thirteen years of existence almost marginal, the Foundation Antoine de Galbert at the Bastille mounted in any 122 exhibitions, often as original as they are swollen. Here is our best of, so that the announcement of its closure at the end of 2018, shakes the world of the item
1 – The intimate, the collector behind the door, or the art 100% psy
“A collection exists only when it cannot bear the name of its collector.” It is a maxim, the more severe it seems, that would have been able to burn Antoine de Galbert on the lintel of its contemporary art foundation, known as The Red House, which opens like a ufo on June 5, 2004 to the public at 11 am. This beautiful place built around the trunk to a red old flag him and his name (the work of the architect Jean-Yves Clément is tracking behind the sidewalk uniform of the boulevard de la Bastille).
The inaugural exhibition illustrates its currency tracking L‘close friend, the collector behind the door, an original idea by Gérard Wajcman. In 16 boxes incongruous and playful, 16 life-size reconstructions of a living room quite differently by 16 collectors, here are returned to the spirit of the place of the original, here captured the spirit of an amateur, this strange man who chased her unconscious, object after object, header, or regrets, that accumulates or prunes. Very psych like the author, this set of tracks applied to the contemporary art works well, thanks to a lucky set design of Thierry Germ, and stirs up the curiosity, under which is the lesson of things. Writer (Collection, We, 2002), psychoanalyst (The Game of the Narcissus, Solin, 1994 ; the Theory and practice of windows, Verdier, 2004), Gérard Wajcman, professor, Paris-VIII, is very comfortable in the pedagogy of an exhibition, of which he is the commissioner, w ith the director of the red house, Paula Aisemberg and, of course, Antoine de Galbert, the founder of the smile is tired at the Gainsbourg for this “feast day”.
The exhibition took place from 5 June to 26 September 2004.
2 – Warhol TV or Warhol on a plateau
The red House and its alcoves, conducive to the videos, their secrets and their whispers. A row of flat-screens, glittering and cold, serves as the prologue to this exhibition. Images first without words, or almost. Warhol making of the pumps, with the regularity of a marine. Warhol pedaling on a stationary bike. Warhol, Buster Keaton pop, without the text of his aphorisms legendary. Warhol live, such as on the rushes of the filming of domestic or experimental. “Warhol on air,” say the Americans. Anchored in “the society of the spectacle” which captivated her, and resolved to dissolve the boundary between highbrow culture and popular culture, “Andy Dandy,” founded in 1969 in the journal Interview, devoted to celebrities and fashion.
By his tone – only interviews with personalities – and by its design, it will mark deeply the 1970s and will be the prototype of his tv programs. Fascinated by television since the 1950s, as confirmed by his diary – his famous Diary Warhol in 1973 he turned to the mass medium par excellence to make the vector of its obsessions. It is through his television production of Warhol as the exhibition curated by Judith Benhamou-Huet paints a living portrait, colorful, sexy, and quirky of the artist.
This exhibition was held from 18 February to 3 may 2009.
3 – Neon, who’s afraid of red yellow and blue? , or spotlight on the neon
The artists would you see red? The House red lives up to its name with this first meeting of neon works (with the exception of the neon by Dan Flavin). This gas “noble”, “rare”, and is odourless and colourless product under pressure, a red light. The argon gas creates a blue light. And the vapors of sodium, a yellow light. Small chemistry lesson on the life of David Rosenberg, the curator of a exhibition of which Antoine de Galbert, the founder of this place, dreamed of for three years.
Spirits of browsers, they noted that 2012 marks the centenary of the first neon sign in a street of Paris. This medium is fragile, moving like a breath, is conjugated in all its forms. The most abstract. The most literary. The more plastic. According to the artist called François Morellet, Claude Lévêque, Bruce Nauman, Laddie John Dill, Jason Rhoades or Martial Raysse. Since the pioneer Gyula Kosice (1946), the neon has invaded contemporary art. It will be revealing to return to the sources.
This exhibition took place from 17 February to 20 may 2012
4 – Collection abcd / Bruno Decharme , or the madness of art brut
Is it the wind anxious to be the crisis that brings a sudden the audience of this art brut because out directly from the guts and torment of the soul? Is this a response embodied in art is too conceptual, too discursive, as advocated by the beaux-arts of France and Navarre? Is it simply a recognition of art brut, for his sincerity, his sensuality, his quest for spiritual-in short, the human condition? Looks like a crazy art brut? The red House offers a beautiful specimen of those collectors who marry an artist till the end of his neurosis, the psychosis, the fear that panic. So here is an adventurer of the human that teaches you how to decode the chaos living in a George Widener (Megalopolis, between 2000 and 2010, secret code of the disasters of the future), or the obsession of the handwriting of a Lubos Plny (the Ashes of my father in a Petri dish, or 29 319 days written in black, except on the day of the birth of the artist, in red)?
A priori, nothing extravagant distinguishes this lover of a genre other, pathfinder stubborn, which has long pursued its path grammarian alone. Born December 1, 1951 in Paris, Bruno Decharme has the name that suits him. Playful, flexible, a curiosity instant that made her eyes shine, he knows how to charm his audience by his benevolence. We understand how this filmmaker succeeds in taming those artists disorders that draw on the art of the formulation of their survival. He has the patience innate to the therapist and the freshness of the inventor of terrae white space.
This exhibition was held from 18 October 2014 to 18 January 2015.
5 – Ceramix, Rodin, Schütte , or the art of gesture
It is an exhibition with a voracious appetite, which embraces a whole part of the history of art, disdained, because hand-tied and artisans, relegated to a modest corner, like a cave out of the time where sleeping objects protean and various, reserved to the strict amateurs. The original idea of the two historians of art, Camille Morineau and Lucia Pesapane, has given birth to Ceramix, exhibition-river of 250 works by nearly 100 artists from 25 different nationalities. A multitude of shapes, themes, personalities, from the kitsch to the more abstract, from the most carnal to the most morbid, that relate in any sensual pleasure, the freedom of the material that is old as man. The final explosion of their research is such that it has required a brace that unfolds into two chapters, one very contemporary at The Maison rouge, near the Bastille, and the other more rooted in the tradition of the masters at the Manufacture de Sèvres, near the park of Saint-Cloud.
The exhibition took place from 9 march to 5 June 2016.
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