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Raymond Hains

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.

SongEun ArtSpace


Additional:

Raymond Hains, Richard Prince et al.

On Aime l’Art…!! (group show)
Collection Lambert en Avignon, Avignon
6 July - 5 November 2017

While exhibitions have already revealed some of the major works collected by clothes designer agnès b. for over thirty years, the idea of carrying out her multi-faceted portrait project was never conceived on this scale. Both designer, and director of a film selected at the Venice Mostra, My name is Hmmmm, intimately linked with the world of music, patron of the arts agnès b. has been, above all, a great discoverer of artists since the opening of the agnès b. Galerie du Jour in 1983.

Sharing the same passion for art, the same love of creation and individuals involved with the most sensitive aspects of life, agnès b. and Yvon Lambert connect on so many levels both through their intense involvement with the artists they are involved with, and also because of their eclectic nature and avant-garde vision, making them witnesses of the times they live in.

So, it’s no surprise that 400 works from the agnès b. collection now adorn the spaces of our institution, like so many witnesses drawing a portrait of this woman freed from all convention and a collection focussed on the avant-garde, including works acquired to be shared.

This exhibition takes the form of a journey of the senses and is organised around great artists she has often been the first to collect, and also worldly relationships or unusual aesthetics and strong ideas that seem like happy obsessions.

Just as commitment and politics permeate agnès b’s. own journey through and through, they will make their mark on the entirety of this exceptional presentation. Painting, love, reverie, music, experimental cinema, adolescence, modernity, the avant-garde, the transcending of established borders, whether physical, social or mental, Africa – these are all aesthetic landscapes offered to the visitor to explore through the richness and diversity of the exhibited works, crossed by the need for total commitment to the experience of life and the struggle for freedom.

Collection Lambert en Avignon, Avignon


Raymond Hains

It's More Fun to Compete (group show)
Musée d'Art Contemporain, Marseille
13 May 2017 - 14 January 2018


Raymond Hains, Ernesto Neto et al.

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