“Javier Pares”

Javier Peres, art out of time

Iconoclast or iconophile? Innovative, or the product of an era? This year, Parcours des Mondes has invited Berlin gallerist Javier Peres to exhibit a few pieces from his personal contemporary-art collection alongside a selection of dealers’ works. The recent years have demonstrated a step-up in boldness amongst exhibition curators. Events such as “Bord des Mondes” (Palais de Tokyo, 2015), “Une Brève Histoire de l’Avenir” (Louvre, 2015) and “Carambolages” (Grand Palais, 2016), have brought together works without any immediate or flagrant historical ties, but other less obvious links. History has not been cast aside, but played down in relation to anthropological or formal connections. In this way, these exhibitions can be compared to essays or protocols rather than demonstrations, their intention less being to highlight a moment in art history than to speak about Man, to investigate the great history of human representations, or to operate formal matches that convey meaning. This same audacity is behind the appealing display of classic African art next to contemporary art. In this way, in May this year, Bernard de Grunne and Almine Rech joined forces to organise an exhibition that was highly publicised: “Imaginary Ancestors”, unveiled at Almine Rech’s New York gallery. The latter restaged a Paul Guillaume exhibition shown at the Durand-Ruel gallery in 1933 (displaying Fang sculptures next to contemporary works of the time, proof that this curatorial gesture has been around for a while), and in parallel, matched “modern primitivists” with artists such as Joe Bradley, Mark Grotjahn, Ana Mendieta, James Turrell and Erika Verzutti. Javier Peres is familiar with this game of mix-and-match. The gallerist (Peres Projects, Berlin) has already played it on three occasions. First of all, in 2014, in his Karl Marx Allee gallery, with the exhibition “Group Spirit”, at which he showed Bundu helmet-masks from his personal collection...

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