Created by the Artist
Since the beginning of the 2000s, Loris Gréaud has pursued an atypical path in the field of contemporary art. His work prioritises the idea of the ‘project’. Using this temporally limited concept as a frame for his practice enables the artist to intervene with the given conditions of space and time. Systematically blurring and erasing the limits and borders between fiction and reality, Gréaud's projects create fluid, challenging and otherworldly experiences.
Gréaud's first solo exhibition LADI ROGEURS with Galerie Max Hetzler in Paris in the beginning of this year was conceived as a three-dimensional sketch, encompassing the entire gallery space. In the spirit of the cinematic cross-fade principle, the show in Berlin is a continuation of Paris, reconfiguring the gallery space while drawing from the codes of a still life.
Tinted in a purple, diffuse light, the space is interrupted by organically formed sculptures, Spores, hanging from the ceiling, which spread the sound frequencies of dying stars into the surrounding space. Openings in the gallery floor, filled with mud, sand rust, liquids and waste collected at the original shooting site near Tallinn of Russian filmmaker Andrei Tarkovsky's science fiction masterpiece Stalker (1979) pick up the film's exceptional sentiment. And MACHINE, a tree-like sculpture transforms into an autonomous entity, seemingly moving its limbs beyond any control. Thus, creating a landscape that seems to emerge from another world – a synthetic, supernatural, and disruptively unreal sphere – the installation offers a vision of a contemporary form of vanitas.
Created by the Artist
Loris Gréaud, LADI ROGEURS: SIR LOUDRAGE – a still life
Goethestraße 2/3, Berlin
27 April – 21 July 2018
Dimensions: 83 x 59,5 cm
Add to Cart
Out of Stock
Since the early 2000s, Loris Gréaud (b. 1979) has developed a singular trajectory in the international contemporary art scene whereby he constructs unique environments to house disruptive elements, often with an ambiguous narrative that blurs the boundaries between fiction and reality. Rumors, poetry, viruses, architecture and demolition, academicism and self-negation are therefore regularly summoned in his work as it strives to oppose the separation between physical and mental spaces. Loris Gréaud's projects have given rise to important solo exhibitions. He was the first artist to use all the space of the Palais de Tokyo (Paris), with his project Cellar Door (2008-2011), which was further developed at the Institute of Contemporary Art (London), the Vienna Kunsthalle, the Kunsthalle St Gall (Switzerland) and at the Conservera de Murcia museum (Spain). In 2013, the Louvre Museum and the Centre Georges Pompidou invited him to design a double exhibition that will bring the project to life [I]. In 2015, he took over all the spaces of the Dallas Contemporary (United States) with his project still at work The Unplayed Notes Museum. In 2016 he produced the project Sculpt specially for LACMA (Los Angeles) — it was his first major exhibition on the west coast of the United States. In 2017, he attracted the attention of the 57th Venice Biennale with his project The Unplayed Notes Factory in Murano (Italy). In 2019, the Tel Aviv Museum of Art hosted the 2nd phase of the LACMA project entitled: Sculpt: Grumpy Bear, the Great Spinoff. Recently, the exhibition The Original, The Translation highlighted his entire editorial activity at the Bibliothèque Kandinsky / Centre Georges Pompidou. Finally, the Musée d'Art Moderne de Paris, after acquiring the work MACHINE in 2018, invited Loris Gréaud to conceive a specific exhibition, entitled Glorius Read, as part of its permanent collections. In February 2020, the artist inaugurates his permanent project The Underground Sculpture Park at the Casa Wabi Foundation, in continuation of the architecture designed by Tadao Ando.Loris Gréaud's works are part of many public collections including the Pompidou Center's (Paris), the LACMA's (Los Angeles), the Paris Museum of Modern Art's, the François Pinault's Collection (Venice), the Louis Vuitton Foundation's (Paris), the Israel Museum's (Jerusalem), the Margulies Collection (Miami), the Goetz Collection (Munich), the Rubell Family Collection (Miami), the Nam June Paik Art Center's (Korea), the Tel Aviv Museum of Art's (Israel) and the Hirshhorn Museum's (Washington)."An artist can act as if nothing was amiss; he or she can keep on producing exhibitions in which objects line up in a closed place, but the whole thing will miss realism. Not the optical realism, which is not our subject, but it will simply miss a contact with reality. That is the true meaning Gustave Courbet gave to realism: "paint from the eye, not from ideas", that is to say getting rid of every ideological preconception and idealistic illusion, in order to show the real in its crudity, with pain and death working together, the stony bottom of the human condition. In short, strip the reality of its stage clothes. From this point of view, Loris Gréaud belongs to the contemporary realist family that already counts Berthold Brecht, Gordon Matta-Clark, Dan Graham, or Mike Kelley. But against what kind of idealism? It has been a long time since artists needed religion or Greek mythology to depict advantageously the behaviour of their contemporaries, thereby ensuring social stability. Contemporary idealism is more insidious: we do not paint the ideal anymore, but we set up the artist as a politically perfect activist, an ideal citizen who has overcome all the prejudices of his or her time — marginal but virtuous. No such positions can be found in Gréaud’s art, yet his work still presents the real of today; not in the form of factual reports, but in a much more direct one, a block of sensations and matter."Nicolas Bourriaud, The Unplayed Notes (2012-2017) | Introduction to The Underground Sculpture Park, 2020. To be published by Hatje Cantz.
Artist page on maxhetzler.com
LADI ROGEURS: SIR LOUDRAGE - a still life
Goethestraße 2/3, Berlin
Exhibition page on maxhetzler.com