues:‘Ihadstartedthinkingofapipeaskindspace–notquitearchitecturebecauseit section ofpipe. A portraitofLos Angeles.' park isalarge Art Decofountain.Placedinfrontofthefountainisapieceaqueduct,anempty billion gallonsofwaterandkilledhundredspeople. The centralfeatureoftheMuhollandmemorial disaster inCaliforniahistory:thecollapseofStFrancisdam,whichfloodedvalleywith12 Google Earthlikealinedrawing.ButMulhollandwasalsoresponsiblefortheworstcivicengineering formative pieceofgeo-engineering,'says Tuazon. 'It'samassiveearthwork;youcan traceitspathon ‘Mulholland wasastrangefigure.HisaqueductistheinfrastructurethatcreatedLos Charlotte OscarTuazon Jansen.«Pipedreams: emulates LA’ work», Wallpaper saqueductsinhislatest body of , http://www.wallpaper.com/art/oscar-tuazon-emulates-los-angeles-aquaducts-in-new-work#145612 February 10,2016. t simplyacynical Angeles, atrans- - - Galerie Chantal Crousel Charlotte OscarTuazon Jansen.«Pipedreams: emulates LA’ work», Wallpaper saqueductsinhislatest body of , http://www.wallpaper.com/art/oscar-tuazon-emulates-los-angeles-aquaducts-in-new-work#145612 February 10,2016. Pictured: NaturalMan,2015 between places.' scape, waysofmakingconnections devices thatcouldbeplacedinaland- imagining themasapertures,viewing crude modelsofpipesinthestudio, The artistexplains:‘Iwasbuilding Pictured: PipePrototype,2015 ment. trial constructionsontheenviron- questions theimpact of ourindus- ship withoursurroundingsand expresses ourtroubledrelation- The newsite-specificwork Galerie Chantal Crousel Charlotte OscarTuazon Jansen.«Pipedreams: emulates LA’ work», Wallpaper saqueductsinhislatest body of , http://www.wallpaper.com/art/oscar-tuazon-emulates-los-angeles-aquaducts-in-new-work#145612 Pictured: An Error, 2011, installationview and buildthingsthatshouldnotbebuilt.' real practicalbenefitstothiskindofprivilege,Itrytakeadvantagethat else, thingsthatwouldliterallybeillegaltobuildasarchitecture. There arevery Tuazon says,‘Anartworkcancreatespatialsituationsthatdon'texistanywhere February 10,2016. model), 2015 Process viewofSunRiot(scale Galerie Chantal Crousel Rachel Corbett.«SixWild, Western Projects at L.A.’sLeastStuffyArt YorkFair», TheNew Times, January29,2016. geles projectspaceCornerDoorispresentingSchlingelhoff’s work,inastatementabouttheproject. found inNative American gravesitesinCalifornia—offers theartistOscar Tuazon, whoseLos An- pigments epitomizeourformativecultures”—fromthehematiteminesinEastMojavetoocher disperse theredearth,theirfeetwillgrinddust,muchlikeartistsdotocreatepaint.“Mineral layer ofironoxide,apigmentcommonlyfoundinCaliforniamineraldeposits. The GermanartistBeaSchlingelhoff isdustingthebridgeleadingintoreplicavillagewithathin Caught Red-Footed West theme.Hereareafew ofthehighlights. many ofthisyear’s exhibitorsaredoingjustthatbypresentingworksplayonthesetting’s Wild there’s aritualeverybodyknows,hopefullypeoplemakelightofitandteaseoutthefunparts.”Indeed, Monkkonen. “Butit’s moreanenactmentbecauseit’s onaset.Eventhoughworksdogetsold,and “It engagesincapitalismenoughtogothroughthemotions”ofanartfair for suchhorseoperasas“GunfightattheOKCorral”and“Gunsmoke.” bu, thethree-year-old eventtakes placeontheeponymous Western filmsetthatservedasthebackdrop exception tothisruleatParamountRanch.SituatedintheSantaMonicaMountainsjustnorthofMali Contemporary, heldattheBarkerHanger, andPhotoLA,attheLA Martdowntown—theywillfindan But astheartindustryfliessouthwestthiswinterforitsfairseason—anchoredin Art fairs,typicallyhousedinconventioncentersandwhitetents,arerarelywildwoollyaffairs. JAN. 29,2016 RACHEL CORBETT Six Wild, Western ProjectsatL.A.’s LeastStuffy Art Fair http://www.nytimes.com/2016/01/29/t-magazine/art/paramount-ranch-art-fair-los-angeles.html?_r=0 , saysco-founderPentti As visitorspassand Art Los Angeles - Galerie Chantal Crousel tect doestosolvedesign problems,butIusethesametools. in avery—I’mnotquite surehowtodescribeit—Idon’t thinkthatIusedesignthewayanarchi object interveneinabuilding? Now, I’mmoreandtryingtodesignspaces, andIguessstilldoit a sculptoryou’rethinking—or Iwasthinking—howdoesanobjectwork inthisspace?Howdoesan OT: No,formeit’s reallyessentialtothinkabout.Iguessthat’s probablywhereitstarts. You knowas overworked conversation? as abiasfromwithintheinterestsofartcriticism? Ordoesitreflectyourownthinking?Isthataboring, the art/architectureproblem.DoIhavethatimpression becauseIcomefromarchitecture?Isitimposed SL: The criticalreceptionofyourworkthatIamawarealwaysframes workthroughthelensof Tuazon:Oscar Yeah. background isuseful.Butsomeofitusefulforme. conversation withsomebodyyou’venevermetbefore,soit’s hardtoknowhowmuchpreliminary Sylvia Lavin:CanIaskyoujustaquickquestion?It’s weirdlywonderfultobethrownintoanintimate have spoken. logue tookplaceinpersonat Tuazon’s studioinLos Angeles. This isthefirsttimeLavinand Tuazon A conversationbetweencritic,historian,andcuratorSylviaLavinartistOscar Tuazon. The dia- Sylvia LavinandOscar Tuazon OA h uemo Contemporary Art, LosAngeles,«Sylvia Lavin 2016. andOscarTuazon», MOCA,TheMuseumof http://www.moca.org/stream/post/sylvia-lavin-and-oscar-tuazon lamps, paint,imagecourtesyoftheartist ​Oscar Tuazon, A Person,2014,steel,concrete,glass,brick, - Galerie Chantal Crousel SL: Complicitcapitalist, that’s it! OT: Antagonistic relationship,exactly! Also thefigureofarchitectasthiskindlike… SL: The badboy, yeah,antagonistic… OT: He’s always settingitupas,whatwouldyoucallit,thekindofrelationship… cally… that’s itsjobforsculpture.HalFoster, Ithink,wouldpretendotherwise,butthinkitisalsointrinsi for them.ForBuchloh,thestakeswereveryclear: architectureisalwaysintrinsicallyanegativeobject, the parametersisitselfnotanobjectofmuchanalysis,soI’mtryingtofigureoutwhatarestakes who havereallyattendedtoit,andasfarIknow, thefactthatgroupisoneestablished world—Yve-Alain [Bois],[Benjamin]Buchloh,andHal Foster, andsoforth.Sothosearethepeople has beenlargely discursivelydefinedbytheOctobercrowd.Soit’s averyspecificchannelwithinthe where writingfitsintothis.Partofwhatwasinthebackmymindisthatart/architecturesituation less defined.I’mwonderingaboutthestakesofthat,andtryingtomakesurethatwethink about isthatthecontacthasbecomemoreurgent, andprevalent,pressing,yetincreasingly ture andarchitecture. Although there’reallkindsofotherthings,butIguesswhatI’mtryingtothink SL: Soitseemstomethatthemaybeart/architectureiseventoobroadbecausereallyit’ and kindofperilousterritoryisthatnotallthedecisionsreallymatter was thatit’s reallyhardtoidentifywheretheworkendsandbegins.It’s aspace—I meantheinteresting thing inaspace… You knowtomewhatwasinterestingaboutJorge Pardoandthatwholegeneration floor, butalsohewouldn’t. IguesswhatI’msayingisthattheartworkwasstillanobject—discrete,a OT: Well, Ithinkthere’resomanydifferent angles,butyeah,youneverhireCarl Andre todoyour how doyouthinkornotfitintothatcategorywayofworking? [Olafur] Eliassonand[Vito] Acconci—and nowyou.I’vecalledyouall“superproducers.” Where and tion, whichwaslessaboutsculptureassuchandmore“artists”workingarchitects,likePardo, along theselines,becauseIlookeditupon YouTube. I’mcuriouswhatyouthoughtofthatconversa SL: ButpeoplehavehiredJorge Pardotodotheirfloors.Iknowyouhadaconversationwith OT: Right. say, thatyou’rereallythinkingofitasanarchitecturalfloor—youwouldn’t hirehimtodoyourfloor. an architecturalsituationispartofit.Idon’t thinkthatwhenyou’relookingataCarl Andre floor, let’s describe thathistoryashavingaddedvariousthingstothedebate,solet’ to what you’re doing, the most relevant history seems the one from minimalism on. Isupposeyoucould that fromminimalismon—Imeanobviouslythere’s aprehistorytoitalso—butlet’s justsayinrelation Oscar Tuazon, projectrenderingforUnPont,imagecourtesyoftheartistSL: Well, IguessI’mthinking OA h uemo Contemporary Art, LosAngeles,«Sylvia Lavin 2016. andOscarTuazon», MOCA,TheMuseumof http://www.moca.org/stream/post/sylvia-lavin-and-oscar-tuazon . s say:architecturalmaterials, s mostlysculp- - - Galerie Chantal Crousel one ofyourtoolsaswell? its economicsystem.So if wethinkofthespecificityarchitectureasan economiccondition—isthat mentally, andalwaysproblematic wasnotitsspaceandthosekindsofthingsbut itsrelationtocapital, thinking aboutarchitecture—for them,theconstraintofarchitecturethat makes itessentially I’m tryingtotaketheBuchloh/Fosterthingandsay thatforthem—andthiscomesfromalonglineof think aboutthat?Sowhenyouweresayingthat usealotofthesametoolsasarchitects,Iguess SL: A concretebridgeversus aropebridge,youknow. Thinking aboutthosebudgets—howdoyou OT: Yeah. tions. ways thatyouwereimaginingbridgewould have,amongstotherthings,hugeeconomicconsidera SL: Butyourbridge[UnPont,amemorialproject inBelfort,France],forexample,andthedif dings inthosekindsofsituations.Butthey’retypicallyitassculpturecommissions,but… public art–typeprojects.I’vetriedtofitarchitectureintothose,butthey’renotreallymakebuil OT: IthinkinprettymucheverycasesofarthecompetitionsthatI’veenteredhavebeendefinedas do yougetpaidasanartistorarchitect? don’t havetotellmeanyofthedetails,I’mjustreallycurious—ifyouenteracompetitionandwin, that symbolizationofthearchitectnolongeruseful.So,ifyou’reenteringcompetitions,let’ doesn’t accountforisthisemerging generationofpeople who arecrossingenoughofthelinestomake as longwe’reunderstandingthatyouhavetoinventyourantithesis,butwhatdiscursivework SL: That’s it.Sothat’s itsjob.Itsjobfortheartististoclarifyproblemsofcapitalism.So,fine, OT: Exactly. OA h uemo Contemporary Art, LosAngeles,«Sylvia Lavin 2016. andOscarTuazon», MOCA,TheMuseumof http://www.moca.org/stream/post/sylvia-lavin-and-oscar-tuazon courtesy oftheartist Oscar Tuazon, projectrenderingfor Un Pont,image s say—you , funda- ferent - - Galerie Chantal Crousel enough thatsomethingcould beproposed. To me,that’s theidealsituation,butit’s alsoreally complica early stageoftheprocess withthelandscapearchitectandarchitect,when thingsarestillnebulous site andcompletelydefining whereandwhatthisthingisgoingtobe,they invitedtheartistatvery commissioning agencyinvitedartistsatthevery beginning oftheprocess.Butratherthandefininga It’s aprojectI’vebeenworkingonfor maybeayearandhalfortwo,it’s interestingbecausethe OT: Totally. It’s soweird’causeforexample,I’mworking on aprojectnowfortheSeattle Waterfront. do. Butmaybethereisn’t thehabitoftalkingabouttheminsameway. thinking thatnowyouallareworkinginthese newways,Ithinkyoudohavethem.[laughs] architecture isenviousofartists,becauseitimagines thattheydon’ For me,they’restand-insforalloftheconstraints thatarchitecturebothresistsandembraces.Imean, I supposethisiswhywaspressingonthecompetition. Competitionsareverytypicalinarchitecture. of innumerableprosaiceverydaysortsthings.Butthedistinctionisusefulforvariousreasons, and building alsoimaginesitselftobearchitecture,andIthinkarchitecturewithacapital“A”isalways full between capital“A”architectureandlowercase“b”buildingisafantasy order toinventalowercasesculpture.Justsothatyouknowmyviewofthings—Ithinkthedistinction tecture isnotarchitecturebutbuilding,ifthat’s adistinction,andyoumightbeinterestedinbuilding SL: Sothenmaybearchitectureisamisnomer, inotherwords,maybewhatinterestsyouaboutarchi somebody’s house,oramuseum. Where elsewoulditendup? does thisstuff endup? Well mostly, unfortunately, it’s destinedtoendupinanartgallery, ormaybe lowercase sculpture,that’s whatIwanttodo.Butthinkit’s challengingbecause, youknow, where from theworld,right? That’s mystruggle,Ihavetofightagainstthatallthetime. To tryandmake OT: No,I’mjustkidding!Butasaconcept,sculpturenecessarilydignifiesitselfandseparates SL: With acapital“S?” OT: That’s agoodquestion,Imean,isn’t italways?[laughs] tectural, architect-speakdistinctions.Dopeoplesaysculpturewithacapital“S?” SL: It’s funnythatyouwouldrefertoarchitecturewithacapital“A,”thoseareallvery typicallyarchi in thosesituations. computer draftingmyself,Iworkwithsomeonewhodoes,tobeablevisualizespacesandthencreate kinds ofthings,youneedallthetools,I’minterestedinusingtools.ButIdon’ vant tomeismuchsimpler, likecreatingaspacetositdownor those kindsofthings. And todothose I’m fascinatedbyinternationalarchitecture,butthatdoesn’t havemuchrelevancetome. What isrele I mean?I’minterestedingeneralcontractor-type spacesandsituationsusingkindofsimpletools. necessarily thearchitecturethatI’minterestedin,justinbuildingstuf as arepresentativeforceofdominant,capitalistsituation,thenyeah,Iagree.Butdon’ OT: Butthatseemslikethat’s architecturewithacapital“A,”right?Ifwe’retalkingabout OA h uemo Contemporary Art, LosAngeles,«Sylvia Lavin 2016. andOscarTuazon», MOCA,TheMuseumof http://www.moca.org/stream/post/sylvia-lavin-and-oscar-tuazon t haveconstraints. And IguessI’m . And Ithinkthatlowercase f, youknowwhat t actuallydoany t thinkthat’s You - - - - Galerie Chantal Crousel somehow fundamentallythetoiletisnotanartproject. The Land[Foundation]projectin Thailand andcookeatdoallofthosekindsthings,but SL: Yeah, likesomebaseconditionforsurvival,let’s say. You canchipitaway, andyoucangolivein OT: Bythetoiletdoyoumeanplumbing? The infrastructure? tural problem,butwhataboutthebathroom? function ofaworkartissoexpanded,thatIwouldagreewecan’ SL: Right,Iagree.thinkthatbeingresponsibletothetoiletisstillarchitect’s job. The notionofthe tion. OT: And function!Imean,asmuchartworksaresupposedtobe functionless,andthat’s thedistinc economy. Everypractice,atleastpost-minimalism,hasitsownformofspaceandsocialengagement. mean intheend,everypracticehasitsownformof“yes”and“no;” of SL: Well somepeoplehavesaidthatthedistinctionbetweenarchitectureandotherthingsistoilet.I a “yes”andgetting“no”—maybethat’s whatitis. was alwaysappealingaboutthearchitecturalprocessisthisfightingfora“yes”or“no”—fighting tions inamuchbetterway, butsomehowgettingto“no”isalwaysimportant,Ithink. To methat’s what up with after realizing the constraints is way better and much lighter. It fits in and responds to the condi- senses. Sometimesthedesignprocesstellsyouwhenprojectisn’ walkway thatwouldtakeyouuptothistree,andthetreeissuspendedoverwater a pylonbecauseIwantedtosuspendthistree. This isthereallypie-in-the-skyversion.It’s anelevated finished engineering,consultation,anddesign,Icametothemwithaquestion.said,wantput So I’vebeenworkingonthisforalongtime.Icameupwithreallyelaborate,developedproposal, ted becauseit’s almostlikespeakingadifferent language. OA h uemo Contemporary Art, LosAngeles,«Sylvia Lavin 2016. andOscarTuazon», MOCA,TheMuseumof http://www.moca.org/stream/post/sylvia-lavin-and-oscar-tuazon Angeles and Maccarone,New York/Los Image courtesyoftheartist 1/4 x47inches Huh, 2014, Toilet, steel,68x 36 Eli HansenandOscar Tuazon, t holdfunctionalismasanarchitec t working. The projectthatIcame . Icametomy - - Galerie Chantal Crousel tects? Who doyoutalktoinyourheadwhomight back? SL: Who aretheotherartistsworkingtodaythatyou feelthemostcloseengagementwith?Orarchi fun. [bothlaugh] OT: Notbecauseitwouldwork. Like,youdon’t gotoatoilet inanormalbathroombecauseitwouldbe SL: Yeah, notbecauseyouhavetopee. OT: Again, itjust reinforcesthedifference, because itwouldbefun. would befun. SL: IfantasizethatSherrieLevinehasattimespeed inoneofherbronzetoilets,justsecretly have inyourhouse. OT: Exactly! Yeah, Ithinkthat’s kindoftheanswerrightthere…mytoiletisnotonethatyou’dwantto ever tookashitinoneofthem.[bothlaugh] SL: Well, lotsofpeoplehavemadetoiletsculptures! Those areveryfamous!ButI’mnotsureanybody OT: Yeah, wellIdidmakeatoiletsculpture,but…[laughs] OA h uemo Contemporary Art, LosAngeles,«Sylvia Lavin 2016. andOscarTuazon», MOCA,TheMuseumof COURTESY OF THE WALKER ART CENTER CHAMP: A.P.), 1991,BRONZE,14.5×14.2525INCHES, SHERRIELEVINE,FOUNTAIN (AFTERMARCEL DU- http://www.moca.org/stream/post/sylvia-lavin-and-oscar-tuazon , becauseit - Galerie Chantal Crousel counts, whichistheidea. Who thefuckneedshouse? got whatIwanted,which isthePeterLewisGehryHouse,andIgotitat a bar And Lewissaidnono, becausetobuildthehouse,itwouldhavecost me alotmore,soactuallyI fees andareally, reallylongtime. [Oscarlaughs]It’s alotofmoney. Maybe thatwasanexaggeration. and beforehedied,PeterLewiswasasked:don’t youfeelrippedoff? You spent80milliondollarsin which isallovertheplace,soit’s pivotal fromavarietyofpointsview. Sothehousewasneverbuilt, this isahugedevelopmentthataffects alotofotherproduction—Gehry Technologies makessoftware, projects foravarietyofreasons.Onethemisthat itiswherethedigitalmodelingfirstentered.So House, andheworkedonitfor12,15years, intermsofGehry’ There’s ahousethatFrankGehryworked onforyearsandPeterLewiscalledthe ferent. You knowhere’s afunnystory, Idon’t quiteknowwhereitgoes,butIthink goessomewhere. plenty of money, it’s not that you can’t make money as an architect, but the economies of it are very dif- competition, andspendalotofmoneyproducing stuff, losingcompetitions.Some architectsmake SL: Ithinkitalwaystakesalongtime.Eventhegreatefficientarchitecturalfirmsarenotwinning every time thatitshould. untrained. Ittakessomuchtimeandwork,ifyoudon’t knowwhatyou’redoing,ittakestriplethe create theconditionsformakingthatwork,whichisveryexpensive,especiallysomebodywho’ [Vito] Acconci. The architectureisgoingtobankruptyou,soyoubetterhavesomethingelsethatcan projects needtobesubsidizedbytheartisticproductionofstudio. it intermsthatI’malreadyfamiliarwith,thewayworkshereisarchitecturalorpublic art OT: Yeah, it’s agoodquestionactually. Idon’t knowhowitwouldstackup. Well, maybejusttoput less thanwhatyouwouldgetforsellingasculpture.Sobeyourthoughtsaboutthat? construction budget—let’s sayyougotwhateveritistomakeit,whichIwouldimaginesignificantly SL: And again,justhypothetically—sodependingonwhothearchitectis,theygetapercentageof would becool. to designahouse.Ihaven’t foundsomeonefoolhardyenoughtoembarkonthatprojectyet,but OT: That’s thephonecallI’vebeenwaitingformyentirelife! Yeah, ofcourse,that’s whatIwanttodo, would youthinkthatwasagreatthing? What wouldyoudo? said, “designmeahouse,”wouldyouthinkthattheyhadconfusedwithsomebodyelse?Or seem tofailwhatyouthinkofastheirmostbasicjob,makelifeeasy plain thatarchitectsmakethingstoocomplicated,they’renotefficient.It’ SL: Mostarchitectsmustbeterriblebythatdefinition,though,becauseIthinkpeoplegenerallycom work, butthereareothermotivationsthatprecludecomfort. which istomakethingseasy, convenient,andnice.Inverysimpleterms,Baer’s impulseistomakeit idiosyncratic, andnotatalllikethekindoffunctionthatwethinkaboutinsay thinking processissodrivenbyaparticularideaoffunction.Baer’s ideaoffunctionisveryeccentric, He’s somebodywhomIwouldconsideranartist,definitelyarchitect,justinterms ofthewaythathis OT: SteveBaer, I’mtalkingwithSteveBaeralot,andhe’s beenamajorsourceofinspirationforme. OA h uemo Contemporary Art, LosAngeles,«Sylvia Lavin 2016. andOscarTuazon», MOCA,TheMuseumof http://www.moca.org/stream/post/sylvia-lavin-and-oscar-tuazon s output,it’s oneofhissignificant That’s somethingIlearnedfrom . Ifsomebodycametoyouand gain, ’causeIgotwhat s justironicthatthey , normalarchitecture, s - Galerie Chantal Crousel work isjusttobeaseparate… gives italotmorefreedom. And I’vealwaysthoughtthattheway thatanartistwritingcanrelatetothe misses thepoint,it’s notthat,it’s justthatit’s fundamentallyapartfromtheobjectsomehow, andthat OT: It’s oneofthemostdifficultthings. Idon’t wanttosaythatartcriticism ortheorycompletely SL: It’s notfun.[bothlaugh] OT: Idon’t readsomuchartcriticismatthemoment.Ilike towrite,wellIdon’t knowifI likeit… SL: Doyouliketoreadartcriticism?Ordo like tomakeartwriting? shelf, andbecauseit’s anartwork,ithas adifferent valuationapplied toit. communicates statusorwhatever. Idon’t reallyknowwhatthedistinction is,butifit’s abook,it’s ona be present,andtolookedat.It’s just somethingthat’s onashelf,andsoitisn’t somethingthat via laughs]Irealizedthatit’s becauseit’s somethingthatdoesn’t fulfillthefunctionofanartwork—to that I did,justnever sold, andIwaslike, “why?” ’Cause it’s greater than any ofmyotherworks…[Syl- it. It’s aprojectthatIstilllove,it’s agreatbookandniceobject. And thisbookandthenanother survivalist manual.Irepublishedandrebounditinthisniceleatherbinding,wassoexcited about sculpture, Iproducedabook.republishedthisbookcalled Vonu, whichisaweird,hippie,libertarian ting. Ididaprojectoncethatspentlotoftimeon.Itwasanartistedition,andratherthanproduce a worked onit. You knowthisissomething—aweirdsidetrack—butmaybeitbringsusbacktowri by theconsumer, it’s basedontheirinterests. The sizeofsomethingmatters,who careshowlongyou decisions, butultimatelyitdoescomedowntobeveryarbitrary…youknowwhy?It’ OT: [laughs]Let’s putitonthequiethandofmarket.Imean, participate, Ihavetomakethose SL: And whomakesthosedeterminationsofvalue?Isthatyouandthegallerist? twork. It’s insane. OT: Oh,thatdrivesmenuts,Imeanit’s aweirdretaillogicthatinfiltrates thevaluationofeveryar get paidmore. giant thingandmakeafraction.Itwassointerestingthatitscale—likeit’ way biggerthananyoneofmypaintings,andIgetmoreforsowhyshouldmakea million dollarsthenwasahugeconstructionbudget,andtowhichStella’ fee, themilliondollarsthathehadbeentoldwasconstructionbudget.Soforatinylittlething, was callingcomplainingthatheneededmoremoney, butthenitturnedoutthemoneywasn'tforhis actually getconstructed. The figureofamilliondollarshadbeenstated,anditturnedoutthatStella that atacertainmomenttherewasconfusion. This waswhiletheythoughtthatthisthingmight this project.”Sohegotthegateway, alittlebuilding. And sothisisgoingalong,andthenitturnsout He gotthecall—yourdreamcall—fromFrankGehrysaying,“comeanddesignlittlebuildingon expensive overtheyearswasbecauseGehrykeptgettingcollaborators.FrankStellaoneofthem. SL: Sothentherewasanotherinternalstoryinsideofthat,whichisthatonethereasonsitallso OT: Dreamclient![laughs] OA h uemo Contemporary Art, LosAngeles,«Sylvia Lavin 2016. andOscarTuazon», MOCA,TheMuseumof http://www.moca.org/stream/post/sylvia-lavin-and-oscar-tuazon s responsewas,wellthiswas s bigger…soyoushould s termsthatareset - - Galerie Chantal Crousel think ithastobe. You knowtheSnapchatthing—I thinkthatpartoftheissueisit’s clearlydoing SL: Yeah, well,Ithinkthatoralityhasbeen thetraditionallocusforthatsortofthing.Now Idon’t OT: Yeah. Isthatorality?Idon’t knowifit’s thesamething. SL: …theburdenoflongtime. and thatdoesn’t needtohave… that I’veneverevenused:Snapchat.Butsomething likethis,amomentaryappearancethatispresent, transmission, immediatetransmission.Iguesswhat I’mtalkingabout,touseananalogy what’s happeningnow, whereIfeellike, whether it’s thingsthatyoureadonline,it’s muchmoreabout happened recently, frombook-basedwritinghavingto dowithacertainkindoflongtemporality, and OT: Right,yeah.Ithinkthisismaybekindofbanal,butitfeelstomethatadistinctionorchangehas it’s not,butit’s somewheremoreinthatneighborhoodIthinkpeople are interestedin. anymore—but nevertheless there’s a kind of authenticity, a vitality, a lack of mediation, which of course of rough-hewntimber, youknow. There’s asenseofkindof—Imeanwedon’t believeinthesewords are dealingwithoralformats.Ithinkofthereturntooralityassorttheoryequivalent use messages forexample,ratherthanwritingthingsout,andIthinktherearealotofpublicationsnow that it willbemorelikethat.I’vestartedtryingtofigureoutawaycommunicatewithstudents voice SL: No,no.ButIimaginesomemomentinwhichwritingwillactuallyhappenadif OT: It’s true,yeah.Isthathowyouwrite? SL: [laughs] Well nowwithSiriyoucanwalkaroundwhile you’rewriting,too. OT: Itcanbehard,butatleastyouwalkaroundwhileyou’redoingit. That’s thedifference. SL: OK,OK. OT: No,it’s alsoreallyhard. SL: ButIguessI’msaying:issculptingeasy? really hardwork.[laughs] OT: Idon’t knowifit’s moredifficultbecauseit’s itsownwork,Ithinkit’s justdifficulttowrite.It’s SL: And whythereforedoyouthinkit’s moredifficult? OT: I’dsayit’s moreofawork. SL: Isitawork?Orisaboutthe OA h uemo Contemporary Art, LosAngeles,«Sylvia Lavin 2016. andOscarTuazon», MOCA,TheMuseumof http://www.moca.org/stream/post/sylvia-lavin-and-oscar-tuazon ferent way, and , issomething Galerie Chantal Crousel OT: [laughs hysterically] What?! instead ofsincerelyorwhateverIwouldhavesaid, itsaid,“youfuckingidiot.” e-mail thatIhadsent,anditthisbeautifulcrafted, supertempered,veryelegantparagraph,andthen it said,“Ihopeyoudidn’t reallymeanit,”andIthought,ohGod.Sowentback andIlookedatthe then Igotane-mailback,andwasreadingitin thecar, anditsaid,“Well, OK,”andthenattheend, something thatIwouldsendto Artforum orsomethinglikethat,right? And soIsentoff ane-mail,and mails hadtobeverycarefullyworded,slowlyand carefullyworded,muchmorecraftedasatextthan SL: Iwashavinganargument withsomebody, withanimportantpersonageinmy field,andsomye- OT: Yeah. certain kindofe-mailingthatIwoulddointhecar. to useSiriorsomethinglikethat,I’mjustgoinggetendlesslybehind.SoIdecidedthattherewas a really spendmoretimeinthecarthanIliketoadmit.gotpointwhererealizedifI’mnot going to dobecauseeverythingwouldbeself-evident,requiringnoanalysisintheclassicFreudiansense. I world. And everythinghasanulteriorthing,andifitdidn’t, thecriticwouldhaveabsolutelynowork critical universetotreateverythingasthoughitwereasymptom. Freudian slipinthedigitalera,because,onsomelevel,mygenerationasreadersweretrained the SL: It’s clearlyoneofthekeyformatsday. I’vebecomereallyinterestedintheproblem ofthe OT: Right,exactly, yeah. going todoanexhibition,whatwouldyoushow? And howwouldyoushowit? SL: A nightmare. Well, I’mtrying tofigureouthowdothatwithanInstagramaccount.Ifwe’re OT: No,todoanexhibitionofInstagramaccountwouldbeanightmare,right? and Iwaslikeno,that’s reallynotthedeal. SL: I’mnotinterestedinitwithouttheposts. The photographersaid,well,I’llgiveyoualltheprints, OT: Right. and thelegalitiesofthisarecomplicatedbecauseIthinkitneedstohaveallposts. SL: Well, I’montheboardofamuseum,andtryingtogetthemcollectanInstagramaccount, OT: I’mwonderingwhat’s thenextformafterbook. consequence. how tovalorizethem.Imeanthere’s somethingweirdlyjuvenileinitsinstantgratification withoutany something thatothersortsofformatsdidn’t dointhepast,butI’mnotsureanybodycompletelyknows OA h uemo Contemporary Art, LosAngeles,«Sylvia Lavin 2016. andOscarTuazon», MOCA,TheMuseumof http://www.moca.org/stream/post/sylvia-lavin-and-oscar-tuazon That’s thewayIwastrainedin Galerie Chantal Crousel the OldManHouse,which wastheChiefSeattle’s longhouse in Suquamish,acrossthewaterfrom OT: But likeIsaid,theprojecthavenowissomuch better!It’s reallylight,it’s the housepostfrom station… gram. [bothlaugh]ButIhopeyourtree[attheSeattle Waterfront] getsbuiltandbecomesagreatselfie SL: The peoplewhootherwisewedon’t particularlylike,becausetheysayreallystupidthingsonInsta- audience—you knowwhatImean? The waythateverybody’s talking atonce. OT: It’s uncrafted, andthere’s alsothistruelackofanaudience—orthere’s anoverabundance of And sothewritingonInstagram,it’s very hardtoknowwhatmakeofit,’causeit’s superuncrafted. unconscious, withoutsymptomology, withoutanyofthose things…Idon’t quiteknow wheretheygo. unconscious anymore,oritwasover, itwasflat. Theworldwasincrediblycrazy. Writing withoutan SL: And thefactthatsheactuallyspokemyunconscious.ItmademefeelasthoughIdidn’t havean OT: Right. SL: Yes, shocking,andthenSirididthisthingtome,itflattenedeverythingout. OT: Where itcouldstillalsobeshocking… innuendo, unconsciousdrives,andallkindsofthings. for mewastheendofworldthat[Levine]hadenter, ’causethatwasaworldofdoubleentendre, SL: ’CauseIdidn’t understand. And itwaslike,OK,theworldactuallyreallychanged.Sothise-mail OT: Right. and myworldwasfuckedrightatthatmoment. Schiele, Iwassopleasedandproudofmyself. And thenitturnedoutthattheywereSherrieLevines, mething. And Iwalkedintotheshow, andthenIwaslookingattheseEgonSchieles,knew art history, andIhadbeentakingaclasson Vienna blahblah,youknowIthoughtknewso- So, whenIwasastudentinNew York, IwenttoashowattheNewMuseumonBroadway, andIwasin collapse. to thisperson,youfuckingidiot.ButitreallywasSiri,andatthatmoment,Ihadakindofuniverse fucking idiot!”inthecar…[Oscarlaughs]and“hitsend.” And thethingwasthat’s reallywhatImeant SL: SoallofthesuddenIrememberedthathadgottencutoff bysomebody, andIyelledout,“you OT: Siri,haveyoubeenlisteningonallofmyconversations?! thought… SL: With acommabytheway, likeperfectly, “You fuckingidiot,”andIwasthinkingback, OA h uemo Contemporary Art, LosAngeles,«Sylvia Lavin 2016. andOscarTuazon», MOCA,TheMuseumof http://www.moca.org/stream/post/sylvia-lavin-and-oscar-tuazonn Galerie Chantal Crousel joint, awood-to-woodjointbecauseitwouldrot,butwe’llsee. OT: Yeah, Ithinkitcouldbedonemoreorlessinthetraditionalway. Idon’t thinkyoucouldhavea SL: And soit’s notoftheactualmaterials,buttheirsizewouldreplicate original? length ofitandhavesomesensethescaleit. fascinating justtobeableseethatstructureinyourmind,startononeendandwalkthewhole that’s kindofwheretheprojectisgoingnow. I’mtryingtoexpandtheprojectarea800feet.It’s so just thoughttheywereabandonedruins.Butreallythey’rethiskindofmodularlivingthing. OT: The frameisconsistent,soearlyexplorerslike[George] Vancouver wouldseethesestructuresand SL: Buttheframeissame. them inyourcanoeandgotosummercamp. And sothehousewouldexpandandcontract. 800 peoplelivingthere,andtheninthesummer, youwouldjusttaketheboardsoff oftheposts, put house wouldexpandandcontractseasonally. Everybodywouldbethereinthewinter, there’dbemaybe terms. The waythatthelonghousewouldworkispostsandbeamswerepermanent,but burned downbytheIndian Agent in1870,andthevillagedispersed.It’s interestingalsoinarchitectural Seattle. Itwasthelargest longhouse known,it’s insane.Basically, whathappenedisthelonghousewas OA h uemo Contemporary Art, LosAngeles,«Sylvia Lavin 2016. andOscarTuazon», MOCA,TheMuseumof Lorenzo Costa, The Argo, 1500-1530,painting,imagecourtesyofwikimediacommons http://www.moca.org/stream/post/sylvia-lavin-and-oscar-tuazon Anyways, Galerie Chantal Crousel thanks to Aria Dean. This dialoguewasorganized byMarcoKaneBraunschweilerandeditedKarly Wildenhaus. Special OT: Yeah,likewise. SL: Anyway. Itwasreallynicetomeetyou! OT: Yeah. name, thegeometryisthing. SL: A nicewaytothinkaboutthisisremaking,making,andunmakingit,butsomehowthe OT: That’s great,that’s reallycool. some importanttwists. In fact,Barthescalledittheperfectstructuralobject. Anyway, yourprojectremindsmeofthat,with those otherwisedisconnectedpiecesofwoodtogether. Sotheshipremainedactualinastructural sense. not asinglepieceoftheoriginalwoodwasthere.Ithadbeencompletelyremade.Butnameheldall of woodwouldfalloff, anditwouldgetreplaced,bythetimeshipgotbacktowherestarted, its questeverysooftenapieceofwoodwouldfalloff. The piecewouldgetreplaced,andanother SL: InMythologies,RolandBartheswritesaboutthe Argo ship,andhedescribeshowasitwentabout OA h uemo Contemporary Art, LosAngeles,«Sylvia Lavin 2016. andOscarTuazon», MOCA,TheMuseumof http://www.moca.org/stream/post/sylvia-lavin-and-oscar-tuazon Galerie Chantal Crousel Eric Troncy. «OscarTuazon», Frog , n°15,Fall/Winter, 2015-2016,pp. 146-151. Galerie Chantal Crousel Eric Troncy. «OscarTuazon», Frog , n°15,Fall/Winter, 2015-2016,pp. 146-151. Galerie Chantal Crousel Eric Troncy. «OscarTuazon», Frog , n°15,Fall/Winter, 2015-2016,pp. 146-151. Galerie Chantal Crousel Eric Troncy. «OscarTuazon», Frog , n°15,Fall/Winter, 2015-2016,pp. 146-151. Galerie Chantal Crousel Eric Troncy. «OscarTuazon», Frog , n°15,Fall/Winter, 2015-2016,pp. 146-151. Galerie Chantal Crousel Eric Troncy. «OscarTuazon», Frog , n°15,Fall/Winter, 2015-2016,pp. 146-151. Galerie Chantal Crousel “Robert Overby /OscarTuazon au17maiConsortiumàDijon.leconsortium.fr du14février /MarieAngeletti”, documente uneexposition orchestrée parl’artiste auseind’uneusinedepeintures. etdeuxensemblessa banqued’images enparticulier, et“Fabricants “Hotel11abis”réaliséàLondres Couleurs” qui foissur lepointpourlapremière duPrixRicard,fera danslecadre présentéeàl’automnedernier Marie Angeletti, Pour l’épiphanie,plutôtsurOscarTuazon onmisera architectures précaires, etsesgrandes tandisquelatrentenaire enlatex, sessculptures secret peauxdevinyleproduire dansleplusgrand plusou moinssexy. bondage etpeintures Overby decinquante-huitans. profil basjusqu’àsamorten1993,àl’âge fera Cequinel’empêcha pasdecontinuer à artistes (dontlesconceptuelsCarl AndréetRobert Robert Smithson)danslesannées70,l’autodidacte californien mortem achève européenne, parplusieurs satournée aprèsGenève, Chassédesagalerie (Norvège). etBergen Bergame ondemandel’AméricainRobertde Dijon.Danslacatégorie“renaissance” Overby dontlariche rétrospective post- Un revival, uneépiphanieetdécouverte. entrois C’estunprogramme partiesqu’aconçucethiver leConsortium Robert Overby /OscarTuazon /MarieAngeletti Chaque semaine, lemeilleurdesexpositionsàParis artcontemporain, et http://www.lesinrocks.com/2015/02/12/arts-scenes/arts/le-top-5-des-expos-de-la-semaine-5-11561787/ Claire Moulène.Claire «Letop5desexpos delasemaine»,LesinRocks, February, 12,2015. Le top5desexpos delasemaine en province. Galerie Chantal Crousel http://artdaily.com/news/68271/-Oscar-Tuazon--Alone-in-an-empty-room--opens-at-Museum-Ludwig-in-Co- «‘Oscar Tuazon: Aloneinanemptyroom’ opensat MuseumLudwig inCologne», ArtDaily, February 18,2014. "Oscar Tuazon: Alone inanemptyroom"opensatMuseumLudwigCologne direct dialogue. architecture: privateand public,institutionalspacearecontrastedwithone anotherandengageina ral fragmentsdistributed throughoutthestaircaserepresentacounterargument totheexistingmuseum presentation ofthecollection Not Yet Titled andnowannouncesthecurrent exhibition. The architectu- staircase landingisextended intoatypeofgaragedoor, aninterventionthatwasrealizedfor thenew tors willencounterarchitecturalcomponentsofa privateresidence;onthebasementlevellower spaces but,rather, extendsthroughoutthemuseum’s entiremainstaircase.Onallfourlevels,visi- The presentationofOscar Tuazon’s workintheMuseumLudwigisnotbeingshownexhibition tions. extreme physicalchallengesintheinstallationphase aswellbycontinuallyshiftingspatialcondi- and assuchlinktheconceptionofsomethingabstract withanactualconstruction;thisismarkedby Tuazon’s workscombineconceptsofLand Art withtheprinciplesofMinimalism andpost-Minimalism wood, metal,stone,andconcrete. pieces thatrangebetweensculptureandarchitecture,aswellinhischoiceofmaterials—oftentimes sical laborandthedevelopmentalprocessinvolvedinanartwork. This isimmediatelyapparentinhis new spaces—visibleaswellinvisible.Hisworkfocuseson,amongotherthings,thesubjectof phy- and interiorspaces;theyenterintoadialoguewithexistingarchitecture,burstitsstructures,create COLOGNE.- Oscar Tuazon’s (b.1975inSeattle)expansiveconstructions engagewithbothexterior Galerie EvaPresenhuber, Zurich. Photo: RheinischesBildarchiv, BrittaSchlier. Courtesy oftheartistand lation viewMuseumLudwig. Oscar Tuazon, PieceByPiece,2013Cinderblocks,DouglasFir, Steel.Instal- logne Galerie Chantal Crousel http://artdaily.com/news/68271/-Oscar-Tuazon--Alone-in-an-empty-room--opens-at-Museum-Ludwig-in-Co- «‘Oscar Tuazon: Aloneinanemptyroom’ opensat MuseumLudwig inCologne», ArtDaily, February 18,2014. Exhibition curators:PhilippKaiserand Anna Brohm Anna Brohm,PhilippKaiser, MiwonKwon,NicoMachida,and Antek Walczak. On theoccasionofexhibitionanartistbookisbeingpublishedbyDoPePressonJune,21withtexts Schinkel PavillioninBerlinandattheBoijmansvanBeuningenMuseumRotterdam. represented atthefifty-fourth Venice Biennale.In2013hisworkwasfeaturedinsoloexhibitionsatthe School of Art andattendedthe Whitney IndependentStudyPrograminNew York. In2011 Tuazon was run gallerycastillo/corrales.In2013 Tuazon movedtoLos Angeles. HestudiedattheCooperUnion Beginning in2007Oscar Tuazon livedandworkedinParis,whereheco-founded the artistcollective- Matta-Clark, andnewlysituatesthediscourseonspace,material,laborincontemporaryart. his artbuildsontheworkofartistssuchasCarl Andre, BruceNauman,RobertSmithson,andGordon As partofhisartisticpractice Tuazon investigatesthehistoryofartsincelate1960s. The contentof logne Galerie Chantal Crousel Jorge Pardo. «How To BuildaHouse»,PARIS, LA, n°10,Fall, 2013,pp. 38-45. Galerie Chantal Crousel Jorge Pardo. «How To BuildaHouse»,PARIS, LA, n°10,Fall, 2013,pp. 38-45. Galerie Chantal Crousel Jorge Pardo. «How To BuildaHouse»,PARIS, LA, n°10,Fall, 2013,pp. 38-45. Galerie Chantal Crousel Jorge Pardo. «How To BuildaHouse»,PARIS, LA, n°10,Fall, 2013,pp. 38-45. Galerie Chantal Crousel Jorge Pardo. «How To BuildaHouse»,PARIS, LA, n°10,Fall, 2013,pp. 38-45. Galerie Chantal Crousel Jorge Pardo. «How To BuildaHouse»,PARIS, LA, n°10,Fall, 2013,pp. 38-45. Galerie Chantal Crousel Jorge Pardo. «How To BuildaHouse»,PARIS, LA, n°10,Fall, 2013,pp. 38-45. Galerie Chantal Crousel Jorge Pardo. «How To BuildaHouse»,PARIS, LA, n°10,Fall, 2013,pp. 38-45. Galerie Chantal Crousel Jason Wyche forthePublic Art Fund. back toManhattan,where thenewpierat34thStreethasjustopened.Information/Directions. Photos: my rewardforbravingNew York’s mostrecentheatwavewasacoolingride on theEastRiverFerry Park initsentirety, including a winecafénestledinforestedglade.Onreturning toFultonLanding, The placementofthethree piecesensuresthatvisitorswillseethenewest additiontoBrooklynBridge and naturalformsagainsttheManhattanskyline. cement cubebreachedbyatreeframesthesurrounding landscapecreatingaplayfuldialoguewithbuilt a concretehandballwallisheldstraightbytree trunkthatalsoaccommodatesabasketballhoop; Installed alongPier1and2,eachworkisinformed byitseverydayuse:atreebecomesfountain; relevant anymore.” see themassculptures,butifyou’resittingdown onthestructureorplayingbasketballit,thatisn’t It’s awayfortheworkstoshiftinand outofvisibility. Iliketheideathatfromadistanceyoumight experienced inlotsofdifferent ways. And theutilitarianaspectofworksisreallyinterestingtome. visatory character—notinhowtheyweremadebutthatwillbe‘completed’ byotherpeopleand was thinkingabout,ofcourse,creatingspacesforpeople.Sotome,theworkseachhaveanimpro- ding orspace.InaninterviewwithPublic Art Fundcurator Andria Hickey, hesaid,“OneofthethingsI Tuazon’s arttypicallycombinesindustrial and naturalmaterialstotransformtheexperienceofabuil- feature isamonumentaltreenativetotheborough. the city’s newestlandscape.People,asitistitled,consistsofthreesculptureseachwhosecentral Biennale, wascommissionedbythePublic Art Fundtocreatethefirstsite-specificsculpturemadefor Oscar Tuazon (b.1975,Seattle, WA), whoseworkwasmostrecentlyseenhereinthe2012 Whitney Blue MarblecartonFultonLanding. of LadyLibertysetoff byahumidsmoggysky, wasasrefreshingthehome-madeicecreamat ping fromtheirhenshard-boiled.ButanoceanbreezesweepingacrossNew York harbor, withitsview Last week’s artbycycleescapetookmetoBrooklynBridgeParkonadaysohotthateggsweredrop- Thursday August 16,2012 Peggy Roalf Oscar Tuazon atBrooklynBridge Park http://www.ai-ap.com/publications/article/3800/oscar-tuazon-at-brooklyn-bridge-park.html Peggy Roalf. «OscarTuazon at Brooklyn Park», Bridge DART , August 16,2012. Galerie Chantal Crousel his slowwalksalongtheLimmatriver, entitledLimmat Art Walk Zürich2012. PS: As partofthe Art andtheCityPublic Art Festival,walkingartistHamishFultonperformedoneof Raum). The exhibitionhasbeenputtogetherbythefreelancecuratorandwriterChristophDoswald. Art andtheCityhasbeeninitiatedbyPublic Art Task Force(ArbeitsgruppeKunstimöffentlichen generation ofartistssuchasChristianJankowski,Oscar Tuazon, LosCarpinteros,and Ai Weiwei. such asRichard Tuttle, FredSandback, Yona FriedmanandCharlottePosenenske,aswellayounger The exhibitionincludesartistswhohavebeenaddressingissuesofurbandevelopmentsincethe1970s August, theSwissNationalDay(whichexplainsemptystreetsandrubberdinghies). and interventions. This video takes youonarathersubjectiveandselectivetouroftheexhibition1 from allovertheworldforanexhibitionthatincludessculptures,installations,performances,posters this up-and-comingcitydistrictofZürich, Art andtheCityinvitedmorethan40artists artistgroups Zürich (Switzerland)thathasundergone adramatictransformationintherecentyears. To experience Art andtheCityisapublicartfestivalthatrunsuntilSeptember23rdinZürich West, adistrictin 08/06/2012 Art andtheCity:Public Art Festivalin Zurich,Switzerland http://www.huffingtonpost.com/vernissagetv/art-and-the-city-public-art-festival_b_1747624.html «Art andtheCity:Public ArtFestival inZurich, Switzerland», HuffingtonAugust Post, 6,2012. Galerie Eric Magnuson.«Artistinterview: OscarTuazon you createssculptures supposedtoplay are with», TheArt Newspaper,

Chantal Crousel http://old.theartnewspaper.com/articles/Artist-interview-Oscar-Tuazon-creates-sculptures-you-are-supposed-to- Art NewspaperinearlyJunefromataxitohisstudio intheParisiansuburbofSèvres. and trees. The exhibition,“People”,isduetorunfrom19July26 April 2013. Tuazon spoketo The sculptures on-site,overaten-dayperiodinlateJune usingtwoofhischaracteristicmaterials—concrete imposing Manhattanskylineinthedistance. As wewenttopress, Tuazon wasplanningtoconstructthe he enjoysnavigatingtheproblemsposedbyworking inapublicspace,nottheleastofwhichis by Michael Van Valkenburgh, alandscapearchitectwhom Tuazon greatly admires. Tuazon saysthat to installthreenewsculpturesinBrooklynBridge Park,arecently-constructedgreenspacedesigned ton-born, US-andParis-based Tuazon hasbeencommissionedbyNew York City’s Public Art Fund The freedomofworkingoutdoorsallowsforadifferent dynamic.Forhislatest project,the Washing- rooms inanywaytheartistseesfit—providingthatgalleristgiveshimcarteblanchetodo so. Oscar Tuazon’s architecturalsculpturesburstthroughgallerywalls,block doorwaysandspreadacross 16 July2012 Eric Magnuson Brooklyn BridgePark The artistdiscusseshisnewseriesofworkscommissionedbythePublic Art Fundfor Artist interview:Oscar Tuazon creates sculptures youare supposedtoplaywith Brooklyn Oscar Tuazon selectingtreesfromNew York’s Hudson Valley forhisprojectin play-with/26811 July 16,2012. Galerie Eric Magnuson.«Artistinterview: OscarTuazon you createssculptures supposedtoplay are with», TheArt Newspaper,

Chantal Crousel http://old.theartnewspaper.com/articles/Artist-interview-Oscar-Tuazon-creates-sculptures-you-are-supposed-to- other options,butIwanted tokeepthethreeworkswithinsightofeachother other two,becauseoftheir dimensions,neededacertainamountofspace aroundthem. pieces, andveryquickly itwasobviousthatthefountainwouldbein valley areaofthepark. normally used. The piecesactuallydeterminedwherethey’llbeinstalled.Icame upwiththesethree hoop thatoverlapswithapath,andyoucouldsay thatthiswillcreateachangeinthewayspaceis Yes. Ina way, Ihopethattheyenhancethefunctionsofpark. There isaspaceunderthebasketball three sculpturestobeanoccupationthataltersthe park’s existingfunction? In 2005,youwrote:“Anoccupationevictstheexisting functionofabuilding.”Doyouconsiderthese find somethingthathasn’t beenpurposedandiskindofuselessusefulat thesametime. rest ofthespacethatwe’reaccustomedto.Ithinkit’s aniceruptureorvoidwithinthecitywhenyou interested increatingspacesthataren’t programmedandaren’t reallyoperatingonthesamelogicas meant tobeoccupiedandhadthisplayfulness:therewasalamp;itcouldrain;water 2009, createdwithhisbrotherEliasHansen].Itwassomethingthatdidn’ Yes, anotherpublicpieceinNew York [anoutdoorinstallationtitledUseItFor What It’s UsedFor, Have youeverdoneanythinglikethat? able toplayinitalittlebit. them withoutnecessarilyeventhinkingthatthey’reworksofart. I’ve beenthinkingaboutismakingobjectsthatcanfunctionwithacertaininvisibilitysopeople use of thesculpture. Those boundariesaregoingtobelostorsuspendedtemporarily. Oneofthethingsthat same time,youmaylookatthatbasketballhoopandthegameplayedusingitassomehowbeing part is apiecethatgetsusedandhascompletelydifferent functionapartfrombeingasculpture. At the wall sothatit’s almostafoundobject. To me,theseareverytypicalNew York things.Ihopethehoop basketball hoopwillbeatypicalParksDepartmenthoop,andItriedtoreplicatehandball There’s afountain,smallroomandpiecethatcomprisesbasketballhoophandballwall. The How doyouseepeopleinteractingwiththesculptures? almost functionasutilitarianobjectswithinthepark. They shouldbeused. interesting tothespacearoundit.Itsverticality[makesitinteresting]. in termsofitsverticality. Likeatotempole,itdoesn’t necessarilyhavetobemassivedosomething mething that’s quiteapproachablebecauseithashumanqualities. The treeisalsoaninterestingobject human scale. They’re biggerthanpeople,butevenonamonumentalscale,Ithinktreeisstillso compete withtheskyline.So,Idecidedtodosomethingthatwashumaninscale. when Ivisitedisthatit’s pointlesstotryanddosomethingmassivebecauseyou’llneverbeable Oscar Tuazon: Specifictothislocation:theskylineofManhattanisincredible. ThefirstthingIrealised The Art Newspaper:Howdifferent isitcreatingworkforaparkasopposedtogalleryspace? play-with/26811 July 16,2012. With thefountain,Ithinkyou’llbe These threepiecesaretryingto t lookveryplayful,butitwas . And tome,treesare There were . I’m The - Galerie Eric Magnuson.«Artistinterview: OscarTuazon you createssculptures supposedtoplay are with», TheArt Newspaper,

Chantal Crousel http://old.theartnewspaper.com/articles/Artist-interview-Oscar-Tuazon-creates-sculptures-you-are-supposed-to- have tobeimprovised onsite. dering thetree exactly. Sothere’s thatnicegapbetween what wecanpremeditate andwhat’s going to puter-modelling programmethatwe’reusingtomakethe architecturalrenderingisn’t capable ofren- quite controlwhenyou’re workingwithsomethingasorganic asatree,whichisnice.Eventhecom I’m notabletobuildalot ofitmyselfbecausethescaleit. Yes, particularlywiththefountain. Ithinkwe’vehadtopremeditatealotofstuff becauseofsafetyand Do youforeseealotofimpromptudecisionson the project? with thatkindofproblem. that actuallybringstheworkintoexistenceandforms thework.I’mreallyenthusiasticaboutworking these objects. That mightbearestriction,buttome,that’s theexciting kindofrestrictionorconstraint tentially canbeusedorinteractedwith,Idohave tothinkaboutsafetyandwhatpeoplemightdowith When I’mworking[onapiecethatwillbedisplayed publicly]andthinkingaboutsomethingthatpo York?New of Are theparametersofwhatyoucandotositemoreregulatedbecauseyou’reworkingwith City there areelementsbuiltintothesethreeworksthatgoingtohavebeimprovisedonsite. It’s verylaidout.It’s abigprojectsoitrequireslotofpeopleworkingon it. Butatthesametime, How muchoftheworkhaveyouplottedoutinadvance? we’re bringingdownfromDuchessCounty[inNew York’s Hudson Valley]. interesting thingtobringintoandthinkaboutinapark. All threeofthesculptureshavetrees,which scale becauseit’s suchanewpark.I’veworkedlotwithtreesandsoIthoughtthatit[wouldbean] After Ivisitedthepark,wasimmediatelythinkingabouttrees.Itdoesn’ evolve aftervisiting? Before youfirstvisitedthepark,didhaveanyideasforwhatweregoingtobuild?Or that inviting aprettyopen-endedrangeofpossibilities. vice versa,Iguess.Butit’s truethatthese[threeworks]areveryinvitingsomehow. And [they’re] I thinkthatgoestotheautonomyofaworkart.Nobodyreallyneeds(Laughs.) red whetheranybodyneedsasculpturethatdoesn’t needtheminreturn? outside, allalone. They don’t evenneedtobewatched. They don’t needanybody.” Haveyouconside These pieceshaveautilitytothem,butyou’vesaidofsomeyourotherworkthat“theycanbeleft than thefactthatit’s outdoors. relationship to the site is very open. They’re not responding to anything in particular about the site other to respondto,butitdoesn’t necessarilyformthework.Forthesethreeworks,Iwouldsaythat cause Ifeellikealotofthecharacteristicsanysitearearbitrary I wouldsaythatthewayworkisdefinitelysite-responsive.wouldn’ Do youdifferentiate betweenwhatiscommonlyreferredtoassite-specificworkandyourownwork? play-with/26811 July 16,2012. There isthiselementthat youcan’t . There arethingsthattheworkneeds t reallycallitsite-specificbe t reallyhavetreesofanyreal And - - - - Galerie Eric Magnuson.«Artistinterview: OscarTuazon you createssculptures supposedtoplay are with», TheArt Newspaper,

Chantal Crousel http://old.theartnewspaper.com/articles/Artist-interview-Oscar-Tuazon-creates-sculptures-you-are-supposed-to- best thingIcoulddowastomakesomethingenjoyableandfun. can doinaparkissomuchmoreopenthanwhatpossibleanexhibitionspace.So,Ifeltthat the context [ofthespace]. While nottosayit’s aneutralenvironment,therangeofpossibilitieswhatyou feel likeoneofthethingsthataworkcandowithinanexhibitionspaceisengagewithorchallenge the a larger gallerytoaninstitutionalspaceamuseum. And Iguessthere’s nothingtoattackinapark.I Within amuseumorgallery, theconnotationsofwhatthosespacesare changesfromasmallgalleryto I thinkitisaccurateinalotofmywork.Maybethatcomesbacktothequestionsite-specificity tion? Many writersdescribeyourworkas“attacking”thespaceitinhabits.Doyouagreewiththatdescrip work inaniceway. thinking, oryouhaveanimageoftheotherpersonsomehow. Ithinkittakesuseachoutsideofourown because there’s alwaysthismomentofprojectionwhereyouareprojectingwiththeotherperson,just you letyourselfdothingsthatwouldn’t normallydoinyourownworkwhenyoucollaborate brothers, we’vebeenworkingtogetherforalongtime.Italmostcomesoutofimprovisation.Ithink until 4 August]. Working withEliispretty uniquebecausewedon’t have totalkaboutitthatmuch. As We’ve actuallyjustopenedashowinParis[“We’re Just in ItfortheMoney”atGalerieBaliceHertling the solemindbehindit? You’ve workedwithyourbrotherEliasonnumerousprojects.Howisaprojectdifferent whenyou’re play-with/26811 July 16,2012. . - Galerie Chantal Crousel Karen Rosenberg.Karen York «HearttoHand»,TheNew Times, April 5,2012. Galerie Chantal Crousel ping overor ontothebeamsandadjusting habituatedmovement patternsthroughout the galleries. staff livingandworkingwiththepiecehadtonegotiate itsincursionsonadailybasis. This meantstep- whereever theymetthepiece initssternlogic.Bothvisitorstotheexhibition aswelltheinstitutional wood thatenactedaserial andrepetitiveformthroughoutthespace,cutting throughgallerywalls Institute forContemporary Art, hecreatedanelaboratepost-and-beam structurefromraw, unfinished available totouchforviewers—orusers,asonemay putit.InMyMistake,his2010showatLondon’s making andexperience. Tuazon, a1999 CooperUnionSchoolof Art alumnus,makesartthatisoften In additiontothetheoreticalunderpinninghis work,theartistlikewisehasanotherapproachtoits tradition whileavoidingthesuperficialityof80s deconstructivistaesthetics. and gravity, Roseargued inthepagesof ArtForum, and Tuazon’s workoffers amodelbreakfromthis tanding muchofthemodernistarchitecturalaesthetics asadramatizationofthestrugglebetweenform century architecturalhistorianGottfriedSemper’s theoryoftectonicslaythegroundwork forunders- like JulianRosehavelinkedhimtothefoundations ofcontemporaryarchitecturaltheory. Nineteenth While muchofthediscoursesurrounding Tuazon’s workseemstopithis artagainstarchitecture,critics use, uncommonmodesofspectatorshipinthegalleryormuseumcontext. lenge viewersasmuchtheydothespaceswherearedisplayed:manyinvitephysicaltouch and through museumwalls,notsomuchinhabitingspaceasdominatingit.Hisworkslikewiseoften chal- into debrisongalleryfloors.Otherworkshavedefiedthestructureofexhibitionsites,cuttingswiftly has createdconcretestructuresseeminglytormentedbygravity, arrestedinmid-collapseordispersing Oscar Tuazon’s workfrequentlyreckonswiththesocialregistersofart andarchitecture.Inthepasthe March 07,2012 Social Register:CorrespondingwithOscar Tuazon (A'99) «Social Register: with Corresponding OscarTuazon (A’, March 7,2012. 99)»,TheCooperUnion http://www.cooper.edu/about/news/social-register-corresponding-with-oscar-tuazon Oscar Tuazon, 'Dead Wrong', 2011; concrete,steel,plywood, sheetrock. Galerie Chantal Crousel Biennial, installationview. Oscar Tuazon, 'ForHire',2012,2012 Whitney «Social Register: with Corresponding OscarTuazon (A’, March 7,2012. 99)»,TheCooperUnion http://www.cooper.edu/about/news/social-register-corresponding-with-oscar-tuazon Biennial, installationview. Oscar Tuazon, 'ForHire',2012,2012 Whitney adhesive, andphotograph. 2008; Douglasfir, pine,steel,sheetrock, Eli HansenandOscar Tuazon, 'Kodiak', Galerie Chantal Crousel cipating thepresentationofthislatestwork. in ordertofabricatehiscontributiontheshow, theartistagreedtoabriefemailcorrespondenceanti- Elisabeth Sussman,onviewthroughMay27,2012. Travelling fromhishomeinParistoLos Angeles Oscar Tuazon’s latestexhibitioninNew York isthe2012 Whitney Biennial,curatedbyJaySandersand context-making powerofart. as aninterfacebetweenvisitorsandtheotherartists,allwhileorbitingquestionsonutility at Tuazon’s para-pavillionduringtheexhibition’s openingdays.Inthissense Tuazon’s work“works” an intermittentsoundinstallationby Asier Mendizabalplayedinside. Artist NilsBechalsoperformed as aexhibitionplatform:painterIdaEkblad’s muraloccupiedoneofthepiece’s exteriorwalls,while space betweenitsconstitutivewalls,atonceinvitingandthreateningviewerstostepinside,functioned structures evocativeofBrutalistaesthetics.Raped-Land,anostentatiouslyprecariousconcreteboxwith pavilions oftheBiennale. Tuazon respondedwithRapedLandand The Trees—two outdoorconcrete tive encounterbetweentheshow'sartiststhatremainedoutsideofofficialandnationally-defined Bice Curigertocreatewhatshetermed“para-pavillions.” These pavilionsfunctionedashubsofcrea- Last summerin Venice atthe54th Venice Biennale, Tuazon wasoneoffourartistsinvitedbycurator «Social Register: with Corresponding OscarTuazon (A’, March 7,2012. 99)»,TheCooperUnion Oscar Tuazon, RapedLand& The Trees, Illuminations: 54th Venice Biennale, 2011. http://www.cooper.edu/about/news/social-register-corresponding-with-oscar-tuazon Galerie Chantal Crousel problems, that's inevitable. you starttothinkaboutarchitecture. And whenanartistthinksabout architecturethere'sgoingtobe useful? And when youstartaskingthatquestion,itopensonto someinterestingterritorybecausethen something intheworld. That's wheremyideaof'utility' comesfrom. Why shouldn't an artworkbe Doug Ashford—this kindofincredibleandmaybedelusional beliefinthepowerofanartworktodo a lotinmytimeatCooper, ImeanthatwasthesculpturedepartmentofHansHaacke,NikiLogisand an artworkcaneffect somekindofchangeintheworldaroundit. That wassomethingwediscussed OT: Ithinkitactuallycamefrom thinkingaboutthepoliticaldimensionofanartwork—theideathat BB: When didyoufirststartmakingartthatfoldedintosomeconceptof"use" likethat? lot ofdifferent uses. artwork youcould,butitworkedjustaswella placetositandtalk.Itwasaspacethatencouraged So peoplewouldstoptherebetweenlookingatart, torestandtalk.Ifyouwantedexperienceitasan there wasamuralpaintedononeofthewalls. And itprovidedsomeshadeinanareathatgotveryhot. OT: I hope so—it was a stage for performances, for a poetry reading; it was used as an exhibition space; disappearing pieceaswell? Venice Biennial,thewayyourpara-pavilioninterfacedwithworkoftwo otherartists. Was thisa BB: Someoneoncesaidthebesttechnologydoesthis:inuse,itdisappears.I'mthinkingnowof into thebackground. to happen.Maybeyoucouldthinkofitasfurniture.Ideallythepieceshoulddisappear, itshouldrecede Oscar Tuazon: The pieceisamodularsystemofspaces,building,it'sspaceforotherthings Bosko Blagojevic:I'mwonderingaboutyourplansforthe Whitney Biennial,whatwillyoushow? cipating thepresentationofthislatestwork. in ordertofabricatehiscontributiontheshow, theartistagreedtoabriefemailcorrespondenceanti- Elisabeth Sussman,onviewthroughMay27,2012. Travelling fromhishomeinParistoLos Angeles Oscar Tuazon’s latestexhibitioninNew York isthe2012 Whitney Biennial,curatedbyJaySandersand context-making powerofart. as aninterfacebetweenvisitorsandtheotherartists,allwhileorbitingquestionsonutility at Tuazon’s para-pavillionduringtheexhibition’s openingdays.Inthissense Tuazon’s work“works” an intermittentsoundinstallationby Asier Mendizabalplayedinside. Artist NilsBechalsoperformed as aexhibitionplatform:painterIdaEkblad’s muraloccupiedoneofthepiece’s exteriorwalls,while space betweenitsconstitutivewalls,atonceinvitingandthreateningviewerstostepinside,functioned structures evocativeofBrutalistaesthetics.Raped-Land,anostentatiouslyprecariousconcreteboxwith pavilions oftheBiennale. Tuazon respondedwithRapedLandand The Trees—two outdoorconcrete tive encounterbetweentheshow'sartiststhatremainedoutsideofofficialandnationally-defined Bice Curigertocreatewhatshetermed“para-pavillions.” These pavilionsfunctionedashubsofcrea- Last summerin Venice atthe54th Venice Biennale, Tuazon wasoneoffourartistsinvitedbycurator «Social Register: with Corresponding OscarTuazon (A’, March 7,2012. 99)»,TheCooperUnion http://www.cooper.edu/about/news/social-register-corresponding-with-oscar-tuazon Galerie Chantal Crousel Images courtesyMaccarone Gallery, NewYork. actually prettyinsaneifyouthinkaboutit,dangerouseven. such afunnyplace—thewholeideathatyouwouldhavewoodshopsharedbyartistsandarchitectsis that kindofargument overhowspaceshouldbeusedisproductive,andit'smaybewhatmakesCooper world. Buttomeitmakessensethatartistsandarchitectsshouldhaveanantagonisticrelationship, wrong. That's ahugedifference Ithink.don'tknow, it'sadifference indegreeoffrustrationwiththe pond totheneedsofaclient.Butanartworkinventusewheretherewasn'tone.Orthings OT: Architecture hastodesignaroundpre-existingconditions,predefineduses. A buildingneedstores problems? BB: Why «Social Register: with Corresponding OscarTuazon (A’, March 7,2012. 99)»,TheCooperUnion http://www.cooper.edu/about/news/social-register-corresponding-with-oscar-tuazon Oscar Tuazon, ForHire,2012,2012 Whitney Biennial,installationview - Galerie Chantal Crousel http://www.vogue.fr/culture/agenda/articles/rencontre-avec-oscar-tuazon-la-biennale-de-venise-/19265 « Rencontre avec OscarTuazon àlaBiennaledeVenise »,Vogue, 2011. Galerie Chantal Crousel http://www.vogue.fr/culture/agenda/articles/rencontre-avec-oscar-tuazon-la-biennale-de-venise-/19265 « Rencontre avec OscarTuazon àlaBiennaledeVenise »,Vogue, 2011. Galerie Chantal Crousel Oscar Tuazon: Die,The PowerBenjamin Lima.«OscarTuazon: Station,Pastelegram Dallas», , August 26,2011. Galerie Chantal Crousel Oscar Tuazon: Die,The PowerBenjamin Lima.«OscarTuazon: Station,Pastelegram Dallas», , August 26,2011. Galerie Chantal Crousel Julian Rose. Tension», «Structural Artforum, October, 2010,pp. 218-225. Galerie Chantal Crousel Julian Rose. Tension», «Structural Artforum, October, 2010,pp. 218-225. Galerie Chantal Crousel Julian Rose. Tension», «Structural Artforum, October, 2010,pp. 218-225. Galerie Chantal Crousel Julian Rose. Tension», «Structural Artforum, October, 2010,pp. 218-225. Galerie Chantal Crousel Julian Rose. Tension», «Structural Artforum, October, 2010,pp. 218-225. Galerie Chantal Crousel Julian Rose. Tension», «Structural Artforum, October, 2010,pp. 218-225. Galerie Chantal Crousel Julian Rose. Tension», «Structural Artforum, October, 2010,pp. 218-225. Galerie Chantal Crousel Julian Rose. Tension», «Structural Artforum, October, 2010,pp. 218-225. Galerie Chantal Crousel Skye Sherwin. «Artist of theweekSkye 98:OscarTuazon», Sherwin. TheGuardian «Artistof , July 28,2010. Galerie Chantal Crousel http://www.independent.co.uk/life-style/fashion/features/how-do-i-look-oscar-tuazon-artist-35-2008449. Charlotte Philby. «How doIlook?:OscarTuazon, June artist,35»,TheIndependent, 26,2010. html