What is not visible is not invisible (group show)
SongEun ArtSpace, Seoul
24 March - 20 May 2017
As part of our regular collection series, SongEun ArtSpace presents the selected artworks from FRAC (Fonds Régionaux d’Art Contemporain). FRACs are French Regional Collections of Contemporary Art created in 1982 as part of the policy of devolution of power set by the government via regional councils in order for art to be present in each and every one of France’s twenty three regions. Today, the FRACs’ collections gather 26,000 works from 5,400 French and foreign artists. A part from collecting artworks as their first mission, they also display it for all kinds of audiences and invent new ways to educate to contemporary creation. Platform is the umbrella organisation of the 23 French Regional Collections of contemporary in France. This national network regularly coordinates collective projects abroad in order to show the FRACs’ collections internationally.
This exhibition has been curated by Laurence Gateau (Director of FRAC des Pays de la Loire) and Anne-Claire Duprat (General Secretary of Platform) in discussion with the FRAC Directors and with the SongEun ArtSpace, and is a selected works of twenty eight French and foreign artists from the FRACs collections.
The Arcades: Contemporary Art and Walter Benjamin (group show)
The Jewish Museum New York, New York
17 March - 6 August 2017
This exhibition of contemporary artworks presents photography, video, sculpture, and painting seen through the lens of influential philosopher Walter Benjamin’s magnum opus The Arcades Project.
The German Jewish writer Walter Benjamin (1892–1940), one of the most important philosophers and cultural critics of the twentieth century, began The Arcades Project in 1927 as a short piece about Paris's nineteenth-century iron-and-glass vaulted shopping passages. With their labyrinthine architecture and surrealistic juxtapositions of disparate objects and people, past and present, the arcades offered an ideal prism through which to examine the era’s capitalist metropolis and the phenomenon of modernity that had its origins there. Benjamin worked extensively on his manuscript, which grew into a sprawling compendium of quotations, reflections, and notes. When he was forced to flee Paris to escape Nazi persecution, he entrusted it to his friend Georges Bataille. Some years after Benjamin’s untimely death, the text was discovered and published.
The Jewish Museum New York
Raymond Hains, Ernesto Neto
Vive Arte Viva, 57th Venice Biennale (group show)
Arsenale and Central Pavilion, Giardini, Venice
13 May - 26 November 2017
The Exhibition offers a route that unfolds over the course of nine chapters or families of artists, beginning with two introductory realms in the Central Pavilion, followed by another seven across the Arsenale through the Giardino delle Vergini. 120 are the invited artists from 51 countries; 103 of these are participating for the first time.
«La Biennale must present itself as a place whose method—and almost raison d’être—is dedicated to an open dialogue between artists, and between artists and the public.»
Biennale di Venezia
Celebrating New Realism (group show)
40th anniversary of Centre Pompidou
Les Abattoirs, FRAC Midi-Pyrénées, Toulouse
2 February - 28 May 2017
Artists include: Arman, Ben, César, Gérard Deschamps, François Dufrêne, Raymond Hains, Horst Egon Kalinowski, Yves Klein, Robert Malaval, Robert Rauschenberg, Jean-Pierre Raynaud, Martial Raysse, Mimmo Rotella, Niki de Saint Phalle, Daniel Spoerri, Richard Stankiewicz, Jean Tinguely, Jacques Villeglé, Gil Joseph Wolman, and M.A.T. Editions.
The Nouveau Realisme movement began in Yves Klein’s studio in 1960, where Pierre Restany brought together a group of artists whose collective singularity was "Nouveau Réalisme—new ways of perceiving the real”. Arman, César, François Dufrêne, Raymond Hains, Yves Klein, Martial Raysse, Daniel Spoerri, Jean Tinguely, and Jacques Villeglé all signed the manifesto, joined by Niki de Saint Phalle, Gérard Deschamps, César, and Mimmo Rotella the following year, and later Christo.
The group offered an alternative to the Abstract wave which followed the Second World War and quickly became a major trend in Avant Garde throughout France and Europe. Nouveau Réalisme’s perspective on the object and gesture joined the change that was happening internationally throughout the world of art (Néo-Dada, Fluxus, Pop art, groupe Zéro...)
Like Pop Art, Nouveau Réalisme addressed the rise in industrialisation and consumerism in society. Drawing material for their works from the daily life of the early 1960s, Nouveau Realists used everyday objects, adverts, posters, junk, neon lights... Their works were however dense and radical, marked by action and movement; destroying, ripping, compressing, assembling, sticking, tearing, stretching, stamping, and wrapping. Each artist had their own particular method of creating a "poetic recycling of urban, industrial and advertising reality". Arman had his accumulations and destructions, César; expansions and compressions, Hains and Villeglé; décollage (torn poster technique), Yves Klein; monochromes and performance art, Raysse; assemblage and transfigurements, Spoerri; snare-pictures, Tinguely; sculptural machines or metamechanics, and Niki de Saint Phalle her Tirs and Nanas.
The diversity and vitality of Nouveau Réaliste works will be showcased at les Abattoirs in a journey into the heart of the movement; accompanied by films, the exhibition will highlight how much the group has influenced public space, and our lives. You’ll see the militant, often comical side to the works, many of which are on loan from the Pompidou Centre and Tiguely museum (Basel). To complete this unique show, some works by artists close to the movement (Malaval, Raynaud, Rauschenberg, etc.) will be included.
Les Abattoirs, Toulouse