“Dominique Gonzalez-Foerster, 1887-2058” and Julien Prévieux – Prix Marcel Duchamp at Centre Pompidou, Paris
“Dominique Gonzalez-Foerster, 1887-2058”
The Centre Pompidou is devoting a both forward-looking and retrospective exhibition of the work of Dominique Gonzalez-Foerster, presenting some 30 connected works in spaces both inside and outside of the museum. The artist will create a spatiotemporal labyrinth of rooms and environments, a theatre of sounds and perceptions, a multi-faceted story.
“Dominique Gonzalez-Foerster, 1887-2058” displays an “open” timeline from 1887 to 2058, and extends the idea of the retrospective by combining different centuries and climates.
The exhibition begins in the late 19th century; journeys through the experiments of the 20th century, and projects viewers into landscapes and interiors in turn desert— like or tropical, biographical or dystopian. This combination of parallel realities and stage sets—where the genres of landscape, portrait and period rooms co-exist— becomes a fictional house with numerous entrances, constructed so that viewers experience the sensations of outdoor and indoor, ideas of identity and fiction, the present moment and a journey through time.
Sometimes stage, sometimes playground and sometimes introspective narratives, the rooms, films and appearances of Dominique Gonzalez-Foerster are anchored in living memories of cinema, literature and the open structures of architecture and music: all ways of exploring the limits of the possible in art.
Like an opera or a musical, the exhibition brings to life all kinds of cinematographic, literary and scientific presences, to create a world inhabited by sensations, stories and quotations. The exhibition is an identification of the artist, the work and the viewer all at once.
Curated by Emma Lavigne, director of the Centre Pompidou-Metz, this monograph devoted to the work of Dominique Gonzalez-Foerster, one of the world’s leading contemporary artists, is part of the ongoing series of retrospectives devoted to the art figures of today (Philippe Parreno, Gabriel Orozco, Pierre Huyghe …). This exhibition of an unprecedented scale constitutes an important milestone in the presentation of the work of Dominique Gonzalez-Foerster, following her solo shows at the Musée d’art moderne de la Ville de Paris in 2007, at the Tate Modern in 2008, the Palacio de Cristal of Madrid in 2014—organized by the Museo Nacional Centro de Arte Reina Sofia, and her cycle of scheduled appearances programmed for the opening week of the Fondation Louis Vuitton in 2014.
until 1 February 2016
“Dominique Gonzalez-Foerster, 1887-2058” installation views at Centre Pompidou, Paris, 2015
Courtesy: Centre Pompidou, Paris. Photo: Philippe Migeat and Grégoire Vieille.
Julien Prévieux – Prix Marcel Duchamp at Espace 315
The Centre Pompidou has invited Julien Prévieux, the winner of the Prix Marcel Duchamp 2014, to stage a show of his work in Espace 315. In response, artist has chosen to present a mixture of drawings, abstract sculptures and films organised around the themes of the recording of movement and the schematization of the body.
The work of Julien Prévieux interrogates the world and the way we experience it under the aspects of employment, economics and politics. He’s interested in cutting-edge technology, mechanisms of control and management theory, which he seeks to turn against themselves.
Prévieux thus re-appropriates the technologies developed to record movement in order to generate aesthetic experiences that bring out their potential for play and for the creation of form.
Similarly, he makes use of the vocabulary, mechanisms and procedures of the world of work to unpick the unquestioned assumptions underlying them and to underline the dangers they pose, prompting us to think about the issues at stake. An example might be the famous “expressions of non-interest” he sent to employers over many years, responding to job-adverts in the press. In his effort to resist administrative power and escape commodification Julien Prévieux deploys a “counter-productivity” strategy, one that also finds expression in numerous collaborations.
An example of this is Prévieux’s work with officers from a police station in the14th arrondissement of Paris, which forms part of this exhibition. Here he takes up the crime map – a graphic image derived from the computer-processing of statistics that shows the distribution and density of crime in a given area – inviting the officers to produce these entirely by hand – robbing the process of its efficiency and its practical purpose but revealing its poetic possibilities.
Produced especially for this exhibition, the film Patterns of Life has five dancers from the Opéra de Paris perform a history of movement capture. From Georges Demenÿ’s recording of faulty gait to the “activity-based intelligence” generated by the US National Geospatial-Intelligence Agency, the film traces the genealogy of the quantification and visualisation of bodily movement and the different ways of making sense of it.
The dancers perform six key experiments in the measurement of movement, carrying out of protocols and scientific results as if they were choregraphic instructions, in a film highlighting their political, economic or military implications.
Such schematisations of movement generate results whose aesthetics echo the formal explorations of modern and contemporary art. The visualisations of movement presented here thus offer, in their lines, colours and materials, all the wealth one might expect of abstract drawings or sculpture. This stress on the relationship between abstract art and the modes of recording gesture and movement – of the worker on the line or of pedestrians in the city – is not merely an amusing anecdote but also a strategy of diversion.
until 1 February 2016
Julien Prévieux – Prix Marcel Duchamp at Centre Pompidou, Paris, 2015