Jean-Michel Othoniel
Transcription
Jean-Michel Othoniel
Jean-Michel Othoniel Jean-Michel OTHONIEL JANUS’ KNOTS 10 Impasse St Claude: octobre 2009 - janvier 2010 Sculptures, works on paper 10 Impasse Saint-Claude : October 22 - December 23, 2009 artist whoEmmanuel has a passion for all sorts of metamorphoses, sublimations and transmutations, Jean-Michel Othoniel a predilection for TheAn Galerie Perrotin presents JANUS’ KNOTS by Jean-Michel Othoniel, a collection of has works never shown before, materials with properties. Othoniel first gained recognition with a series of sculptures made of sulfur, exhibited at Documenta IX in from October 22reversible to December 31, 2009. Kassel in 1992. In 1993, Jean-Michel Othoniel introduced glass into his work and began to explore its properties. Transformations, mutations After sulfur, 1993 Othoniel discovered ancestral art ofthat glass its metamorphoses in artist Murano. of exploring materials, the and transformative rites of passagequalities from oneofstate to in another echo an essential rite the in the artist’s work: of and journeys and memory. The has progressively built up a world based on ultimate freedom and the acceptance of the reversible, a world characterizing his personality. His Since then, he has been creating a world of poetic and baroque (a term that originally referred to an irregularly shaped bead) works. Like the vanitas, or work takes on a variety of forms: drawings, sculptures, photographs, narratives, choreography and video. His streamlined works are steeped the decor of antique sepulchers, the shimmering colors and materials of the necklaces, crowns, mandorlas and outsized baldachin beds of shimmering in poetry and eroticism. colors and materials illustrate the presence/absence of beings. Othoniel seized on glass as if it were an abandoned, undeveloped plot containing a conceptual treasure. The characteristic of this material is is appears on the end of theaspects, spectrumhis of art scales, from aminiature to monumental. Today, as in(the the Collier past, manipulation scaleFNAC is one collection; of the Yetthat beyond the appealing, formal displays fragile beauty of tangible wounds Cicatrice inof 1997, in 2003, fundamental operations work depicts in artisticthe creation. By of enlarging reducing, by altering the interplay of sizes formats, theNew world of art Museum of necklaces suspended fromattrees lynching African and Americans during segregation: L’Arbre aux and Colliers in the Orleans incorporates one of the production methods for the extraordinary. It is a time as the human life boat is itself characterized by the Modern Art; Le Bateau de great Larmes topped with a crown, exhibited in Basel in also 2005, was machine, a tribute to Cuban people). growth of an individual’s body. If glass as a material has a particular shape, it is certainly the sphere, expressed in multiple ways: the ball, the Thebead, ambiguity of the works also resides in in the equivocal nature of Baroque glass, a sacred thatthe refracts divine light, as a church, the drop. Asartist’s soon as we speak of beads art, the origins of the estheticmaterial appear on horizon—because theinterm barocoas well as the profane aspect, as a symbol of the transparency of desire (feelings initially designated a bead with irregular and subtly irrational shapesmost fully developed in the Crystal Palace installations at the Fondation Cartier, the MOCA in Miami in 2003-04, or L’herbier merveilleux at the Chapelle du Méjean in 2008). Othoniel is now working to move beyond the hieratic character of his works, and to depict or capture movement while moving toward greater abstraction. par question goût des métamorphoses, sublimations transmutations, aux propriétésof réversibles, Jean-Michel se He Privilégiant, examines “the of the absent body. It is aboutetcreating volumesles of matériaux absence, constructions variable sizes in whichOthoniel bodies could curl up.” fait d’abord remarquer par ses sculptures en soufre exposées à la Documenta de Cassel en 1992. C’est à partir de 1993 que Jean-Michel At the entrance to the suspension of aexpérimente few black and silver beads spins endlessly.mutations de la matière et rites de passages Othoniel introduit le exhibition, verre dans ason travail et en les propriétés ; transformations, d’un état à un autre font écho à un autre rite fondamental dans l’oeuvre de l’artiste, celui dutheory voyage duBorromean souvenir. L’artiste a progressivement The suspended sculpture Les Noeuds de Lacan, 2009 materialized the psychoanalytic ofetthe rings that structures a subject with a inventé un monde de liberté ultimeSymbolic et d’acceptation du réversible qui caractérise sa personnalité. Sa création est multiple : dessins, sculptufragile equilibrium between Reality, and Imaginary. res, photographies, écrits, chorégraphies ou vidéos. Autant d’oeuvres épurées chargées de poésie et d’érotisme. TheJean-Michel complex circumvolutions of the two-tone inspired by minimal artdélaissée and the concetto spaziale,unespecially by Fontana’s work Spatial Light Othoniel s’est emparé du verre Lassos comme are on s’empare d’une jachère pour y découvrir trésor conceptuel. Le propre (1951). de ce matériau, c’est d’apparaître aux extrémités du spectre des échelles, de la miniature au monument. En agrandissant et en réduisant, en le jeuplaced des tailles des formats, le monde de l’art utilise l’un des grands production du of fantastique. Si le matériau-verre Lesperturbant Lacets bleus, on aetbase rather than suspended like the necklaces, falls leviers into thedesame category works as Rivière blanche, created in 2004 possède une forme privilégie, c’est bien la sphère, déclinée sur plusieurs modes : la boule, la bille, la perle, la goutte. Dès que l’on parle de for the Mesopotamian rooms in the Louvre—a work purchased by the Musée d’Art moderne de la Ville de Paris/ARC—and Peggy’s Necklace, exhibited perle, en art, les racines de l’esthétique baroque apparaissent à l’horizon. Car le terme baroco, à l’origine, servait à désigner une perle aux at the Peggy Guggenheim Collection in Venice in 2006. contours irréguliers et subtilement irrationnels. The series of works on papers—created with the Michael Woodworth studio in Paris—introduces “the idea of movement, of actual rebounds, of ricochets, of imaginary desires and the bound heart.” As part of the exhibition, Éditions Dilecta and Galerie Emmanuel Perrotin have published an artist’s book, Les Nœuds de Janus. Othoniel designed this work as a pop-up book; the animated watercolors are actual models for future sculptures. The beads seem to follow the trajectory of lives an imaginary ribbon Jean-Michel Othoniel was born in Saint-Étienne in 1964. He tossed in the air. 24-page hardback book with 10 watercolors. Price: €45. Limited edition: 20 copies and works in Paris. with 10 artist’s proofs: €450. Solo exhibitions : Hara Museum of Contemporary Art, Tokyo; "Monaco Project For The Arts", Monaco, Galerie Karsten Grève Saint-Moritz, Switzerland; "L'Herbier Merveilleux", Chapelle Saint-Martin du Méjan, Arles; "Secret Americana" Sikkema Jenkins & Co., New York; “Peggy's Necklace” Peggy Guggenheim Collection, Solo Exhibitions: Brooklyn Museum, New York (2012); Hara Museum, Japan (2011); V&A Museum, Londres (2011); Centre Pomipdou (2011); Monaco Venice; “Dessins” Galerie Emmanuel Perrotin, Paris; Le Petit Théâtre projects for the arts; Galerie Karsten Grève, Cologne; Sikkema Jenkins & Co., New York; Peggy’s Necklace Peggy Guggenheim Collection, Venice; de PeauMiami; d’Ane,Crystal ThéâtrePalace, du Chatelet, Paris; House of Glass, MOCA, Dessins Galerie Emmanuel Perrotin, Paris; Le Petit Théâtre de Peau d’Ane, Théâtre du Chatelet, Paris; House of Glass, MOCA, Miami; Crystal Fondation Fondation Cartier, Paris; Lagrimas, Museo del Vidrio, Monterrey, Mexico; Collier, Museum Dhondt-Dhaenens, Deurle, Belgium; Parade,Palace, Newcomb Art Cartier, Paris; Lagrimas, Museo del Gallery, New Orleans; Le Kiosque des Noctambules - Palais Royal - Musée du Louvre, Paris. Vidrio, Monterrey, Mexico; Collier, Museum Dhondt-Dhaenens, Group Exhibitions: Le Petit Théâtre de Peau d’Âne, Dolmabahçe Palace, Istanbul; Quintette, French Institute, Ankara; The Museum of Glass, Seattle; Deurle, Belgium; Parade, Newcomb Art Gallery, New Orleans; Le Dialogues Méditerranéens, Musée de L’Annonciade, St Tropez; Peggy’s Necklace, Nuit Blanche 2006, Crédit Municipal; La Force de l’Art, Grand Palais, Kiosque des Noctambules (permanent installation at the Palais Paris; Musée d’Art Moderne de la Ville de Paris; Galerie Emmanuel Perrotin, Paris; Fragile, Musée des Beaux-Arts de Reims, France; Musée du Louvre, Royal - Musée du Louvre), Paris. Paris; Heart of Glass, Queens Museum of Art, New York; Heaven, Tate Liverpool, United Kingdom; Kwangju Biennial, South G r oKorea. u p e x h i b i t i o n s : " S o n s b e e k 2 0 0 8 : Gextract r a n d eofu the r " , Abook r h n eLes m , nœuds de Janus, 2009 N e t h e r l a n d s ; " Th e S e c r e t L i fe o f O b j e c t s " , G u g g e n h e i m , Bilbao; "Le Petit Théâtre de Peau d'Âne", Dolmabahçe Palace, Istanbul; "Quintette", French Institute, Ankara; The Museum o f G l a s s, S e a t t l e ; " D i a l o g u e s M é d i t e r r a n é e n s " , M u s é e d e L'Annonciade, St Tropez; "Peggy's Neck lace", Nuit Blanche 2006, Crédit Municipal; "La Force de l'Art", Grand Palais, Paris; Musée d’Art Moderne de la Ville de Paris; Galerie Emmanuel Pe r r o t i n , Pa r i s ; Fr a g i l e, M u s é e d e s B e a u x - A r t s d e R e i m s ; Contrepoint (contemporary artists at the Louvre), Musée du Louvre, Paris; Heart of Glass, Queens Museum of Art, New York; Heaven, Tate Liverpool, United Kingdom; Kwangju Biennial, South Korea. Jean-Michel Othoniel is born in Saint-Étienne in 1964. He works and lives in Paris. Pour toute demande d' i nformation, merci de contacter / For any additional information, please contact : Peggy Leboeuf : [email protected] : +33 1 78 94 01 40 Pink Lasso, 2008 Murano glass 9.6 feet x 56 inches x 25 1/4 inches Untitled, 2009 Lithographic print on white gold leaf mounted on vélin de Rives. 43 1/4 x 31 inches Blue Lasso, 2008 Murano glass 51 1/4 x 55 1/4 x 15 3/4 inches Les Lacets Bleus, 2009 Mirrored glass, mirror polished inox 8.2 feet x 70 3/4 inches x 55 1/4 inches For all images : Copyright Ohoniel/Adagp, Paris, 2009 & Courtesy Galerie Emmanuel Perrotin, Paris For any additional information, please contact : Héloïse Le Carvennec [email protected] T. + 33 1 42 16 91 80