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Replicas Repliken RÉPLIQUES REPLICAS REPLIKEN 2 3 EDOUARD KAISER RÉPLIQUES SCOTT KILDALL L’ORIGINAL À L’ÉPREUVE DE L’ART PAUL KLEE AUTOUR DE LA COLLECTION FRANK KOZIK D’OLIVIER MOSSET JOSEPH KOSUTH L / B (SABINA LANG & DANIEL BAUMANN) ALIX LAMBERT REPLICAS BERTRAND LAVIER ORIGINALITY ON TRIAL LOUISE LAWLER IN AND AROUND OLIVIER MOSSET’S JØRGEN LETH COLLECTION SHERRIE LEVINE CLAUDE LOEWER MICHAEL MANDIBERG REPLIKEN JEAN-LUC MANZ DIE FRAGE NACH DEM ORIGINAL ALLAN MCCOLLUM RUND UM DIE SAMMLUNG OLIVIER MOSSET CLAUDE MELLAN MATHIEU MERCIER 30.06 – 29.10.2017 OLIVIER MOSSET MUSÉE DES BEAUX-ARTS JOHN NIXON LA CHAUX-DE-FONDS STEVEN PARRINO RICHARD PETTIBONE RAOUL PICTOR (HERVÉ GRAUMANN ET MATHIEU CHERUBINI) BERNARD PIFFARETTI HENRI PRESSET GREG ALLEN ANDRÉ RAMSEYER CARL ANDRE MARTIAL RAYSSE IAN ANÜLL LÉOPOLD ROBERT JOHN ARMLEDER WALTER ROBINSON OLIVIER BABIN NORMAN ROCKWELL ROBERT BALLAGH BOB ROSS AIMÉ BARRAUD CLAUDE RUTAULT FRANCIS BAUDEVIN YARA SAID RENÉ BAUERMEISTER LE TAMPOGRAPHE SARDON BEN LILY VAN DER STOKKER MIKE BIDLO ELAINE STURTEVANT JULIUS VON BISMARCK PETER TILLESSEN NICOLAS BOISSONNAS CORINNE VIONNET BRYAN CERA WALLACE & DONOHUE JEROME CAVALIERE JOAN WALTEMATH CÉSAR ANDY WARHOL JOHN DOGG (COLIN DE LAND LAWRENCE WEINER & RICHARD PRINCE) DICK WHYTE GÉRARD COLLIN-THIÉBAUT IAN WILSON LE DESSINATEUR (AUTOMATE JAQUET-DROZ) MADELEINE WOOG MARCEL DUCHAMP HANS-PETER FELDMANN SYLVIE FLEURY CHRISTIAN FLOQUET CAMILLE GRAESER PETER HALLEY CHARLES HUMBERT DONALD JUDD COMMISSAIRE / CURATOR / KURATOR : JEAN-BLAISE JUNOD GABRIEL UMSTÄTTER 2 VII VI V I IV VIII II III X IX I 6 – 15 VII 56 – 65 RÉPLIQUES COLLECTIONNER LES ÉCHOS REPLICAS COLLECTING ECHOES REPLIKEN RESONANZEN SAMMELN II 16– 21 VIII 66 – 79 VARIATIONS ET MULTIPLES DE LA COPIE À L’APPROPRIATION VARIATIONS AND MULTIPLES FROM COPY TO APPROPRIATION VARIATIONEN UND MULTIPLE VON DER KOPIE ZUR ANEIGNUNG III 22 – 29 IX 80 – 85 DÉLÉGATION DU PAREIL AU MÊME OU L’INFRAMINCE DELEGATION ONE AND THE SAME THING OR INFRATHIN ÜBERTRAGUNG IMMER DASSELBE ODER DAS „INFRAMINCE“ IV 30 – 37 X 86 – 101 L’ŒUVRE COMME CONCEPT LE NUMÉRIQUE OU LA COPIE ILLIMITÉE THE WORK OF ART AS A CONCEPT DIGITAL TECHNOLOGY – UNLIMITED COPIES DAS WERK ALS KONZEPT DAS DIGITALE ODER KOPIE OHNE GRENZEN V 38 – 47 102 – 108 AUTOUR DU READY-MADE MIKE BIDLO (REMARQUES SUR L’EFFICACE READYMADES DE SES TITRES ET SUR LA NATURE DE SON RUND UM DAS READYMADE PROJET POLITIQUE), PAR NICOLAS EXERTIER VI 48 – 55 110 – 111 CITER / RECONTEXTUALISER CRÉDITS QUOTING / RECONTEXTUALISING CREDITS ZITIEREN / IN EINEM KONTEXT SETZEN IMPRESSUM 4 5 FR Pendant des siècles, la copie des œuvres de leurs prédécesseurs RÉPLIQUES a constitué la méthode d’apprentissage naturelle des artistes, et la réplique (copie par le maître lui-même ou par des élèves de son atelier) un mode de diffusion légitime des œuvres les plus appréciées. La valo- REPLICAS risation de l’œuvre originale et de l’originalité de l’artiste est un trait du goût moderne, accentué par le développement de la photographie, qui a peu à peu dépouillé l’art de sa fonction d’imitation du réel tout REPLIKEN en permettant une diffusion sans précédent des images du monde. L’exigence d’originalité et d’expressivité, poussée à l’extrême par les artistes abstraits européens et américains de l’après-guerre, a suscité dès les années 1960 un vaste mouvement de remise en question, qui a pris des formes très diverses : du pop art à l’art conceptuel, de l’art minimal à l’art « appropriationniste » des années 1980. Olivier Mosset a été l’un des pionniers européens de ce mouvement : avec ses fameux tableaux à cercles, répétés à l’identique pendant près de dix ans, il retournait contre le marché de l’art le modèle ancien de la réplique. Mais c’est une définition moins restrictive de la réplique, simple et ouverte au paradoxe, qui a servi de guide pour cette exposition : toute copie d’une œuvre d’art qui n’est pas un faux (J. Rey-Debove, Lexique de sémiotique, 1979). Les œuvres retenues proviennent en grande partie de la collection d’Olivier Mosset, donnée au musée en 2007. Elles sont pour la première fois confrontées systématiquement à un choix de ses propres œuvres, ainsi qu’à des antécédents histo- riques tirés de la collection du musée. Le parcours de l’exposition est organisé en deux temps : après un passage en revue de pratiques artistiques qui relativisent l’idée d’œuvre originale unique et de la main de l’artiste (variations et multiples, œuvres dont la réalisation finale est déléguée à autrui, art conceptuel, ready-made), elle se concentre sur des œuvres mettant directement en jeu copie, citation ou appropriation : autant d’approches qui renouvellent notre regard sur l’œuvre originale en modifiant son contexte de réception. Une section spéciale est consacrée aux nombreux échos à son propre travail que recèlent les œuvres de la collection d’Olivier Mosset. Une dernière partie, enfin, s’intéresse aux enjeux du numérique, qui ins- taure un régime de copies et de reprises potentiellement illimitées. Dans cet aparté d’une conversation bien plus large, les rôles ont été distribués et mis en scène pour que les œuvres puissent, aussi librement que possible, se donner la réplique. 6 7 EN For centuries, the most natural method for artists to learn their DE Während Jahrhunderten war das Kopieren von Werken ihrer craft was to copy the works of their predecessors. Replicas (copies Vorgänger die natürliche Lernmethode der Künstler und die Replik made either by the master himself or apprentices from his workshop) (vom Künstler selbst oder von Schülern seines Ateliers angefertigte were a legitimate means to disseminate the most celebrated works Kopie) eine legitime Art der Verbreitung der beliebtesten Werke. of the time. The extra value placed upon original works as well as the Die Aufwertung des Originals sowie der Originalität des Künstlers originality of the artist is a trait of modern taste : it was enhanced by ist ein Charakteristikum des modernen Geschmacks, verstärkt the development of photography, which stripped art from its role as durch die Entwicklung der Fotografie, welche die Kunst je länger an imitator of real life, while enabling the circulation of images of je mehr ihrer Funktion der Nachbildung der Realität entledigt und the world to an unprecedented degree. Originality and expressive- gleichzeitig eine noch nie dagewesene Verbreitung der Bilder in der ness were pushed to an extreme by the post-war abstract artists of Welt ermöglicht hat. Die Forderung nach Originalität und Expres- Europe and America, an imperative which was called into question sivität, von den abstrakten Künstlern Europas und Amerikas in der by the vast movement that it soon sparked off. This movement took Nachkriegszeit bis ins Extreme geführt, wird seit den 1960er-Jahren many forms : from pop art to conceptual art, from minimalism to the von einer breiten Bewegung in Frage gestellt : von Pop Art zur Kon- “appropriation” art of the 1980’s. One of its pioneers in Europe was zeptkunst, von Minimal bis zur Appropriation Art. Olivier Mosset Olivier Mosset : with his famous circle paintings, identically repro- ist einer der europäischen Pioniere dieser Bewegung ; mit seinen duced over and over for almost 10 years, he turned the ancient berühmten Kreis-Bildern, die er während beinahe zehn Jahren notion of replica against the art market itself. identisch gemalt hat, hat er das alte Modell der Replik gegen den However, this show is guided by a rather less restrictive defini- Kunstmarkt gewendet. tion of replica, simple and open to paradox : any copy of a work of Für die aktuelle Ausstellung hat jedoch eine weniger enge, art that is not a fake (J. Rey-Debove, Lexique de sémiotique, 1979). einfache und dem Paradox gegenüber offene Definition der The works on show have for the most part been selected from Olivier Replik als Leitfaden gedient : Jede Kopie eines Kunstwerkes, die Mosset’s own collection, which he donated to the museum in 2007. keine Fälschung ist (nach J. Rey-Debove, Lexique de sémiotique, For the first time they are being systematically confronted with a 1979). Die ausgestellten Werke stammen zu einem grossen Teil aus selection of the artist’s works as well as historical works of art from der Sammlung von Olivier Mosset, welche dieser dem Museum the museum’s own collection. The show is divided into two main 2007 geschenkt hat. Zum ersten Mal werden sie systematisch mit parts : the first reviews artistic practices that put into question ideas einer Auswahl seiner eigenen Werke konfrontiert, sowie mit histo- of uniqueness and originality in art, as well as notions of authorship rischen Vorläufern aus der Museumssammlung. Die Ausstellung and the artist’s hand (variations and multiples, works handed to a ist in zwei Phasen gegliedert : Nach einem Überblick über künstle- third party for completion, conceptual art, readymades). The sec- rische Praktiken, welche die Idee eines einzigen und von der Hand ond focuses on works that directly copy, quote or appropriate other des Künstlers angefertigten Originals relativieren (Variationen works, thus renewing the way we look at original artworks by modi- und Multiple, Werke, deren Endausführung einer anderen Person fying the context of their reception. A special section is devoted to übertragen wird, Konezptkunst, Readymade), fokussiert sie sich the many works of art in Olivier Mosset’s collection that echo his own auf Werke, welche direkt Kopie, Zitat oder Aneignung ins Spiel work. Finally, the last part of the show tackles digital technologies bringen – Ansätze, welche unser Verständnis des Originalwerkes and their potentially limitless ability to copy and rework. erneuern, indem dessen Rezeptionskontext verändert wird. Eine This is, of course, an aside in a much wider conversation. In this spezielle Abteilung ist den zahlreichen Echos auf Olivier Mossets show roles have been given and the stage set so that these works eigene Arbeit von, welche die Werke seiner Sammlung bergen, may, as freely as possible, enter in a conversation of their own.
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