Bertrand Lavier
13 October - 2 December 2006
As part of Paris Calling, Bloomberg Space will be presenting work by Bertrand Lavier, one of the most inventive and influential European artists of his generation.
The exhibition will show Lavier’s continued interest in the play between art, the public perception of art, and reality and will include major works made in neon and video that make explicit reference to American Modernist art of the twentieth century.
http://about.bloomberg.com/about/ourco/space/index.html
Paris Calling continues throughout the autumn with exhibitions of French contemporary art in venues in and around London. For full details visit www.pariscalling.org.uk
Bertrand Lavier
Empress of India II
2005
Neon tubes
196 x 580 cm
Courtesy : Bertrand Lavier and Yvon Lambert Paris.
Private collection
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Gloria Friedmann
Les Représentants
1992
Stuffed stag, wood, moss and dead leaves
300 x 300 x 300 cm
Year of Purchase: 1993
Gloria Friedman, who has been living in France since 1977, started working as a photographer, presenting herself in disused and abandoned places. Her sculptures made outdoors from 1985 onward steered her towards a line of thinking about ‘Natural Beauty’. By actually combining the use of materials taken from nature and the adoption of a minimal language, the artist focuses on the nature/culture relations which constitute the major problem-set of her work.
Stags, deer and cattle, be they alive or stuffed, are used by her to spatialize or set ‘tableaux vivants’ or ‘living pictures’ in space, the principle behind this operation lying in the notion of ‘Representatives’.
As a result of the artist’s own powers, these animals are representatives of the divine, of the mystery embodied on earth, and as such they are summoned to lead men.
Her ‘natural readymade’ consisting of a magnificent stag, a disk of moss and a carpet of dried leaves is nevertheless markedly arranged by the resoluteness of the geometric forms which go to make it: the circle of moss, set vertically, the square of leaves on the floor. The plant matter is thus transformed into signs. This exemplary geometric rigour forms a complete contrast with natural non-organization and the symbols of freedom and energy which stags may still be.
This monumental piece represents a stele honouring things living, and the force and potency of animals; it is also a warning about straying too far away from our original bases. A monument is usually erected to glorify something human, but here it is used to pay tribute to nature. ‘I belong to the end of the 20th century, to an age of science. But as a moral being I sometimes feel a deep-seated desire to say thank you; but I don’t know who to say it to.’1
This clash stirs in the onlooker a metaphysical form of questioning which has to do with the future development of the individual in the face of phenomena which affect and upset nature. The call for (greater) awareness is one of the data of this artist’s production, if we refer to the two ‘living pictures’ recently made in Lorraine: turkeys looking at a nuclear power station and above all the encounter between some fifteen blind people accompanied by their dogs and the same number of professional soldiers against a backdrop of war aircraft.
Béatrice Josse
1 Gloria Friedmann, the Representatives, Deventer, Netherlands, Bergkerkmuseum, 1993.
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Jim Drain
from Auction House Records.
i.w.2.yrdog
Artwork images are copyright of the artist or assignee
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Miltos Manetas
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Miltos Manetas, The Internet Paintings.
Started in 2000. To be continued
Oil on Canvas, 100x150 inches (254 x 381 cm) each. Courtesy The Saatchi Collection, UK.
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| "On", June 2007 |
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| "Off", June 2007 |
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The Internet Paintings at the Frieze Art Fair in London, Rebecca Camhi Gallery,
Oct 2002
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Miltos Manetas
Untitled (Self-Portrait with
Water Container)
1999
Oil on canvas
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Lynda Benglis
Quartered Meteor
Lynda Benglis. Quartered Meteor, 1969.
Nine Spot Field
Lynda Benglis. Nine Spot Field, 1999.
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Verne Dawson
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| Verne Dawson, Earthly Paradise (community House with utilities dome and examples of dematerialized human transport,) 2003, oil on canvas, collection of Martin and Rebecca Eisenberg, photo credit: the author, image courtesy the Douglas Hyde Gallery |
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| Verne Dawson, Big Bear, 2002, oil on canvas, collection of Chris Ofili, photo credit: the author, image courtesy the Douglas Hyde Gallery |
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| Image Detail: Verne Dawson, Earthly Paradise (community House with utilities dome and examples of dematerialized human transport,) 2003, oil on canvas, collection of Martin and Rebecca Eisenberg, photo credit: the author, image courtesy the Douglas Hyde Gallery |
Verne Dawson cited in http://www.gavinbrown.biz/artists/dawson.html
Massacre of the Little People
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Hiraki Sawa
ABOVE: Hiraki Sawa, Going Places Sitting Down, 2004 (detail)
three-channel video projection with sound, 8:40 loop, edition of 6
Commissioned by the Hayward/Bloomberg Artist’s Commission
Courtesy James Cohan Gallery, New York
© 2005 by Hiraki Sawa |
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TITLE: |
Going Places Sitting Down |
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WORK DATE: |
2004 |
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CATEGORY: |
Video/Film |
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MATERIALS: |
3 channel video projection |
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EDITION/SET OF: |
6 |
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REGION: |
Japanese |
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PRICE*: |
Contact Gallery for Price |
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DESCRIPTION: |
Commissioned by the Heyward/Bloomberg Artist's |
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