1.5 “Artistic direction” T Today more than ever, in France and elsewhere, focusing — Barbara Polla and Magda Danysz on the dialogue between art and fashion means questioning the hierarchies and judgements, remaining alert to new With the participation of: Paul Ardenne, dichotomies to probe and new values to construct. For us, Hüsamettin Koçan, Frank Perrin, Jean-Philippe art lovers as we are, it is a matter of looking at the world, Rossignol, Julien Serve, Clémence Wolff of accepting it in its totality and of striving to erase all forms Designers: Hubert Barrère, Pascal Gautrand, of segregation. For us, all creations are forms of resist- Joanna Malinowska & CT Jasper, Frank Perrin, ance to time, all creative artists are worthy of the name Julien Serve, Özlem Süer of “murderers of death” (Quignard, 2012) and all forms of beauty seek to oppose, in one way or another, “the shame “The man who only sees fashion in fashion is of being human”.3 an idiot. Elegant living does not exclude either thought or science; it crowns them. It must learn “Artistic direction”? It is both the direction that we would not only to savour time, but also to use it in an like to take and the one that we’d like to give to our extremely lofty order of ideas.” curatorial concept. It is the everyday reality of fashion — Honoré de Balzac 1 designers — the fashion that we love, the kind that frees us from stereotypes, from our daily routine, from our body, “Fashion is in us, it is in front of us: we, the peo- from social determinisms: fashion when it is, like art, ple, have become fashion. Fashion was once a liberating power. “Wearing clothes is an act of the imagi- reserved for elites, but today, fashion is for every nation, an invention of self, a fiction,” wrote Siri Hustvedt, one and each of us, in a kind of atomic explo- on the subject of corsets (2006). We love the corset, sion of desires. Fashion is much deeper than the this art of intimate space, just as we love the arts of public so-called deep people want to tell us it is. Fash- space. “Artistic direction” governs all presentations of ion wrote History: in the beginning, there was fashion; it is also our concept in setting up the whole fashion, and all that will remain in the end will still exhibition, whether it be a fashion or art exhibition, intimate be this dust of fashion and the vanity that goes or public, in a gallery or on the street, in schools or in with it, and maybe that’s all we already are. And museums. We are both gallery owners and “exhibition that's already not so bad…” curators”. We conceive of our galleries as sites for explo- — Frank Perrin 2 ration and we dress them up, inhabit them, “in our own fashion”, that of the street and of motion pictures. We form This chapter presents the vision of fashion as it is revealed the gallery; we are the gallery. We continually invent by two gallery owners who, from Geneva to content on the go; we write in order to delve deeper into (without forgetting ), have often presented exhibitions our work; we react to the gusts of the wind of change. in which the works of fashion designers have been readily Fashion time and gallery time are combined in us at all intermingled with those of artists. More as observers than times — times of freedom, moments without constraints, prescribers of the practices of either camp, they have insofar as possible. learned a certain number of guidelines from these experi- We inhabit the realm of indiscipline, but we do ences: to abolish hierarchies, follow the artists, showcase so with rigour and constancy. the key interfaces between art and fashion (the body and the design), and not to exclude any mode of presentation, Follow the artists by taking advantage of the absence of established rules To make the interfaces between art and fashion work best, to avoid at all costs proposing any rules. At least, no rules in a perspective not of cannibalism, but of mutual inspi- other than the pleasure of exploring niches, participating ration and expansion, productive hybridization, reciprocal in new and original discussions, and exhibiting stunning insemination and combining of practices, there is room for artworks. There is also pleasure in combining fashion and extending these interfaces into other forms of creation than for one of us, video and fashion for the other, fashion and fine arts. Above all, designers need free reign. and drawing and fashion for us both, whether this be For instance, by following this vision from Paul drawings “of” or drawings “as” fashion. Ardenne: “The art of recent decades has been instilled While it is above all the freedom of the wearers in the slightest interstices of reality: because it has assumed that produces fashion, it is also the freedom that the the power of extirpating forms, images and ideas from artists and ourselves take in the presentation of fashion- reality; because the cultural industry, despite how powerful artworks that defines the “artistic direction” that we are as it has become, cannot govern all of artistic creation responsible for when bringing fashion into the gallery. and dictate all of its forms; because, until further notice, even the elasticity of the word ‘art’ guarantees a combina- Abolish hierarchies tory kind of prospection, that we suspect has a lot The connections between Art and Fashion never cease to say and is very promising. No: this is not the end of art, to be interwoven: the two fields observe, bounce off, rep- but rather its expansion. resent, measure up, and are devised against one another, A widespread infiltration of reality, the prodigious and the boundaries that were once erected between high growth of hybridised creations (art and design, art and art and the minor arts — those known as “applied” arts — fashion, art and architecture, art and economics, etc.) have become porous once again, as they were when the or resulting from ‘mixes’ (sampling, techno culture, etc.), artist was primarily an artisan. an environment that is not strongly contextual and in a state of flux (internet culture) — in the end, all of this point

1.5 “Artistic direction” — Barbara Polla and Magda Danysz 223 towards expansion. And art continues to proliferate, A even in a more rhizomatic way — because in rhizomatic theory, elements are interconnected, whereas today we’re seeing forms of art that cannot be connected to anything. We can no longer categorise, certainly not in terms of genres (paintings, sculpture, videos, installations, digital art, etc.), but not in terms of content either. Everything proliferates, everything is extremely alive: that is the expansion. Like a metastatic artistic content that would constitute not a deadly form, but a kind of ‘cancer of life’” 4.

A concert of life, moreover. A concert in which, in our view, the best way to spur us into action is to follow the artists and their “combinatory” abilities. To allow genres to mix. Not to make a “fashion exhibition”. Not to try to find a specific, pre-established balance between “art & fashion”, nor seek to showcase fashion by presenting it as art, alongside or in the midst of artworks, as if to make people forget that it is fashion. No: let things happen, let the artists create, and allow the artworks to resonate among themselves. Jean-Christophe Amman was right: we must spend the night in the exhibition on a camp bed to listen and see B if the artworks get along together well, before declaring that an exhibition is ready 5. Do not theorise, do not cling at all costs to the notion that art is also artisanal, to try to harmonise art and fashion. The connections between art and fashion must be organic or they will not exist.

In the exhibition Direction Artistique 6, the dialogues among designers were surprising. Possibly the most unusual of these was the collaboration between photographer Frank Perrin and writer Jean-Philippe Rossignol. Frank Perrin, in December 2014, photographed the Christian Dior (Raf Simons) fashion show in Tokyo, eight years after his last photographs for his now famous series Défilés (2003- Slowly 8 2006) 7. Like Alexander McQueen’s fashion show in 2004, also photographed by Perrin, Raf Simons’ show evoked This was not the first time that Frank Perrin had associated a revisiting of 2001: A Space Odyssey by the fashion image and sound: we could cite his tribute to Alexander world A. These two fashion shows, “whose theatrical McQueen, presented at Mi-Art in 2010 in the form of scenography — with its immense tents — evokes masses a poem written by Barbara Polla 9 — translated by the artists already known, are machines to produce dreams and Sam Samore into English and Ornela Vorpsi into Italian — phantasms which crystallise, according to Perrin the which he presented alongside the designer’s fashion pulsions and the desires of the years 2010 as tragedy show photographs, fashion shows that already seemed crystallised the life of ancient Greece. These fashion shows to have sprung from “beyond the grave”, through the use represent the greatest spectacle that says nothing while of an other-worldly voice: a virtual voice. telling all: they are a form of contemporary mysticism.” The Connection to the body Captivated by this contemporary mysticism, Frank Perrin Possibly the strongest connection between art and fashion, goes further than usual: the photographer has also prac- the one that is most likely to remove the distances and tised video for some time now. He filmed the show, but differences between the two, is of course the body. in slow motion, then showed it to Jean-Philippe Rossignol, The body and its representation have been the primary who wrote this text and read it in line with the rhythm of subject of art in the West for millennia. Art approaches the show, with the length of the reading corresponding the body, undresses it, sculpts it, and explores it, including exactly to its duration. An “art and fashion” work of a new its interior (as the feminist artists of the 20th century have kind: in short, a literary video B. notably done). Art presents all potential perspectives of the body and does not omit its splendours or its miseries, mysteries or blemishes. But the body resists and always withdraws itself eventually from the most formal or the cruellest of approaches. As for fashion, it distances itself from the body. It covers, veils, and stylises it. It always choses beauty, in one way or another — and rather than align itself as closely as it can with the body, rather

FASHION CURATING 1 CURATING AND FASHION CURATING 224 Slowly 8

Do you recognise me? You don’t change your profession at the snap of your fingers. Since the single file breaks apart and comes back together in constant flux, Perhaps I’m the opposite of beauty. Real beauties are disinterested in their traits; it doesn’t help matters. they’re unaware of themselves. They glow in secret. Real beauties weather the ages, Yet I’m there. I walk down the catwalk in cadence, to the voice of Björk. grow old. It’s not true that they collapse. Real beauties, when they are old and withered, I am a model; that’s becoming clearer. still manage to render the world obsolete. A handsome old man; a sublime ageing Would you like me to give you a clue? Just one should suffice: woman. They do not defy time; they defy the world that does not want to grow old. I’m wearing yellow boots. The great advantage of colour. You’re recognised immediately. Nobody is capable of growing old anymore. At the time of preparation for the show, I asked the designer to put aside When I’m at the hotel or the airport, I watch documentaries on my tablet. the most striking, the most extravagant accessory of his collection for me. Documentaries in which German and Brazilian girls get plastic surgery, at the age The problem with fashion is its invisibility. I want to be visible. Permanently visible. of 14, one has her nose done, the other, her lips or breasts. They are educated in this Do you think I should change my profession or am I on the right track? way, by films, magazines and the gaze of the men who caricature them. They must be We are all tall and skinny. We don’t smile; we make the same gestures. sexy, whores, hot bitches, vulgar. We’re an ultra-rich army. Failing that, it’s off to the elephants’ graveyard, the open-air dump for ugly, The show lasts fifteen minutes, the most expensive quarter-hour in the world. no-hoper, lonely teenagers. We have rules. Keep the shoulders taut. Look like you’re at a funeral. In 2011, I thought of getting an operation, a minute shortening of the nose. Disdain everyone. Be tense and aloof. I changed my mind. Fear. When I start, I repeat to myself in a loop: you are a statue. A real statue, I’d do this operation once I’d stopped being a model. but supple. Absolutely stiff with an ounce of flexibility, no more, no less. For now, I am slow, super slow, fanatically slow. It arrives at a moment when I’m taking pleasure in the slow rhythm Count the time between the moment when my left leg rises and the moment that is imposed on us. the foot lands on the floor. We rehearse for a long time; we are timed. I usually don’t like taking pleasure because it involves physical exertion. If there is the slightest hesitation, an unsteady movement, the designer But everything becomes slow, very slow, on the verge of walking on the spot or falling. obliges us to start again from scratch. I love the hypnosis slowness causes. Walking any slower would be impossible. The moment of ecstasy of my vanity. The designer commands: slowly… slowly… yes… that’s better… again… That plays out at this precise instant. let’s try like this… very slowly… great… that’s perfect… awesome… we can stop now. My career. My obsessions. My waywardness. My exclusive taste for savagery. One hour, two hours, three hours. My fans. My boyfriend. My contracts. My mother in the second row, among the guests. We must embody a reality and interiorise it. I hate slowness, but for four or five minutes, I recognise that a “little shift” I play dead, I faint, I crack in turn, Ophelia on the verge of drowning, in the middle of the monotony is being established. Since my life is repetitive, cold, I reject the maniacal repetition, I stay silent, I strut, a new rhythm transplanted in my heart. hypnotic, decadent, mannered, military. A living statue sporting yellow boots. It is a revelation. You can see me more clearly now. I slow down on a catwalk in Tokyo and I become As if I understood my former existence in ruins. more famous. I am sick of my image. Those who look at themselves every second All people have a secret attraction for ruins. This feeling is due to the fragility in a mirror are people who hate themselves. They won’t tell you that, of our nature, to a secret conformity between these destroyed monuments but they hate themselves deeply. Almost eternally. and the fleeting nature of our existence. I am no longer a ruin; I’m a queen. than dissecting it and sharing its secrets with spectator- C voyeurs, instead, it chooses to reveal the body to us through this additional distance introduced by clothing. Like a canvas that we cannot understand up close, the designer allows us to approach the body and its workings through the same effects of detachement and dissimulation. The designer takes hold of the body, transforming and magnifying it, recreating a new life for it, and showing it off while covering it, through figure-hugging fabric, colours that illuminate it, or forms that elongate it. The designer draws the body and in order to better shape it, (s)he gives it a “line”: creating the silhouette.

The body does not only provide the most powerful connec- tion between art and fashion, it also wears the clothes. The fact that the garment brings the body out of anonymity cannot be overstated. Clothing brings the body out of the state of what Paul Ardenne does not hesitate to refer to as “meat” (2009, p. 147). As a former doctor, I was always struck by the nudity, or quasi-nudity barely dissim- As for the breast bowl, Louis XVI apparently commis- ulated by the shapeless hospital gowns — very different sioned Jean-Jacques Lagrenée to create it, although it is from “clothes” — worn by the sick, bedridden, horizontal, unclear as to whether or not the queen Marie-Antoinette probed bodies, whose vital functions were under con- used her own breast as a model for the bowl — but, at all sideration. The greatest difference between the sick and events, it seems delicate enough for this account to be the cured body — the body of the patient that came to plausible, and Jean-Jacques Lagrenée “The Younger” was say goodbye to the healthcare staff before leaving the an exceptional designer. hospital — other than being upright, was of course, the clothing. The patient is no longer a patient, (s)he has Drawing in art and fashion become an individual again, who will leave the commu- On drawing, Julia Kristeva writes: “No distance between nal bedroom and return to his or her own life, bedroom the thought and the hand: their instantaneous unity and being. Clothing, even if it isn’t fashion or, more often, grasps and redraws the most concentrated interiority into “in fashion”, is an essential factor of individuality, which visible bodies. No trial and error: the artist’s mind, identi- fashion is powerless to control — what’s more, it should fied with the gesture, trims away the expanse, carves out always suggest and not prescribe. Hussein Chalayan shadow and light, and, on the flat exteriority of a medium concurs with this, when he says, as a designer, artist and like paper, makes an intention, a judgment, a taste appear, “exhibitor”: “I am interested in clothing, not fashion.”10 voluminous.” (1998, p.12).

The body, then, features in museums, art and fashion, without distinction. All the more so in that a dress, which D is a dress, once exhibited in a gallery or museum on an equivalent female body, is no longer just a dress, or even an extravagant dress, but becomes a sculpture. When exhibited, the dress changes form, message, content and status. So the question is now no longer even posed as how to exhibit a designer gown, for instance, among painted or sculpted portraits by “artists”: it becomes another sculpture to be placed to best advantage, along with the others, in the exhibition. In Direction Artistique, the Vierge de Sèvres11, C by Hubert Barrère thus very naturally found its place on a pedestal in the middle of the exhibition. From drill to crepe lining and taffeta outer layers, from the boning and busk to the grommets and ribbons for lacing, this stunning corset is, according to its designer, “about comfort under constraints, freedom under servitude, pure pleasure out of self abandonment” thus making it an object of pleasure rather than torture — or perhaps both — but in any case, pleasure plays its part.

FASHION CURATING 1 CURATING AND FASHION CURATING 226 No rules for exhibiting fashion Let’s examine another three examples illustrating the abolition of hierarchies and the absence of rules in fashion exhibitions. The first example is the Baksi Museum 13 in Western Anatolia, a museum created by a visionary by the name of Hüsamettin Koçan. It intends to create a perfect utopia: to help a region at risk of desertification through emigra- tion to survive and enable contemporary art (Hüsamettin Koçan is himself an artist) and local art to cohabitate. The museum has now been open for a decade and was elected “Museum of the Year” by the European Council in 2014 14. It held an iconic exhibition in the summer of 2015 entitled ON [Ten], for which the curator, Marcus Graf, chose to extend the theme of the museum itself: the combining of cultures. Therefore, the first work that you see as you enter the museum is a double hanging, made from a local fabric — ehram, a thick and particularly stiff wool, immediately evocative of the dry nature of the Anatolian mountains — and, right beside it, a surprising creation by designer Özlem Süer, a woman’s coat made of a similar fabric, whose stiffness lends the garment a masculine, almost warlike air F. According to the designer: “Whoever wears the ehram relates their own history without words,” adding that the ehram piece the wearers wrap around themselves develops into a highly complex garment, “a model of possible channels from traditional to E universal.”

Drawing has always belonged to both fashion designers F and artists. It is used by designers as it is by sculptors, not just as a sketch, but also and above all as a way (an art form in its own right) of producing their creation, sil- houettes and forms. Moreover, fashion designers draw- ings, like those of sculptors, are often three-dimensional. This is therefore a very simple method — simple and sophisticated, like the drawings themselves — to “exhibit fashion”: hang the drawings. Julien Serve, an artist for whom drawing is the primary, constant and fundamental gesture, chose to create what he called “understudies”, for around one hundred drawings by fashion designers. Among these designers, was Hubert Barrère D. Serve writes: “I look at the drawings spread out in front of me Hüsamettin Koçan, just like the authors of this chapter, and they are very beautiful. They evoke a bygone world constantly strives to abolish all hierarchy between the for me — they’re full of a kind of nostalgia, in my view. All various types of creative work: no difference whatsoever together, they are powerful. I attempt to draw one of them. between what we call “high art” and “low art” is presented To see what my hand has to say about it. Another. A third. at Baksi; all marginalised activities are actively included, Pale copies of the originals. These originals are, in fact, all frontiers are abolished, insofar as possible. In the exhi- too beautiful. I get angry. I start the process over again. bition15, there are three videos, including Jean Factory Differently. To see if I can capture the whole, appropriate (2008), by the now famous Turkish video artist Ali Kazma thing. I deconstruct what I see. I blindly subvert. I project. (Nam June Paik Award, Sao Paolo Biennial, Venice It’s a messy process, with more or less happy accidents.” Biennale for the Turkish Pavilion in 2013), alongside the “My drawings are there. They speak a different language ehram created by fashion designer Özlem Süer. Again, and reveal new forms of beauty. With their lines and the differences between the museum and the gallery are their blunders, they suffice in and of themselves. They’re abolished: the Baksi Museum is well and truly a “labora- awfully ugly, slightly evil, and falsely misanthropic. They’re tory for the kind of art that is not longer devised in relation a bit desperate. I’m satisfied.” 12 to the spectator,” as defined by Brian O’Doherty’sWhite Cube (1976) — particularly, owing to its weaving work- The artist’s pencil — his lines and miraculous hands as shop for the neighbouring village women, which visitors well — reveal a different aspect of the original design each cross in order to arrive at Koçan’s own creative studio. time: a detail, a fact taken back in hand. His Understudies Artists, artisans, designers and spectators share the real- now go their own way E. Are they art or fashion? That’s ity of this unusual museum, which is at once entertaining irrelevant. Reciprocal inspiration. and experimental.

1.5 “Artistic direction” — Barbara Polla and Magda Danysz 227 The second example is that of the installation Mother Earth, I Sister Moon — a variant on the title of a film by Franco Zeffirelli Brother( Sun, Sister Moon) — or when the artists themselves abolish all notions of hierarchy. This was cer- tainly the case of Joanna Malinowska and C.T. Jasper, the artist duo based in New York, who represented Poland at the 2015 Venice Biennale. After creating a massive Mother Earth able to hold around a hundred people — based on the model of the spacesuit of the first woman to go to space, Valentina Tereshkova, and inspired by Hon 16 — these artists did not hesitate to hold a fashion show inside it that they developed together, featuring models and clothing inspired by the very unusual science-fiction of eastern countries G.

G

In conclusion, in my opinion, exhibiting fashion can be undertaken in as many different ways as art can be exhib- ited, without or without art, and what matters most is that hierarchies are abolished and designers and artworks are respected, whatever or whoever they might be. Perhaps it would be useful to retain the concept of “contextual fash- ion”, based on the model of what is known as Contextual Art (Ardenne, 2002), a model that wants art objects — H and fashion garments — to exist only in their relationship to the world, but not just any world: the one in which they were created, their own context, that of their designers. By using this decodifying model, it is therefore possible to go from museum to gallery, from Western Anatolia to the heart of Paris, from a fashion show inside a huge model of a garment to a presentation on the booth of an art fair, from a literary text to a video, from a corset to drawings, without fear of faux pas and by blithely breezing over any and all critical thresholds. In the absence of hierarchy, the pleasure of the designer and the beauty of the image reign supreme. Even in the booth of a fair The third example is that of Pascal Gautrand, an artist- Acknowledgements : Barbara Polla thanks Hüsamettin designer, former resident of the Villa Medici in Rome, who, Koçan for hosting her in residence for three weeks during as a humble “tailor” settled in with his sewing machine the summer of 2015, in this utopia made reality that is at a booth of the Mi-Art fair, in Milano, in the spring of 2010, the Baksi Museum. This residency enabled her to focus to present his process of fabrication of flamboyant flag- on her writing, to visit the “ON” exhibition, discover the portraits of the major Italian designers I on site, proudly ehram and learn from the museum’s experience of abol- hanging on display above him. Barbara Polla, with her ishing the boundaries between “genres”. project Arte di Moda, wished to pay tribute to Milan, the capital of fashion and a cultural, artistic and intellectual capital — as well as that of a diverse range of artisanal expertise. Pascal Gautrand, then, who entitled his per- formance Fabbrica di Moda, likes to underline the fact that fashion comes from know-how, from the thread, the cloth, the sewing and stitching, and that it emerges from a culture of expertise. An interesting reference, and what is possibly the first site where “exhibited fashion” was shown, was the first World Fair of in 1851, where the Crystal Palace brought in all kinds of industrial products as exhibition subjects, including clothing and perfumes. This model of the World Fair was later repro- duced in France in 1855, and in the 1900 World Fair pavil- ions for “elegance” emerged, in which fashion designers were invited to show their creations…

FASHION CURATING 1 CURATING AND FASHION CURATING 228 1. (1830), Traité de la Vie Élé- 10. Hussein Chalayan quoted in A.B. Photos in the exhibition Direc- gante, in Fortassier, R., (ed.), Head Shot. Revue Critique de tion Artistique, curator Barbara Paris, NRF, La Pléiade, t. XII, Mode et Bijou, n°1, HEAD – Polla, Galerie Magda Danysz, 1991, p. 924. Geneva, p.33. Paris, 10 January - 7 February, 2015. Photo : Frank Perrin. 2. From the website of the 11. The work is a combination Magda Daysz Gallery [Online] of Sèvres porcelain and C. Hubert Barrère, La Vierge Available from: http://www. hautecouture, the fruit of a de Sèvres, in the exhibition magda-gallery.com/fr/ close collaboration between Direction Artistique, curator node/5845 (Accessed: 15 the Maison Parisienne, Sèvres Barbara Polla, Galerie Magda March 2016). Our translation. Cité de la Céramique, the Danysz, Paris, 10 January - 7 Maison Hurel and the Atelier February, 2015. 3. Primo Levi quoted by Gilles Geneviève Carrasco. Image Deleuze in L'Abécédaire available from: http://www. D. Drawings by Hubert Barrère (DELEUZE, 1996). sevresciteceramique.fr/ with understudies by Julien site.php?type=P&id=630 Serve. 4. “Art Le Présent; L’âge (Accessed: 14 April 16). démocratique”. Barbara E. Plate of 12 drawings by Julien Polla’s Blog (1 September 12. From the Serve note present- Serve. 2010). [Online], available from: ing the Direction Artistique http://barbarapolla.blogspot. exhibition. [Online], available F. Artwork by Özlem Süer, in the com/2010/08/art-le-pres- from: http://www.julienserve. exhibition ON, curator Marcus entlage-democratique.html com/2015/-doublures/ Graf, Baksi Museum, summer (Accessed: 15 March 2016). (Accessed: 14 April 2016). 2015. Photo : Özlem Süer. Our translation. Our translation. G. Joanna Malinowska and 5. From the portfolio by J.-C. 13. See http://baksi.org/en/ Christian Tomaszewski (C.T. Amman et B. Polla, (2010) (Accessed : 15 March 2016). Jasper), Mother Earth Sister “La faim inassouvie”. [Online], Moon, still from the perfor- available from : http:// 14. See “The Baksi Museum mance, Performa'09, New York. www.analix-forever.com/ (Turkey) wins 2014 Museum Photo: courtesy of the artists. bp/201010_crash2.pdf Prize”, Council of Europe. (Accessed: 15 March 2016). [Online], available from: H. Joanna Malinowska and http://assembly.coe.int/nw/ Christian Tomaszewski (C.T. 6. See the website of the Magda xml/News/News-View-EN. Jasper), Mother Earth Sis- Daysz Gallery. [Online], availa- asp?newsid=4789&lang=2&- ter Moon, Installation view, ble from: http://www.magda cat=21 (Accessed : 15 March Zachęta National Gallery of Art, -gallery.com/fr/node/5705 2015). Warsaw, 2013. Photo: courtesy (Accessed : 15 March 2016). of the artists. 15. Temporary exhibition held at 7. Exhibition held at the Galerie the Baksi Museum, curated I. Pascal Gautrand, Fabbrica di Jousse entreprise, Paris, 11 by Marcus Graf in the summer Moda, Analix Forever, Mi-Art September - 20 November of 2015. [Online], available fair, Milan, 2010. Photo: 2004. from: http://www.nationalturk. courtesy the artist and Analix com/en/baksi-museum-cele- Forever. 8. Original text by Jean-Philippe brates-anniversary-with-spe- Rossignol, January 2015. Our cial-exhibition-and-con- translation. cert-57369/ (Accessed : 2 January 2016). 9. “Our winter of 2010”. [Barbara Polla’s Blog, 4 16. Monumental sculpture by Niki March, Online], available from: De Saint Phalle, (1966). http://barbarapolla.blogspot. com.tr/2010/03/tribute-to- alexander.html (Accessed : 2 Januray 2016).

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1.5 “Artistic direction” — Barbara Polla and Magda Danysz 229