Provocative Sculpture Rejected by Louvre Finds New Home - Chicago Tribune

Total Page:16

File Type:pdf, Size:1020Kb

Provocative Sculpture Rejected by Louvre Finds New Home - Chicago Tribune 6-11-2017 Provocative sculpture rejected by Louvre finds new home - Chicago Tribune Provocative sculpture rejected by Louvre finds new home Dutch artist Joep van Lieshout poses in front of his sculpture "Domestikator," displayed in the plaza outside the Centre Pompidou modern art museum in Paris. The provocative sculpture is meant to represent the domestication of the earth by humanity. The huge sculpture, made of cubical metal containers, suggests two human figures having sexual intercourse (Thibault Camus / AP) Associated Press OCTOBER 20, 2017, 3:02 PM huge sculpture deemed too obscene for the regal gardens of the Louvre Museum has found a new home A at Paris' edgier Pompidou Center. The art work was unveiled Tuesday in front of the Pompidou modern art museum. The piece, made of cubical containers, suggests an abstract pair having sex. Artist Joep Van Lieshout told The Associated Press his sculpture, titled "Domestikator," is meant to represent the domestication of the Earth by humans and the evolution of robotics and big data. The work was meant to be displayed during a contemporary art festival in the Tuileries Gardens, adjacent to the Louvre. http://www.chicagotribune.com/lifestyles/travel/ct-provocative-sculpture-france-20171020-story.html 1/2 6-11-2017 Provocative sculpture rejected by Louvre finds new home - Chicago Tribune Pierre Bachelot of the Carpenter's Workshop Gallery that represents Van Lieshout says Louvre management "found it could shock" visitors. Bachelot said: "It's art, so you must open your mind." Copyright © 2017, Chicago Tribune This article is related to: Art, Museums, Paris http://www.chicagotribune.com/lifestyles/travel/ct-provocative-sculpture-france-20171020-story.html 2/2.
Recommended publications
  • SOLO EXHIBITIONS (Selection)
    ATELIER VAN LIESHOUT Founded in 1995 ADDRESS : Keileweg 18 NL-3029 BS Rotterdam PHONE : +31-10-2440971 E-mail : [email protected] Website : www.ateliervanlieshout.com JOEP VAN LIESHOUT 1963, Ravenstein Lives and works in Rotterdam since 1987 EDUCATION 1987 : Villa Arson, Nice 1985-1987 : Ateliers '63, Haarlem 1980-1985 : Academy of Modern Art, Rotterdam AWARDS 2015 : Harrie Tillie Award 2009 : Stankowski Award 2004 : Kurt Schwitters Award 2000 : Wilhelmina-ring, Sculpture Award 1998 : Mart Stam 1998 Award 1997 : Anjerfonds - Chabot 1997 Award 1996 : 87.Katalogförderpreis 1996, Alfried Krupp von Bohlen und Halbach Stiftung 1995 : Bolidt Floor Concepts 1995, 1st prize 1992 : Prix de Rome Award 1991 : Charlotte Köhler Award Joep van Lieshout / Atelier Van Lieshout Atelier Van Lieshout is the studio founded by enfant terrible and sculptor Joep van Lieshout. After graduating at the Rotterdam Art Academy Van Lieshout quickly rose to fame with projects that travelled between the world of easy-clean design and the non-functional area of art: sculpture and installations, buildings and furniture, utopias and dystopias. In 1995, Van Lieshout founded his studio and has been working solely under the studio’s name ever since. The studio moniker exists in Van Lieshout’s practice as a methodology toward undermining the myth of the artistic genius. Over the past three decades, Van Lieshout has established a multidisciplinary practice that produces works on the borders between art, design, and architecture. By investigating the thin line between manufacturing art and mass-producing functional objects, he seeks to find the boundaries between fantasy and function, between fertility and destruction. Van Lieshout dissects systems, be it society as a whole or the human body; he experiments, looks for alternatives, takes exhibitions as experiments for recycling, and has even declared an independent state in the port of Rotterdam AVL-Ville (2001)—a free state in the Rotterdam harbour, with a minimum of rules, a maximum of liberties, and the highest degree of autarky.
    [Show full text]
  • 22/23 Octobre 2017 FINANCIAL TIMES - UK
    233 RUE ST HONORE, 75001 PARIS T +33(0)1 4271 2046 www.favoriparis.com M [email protected] 22/23 octobre 2017 FINANCIAL TIMES - UK écrite Par Mélanie Gerlis Collecting Paris has designs on buyers Fiac focus in Paris; Pompidou takes saucy sculpture; Armory makes fairs more fair; Schumacher’s Ferrari at Sotheby’s 'Ozon Opus I', €950,000 OCTOBER 20, 2017 Melanie Gerlis After a brief break from London’s Frieze fairs, most of the art trade now finds itself at Fiac art fair in Paris (Grand Palais, until Sunday). New this year is a section dedicated to design — though it isn’t a complete departure for Fiac, which first launched a design segment in 2004 that ran until space constraints proved an issue in 2010. Fair director Jennifer Flay had considered a separate venue, the Palais d’Iéna, for up to 12 exhibitors but instead carved out a decent space for five design booths at the back of the Grand Palais this year. Exhibitors prefer this solution as it encourages flow between fields. “Buyers of modern and contemporary art also collect design,” says Eric Philippe, whose booth includes a rare 1954 floor lamp by Italian designer Angelo Lelii (€35,000). Furniture from the 20th century, by the likes of French masters Jean Prouvé and Charlotte Perriand, dominates, with some choice contemporary pieces such as limited-edition aluminium lights by brothers Ronan & Erwan Bouroullec at Galerie Kreo (€33,000). Certain pieces on offer, such as Le Corbusier’s 1957 tapestry (€180,000) and 1947 wooden sculpture, “Ozon Opus I” €950,000), at Galerie Downtown, show how the lines can blur between fine art, design and architecture — and with prices akin to their fine art counterparts.
    [Show full text]
  • Download Full Press Release
    NEW YORK | CARPENTERS WORKSHOP GALLERY ATELIER VAN LIESHOUT THE GOOD, THE BAD AND THE UGLY 4 MARCH - 25 APRIL 2020 PRESS RELEASE ATELIER VAN LIESHOUT | RECLINING FIGURE | 2019 NEW YORK | CARPENTERS WORKSHOP GALLERY 693 FIFTH AVENUE, NEW YORK for all media enquiries including interview requests, please contact Meg Huckaby | [email protected] | +1 646-589-0928 Eliza Whittemore | [email protected] | + 1 646-589-0921 ATELIER VAN LIESHOUT | THE GOOD, THE BAD AND THE UGLY | PRESS KIT CARPENTERS WORKSHOP GALLERY | NEW YORK Carpenters Workshop Gallery | New York is thrilled to present The Good, the Bad and the Ugly, a thematic solo exhibition of works by the visionary Joep Van Lieshout / Atelier Van Lieshout opening March 4, 2020. The exhibition is planned in tandem with a solo presentation of Van Lieshout’s work in Carpenters Workshop Gallery’s booth (504) at The Armory Show in March 2020. Curated by Natalie Kovacs, the exhibition will bring together sculptures, video work, and functional artworks, revealing the full scope of transgressive artist Joep Van Lieshout’s experimental and multidisciplinary practice. The presentation debuts new and recent works that exemplify Van Lieshout’s ongoing commitment to exploring boundaries and inventing new ways to sculpt the future. World-renowned for his immense and visionary projects, Van Lieshout gained international recognition for pioneering a practice that straddles the boundary between art, architecture, and design. Since the beginning of his career Van Lieshout has continued to explore the borders of what art can be, even when this approach was unprecedented or taboo. From living sculptural installations that assert or question independence, to invented objects and thematic bodies of work that push all limits, Van Lieshout dissects and invents systems—be it society as a whole or the human body—to explore power, self-sufficiency, politics, fertility, life, and death.
    [Show full text]
  • Biography About the Artist
    Biography About the artist - Joep van Lieshout/Atelier Van Lieshout Atelier Van Lieshout is the studio founded by sculptor, painter and visionary Joep van Lieshout. After graduating at the Rotterdam Art Academy Van Lieshout quickly rose to fame with projects that travelled between the world of easy-clean design and the non-functional area of art: sculpture and installations, buildings and furniture, utopias and dystopias. In 1995, Van Lieshout founded his studio and has been working solely under the studio’s name ever since. The studio moniker exists in Van Lieshout’s practice as a methodology toward undermining the myth of the artistic genius. Over the past three decades, Van Lieshout has established a multidisciplinary practice that produces works on the borders between art, design, and architecture. By investigating the thin line between manufacturing art and mass-producing functional objects, he seeks to find the boundaries between fantasy and function, between fertility and destruction. Van Lieshout dissects systems, be it society as a whole or the human body; he experiments, looks for alternatives, takes exhibitions as experiments for recycling, and has even declared an independent state in the port of Rotterdam AVL-Ville (2001)—a free state in the Rotterdam harbour, with a minimum of rules, a maximum of liberties, and the highest degree of autarky. All of these activities are conducted within Van Lieshout’s signature style of provocation—be it political or material. Van Lieshout combines an imaginative aesthetic and ethic with a spirit of entrepreneurship; his work has motivated movements in the fields of architecture and ecology, and has been internationally celebrated, exhibited, and published.
    [Show full text]
  • Pioneer Works Pioneerworks.Org | 718.596.3001
    159 Pioneer Street, Brooklyn, NY 11231 Pioneer Works pioneerworks.org | 718.596.3001 Atelier Van Lieshout: The CryptoFuturist and The New Tribal Labyrinth 03.01.19–04.14.19 Pioneer Works to present the largest-scale exhibition of Atelier Van Lieshout in the United States. For more than three decades, Atelier Van Lieshout (AVL)—the working name of Rotterdam-based artist Joep van Lieshout’s studio practice—has been known for creating anarchic, large-scale installations that propose hypothetical environments for habitation and industry. AVL was established as an atelier in 1995, to both undermine the artist-as-genius myth, and to place art and utility on equal footing. The CryptoFuturist and The New Tribal Labyrinth simultaneously dissects and pays homage to the Industrial Revolution, which AVL posits as the starting point of our current cultural and material wealth. The exhibition’s centerpiece is Blast Furnace (2013), a 40-foot-tall structure which resembles a steel maze of pipes, conveyor elevators, staircases, and mezzanines. Although industrial in form, the sculptural installation’s hypothetical function is inverted by the placement of domestic elements that have also been fabricated by the artist, such as furniture, lamps, and toilets. At the center of this work is a fictional narrative wherein a “New Tribe” of metal workers is so inspired by their desire to return to industry, that they decide to inhabit Blast Furnace as their home. AVL thereby sets the stage for the synthesis of man and machine, while referring to replacement of heavy industry by an immaterial, information-led economy. The installation’s placement within Pioneer Works, a former iron works factory adapted into a cultural center, further amplifies its underlying intentions.
    [Show full text]
  • Meubels Komen Niet Als Manna Uit De Lucht Vallen. Zij Zijn Vaak Het Resultaat Van Een Lang Denk- En Ontwikkelproces
    Ontwerp Ontwerp Gewoon, doen! Meubels komen niet als manna uit de lucht vallen. Zij zijn vaak het resultaat van een lang denk- en ontwikkelproces. Speciaal voor Inside Information duikt Kitty de Groot in de intrigerende wereld van de meubelontwerpers. Zij spreekt met vooraanstaande Nederlandse designers over hun fascinaties, hun ontwerpwerkwijze en hun relatie met fabrikanten. Deze keer: Joep van Lieshout en Dirk Vander Kooij. Auteur: Kitty de Groot. ‘Hoezo, kan niet? Niet normaal? Wat al in het nieuws met zijn kunstinstallatie sen; het moet als het ware binnen een die mensen doen, dat is normaal? Ver- Domestikator, die werd geweigerd door dag gebeurd zijn.” vuilen, consumeren? En dat massaal? het Louvre, maar daarna met open ar- De drang om te maken. Hoe te verant- men werd ontvangen door het Centre “Mijn manier van ontwerpen is fysiek”, woorden? Door de wereld een stukje Pompidou. De Domestikator verbeeldt vervolgt Van Lieshout. “Ik pak een plaat verder te helpen’. Dat is wat de twee ‘een paar dat het op zijn hondjes doet’ – multiplex, wat balkjes en een stuk piep- geïnterviewden in dit artikel, kunstenaar rood, groot, met deuren en ramen erin. schuim. Daar maak ik dan een stoel en/of ontwerper – de één internationaal Het is wat het is, het is heel direct. Zo uit mee. Als het staat, is het af. Dingen in befaamd, de ander een snel stijgende Van Lieshout zich ook dit artikel. Geen de computer zetten en dat verfi jnen, zwenkwieltjes. Het is wat het is en het ik mooi omdat het gewoon ontzettend Eén van Van Lieshouts controversiële kunstwer- ster – met elkaar gemeen hebben.
    [Show full text]