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BORIS LURIE | Galerie Odile Ouizman, Paris

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BORIS LURIE | Galerie Odile Ouizman, Paris 1924 - 2008 1924 NO!art 22 octobre / 22 décembre 2015 B O R I S L U R I E B O R I S L 10/12 rue des Couture Saint-Gervais 75003 Paris // [email protected] // www. galerieouizeman.com // +33 1 42 71 91 89 Boris Lurie est né à Léningrad en 1924 et mort à New York Les NO!artistes, et surtout Lurie, ne s’engagent pas en 2008. dans la création d’œuvres d’art illustrant l’Holocauste, ils établissent un examen critique des représentations Après la mort de Lénine et l’ascension de Staline, sa famille des atrocités nazies circulant dans les médias. Dans le émigre à Riga où ils seront arrêtés par les nazis. magazine Life, on pouvait voir des photos de victimes des De 1941 à 1945 Lurie et son père sont internés dans le camps de concentration, puis la page tournée, les modèles ghetto de Riga, les camps de concentration de Lenta en maillots de bain s’affichaient comme les publicités pour Arbeitslager, Salaspils, Struthof et de Buchenwald- voitures ou cigarettes. Magdeburg; sa grand-mère, sa mère, sa sœur, son enfance sont assassinés par les nazis à Rumbula.. Au lieu de reprendre ces images photojournalistes telle quelles, les NO!artistes interrogent, en précurseur, la société du spectacle, la consommation, la société en Enfant il développe un vif intérêt pour le dessin et la peinture. général. Ils éveillent la conscience politique du monde Ce n’est qu’à partir de 1946 et de son émigration à New de l’art, dans une période de complaisance et d’apathie, York qu’il débute une série de dessins qui dépeignent les anticipant la contre-culture des années soixante. Ils moments d’horreur de ces 4 années de captivité dans les exposent la banalité du mal qui opère dans notre vie camps. Il a toujours considéré ces oeuvres comme des quotidienne. Inlassablement, ils invoquent l’histoire et la images “privées” ne reflètant pas sa création artistique. lutte politique pour contrer l’amnésie et la cécité morale. Pourtant étant donné la complexité de certaines oeuvres au regard du rapport émotionnel, ses dessins montrent L’artiste utilise le collage et ses oeuvres sont produites les premiers signes de la puissance expressive que Lurie avec une frénésie et une violence affirmées dans lesquelles maîtrisera bientôt. les images de pin-up sont mêlées, et empilées sur d’autres du paysage politique, religieuse ou commerciale. Sauvagement attaquées avec de la peinture, elles arborent « Écrire un poème après Auschwitz est barbare. » pour la première fois, le mot « NO », mot répété, peint ou Theodor Adorno. repeint à la bombe sur leur surface. Comme Paul Celan, Boris Lurie croit que le seul espoir que Et le grand artiste militant Leon Golub de dire : « Boris l’on puisse exiger de l’art est de ne pas être simplement Lurie est la quintessence de l’artiste engagé; Il nous fait beau, lyrique, techniquement superbe ou mieux intelligent ressentir la honte. » mais d’encercler l’ignorance et pousser à se souvenir. L’art de Boris Lurie a été présenté dans plus de 50 expositions importantes depuis 1950 : à la galerie d’Arturo Lurie est surtout connu pour le travail qu’il a fait sous Schwarz à Milan, à Cologne, à Berlin , au musée d’art l’égide du NO!art!, un mouvement politiquement engagé de Chelsea à New York et plus récemment à la galerie qu’il fonde vers 1959 avec Sam Goodman et Stanley Fisher. The Box LA, à Frieze New York et au musée Volstell de Les NO!artistes exposés principalement à New York, à la Malpartida . Galerie Gertrude Stein,forment un groupe puissant avec Rocco Armento, Isser Aronovici, Erro, Allan Kaprow, Yayoi Kusama, Jean- Jacques Lebel, Lil Picard, Michelle Stuart, Aldo Tambellini, Wolf Vostell, entre autres. Boris Lurie was born in Leningrad in 1924 and died in New exposed this juxtaposition in their work, questioning their use York In 2008. as currency in our spectacular, consumer, society. They worked to raise political consciousness in the art world in a period of After Lenin’s death and the ascent of Stalin, his family moved complacency and apathy, anticipating the counterculture of the to Riga, Latvia, where, after a few peaceful and prosperous late sixties. Again and again, they invoked the historical and years, they were summarily rounded up by the Nazis. From political struggle to counter amnesia, moral blindness, and the 1941-1945, Lurie and his father were interned in the Riga banality of evil operating in our everyday lives. Ghetto, the Lenta Arbeitslager, Salaspils, Struthof and Buchenwald-Magdeburg. His grandmother, mother, sister and childhood girlfriend were murdered by the Nazis at Rumbula. The painter Leon Golub is reported to have said, « Boris Lurie is the epitome of the engaged artist; he puts the rest of us to shame.» In the exhibitions they organized at the 10th As a child, Lurie had a keen interest in drawing and painting, Street March Gallery and later at the uptown Gallery Gertrude but it wasn’t until his emigration to New York in 1946 that Lurie Stein, they were accompanied by a loose but powerful group began in earnest to create series of drawings and watercolors of artists that included Rocco Armento, Isser Aronovici, Erro, that depicted identifiable moments in his harrowing four-year Allan Kaprow, Yayoi Kusama, Jean-Jacques Lebel, Lil Picard, transit in captivity. He always regarded these works as being « Michelle Stuart, Aldo Tambellini, and Wolf Vostell, among private » pictures, not part of his artistic creation. Yet given the others. complex emotional cast of some of these works, one can glimpse the first stirrings of the expressive powers of Lurie’s mature art. Boris Lurie‘s art has been featured in over 50 major exhibitions since 1950: including shows at the Arturo Schwarz Gallery Lurie stands among other camp survivors such as Tadeusz in Milan, at the Former Gestapo headquarters in Cologne, at Borowski, Primo Levi, and Paul Celan, who have responded in the Berlin Jewish Museum, the New York Jewish Museum, at art to the greatest inhumanity ever perpetrated. For Lurie – as Chelsea Art Museum in New York, at the Box LA, at Frieze Art it was for Paul Celan, especially – the only hope for art is an art Fair New York and at Museo Volstell Malpartida. that cannot simply be innocent, or lyrical, merely clever, or even beautiful or technically superb, but it must address itself to what is forgotten, what can never be the same. Rather than creating artworks « about » the Holocaust, Lurie critically appropriated readymade images of Nazi and other atrocities then circulating in the media, such as LIFE magazine, where they appeared alongside swimsuits models, ads for cars and cigarettes. Lurie is most well known for the work he made under the aegis of NO!art, a politically-charged movement he founded around 1959 with Sam Goodman, a well-regarded abstract-expressionist painter. Stanley Fisher, an artist, Beat poet, and publisher of Beat Coast East, joined them shortly thereafter. They created intense, furiously produced, and violently assertive collages in which pin-ups are intermingled, and often stacked on top of pictures from the political, religious, or commercial landscape, these collages then savagely attacked with paint. As opposed to taking these images separately, at face value, the NO!artists No-Record, 1960 Assembage, 35x35 cm Baby Won’t You Please, 1962 Assemblage,35x35 cm No, 1960 Collage: paper mounted on canvas, 220x 173 cm Untitled, 1963 Silkscreen framed in lucite, 51 x 56 cm No, 1963 Assemblage on unstretched canvas, 60x79 cm NO, fin 1960 Assemblage on canvas, 55x64 cm Untitled, 1959 - 1964 Assemblage, 41x50 cm Untitled, années 1960 Collage on cardboard, 53x7x30 cm No! Art Bag #42, années 1960 No! Art Bag #46, années 1960 Collage on burlap bag, 90x51 cm Collage on burlap bag, 100x66 cm Railroad to America, 1963 Collage mounted on canvas, 37 x 54 cm Knife in cement, 1972 Metal, wood and concrete, 60x17x23 cm Dance Hall series - 10, années 1960 Pen and ink on paper, 38x51 cm Love Series: Posed, 1962 Collage on cardboard, 41x27 cm Altered Photos (Cabot Lodge), 1963 Collage on canvas, 74x70 cm # 10 Altered Photos (Cabot Lodge), 1963 Collage : oil paint and paper on unstretched canvas, 98x84 cm NO, Love You, 1964, Assemblage : oil paint and paper collage on leather suitecase, 38x58x17 cm Untitled, 1961 Assemblage : magazine pictures, cardboard, oil paint, paper on board, 71 x 101 cm No (with pinups and shadow) “Large NO! painting”, 1958 Collage : paint and pictures on canvas, 109x112 cm Cross + Picture, n.d. Oil and paper collage on canvas, 160x130 cm untitled, n.d. Oil on canvas, 147x145cm Untitled, n.d. Oil on unprimed canvas, 67x112 cm No with Pinup and Flowers Collage on masonite, 89x89x5 cm Boris Lurie Selected Exhibitions 2009 On the Tectonics of History, ISCP, New York 2015/2016 Unorthodox, Jewish Museum, New York 2005 The 80s, Clayton Gallery & Outlaw Art Museum, 2014 Dessinez Eros! Sur une proposition de Dominique New York Païni», Galerie Odile Ouizeman, France «Boris Lurie», Museo Vostell Malpardtida, Extremedura, Spain 2004 Feel Paintings / NO!art show #4, Janos Gat Gallery, KZ – KAMPF – KUNST. A historical retrospective New York NS-Dokumentationszentrum der Stadt Köln Boris Lurie: NO!art 2002 NO!art and the Aesthetics of Doom, Iowa Museum 2013 of Art, Iowa city, IA Art Against Art: Yesterday and Today. A Special NO!art and the Aesthetics of Doom, Block Museum, Project at the Fifth Moscow Biennale of Evanston, IL Contemporary Art, Zverev Center of Contemporary Art, Moscow, Russia «Boris Lurie: The 1940’s, Paintings and Drawings», 1999 Works 1946-1998, Weimar-Buchenwald Memorial, Studio House, New York Weimar, Germany «NO!art: The Three Prophets», The Box, Los Life-Terror-Mind: Buchenwald Concentration Angeles Camp: Portraits of Intellectuals and Artists, Weimar- Buchenwald Memorial, Weimar, Germany 2012 Knives in Cement, South River Gallery (UIMA), Iowa Boris Lurie, David David Gallery, Philadelphia City A Self To Recover: Embodying Sylvia Plath’s Ariel, Indiana University Art Museum, Bloomington, IN NO!art of the 60s: Boris Lurie (1924-2008), Robert 1998 NO!art Show #3, Janos Gat Gallery, New York F.
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