“Repairs” exhibition at Frac Centre-Val de Loire

“Repairs” is a group exhibition bringing works by Kader Attia – Arab Spring, 2014, Indépendance Tchao, 2014, and Mimesis as Resistance, Measure and Control, 2013 – face to face with works from the Frac Centre collection: Shigeru Ban, Bernd & Hilla Becher, Daniel Buren, John Hejduk, Tadashi Kawamata, Daniel Libeskind, Miguel Palma, Massinissa Selmani, among others.

 

Miguel Palma, Ecosystema, 1995 © André Morin

Miguel Palma, Ecosystema, 1995 © André Morin

 

Kader Attia conducts collisions between two worlds of repair: Europe and non-western worlds. ‘Repairs, in traditional cultures, are visible measures, renewal that changes the early form of the object forever. In the modern western world, in contrast, repair is synonymous with a return to the initial state of things and the elimination of the wound.’


 

Practical information

“Repairs”
April 28 – August 06, 2017
Frac Centre
88 Rue du Colombier, Orléans
France

 


The exhibition kicks off with Ecosystéma by Miguel Palma. In the first, the ecosystem proposed reveals the tensions between cycles and recycling between the environment, industry and mankind. Later, Indépendance Tchao by Kader Attia emerges as the fallen dream of 1960s separatist utopianism. At the end, Arab Spring stages the reality of art that turns into destruction.

 

Kader Attia, Arab Spring, 2014 © Oak Taylor-Smith

Kader Attia, Arab Spring, 2014 © Oak Taylor-Smith

Kader Attia, Arab Spring, 2014 © Oak Taylor-Smith

Kader Attia, Arab Spring, 2014 © Oak Taylor-Smith

 

Between these two destructions – reconstructions, islets lend order to the route. The precariousness of Tadashi Kawamata’s architecture blends into the immediate surroundings. Those by Shigeru Ban are a ‘fragile’ response to the fragility of the world. The models of Daniel Libeskind’s project reveal the potential future for a district of Berlin in a state of abandon since war damage. The Angel Catcher by John Hejduk, 1991, a monumental sculptural prosthetic system, attempts to catch the fallen angels of our dreams.

 

Kader Attia, Arab Spring, 2014 © Oak Taylor-Smith

Kader Attia, Arab Spring, 2014 © Oak Taylor-Smith

Kader Attia, Arab Spring, 2014 © Oak Taylor-Smith

Kader Attia, Arab Spring, 2014 © Oak Taylor-Smith

 

The installation 1000 villages, 2015, by Massinissa Selmani is a bitter criticism of Algeria’s utopian dream in the 1970s. Photographs by Bernd & Hilla Becher observe the ruins of industrial society while photomontages by Alina Slesinska & Eustachy Kossakowski are an attempt to move away from modernist ideology. Elsewhere in the exhibition, the ‘graft’ carried out by Daniel Buren in the courtyard of the Palais Royal, in Paris, Les deux plateaux, 1986, serves as a scarification inverting and deforming the classical architecture to reveal the substructure.

 

Daniel Libeskind, Projection Psycho-Cybernétique de Berlin, 1988 © Olivier Martin-Gambier

Daniel Libeskind, Projection Psycho-Cybernétique de Berlin, 1988 © Olivier Martin-Gambier

Daniel Libeskind, Berlin City Edge, Bauausstellung Site Model, 1987 © Olivier Martin-Gambier

Daniel Libeskind, Berlin City Edge, Bauausstellung Site Model, 1987 © Olivier Martin-Gambier

 

The exhibition is an opportunity for visitors to engage by focusing and reflecting on the repair of the world continually highlighted by works of art and architecture.

 

Daniel Buren, Les 2 plateaux. Aménagement de la Cour du Palais Royal, Paris, 1986 © Olivier Martin-Gambier

Daniel Buren, Les 2 plateaux. Aménagement de la Cour du Palais Royal, Paris, 1986 © Olivier Martin-Gambier

Daniel Buren, Les 2 plateaux. Aménagement de la Cour du Palais Royal, Paris, 1986 © Olivier Martin-Gambier

Daniel Buren, Les 2 plateaux. Aménagement de la Cour du Palais Royal, Paris, 1986 © Olivier Martin-Gambier

 

POLITICAL SPRINGS 2017

With its Political Springs, the Frac Centre-Val de Loire wants to propose an open and living debate about the problematics and the challenges of our world, our common questions connected to creation and to the art of building our own society. This spring, invited pieces of art, happenings and words of creative thinkers, artists, philosophers, political women and men raise current topics wich are regarding each of us : the injury, the hospitality, the democracy. Starting from the premise that pieces of art are not mutually exclusive about the triviality of our world : at the Frac Centre-Val de Loire, springs are political.

 

John Hejduk, The Angel Catcher © François Lauginie, Collection Frac Centre-Val de Loire, Orléans

John Hejduk, The Angel Catcher © François Lauginie, Collection Frac Centre-Val de Loire, Orléans

Alina Slesinska et Eustachy Kossakowski, Cirque, 1961© Collection Frac Centre-Val de Loire, Orléans

Alina Slesinska et Eustachy Kossakowski, Cirque, 1961 © Collection Frac Centre-Val de Loire, Orléans

Alina Slesinska et Kossakowski Eustachy, Pont II, 1961 © Collection Frac Centre-Val de Loire, Orléans

Alina Slesinska et Kossakowski Eustachy, Pont II, 1961 © Collection Frac Centre-Val de Loire, Orléans

Tadashi Kawamata, Sans titre, 1994 © Olivier Martin-Gambier

Tadashi Kawamata, Sans titre, 1994 © Olivier Martin-Gambier

Daniel Libeskind, Berlin City Edge, Bauausstellung Site Model, 1987 © Olivier Martin-Gambier

Daniel Libeskind, Berlin City Edge, Bauausstellung Site Model, 1987 © Olivier Martin-Gambier

 

Artists and architects: Kader Attia, Shigeru Ban, Daniel Buren, Bernd & Hilla Becher, John Hejduk, Tadashi Kawamata, Alina Slesinska & Eustachy Kossakowski, Minimaforms & Krzysztof Wodiczko, Daniel Libeskind, Miguel Palma, Massinissa Selmani.


 

News source: Frac Centre
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“Ai Weiwei. Translocation – Transformation” at 21er Haus

21er Haus presents Ai Weiwei first major solo exhibition in Austria. As a conceptual artist, documentarian and activist, his works deal not only critically with the history, culture and politics of his homeland China, they also react to social realities of migration between countries and continents.

 

Ai Weiwei, Lu 鯥, 2015 © Belvedere, Vienna

Ai Weiwei, Lu 鯥, 2015 © Belvedere, Vienna

 

This is the first time Ai Weiwei’s work will be shown in such a comprehensive exhibition within Austria. Entitled translocation – transformation, the show was conceived through a collaboration with the artist and will extend far beyond the scope of a mere solo exhibition. Not only does it feature aspects of Ai Weiwei’s life, the show also addresses current social issues, which affect us all”, explains Agnes Husslein-Arco, the director of the Belvedere and the 21er Haus. Central to translocation – transformation is the metamorphosis provoked by expulsion, migration, and deliberate change of location that is undergone by people and objects alike. The subject of transformation pervades throughout the life and work of Ai Weiwei; from his childhood, his beginnings in New York, his return to China, his time under house arrest, until his release from state custody and his migration to Berlin.

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“In a Dawn all Charms Decay” by Isidoro Valcárcel Medina at Musac León

The varied and heterogeneous graphic materials compiled are displayed alongside the plans drawn by the artist in 1991. Both the former exhibition at Tráfico de Arte Gallery in 1991 as well as the new show at MUSAC lay bare, among other issues, the pressing need to create critical spaces from where to think and rethink community life, the uses of public space and the urban development.

 

In a Dawn All Charms Decay. Courtesy by MUSAC

In a Dawn All Charms Decay. Courtesy of MUSAC

 

The National Prize of Plastic Arts 2007 , has created for the MUSAC in León, Spain, a project called “In a Dawn all Charms Decay”, a sort of “premature urbanization” comprising a series of drawings and documents created over twenty years ago. Made in collaboration with “Agencia de desmontaje”, the work is based on “Sugerencias de un forastero al plan general de León” (An outsider’s suggestions for León’s urban plan), which was presented in 1991 at an art gallery, “Tráfico de Arte”.

“At that moment I imagined the land where the Musac is right now as an amusement park and a wind museum, with a platform-fan so that visitors’ clothes were lifted, as the famous Marilyn Monroe image. I also devised a football field with transparent screens in the football locker for players and television equipped rooms where the referee’s whistle the game.”

On the “before” and “after” he says: “It’s the change of all the cities we know, set in virgin or clearly improbable locations, but then the political or private interests enter and … everything changes for the worse.” Valcárcel Medina proposes new types of distribution or receipt for his art, as happened a century ago with Dada, micromedia in which the spectator is also the protagonist. “This is teasing you and forcing you to become a bit coauthor”. (more…)