“exhibition”

Revelations 2017, when excellence springs up

Held in a spirit of harmony embracing the design universe, R3, the third edition of Revelations, an international fair for fine craft and creation, will be on at the Grand Palais from 4 to 8 May. And paying homage to Chile’s artisanal production… 2017 marks the year of a biennial that will go down in history for all lovers of fine craftwork and exceptional savoir-faire. A biennial that will gather a large community of protagonists including designers and craftworkers, all of whom share a love for objects and the materials composing them, whether precious or not, innovative or traditional. Above all, Revelations has represented, since 2013, a veil lifted on a breeding ground of talent gathered under the glass dome of the Grand Palais, drawing a plethora of practices in which handiwork reigns supreme, in a stimulating atmosphere of exchange. This is an event with weighty significance and economic fallout for the whole of the profession, supported by artisan-creators, the “guardians” of French and international excellence. Recognition for artistic professions – finally! Set up in 2013 by Serge Nicole, president from 2006 to 2016 of the Ateliers d’Art de France (French professional union representing the craft professions), the Revelations fair has since taken up its quarters at the Grand Palais, an iconic spot for contemporary art… Whose choice may incidentally be a source of amusement for craftworkers given that the art of today has shown relative indifference to them, if not rejected them outright! Whatever the case, the event sets out to be the finest showcase for artistic professions offered to the world. Since its outset, it has defined itself as providing strong support to the sector’s visibility. Indeed, three years ago, the sector seemed to suffer from a lack of definition in the eyes of public authorities in...

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Bertrand Lavier, an a cappella interview

Following a long collaboration with the gallerist Yvon Lambert, Bertrand Lavier is, for the first time, showing work at the Almine Rech gallery. The artist is presenting a set of works from different “construction sites”, series that he gradually picks up over time as his work evolves. A guided tour.   Bertrand, your exhibition starts with a “painting room”… Here, I present several series of works, including new “Walt Disney Productions”. These works have classic frames, which give them a kitsch insolence. Stemming from one fiction – the one drawn by Walt Disney – they tip over to another – one associated with the field of art. These bright white wooden frames with foliage and arabesques highlight their artificial aspect. This is the first time that you’re using frames even if they were already present in the 1947 Walt Disney cartoon Mickey at the Museum of Modern Art. The Walt Disney Productions “construction site” started in 1984 with a series of Cibachromes, then ink jets on canvas until 2013, the year when I started painting on these prints. It was also in 1984 that I started covering mirrors with a “Van Gogh touch”. From 2011, I stopped covering their entire surface but instead would paint them with a “brushstroke touch” immortalised by Roy Lichtenstein. This way, I appropriated a fundamental gesture from contemporary painting and used it on the mirrors and Walt Disney Productions. This gesture, freer than the “Van Gogh” touch, allows me to easily follow the curves of painted motifs. For the Walt Disney Productions presented here, the fact that the whole of the canvas isn’t covered with paint means that the motif of the serigraphed outline is left visible, showing the stages preceding the final result. Have you used all the works that Mickey and Minnie discover...

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Peter Campus, withdrawal and extension

The Musée du Jeu de Paume is devoting a rare and beautiful retrospective to the work of Peter Campus, a video-art pioneer who remains too little known in France. From collective introspection to the serenity of his recent years, we take a glimpse at his trajectory. It’s a shame how rare are the opportunities that arise to see Peter Campus’ work in France. Only one appearance stands out in the last five years. That was in 2015, at the Galerie mfc-michèle didier exhibition “Anarchive, Affinités / Diversités”, presenting a collection of interactive multimedia projects. On that occasion, Peter Campus’ video offshore (2013) was presented: a fixed shot of the banks of Shinnecock Bay (New York State) synthesized into large reworked pixels. The last solo exhibition of Peter Campus in France dates all the way back to 1993: a project at La Box, the gallery of the École Nationale Supérieure d’Art de Bourges. And there’s a good reason for this rarity… If Peter Campus’ video work is so little displayed, it’s because they’re a real headache to show. Regarding Optical Sockets (1972-1973), made up of four video-surveillance cameras placed on tripods on floor-level, each at a corner of a square, with four monitors superimposing the images of visitors penetrating the field of the camera’s range, the video artist exclaims: “We took two days simply to adjust the settings of this installation!” More than mere logistical issues, his setups also gave him cause to worry about the endurance of his work. “Once the work is switched off, it’s over. It’s not as if it could stay present like a sculpture in a museum. I didn’t know if my installations could live more than a few years,” he explained to Mathilde Roman in the exhibition catalogue. With “peter campus, video ergo sum”,...

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Nana Oforiatta-Ayim: a new model of showing contemporary art

Coinciding with the 60th anniversary of Ghana’s independence, the country’s capital Accra saw open a new multi-purpose contemporary art space. ANO aims to serve as a hub for the city’s growing art scene. Interview with Nana Oforiatta-Ayim, writer, art historian, filmmaker and founder of ANO.   ANO – what does this signify? It actually comes from the Ghanaian word for grandmother. In Ghana, grandmother or old woman, is a metaphor for knowledge and wisdom. ANO is very much also about bringing to the fore hidden or untold cultural histories, so she seemed like a very good metaphor for that. Also, in Esperanto it means belonging. When I started working in arts, African art was very much outside of the centre, so it is also about belonging to the world’s discourse and having our place. How was the idea for this new art space born? Last year I helped to set up a gallery, called Gallery 1957, in the Kempinski Hotel in Ghana. I had always realised the need for more sustainable spaces, but now understood the pragmatism of it. So more spaces that sell art, that invite collectors in and that give artists an opportunity to be sustainable and profitable. The space in the hotel was quite limited; a lot of people are very shy of coming into a five star hotel. So before, where we had been working more on content and narrative, now the idea of growth and even of profit, for growth, came into play. What are your plans for this space? It will be an exhibition space for exhibitions, performances and screenings, but it will also be a space for the creative community in Ghana to get together. So there is a library and a research centre. There will be lectures and workshops as well....

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Chicago Area Museums: Recent Acquisitions…

Representatives from three top Chicago area museums recently shared with Art Media Agency details of their recent acquisitions. The historical and stylistic range demonstrates a continued high level of commitment to strengthening the permanent collections of the city’s vital art institutions. Founded in 1879, The Art Institute of Chicago (AIC) is one of the most important and visited art institutions in the world. Their permanent collection includes more than 300,000 objects and represents every historical period, nationality and culture. The newest addition to the museum came in 2009, with the creation of its Modern Wing, which enhanced the institution with 264,000 square feet of exhibition space and educational facilities and features state-of-the-art green technology. The Art Institute of Chicago is supported through donations and admission fees, though special free admission times are frequent, and include free admission Thursday evenings from 5:00 to 8:00 pm year round to residents of the State of Illinois. The Art Institute of Chicago has acquired Christ Carrying the Cross, by the 16th Century Italian painter Sebastiano del Piombo. The painting was only recently rediscovered, and was brought to the attention of the AIC by London-based art gallery Colnaghi, who facilitated the transfer of the painting to the museum. “We couldn’t be more thrilled to have this rare and wonderful opportunity to bring such an important painting—our first by Sebastiano—into the Art Institute’s permanent collection,” said Gloria Groom, David and Mary Winton Green Curator and Chair of European Painting and Sculpture for the AIC. Sebastiano del Piombo is notable as one of the only major painters of the High Renaissance to combine the Venetian School’s focus on color with the Mannerist’s exaggeration of proportions. As a result his work was hailed for its ability to evoke a monumental, heroic elegance while still attaining the more...

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