Friday, January 20, 2012

Marina Abramovic: An Artist's Life Manifesto

I found this today and now I want a human cake for my birthday.

This video was made during Abramovic's happening at the MOCA in Los Angeles :

An artist should avoid falling in love with another artist

Sunday, January 8, 2012

Winter Vulkan Wolke

Another photoshoot with my siamese sister along the red rocks of the volcanic massif of Esterel.

The legend says that a fairy named Estérelle gave its name. Women came to consult for fertility. The true origin of the massif, less romanticized, comes from the adjective derived from sterile, which corresponded to the acidic and less fertile land that is the Esterel. The story of the Esterel is very old, its runs on 300 millions years. First attached to Africa, this piece of land separated itself during the formation of the Mediterrean sea. In the Tertiary, a section of the Esterel drifted and formed Corsica. Rugged landscapes and steep creeks plunging into the sea reflect the turbulent geological history.

Friday, January 6, 2012

Gerhard Richter: Panorama at the Tate

Seascape (My #1 !)

Dead Body (Part 1 of the triptych)

 Betty (Richter's daughter)

Overpainted family photographs

 Richter's father and dog

 Wolke (triptych)


Lion with tourist
What to do when you are an artist presenting at the Venice Biennale and you fall in love with the Annunciation painted by Titian at the Scuola di San Ranco. Just produce a copy and hang it on your walls.
The Annunciation after Titian

Between Xmas and NYE I went to the UK and did two major exhibitions: Vermeer's Women : Secrets and Silence at the Fitzwilliam Museum in Cambridge and Gerhard Richter: Panorama at the Tate Modern in London. I will write later on Vermeer as I am too excited to tell you about Richter. I was waiting this exhibition for so long and thought I would wait for it to come to the Centre Georges Pompidou in june as it is supposed to be but had the chance to see a preview. Lucky lucky me.

Althought I know more about his contemporary and friend Sigmar Polke (I studied a lot while in Venice at the François Pinaud foundation >here<) I always had a strong interest in this 80 years old german painter. 

When I entered the exhibition I had the same impression when I went to Basquiat at the Musée d'Art Moderne >here<, his work is immense ! 14 rooms altogether. Diverse range of techniques are presented: paintings based on photographs, gestural abstractions, portraits (mostly of his daugther and family members) and landscapes. As Christian Boltanski ( see his work for the french pavillon at the Venice Biennale >here<)  his paintings reflect historical horrors of the nazism without heavily suggest them. 
What I perceived from this mass of artworks was that Richter is not a painter at all. I remember what my art teacher Fluxus movement member Arnaud Labelle-Rojoux used to tell me "The Medium is the Medium, I am painting with pieces of torn photographs, I am drawing with scissors, detach yoursel from the medium to better understand it". Richter is a photograph who has traded his films against brushes. The result is an epic beauty of photographic quality (called photorealism but I hate this word) paintings deepen into a tangible blur made with horizontal gestures.

To me, the most interesting part of the work are the landscapes, his daughter portraits and the paintings made of newspapers photographs (even if it is Polke's iconic range of work). I've been a bit disappointed by his abstractions entitled each time 'Abstraction n°1,2...' Althought I was less sensible to it, I can understand how these colorful explosions constitute an essential part of his artistic evolution. This judgement may appear too hasty and newt time I will face Richter's abstraction I will try to look at it with virgin eyes. 

Tate Modern 6 October 2011 - 8 January 2012

Monday, January 2, 2012

Ghost wandering the rooftops of London

This photographs were taken in London mid-october before going to a warehouse party with my mysterious muse Olivia. She looks like a spirit that wanders from balcony to balcony.


Minimalism exhibition at the MCA of Chicago. Masterpieces were presented along new artworks of contemporary artists said to be the heirs of the movement. Consistent.

Tony Conrad - Yellow Movie
Conrad's Yellow Movie appears at first to be a classic work of Minimalism in its reduced palette and simple geometric composition until one lears the artist's intentions. For Conrad, the nearly white color painted within the black fram is an active surface, yellowing slowly as it observes and absorbs changes of light over time on its seemingly blank screen. The opening up of art to life and the inevitability of decay were preoccupations for artists during this time and have remained powerfully fresh ideas to this day.

Donald Judd - Horizontal Purple

Gordon Matta-Clark - Untitled
Whereas many of the artists represented in the exhibtion call attention to the limits and borders of the art objects themselves,  Matta-Clark highlights the limitations and characteristics of his tools, cutting overlapping arcs into paper with the use of a compass. The artist was well known for cutting into much larger structures, such as buildings, using geometric shapes to guide him.

Frank Stella - Type

Fred Sandback - Helium, from Eight-Part Sculpture for the Dwan Gallery (Conceptual Construction)
(My favourite one) Sandback proposes a sculptural intervention that cannot be seen. If helium was to be released into a room, the density or composition of the atmosphere of that room would have change as it would change if a larger stone sculpture were placed in the middle of the room but because this change would be imperceptible to unaided human perception, it would probably go unnoticed. Proposals for experiments such as this remind us of the immense amount of information available for us to process at every waking moment, most of which completely passes us by.

Carl André - Zinc Lead Plain

Gordon Matta-Clark - Circus of the Caribbean Orange

Scott Reeder