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Bertrand Lavier Bertrand Lavier 23 September 2016 – 22 January 2017 KUNSTMUSEUM LIECHTENSTEIN Bertrand Lavier, born in Châtillon-sur-Seine, France, 1949, is one of the outstanding French artists of our time. Since taking part in documenta 7, Kassel, 1982 his work has been known to an international audience. Numerous participations in major exhibitions on current international art testify to his importance in the develop- ment of contemporary art and his influence on later gen- erations of artists. Lavier lives and works in Aignay-le- Duc in Burgundy and Paris. The extensive survey exhibi- tion at the Kunstmuseum Liechtenstein is the first major museum presentation in the German-speaking world. Cover: Bertrand Lavier, Vénus d’Amiens, 2015 (detail) Bertrand Lavier How is our living environment shaped? When are we conscious of this shaping? Where are the boundaries between art and design? What is an original? What makes it an original? What roles do forms of presen- tation play? Can these questions be resolved in an elegant, playful way? Bertrand Lavier’s works offer answers. The French art- ist has been investigating our perception of art and design and their interactions for more than forty years. He works with items of practical, mass produced items, prefabricated components or legendary designer objects. He transposes the objects into the context of art, either unmodified or reassembled, reworks them with traditional artistic methods or places them in unex- pected locations. Lavier studied horticulture. As such, he is familiar with the botanical methods of grafting and deploys these same methods in his art. He plays through different variations, unmasking the efforts of manufacturers of everyday objects to harness the prestige of art for their products. The artist mixes up classifications and frees his works from conventional attributions. Lavier plays with language and meaning, he crosses genre bounda- ries, challenges established concepts and patterns of interpretation, and enacts paradoxes. The artist calls his groups of works ‘building sites’ (chantiers), as they remain part of an open-ended method of working. The exhibition, curated by Friedemann Malsch, was developed in close collaboration with Bertrand Lavier. It features examples from all of the artist’s distinct bodies of work, beginning with typical works from the 1970s and extending to works produced especially for the current exhibition. The exhibition thus covers the entire spectrum of his oeuvre. The show is accompanied by a comprehensive publica- tion. 1 Room 1 Pictorial grounds Painting is the better the nearer it approaches to relief, and relief is worse in proportion as it inclines to paint- ing. Sculpture is the lamp of painting, the difference between them might be likened to the difference between the sun and moon. Michelangelo Buonarroti, letter to Benedetto Varchi, 1549 Which is superior? Sculpture or painting? The dispute about the supremacy of one genre over the other is one of the most fascinating stories in art history. Bertrand Lavier resolves it with a few brushstrokes: he covers everyday objects with a thick, impasto layer of acrylic paint. The selected objects become the supports of the image, retaining their spatial presence while remain- ing industrial products. At the same time, they become the motivation for an artistic process and the material foundation for painting. They are object, painting and sculpture in equal measure. Lavier does not simply give the products a cursory new coat of paint, but rather treats their surface with the ‘Touche van Gogh’. Touche derives from toucher, meaning to touch: Lavier touches the surfaces. The glossy black paint of the grand piano, the blue and gold of the chest of drawers, and the col- ours of the table are the motif of his painting. [6, 11, 13]. It is hardly a coincidence that the trained horticultural- ist chose a plant for one of his first works and his first overpainting. Premiers travaux de peintures, 1969 [1] presents a row of Ampelopsis vine leaves painted white. The artistic gesture becomes an ordering intervention, appropriating the found object without removing it from its original context. This duality is also characteristic of Lavier’s later overpaintings: the objects always remain functional and thus do not serve the purpose of rep- resentation alone. Moreover, the colour of the paint is identical to the original colour, in Camondo, 2015 [11] even the metal fittings are overpainted. The differ- ence lies in the distinction made in French and English between couleur or colour and peinture or paint: colour as a hue and colour as material. The Touche van Gogh works celebrate colour as matter and the artistic ges- ture. Mandarine Duco et Ripolin, 1994 [9] and Bleu Azur par Tollens et Ducolac, 1988 [8], in contrast, focus on the diversity of hues, their designations and indus- trial usage. In both diptychs Lavier employs a hue from two different manufacturers, demonstrating the arbitrary nature of denotations and the great difference in the 2 perception of colour. There is mandarin and there is mandarin. Sombernon, 2015 [14] and Composition No. 1, 1986 [15] belong to the Touche van Gogh series with two- dimensional base objects. Both are road signs, one an information sign for tourists, the other to indicate a cul- de-sac. The original signs are overpainted with a van Gogh-like gesture. Lavier thus shows himself liberated from the problem of finding themes and composition, but nevertheless creates paintings. What is more, he demonstrates his freedom in terms of choice of themes, as the signs are taken from a large array of possibilities. This procedure also works for non-objective artworks: Melker 7, 2005 [12] is an overpainted standard com- mercial cushion fabric and a humorous reinterpretation of Concrete art. While the latter does not require a sub- ject, it is nevertheless composed – just as the fabric is designed. Landscape Painting and Beyond No. 3, 1980 [4] can be seen as a little lesson of the artist: How do I get from the original material to the artwork? In an analytical, but equally didactic approach, Lavier transforms a photo- graph into a painting in three steps. At the same time, the piece is an ingenious comment on the relationship between contemporary artistic photography and paint- ing: it may be read in both directions, with neither genre having the upper hand. 3 Room 1 Pictorial Grounds 1 Premiers travaux de peintures, 1969 Acrylic on Ampelopsis leaves (photograph) 56 × 72 cm Courtesy of the artist 2 French Painting, 1984 Acrylic on book, metal stand and base 108 × 31 × 31 cm Collection Billarant, Paris 3 Zenit, 1983 Acrylic on camera 14 × 10 × 8.5 cm Courtesy Galleria Massimo Minini and the artist 4 Landscape Painting and Beyond No. 3, 1980 Photograph partially overpainted with acrylic 160 × 250 cm Private Collection, Paris 5 Augusta 2016, 2015 Acrylic on Perspex mirror 180 × 300 × 3 cm Kewenig Galerie, Berlin 6 Steinberg, 2016 Acrylic on grand piano 100 × 150 × 160 cm Courtesy of the artist / Kewenig Galerie, Berlin 7 Smeg, 1997 Acrylic on refrigerator 146 × 60 × 60 cm Mumok, Vienna 8 Bleu Azur par Tollens et Ducolac, 1988 Oil on acrylic 200 × 300 cm Collection Billarant, Paris 4 9 Mandarine Duco et Ripolin, 1994 Oil on canvas 220 × 220 cm Courtesy of the artist 10 Lavier/Morellet, 1975–1995 Oil on canvas 200 × 200 cm Centre Pompidou, Musée national d’art moderne, Paris 11 Camondo, 2015 Acrylic on chest of drawers 83 × 119 × 49.5 cm Private Collection 12 Melker 7, 2005 Acrylic on upholstery fabric 143 × 350 cm Xavier Hufkens, Brussels 13 Formica red, 1983 Acrylic on table 70 × 120 × 60 cm Courtesy of the artist 14 Sombernon, 2015 Acrylic on road sign 140 × 240 cm Courtesy of the artist 15 Composition No. 1, 1986 Acrylic on traffic sign 80 × 80 cm Le Consortium, Dijon 16 Composition No. 105, 1989 Acrylic on traffic sign 90 × 90 cm Courtesy of the artist 5 Room 2 2D – 3D The oscillation between sculpture and image and between industrial object and artwork cumulates in Picasso outremer, 2009 [24]. The French car brand Citroën offers a ‘Picasso’ model in various series. Pablo Picasso’s signature is eye-catchingly displayed in stamped chromium steel on the vehicle’s wing – the car company bought the rights from the artist’s estate. Lavier unmasks this fetishisation of the signature: ‘The “Picasso” model isn’t particularly interesting, even if it sells well. The name only works because it adorns a mediocre car. If they’d put “Picasso” on a Ferrari or a Rolls Royce, this attempt at bribery would have failed.’ Lavier transposes the Picasso wing back into the con- text of art in several different ways. He paints it in the style of the ‘Touche van Gogh’, using Yves Klein blue. Yves Klein claimed to have signed the sky in 1946. In 1960, he patented his ultramarine blue as ‘International Klein Blue’, covering everyday objects and plaster casts of famous sculptures with this colour. Lavier, in turn, now appropriates this gesture of appropriation. He paints the blue wing blue again. As a result, this work is a meeting of Picasso, Klein, Lavier and Vincent van Gogh. Clareo, 2014 [27] is a meeting of Kazimir Malevich and minimal art. The square is as much an icon of art as the use of industrially manufactured lamps in minimal art. Lavier does not quote the two models literally, but rather responds to them with his characteristic vocabulary of form informed by modern design. Again and again he explores the potential of these forms for art: Relief- Peinture No. 1, 1987 [18] is a prefabricated façade element and investigates the image quality of industrial products. Relief-Peinture No. 2, 1991 [19] is a photo- graph of a façade element and furnishes the proof: the picture of the façade stands as an equal alongside the façade itself.
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