Press release
MICROPOLITIQUES
Exhibition from February 6 to April 30, 2000
Curators : Paul Ardenne, Christine Macel
Atelier van Lieshout, Joseph Beuys, Sylvie Blocher, Marc Boucherot, Daniel Buren,
André Cadere, Jimmie Durham, Robert Filliou, Kendell Geers, Felix Gonzalez-Torres,
Gregory Green, Carsten Höller, Joël Hubaut, Regine Kolle, Saverio
Lucariello, Florence Manlik, Gordon Matta-Clark, David Medalla/Adam Nankervis,
Philippe Meste, Name Diffusion, Hervé Paraponaris, Dan Peterman, Michelangelo
Pistoletto, Tobias Rehberger, Franck Scurti, Simon Starling, Uri Tzaig, Nicolas
Uriburu, Jacques Villeglé
Micropolitiques is a group show that makes no claims of being
exhaustive. This exhibition is devoted to forms of contemporary art that invite
viewers to think about politics on a fragmentary or “molecular”
social level. That is, forms of art whose approach to political questions favors
micro-arrangements, micro- or local actions—in a word, anything that disturbs
or acts upon an individual closest to home, so to speak, without trying to promote
slogans, utopias, injunctions to get involved. It is a kind of art then that
points not to action strictly speaking, but to proposals that constitute genuine
“vanishing lines,” as Deleuze and Guattari put it, possibilities
that are offered for modifying rhythms and styles of living, although “they
take shape as best they can rather than imply omnipotence.”
Traditional political art, which developed under the canonic forms of engagement
and denunciation, went through a certain revival in the 1980s. Such art, however,
has since distanced itself from the aesthetic and political realities of today.
A good number of contemporary artists who are involved in the social or public
space, or within the political sphere itself, have understood the lesson to
be had from the risk threatening a political art that remains “classic”
in its forms of expression—“macropolitical” by nature—that
is, the risk of being either misinterpreted or appropriated by other movements.
Their stance, the modes of inscription that they choose, always taking care
to place themselves in the aesthetic or formal dimension, have evolved accordingly,
for they themselves have lost all illusion of remaking the world or having to
dispense the Truth; they have come back to a political discourse that is closer
to reality, one that is devoid of authoritarianism and grandiloquence. This
is a belated, though judicious way of returning to the etymological meaning
of “Political,” in other words, what began with the city, its function
and collective being, but considered from the following point of view: Not “walking
ahead” (the meaning of arkhein, the original term designating politics
as command), but rather “walking with.”
The show is made up of both an “historical” part and a contemporary
section. No attempt has been made to mount a chronological presentation however.
Works from the 1960s and the 1990s are displayed side by side, while several
pieces by one and the same artist may be found scattered at various points throughout
the exhibition. The show also includes a space devoted to documentation where
a number of low tables display facsimiles of original documents relating to
the historical section. Micropolitiques has been deliberately laid out according
to a certain rhythm that alternates areas of highly concentrated displays (a
collection of “political” torn posters by Jacques Villeglé
dating from the years 1950-90, for example), with others devoted to a single
work of art (Gordon Matta-Clark’s exceptional Food, Dan Peterman’s
Ground Cover, etc.) The thread running throughout the show comprises a series
of “sticks” (Cadere, Durham, Scurti, etc.) and “balls”
which appear over and over in the presentation. There is Michelangelo Pistoletto’s
Sculpture de passage (a "traveling" work that was originally moved
by the artist from one Turin gallery to the next when he was showing there),
Uri Tzaig’s Paper Ball, or Kendell Geers’ TW Stolen Idea. These
pieces constitute so many links to both aesthetic meaning and the very core
of a show that aims to present different micropolitical “families.”
Certain singular works of art are likewise reevaluated here (Uriburu); others
offer meaning through their humor, occasionally from the most unexpected quarters
(Lucariello as well as a surprising Beuys playing the part of a crooner...)
Finally, the significant input of young artists in the show, including works
by Simon Starling, Marc Boucherot, Gregory Green or Regine Kolle, offers striking
proof of both the active continuity and the topicality of micropolitical forms
of art, which are attracting growing interest at present.
The curators
Art historian, Paul Ardenne has written a number of studies of today's art,
notably Art, l'âge contemporain - une histoire des arts plastiques à
la fin du Xxe siècle (Editions du Regard, 1997). A regular contributor
to art magazines, including art press, he worked on the 1997 show Interplace
Access in Milan (Via Farini), devoted to the "mavericks" of art.
Christine Macel teaches at the Ecole du Louvre and works at the Délégation
aux Arts Plastiques (Ministry of Culture). She organized the exhibition Transit
- 60 artistes nés après 60 (Ecole Supérieure des Beaux-Arts
de Paris, 1997), and has been chosen to curate the Printemps de cahors festival
in both 1999 and 2000.
EXHIBITION CHECKLIST
Atelier van Lieshout
Bathroom Unit, 1 993 movable bathroom unit wood, polyester resin, colored
coat gel 240 x 180 x 400 cm
Joseph Beuys
Sonne statt Reagan, 1982
Audio tape, 3 '3"
Sylvie Blocher
Living Pictures/Gens de Calais, 1997
video installation, 30'
Marc Boucherot
Pièces à conviction, 1993
Two exploded chrome gas bottles
Sinister location "EmmaUs", Pointe rouge, Marseille
Pièce à conviction, 1992
Exploded chrome gas bottle Sinister location "Emmaüs", Pointe
rouge, Marseille
Coup d'assure, 1992
Two exploded chrome gas bottles Color shot (40 x 70 cm) plane photograph of
the shop. Sinister location "Conforama" Plan de Campagne
Daniel Buren
Documentary space, 2000
Souvenir photographs, works in situ, slide show
André Cadere
5 barres de bois rond, 1970-71
29,4 cm, 0 1,5 cm
Barres de bois rond, 1977
178 cm, 0 2,5 cm, 52 segments
Jimmie Durham
Le bâton pour marquer le centre du monde à Reims, 1996
Wood, mirror, text
Arc de triomphe individuel, 1996
Painted wood, metal hinges
Robert Filliou
Research in Dynamics and Comparative Statics (16704 cm2 de Pré-territoire
de la République Géniale), 1973, Editions Lebeer-Hossmann
(30 ex.)
Wood suitcase with ink and color pencil on cardboard and glued sheets of paper,
adhesive tape, cassette, 28 notebooks, brass, wire, string; 13x32x49,8 cm
Kendell Geers
Title Withheld (Self Portrait), 1999
édition 5/5 9,5 x 7,5 x 6 cm
goulot de bouteille brisée, situation
Title Withheld (R.I.P.), 2000
situation, dimensions variables
Title Withheld (Stolen Idea), 1995-2000
plasticine, situation, dimensions variables
Felix Gonzalez-Torres
Untitled (NRA - National Rifle Association), 1990
Offset print on red paper (endless copies), (at ideal height) 50,8 x 84,5 x
66,8 cm
Gregory Green
Gregnik Proto I, 1996
Aluminum, Plexiglas, hardware, stereo radio waves transmitter 55,8 x 30,5 x
30,5 cm
New Free State of Caroline, 1996 Flag, plate, brass, thread, grommets
Carsten Holler
Kinder Demonstrieren für die Zukunft, 1992
Slide show, installation
Joël Hubaut
Burô Orange pour l'Agence Clom-Trok Orange (agence C.L.O.M.I.K.),
2000
Installation, variable dimensions
Régine Kolle
Seaside, 1996
Oil on canvas, 28 x 36 cm
Zombie Today, 1999
Oil on canvas, 206 x 121 cm
New Years Morning Bombing, 1999
Oil on canvas, 73,5 x 134 cm
Puker, 1999
Oil on canvas, 62 x 84 cm
Washing, 1999
Oil on canvas, 60,5 x 100 cm
Saverio Lucariello
Micropâlepolitique, 1999
Vidéo, 7'
Florence Manlik
Mono Dope, 2000
Installation, variable dimensions
Gordon Matta-Clark
Selection of pieces Presented within the framework of the Food exhibition,
organised by Catherine Morris at the Westfälisches Landesmuseum for Kunst
und Kulturgeschichte Munster. Front pages of Avalanche, films, interviews, etc.
See details in the Micropolitiques catalogue.
David Medalla
A Stitch in time, 1968/2000
Cloth, reel, active installation, variable dimensions
The Marriage of Likeness
Performance with Adam Nankervis
Performed on 05.02.2000 at Magasin
Philippe Meste
GUNPOWER I, 1997
GUNPOWER II, 1997
GUNPOWER III, 1997
GUNPOWER VI, 1999
Mixed media and box
BAGPOWER II (Technics Noir), 1999
BAGPOWER IV (Burning), 1999
BAGPOWER VII (Work Bleu), 1999
Mixed media
Name Diffusion
cartographes sans lieu
www.moneynations.ch/cartographes, 2000
Website, web corner
Hervé Paraponaris
Stolen. Island, 2000
Color Nova Print edition, 300 x 140 cm
Dan Peterman
With Carrying Case Series, 1990/1992
Five suitcases with internal molding, resin, polystyrene, car paint 58 x 50,5
x 18 cm ; 45,5 x 18 x 12,5cm; 41,5 x 35 x 24 cm ; 30,5 x 24,5 x 6,5cm; 27,5
x 11 x 5,5 cm
Ground Cover, 1995
Recycled plastic bricks, three wooden pallet, variable dimensions
Michelangelo Pistoletto
Scultura da passegio, 1966-1995 Styrophore and paper, diam 100 cm
NB: the S cultura do passegio presented in the exhibition is a replica
of the 1966 one.
Buongiorno Michelangelo, 1967
Black and white movie by Ugo Nespolo transferred on video.
Tobias Rehberger
Bibliothèque horizontale, 1999 (Magasin version), 2000
Six ceramic ashtrays, eleven paper lamps, books, variable dimensions
Franck Scurti
The City Is Not a Tree, 1999
Illegal billsticking in Grenoble, 2000
Color offset on paper, 118 x 173 cm
Caducée III, 1997
Cans, cover made with boa skin, 192,5 cm, diam 6,5 cm
Caducée IV, 1997
Cans, cover made with boa skin, 90,5 cm, diam 6,5 cm
Caducée V, 1997
Cans, cover made with boa skin, 159 cm, diam 5,2cm
Caducée VI, 1997
Cans, cover made with boa skin 133 cm, diam 5,2cm
Sandwich, 1999
Glass door (210 x 80 cm), wood handles and keys
Simon Starling
Work made-ready for Kunsthalle Bern:
A Charles Eames Aluminium Group chair remade using the metal from a Marin Sausalito
bicycle
A Marin Sausalito bicycle remade using the metal from a Charles Eames Aluminium
Group chair, 1996
Various materials, 60 x 60 x 90 cm and 190 x 100 x 25 cm
Uri Tzaig
infini, 1998
Vidéo, 20'
Paper Ball, 1994
Paper, paint, adhesive tape, 0 56 cm
Nicolas Uriburu
International Coloration of the waters La Seine, Green Paris, 1970
Photography, 60 x 100 cm
International Coloration of the waters East River, Green New York,
1970
Photography, 60 x 100 cm
International Coloration of the waters Rio de la Plata, Green Buenos
Aires, 1970
Photography, 60 x 100 cm
International Coloration of the waters Canal Grande, Green Venice,
1970
Photography, 60 x 100 cm
Coloration, 1973
Six serigraphs, 75 x 55 cm
Edition 107/111
Jacques Villeglé
Rue Notre-Dame des Champs, 22.10.1958
Slashed posters mounted on canvas, 60 x 100 cm
Rue Léopold Robert (La Succession), 18.01.1964
Slashed posters mounted on canvas, 82 x 49 cm
Rue Archereau, 8.04.1970
Slashed posters mounted on canvas, 73 x 60 cm
Rue au Maire, 13.11.1972
Slashed posters mounted on canvas, 116 x 89 cm
Rue Pierre Lescot, 3.05.1981
Slashed posters mounted on canvas, 224 x 160 cm
107, rue Beaubourg, 04.1995
Slashed posters mounted on canvas, 195 x 117 cm
THE ARTISTS
ATELIER VAN LIESHOUT
Established in 1995
JOEP VAN LIESHOUT
Born in 1963, in Ravenstein. Lives and works in Rotterdam since 1987.
JOSEPH BEUYS
1921, Krefeld - 1986, Dusseldorf.
SYLVIE BLOCHER
MARC BOUCHEROT
Born in 1968, in Annecy. Lives and works in Marseilles.
DANIEL BUREN
Born in 1938, in Boulogne-Billancourt. Lives and works in situ.
ANDRE CADERE
1934, Varsaw - 1978, Paris.
JIMMIE DURHAM
Born in 1940, U.S.A. Lives and works in Berlin.
ROBERT FILLIOU
1926, Sauve - 1987, Peyzac-le-Moustier
KENDELL GEERS
Born in 1968, South Africa. Lives and works in Johannesburg.
FELIX GONZALEZ-TORRES
1957, Guáimaro (Cuba) - 1996, Miami
GREGORY GREEN
Born in Niagara Falls. Lives and works in New York.
CARSTEN HOLLER
Born in 1961, Brussels. Lives and works in Cologne.
JOEL HUBAUT
Born in 1947, Amiens. Lives and works in Réville.
REGINE KOLLE
Born in 1967, Cologne. Lives and works in Paris.
SAVERI0 LUCARIELLO
Born in 1958, Naples. Lives and works in Paris.
FLORENCE MANLIK
Born in 1967. Lives et works in Paris.
GORDON MATTA-CLARK
1943, New York - 1978, New York
DAVID MEDALLA
Born in 1942, Manila. Lives and works in London.
PHILIPPE MESTE
Born in 1966, Rennes. Lives and works in Paris.
NAME DIFFUSION
Marion Baruch, Serge Combaud, Myriam Rambach Created in Milan by Marion Baruch
in 1990. Network presently active in Paris.
HERVÉ PARAPONARIS
DAN PETERMAN
Born in 1960, Minneapolis. Lives and works in Chicago.
MICHELANGELO PISTOLETTO
Born in 1933, Biella. Lives and works in Biella.
TOBIAS REHBERGER
Born in 1966, Esslingen. Lives and works in Frankfurt
FRANCK SCURTI
Born in 1965, Lyons. Lives and works in Paris.
SIMON STARLING
Born in 1967, Epsom. Lives and works in Glasgow.
URI TZAIG
Born in 1965, Kiryat Gar, Israel. Lives and works in Tel Aviv.
NICOLAS GARCIA URIBURU
Born in 1937, Buenos Aires. Lives and works in Buenos Aires.
JACQUES VILLEGLÉ
Born in 1926, Quimper. Lives and works in Paris.