• Alberto Giacometti & Yves Klein In search of the absolute

    GAGOSIAN GALLERY, London

    April 27–June 11, 2016 Opening reception: Tuesday, April 26, 6–8pm

    Joachim Pissarro in conversation with Alison Mcdonald: “Paris after the war was a vibrant and culturally complex place, with the studios and cafés of Montparnasse and Saint-Germain-des-Prés home to an artistic scene of seemingly limitless vitality. André Malraux was the minister of culture [1959–69], and the artists and writers in this world, like Klein and Giacometti, were grappling with the cultural inheritance of France and the daunting task of reinventing a culture after the utter devastation of World War II. Giacometti and Klein lived at this particular crux in history, and embraced the daunting challenges they faced with distinct plastic solutions to this haunting moment. They truly embody the unstoppable creative force of the time, although from very different artistic approaches.”

     

    This conversation was originally published in Gagosian Gallery's February–April 2016 Quarterly Magazine and is reprinted here with permission.
  • BUREN, MOSSET, PARMENTIER, TORONI

    This exhibition marks the first critical examination of the significant, albeit brief, work of the BMPT Group, composed of Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni in 1967. On Christmas night, 1966, Buren, Mosset, Parmentier, and Toroni drafted their first declaration, inviting the public to attend a demonstration at the 18th Salon de la Jeune Peinture, stating: “For the first time, on January 3, 1967, something will happen.” This event became the first in a series of “Manifestations”—events in various formats, at various locations in Paris.

    These events criticized the institutionalization and spectacularization of art as well as the public’s passivity, encouraging new modes of critical engagement that defied and denied older exhibition models. Coming out of the political tumult of France in the 1960s, the activities of the group were not hermetic, isolated occurrences, but rather a response to the particular intellectual moment, one defined by radical philosophy and social unrest. While the legacy of each artist has fallen under the rubric of painting, this strict classification ignores the conceptual, political, and performative impetus in deference to medium.

    This exhibition seeks to reexamine the BMPT group by placing its work in context with the broader conversations surrounding institutional critique, performance, and the role of painting as a political medium. The show also includes a work from 2010 by Hugo Pernet, Hugo Schuwer-Boss, and Frediric Sanchez titled “Buren, Mosset, Parmentier, Toroni n’exposent pas”—a contemporary iteration of the BMPT group’s infamous refrain from Manifestation 1.

    Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni (BMPT), Demonstration at the Salon de la Jeune Peinture, Paris, Janvier 1967
  • Wild Art

    Art is not always things made by people who call themselves artists

    -Barry Schwabsky 


    Wild Art is a book published by Joachim Pissarro and David Carrier that explores the vast proliferation of art forms that occur beyond the perimeters of what we call the established art world, or the Art System. These are forms of art that tend to escape the attention of art experts, art academics, art curators, art critics. They fall short of catching the eyes or ears of cultural channels. This is an introduction to the vast number of wild creative forms that proliferate outside the well-groomed art world.

     http://www.phaidon.com/store/art/wild-art-9780714865676/

     

     

     

     

     

     

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    Published by Phaidon in 2013
  • Jeff Koons : Humankind Before All

    Neither Koons nor his art can ever stay static : his oeuvre is like a quivering organism, ceaselessly buzzing with life, producing ever new and more surprising, vivid forms. At Almine Rech Gallery, Jeff Koons presented a selection of seventeen works from the past two decades of his production ; recent, and less recent works will be brought in together with brand new works : works from the Celebration (1994-), Popeye (2002-), and Hulk Elvis (2005-) series, will be seen with a few works never yet seen in public, such as a pair of paintings from the artist’s latest series Antiquity (2009-2012). There will also be new works or hybrid works that combine elements from these past various groups. In many ways, then, this exhibition at Almine Rech offers a crisp and precise selection and a summary of some of the iconic paintings and sculptures that have come out of Koons’s studio, and, at the same time, it introduces a ‘new, new, new’ Jeff Koons – one who, ironically, looks towards the dawn of humankind : the exhibition offers us a juncture between past, present and future, but also enables us to penetrate deeper within Koons’s ever more fascinating, and effervescent universe.

    Jeff Koons, Metallic Venus, 2010-2012, high chromium stainless steel with transparent colour coating and live flowering plants.