EXPOSITIONS / EXHIBITIONS
FORTHCOMING: L'EXPOSITION CONTINUE (ECHO), CNEAI 09/02 - 18/04 2010 // ALAN SUICIDE VEGA - INFINITE MERCY, Exhibition Catalogue - out early Spring 2010
PUBLICATIONS
Des peintures de Birgir Andresson, Francis Baudevin, Jean-Sylvain Bieth, Stefan Brüggemann, Michel Castaignet, John Cornu, Stéphane Dafflon, Philippe Decrauzat, Noël Dolla, Olivier Mosset, Christian Robert-Tissot, Josh Smith, Evi Vingerling, Robert Barry, Ditte Ejlerskov (…) repeintes de la même couleur que le mur par Claude Rutault.
Une exposition de Mathieu Copeland.
Du 09/02 au 18/04 2010
Inauguration dimanche 07/02 de 14h à 18h
Navette gratuite Place du Châtelet 13h30
cneai =
tél : 01 39 52 45 35, fax : 01 39 52 43 78,
cneai@cneai.com, île des impressionnistes, 78400 chatou, france
"L’exposition présente des peintures de Birgir Andresson, Francis Baudevin, Jean-Sylvain Bieth, Stefan Brüggemann, Michel Castaignet, John Cornu, Stéphane Dafflon, Philippe Decrauzat, Noël Dolla, Olivier Mosset, Christian Robert-Tissot, Josh Smith, Evi Vingerling, Robert Barry, Ditte Ejlerskov (…) repeintes de la même couleur que le mur par Claude Rutault .
S’offrant comme une réflexion sur ce qu’est la peinture, l’exposition se fragmente en plusieures expositions concomitantes. En premier lieu, une exposition classique de peintures de différents artistes ; peintures qui sont, suivant le principe fondamental de l’œuvre de Claude Rutault initié en 1972, repeintes de la même couleur que le mur, affirmant ainsi une deuxième exposition. En écho s’offre une troisième exposition fantôme, des toiles monochromes de Claude Rutault au format identique aux peintures repeintes insérées au sein même de l’architecture du Cneai. Une exposition en miroir (et en échange), qui s’inscrit ainsi comme un écho vide du présent des œuvres."
Mathieu Copeland
Co-production : Circuit & 1m3 – Lausanne Suisse
Paintings painted over with the same colour of the wall by Claude Rutault.
" The exhibition shows paintings by Birgir Andresson, Francis Baudevin, Jean-Sylvain Bieth, Stefan Brüggemann, Michel Castaignet, John Cornu, Stéphane Dafflon, Philippe Decrauzat, Noël Dolla, Olivier Mosset, Christian Robert-Tissot, Josh Smith, Evi Vingerling, Robert Barry, Ditte Ejlerskov (…) painted over with the same colour of the wall by Claude Rutault.
Thought out as a reflexion on the nature of painting, the exhibition is fragmented in a couple of echoing exhibitions. To begin with, there is a classical exhibition of paintings by different artists ; these paintings are, following the fundamental principle of Claude Rutault's work started in 1972, paintd over with the same colour of the wall on which they are hung, affirming thus a second exhibition. Echoing these, a third, fantomatic exhibition is given constituted by monochrome paintings by Claude Rutault of the same formats than the ones painted over inserted within the cneai's architecture. A mirror exhibition, such as an empty echo of the works' present." Mathieu Copeland
Co-production : Circuit & 1m3 – Lausanne Suisse
Toutes les photographies © CNEAI
Voids, Eine Retrospektive
With VOIDS, EINE RETROSPEKTIVE the Kunsthalle Bern offers an opportunity to explore a crucial chapter in the history of art. Following Yves Klein’s exhibition at the Iris Clert gallery in 1958, the empty space became a recurrent artistic theme. This chronological retrospective exhibition brings together nine empty exhibitions by Yves Klein, Art & Language, Robert Barry, Robert Irwin, Stanley Brouwn, Bethan Huws, Maria Eichhorn, and Roman Ondák.
Yves Klein’s 1958 emblematic exhibition ‘The Specialization of Sensibility in Raw Material State into Stabilized Pictorial Sensibility’, which was subsequently referred to as The Void, is widely considered as a turning point in modern art history. The empty space exhibited as such thus became, in a way, a classic of radicalism, and would be repeated and remade in other contexts, other places and other times by other artists whose intentions might be similar, different or even opposed to Klein’s.
The principle of the exhibition at the Kunsthalle Bern is to present only exhibitions where the space is left rigorously empty, without the addition or subtraction of anything, thus excluding, for instance, shows or works involving the modification of lighting, the installation of sound, the construction of partitions or the exclusion of the public. And it is no part of its goal to reconstruct the original physical space, as rather than representing the historical void by the artists, the retrospective - working closely with the artist and their estate - considers the void itself, and not the architecture that hosted the void.
Also, all forms of historical documentation or memorabilia related to the original exhibition (such as posters, photos, invitations, photo-documentation, press reviews, original texts) are excluded from the exhibition; all such elements being included in the exhaustive catalogue published alongside the exhibition, edited by the curators John Armleder, Mathieu Copeland, Mai-Thu Perret, Clive Phillpot, Gustav Metzger, together with Laurent Le Bon and Philippe Pirotte.
Each void offers a different reading of the empty space, representing, perhaps, a claim, a renunciation, or, indeed, a celebration of the museum or gallery’s space. Contemplating emptiness, one confronts nothingness and absence, the invisible and the ineffable, destruction and negation. VOIDS are offered for what they are, and for what they allow. This accumulation of empty spaces, similar in appearance but radically different in reality, has echoes and implications beyond its walls. More than a radical and conceptual exhibition, the retrospective is an invitation to explore and experience, in a very physical manner, the different texture of each different space. The visitor encounters the empty exhibitions now in 2009, exactly 40 years after ‘When Attitude Become Form’ organised by Harald Szeeman when director of the Kunsthalle Bern. It was such exhibition that enabled this retrospective to be, and one could dream that with the voids, the attitudes, literally, are the forms.
This exhibition brings together the work of artists who have attempted this extreme gesture, to exhibit without showing an object, without making any intervention but a single announcement. The exhibition begins with Yves Klein’s 1958 exhibition, and from then on envisages how entirely empty exhibitions have defined different kinds of emptiness, sometimes as a means to signal sensibility as for Klein, sometimes as the peak of a conceptualist or minimalist practice as with Robert Barry’s ‘Some places to which we can come, and for a while “be free to think about what we are going to do (Marcuse)”’ (1970). Sometimes as the desire to explore our understanding of exhibition & exhibition spaces as for Art & Language’s ‘Air Conditioning Show’ (1966-67), or in the case of Robert Irwin’s ‘Experimental Situation’ (1970) as the appraisal of the space, and the affirmation that there is no such thing as nothing. Sometimes as the desire to empty an institution & focus on the experience of walking through it as for Stanley Brouwn, or with Laurie Parsons’ exhibition at the Lorence-Monk Gallery in New York in 1990, announced by a card bearing only an address, with neither dates nor the name of the artist, as a means to announce the artist’s complete withdrawal. Sometimes as the affirmation that there is no need to introduce in a space a work of art as it is already there, as with Bethan Huws’ ‘Haus Esters Piece’ (1993). And again as with Maria Eichhorn’s ‘Money at the Kusnthalle Bern’ who in emptying the Kusnthalle in 2001 worked with the void out of necessity, devoting the exhibition budget to the renovation of the building. And sometimes it is the means to remind us that the most important aspect of any void is the notion of trust and belief, as with Roman Ondak’s ‘More Silent Than Ever (room fitted with eavesdropping devices)’ (2006), a piece that deceives the public in making one believe that there is more when indeed there is nothing.
In this respect, from the search for a renewal of perception, through political or ideological statement, to the deconstruction of the very principle of exhibition, these exhibitions pose a range of crucial questions about the role of the institution, and this unprecedented marshalling of eloquent emptiness within the Kunsthalle Bern represents a true challenge to the institution.
For an unprecedented exhibition, a unique curatorial team. VOIDS, A RETROSPECTIVE, which is both an exhibition in the most traditional sense and an art event in its own right, has been put together by John Armleder, who has always been interested in nothing; Gustav Metzger, a key figure in auto-destructive art, Mai-Thu Perret, a young conceptual artist, Mathieu Copeland, a curator who explores the limits of the exhibition, Clive Phillpot, a writer; together with Philippe Pirotte, director of the Kunsthalle Bern.
Accompanying and simultaneously to the retrospective at the Kunsthalle Bern, the Museum Haus Lange, Krefeld, will be entirely empty and open to the public for a week (20th - 27th of September) as an invitation to visit Yves Klein’s ‘Raum der Leere’, a permanent void realized in 1961.
Accompanying events will also include an evening of performance by Ben Vautier, a screening of films curated by Stuart Comer, a discussion with Mr Jose Miguel Jimenez from CERN, a listening session by Francis Baudevin, and "Absenz - (k)ein konzert" a concert by Ensemble Neue Horizonte. For more information on dates and locations in Bern on all these events, please refer to www.kunsthalle-bern.ch.
VOIDS, EINE RETROSPEKTIVE is coproduced by the Centre Pompidou, Paris, and the Kunsthalle Bern.
Toutes les photographies © Céline Bertin
Friday 11 September 8pm: FLUXUS & NOTHING by Ben Vautier
Date: Friday, 11 September 2009
Time: 20:00 - 21:00
Location: Calvinhaus, Grosser Saal
Street: Marienstrasse 8
FLUXUS AND NOTHING by Ben Vautier
He recently told us that ‘Less is More, but I prefer Nothing’! It is therefore with great pleasure that we welcome Ben Vautier to realise a too rare performance by this Fluxus hero and ever so influential artist for an evening considering nothing and the void. Performing his own pieces intertwined with pieces taken from the extensive Fluxus repertoire, Ben creates a program that look into the apparent impossibility of doing nothing, and furthermore (or rather furtherless), doing nothing on stage. A fascinating event that will cast a beautiful light on what his mother used to tell him, that there is no such thing as nothing.
Ben Vautier was Born in Naples, Italy, on the 18 July 1935. He lives in Nice France.
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Projecting the Void curated by Stuart Comer
Projecting the Void curated by Stuart Comer
This programme is a celebration and a critical consideration of the filmic void, a projection of possible impossibilities. An empty frame or an imageless film can attempt to articulate absence, but paradoxically they also call attention to the presence of the viewer, the materiality of the cinematic apparatus, and the space of projection. The films in the programme echo the notions of evacuation, destruction, emptiness and invisibility in the exhibition, Voids, Eine Retrospective. As relationships between sound, image, representation and film stock are gradually broken down, cinema is revealed as an exhibition space of its own, a set of celluloid ‘rooms’ whose flirtation with the matter of voids might generate its own unique and contradictory set of concerns.
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Saturday 3rd of October : A discussion with Mr Jose Miguel Jimenez from CERN’s Vacuum, Surfaces and Coatings Group (TE/VSC)
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Saturday 3rd of October : There Singularly Nothing by Francis Baudevin
Francis Baudevin’s Listening Session : There Singularly Nothing
Titled after a composition by Petr Kotik, There Singularly Nothing is a program curated by artist Francis Baudevin established through the medium of the recorded music. Articulated through Baudevin’s extensive collection of music, it considers openly the thoughts of the exhibition as an invatation to envisage the many possible echo of the voids. A program will be edited & given away whilst we will be invited to hearing recordings that envisages both the recorded silence, and musicians singing on silence!
Francis Baudevin was born in 1964 in Bulle, and lives in Lausanne.
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Sunday 4th of October : « Absenz - (k)ein konzert » by Ensemble Neue Horizonte
« Absenz - (k)ein konzert » is a concert considering the void in music performed by the renowned Ensemble Neue Horizonte, and offers a reflection on what could be ‘silent music’. The concert will include pieces from John Cage, Dieter Schnebel, Toshiro Mayutumi, Peter Streiff, Roland Moser, Urs Peter Scheider, and again Mieko Shiomi.
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Accompanying and simultaneously to the retrospective at the Kunsthalle Bern, the Museum Haus Lange, Krefeld, will be entirely empty and open to the public for a week (20th - 27th of September) as an invitation to visit Yves Klein’s ‘Raum der Leere’, a permanent void realized in 1961. for more information please go to: www.kunstmuseenkrefeld.de
"Infinite Mercy", Alan Vega's Retrospective at the Musée d'Art Contemporain de Lyon
15/05 - 02/08 2009
ALAN VEGA
INFINITE MERCY
15.05 > 02.08.09
ALAN VEGA, CONNU POUR ÊTRE L’UN DES PIONNIERS DU ROCK ÉLECTRONIQUE MINIMALISTE, COFONDATEUR AVEC MARTIN REV DU GROUPE MYTHIQUE « SUICIDE » AU DÉBUT DES ANNÉES 70, EST AVANT TOUT UN ARTISTE PLASTICIEN ACTIF SUR LA SCÈNE ARTISTIQUE NEW-YORKAISE DÈS LA FIN DES ANNÉES 60.
En 1969, Alan Vega (né en 1938 à New York, où il vit et travaille) est l’un des fondateurs du « Projet des Artistes Vivants » (Project of Living Artists), un des premiers lieux alternatifs new-yorkais, tenu par des artistes et ouvert 24h/24. Dédié à toutes les formes d’art, aussi bien à la musique qu’au cinéma, ce lieu devient vite un tremplin pour un grand nombre d’artistes, tels que New York Dolls, Television et Blondie. Dans cet univers saturé, Alan Vega trouve un environnement idéal pour son oeuvre et poursuit simultanément sa carrière musicale et artistique. Il étudie avec Ad Reinhardt au Brooklyn College et se concentredans un premier temps, sur la peinture. À la fin des années 60, son intérêt se porte sur la lumière et il crée ses premières « light sculptures », assemblages d’objets divers composés d’ampoules, de câbles, de télévisions et de néons de toutes formes et couleurs.
/ LA PREMIÈRE FOIS QUE J’AI RÉALISÉ UNE « SCULPTURE LUMIÈRE » JE TRAVAILLAIS SUR UNE PEINTURE DE GRAND FORMAT DE COULEUR VIOLETTE. UNE SEULE AMPOULE ÉCLAIRAIT LA PIÈCE, ET COMME J’ALLAIS ET VENAIS, J’AI REMARQUÉ QUE LA PEINTURE PRENAIT DIFFÉRENTS ASPECTS. JE N’ARRIVAIS PAS À OBTENIR L’UNITÉ DE COULEUR QUE JE CHERCHAIS […], J’AI DÉCROCHÉ L’AMPOULE DU PLAFOND, ET JE L’AI LITTÉRALEMENT PLANTÉE SUR MA PEINTURE. CELA M’A OUVERT À L’IDÉE MÊME DE COULEUR, ALORS QUE JE VOULAIS LA CONTRÔLER, J’AI COMMENCÉ À VOIR À QUEL POINT LA LUMIÈRE POUVAIT MODIFIER UNE PEINTURE : C’EST LA LUMIÈRE QUI DÉTERMINE LA PEINTURE […]. DÈS QUE J’AI COMMENCÉ À TRAVAILLER AVEC L’ÉCLAIRAGE, J’AI UTILISÉ DE PLUS EN PLUS D’AMPOULES, À LA PLACE DE PIGMENTS. LES AMPOULES DE COULEUR SONT DEVENUES MA PROPRE PALETTE. /
Alan Vega
Anti-esthétique, anti-formelle, son œuvre embrasse la réalité contemporaine dans laquelle il évolue. Faisant fi de toute préciosité, pour l’une de ses toutes premières expositions à New York en 1972, Alan Vega récupère dans la rue les matériaux qui constitueront des éléments de son oeuvre et les présente dans la galerie. À l’issue de l’exposition, il les rend à leur réalité première, les retournant à la rue.
Composée d’un large corpus d’oeuvres créées depuis 1971, cette rétrospective présente un ensemble de sculptures lumineuses, dont les célèbres « crucifix », série initiée au début des années 80. Une version « monumentale » est créée spécifiquement pour l’exposition au Mac LYON.L’exposition présente également un large choix de peintures et plus d’une centaine de dessins exécutés au stylo-bille, totalement inédits :
/ JE DESSINE EXCLUSIVEMENT DES GENS, LES VISAGES M’INTÉRESSENT PLUS QUE TOUT LE RESTE. JE JETTE LA PLUPART DE MES DESSINS. IL FAUT QUE L’INSPIRATION VIENNE DE FAÇON NATURELLE. ELLE VIENT QUAND J’ÉCRIS DES CHANSONS OU DES POÈMES. IL FAUT JUSTE ESSAYER DE PLONGER AU PLUS PROFOND DE SOI-MÊME. POUR ÊTRE FRANC, JE DÉTESTE ÉCRIRE, ET CURIEUSEMENT, JE NE PEUX M’Y METTRE QU’À CONDITION DE DESSINER UN PORTRAIT. /
Alan Vega
Dans la logique de son travail de récupération et d’utilisation de matériaux préexistants, l’exposition comme les oeuvres, recycle, réintègre, un grand nombre de « matériaux » des expositions antérieures : verres, murs, structures…
/ MON ART, C’EST L’ART DE L’OBJET TROUVÉ, ET C’EST AUSSI DE LA RÉCUPÉRATION. /
/ IL NE S’AGIT PAS D’UN ART LISSÉ ET J’APPRÉCIE LE FAIT QU’ELLES SOIENT COMPOSÉES À PARTIR DE DÉCHETS OU DE REBUTS. /
Alan Vega
Légendes vivantes de l’histoire du rock et du punk, précurseurs avant-gardistes, avec Suicide, Alan Vega et Martin Rev sont les premiers musiciens rock à introduire systématiquement le beat millimétré de la batterie électronique dans leurs compositions. Alan Vega est cependant beaucoup moins connu comme artiste plasticien, c’est pourquoi, le mac LYON lui consacre ici, sa première grande exposition personnelle rétrospective, présentant plus de 40 ans de création et d’intensité.
Mathieu Copeland
ALAN VEGA, KNOWN TO BE ONE OF THE PIONEERS OF MINIMALIST ELECTRONIC ROCK AS THE CO -FOUNDER WITH MARTIN REV OF THE MYTHICAL BAND “SUICIDE”, IS FIRST AND FOREMOST A VISUAL ARTIST ACTIVE ON THE NEW YORK SCENE SINCE THE END OF THE 1960S.
In 1969, Alan Vega (born in 1938 in NY, where he still lives & works) was one of the founding members of the “Project of Living Artists”, one of the first alternative artist-run spaces in NY open 24/7. Dedicated to all forms of art, music and cinema, it quickly became a showcase for groups such as the New York Dolls, Television and Blondie. In this saturated universe, Vega found an ideal environment for his work, and pursued his musical and artistic careers in parallel. He studied with Ad Reinhardt at Brooklyn College, initially focusing on painting. Toward the end of the 1960s, his interests shifted toward light as he created his first “light pieces”— assemblages of diverse objects including bulbs, wires, televisions and neon tubes of every shape and colour.
/ THE FIRST TIME I DID A LIGHT PIECE WAS WHEN I WAS WORKING ON A VERY BIG PURPLE PAINTING. THERE WAS ONE LIGHT BULB IN THE ROOM, AND AS I WALKED AROUND I NOTICED HOW THE PAINTING ACQUIRED DIFFERENT ASPECTS. I WANTED IT TO BE ONE COLOUR, SO […] I TOOK THE LIGHT OUT OF THE CEILING AND REALLY STUCK IT ON THE PAINTING. THAT STARTED ME WITH THE WHOLE IDEA OF LIGHT BECAUSE I WANTED TO CONTROL THE COLOUR, BUT THEN I SUDDENLY BEGAN TO REALIZE JUST HOW MUCH LIGHT AFFECTS A PAINTING — ALL PAINTING IS ABOUT LIGHT. […] AS I STARTED WORKING WITH LIGHT, I STARTED GETTING MORE AND MORE INTO DIFFERENT COLOURS OF LIGHT INSTEAD OF USING PAINT. I STARTED USING LIGHT BULBS OF COLOUR THAT BECAME MY PAINT. /
Alan Vega
Anti-aesthetic, anti-formal, Vega’s work embraces the contemporary reality in which he is immersed. For one of his first exhibitions in New York in 1972, eschewing all preciosity, he looked to the streets for the materials that would become the elements of his work, and presented them in the gallery. At the end of the exhibition, he gave them back to their primary reality, returning these to the street.
This retrospective comprises a large corpus of works created since 1971. Presenting numerous light pieces from all periods, among them the famous series of “crucifixes” which Vega began in the mid-1980s, and a “monumental” version created specifically for the exhibition at the mac LYON.The retrospective also presents a large body of paintings, and more than a hundred ballpoint drawings that have not previously been exhibited :
/ I DRAW JUST PEOPLE. TO ME A FACE IS EVERYTHING ANYWAY. MOST OF THE DRAWINGS I THROW OUT. IT JUST HAS TO COME OUT WITHOUT THINKING […] WHEN I WRITE LYRICS, OR POETRY, IT COMES FROM MY MIND. IT’S JUST TRYING TO GET DEEP INTO YOURSELF. TO BE HONEST WITH YOU, I HATE WRITING, AND IRONICALLY THE ONLY WAY I CAN SIT DOWN AND WRITE IS IF I DRAW A PORTRAIT. /
Alan Vega
In the logic of Vega’s work, including the retrieval and re-use of pre-existing objects, it is not just the works, but the exhibition format itself, that recycles and reintegrates various “materials” from previous exhibitions : glass, walls, structures, etc.
/ MY ART IS AN ART OF THE FOUND OBJECT, AND IT’S ALSO THAT OF SALVAGE. /
/ IT’S NOT SMOOTHED-OUT ART, AND I APPRECIATE THE FACT THAT IT’S COMPOSED OF GARBAGE AND DISCARDED OBJECTS. /
Alan Vega
As living legends of rock and punk history, and avant-garde precursors with Suicide, Alan Vega and Martin Rev were the first rock musicians to systematically introduce electronic drums into their compositions. Alan Vega is however less well known as an artist, this is the reason why mac LYON proposes his first major solo retrospective, representing more than 40 years of creativity and intensity.
Mathieu Copeland
Dossier de presse Alan Vega - Infinite Mercy // Service presse Élise Vion-Delphin T +33 (0)4 72 69 17 25 // communication@mac-lyon.com
ALAN VEGA - INFINITE MERCY. Toutes les photographies © Céline Bertin, 2009
VIDES, Une rétrospective
Manifestation exceptionnelle, « Vides » est une rétrospective des expositions vides depuis celle d'Yves Klein en 1958. Dans une dizaine de salles du Musée national d'art moderne, elle rassemble, de manière inédite, des expositions qui n'ont rigoureusement rien montré, laissant vide l'espace pour lequel elles étaient pensées.
L'idée d'exposer le vide est récurrente dans l'histoire de l'art de ces cinquante dernières années, au point d'être presque devenue un cliché dans la pratique artistique contemporaine. Depuis l'exposition d'Yves Klein La spécialisation de la sensibilité à l'état matière première en sensibilité picturale stabilisée à la galerie Iris Clert, à Paris, en 1958, les expositions entièrement vides affirment différentes conceptions du vide.
S'il est pour Yves Klein un moyen de signaler l'état sensible, il représente en revanche l'apogée de l'art conceptuel et minimal pour Robert Barry avec Some places to which we can come, and for a while "be free to think about what we are going to do." (Marcuse), [« Des lieux où nous pouvons venir, et pour un moment, ' être libre de penser à ce que nous allons faire '. (Marcuse) »], œuvre initiée en 1970. Il peut aussi résulter du désir de brouiller la compréhension des espaces d'expositions, comme dans l'œuvre The Air-Conditioning Show d'Art & Language (1966-1967), ou de vider une institution pour modifier notre expérience comme dans l'oeuvre de Stanley Brouwn.
Il traduit également la volonté de faire l'expérience des qualités d'un lieu d'exposition, comme pour Robert Irwin et son exposition réalisée à la ACE Gallery en 1970, ou pour Maria Nordman lors de son exposition à Krefeld en 1984. Le vide représente aussi une forme de radicalité, comme celui créé par Laurie Parsons en 1990 à la galerie Lorence-Monk, qui annonce son renoncement à toute pratique artistique. Pour Bethan Huws et son œuvre Haus Esters Piece (1993), le vide permet de célébrer l'architecture du musée, signifiant que l'art y est déjà présent et qu'il n'est pas nécessaire d'y ajouter des œuvres d'art. Le vide revêt presque le sens d'une revendication économique pour Maria Eichhorn qui, laissant son exposition vide à la Kunsthalle Bern en 2001, permet d'en consacrer le budget à la rénovation du bâtiment. Avec More Silent than Ever (2006), Roman Ondak, quant à lui, laisse croire au spectateur qu'il y a plus que ce qui est laissé à voir.
Comité Curatorial : John Armleder, Mathieu Copeland, Gustav Metzger, Mai-Thu Perret, Clive Phillpot.
Commissaire au Centre Pompidou: Laurent Le Bon
VIDES. Une rétrospective. Toutes les photographies © Centre Pompidou, Georges Meguerditchian, 2009
A Spoken Word Exhibition - Baltic, Newcastle Upon Tyne, opening Friday 16/01
A Spoken Word Exhibition
Friday 16 January – Sunday 15 March 2009
A Spoken Word Exhibition is composed of worded artworks (artworks only made of words to be spoken), to be read by BALTIC Crew members to visitors who ask to hear the pieces.
Acting as a voice when addressed throughout the building, the Crew repeat the words, sentences or paragraphs, the texts or haikus as written and instructed by the invited artists. Not performing, only using language through the act of reading, the works are available only on demand, initiating an exchange between visitors and BALTIC Crew.
The exhibition inhabits the realm of the spoken word, addressing the possibilities of art, memory & exhibition making. The exhibition is constituted of artworks that are to be spoken and exchanged as a verbal gesture from one person to another. Artworks that only last for the time it takes to read them, generating ultimately an exhibition that only lasts for the time it takes to listen.
A Spoken Word Exhibition is an exhibition of the same nature & material as that of the artworks that constitutes it, which are words. Contributing artists are Vito Acconci, Fia Backström, Robert Barry, James Lee Byars, Nick Currie (aka Momus), Douglas Coupland, Karl Holmqvist, Maurizio Nannucci, Yoko Ono, Mai-Thu Perret, Emilio Prini, Tomas Vanek, Tris Vonna-Michell, Lawrence Weiner, and Ian Wilson.
Please ask to hear the artworks.
An exhibition by Mathieu Copeland
Une Exposition Chorégraphiée
Avec Jonah Bokaer, Philipp Egli, Karl Holmqvist, Jennifer Lacey, Roman Ondak, Michael Parsons, and Fia Backstrom & Michael Portnoy. Interprétée par Le Clubdes5. Une exposition de Mathieu Copeland.
Une Exposition Chorégraphiée est une exposition composée exclusivement de mouvements. Pendant un mois et demi, six heures par jour, trois danseurs interprètent les partitions écrites par huit artistes. L’ensemble de ces partitions est orchestré par le commissaire d'exposition qui crée le déroulé général, sorte de mouvement chorégraphique ou musical à plusieurs thèmes.
En l’absence de décor, de lumière dramatique ou de musique, les gestes résonnent dans la galerie déserte. S’enchaînant dans un continuum sans fin, ils se déploient dans l’espace et dans le temps.
Les danseurs, tels des sculptures vivantes, concentrent toute l'attention, bouleversant le rapport au spectateur. La proximité troublante avec les interprètes, et leurs déplacements souvent imprévisibles, obligent à se mettre soi-même en mouvement, à se repositionner en permanence. Une exposition chorégraphiée invite à une expérience inédite de l'espace et de la durée. Elle se forme et se déforme sous nos yeux. Elle ne se fixe jamais sinon dans la mémoire.
Le geste est notre état d’esprit / A gesture is our state of mind
Centre d'art de la Ferme du Buisson
Scène nationale de Marne-la-Vallée
Allée de la Ferme – Noisiel
77448 Marne-la-Vallée Cedex 2
tél : 01 64 62 77 00 / fax : 01 64 62 77 99
contact@lafermedubuisson.com
www.lafermedubuisson.com
Horaires
Vendredi, samedi, dimanche 14h-20h
Accès depuis Paris
RER A, dir. Chessy / Marne-la-Vallée, arrêt Noisiel (20 min)
Porte de Bercy, A4 dir. Marne-la-Vallée, sortie Noisiel-Torcy puis Noisiel-Luzard (15 min)
Le Centre d'art contemporain de la Ferme du Buisson bénéficie du soutien de la Drac Ile-de-France/Ministère de la Culture et de la Communication, du SAN Val-Maubuée et du Conseil Général de Seine-et-Marne. Il est membre des réseaux tram et d.c.a.
‘A Choreographed Exhibition’ is an exhibition curated by Mathieu Copeland and co produced by the Kunsthalle St Gallen (http://www.k9000.ch/) and La Ferme du Buisson (http://www.lafermedubuisson.com/).
L'exposition Continue
Une exposition de Mathieu Copeland pour 2 centres d’art (Circuit & 1m3) avec
David Cunningham,
On Kawara,
Charlemagne Palestine,
et des peintures de Birgir Andresson, Jean-Sylvain Bieth, Francis Baudevin, Michel Castaignet,
John Cornu, Philippe Decrauzat, Noel Dolla, Olivier Mosset, Christian Robert-Tissot, Evi Vingerling,
repeintes de la même couleur que le mur par Claude Rutault.
vernissage le vendredi 3 octobre à 18h
du 4 octobre au 22 novembre 2008
je-ve-sa de 14h à 18h et sur rendez-vous
Concert de Charlemagne Palestine
mercredi 1er octobre à 20h30, Eglise St-François, Lausanne
Concert de David Cunningham et Mika Vainio
samedi 4 octobre à 22h, Le Bourg, rue de Bourg 51, Lausanne
Lecture de One Million Years, On Kawara
chaque samedi à 16h durant l’exposition, Circuit, Lausanne
Lausanne, Switzerland
www.galerie1m3.com & http://www.circuit.li/
The Saints, and Music & Films by Amy Granat
With Fia Backström, Jutta Koether, Amy O’Neill, Mai-Thu Perret, Emily Sundblad, Stefan Tcherepnin, Angel Turner
Opening the 26th of April, at 14.00, with ‘Emotional Music’ a performance with Amy Granat, Emily Sundblad and Stefan Tcherepnin.
The exhibition runs until the 14th of June 2008, 10am – 5pm
An exhibition curated by Mathieu Copeland
26 April to 14 June 2008
Sketch Gallery, London
9 Conduit Street
London, W1S 2XG, UK
Le Dojo, La Villa Arson et le laboratoire de mémoires présentent
Une exposition de mémoires
Une discothèque silencieuse
vernissage vendredi 2 mai à 18h
exposition du 3 mai au 9 mai 2008
Exposition collective de & avec BENJAMIN BICHARD, ANNA BYSKOV, ZORA CAHUSAC, MARION CHARLET, CAMILLE DEBRAY, ALYS DEMEURE, MAILYS D.PERRET, LOUP GANGLOFF, SOPHIE GRANIOU, LAURIE GERARDO, YASMINA HATEM, CINDY LELAURIN, SANDRA LORENZI, AURELIE MENALDO, MARYLINE M'GAIDES, STEPHANIE RAIMONDI, COLINE VECTEN, sur une proposition de MATHIEU COPELAND, avec NOËL DOLLA & PASCAL PINAUD
LE DOJO
22 bis bd Stalingrad
F-06300 Nice
Tel 04 97 08 28 14
Fax 04 97 08 28 19
www.le-dojo.org
info@le-dojo.org
A Spoken Word Exhibition / Mluvené slovo - TranzitDisplay Prague
18th of March - 20th of April 2008
A Spoken Word Exhibition - Tranzit/Display - 18th of March - 20th of April 2008
tranzitdisplay
resource centre of contemporary art / zázemí současného umění
cordially invite you / vás srdečně zve na
A Spoken Word Exhibition / Mluvvené Slovo
Vito Acconci, Robert Barry, James Lee Byars, Nick Currrie, Douglas Coupland, Karl Holmqvist, Maurizio Nannucci, Yoko Ono, Mai-Thu Perret, Emilio Prini, Tomáš Vaněk, Lawrence Weiner, Ian Wilson
a Series of Spoken Word Events will take place during the course of the exhibition
Spoken Word Events by King Mob (17. 4.), Susan Stenger (18. 4.), Karl Holmqvist (19. 4.) and Fia Backström (20. 4.)
please contact the gallery or visit the gallery website for more information / součástí výstavy je program živých vystoupení zúčastněných umělců
mimo jiné vystoupí Nick Currie aka Momus (18. 3.), Tomáš Vaněk (19. 3.), Boris Ondreička (10.4.), King Mob (17. 4.), Susan Stenger (18. 4.), Karl Holmqvist (19. 4.) and Fia Backström (20. 4.)
pro bližší informace prosím sledujte web www.tranzitdisplay.cz
Exhibitions view - far right still of INSTANT EXTRA+, a spoken word event by Fia Backström
A Choreographed Exhibition / Eine Choreographierte Ausstellung
With Jonah Bokaer, Philipp Egli, Karl Holmqvist, Jennifer Lacey, Roman Ondak, Michael Parsons, and Fia Backstrom & Michael Portnoy. An exhibition by Mathieu Copeland.
‘A Choreographed Exhibition’ is an exhibition only composed of movements. For over a month and a half, three dancers from the Tanzkompanie Theater St. Gallen are present in the kunsthalle during the opening hours to perform in space the choreography of movements, patterns and choreographed gestures, following the scores and instructions as provided by the invited artists, dancers, and choreographers.
Photographies by Anna-Tina Eberhard
Le geste est notre état d’esprit / A gesture is our state of mind
Kunsthalle St Gallen, Davidstrasse 40, CH-9000 St. Gallen
Open from Wednesday until Sunday: Wed/Thur/Fri: 14-18 ; Sat & Sun: 13-17
‘A Choreographed Exhibition’ is an exhibition curated by Mathieu Copeland and co produced by the Kunsthalle St Gallen (http://www.k9000.ch/) and La Ferme du Buisson (http://www.lafermedubuisson.com/).
A Spoken Word Exhibition & A Series of Spoken Word Retrospectives
1st / 7th of November 2007
A Spoken Word Exhibition, and a Series of Spoken Word Retrospectives
Guest curator Mathieu Copeland presents “A Spoken Word Exhibition” at the Swiss Institute - NY. The exhibition consists of artworks repeated by the Institute‘s staff. By leaving the gallery space empty and making works available only on demand, an exchange is initiated between spectators and the gallery staff. An exhibition of the same nature & material as that of the artworks that it is constituted of, which are words. Artworks only spoken, exchanged as a verbal gesture from one person to another, generating ultimately an exhibition that only last the time it takes to hear it.
Artists contributing to “A Spoken Words Exhibition” include Vito Acconci, Robert Barry, James Lee Byars, Nick Currie (aka Momus), Douglas Coupland, Karl Holmqvist, Maurizio Nannucci, Yoko Ono, Mai-Thu Perret, Emilio Prini, Tomas Vanek, Lawrence Weiner, and Ian Wilson.
Through the artist’s voice and words, The Spoken Word Retrospectives present us with the whole of an artist’s career, generating a mental retrospective in the mind of the one who hears it, as said & seen by the artist. A spoken word retrospective begins with everything, and produces nothing more, only everything.
Artists contributing to “A Series of Spoken Words Retrospectives” include David Medalla and Gustav Metzger.
Swiss Institute [SI] - 495 Broadway 3rd Floor - New York NY 10012
Biennale d'art contemporain de Lyon, 19 septembre 2007- 6 Janvier 2008- artiste invitée Mai-Thu Perret avec 'An Evening of the Book'
www.biennale-de-lyon.org/bac2007/fran/
L’œuvre pensée pour la biennale par Mai-Thu Perret se trame avec en toile de fond ‘An Evening of the Book (une Soirée pour le Livre)’ (1924), une pièce de théâtre agit-prop. Mis en scène par Vitalii Zhemchuzhnyi, cette propagande pour le livre aux décors et costumes conçus par Varvara Stepanova s’organisait comme une expérimentation dans l’agitation artistique pour les masses par le livre avec des étudiants de l’Académie de l’Education Communiste. De plus, il est à noter le parallèle entre cette histoire et le présent livre d’histoire, autant formellement de par l’importance de leurs graphismes que dans cette volonté d’écrire au présent une histoire en cours. Tout comme ‘An Evening of the Book’ présente le conflit entre les héros des livres pré-révolutionnaire et ceux de la nouvelle révolution, les personnages sortant tous au fur et à mesure des pages d’un livre géant présent sur scène ; Cette biennale se matérialise dans un livre ou l’histoire de l’exposition devient l’histoire d’un livre d’histoire (d’histoires ?). Il nous reste à espérer que tout comme dans cette pièce des années vingt, l’écriture en cours voit la victoire revenir aux héros révolutionnaires.
Filmstills "An Evening Of The Book", © Mai-Thu Perret, 2007
Mai-Thu Perret’s installation ‘An Evening of the Book’ finds its origins in the agit-prop theatre piece ‘An Evening of the Book’ from 1924. Directed by Vitalii Zhemchuzhnyi, this propaganda for the book whose costume and set was designed by Varvara Stepanova was organised as an experimentation on mass artistic agitation through the book, with the students from the Communist Education Academy.
An exhibition with Loris Gréaud and Arnaud Michniak, by Mathieu Copeland
Hong Kong, Hong Kong City Hall, 14th of May - 27th of May 2007 - Launch : Sunday the 13th of May, 7.15, Agnes b Cinema / Hong Kong Arts Centre - Screening followed by a public discussion
exhibition views / vues d'exposition
The exhibition appears as a moment frozen in time. A place where the viewers constantly celebrate the opening of an exhibition in a gallery whose size is gradually reduced, and that in turn reduces the view over the city.
The first movement of the exhibition comes with the present DVD that acts as a catalogue. Widely available, it features two new-commissioned films by Loris Gréaud and Arnaud Michniak both filmed in Hong Kong. The film ‘Celador, un goût d’illusion’ by Loris Gréaud is an advertising for a candy that taste of illusion. The film by Arnaud Michniak “Sound take in a hospital” focuses on arrested moments in the midst of a city in constant movement.
The exhibition at the Hong Kong City Hall appears minimal, if not empty. The films realised for the exhibition are shown sporadically throughout the exhibition. Our experience in the gallery is somehow what we are told of these works. There, everything remains, but nothing is left. Nothing seems to happen. The only element that evolves throughout the exhibition is, paradoxically, the space itself. The art is simply everything else.
Film Stills
« Exhibitions’ Ruins / Emotional Landscapes »
« Tilfinningalandslag (rotnandi sýning) »
With / Sýningin er unnin á grunni verka frá eftirfarandi listamönnum
Birgir Andrésson, Stefan Brüggemann, Nicolas Garait, Loris Gréaud, Elin Hansdottir, M/M (Paris) & Gabriela Fridriksdottir, Gustav Metzger, Jeremy Millar, Francois Morellet, Olivier Mosset, & Claude Rutault.
An exhibition by / Sýningarstjóri Mathieu Copeland.
At the SAFN Collection / Í Safni; samtímalistasafni, Reykjavik, 17/03/2007 – 12/05/2007
“The Movement of People Working”
An exhibition of the films by Phill Niblock,
Curated by Mathieu Copeland
Images © Phill Niblock
AN INTERVIEW WITH PHILL NIBLOCK (22/11/2006)
The opening on January 20th featured flautist/bassist Susan Stenger (Band Of Susans/Big Bottom) and guitarist Robert Poss (Band Of Susans), long-time performers of Niblock's music, playing 4 pieces (some of which were composed especially for them).
Sketch Gallery, London, 20th of January until the 10th of March 2007.
IT IS WITH GREAT PLEASURE THAT WE ANNOUNCE THE LAUNCH OF THE SHOW TITLES WEBSITE. ACCOMPANYING THE EXHIBITION ‘THE TITLE AS THE CURATOR’S ART PIECE’, AN EXHIBITION THAT USES ONE OF THE SHOW TITLES WRITTEN BY MEXICAN BORN, LONDON BASED ARTIST STEFAN BRÜGGEMANN, THIS WEBSITE OFFERS THE POSSIBILITY TO VIEW, AND TO HEAR, ALL 728 SHOW TITLES WRITTEN TO DATE.
THE SHOW TITLES IS A WORK IN PROGRESS BY STEFAN BRÛGGEMANN OF TITLES FOR EXHIBITIONS. FREELY AVAILABLE, THESE ARE TO BE USED AS ONE WISH. WITHOUT ANY NEED TO ASK FOR ANY AUTHORISATION, THESE ARE TO BE USED AS THE SHOW TITLE, AND CREDITED AS AN ART PIECE BY STEFAN BRÛGGEMANN (SHOW TITLE, #XXX BY STEFAN BRÜGGEMANN). A COPY OF THE INVITATION CARD, AND ANY PRINTED MATERIAL, IS TO BE SENT TO THE FOLLOWING ADDRESS: BLOW DE LA BARRA, 35 HEDDON STREET, W1B 4BP, LONDON, UK.
Online now.
The title as the curator's art piece* A summer Show by Mathieu Copeland
A painting exhibition with Jaroslaw Flicinski & Claude Rutault
A spoken word exhibition with Douglas Coupland, Nick Currie (aka Momus), Karl Holmqvist, Tomas Vanek, Lawrence Weiner & Ian Wilson
*Show title #347, by Stefan Brüggemann
Exhibition running from the 21st of June until the 2nd of September
Blow de la Barra, 35 Heddon Street, London W1B 4BP
Tel + 44 (0) 2077347477 info@blowdelabarra.com
A publication accompanies the exhibition featuring discussions with artist and musician Nick Currie (aka Momus), curator Raimundas Malasauskas, and artist Claude Rutault.
Soundtrack composed by/composée par Susan Stenger [Band of Susans] with contributions by/avec des contributions de Robert Poss [Band of Susans] , Alan Vega [Suicide], Alexander Hacke [Einstürzende Neubaten], F.M. Einheit [ex Einstürzende Neubaten], Kim Gordon [Sonic Youth], Mika Vainio [Pan Sonic], Bruce Gilbert [Wire], Ulrich Krieger, Warren Ellis [The Dirty Three, The Bad Seeds], Jim White [The Dirty Three], Jennifer Hoyston [Erase Errata], Andria Degens (Pantaleimon), Spider Stacy [Pogues]
Paintings by/Peintures par John Armleder, Steven Parrino
Feature film by/Film par Kristian Levring
An exhibition by/Une exposition de Mathieu Copeland
Exhibition View / Vues d'exposition :
soundtrack for an Exhibition (fr - eng) - 8th March until 11th June 2006 - Musée Art Contemporain Lyon
EA C / Expat Art Centre is an ongoing exhibition that takes place when the art centre, the museum... is closed, inserting itself between two exhibitions. With Brian Eno, Pierre Huyghe, Ben Kinmont, Claude Leveque, Didier Marcel, Olivier Mosset, Shimabuku, Dan Walsh, Ian Wilson. An exhibition by Mathieu Copeland.
PDF Leaflet of the exhibition (English - Francais - Polish - Lithuanian - Estonian - Chinese)
Exhibitions Views / Vues d'expositions :
Exhibitions Views: ICA London, Musée Art Contemporain Lyon, Muzeum Sztuki Lodz, CAC Contemporary Art Centre Vilnius, Kunstihoone Tallinn. © The Artists & Mathieu Copeland.
David Cunningham / Sebastien Roux
Wall paper music - Sebastien Roux (LOT Bristol)
Exterior - David Cunningham (AA London)
Meanwhile... across town - Cerith Wyn Evans
Meanwhile... across town - Cerith Wyn Evans (Centre Point London)
"Meanwhile…across town", by Cerith Wyn Evans, permeated the centre of London with a Morse code message transmitted from the neon signs of the landmark Centre Point Tower on Oxford Street. Produced by Forma and curated by Mathieu Copeland, witnessed by hundreds of thousands of people who see the Centre Point Tower from across London every day, Wyn Evans used the letters 'o' and 'i' from Centre Point's signs to transmit an extract from The Visible and the Invisible, an unfinished book by the French existentialist philosopher, Maurice Merleau-Ponty [1908-1961]. The building may be seen as a host organism infected with a virus - the code of a dying language that has taken up temporary residence. The text became buried in the urban landscape, where the pulsating narrative of the Morse code signal might even suggest that every other flashing light might be beaming out its own story.
This invasion of the social fabric of the City was at the core of the artist's intentions. "Meanwhile…across town" appeared as an elegant and subtly perverse way of pointing to no more than the communication itself; through the archaic communication tool of Morse code, broadcasted across town, its message became, ultimately, temporarily, an intrinsic part of the cityscape.
Sountrack for an Exhibition: a full colour, hardback publication that includes essays and discussions with participating artists and guest contributors. The catalogue reproduces the entire score of the soundtrack, includes film stills, installation shots and includes an audio DVD of excerpts of the soundtrack. Texts include an essay by Mathieu Copeland, curator of the exhibition; a discussion with Susan Stenger and Tony Conrad (composer, filmmaker and musician, co-founder of The Dream Syndicate with John Cale and La Monte Young); a discussion with Gustav Metzger (influential artist born in 1936 in Germany, lives and works in London, leading figure of Auto-Destructive-Art), John Armleder (painter born in 1948, influential Swiss artist and founder of Ecart, associated with Neo–Geo movement in the ’80s), and Mathieu Copeland; and a discussion with the filmmaker, Kristian Levring. (to order: www.forma.org.uk)
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Soundtrack for an Exhibition - links to the exhibition information (eng) - Musée Art Contemporain Lyon
L'exposition Soundtrack for an Exhibition s'articule autour de trois éléments principaux : une bande-son, une exposition de peintures et un film. La bande-son est diffusée dans l'espace d'exposition ainsi qu'en différents endroits du musée et se poursuit un mois après la fermeture de l'exposition. Changeant de nature en fonction de l'environnent qu'elle qualifie, elle devient tour à tour la bande-son de peintures, d'un film ou d'un espace vide.
Cette pièce sonore reprend la structure d'une chanson pop traditionnelle dont la forme est conçue pour durer 96 jours. Ainsi, son introduction dure 4 jours, chaque refrain dure 8 jours et chaque couplet 16 jours. Elle est composée de 3 couplets qui font chacun référence à un genre musical différent (easy listening et vieux standards, folk et country blues, hard-rock et heavy metal), la musique expérimentale faisant le lien entre ces différentes parties.
Le catalogue, qui rassemble essais autour du projet et conversations entre les artistes et les organisateurs, reproduit l'intégralité de la partition de la bande-son, ainsi que les images de l'installation et des extraits du film et de la bande son sur DVD audio.
Soundtrack composed by/composée par Susan Stenger with contributions by/avec des contributions de Robert Poss, Alan Vega, Alexander Hacke, F.M. Einheit, Kim Gordon, Mika Vainio, Bruce Gilbert, Ulrich Krieger, Warren Ellis, Jim White, Jennifer Hoyston, Andria Degens, Spider Stacy
Paintings by/Peintures par John Armleder, Steven Parrino
Feature film by/Film par Kristian Levring
An exhibition by/Une exposition de Mathieu Copeland
VIDES
Edité par JRP-Ringier
Vides. Une rétrospective est une exposition paradoxale : à travers la réactualisation de neuf «expositions vides», elle apparaît simultanément comme un projet expérimental qui refuse les règles classiques des arts visuels et comme un objet historique qui confronte les réalisations de Art & Language, Robert Barry, Stanley Brouwn, Maria Eichhorn, Bethan Huws, Robert Irwin, Yves Klein, Roman Ondák et Laurie Parsons.
Support et prolongement de la manifestation, cet ouvrage dessine les contours du concept de «vide» dans l'art, l'esthétique, la philosophie, la religion, les sciences, la culture populaire, l'architecture et la musique, en abordant les problématiques du rien, de la vacuité, de l'invisible et de l'ineffable, du rejet et de la destruction. S'ouvrant sur un catalogue qui documente les neuf expositions historiques et contemporaines retenues, le livre comporte également une anthologie d'une quarantaine de textes, souvent inédits, ainsi que des contributions d'artistes spécialement réalisées pour l'ouvrage. Les essais de Benjamin Buchloh, Jean- François Chevrier, Henry Flynt, Lucy Lippard, Bernard Marcadé, Anne Moeglin-Delcroix, Brian O'Doherty, Sadie Plant, Didier Semin, David Toop ou Sarah Wilson s'entrecroisent ainsi avec des entretiens réalisés avec Robert Barry, Ben, Morgan Fisher, Claude Parent ou Jacques Villeglé, et les propositions de Peter Downsbrough, Dominique Gonzalez-Foerster, Wade Guyton, Hans Haacke, Sherrie Levine, Malcolm McLaren, Olivier Mosset, Sturtevant ou Lawrence Weiner.
À travers la riche documentation et les textes de spécialistes réunis, cet ensemble se propose d'évaluer les origines, les dispositifs et les résonances de ce geste artistique capital, consistant à vider l'espace d'exposition plutôt qu'à le remplir.
Edité par Mathieu Copeland avec John Armleder, Laurent Le Bon, Gustav Metzger, Mai-Thu Perret, Clive Phillpot.
Publié avec le Centre Pompidou, Paris, et la Kunsthalle Bern.
Voids. A Retrospective
Voids. A Retrospective is a paradoxical exhibition: by re-actualizing nine “empty exhibitions,” it is simultaneously an experimental project that refuses the classic rules of the visual arts and an historical object which confronts the projects of Art & Language, Robert Barry, Stanley Brouwn, Maria Eichhorn, Bethan Huws, Robert Irwin, Yves Klein, Roman Ondák, and Laurie Parsons.
At once the support and an extension of the event, this publication outlines the concept of the void in art, aesthetics, philosophy, religion, science, popular culture, architecture, and music, and broaches the subject of nothing, of vacuity, of the invisible and the ineffable, of rejection and destruction.
Opening with a catalogue section that documents the nine selected historical and contemporary exhibitions, the publication also contains an anthology of more than forty texts, many published here for the first time, as well as contributions by artists created especially for this volume.
Essays by Benjamin Buchloh, Jean-François Chevrier, Stuart Comer, Lucy Lippard, Bob Nickas, Brian O'Doherty, Sadie Plant, Ralph Rugoff, Jon Savage, and Sarah Wilson thus intersect with interviews conducted with Robert Barry, Morgan Fisher, Claude Parent, and Jacques Villeglé, and the propositions of Peter Downsbrough, Dominique Gonzalez-Foerster, Wade Guyton, Hans Haacke, Sherrie Levine, Malcolm McLaren, Olivier Mosset, Yoko Ono, Sturtevant, and Lawrence Weiner.
Through the rich documentation, as well as the texts by specialists on the subject, this book proposes an evaluation of the origins, the mechanisms, and the resonances of this major artistic gesture consisting of emptying the exhibition space rather than filling it.
Edited by Mathieu Copeland with John Armleder, Laurent Le Bon, Gustav Metzger, Mai-Thu Perret, Clive Phillpot and Philippe Pirotte.
Publié avec le Centre Pompidou, Paris, et la Kunsthalle Bern.
2009
édition française et anglaise
21,5 x 28 cm (broché)
540 pages (100 ill. coul. et 200 ill. n&b)
39 €ISBN : 978-3-03764-017-3EAN : 9783037640173
Michael Parsons, "Piano Music 1993 - 2007", played by John Tilbury,
audio CD - released on the 7th of December 2008 // Launch from 1pm, at the Warehouse, 13 Theed Street - London
Michael Parsons: Piano Music 1993 – 2007
This selection of piano pieces represents an interplay of opposite tendencies, formal and informal, perhaps reflecting an unresolved tension between ‘classical’ and ‘experimental’ aspects of my music over the last 15 years. Triptych (1993) uses a form of 12 note serialism, in which the harmonic and melodic material is combined with its own inversion, but without the expressionist gestures associated with classic European serialism. Three formal main sections are offset by two rhythmically more fluid melodic interludes, the greater flexibility gradually infusing and transforming the character of the later sections with jazz-related chromatic inflections. (…)
Extracts from the CD notes
Michael Parsons (b. 1938 - Happy 70th!) has been active as a composer, performer, writer and lecturer since the 1960s. He belongs to the generation of English experimentalists who have explored a wide range of radical alternatives to prevailing traditional and mainstream tendencies in new music. In 1969 he was co-founder with Cornelius Cardew and Howard Skempton of the Scratch Orchestra, and during the 1970s he was closely associated with visual artists of the Systems group. In common with the work of other English and American experimentalists, his music exemplifies an economical use of material, clarity of structure and an objective and exploratory approach to the actualities of sound and performance.
Produced, designed and published in 2008 by Mathieu Copeland
with support by Culture House
LAUNCH PRICE : 15£ / 18€ (shipping included)
to purchase - pour commander, please either use PAYPAL or email info@mathieucopeland.net
MATHIEU COPELAND PRESENTS
The Saints, 6 films by Amy Granat on DVD, Launch at the Swiss Institute NY on Wednesday 29th of October 2008
THE SAINTS
6 FILMS BY AMY GRANAT WITH FIA BACKSTRÖM, JUTTA KOETHER,
AMY O’NEILL, MAI-THU PERRET, ANGEL TURNER
ST LUCIA
A FILM BY AMY GRANAT & FIA BACKSTRÖM, 11’05’’
ST AGATHA
A FILM BY AMY GRANAT & MAI-THU PERRET, 11’35’’
ST TERESA DE AVILA
A FILM BY AMY GRANAT & JUTTA KOETHER, 11’36’’
ST CECILIA
A FILM BY AMY GRANAT & ANGEL TURNER, 11’42’’
ST TWEETY
A FILM BY AMY GRANAT & AMY O’NEILL, 11’46’’
ST LOUISE
A FILM BY AMY GRANAT, 7’08’’
CAMERA BY PHILIPPE DECRAUZAT
PAINTINGS BY OLIVIER MOSSET
THE SAINTS
DVD ALL ZONES [PAL]
65 MINUTES
BLACK & WHITE / COLOUR / SILENT - 4/3
ALL PUBLIC
ISBN: 978-2-917097-03-8
Produced, designed and published in 2008 by Mathieu Copeland
LAUNCH PRICE : 30€ / 45$ (shipping included)
to purchase - pour commander, please either use PAYPAL or email info@mathieucopeland.net
It is with great proud that we announce the release of the DVD 'AN EVENING OF THE BOOK', featuring 3 films by Mai-Thu Perret.
Originally produced for The Lyon Biennale of Contemporary Art and filmed on location at the Kitchen NY, Evening was conceived as a ‘remake’ of the 1924 agit prop play of the same title that was conceived as an experiment in mass artistic agitation for the book, and dramatized the conflict between old pre-revolutionary and new revolutionary books. Using actors from the academy of communist education, in a set & with costumes designed by Varvara Stepanova, it was a pantomime that culminated in the victory of the revolutionary heroes and a parade of libraries and new editions.
This performance, in which books and letters are actors in their own right, seemed a suitable starting point for the artist’s first array into moving images. Using props sometimes inspired by those of the original evenings, such as the books or the sports costume, sometimes unrelated such as the fluorescent tubes, the cut out from the banner, or the commas, Mai-Thu Perret devised the outline of a choreography which was performed for the camera by a team composed of artist friends such as Amy Granat or Fia Backström, and professional dancers.
DVD ALL ZONES
LAUNCH PRICE : 30€ / 45$ (shipping included)
to purchase - pour commander, please either use PAYPAL or email info@mathieucopeland.net
A signed limited edition of 30 copies comes with samples of two signed & numbered wall papers cuts screenprinted for the exhibitions. For more information please visit the webpage or contact info@mathieucopeland.net
Produced, designed and published in 2008 by Mathieu Copeland
APPEL çA COMME TU VEUX
Un film d'Arnaud Michniak - DVD Disponible maintenant (communiqué de presse)
“Appelle ça comme tu veux” est le premier long métrage d’Arnaud Michniak. Un film sans appel dont la violence sociale est d’une rare actualité. Sans ménagement que ce soit pour les sujets filmés ou l’objet film, “Appelle ça comme tu veux” est direct comme un slam et efficace comme de la télé réalité.
“Appelle ça comme tu veux” utilise la caméra comme un esclave. Tout débute avec le vol d’une caméra. Tout s’articule autour de l’outil qui permet sa réalisation et de ceux qui en croisent la cellule, qu’il s’agisse d’inconnus, de manutentionnaires, de paumés, d’acteurs dont Jean-Pierre Mocky, de proches comme Nonstop, ou plus généralement de tous ceux qui font notre réalité, qui créent notre paysage.
“Appelle ça comme tu veux” ça veut dire : on se fout de ce que tu penses, non pas parce qu’on se fout de toi, ni parce que ce que tu penses est nul, mais simplement parce que ça ne change rien, c’est déjà trop tard, c’est déjà fini.
Comme annonçant un programme, on retiendra cette phrase entendue au court du film, “On est historien, on filme la fin du monde”.
APPEL çA COMME TU VEUX, un film d’Arnaud Michniak
DVD Toutes Zones (PAL), Français, Couleurs, Son, 4/3.
APPEL çA COMME TU VEUX I (37’53) & II (22’09) ; BONUS (7’32)
Prix de Vente: €20 + frais de port €3
to purchase - pour commander, please either use PAYPAL or email info@mathieucopeland.net
Produced, designed and published in 2007 by Mathieu Copeland
Anna Sanders Films - The In Between
The In-Between – Anna Sanders Films
featuring works by Dominique Gonzalez-Foerster, Pierre Huyghe, Charles de Meaux, Philippe Parreno, Apichatpong Weerasethakul
The In-Between, the key book about French production company Anna Sanders Films, is now available. This company has blazed a trail for a new breed of cinema – one that is made by visual artists and shown most often in galleries, but increasingly is finding its way into cinemas and film festivals.
Anna Sanders’ films share a general fascination with Asia, exploring place and its relationship to personal narratives. Stunning, often sensual, imagery combine with simple cinema making. Retaining a cool distance form their subjects, the filmmakers create a space for the viewer to become immersed in the beauty of images and their meaning.
Who is Anna? She is too complex to be a mere representation of an
‘every woman’ character: not only is she the creator of remarkable films, she is the fictional subject of ‘a film currently being written’ [Huyghe and Parreno]. She is the personification of the creative talents of Dominique Gonzalez-Foerster, Pierre Huyghe, Charles de Meaux and Philippe Parreno. Ultimately Anna is an enigma, an imagined persona posing intriguing questions – like her films – about identity and representation.
Now, with the release of The In-Between, readers will be able to find out the fact and the fiction of Anna. This book delves in-between the films and places Anna into the contexts of film history and current visual art practice. The volume – co-published by Forma – offers a wealth of Anna Sanders film stills, production shots and a beguiling look and feel. It highlights the position of Anna Sanders as an in-between: in-between the economies of the art world and of cinema; in-between cinemas; in between realities, dreams and fictions.
Among the featured artists are Charles de Meaux, whose film Shimkent Hotel was selected as one of the highlights of the 2003 Edinburgh International Film Festival and Apichatpong Weerasethakul, whose Blissfully Yours won awards at Cannes and at the 2003 International Film Festival, Rotterdam and whose new film Tropical Malady produced by Anna Sanders has been awarded the prestigious Cannes Jury Prize 2004.
Other Anna Sanders Films artists, meanwhile, have claimed some of the most prestigious visual art prizes. Pierre Huyghe was awarded the Hugo Boss Prize and Dominique Gonzalez-Foerster the Duchamp prize, both in 2002.
In June 2004, the Filmmuseum in Amsterdam celebrated Anna Sanders with a major retrospective as part of the World Wide Video Festival. The In-Between was launched in the UK by Charles de Meaux, acclaimed actor Thibault de Montalembert and Forma, on 24 June – as part of the Artprojx Cinema Season at Prince Charles Cinema.
Anna Sanders - Films The In-Between
Edited by David Metcalfe and Mathieu Copeland
Published by Forma and Les Presses du Réel
Perfect Magazine is a magazine printed with white ink on white paper, the pages of this first and last issue are curated and published by Mathieu Copeland. Perfect Magazine features exclusive contributions by Gilbert and George - Yoko Ono - Cerith Wyn Evans - Lawrence Weiner - Liam Gillick - Martin Creed - Eva & Adele - Christian Boltanski - Hans Ulrich Obrist - Niele Toroni - Art & Language – Simon Patterson - Graham Gussin - Vuk Cosic - Lev Manovich - Sam Samore - Polly Staple - Matthew Higgs - 360 corp - Nick Crowe - Mike Dawson - Steven Parrino - Phoebe Unwin - Jemima Stehli - bank - Guy Brett - Susie Green - Helianthe Bourdeaux Maurin - Christophe Kirsch - Erna Rijsdijk - Emilie Renard - Mark Borthwick - The Wrong Gallery - Tom Morton - Elena Filipovic - Swetlana Heger - Didier Marcel - Eric Troncy – M/M (Paris) - Carine Boyadjan - Tim Albertsen - David Medalla - Angela Bulloch - Daniel Buren – Roman Opalka - Michael Craig-Martin
Perfect Magazine - 128pages - ISSN N°: 977 1761 – 2950 4
Available at the ICA in London, or via in les presses du réel in France
To order via the website: Selling price: £8 (€13) + £2 (€3)
to purchase - pour commander, please either use PAYPAL or email info@mathieucopeland.net
Produced, designed and published in 2003 by Mathieu Copeland
ECHO PIECE (CANARY WHARF) 2009
by Michael Parsons
Saturday 20th June 2009
10.45 am – 12 noon
A one hour walk through Canary Wharf with live brass accompaniment of a sound composition written by Michael Parsons and site specific to Canary Wharf.
Echo Piece is an environmental sound work to be performed by a number of musicians, moving around and exploring the acoustic properties of an open-air space. Players with trumpets, horns and trombones will play short single notes, interspersed with silences, evoking echoes from reflective surfaces, in a variable, open-form, sparse and pointillistic texture of discrete sounds.
Echo Piece creates a spatial polyphony of multiple echoes, activating the sound-reflecting surfaces of buildings at different distances, revealing the elasticity of the surrounding medium. Canary Wharf is an ideal urban location for this event, having a series of open spaces surrounded by sound-reflecting surfaces, and being relatively free of traffic noise. Echo Piece will change the way these spaces are perceived and experienced, by exposing their latent acoustic potential.
“The space between buildings is also part of their architecture. Volumes, masses and voids ‘transmit’ and ‘receive’ messages from one another.”
Le Corbusier
Curated by Mathieu Copeland
Commissioned by Culture House at Arts and Business
WALKING IN THE CITY
Friday October 10th 2008 at 8pm, live discussion between Iain Sinclair, Michael Parsons and Mathieu Copeland on Resonance FM
http://resonancefm.com/archives/352
Photographs courtesy Deborah Bullen
Sunday October 12th 2008 at 11.00am
Finsbury Avenue Square London EC2 (west side of Liverpool Street station)
Michael Parsons Walking Piece***
Philip Corner One Note Once
Michael Parsons will create a new version of his experimental classic Walk, originally written for the Scratch Orchestra in 1969. The performance will take place between 11.00am and 12 o’clock. To participate, meet in the Octagon next to the Richard Serra sculpture at the west entrance to Liverpool Street station at 10.30am. The work by Philip Corner will be performed inside the Richard Serra sculpture at exactly 12 o’clock.
«The architecture geometrically defined by urban planning is transformed into a space by walkers. Space is articulated by the operations that take place within it. It is composed of intersections of mobile elements; it exists when one takes into account vectors of direction, velocities and time variables».
(Michel de Certeau)
A Culture House commission curated by Mathieu Copeland, media partners Resonnance FM