COMMENT ME PLAGIER AVEC GOÛT (How to tastefully plagiarise myself.) | |
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Entrepôt | Du 8 juin au 25 août 2024 |
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Exposition visible du 8 juin au 25 août 2024 du mercredi au vendredi de 12h à 18h, le week-end de 14h à 18h et les soirs d’événements.
« When you’re out of new ideas, make your old ideas bigger » défendait Anna Delvey. Dans la nef, deux installations reprennent les formes emblématiques portées par Philipp, la série de peintures LED en mouvement et le mur d’images initié à Art Basel Unlimited en 2021. Les dix tableaux abstraits exposés se ressemblent comme deux gouttes d’eau et pourraient aussi bien provenir du Plaza Premium Lounge de l’aéroport de Denver que du vestibule d’un restaurant Dans la lignée du capitalisme réalisme allemand des années 60, cousin grinçant du pop art américain, Philipp Timischl érige la figure de l’artiste en commentateur caustique des affres de la bourgeoisie. Les artistes et en dernière instance le monde de l’art concentre tous les rêves et les angoisses de notre monde. Pourtant, à la manière d’une notation Standard & Poor’s, les prétentions de révolutionnaires de l’art sont passées de Prime quality AAA au début du XXe siècle à Highly speculative B en 2024. Pierre-Alexandre Mateos & Charles Teyssou . In between airport art and MediaMarkt’s home TV section, Philipp Timishl’s first institutional exhibition in France turns the adage form follows function on its head. Category is: the medium is the message and the message comes in various colours and personalities. The exhibition is based on three installations exalting Timischl’s obsessions from his early days as an artist in his native Austria in the ‘10s: the ridiculousness of social distinction, a neoliberal camp mixed with institutional critique, and the link between hypertrophied masculinity, and class passing. Philipp Tilmischl is the illegitimate child of sociologist Pierre Bourdieu and the queen of drag queens, Ru Paul. The artist’s practice combines the former’s analysis of culture as a weapon of social differentiation with the latter’s idea of pastiche of taste, irony and stupidity as a political mode of engagement. «When you’re out of new ideas, make your old ideas bigger» defended Anna Delvey. The show is 70% Delvey, 30% new. In the nave, two installations take up the emblematic forms carried by Philipp, the series of moving LED paintings and the videowall initiated at Art Basel Unlimited in 2021. The 10 abstract paintings on display look exactly alike, and could just as easily have come from the Plaza Premium Lounge at the Denver airport as from the lounge of a restaurant decorated by Jacques Garcia. Each one tells its own story, moving from melancholy to arrogance in 24 frames per second, until they magically synchronise to embody a diagonal of emptiness. They are the flat and Four Seasons-esque versions of Ghost in the Shell. Opposite this installation is a massive screen wall, a veritable exquisite corpse of Philipp’s artistic imagination, reality TV vs. concrete poetry. To quote Corneille, value waits for no age, and the artist understood early on that the inner emptiness invented by capitalism still needed its totems. The exhibition concludes with a final installation in the form of a story, featuring the adventures of a raccoon. Following in the footsteps of the German capitalist realism movement of the ‘60s, a cranky cousin of American pop art, Philipp Timischl establishes the figure of the artist as a caustic commentator on the trials and tribulations of the bourgeoisie. The former, and ultimately the art world, concentrates all the dreams and anxieties of our world. Yet like a Standard & Poor’s rating, the claims of art revolutionaries have gone from Prime quality AAA at the beginning of the 20th century to highly speculative B in 2024. |
Philipp Timischl |
Pierre-Alexandre Mateos et Charles Teyssou |
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Duo de curateurs, leurs projets actuels incluent Paris Orbital, un programme public à la Collection Pinault - Bourse de Commerce sur les liens entre les mythologies parisiennes et la culture pulp, une publication sur le cruising homosexuelle avec HEAD (Genève) et Spector Books (Leipzig). Ils organisent également le programme des Conversations de Paris+ par Art Basel en octobre 2024. En 2024, ils inaugureront la première session de Stavanger Secession, un programme discursif et visuel à Stavanger (Norvège). Duo of curators, their current projects include Paris Orbital, a public program at the Pinault Collection - Bourse de Commerce on the links between Parisian mythologies and pulp culture, a publication onhomosexual cruising with HEAD (Geneva) and Spector Books (Leipzig). They also organise the Art Basel’s Conversations de Paris+ program in October 2024. In 2024, they will inaugurate the first session of stavanger secession, a discursive and visual program in Stavanger (Norway). |