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Art : Concept: FRANCIS BAUDEVIN - 14 Nov 2009 to 23 Dec 2009 Current Exhibition |
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FRANCIS BAUDEVIN November 14 - December 23 opening November 14 + Miscellaneous Abstract, Francis Baudevin (texts by: Bob Nickas, Christophe Cherix, Rainer Michael Mason), JRP Ringier, Gen�ve, 2009 +November 28, 7.30pm David Cunningham�s live performance at art: concept For his second solo exhibition at art: concept in Paris, Francis Baudevin appropriates the graphism of the 12� record sleeve Original Oldies vol 19 (Springboard). This commercial record, conceived to be mass-produced and distributed in supermarkets, is an oldies compilation. Even though Baudevin�s works don�t include any textual information and consist only of abstract geometrical forms, this is interesting to highlight the following mention written on the Original Oldies record � original hits by the original artists �. With regard to his paintings which are never signed and result from the appropriation method, this component creates an echo to Baudevin�s practice. The tracks of this 12� are hits original versions, an essential selling point, even if a posteriori this doesn�t guarantee that the recorded version is the most famous or musically speaking the most interesting. Moreover, the term �original� itself remains ambiguous, or even, not to say, litigious, especially if we consider the importance of covers in rock history, and the anonymity or the uncertainty concerning the authors of songs from folk, country and western, rhythm�n�blues or gospel repertory. The new works created from the Original Oldies record are in line with two previous collaborations Baudevin did. A paper, co-written with Emmanuel Grandjean, in the column �un disque par sa pochette� (a record from its artwork sleeve) published in the Swiss music magazine Vibrations and the design of David Cunningham�s last CD album (graphic design in collaboration with Gavillet&Rust;, Novembre, edited by audio and CIRCUIT, Lausanne, 2008). From its last variation, from the Original Oldies record sleeve to the artwork CD, Baudevin kept the title: Novembre (November), and chose it as the title of his personal exhibition. Baudevin transfers, declines and once again reinvents the graphic design of the Original Oldies record transforming it into another interpretation. This is a personal interpretation of course, but which implies subjectivity only because of the artist�s choices in terms of formats and spatial display. The smooth surfaces of the paintings deny any physical gesture, the pictorial act as usually is invisible. However, the materiality and physical confrontation are Baudevin�s works primary features. This results in optical effects as well as in the occupation of the space. The artist abstracts some patterns from the sleeve, adapting their size and their display to the scale of the exhibition space. In the second room, Baudevin develops other variations appropriating some other records sleeves from his personal collection. This series is not acrylic on canvas or wall painting, but coloured photographs which capture the ephemeral superimposition of the sleeve with the white wrapping paper protecting the disc. This is an unusual series in Baudevin�s work, revealing some small parts of the images, some fragments of the real which are representational and identifiable elements. Therefore, Baudevin appropriates artworks records proceeding by adjustment. He partially occults the sleeve, and plays with the transparency effects of the wrapping paper, so that he lets some new forms appear. In spite of the pinpoint of the images, the artist keeps his distance with any form of subjective involvement, the artistic gesture being predefined and calibrated by the standard format of the wrapping paper. Caroline Soyez-Petithomme. |
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