Irmavep Club - Livret II
26 Feb - 26 Mar 2011
Maurice BLAUSSYLD, Michael PFISTERER
exhibition view Irmavep Club - Livret II, Art: Concept, Paris, 26th of february to 26th of March 2011
exhibition view Irmavep Club - Livret II, Art: Concept, Paris, 26th of february to 26th of March 2011
IRMAVEP CLUB
Livret II
Jonathan Binet / Maurice Blaussyld / Nate Harrison / Michael Pfisterer
26 February – 26 March, 2011
Irmavep Club is delighted to invite you to the gallery art: concept who will host Livret II from February 26th till March 26th
Livret II is the second episode of a cycle of itinerant exhibitions curated by Irmavep Club in 2011 (1)
The first Livret of this programm took place at schleicher+lange gallery from January 8th till February 26th.
We have gathered four artists for this new Livret: Maurice Blaussyld and Michael Pfisterer, already present in the Livret I ; their works are brought together with those of Jonathan Binet and Nate Harrison.
If the epigraph of Livret I Bartleby’s replica « I would prefer not to » (2)
was cited, while Marshall McLuhan’s statement « the medium is the message » (3) defines Livret II.
Nate Harrison is a New York based artist and writer working at the intersection of intellectual property, cultural production and the formation of creative processes in electronic media.
His work conjures a portrait of modernity through the history of media. He directly refers to McLuhan’s sentence, by underlining the relative place of the message’s transmission and its dominatation the medium itself. His film Aura Dies Hard (Or: How I Learned to Stop Worrying and Love the Copy), 2010 - the title is an ironic comment on Walter Benjamin’s The Work of Art in the Age of Its Technological Reproducibility – (4) focuses upon the various material supports which have stood out since the beginnings of video art while also raising the question of the work’s materialism.
This question is also present in the work of Maurice Blaussyld’s, yet in a different form. The material part of his work seems at times uncannily familiar, to quote Benjamin « We define the aura of the latter as the unique phenomenon of a distance, however close it may be ».
Michael Pfisterer’s photographs, the fall of the bodies near the earth are study boards of objects coming from mathematics institutions, reaveled in multiple angles. They are physical representations of mathematical models, in which we can just see the material substitute of abstract equations. These failed objects are like empty shells, vehicles of thought to which access seems irreparably lost.
Jonathan Binet’s works are traces of experience realized in most cases within the exhibition’s space. The materials which define the painting as a medium: the canvas, the stretcher and the painting itself, are depleted subjects in his research. Made in physical choreographed confrontations following rigorous protocols, the viewer faces these paintings, which paradoxically align closer with the Theatre of the Absurd than from the painting itself.
1. This cycle of exhibitions was conceived as a curatorial venture comprised of numerous voices. We endeavored to bring together ideas and backgrounds that
seem at first to be poles apart. The Livrets are transitory combinations. They can be seen as the steps of a cycle, each of them creating a landscape composed
by objects and correspondences that link them together. They draw a net of abstract sentences amongst which one can freely explore the threads holding
together the overall composition.
2. In Hermann Melville, Bartleby: «“I would prefer not to” is the never changing answer given by Bartleby, a modest scrivener in a Wall Street office, to any
request that is asked of him. This soft resistance, yet absolute and irrevocable, gradually leads him to complete isolation.»
3. McGraw-Hill, Understanding Media: The Extensions of Man, McGraw-Hill, New-York, 1964.)
4. Published in 1935, The Work of Art in the Age of Its Technological Reproducibility is an essay in which Walter Benjamin develops his thesis about the aura’s decay.
Livret II
Jonathan Binet / Maurice Blaussyld / Nate Harrison / Michael Pfisterer
26 February – 26 March, 2011
Irmavep Club is delighted to invite you to the gallery art: concept who will host Livret II from February 26th till March 26th
Livret II is the second episode of a cycle of itinerant exhibitions curated by Irmavep Club in 2011 (1)
The first Livret of this programm took place at schleicher+lange gallery from January 8th till February 26th.
We have gathered four artists for this new Livret: Maurice Blaussyld and Michael Pfisterer, already present in the Livret I ; their works are brought together with those of Jonathan Binet and Nate Harrison.
If the epigraph of Livret I Bartleby’s replica « I would prefer not to » (2)
was cited, while Marshall McLuhan’s statement « the medium is the message » (3) defines Livret II.
Nate Harrison is a New York based artist and writer working at the intersection of intellectual property, cultural production and the formation of creative processes in electronic media.
His work conjures a portrait of modernity through the history of media. He directly refers to McLuhan’s sentence, by underlining the relative place of the message’s transmission and its dominatation the medium itself. His film Aura Dies Hard (Or: How I Learned to Stop Worrying and Love the Copy), 2010 - the title is an ironic comment on Walter Benjamin’s The Work of Art in the Age of Its Technological Reproducibility – (4) focuses upon the various material supports which have stood out since the beginnings of video art while also raising the question of the work’s materialism.
This question is also present in the work of Maurice Blaussyld’s, yet in a different form. The material part of his work seems at times uncannily familiar, to quote Benjamin « We define the aura of the latter as the unique phenomenon of a distance, however close it may be ».
Michael Pfisterer’s photographs, the fall of the bodies near the earth are study boards of objects coming from mathematics institutions, reaveled in multiple angles. They are physical representations of mathematical models, in which we can just see the material substitute of abstract equations. These failed objects are like empty shells, vehicles of thought to which access seems irreparably lost.
Jonathan Binet’s works are traces of experience realized in most cases within the exhibition’s space. The materials which define the painting as a medium: the canvas, the stretcher and the painting itself, are depleted subjects in his research. Made in physical choreographed confrontations following rigorous protocols, the viewer faces these paintings, which paradoxically align closer with the Theatre of the Absurd than from the painting itself.
1. This cycle of exhibitions was conceived as a curatorial venture comprised of numerous voices. We endeavored to bring together ideas and backgrounds that
seem at first to be poles apart. The Livrets are transitory combinations. They can be seen as the steps of a cycle, each of them creating a landscape composed
by objects and correspondences that link them together. They draw a net of abstract sentences amongst which one can freely explore the threads holding
together the overall composition.
2. In Hermann Melville, Bartleby: «“I would prefer not to” is the never changing answer given by Bartleby, a modest scrivener in a Wall Street office, to any
request that is asked of him. This soft resistance, yet absolute and irrevocable, gradually leads him to complete isolation.»
3. McGraw-Hill, Understanding Media: The Extensions of Man, McGraw-Hill, New-York, 1964.)
4. Published in 1935, The Work of Art in the Age of Its Technological Reproducibility is an essay in which Walter Benjamin develops his thesis about the aura’s decay.