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Air de Paris: Liam Gillick - Sit in the machine | Antoine Espinasseau | Florbelle (after Sade) - 20 Oct 2011 to 3 Dec 2011

Current Exhibition


20 Oct 2011 to 3 Dec 2011

Opening Thusrday October 20 2011, 6-10 PM
Air de Paris
32, rue Louise Weiss
FR - 75013
Paris
France
Europe
T: +33 (1) 4423 0277
F: +33 (1) 5361 2284
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Liam Gillick
Sit in the machine
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Artists in this exhibition: Liam Gillick, Antoine Espinasseau, Jay Chung & Q Takeki Maeda, Pierre Klossowski, Monica Majoli, Fabian Marti, Anne Laure Sacriste, Josef Strau, Benjamin Swaim, Virginia Overton


Three exhibitions from October 20 to December 03 2011
Opening Thusrday October 20 2011 from 6 to 10 PM


Liam Gillick
Sit in the machine

Liam Gillick’s forthcoming exhibition at Air de Paris comprises two new films and a series of new structures. The first film is derived from a filmed tour, in idealised form, of the Kalmar Volvo factory, shot in the early 1970s. The second film is developed from a short clip of a group of car workers sitting inside a metal machine press, having to bend over each time the press bears down on the metal forms they repetitively place into the mechanism. In contrast to the idealised vision presented in the Volvo film, the car workers in this case have literally become part of the mechanism of production.

Adjacent to the two films is a “relaxation area”, modelled after the rest areas that were provided for each team at the Kalmar plant. Posters for the two films and the artists ongoing draft text of the book Construction of One, now 45,000 words long, will be located in this area.

Throughout the artwork over the last twenty years, the question of doubling, parallels and apparently unresolvable relationships has been a structural tool deployed as a fractured mirror of questions around production rather than consumption.

“You can see that in my work that there’s a constant dualism, which is between the desire to retain a ghost of a broken structure – to maintain some kind of semi-autonomous art object that can be differentiated from everything else by its ‘art’ quality, and at the same time, to use many of the things that we’ve used, like research, project-based structures and stepping out into documentary methodology to think about questions of production in the broader context.” Interview with Hans Ulrich Obrist, 2011

Liam Gillick is an artist based in London and New York. Solo exhibitions include The Wood Way, Whitechapel Gallery, London, 2002; A short text on the possibility of creating an economy of equivalence, Palais de Tokyo, 2005 and the retrospective project Three Perspectives and a short scenario, Witte de With, Rotterdam, Kunsthalle Zurich, Kunstverein, München and the MCA, Chicago, 2008-2010. He was nominated for the Turner Prize in 2002 and the Vincent Award at the Stedelijk Museum in Amsterdam in 2008. Many public commissions and projects include the Home Office in London (2005) and the Dynamica Building in Guadalajara, Mexico (2009). In 2006 he was a central figure in the free art school project unitednationsplaza in Berlin that travelled to Mexico City and New York. Liam Gillick has published a number of texts that function in parallel to his artwork. Proxemics (Selected writing 1988-2006) JRP-Ringier was published in 2007 alongside the monograph Factories in the Snow by Lilian Haberer, JRP-Ringier. A critical reader titled Meaning Liam Gillick, was published by MIT Press (2009). An anthology of his artistic writing titled Allbooks was also published by Book Works, London (2009). In addition he has contributed to many art magazines and journals including Parkett, Frieze, Art Monthly, October and Art Forum. Liam Gillick was selected to represent Germany for the 53rd Venice Biennale in 2009. A major exhibition of his work opened at the Kunst und Ausstellungshalle der Bundesrepublik Deutschland in April 2010. He has taught at Columbia University in New York since 1997 and the Centre for Curatorial Studies at Bard College since 2008. Public collections include: Government Art Collection, UK; Arts Council, UK; Tate, London; Museum of Modern Art, New York; Guggenheim Museum, New York; Hirshhorn Museum, Washington DC; Museum of Contemporary Art, Chicago.


in the window

Antoine Espinasseau
September 12 - October 20 2011
presented by Eric Troncy


Florbelle (after Sade)
by Vincent Romagny

with
Jay Chung & Q Takeki Maeda
Pierre Klossowski
Monica Majoli
Fabian Marti
Anne Laure Sacriste
Josef Strau
Benjamin Swaim
Virginia Overton

Nothing has come down to us of the Marquis de Sade's last novel, except the title –Les Journées de Florbelle ou La Nature dévoilée (The Days of Florbelle; or, Nature Unveiled) – and jottings he made while rereading the manuscript. Suggestions addressed to himself as if coming from someone else, these Notes pour Les Journées de Florbelle – "Take out, Add, Intensify, Pare down, Remember" – tell us very little about the book's content. Sade counts his pages, calculates how long it will take him to finish, checks the action against the reappearances of the characters, strives to avoid repetitions, makes lists of places, and so on.

Strictly speaking, he is signalling the operations remaining for the editing of this last novel. The Notes are, structurally, just like his writings: descriptions of operations whose enumeration and narration here precede the effectuation. The missing work is thus transformed into prescription, intention, list: something programmatic and latent, far removed from the subversion it is working towards, even as it makes it possible.

While chronologically later, the Notes have been turned by the loss of the text they annotate into an original work. Clues to Sade's fantasising in the asylum at Charenton, they themselves become the subject of fantasy, despite their specifically textual aspect. They impose critical distance on us: the emendation of a work has become a work. The Notes that came "after" have been emancipated from all notion of rewriting. Given this, they allow an after.

The exhibition Florbelle (after Sade) is the opportunity to link a choice of works with an equal selection of Notes: prints (Jay Chung & Q Takeki Maeda, Monica Majoli, Fabian Marti, Virginia Overton), a brand new piece (Josef Strau) or a selected work (Pierre Klosowski, Virginia Overton, Anne Laure Sacriste, Benjamin Swaim). While some of these works, though accomplished, retain a preliminary form (Jay Chung & Q Takeki Maeda, Anne Laure Sacriste) or be the sign of the times of their preparation (Fabian Marti, Virginia Overton, Josef Strau), a place remains for the irrational side (Pierre Klossowski, Monica Majoli, Benjamin Swaim) for which they ceaselessly prepare us.



AIR DE PARIS

32 rue Louise Weiss 75013 Paris
T. +33 (0)1 44 23 02 77
F: + 33 (0)1 53 61 22 84
www.airdeparis.com


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