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Le Confort Moderne Association L'oreille Est Hardie 185, Rue Du COLLATÉRAL LIZ DESCHENES, SAM LEWITT, SCOTT LYALL, SEAN PAUL, EILEEN QUINLAN, BLAKE RAYNE, NORA SCHULTZ, CHEYNEY THOMPSON PRESSEle confort moderne association l’oreille est hardie 185, rue du faubourg du pont-neuf BP 502 – 86012 Poitiers Tel : +33 (0)5 49 46 08 08 www.confort-moderne.fr EXPO- SITION LIZ DESCHENES, SAM LEWITT, SCOTT LYALL, SEAN PAUL, EILEEN QUINLAN, BLAKE RAYNE, NORA SCHULTZ, CHEYNEY THOMPSON / COLLATÉRAL DU 06 JUIN AU 23 AOÛT 2009 Entrepôt-galerie du Confort Moderne Vernissage vendredi 05 juin Merci aux galeries - à partir de 18h30 Sutton Lane, Londres / Paris Du mercredi au dimanche Concerts d'Angelo Spencer et Miguel Abreu, New York de 14h00 à 19h00 et Karl Blau (K Records) et les soirs de concert ENTRÉE LIBRE ENTRÉE LIBRE L’exercice de l’exposition collective requiert toujours en amont un choix, l’établissement d’une liste avec tous les aléas et la subjectivité que cela peur requérir, petits dénominateurs communs qui unissent ces artistes : une géographie et l ‘appartenance à une scène locale : New York, une pratique d’atelier, la construction d’une abstraction radicale, un questionnement des moyens de production, d’exposition et d’exploitation de l’oeuvre d’art, une forme de résistance au marché et au glamour. Les artistes invités se sont vite emparés de ces questions et, après une longue hésitation, ont choisi de faire appel à la médiation d’un critique, commissaire fictif : Storm Van Helsing. Cette médiation a permis la rédaction d’un texte commun qui explicite la position choisie par les artistes pour répondre à l’invitation. L’organisation propose donc deux modèles d’exposition possible. L’un est pragmatique et démocratique et entre directement en résonance avec le mode d’organisation de l’institution accueillante : Le Confort Moderne. Le plus grand mur a été divisé en 24 parties. Chacune des cases, d’égales dimensions, reçoit une oeuvre. L’aléatoire de la grille répond à l’aléatoire de la liste d’artistes composant l’exposition. Le second modèle met en scène la subjectivité d’un accrochage collectif, hauteur parfaite, jeux formels, grands murs blancs, effets de circulation. Le texte de Storm s’émancipe du support édité pour prendre la forme d’un générique dans la salle noire de l’entrepôt-galerie. L’exposition est traversée par de multiples clins d’oeil contextuel. L’apparition d’affiches sur certaines toiles, la grille d’accrochage et la bande son sont directement tirées de la grille du carton d’invitation, lui même largement inspiré du film, North by Northwest de Hitchcock. La dernière salle, enfin est une collaboration des artistes : des projecteurs à même le sol produisent des sources lumineuses qui viennent habiller les murs de l’exposition. Un happy end ? En tous cas la démonstration qu’il est possible de dire OUI... 2/ Exposition EXPO- SITION LIZ DESCHENES Née à Boston, MA, 1966 Vit et travaille à New York Formation 1988 Rhode Island School of Design B.F.A. Photography, Providence, RI Expositions personnelles 2010 Sutton Lane, Paris 2009 «Tilt / Swing», Miguel Abreu Gallery, New York 2007 Photographs, Sutton Lane, London Registration, Miguel Abreu, New York 2001 Blue Screen Process, Andrew Kreps Gallery, NYC 1999 Below Sea Level, Andrew Kreps Gallery, NYC 1997 Beppu, Bronwyn Keenan Gallery, NYC Expositions collectives 2009 «Collateral», Group exhibition with Sam Lewitt, Scott Lyall, Sean Paul, Eileen Quinlan, Blake Rayne, Nora Schultz, Cheyney Thompson, Le Confort Moderne - Centre pour l’art contemporain, Poitiers Art|40|Basel, Art Premiere with R. H. Quaytman «Colour Chart: Reinventing Colour, 1950 to Today», Tate Liverpool, UK «La Vie mode d’emploi: Carl Andre, Martin Barre, Daniel Buren, Liz Deschenes, Sherrie Levine, Cheyney Thompson, Franz West», curated by David Lewis, Sutton Lane, Paris Constructivismes!, curated by Olivier Renaud-Clement, Galerie Almine Rech, Brussels Lora Reynolds Gallery, Austin To be determined, Andrew Kreps Gallery, New York 2008 Standard Sizes, curated by Joao Ribas, Andrew Kreps Gallery, New York The Man Whose Shoes Squeaked, Richard Telles Gallery, Los Angeles Photography on Photography: Reflections on the Medium since 1960, The Metropolitan Museum of Art, New York Le Retour, Nice & Fit, Berlin Color Chart, Museum of Modern Art, New York 2007 24 November - 22 December, Sutton Lane - Paris Strange Magic, Luhring Ausgustine, New Liz Deschenes, Moire #11, 2007, York UV laminated chromogenic print, For the People of Paris, Sutton Lane Courtesy of Sutton Lane, London / Paris 3/ Exposition c/o Ghislaine Hussenot, Paris Tenri Bienale 1998 (catalogue), Sundell, Margaret. “Liz Deschenes,” 2006 Doyusha Gallery, Tokyo; Osaka Artforum, May 2001. Vija Celmins,Liz Deschenes, Zoe Municipal Museum of Art, Osaka; Valdez, Sarah.“Serial Number,” Time Leonard, Tracy Williams, Ltd. NY Hokutopia, Tokyo; Niigata Prefectural Out New York, February 8 - 15, 2001. 2005 Civic Centre, Niigata; Fukuoka Aletti, Vince, “Photography About The Photograph in Question, Von Lintel Prefectural Museum of Art, Fukuoka; Photography,” The Village Voice, March Gallery, NY and Aichi Prefectural Museum of Art, 7, 2000. 2004 Aichi, Japan Henry, Max. artnet.com, February 2000. Liz Deschenes/ Siobhan Liddell, 1996 Paul Myoda, Flash Art, Nov./Dec. 1999, Gesellschaft fur Aktuelle Kunst, Water, James Graham & sons, New York Issue No. 209 . Bremen Germany Liz Deschenes, Drew Dominick, Susan Arning, Bill, Time Out New York, 2003 Silas, Jose Freire Gallery, New York August 5-12, 1999, Issue No. 202. Rethinking Photography V, curated by 1991 Aletti, Vince, The Village Voice, July Ruth Horak, The Forum Stadtpark, Graz Outrageous Desire, Rutgers University, 20, 1999. Austria Mason Gross School of the Arts, DAB Cotter, Holland, The New York Times, In Full View, Andrea Rosen Gallery, Galleries, New Brunswick, New Jersey July 16, 1999. New York Neal, Alex, Time Out New York, June Afternoon Delight, curated by Max Bourses et Prix 10-17, 1999, Issue No. 193. Henry, Caren Golden Fine Art, New York 2004 Brennan, Michael, Artnet, February 13, Back Grounds, curated by Olivier Anonymous was a Woman Foundation 1998. Renaud-Clement, Andrew Kreps Gallery, 2000 Zing Magazine, “Bath Houses,” Volume New York Aaron Siskind Foundation Grant 2, Winter 1998 (photography project). 2002 Glueck, Grace, The New York Times, Back Grounds, curated by Olivier Bibliographie November 7, 1997. Renaud-Clement, Galerie Nelson, Paris Journaux Modern Photographs from the Ross, Laura,“(Review),”Art Review, Catalogues Collection, Metropolitan Museum of January 2008 “Color Chart”, Museum of Modern Art, Art, New York Faconti, Dana, (ed), Blind Spot, Issue New York, 2008 Overnight to many Cities, 36, Fall/Winter 2007 “For the People of Paris”, Sutton Lane Photographer’s Gallery, London Smith, Roberta, “Strange Magic,” The - Paris, 2007 State of the Gallery, Andrew Kreps New York Times, July 2007 Jaeger, Gottried, “Concrete Gallery, New York Burton, Joanna, “Liz Deschenes,” Photography”, Bielefeld, Germany, 2001 Artforum, Summer 2007. 2005. Salon Style, Plus Ultra, Brooklyn New Sholis, Brian, “Liz Deschenes,” Horak, Ruth. “Rethinking Photography York Artforum.com, May 2007. l+11”, The Forum Stadtpark, Graz, [Some] Photography [Abstract], Smith, Roberta, “Liz Deschenes, Austria, 2003. Larry Becker Gallery, Philadelphia, Registration,” The New York Times, May Hostetler, Sue. Oceans, Rizzoli Pennsylvania 2007. International Publications, Inc., New Overnight to Many Cities, curated by O’Neill Butler, Lauren, “Liz York, 2002. Collier Schorr, 303 Gallery, New York Deschenes,” Time Out, New York, May Maurizio Cattelan, Bettina Funcke, in the landscape, Silverstein Gallery, 2007. Massimiliano Gioni, Ali Subotnick, New York Orden, Abraham, “The Minute,” Artnet, “Charley O1”, Les Presses Du Rél, Rocks and Trees, curated by David May 2007. 2002. Armstrong, Photographic Resource “Liz Deschenes”, The New Yorker, May Schorr, Collier. “Overnight to Many Center, Boston, Massachusettes 2007. Cities: Tourism and Travel at Home and Serial Number, Gale Gates, curated by McAdams, Shane, “Liz Deschenes, Away.” Lauren Ross, Brooklyn, New York Hydro, Registration,” The Brooklyn Rail, May Great 41, The Photographers Gallery, Marcel Sitcoske Gallery, curated 2007. London, 2002. by Erin Parrish, San Francisco, “Vija Celmins, Liz Deschenes, Zoe Stack, Trudy Wilner, Sea Change: The California Leonard,” The New Yorker, July 2006. Seascape in Contemporary Photography, Sea Change: The Seascape in “The Photograph in Question,” The New Center for Creative Photography, Contemporary Photography, Museum Yorker, July 2005. University of Arizona, Tucson, AZ of Photographic Arts, San Diego, Robillard-Krivda, Eva, “Back Grounds. 1998. California, and International Center Impressions photographiques,» paris- Salo, Marcia, Outrageous Desire, of Photography, New York art.com, March 2004. Rutgers University, Mason Gross School The Cathedral Project: Liz Deschenes, Wilson, Michael. “New York Critics of the Arts DAB Galleries, New Kevin Larman, Donald Moffett, curated Pick; Back Grounds: Impressions Brunswick, New Jersey, 1991. by Katherine Gass, The Cathedral Photographiques,” Artforum, March Church of St. John the Divine, New 2003. Collections publiques York “Liz Deschenes, Page 382,” Charley, Metropolitan Museum of Art 1998 2002. Corcoran Museum of Art, Washington Sea Change: The Seascape in Williams, Gregory. “Flux Interior,” D.C. Contemporary Photography, curated by Interior Design, August 2001. Whitney Museum of American Art Trudy Wilner Stack (catalogue), Center Smith, Roberta. “Quick as a
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