Le Carillon de Big Ben
07 May - 06 Jun 2010
© Isabelle Cornaro
Homonymes, 2009
Natural and artificial mushrooms cast in concrete, on pedestal
L 60 x W 45 x H 35 cm
signed 15 unique copies (+ 3 A.P.)
Courtesy: Kunstverein Düsseldorf
Homonymes, 2009
Natural and artificial mushrooms cast in concrete, on pedestal
L 60 x W 45 x H 35 cm
signed 15 unique copies (+ 3 A.P.)
Courtesy: Kunstverein Düsseldorf
LE CARILLON DE BIG BEN
90 will be exhibiting at Crédac
7 May - 6 June 2010
Opening Thursday, May 6, 2010, from 6PM to 9 PM
Fanny Adler, Saâdane Afif, Dove Allouche et Evariste Richer, Lara Almarcegui, Leonor Antunes, Jean-Marc Ballée, Davide Balula, Vincent Beaurin, Karina Bisch, Katinka Bock, Ulla von Brandenburg, Matti Braun, Stéphane Calais, Mircea Cantor, Les frères Chapuisat, Nicolas Chardon, Nina Childress, Claude Closky, Peter Coffin, Delphine Coindet, A Constructed World, Isabelle Cornaro, Christophe Cuzin, Simone Decker, Philippe Decrauzat, Marcelline Delbecq, Julien Discrit, Olivier Dollinger, Thomas Dupouy, Yan Duyvendak, Catharina van Eetvelde, Sammy Engramer, David Evrard, Cédrick Eymenier, Sylvie Fanchon, Richard Fauguet, Ivan Fayard, Isa Genzken, Mathieu Gillot, Geert Goiris, Laurent Grasso, Mona Hatoum, Eric Hattan, Benjamin Hochart, Alain Huck, Guillaume Janot, Véronique Joumard, Jacques Julien et Pierre Alferi, Jan Kopp, Vincent Lamouroux, Guillaume Leblon, Jean-François Leroy, Renée Levi, M/M, Vincent Madame, Didier Marcel, Enzo Mari, Isa Melsheimer, Mathieu Mercier, Laurent Montaron, François Morellet, Robert Morris, Olivier Mosset, Nicolas Moulin, Petra Mrzyk et Jean-François Moriceau, Edit Oderbolz, Gabriel Orozco, Gyan Panchal, Florence Paradeis, Guillaume Paris, Steven Parrino, Julien Pastor, Eric Poitevin, Marie Preston, Julien Prévieux, Tony Regazzoni, Silvana Reggiardo, Peter Regli, Hugues Reip, David Renaud, Didier Rittener, Bojan Sarcevic, Edouard Sautai, Mathias Schweizer, Alain Séchas, Kiki Smith, Kristina Solomoukha, Nathalie Talec, Julien Tiberi, Thu Van Tran, John Tremblay, Tatiana Trouvé, Pierre Vadi, Jean-Luc Verna, Emmanuelle Villard, Jean-Luc Vilmouth, Virginie Yassef et Aurélie Godard, Raphaël Zarka. Curator : Claire Le Restif
In mathematics, a multiple is a number that may be divided by another with no remainder; in art, a multiple is a work that exists in several copies, playing on their identical character. Once it has been multiplied, the work sheds its status of original but gains in turn that of an “accessible” object. Indeed, the aura of the work of art that Walter Benjamin analyzes is tied up with the work’s uniqueness. Its utilitarian value, however, can expand with its reproducibility. By growing in number, the work approaches mass culture, slipping into the day-to-day world and the life of the city. Thus, the reproduced work of art attains another status, a “practice” that Benjamin calls political.1
It is in this spirit then that Carillon de Big Ben (Big Ben Carillon) is being organized. In keeping with a program of art events that is connected with its context, the artists who have taken part in Ivry’s Contemporary Art Center project since 2003 are now being invited to exhibit multiples of their own.
With Carillon de Big Ben we might speak of an unexhibition the way Lewis Carroll speaks of an unbirthday in his Through the Looking-Glass. As Benjamin once again puts it, “In works of art, that which is borne along... with the decline of the aura is a formidable gain for the space of play,”2 as if the rarity of the object imposed its own rules and new freedom sprang from multiplicity. The multiple work of art has the potential to be financially accessible to many.
This is the reason why in the show we are emphasizing works that are available from the invaluable distributors that are the galleries and art centers in France and abroad.
90 will be exhibiting at Crédac
7 May - 6 June 2010
Opening Thursday, May 6, 2010, from 6PM to 9 PM
Fanny Adler, Saâdane Afif, Dove Allouche et Evariste Richer, Lara Almarcegui, Leonor Antunes, Jean-Marc Ballée, Davide Balula, Vincent Beaurin, Karina Bisch, Katinka Bock, Ulla von Brandenburg, Matti Braun, Stéphane Calais, Mircea Cantor, Les frères Chapuisat, Nicolas Chardon, Nina Childress, Claude Closky, Peter Coffin, Delphine Coindet, A Constructed World, Isabelle Cornaro, Christophe Cuzin, Simone Decker, Philippe Decrauzat, Marcelline Delbecq, Julien Discrit, Olivier Dollinger, Thomas Dupouy, Yan Duyvendak, Catharina van Eetvelde, Sammy Engramer, David Evrard, Cédrick Eymenier, Sylvie Fanchon, Richard Fauguet, Ivan Fayard, Isa Genzken, Mathieu Gillot, Geert Goiris, Laurent Grasso, Mona Hatoum, Eric Hattan, Benjamin Hochart, Alain Huck, Guillaume Janot, Véronique Joumard, Jacques Julien et Pierre Alferi, Jan Kopp, Vincent Lamouroux, Guillaume Leblon, Jean-François Leroy, Renée Levi, M/M, Vincent Madame, Didier Marcel, Enzo Mari, Isa Melsheimer, Mathieu Mercier, Laurent Montaron, François Morellet, Robert Morris, Olivier Mosset, Nicolas Moulin, Petra Mrzyk et Jean-François Moriceau, Edit Oderbolz, Gabriel Orozco, Gyan Panchal, Florence Paradeis, Guillaume Paris, Steven Parrino, Julien Pastor, Eric Poitevin, Marie Preston, Julien Prévieux, Tony Regazzoni, Silvana Reggiardo, Peter Regli, Hugues Reip, David Renaud, Didier Rittener, Bojan Sarcevic, Edouard Sautai, Mathias Schweizer, Alain Séchas, Kiki Smith, Kristina Solomoukha, Nathalie Talec, Julien Tiberi, Thu Van Tran, John Tremblay, Tatiana Trouvé, Pierre Vadi, Jean-Luc Verna, Emmanuelle Villard, Jean-Luc Vilmouth, Virginie Yassef et Aurélie Godard, Raphaël Zarka. Curator : Claire Le Restif
In mathematics, a multiple is a number that may be divided by another with no remainder; in art, a multiple is a work that exists in several copies, playing on their identical character. Once it has been multiplied, the work sheds its status of original but gains in turn that of an “accessible” object. Indeed, the aura of the work of art that Walter Benjamin analyzes is tied up with the work’s uniqueness. Its utilitarian value, however, can expand with its reproducibility. By growing in number, the work approaches mass culture, slipping into the day-to-day world and the life of the city. Thus, the reproduced work of art attains another status, a “practice” that Benjamin calls political.1
It is in this spirit then that Carillon de Big Ben (Big Ben Carillon) is being organized. In keeping with a program of art events that is connected with its context, the artists who have taken part in Ivry’s Contemporary Art Center project since 2003 are now being invited to exhibit multiples of their own.
With Carillon de Big Ben we might speak of an unexhibition the way Lewis Carroll speaks of an unbirthday in his Through the Looking-Glass. As Benjamin once again puts it, “In works of art, that which is borne along... with the decline of the aura is a formidable gain for the space of play,”2 as if the rarity of the object imposed its own rules and new freedom sprang from multiplicity. The multiple work of art has the potential to be financially accessible to many.
This is the reason why in the show we are emphasizing works that are available from the invaluable distributors that are the galleries and art centers in France and abroad.