CP_ArtInPop - EN

Centre National d’Art Contemporain
ART
IN POP
!
In the galleries of MAGASIN
From October 11th, 2014 to January 4th, 2015
Opening on Friday 10 October at 6pm
The "Belle Electrique", Grenoble's new amplified musics
hall, is scheduled to be inaugurated in just a few months;
it is conveniently located next to the hall built by Eiffel
that today houses the MAGASIN.
To coincide with this opening, the National Centre of
Contemporary Art is dedicating one of its autumn 2014
exhibitions to music's relationship with the arts, a theme
already touched upon in a few previous exhibitions. !
In 1989, the exhibition "Broken Music" by Ursula and René
Block gathered together over 800 artists and designers,
while the exhibition "Replay – the punk sphere" (hosted
from 4 June to 3 September 2006) presented for the very
first time the collages by Linder and the painted banners
Destroy all monsters collective, Amazing Freaks of the Motor City, 2002
of "Destroy All Monsters" by Jim Saw, Cary Loren and Mike
Kelley next to "Reverse Karaoke" by Kim Gordon and Jutta
Koether. The MAGASIN also presented, from 28 May to 10 September 2000, the graphic and painted oeuvre of Gary
Panter, a central figure of the Austin music and comics scene.
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In the wake of these previous events, the "Art in Pop" exhibition, which opens October 10th, is born of a few
simple, commonly shared observations.
Indeed, while it is true that up until the 1960s numerous musicians and singers practiced art as a leisure activity, as
something akin to their "secret garden of creativity", it is equally true that beginning during this same decade
numerous pop musicians benefitted from art school training, this being especially the case in England. Music and
the fine arts became intermingled under the combined influence of the breaking down of the borders between
high and low culture and the shifting of the production, identity and style codes of the former (the "high culture"
of art and the scholarly disciplines) to the second (the "low culture" of television, comics and industrial cultural
production in general).
Pop music would become a two-fold scene straddling art and music in which the musician was also an artist and
vice versa, and from which would notably emerge figures producing not only structures but also meanings and
aesthetics.
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The upcoming MAGASIN exhibition will take the form of a succession of rooms dedicated to individuals or themes
gathering together all types of documents (album covers, filmed interviews or concerts) and works of art.
For instance, one of the exhibition rooms will be dedicated to Don Van Vliet, better known as Captain Beefheart,
who was born in 1941 in the Los Angeles suburbs. Combining a great number of different influences (blues, rock,
psychedelic music, free jazz, etc.) and breaking with the conventions of rock n' roll, he was considered an avantgarde musician. In 1982, he left the world of music to go live in California's Mojave Desert, where he dedicated
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himself to painting. There he developed a pictorial oeuvre represented by
leading galleries (for instance, that of Michael Werner). He remained in
regular contact with other artists, notably Sigmar Polke, with whom he also
« jammed ».
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Another example : John Miller, who was born in 1954 in Cleveland, and lives
and works in New York and Berlin. His protean oeuvre (photographs,
paintings, sculptures, videos), enlightened by his prolific production of
critical texts, has ever questioned the values of our societies, both in the
global societal sphere and in the more specific realms of media and art.
John Miller Semblance, 2013
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His exhibition room will present an ensemble of documents retracing his
musical career, as well as a few other oeuvres, such as the video "Life of
Phillis" by Tony Oursler. Since studying at the Rhode Island Art School, he has
been the member and occasionally the founder of diverse groups :
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Robot (Takuji Kogo + John Miller), Personal Assistant, 2014
. The Foot Notes (Rhode Island School of Design with J.D. King, Michael
Bloom, Randy Ludacer, Margie Politzer and David Bowes, the leader with a
neo-expressionistic practice), 1976-77.
. The Coachmen (J.D. King, Thurston Moore, Dan Walworth), 1977.
. The Poetics (Mike Kelley, Tony Oursler, John Arnheim, Bill Stobaugh/
Szymon Choynowski), 1978-79.
. Robot (Takuji Kogo) since 2000.
. xxx Macarena (Jutta Koether, Tony Conrad, sometimes Greg Parma Smith,
Mike Kelley and Kim Gordon, once), 2008-2012.
. Dirty Mirrors (Aura Rosenberg, Dan Walworth, Jon Kessler, David
Humphrey) (Berlin lineup: Aura Rosenberg, Frank Lutz), 2006-2012.
. The Cornichons (Aura Rosenberg, Dan Walworth, Jon Kessler, Jose Martos,
Servane Mary) since 2013.
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Alix Lambert, Platipussy still, 1994
Photo credit : Carl Saytor
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The exhibition will include rooms organized around : David Thomas – Pere
Ubu, Malcolm McLaren, Mayo Thompson - Red Krayola, Daniel Johnston, Alix
Lambert. John Armleder will curate a room for an exhibition of his creation
that he was never before able to pursue, with Genesis P-Orridge and Alan
Vega.
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Other exhibition rooms will present smaller ensembles of works and
documents organized around Jerry Garcia (Grateful Dead), Philippe Katerine
with a new series of drawings and Cris Kirkwood (Meat Puppets).
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Curator : Yves Aupetitallot along with John Armeleder, Young Kim & Paul
Gorman and John Miller.
Daniel Johnston, Life in hell, 1998
courtesy arts factory
INVITED ARTISTS
David Bowes
David Bowes is an American painter, born in Boston, Massachusetts, in
1957. He participated in the 48th Venice Biennale in 1999. His work is held
in the collection of the Walker Art Center and the Broad Contemporary Art
Museum at LACMA. He was leader of The Foot Notes.
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David Bowes
Der Zerstreut Liebhaber, 1990
Collection Daniel Varenne
Jerry Garcia
Jerome John "Jerry" Garcia was born in 1942 in San Francisco and died
in 1995 in California. He was an American musician who was best
known for his lead guitar work, singing and songwriting with the band
the Grateful Dead. He also founded and participated in a variety of side
projects in rock, folk, bluegrass, etc.
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Jerry Garcia
New York at night
Courtesy of the Garcia Weir Gallery
David Humphrey
Cement truck, 2012
David Humphrey
David Humphrey received a BFA from the Maryland Institute College of Art
and an MA in liberal studies from New York University. Humphrey’s work is
in the permanent collections of the Metropolitan Museum of Art, the
Walker Art Center, the Carnegie Institute, and the Museum of Fine Arts,
Boston, among others. He is the recipient of a Guggenheim Fellowship, two
fellowships from the National Endowment for the Arts, two New York
Foundation Grants and the Rome Prize. He played music with the Dirty
Mirrors.
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Daniel Johnston
Famous artist of the alternative American scene, Daniel Johnston was born
in 1961 in Sacramento. He lives and works in Texas. Supported by Sonic
Youth, Larry Clark, David Bowie and Matt Groening, he is considered as the
father of the Anti-Folk; a movement which appears in New York in the
middle of the 1980s, taking its roots as well from the punk, the rock garage
than from the American traditional folk music. He participated in
exhibitions in galleries and participated at the Biennial of the Whitney
Museum of New York in 2006. The graphic production of Daniel Johnston is
particularly abundant: drawings - generally realized in a compulsive way
with felt-pen or pen ball - containing Christian, historic and pop culture
references.
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Daniel Johnston
Travelling time, 2001
Courtesy arts factory
Jon Kessler
Born in 1957, Jon Kessler lives and works in New York. After graduating
from the SUNY Purchase, he took a studio in Brooklyn, New York inwhich
he is still working today. He has been a founding member of the toy
company Bozart. and teaches currently at the Columbia University. He also
plays guitar with the X-Patsys, a band that begun with artist Robert Longo
and actress Barbara Sukowa.
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Cris Kirkwood (Meat Puppets)
Christopher "Cris" Kirkwood, born in 1960, is an American musician who is
the bassist and a founding member, along with his brother, of the Meat
Puppets, an alternative punk rock band. Cris Kirkwood has been creating
art for decades, he spent a majority of his life drawing. His art has appeared
on the Meat Puppet's various flyers, album sleeves, inserts, and CDs
throughout the lifespan of the band.
Cris Kirkwood (Meat Puppets)
Untitled, 2014
Courtesy of the artist and Tif Sigfrids
Takuji Kogo
Robot is a virtual band run by Takuji Kogo and John Miller. Robot produces
songs whose lyrics derive from personal ads found online or in newspapers.
All of Robot's music is synthetic, including the vocals.Takuji Kogo is
organizing collaborative art projects such as ‘candy factory’ since 1998,
established as a gallery space in Japan developing projects in museum or
exhibition spaces and also web projects.
Robot (Takuji Kogo + John Miller)
Personal Assistant, 2014
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Alix Lambert
Alix Lambert was born in 1968 in Washington, DC. She attended the Royal
College of Art, Summer Program London, England, the Parsons and has a
degree of the School of Visual Arts: BFA.
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Alix Lambert
Platipussy still, 1994
Photo : Carl Saytor
Randy Ludacer
Randy Ludacer graduated in 1977 from Rhode Island School of Design.
In 1990 he co-founded Beach Packaging Design. He has designed packaging
for clients in a variety of product categories. He also writes songs and
played with The Foot Notes.
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Malcolm MacLaren
Born in 1946 in England, Malcolm MacLaren studied Fine Art at the
Goldsmiths Art College, University of London. Recording artist and fashion
designer, he came to fame as manager of the Sex Pistols. Later, he recorded
several albums of his own material. He opened a boutique shop in Chelsea,
initially called ‘Let It Rock’ and later renamed ‘Too Fast to Live Too Young to
Die’. He created first fashion collection for Paris together with partner
Vivienne Westwood. McLaren stayed busy with several film, television and
radio projects. He died on April 8th, 2010 in Switzerland.
John Miller Devil Doctor, 2013
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John Miller
Born 1954 in Cleveland, Ohio, John Miller lives and works in New York City
and Berlin. After attending the Rhode Island School of Design at the end of
the 1970s, he participated to the Whitney Museum of American Art
Independent Study Program in New York and ended his studies at the
California Institute of the Arts in California. His work, which articulates
conceptualism, pop and psychoanalysis, focuses on the question of the body
and architecture, systems of representation and of control, and forms of
circulation and appropriation of cultural signs. He is also a member,
sometimes founder, of several groups of music.
Greg Parma Smith
How Many Bananas, 2008
Courtesy of the artist
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Greg Parma Smith
Greg Parma Smith, born in 1983 is a Swiss-American artist who lives and
works in New York. He received his MFA from Columbia University in 2007.
Smith's paintings are derived from his caricature of the decorative and the
commonplace.
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Genesis P-Orridge
Genesis P-Orridge born Neil Andrew Megson in 1950, is an English singersongwriter, musician, poet, writer and performance artist.
During the late 1960s and early 1970s, P-Orridge's early confrontational
performance work in COUM Transmissions and Throbbing Gristle, which
dealt with subjects such as sex work, pornography, serial killers, occultism
and P-Orridge's own exploration of gender issues, generated controversy.
Later musical work with Psychic TV received wider exposure. P-Orridge is
credited on over 200 releases.
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Mayo Thompson (Red Krayola)
Mayo Thompson, born in 1944 in Houston, Texas, is an American musician
and visual artist best known as the leader of the avant-garde rock band Red
Crayola (Krayola). In 1970, he released his only solo album, while he was
working as a studio assistant for Robert Rauschenberg. In the 80s, he was as
a member of Pere Ubu.
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Tony Oursler
Tony Oursler was born in New York in 1957. He completed a BA in fine arts
at the California Institute for the Arts, Valencia, California in 1979. His art
covers a range of mediums working with video, sculpture, installation,
performance and painting. Oursler's work has been exhibited in prestigious
institutions including the Walker Art Center, Minneapolis, Documenta VIII,
IX, Kassel, Museum of Modern Art, New York, Whitney Museum of
American Art, New York and the Centre Georges Pompidou, Paris. The artist
currently lives and works in New York City.
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Alan Vega
Alan Vega, born Boruch Alan Bermowitz in1938, is an American vocalist,
primarily known for his work with the electronic punk duo Suicide. He
studied Fine art at Brooklyn and began a career as sculptor, especially
known for his light sculptures. In 1971, he runs the Project of Living Artists
having ‘happenings’. With Martin Reverby, he formed the band Suicide,
whose minimalist and aggressive music will open the way to the coming
artists of electronic music.
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Don Van Vliet (Captain Beefheart)
Born in 1941 in California, Don Van Vliet is a legendary figure in both
music and the visual arts. He draws, paints and sculpts throughout his life,
until the early 1960s when music became his main passion. Performing
under the stage name Captain Beefheart, together with his Magic Band, Don
Van Vliet produced a number of highly unconventional blues- and rockinspired albums. In the early 1980s, he left the music industry and devoted
his entire efforts to painting.
DOOM :
S
urface C
ontrôle Mathis Altman, Olga Balema, Max Brand, Aleksander Hardashnakov,
Renaud Jerez, Veit Laurent Kurz and Jared Madere.
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In the « Rue » of MAGASIN
From October 11th, 2014 to January 4th, 2015
The David Roberts Art Foundation (DRAF) recently gathered together several artists for its exhibition
entitled "Geographies of Contamination"*. The notion of contamination, which can be stretched to
encompass the very concept of pollution, certainly best applies to emerging practices that Alex Scrimgeour
describes as such: "The exhibition as well as the oeuvres are contaminated as much by their entanglement
with 'world-images', affects, materials, processes, mechanisms and discourses as by the very site of artistic
operations which have themselves become porous, permeable and hybrid". These same practices are also
related to a certain "meta-materiality" that could be considered the creative fruit of a generation subject to
the commonplaces of a digital society that has altered or modified our very notions of time and space
under the influences of the most recent technological revolutions. "While the image has become
information (rootless and multipliable), its visible surface has become but an interface, a space for sharing
and exchanging. As consumerist technology, the surface is 'clean', but a flat, high-definition screen remains
but a deceptive mechanism. The work of art becomes a means for 'buggering' this surface of monetizing
data, frozen within the surface's particular materiality." (Alex Scrimgeour). If digital tools are well
employed, they are utilized freely, as the commonplace tools of times. The state of ambiguity that
nourishes this critical polysemy, and the contradictions it produces, are in line with the project, and the
frameworks of its practices that reappear as such, to become indefinable and thereby demonstrate their
resistance more to the over-simplistic logic of the marketplace than to its underlying "commoditization".
The resulting oeuvres would not or no longer be oeuvres.
The initial intention – originating in ideas or originating in shapes, forms – is the production of radical
shapes and forms using conceptual methods and tools in the sphere of representation and, for some, of
figuration. But the overarching logic prevailing in the design and implementation of the enterprise is
contaminated by the peripheries and manipulations, as well as the resulting distortions, diversions. The
work is organized as the world is organized, a world itself rendered incoherent by its composite nature
resulting from pollution, interference that is at once exterior and intrinsic, constitutive of the confusions
and ambiguities of its analysis (industrial, urban, cold and raw, even dirty and dark) – and this within a
freedom to work that could lead them to collaborate, should they so desire. The art centre’s atrium ("La Rue") will welcome the collective exhibition co-organized with Renaud Jerez, a
French, Berlin-based artist belonging to the post-Internet, or post-materiality, generation of artists. The
walls of this central exhibition area (totalling nearly 100 metres in length) will be divided into several work
surfaces for wall paintings or any other form of desired expression, with each separate work surface being
entrusted to an artist of this same generation for an on-site production during the month of September.
The group exhibition will gather a selection of artists including Mathis Altmann, Olga Balema, Max Brand,
Aleksander Hardashnakov, Veit Laurent Kurz and Jared Madere.
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The project could be briefly defined as such:"The main idea behind this show is to have somes different
monumental wall work composits, dealing with the idea of molecularisation or atomisation, and pollution
inside each own art practice ecology. with congested esoteric systems/artworks, dealing with imminency
and blackout". * Geographies of Contamination/Olga Balema, Neil Beloufa, Nicolas Deshayes, David Douard, Renaud Jerez, Sam Lewitt, Marlie Mul, Magali Reus, Rachel Rose, Michael E.
Smith, DRAF, London, 31.01-29.03.2014.
Mathis Altmann
Born in 1987 in Munich (Germany), he lives and works in Munich.
He graduated from the Fine Art School in Zurich (Switzerland).
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Olga Balema
Lives and works in Amsterdam. Studied sculpture at the University
of Iowa.
Mathis Altmann Pain Management, 2014
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Max Brand
Born in 1982 in Leipzig (Germany), he lives and works in Berlin.
He graduated from the Städelschule in Frankfurt.
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Aleksander Hardashnakov
Born in 1982 in Toronto, he lives and works in Toronto (Canada).
Aleksander Hardashnakov The Trap Room 1, 2014
Renaud Jerez
Born in 1982, he lives and works in Berlin (Germany). He graduated
from the Fine Art School of Lyon (France).
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Veit Laurent Kurz
Born in 1985 in Erbach (Germany), he lives and works in Berlin and in
Frankfurt. He graduated from the Städelschule in Frankfurt.
Renaud Jerez
KFN, 2014
Veit Laurent Kurz
Fettgrässli (Pleurozia), 2014
Exposition collective à la Fondation
d’entreprise Galeries Lafayette, Paris
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Jared Madere
Untitled, 2014
View of the exhibition honey that isn't real at BedStuy Love Affair.
Photo : Jared Madere
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Jared Madere
Born in 1985 in Erbach (Germany), he lives and works in Berlin and in
Frankfurt. He graduated from the Städelschule in Frankfurt.
PERFORMANCE PROLETARIANS!!!
JOIN
US!
!
Live broadcast of a 36hours program of performances
conceived by Lili Reynaud-Dewar et Benjamin Valenza.
From October 9, 2014 at 12pm until October 10, 2014 at midnight
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On www.performanceproletarians.com
A variety of oeuvres and artists linked together by their relationship to entertainment and mass media will
be assembled under a single banner, with the nonstop, simultaneous broadcasting of live performances and
a live mixed video programme by Benjamin Valenza and Lili Reynaud-Dewar. The MAGASIN auditorium will be transformed into a studio, where the performances will be filmed and
simultaneously retransmitted via a dedicated internet channel: the "Performance Proletarians Channel". Chloé Delarue, Zoloft
Christian Falsnaes, Influence, 2012
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« In 1970, Brian de Palma released the black comedy feature film “Hi! Mom” starring Robert de Niro.
“Hi! Mom” is a typically post-Macluhanesque tale, narrating De Niro's use of a personal camera, from recording his
neighbors' daily life to taking part in a violent live theater performance. This performance, entitled Be Black Baby ! Is
the actual climax of the film. It consists of swapping roles between black and white US citizen, with whites
blackening and getting beaten up and insulted by whitened blacks. In it, De Niro plays the role of policeman
arresting and molesting the crowd of performers. Over the course of the film and its depiction of De Niro's
acquainting to the camera, his character (a young vietnam veteran) performs various roles or identities : from
aspiring film director to surveillance obsessed guy to violent cop to over controlling partner (he moves with ones of
the girls he was spying with his camera) to terrorist.
With its final scene showing De Niro interviewed on the national news as a witness for a bomb attack he's actually
responsible for, “Hi ! Mom” shows the influence of media on our natural role playing tendencies.
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In 2008, in his book On Surplus Value in Art (Witte de With Publishings, Sternberg Press, 2010) Diederich Diederichsen
coined the term “Performance Proletarians” to describe a specific “creative class” emerged under the new
technological conditions of production and circulation of artistic content.
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This labour of this class, Diederichsen writes, is both de-regulated and de-professionalized. It functions not so much
as a working force but as a life force, displaying the products of its creative activity as continuous stream of energy,
agility, charm, and talent. Needless to say these products are not defined by their originality, but on the contrary by
Deniz Unal, Short Shorts, 2013
With these two anchor points, spanning over four decades : from the
beginnings of the use of personal cameras to the generalization of
internet related methods of performing, our program “Performance
proletarians !!! Join Us !” wishes to explore the relations between
performance and technology, more specifically the technologies of
entertainment. The point is not so much to think about the
conservation aspects of performance - in its relation to documentation
and recording - but on the contrary to think about performance in
terms of its circulation, broadcasting and immediate release. Through
this window, we aim to help resurface the various role play and
identities generated by such methodological choices, and to focus
primarily on the use of a very energetic body as a tool for media
exposure. !
We wish to gather a group of artists and
speakers from different generations, who have blurred the boundaries between film,
video, performance, live music and television, and who have combined various
medium in order to produce work that is aspiring to both challenge and integrate the
mass media protocols, its stereotypes and its promise of creative freedom and
democratization. »
Lili Reynaud-Dewar and Benjamin Valenza
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The auditorium of MAGASIN will host a studio for the performances to take place and
be broadcasted. The program will be transmitted live on a dedicated internet channel. Benjamin Valenza and Lili Reynaud-Dewar will assemble and mix these videos and
performances, live. Their students from Head Geneva and Ebabx Bordeaux will be
given cameras and will take the responsibility for filming the event continually during
36 hours, from october 9 at 12pm until october 10 at midnight of the year 2014. This studio will be semi-private, accessible only to the participants in the project. The
audience will be sitting behind their computer in their home, favorite bar, or else.
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Hadley&Maxwell, Ritual for an
With performances and videos by Verena Dengler, Diedrich Diederichsen, Hadley and
Untimely Life, 2009
Maxwell, Christian Faelsnes, Emy Chauveau, Hendrik Hegray / Popol Gluant, Guillaume
Pilet, Michael Smith, Deniz Unal, Hugo Canoilas, Mathis Collins, Axel Stieffel, Nastasia
Meyrat, Chloé Delarue, Lou Masduraud, Lauren Huret & Camille Dumond, Lea Meier, Johanna Viprey & Jean Wave
(Blanc Alligator),
And a video program (to be confirmed) featuring Alex Bag, Christoph Schliengensief, Sarah Morris, Olivia Dunbar,
Erica Eyres, David Robbins, Mélanie Gilligan, Michelle Naismith.
LILI REYNAUD-DEWAR was born in La Rochelle, France, in 1975. Graduate of the Regional School of the School of
Fine Arts of Nantes (DNAP), Master's degree of the Glasgow School of Art and Post-diploma of the Regional the
School of the Fine arts of Nantes. She won the Prix Fondation d’Entreprise Ricard in 2013. She is one of the
founders of the feminist art magazine Petunia. She is currently teaching at the HEAD - Geneva.
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BENJAMIN VALENZA was born in Marseille in 1980. He works and lives in Lausanne, Switzerland and Brussels,
Belgium. He is a founding member of Galerie 1m3. He has recently exhibited at Form Content in London, Forde in
Geneva, Zoo Gallery in Nantes, Palais de Tokyo in Paris and Castillo / Corrales in Paris.
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PARTNERS :
DICRéAM - CNC, Fondation d'entreprise Ricard, Haute École d'Art et de Design (HEAD) de Genève, École des Beaux
Arts de Bordeaux (EBABX), ESAD •Grenoble •Valence.
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AGENCE CLAUDINE COLIN
PRESS contact MAGASIN
MAGASIN
Diane Junqua
[email protected]
Press Officer
Tél. : +33 (0)1 42 72 60 01
Léa Deshusses
[email protected]
Press and Communications Manager
Tél. : +33 (0) 4 76 21 65 26
Tél. : +33 (0) 6 50 09 46 29
Centre National
d’Art Contemporain
Site Bouchayer-Viallet
8 esplanade Andry-Farcy
38000 Grenoble - France
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