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Bruce Nauman –Joan Simon, Bruce Nauman

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Bruce Nauman –Joan Simon, Bruce Nauman Exhibition European Heritage Days 11 September › Saturday and Monday, 17 and 18 September 31 December 2010 Free entrance to all the exhibitions Wednesday – Sunday 12:00 – 19:00 Guided tours Reservation advisable Bruce Nauman focus visit › Œuvres de la Collection Upcoming exhibitions (works from the collection) 18 February – 31 July 2011 Thursday, 18 November, 12:30 1ST AND 2D FLOOR An hour in the museum INDIAN HIGHWAY › Thursday, 12:30 More than 30 artists for a panorama Adults’ visits of contemporary indian art › Saturday, 15:30 › Sunday, 15:00 18 February – 15 May 2011 Family visits › Sunday, 15:30 3D FLOOR PASCALE MARTHINE Guided visit with French sign language T.Brown and B.Nauman exhibitions TAYOU Le corps à l’œuvre (“The body at work”) › Saturday, 23 October, 14h:00 O. Mosset, B. Nauman, G. Adilon Setting a Good Corner Trois artistes de la collection (Allegory and Metaphor), 1999 mac LYON collection (“Three artists of the collection”) © Blaise Adilon › Saturday, 27 November, 14:00 © Adagp, Paris, 2010 Groups Guided visits are available for one or more (BRUCE NAUMAN –JOAN SIMON, exhibitions, for adults or young people. BRUCE NAUMAN, CENTRE By reservation GEORGES POMPIDOU, P.107) Conférences Les films de Nauman, entre expérimentation et expérience (Nauman’s films between experimentation and experience) by Marie de Brugerolle, curator and art critic › Friday, 25 November, 19:00 Information and reservations Lyon Museum T 04 72 69 17 17 of Contemporary Art [email protected] 81 quai Charles de Gaulle 69006 LYON T 04 72 69 17 17 [email protected] www.mac-lyon.com Dance or Exercise on the Perimeter of a Square (Square Dance), 1967–68 Art Make-Up, No.1, White, BRUCE NAUMAN © EAI-NewYork N°2, Pink, N°3, Green, WORKS FROM THE COLLECTION N°4, Black, 1967–68 © EAI-NewYork BETWEEN 1988 AND 2008, LYON The systematic repetition of a sound, a note mac ACQUIRED SIXTEEN played on a violin, a footstep or the striking WORKS BY BRUCE NAUMAN of a ball can also give Nauman the means to structure time in modes that change THAT DEMONSTRATE from one work to another: repetitiveness, THE CONSISTENCY WITH asynchronicity, duration, etc. The almost nothing, the instant that is stretched-out WHICH THE MUSEUM HAS or, on the contrary, densified – these are BEEN TAKING AN INTEREST among the issues that are to be found in the works of the period. Nauman is IN HIS WORK. BROUGHT well known for his interest in Cage and INTO THE COLLECTION Samuel Beckett, but also La Monte Young and Terry Riley (who are themselves AS THE OPPORTUNITIES represented in the museum’s collection). AROSE, THEY ARE THE Slow Angle Walk Some years later, the internal tension that FIRST ELEMENTS OF A (Beckett Walk), 1968 © EAI-NewYork had already been present in the films moved SPACE ENTIRELY DEVOTED over into language, when Nauman started using actors (Good Boy Bad Boy, 1985). TO NAUMAN, LIKE THOSE opportunity to create a specific piece, group Bad Boy, 1985 2, and in 1992 it received / WHEN I PRESENT SOMETHING I’VE And it became restrained violence with THAT HAVE BEEN GIVEN or structure out of works that already belong Butt to Butt (Large), 1989, on loan from the DONE IN THE STUDIO, I GIVE MYSELF the mass-produced polyurethane used by to the collection, in a coherent framework FNAC. These important works remained UP TO AN INCREDIBLE EXHIBITIONISM taxidermists (Butt to Butt (Large), 1989). OVER TO ROBERT MORRIS, that expresses a personal vision. (See the isolated, however, until the museum WHICH CAN ALSO, PARADOXICALLY, MARINA ABRAMOVIĆ AND exhibition notice relating to the 2nd floor). acquired others: four videos in 1997, FUNCTION AS A DEFENCE. I TALK TO Bruce Nauman’s works, while not a moment, and a set of nine pieces, films and videos, YOU ABOUT MYSELF, AND PUT ON a generic work or a retrovision, fit perfectly ULAY, FRANÇOIS MORELLET, Bruce Nauman is American. Born in in 2008. The same year, during a transfer AN EXHIBITION, BUT I LEAVE IT AT into the collection, if not in their “Fluxus JAN FABRE, SARKIS, ETC. 1941, he has been developing a protean of property rights by the FNAC, macLYON THAT./ (I. WALLACE ET R. KEZIERE, spirit” then through the highly existential oeuvre since 1967. There was an important became the owner of Butt to Butt (Large), “BRUCE NAUMAN INTERWIEVED”, investigative thrust they embody. And there retrospective of his work at the 2009 and also Setting a Good Corner, 1999. VANGUARD 8, 1, FEBRUARY 1979, P.16) are some remarkable problematics that Venice biennial. He gives his first priority to they have in common with other works Good Boy Bad Boy, 1985 © Blaise Adilon, 2007 Since its creation, the museum has followed ideas, before thinking about their concrete / AMONG ALL THE WORKS THAT WERE Elementary experimental gestures in the form as regards the influence of sound, the some elementary principles, the most form, which means that he chooses his AFTERWARDS TURNED INTO FILMS OR of actions repeated in a studio, then filmed, experience of limits, or non-completion. central of which is that it should be entirely medium according to the most suitable VIDEOS, A LOT WERE PERFORMANCES. allow Nauman to try out the modalities at the service of artists. And the dialogue type of expression: film, video, sculpture, AT THE TIME, NO ONE WAS REALLY of bodies acting in space, the limits of The reinvention of the creative process has a that began in 1984 led to the creation of a performance, photography or other. Though INTERESTED IN THE IDEA OF PRESENTING relevance of an action, studio work, or even certain complicity with, for example, Robert collection that was to be, first and foremost, he shuns publicity, his work has influenced THEM. SO I MADE THEM INTO FILMS./ the body as source material for works. Filliou’s Recherche sur l’origine, 1974, and a collection of exhibitions. The “scientific” numerous artists. And he has exhibited in (BRUCE NAUMAN –WILLOUGHBY Le (ou la) Poïpoïdrome à Espace-Temps Réel, project set out some simple ideas: the Lyon on a number of occasions. The 1995 SHARP, BRUCE NAUMAN, CENTRE / TO ME IT’S A QUESTION OF GOING TO Prototype 00, 1963-1975. The programmatic production of works, and the collecting of Lyon biennial, for example, included Rats GEORGES POMPIDOU, 1997, P.92) THE STUDIO, DOING EVERYTHING THAT principle of partition is shared with Georges moments, generic works and retrovisions 1. and Bats (Learned Helpless in Rat II), 1988, INTERESTS ME, AND THEN TRYING TO Brecht (Water Yam, 1963), while the The production process is the support the Lived-Taped Video Corridor, 1970, and Video In many respects, Nauman has always FIND A FORM OF PRESENTATION THAT implication of the body and the spatial museum gives to artists at the point where Corridor for San Francisco (Come Piece), been investigating the central issues engagement could be likened to Robert CAN LEAD TO OTHER PEOPLE REALISING 1 The collection catalogue (656 pp., over 1,500 colour LYON they create or produce their works. The 1969, which were on show at mac . of artistic activity. This began with his WHAT THE WORK’S ABOUT WITHOUT Morris’s approach (Labyrinth, 1999), or that reproductions, 5 Continents Editions, 2009), on sale collection of moments comprises works, or But it has not been possible to produce first films in 1967 and 1968, such as Art NEEDING TOO MANY EXPLANATIONS./ of Abramović and Ulay (cf. the joint work of at the museum’s shop, develops these ideas more fully. groups of works, that mark a distinctive point or acquire a generic work or a moment, Make-Up, Thighing, or Dance or Exercise (BRUCE NAUMAN –WILLOUGHBY 1976–1988). And the execution of elementary 2 mac LYON was actually created only in 1994, in an artist’s work. A generic, monumental or and it was through chance events that the on the Perimeter of a Square (Square SHARP, BRUCE NAUMAN, CENTRE tasks is not unrelated to Anna Halprin’s as the result of a merger between an art centre, the Espace Lyonnais d’Art Contemporain (ELAC), multiplex work aims to summarise a particular, museum collected the sixteen works which Dance), and continued with videos dating GEORGES POMPIDOU, 1997, P.92) work. At a time when the museum is putting and the Musée Saint-Pierre Art Contemporain. characteristic aspect of an artist’s creativity. now form the basis of a generic grouping. from 1968 and 1969 such as Bouncing on a Trisha Brown exhibition, it seemed Good Boy Bad Boy was acquired by the ELAC, and A retrovision consists of giving an artist an In 1989 it acquired the emblematic Good Boy in the Corner #1, or Violin Tuned D.E.A.D. appropriate to give these works a showing. passed into the mac LYON collection after the merger..
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