Installations, videos, sculptures, sound devices, drawings, photos, paintings…These pieces, exceptional loans from private collectors, artists or galleries, compose a unique overview, put together for the first time. This true archipelago of creations, filtered through the different architectural issues, explores the physical and virtual fluxes, redefines urban times and public usage, questions temporality and globalisation as well as nature’s place and collaborative economy where spaces and measurements interact, to rethink architecture, not only in its physical substance but also as a social organisation.
“Artists and architecture, variable dimensions”
October 16th 2015 to January 16th 2016
Pavillon de l’Arsenal
21 Boulevard Morland, 75004
This new urban landscape also inflects in the role played by cities, urbanism and buildings in the practical and conceptual research of contemporary artists. The bilingual book conceived by Didier Gourvennec Ogor and Gregory Lang guest curators for this exhibition- bears witness to this. The book contains over 260 works, gathered from a field research, and from experimental discoveries during their visits to fairs, collections and artists studios.
“Artists and Architecture, Variable dimensions”, is based on the conviction that artists highlight and reveal potentials capable of enriching and transforming our shared ambitions to build together the world city of tomorrow.
PANEL OF ARTISTS
Vito Acconci, Daniel Arsham, Renaud Auguste-Dormeuil, Thomas Bayrle, Christophe Berdaguer & Marie Péjus, Pierre Besson, Julien Bismuth, Mel Bochner, Marie Bovo, Nathalie Brevet_Hughes Rochette, , stanley brouwn, Alain Bublex, Heidi Bucher, Daniel Buren, Pedro Cabrita Reis, James Casebere, Jordi Colomer, Stéphane Couturier, François Dallegret, Denicolai & Provoost, Larissa Fassler, Martine Feipel & Jean Bechameil, Jean-Pascal Flavien, Zachary Formwalt, Peter Friedl, Carlos Garaicoa, Anne-Valérie Gasc, Liam Gillick, Pierre-Jean Giloux, Geert Goiris, Dan Graham, Carsten Höller, avec Philippe Parreno, Anish Kapoor, JR, Lang/Baumann, Jonier Marin, Matthieu Martin, Gordon Matta-Clark, Rita McBride, Dean Monogenis, Nicolas Moulin, Matt Mullican, Bruce Nauman, Olaf Nicolai, Julian Opie, Giulio Paolini, Enoc Perez, Alexandre Périgot, Tabor Robak, Yvan Salomone, Peter Scott, Richard Serra, Timothée Talard, Bert Theis, Lawrence Weiner.
Alexandre Labasse, General Director of the Pavillon de l’Arsenal
Architecture is constructed with exogenous materials. Although it inherently incorporates products and techniques of its time, which is immortal, it converses with the history of the arts. These exchanges reach beyond the aesthetic of forms or the simple opposition between wall and function and are renewed with the evolution and development of artistic projects.
Today disciplines perhaps call out to each other even more directly as artists question the complex and inclusive city.The aim of this book is to allow readers to discover the diversity of these approaches, thereby offering, through the interpretation of these artworks without purpose or plan, and through ten critical texts, a platform for thinking and research in order to understand contemporary architecture.
The experience follows on from the installation of Monde parfait (Perfect World) by Martine Feipel and Jean Bechameil at the Pavillon de l’Arsenal during the summer of 2014. The intrusion of the monumental sculptural group, an interpretation of three major Île-de-France residential building complexes, the Cité des 4000 by architects Clément Tambuté and Henri Delacroix, Orgues de Flandres by Martin Schultz Van Treeck and the Nuages tower blocks conceived by Émile Aillaud, invited the public to renew their gaze on these architectures which were often misunderstood and disliked. Feipel and Bechameil compared the constructions’ bad reputation with the desire for progress borne by the modernist utopia and the singularity of the designers’ propositions. Faced with dilapidation and the wish for some of the buildings to be demolished, the pair reminded us of our duty to memory and of the high heritage value of these dwellings in the greater history of the twentieth century. For three months, the installation revealed a situation, instigated discussions and even, involuntarily, controversy, but above all gave access not to a fantastical representation of reality, but to reality itself, much more foreign to ordinary awareness.
Artistes et Architectures, Dimensions variables (Artists and Architectures, Variable Dimensions) is as much the sum of a plurality of practices as the product of a partial selection of artworks filtered through architectural concerns. The whole, freed from contingencies of stability, security, standards or programmes, is also exempt from formal or suggestive constructed transcriptions, famous artist-architect collaborations and urban art interventions, to better “show in nature and in spirit, outside of us and within us, things that do not explicitly strike our senses or our consciousness.”1 What results is an inventory with a mobile geometry and blurred boundaries which explores physical and virtual flows, redefines urban periods and public uses, questions globalisation, nature’s place and the collaborative economy, where space and measure are brought into play to rethink architecture not only in its physical substance, but also as social organisation.
1 “What is the aim of art if not to show us, in nature and in the mind, outside of us and within us, things which did not explicitly strike our senses or our consciousness?”
Henri Bergson, The Creative Mind: An Introduction to Metaphysics, translated by Mabelle A. Andison
(New York: Philosophical Library, 1946) p. 112.
The work is reality instead of illustration during the exhibition. This bilingual publication, envisaged as an archipelago of artworks and authors’ texts, is the result of research in the field, which makes visible a scene) of 264 artists whose views could stimulate those of architects.
The selection of works is established in co-commissionership with Pavillon de l’Arsenal at limited time interval and on the basis of each artist’s one work. Choices head towards certain works of historical or emergent artists, which are discovered and experimented over visits of exhibitions, fairs, collections, and artists’ studios. We want to propose a current and inclusive panorama by nature, a set of presented works in alphabetical order without particular hierarchy, to leave audience a largest freedom – simple numbering of the project makes this possible.
Entries and movements through the artworks are multiplied to increase possibilities to get close to works. Indeed, this corpus arouses associations in our imaginary spaces and encourages the organization of exhibitions in dedicated places. This publication appears as a platform, which generates various combinations of works and formulates new projects.