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Philippe Parreno, Nato Nel 1964 a Born in 1964 in Oran, Algeria, Né En 1964 À Oran, En Algérie, *Oran, in Algeria, Vive E Lavora a Parigi

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Philippe Parreno, Nato Nel 1964 a Born in 1964 in Oran, Algeria, Né En 1964 À Oran, En Algérie, *Oran, in Algeria, Vive E Lavora a Parigi PHILIPPE PARRENO MARQUEE, 2013 INGRESSO / ENTRANCE / ENTREÉ Philippe Parreno, nato nel 1964 a Born in 1964 in Oran, Algeria, Né en 1964 à Oran, en Algérie, *Oran, in Algeria, vive e lavora a Parigi. La di- *Philippe Parreno lives and works in Paris. *Philippe Parreno vit et travaille à Paris. La na- mensione collaborativa è un tratto caratteri- Collaboration significantly characterizes his ar- ture collaborative de son travail est une ca- stico della sua visione e della sua pratica arti- tistic vision and practice. Since the 1990s he ractéristique essentielle de sa vision et de stica. A partire dagli anni novanta, infatti, in- has contributed, together with fellow artists sa pratique artistique. Dès les années 1990, sieme a colleghi tra cui Pierre Huyghe, Douglas such as Pierre Huyghe, Douglas Gordon and il contribue avec d’autres artistes tels que Gordon e Dominique Gonzalez-Foerster, contri- Dominique Gonzalez-Foerster, to a radical ques- Pierre Huyghe, Douglas Gordon ou Dominique buisce a un ripensamento radicale del concet- tioning of the medium of exhibition, opening up Gonzalez-Foerster à une remise en question ra- to di esposizione mediante strategie interdisci- to transdisciplinary strategies. Parreno’s instal- dicale du medium de l’exposition, grâce à des plinari. Le sue installazioni e i suoi film si nutro- lations and films use and transpose referenc- approches transdisciplinaires. Les films et les no di riferimenti che spaziano dalla fantascien- es ranging from science fiction to radio, from installations de Parreno emploient et réinter- za alla radio, da internet alla filosofia, dalle -fa the Internet to philosophy, from fairy tales to prètent des références allant de la science fic- vole alle scienze occulte. Marquee (2013), in- the occult sciences. Marquee (2013), at the en- tion à la radio, d’internet à la philosophie, des stallazione site-specific che sovrasta il portone trance of Punta della Dogana, is part of a series contes de fées aux sciences occultes. Marquee di Punta della Dogana, fa parte di una serie di of installations the artist has already presented (2013) à l’entrée de Punta della Dogana, fait par- interventi già effettuati all’ingresso di numero- above the entrance of contemporary art muse- tie d’une série d’installations que l’artiste a déjà si musei, dal Guggenheim Museum di New York ums, such as the Guggenheim Museum in New réalisées aux portes d’entrée de nombreux mu- alla Kusthalle di Zurigo, evocazioni oniriche e York or the Kunsthalle Zürich. They are dream- sées d’art contemporain comme le Guggenheim ironiche dell’importanza acquisita dall’elemen- like and ironic evocations of the growing role Museum à New York ou la Kunsthalle Zürich, to spettacolare o ironico nel mondo dell’arte played by the spectacular, perhaps even by en- évocations oniriques et ironiques de la place contemporanea. L’installazione creata espres- tertainment, in the contemporary art world. The grandissante prise par le spectaculaire, voire le samente per la mostra “Prima Materia” gio- installation was conceived specifically for Punta divertissement, dans le monde de l’art contem- ca sul registro dell’immaterialità, sviluppando della Dogana and borrows the language of im- porain. L’installation conçue spécifiquement un’aura quasi irreale. materiality, thus developing a ghostly aura. pour Punta della Dogana emprunte le registre de l’immatérialité en développant une aura fan- tomatique. 2 3 BRUCE NAUMAN NO, NO, NEW MUSEUM, 1987 INGRESSO / ENTRANCE / ENTREÉ L’opera di Bruce Nauman, nato a The work of Bruce Nauman, art- L’œuvre de Bruce Nauman, né en *Fort Wayne, USA, nel 1941, esplora la rappre- *ist born in 1941 in Fort Wayne (USA), explores *1941 à Fort Wayne (USA), explore les états d’op- sentazione degli stati di turbamento, oppres- states of oppression, turmoil, anxiety, fail- pression, de trouble, d’angoisse, d’incommuni- sione, angoscia, incomunicabilità, impoten- ure, and the lack of communication through in- cabilité et d’échec au travers d’installations, de za attraverso installazioni, neon, performan- stallations, neon lights, performances, sculp- néons, de performances, de sculptures et de vi- ce, sculture e video. All’entrata di Punta della tures, and videos. At the entrance of Punta del- déos. A l’entrée de Punta della Dogana, le vi- Dogana il visitatore è accolto dalla veemenza di la Dogana, the visitor is greeted by the repeti- siteur est accueilli par la déclamation répéti- un clown che nel video No, no, New Museum tive and aggressive exclamations of a clown in tive et agressive d’un clown dans la vidéo No, (1987), tratto dalla serie Clown Torture, urla the video No, No, New Museum (1987), from No, New Museum (1987), extraite de la série senza sosta “No, no, no, no!” Per questa serie Nauman’s Clown Torture series. For this se- Clown Torture. Pour cette série, l’artiste a de- l’artista ha chiesto all’attore Walter Stevens di ries, the artist asked the actor Walter Stevens mandé à l’acteur Walter Stevens de jouer le recitare la parte del clown in diverse sequenze to perform the role of the clown, to the point rôle du clown, jusqu’à l’auto-humiliation, dans di azioni assurde, arrivando ai limiti dell’autou- of self-humiliation, in different sequences of différentes séquences d’actions absurdes. miliazione. Forma estrema di poesia sonora, te- absurd actions. Intense prolongation of sound Prolongation intense de la poésie sonore, du atro dell’assurdo o evocazione della rabbia in- poetry, theatre of the absurd, or evocation of théâtre de l’absurde, ou évocation de l’enfant fantile di fronte a un ordine simbolico, l’opera di a child’s tantrum in response to a symbolic or- faisant un caprice en réaction à un ordre sym- Bruce Nauman ci coglie di sorpresa, come uno der, this striking work “hits us in the back of the bolique, cette œuvre frappante nous « donne un scappellotto inaspettato, secondo la spiegazio- head,” to borrow a phrase that Nauman himself coup sur la tête », pour reprendre une expres- ne dell’artista stesso, interrogato su che tipo di used when asked what kind of art he believes in. sion que Nauman a lui-même utilisée lorsqu’on arte prediligesse. lui demandait dans quel genre d’art il croyait. 4 5 DOMINIQUE GONZALEZ-FOERSTER RAININg (SOUND PIece), 2012 PIANO TERRA / GROUND FLOOR / REZ-DE-CHAUSSÉE Nata nel 1965 a Strasburgo, Dominique Gonzalez-Foerster was Dominique Gonzalez-Foerster est *Dominique Gonzalez-Foerster appartiene alla *born in 1965 in Strasbourg and belongs to the *née en 1965 à Strasbourg et appartient à cette generazione di artisti francesi – tra cui Philippe generation of French artists (including Philippe génération d’artistes français (dont font égale- Parreno e Pierre Huygue – che negli anni novan- Parreno and Pierre Huyghe) who, in the ear- ment partie Philippe Parreno et Pierre Huyghe) ta si allontanano da una pratica artistica incen- ly 1990s, broke away from the artistic practice qui au début des années 1990 ont rompu avec trata sull’oggetto. Interessata alla costruzione centered on the object. Interested in sugges- une pratique artistique centrée autour de l’ob- di scenari e all’evocazione di atmosfere sugge- tive staging and atmosphere and having a wide jet. Intéressée par les mises en scène et les at- stive e forte di una vasta conoscenza del cine- knowledge of cinema, literature and modernist mosphères suggestives et forte d’une vaste ma, della letteratura e dell’architettura moder- architecture, Gonzalez-Foerster places sounds connaissance en cinéma, littérature et architec- nista, l’artista mette il suono e la luce al cen- and lights at the centre of her environments. ture moderniste, Gonzalez-Foerster place les tro dei suoi ambienti. Gonzalez-Foerster lavo- She also works in public spaces such as parks sons et les lumières au centre de ses environne- ra anche in spazi pubblici, in particolare giardi- and transforms them into scenography-social ments. Elle investit également des espaces pu- ni e parchi, trasformandoli mediante interven- areas. In 2008, she unveiled TH.2058, a sci- blics, notamment des parcs, et les transforme ti di tipo scenografico in luoghi di aggregazione ence–fiction installation for the Unilever Series en aires sociales scénographiées. En 2008, sociale. Nel 2008 realizza TH.2058, un’installa- at Tate Modern. The work offered a projection Gonzalez-Foerster a présenté TH.2058, une ins- zione fantascientifica per la Unilever Series al- into the future, where Londoners take shelter in tallation de science-fiction pour les Unilever la Tate Modern. L’opera rappresenta un futu- the Turbine Hall of Tate Modern to get away from Series à la Tate Modern. L’œuvre évoquait un ro in cui gli abitanti di Londra si rifugiano nella a never-ending rain. The soundtrack of cease- futur où les habitants de Londres trouveraient Turbine Hall del museo per ripararsi dalla piog- less rainfall is taken from the TH.2058 instal- refuge dans le Turbine Hall de la Tate Modern gia incessante. Lo stillicidio ininterrotto trat- lation and is transposed to the entrance of the pour échapper à la pluie incessante. Le bruit to dall’installazione TH.2058 è trasposto con Punta della Dogana, where it creates Raining ininterrompu des gouttes de pluie qui provient il titolo Raining (2012) nella sala d’ingresso di (2012), a sound environment which is inconspic- de l’installation TH.2058 est transposé à l’en- Punta della Dogana, dove dà vita a un ambien- uous and haunting, monotonous and menacing. trée de Punta della Dogana, où l’œuvre Raining te sonoro al tempo stesso discreto e ossessivo, (2012) crée, un environnement sonore à la fois monotono e minaccioso. discret et obsédant, monotone et menaçant. 6 7 LIZZIE FITch / RYAN TRECARTIN PUBLIC CROP, 2011 POrch LIMIT, 2012 PIANO TERRA / LOCAL DOCK, 2011 GROUND FLOOR / REZ-DE-CHAUSSÉE Lizzie Fitch e Ryan Trecartin realiz- esso l’indagine sulla scultura e sul suo possibi- and languages constantly streaming on screen.
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