TELL ME A STORY introduces us to some of the uses of narration in contemporary art (Narration: a detailed written account of a sequence of facts, in a literary form). As in previous thematic exhibitions (Autoreverse 2, Images-Objets-Scènes, Vraiment Féminisme et art, Dramatically Different), this exhibition is a pretext for the exploration of a specific viewpoint of the very latest in artistic creation, the main thrust of what it is seeking, and its works. But it certainly would not claim to say it all, or show it all, either.

The artists brought together in this show were all born between 1943 and 1970.
They belong to two quite different generations (those born in the 1950s and those born in the 1960s) and hail from ten different countries (mainly Europe and the United States).

The works selected for the show are generally representative, reflecting the production of each individual artist. The vast majority of these works are two-dimensional, and flat (paintings, drawings and photographs). The images and representations in them are fixed or "motionless", contrasting with animated images (videos and films). They are also figurative (they involve the representation of real objects), and they principally depict the human figure and characters who are, as it were, staged and situated.

The imagery and the stories differ. Some of the artists seem to stress autobiographical elements (Carrie Mae Weems conjures up her work as a studio model; Jim Shaw draws his dreams, based on which he plans installations), while others refer to day-to-day goings-on (Philip-Lorca DiCorcia shows street scenes, Jeff Wall a person all alone at staggered moments, Daniele Galliano deals with cityscapes and night life, Sam Taylor-Wood with indoor scenes, and Eva Grubinger with small groups of characters interrupted in their action). Reality is at times akin to exoticism with the "African" paintings of Alì Hassoun, it spills over into imaginativeness with the dreamlike landscapes of Martino Coppes, becomes blurred, not to say disconcerting in the painted figures of James Rielly. Narrative turns into reality when Jean-Jacques Rullier invites us to travel through it, and it is sham when Xavier Veilhan introduces weirdly clad bearded figures.

The images and stories also depict our visual environment and icons of mass culture (film, TV, video, advertising, etc). Tim Rollins reproduces the pages of a science-fiction comic strip, John Miller shows us television sets, Elizabeth Peyton paints portraits of stars, Michel Majerus and Hans-Jörg Mayer borrow heavily from those icons which seem to be inexhaustible, while Ian Wallace tells of an onslaught against literature.

The form of these stories is usually developed in a series of similar works forming a whole. Tim Rollins very closely follows the series of pages of the comic strip. They are painted side by side, from left to right. The narratives of Sam Taylor-Wood and Ian Wallace can be read in a linear way, image after image, like photographic or cinematographic prints (Sam Taylor-Wood uses a 360º lens which sweeps the room where the action takes place; each photo, which might be seen as the result of a collage of several photos, is in fact a panoramic shot). The story thus "narrated" apparently satisfies the conditions of the three unities, place, time and plot, of the classical narrative.
Each of Hans-Jörg Mayer's representations, each of the elements in Jeff Wall's diptych, and each of the pictures in the ensemble contributed by James Rielly and Daniele Galliano does not really form a narrative. It is the link that the viewer creates between the parts of these ensembles which constructs the story, and this construction stems from the interpretation. This same onlooker's viewpoint is dealt with in solitary works. The juxtaposition of Martino Coppes' undefined landscapes with the small figures crossing them, and the illumination of an anonymous passer-by caught in the crowd in Philip-Lorca DiCorcia's photos both simularly prompt the interpretation and the outline of the story.
Elizabeth Peyton's series of portraits, John Miller's pictures of TV game programs, and Jim Shaw's dreams all give a host of viewpoints of a similar subject. Xavier Veilhan fits into the tradition of narrative painting. He proposes an immediate narration; the manipulated photographic image is a split-second narrative.

The analysis of TELL ME A STORY refers to some of the areas of research of contemporary art, including the introduction of temporality into the statement and the material development of the work, the relationship with the onlooker, the definite influence of the cinema and its offshoots (video and TV), the visual mass and both the re-investment and exhaustion of the image and its narrative formation.

ARTISTS

Martino Coppes, born in 1965 in Como (Italy), lives and works in Mendrisio (Switzerland).
Philip-Lorca diCorcia, born in 1953 in Hartford, Connecticut (USA).
Daniele Galliano, born in 1961 in Pinerolo (Turin), lives and works in Turin (Italy).
Alì Hassoun, born in 1964 in Sidon (Lebanon), lives and works in Milan.
Eva Grubinger, born in 1970 in Salzburg (Austria), lives and works in Berlin.
Sharon Lockhart, born in 1964 in Norwood (USA), lives and works in Los Angeles.
Michel Majerus, born in 1967 in Esch (Germany), lives and works in Berlin.
Hans-Jörg Mayer, born in 1955, lives and works in Cologne.
John Miller, born in 1954, lives and works in New York.
Elizabeth Peyton, born in 1965 in Danbury (USA), lives and works in New York.
James Rielly, born in 1956 in Wrexham (Wales), lives and works in London.
Tim Rollins + K.O.S., born in 1955 in Pittsfield (USA), lives and works in New York.
Jean-Jacques Rullier, born in 1962 in Bourg-Saint-Maurice, lives and works in Lyons.
Jim Shaw, born on 1952 in Midland (USA), lives and works in Los Angeles.
Sam Taylor-Wood, born in 1967 in London, where she lives and works.
Xavier Veilhan, born in 1963 in Lyons, lives and works in Paris.
Gert Verhoeven, born in 1964 in Leuven, lives and works in Bertem (Belgium).
Jeff Wall, born in 1946 in Vancouver (Canada) where he lives and works.
Ian Wallace, born in 1943 in Shoreham (England), lives and works in Vancouver.
Carrie Mae Weems, born in 1953 in Portland (USA), lives and works in Syracuse & Boston (USA).


EXIBITION CHECKLIST

Martino COPPES
Untitled 57, 1998
cibachrome
134 x 220 cm
Courtesy Art & Public, Geneva

Red, 1998
cibachrome
100 x 177 cm
Courtesy the artist, Mendrisio (CH)

Salüster, 1997
cibachrome
100 x 177 cm
Courtesy Monica de Cardenas, Milano

Philip diCORCIA
New York, 1993
Ektacolor print mounted to 4-ply board
61 x 69 cm
Courtesy PaceWildensteinMacGill, New York

New York, 1993
Ektacolor print mounted to 4-ply board
69 x 94 cm
Courtesy PaceWildensteinMacGill, New York

New York, 1993
Ektacolor print mounted to 4-ply board
63 x 101 cm
Courtesy PaceWildensteinMacGill, New York

New York, 1997
Ektacolor print mounted to 4-ply board
63 x 101 cm
Courtesy PaceWildensteinMacGill, New York


Daniele GALLIANO
Sans titre, 1994
oil on canvas
70 x 100 cm
Private Collection, Torino
Courtesy Galleria In Arco, Torino

Sans titre, 1995
oil on canvas
80 x 80 cm
Private Collection, Rivoli (TO)
Courtesy Galleria In Arco, Torino

La notte di Park Slpoe, 1995
oil on canvas
24 x 30 cm
Private Collection, Forlì
Courtesy Galleria In Arco, Torino

Sans titre, 1995
oil on canvas
115 x 152,5 cm
Private Collection, Torino
Courtesy Galleria In Arco, Torino

Sans titre, 1994
oil on canvas
80 x 80 cm
Private Collection, Milano
Courtesy Galleria In Arco, Torino

Trittico del Nervoso, 1995
oil on canvas
(triptyque/triptych) 30 x 30 cm; 40 x 40 cm; 50 x 50 cm
Collection Borroni, Milano
Courtesy Galleria In Arco, Torino

Sans titre, 1994
oil on canvas
50 x 70 cm
Private Collection, Torino
Courtesy Galleria In Arco, Torino

Sans titre, 1995
oil on canvas
60 x 36 cm
Private Collection, Milano
Courtesy Galleria In Arco, Torino

Sans titre, 1995
oil on canvas
80 x 40 cm
Courtesy Studio Cannaviello, Milano

Sans titre, 1994
oil on canvas
40x 50 cm
Private Collection, Torino
Courtesy Galleria In Arco, Torino

Eva GRUBINGER
Cut-Outs n.1-3 : Hörsaal Null, Music Nonstop, Bei uns im Klub, 1997
three figure groups
screenprint on aluminum
11 figures, 120 cm (h)
Collection of the artist, Berlin

Alì HASSOUN
L’isola felice, 1997
acrylic on canvas
120 x 120 cm
Courtesy Studio G Arte Moderna e Contemporanea, Milano

Lago maggiore, 1998
acrylic on canvas
150 x 150 cm
Courtesy Studio G Arte Moderna e Contemporanea, Milano

Plein air in Val d’Aosta (omaggio a Delacroix), 1997
acrylic on canvas
120 x 120 cm
Courtesy Studio G Arte Moderna e Contemporanea, Milano

Un treno per la luna, 1997
acrylic on canvas
100 x 100 cm
Courtesy Studio G Arte Moderna e Contemporanea, Milano

Per amore, 1997
acrylic on canvas
100 x 100 cm
Courtesy Studio G Arte Moderna e Contemporanea, Milano

Sharon LOCKHART
Portrait of a boy, 1996
c-print
79 x 63,5 cm
Andrew Ong Collection, New York
Courtesy Friedrich Petzel Gallery, New York

Untitled, 1996
c-print
81,5 x 109 cm
Nina and Frank Moore Collection, New York
Courtesy Friedrich Petzel Gallery, New York

Untitled, 1996
c-print
129,5 x 104 cm
Ellen Kern Collection, New York
Courtesy Friedrich Petzel Gallery, New York

Michel MAJERUS
Sinnmaschine, 1997
acrylic and oil on canvas
7 panels 500 x 150 cm (each)
Courtesy the artist and neugerriemschneider gallery, Berlin

Hans-Jörg MAYER
Sans titre, 1993
oil on canvas
80 x 124 cm
Private Collection, Köln

Sans titre, 1993
oil on canvas
105 x 105 cm
Courtesy Galerie Christian Nagel, Köln

Sans titre, 1993
oil on canvas
80 x 58 cm
Courtesy Galerie Christian Nagel, Köln

Sans titre, 1994
oil on canvas
35 x 71 cm
Courtesy Galerie Christian Nagel, Köln

Sans titre, 1998
oil on canvas
85 x 130 cm
Courtesy Galerie Christian Nagel, Köln

Sans titre, 1995
oil on canvas
70 x 59 cm
Private Collection, Köln

Sans titre, 1994
oil on canvas
40 x 50 cm
Private Collection, Köln

Sans titre, 1993
oil on canvas
110 x 68 cm
Private Collection, Köln

John MILLER
Family Feud, 1995
acrylic on canvas
138 x 200 cm
Courtesy the artist and Metro Pictures Gallery, New York

Let’s Make a Deal, 1995
acrylic on canvas
138 x 200 cm
Courtesy the artist and Metro Pictures Gallery, New York

King World, 1996
acrylic on canvas
138 x 200 cm
Courtesy the artist and Metro Pictures Gallery, New York

Elizabeth PEYTON
Jarvis, 1996
watercolor on paper
26 x 18 cm
Private Collection, Berlin
Courtesy neugerriemschneider gallery, Berlin

Jarvis in Tokyo, 1996
watercolor on paper
26 x 18 cm
Collection E. Ploil, Wien
Courtesy neugerriemschneider gallery, Berlin

Jarvis, 1996
watercolor on paper
26 x 18 cm
Collection Hauser & Wirth, Zürich

Graham from Blurr, 1996
oil on wood
54 x 46 cm
Collection Georg Karl, Wien
Courtesy neugerriemschneider gallery, Berlin

Jarvis Cocker (Glastonbury 1995), 1996
watercolor on paper
36 x 26 cm
Nancy and Bob Magoon Collection, Aspen (CO)
Courtesy neugerriemschneider gallery, Berlin

James RIELLY
Curious, 1997
oil on canvas
182,8 x 152,4 cm
Courtesy Musée des Beaux-Arts de Nantes

Cautious, 1997
oil on canvas
182,8 x 152,4 cm
Courtesy Galerie Nathalie Obadia, Paris

Smoke-Screen, 1998
oil on canvas
182,8 x 152,4 cm
Courtesy Laurent Delaye Gallery, London

Harmless, 1998
oil on canvas
182,8 x 152,4 cm
Courtesy Laurent Delaye Gallery, London

Time Stands Still, 1996
oil on canvas
182,8 x 152,4 cm
Courtesy The Saatchi Gallery, London

Seconds, 1996
oil on canvas
182,8 x 152,4 cm
Courtesy The Saatchi Gallery, London

Touchy, 1996
oil on canvas
182,8 x 152,4 cm
Philip Marsden Collection, London

Fault, 1996
oil on canvas
182,8 x 152,4 cm
Private Collection, London
Courtesy Laurent Delaye Gallery, London


Tim ROLLINS
X-Men n.45-When Mutants Clash, 1990
acrylic on linen
96,5 x 83,8 cm
Private Collection, Zürich

X-Men n.50-City of Mutants, 1991
acrylic on linen
96,5 x 83,8 cm
Private Collection, Zürich

Jean-Jacques RULLIER
Série des rêves, 1993-97
21 drawings 59 x 49 cm (each)
of the artist, Lyon

Jim SHAW
Dream Object (An Archie Horror Comic Paint in the style of Matta), 1996
oil on canvas
92 x 122 cm
Courtesy the artist and Metro Pictures Gallery, New York

Dream Object (I held Marnie up, graspîng on to her shiny vinyl outfit... ), 1997
lead stencil on paper
48,2 x 61 cm
Courtesy Galerie Praz-Delavallarde, Paris

Dream Object (In a dark mansion I am looking for some herbal tea...), 1996
oil on canvas
63,5 x 93 cm
Courtesy Metro Pictures Gallery, New York &
Galerie Praz-Delavallarde, Paris

Dream Object (I was setting up a card table with a magnifying glass...), 1997
oil on velvet
66 x 48 cm
Courtesy Galerie Praz-Delavallarde, Paris

Dream Object (I was setting up a card table with a magnifying glass...), 1997
acrylic on canvas
137 x 174 cm
Courtesy Galerie Praz-Delavallarde, Paris

Dream Drawings, 1998
lead stencil on paper
30,5 x 23 cm (8 drawings)
Courtesy the artist and Galerie Praz-Delavallarde, Paris

Sam TAYLOR-WOOD
Five Revolutionary Seconds I, 1995
c-print (ed.3/3)
20,5 x 200 cm
The Saatchi Gallery, London

Five Revolutionary Seconds II, 1995
c-print (ed.2/3)
20,5 x 200 cm
The Saatchi Gallery, London

Five Revolutionary Seconds IV, 1996
c-print (ed.2/3)
20,5 x 200 cm
The Saatchi Gallery, London

Five Revolutionary Seconds VII, 1997
c-print (ed.1/3)
20,5 x 200 cm
The Saatchi Gallery, London

Five Revolutionary Seconds IX, 1997
c-print (ed.1/3)
20,5 x 200 cm
The Saatchi Gallery, London

Xavier VEILHAN
Les Haltérophiles, 1997
photograph digitally manipulated and coated, mounted on PVC
240 x 330 cm (3 panels 240 x 110 each)
Courtesy Galerie Jennifer Flay, Paris

L’orateur, 1998
photograph digitally manipulated and coated, mounted on PVC
240 x 330 cm (3 panels 240 x 110 each)
Courtesy Galerie Jennifer Flay, Paris

Gert VERHOEVEN
L’Esprit devenu doigt : Papa, Mama, Broertje,..., 1994
pencil and enamel on paper
Private Collection, Bruxelles

L’Esprit devenu doigt : Gros Papa, 1994
pencil and enamel on paper
M. Bart Verschaffel Collection, Bruxelles

L’Esprit devenu doigt : Gros Papa, 1994
pencil and enamel on paper
Private Collection, Belgique

L’esprit devenu doigt : Inceste, 1994
pencil and enamel on paper
Courtesy Private Collection, Bruxelles

L’esprit devenu doigt : Auto-Incesto, 1994
pencil and enamel on paper
Courtesy Private Collection, Bruxelles

Tête de Mauve, 1996
pencil and enamel on paper
(diptych) 75 x 95 and 61 x 82,5 cm
M. et Mme Wilfried Cooreman Collection, Bruxelles

Se faire faire, 1995
pencil and enamel on paper
(diptych)
Courtesy Private Collection, Bruxelles

Daddy White Spirit : (5 drawings series), 1995
- Main-Colorée-Rio
- Sur Place
- Désirant
- Visage
- Autre Visage
pencil and enamel on paper
Courtesy Private Collection, Bruxelles

Papa M’a (trois scènes/threee scenes), 1995
color video 4’3’’
Courtesy Galerie Xavier Hufkens, Bruxelles

Jeff WALL
Man in Street, 1995
(diptych)
cibachrome transparencies back-illuminated with fluorescent light and mounted in display cases
54 x 132,5 cm
Musée Départemental d’Art Contemporain, Rochechouart

Ian WALLACE
An Attack on Literature, 1975
hand-colored black and white photomural
1,19 x 20,4 m (overall)
Collection Nicole Klagsburn, NY
Courtesy MAMCO, Genève

Carrie Mae WEEMS
Not Manet’s Type, 1997
silver prints with text on mat
5 panel piece, 61 x 50 cm (each)
Courtesy the artist and P.P.O.W. Gallery, New York

Different Needs and Different Wants, 1997
silver prints with text on mat
triptych, 61 x 50 cm (each)
Courtesy the artist and P.P.O.W. Gallery, New York