"Off" FIAC

The side shows during the FIAC were a great surprise, I visited Slick and also Paris Elysees...there are many more exhibits in Paris during the four frenetic days.

Slick Art Fair, located between the Palais de Tokyo and the Museum of Modern Art of the City of Paris included 44 galleries this year, young galleries presenting emerging artists. Among the artists, I noticed Xavier Deshoulieres represented by the gallery Virgil de Voldere in NYC, oil on canvas, representing shadows of landscapes and Jean Denant with his "Mappemonde", a sculpted mural.

For the first time, I decided to visit Art Elysees, located along the Champs-Elysees in temporary tents. Sixty galleries and I found it more fun to visit than the FIAC. I discovered a serie of drawings from Jean Cocteau, works from Kupka, Gutfreund, Soulages, Cesar, Hans Hartung, Tom Wesselman, Picabia, Murakami and more, with the provenance clearly stated. The gallerists were available and ready to discuss the works with the visitors. It was a mix of real treasures mingled with tacky works like these presented by the Stephane Jacobs Gallery in Paris under the title "Arts d'Australie" inspired by aboriginal techniques.

I had a great time going through the tents.

Many red dots on the walls, I felt like buying...a small... also add... maybe...

Maybe next year!

photographs by the author:

oil on canvas, Xavier Deshoulieres, 2011

"Composition aux papillons", Picabia, 1924-26

"Sleeping 2000", Takashi Murakami

"Smoker Study", Tom Wesselman, 1977

Is the FIAC shrinking?

As usual, the FIAC is located at the Grand Palais this year, but it has lost its other venue at the Cour Carree du Louvre, traditionally reserved for the "young galleries": 194 galleries in 2010, only 168 this year, with a decrease in size of 1020 square meters according to Le Monde.

The visit reflects these numbers. The booths are smaller and difficult to navigate due to the lack of space and the galleries have less works on display. Of course, all the big names are here, including White Cube, Marian Goodman Gallery, Gagosian Gallery, Gladstone Gallery... some are trying to stand out like The Pace Gallery with its end of the world atmosphere or the Gmurzynska Gallery with a booth designed by Karl Lagerfeld. But these are the exceptions rather than the rule and most are minimalist with white walls trying to use the space at its best.

What about the works? Jean-Luc Moulene was well represented with several galleries showing his photographs of everyday objects presented under a new light. He has been compared to Jeff Wall but I could not find the simplicity and depth of Wall's works. I noticed one piece from Sophie Calle who is also at Prospect.2 in New Orleans. Most of the works with red dots were small to medium sized, from well-known artists, like Pierre Soulages, Dubuffet, Nicolas de Stael. David Zwirner Gallery offered a great display of Dan Flavin's work red, white and blue dedicated to the citizens of the Republic of France on the 200th anniversary of their revolution (1989). Anish Kapoor was also omnipresent with small sculptures.

A special area, was dedicated to the young galleries but again the limited space had a direct impact on the number of works and artists. Cyprien Gaillard, the winner of last year's Marcel Duchamp prize was represented with a few works, small framed compositions related to the works displayed currently at the centre Pompidou for his exhibition titled "UR". One work from Pae White was playing with reflections and colors... decorative.
The three contenders for the Marcel Duchamp prize 2011 were on display in a special area and I favored Samuel Rousseau for his sci-fi composition, technically very interesting, ready to take off. It helps rekindle the dream of other planets, other worlds...but Mircea Cantor won this year with is installation "Fishing Flies".

This year I spent six hours to visit the FIAC, the previous years, my visit lasted two days.
It felt like they were two FIACs, one for the "grand public" like myself and another for the "in crowd" before and after hours. The gallerists were not trying to do business. It was already done.
Next year, we are told, the space will be bigger. Of course, everybody hopes that the economic outlook will be brighter. Still, art is a great investment... to be enjoyed even if it looses its value. With stocks, you are left with bare walls.

photographs by the author, from top to bottom:

"Complex Forms, Structure VI, Sol Lewitt, 1990-91

display, The Pace Gallery

The Nightgown", Frank Stella, 1991

"Brave Old New World", Samuel Rousseau, 2011

View of the FIAC

Outdoor FIAC

This year, the FIAC has chosen several sites to exhibit the outdoor sculptures. The day before the FIAC's opening, I visited the Tuileries Garden and left the visit at the Jardin des Plantes to the Parisians.
At the entrance, rue de Rivoli, I was greeted by three nudes from Anthony Gormley. Tourists were making pictures of their wives next to the sculptures, accompanied by a few salacious remarks. The sculptures, isolated, are loosing their significance in this setting. The installation in New York City was powerful, giving a new dimension to the site.

Methodically, I started from the bottom of the Tuileries, and was immediately surprised by the few works on display compared to the past years. "La Somme des Hypotheses", a work from Vincent Mauger, ecological, is pleasing to look at but brings little controversy. The biggest talk should be about the sculpture from Adrian Villar Rojas, an Argentinian sculptor well-received in Paris. A long round, plastery piece, ending in the artificial pond interrupts my walk. It represents the ruins left from a future civilization and brings a reflection about the end of humanity. The work is short lived and will be destroyed at the end of the exhibition. Not too cheery.
Farther down the path, a sculpture made of copper is shining in the sun, abandoned, flat, rendered lifeless by the clouds ("We The People, Dan Vo, 2011).
A work from Navid Nuur is a distant cousin from Robert Tannen's, well-known artist in New Orleans: a stone brought by the gallery from Amsterdam. The only gesture from the artist is spraying metal dust on the top of it... another story about time and decay. A sculpture from Urs Fisher, Swiss artist now living in the United States is defying the laws of gravity, between abstract and figurative.
A shiny metal sculpture crafted by the automobile constructor Renault for Jean-Luc Moulene. "Body" is hardly a new idea, already explored and developed by Californian artists. Tomorrow, indoor FIAC.

photographs by the author
"Another Time II", Anthony Gormley, 2006
"La Somme des Hypotheses", Vincent Mauger, 2011"Poems for Earthlings", Adrian Villar Rojas, 2011"Body", Jean-Luc moulene, 2011
"Rivieres", Vincent Ganivet, 2005

Back to the FIAC

OK, OK, I was still recuperating from the time zone changes the other day. I went back to the Grand Palais and had a great visit today, even after waiting more than one hour, sometimes under the rain with a valid ticket in my pocket. The crowd would not bulge.
I did some shopping, why not a small Chamberlain in my office, a Cy Twombly for the waiting room, a Joan Mitchell for the entrance. Donald Judd would match my furniture in the living-room.
Of course I am jocking...but I am dreaming, and like many visitors, making pictures, our way of owning part of these chefs- d'oeuvres. Sometimes there is a small red dot on the wall, but not too many, and usually they are near works from well-known artists.

Like the other visitors, one more look...till next year.

short notes, on the road

photographs by the author

right: "Chicago Caryatid #4", 1979, Lynda Benglis

left: "Abat-jour #2", 1919, Man Ray

Around the FIAC

The long week-end at the FIAC in Paris includes a visit to other art shows like SLICK, Show Off, Art Elysees, Access and Paradox and more.

As a tradition, I spend a few hours in Le Marais and this time visited Access and Paradox, rue Vieille du Temple.

The exhibition located in the indoor market is a mixture of galleries, associations, private and public institutions with 32 stands. The artists represented are from France, Iceland, Sweden, Norway, Germany, and one artist from Sarajevo. UNESCO is involved in this project as part of the program "2010, International Year for the Rapprochement of Cultures."

The presentations were very interesting indeed, but I will not detail each of them which would be tedious. A gallery from Norway has an installation and performances, unfortunately, these are scheduled, and time is precious during the FIAC, I could not wait.

I noticed the work from Luc Kheradmand with "Agonizing Memories", 2009-2010, presented by a young gallery (ISDEAD) which is relocating in Belleville in a few months (work is in progress).
It is a collection of documents from 50 computer viruses which have contaminated the Internet from 1980 till 2009, selected by the artist because they give a glimpse into the personal history of the authors or the history of cyberculture.The work is composed of two parts, a book and the viruses stored on memory cards (follow the link on "Agonizing Memories" to look at it.) Most of the quotes on the book are poems like the virus LOVE-LETTER-FOR-YOU.TXT, citations, complaints. The artist is building "an archeology of the future."

Lina Scheynius, a swedish photographer, made me feel like a voyeur. Through a peephole I could look at white and black photographs of her daily life, one per day, for a year, some very personal, each a page of her photographic diary.

Another event was taking place on the first floor: "Art by Telephone". Fourteen artists mailed the material needed to build their work. On the receiving side, two curators are following the instructions from the artists, by videoconference, and build the work. The telephone used in the past by Laszlo Moholy-Nagy in 1922 is now the Internet and I can see (briefly) one artist on the screen. Unfortunately, technology can be tricky and the picture disappears. The sound is almost inaudible at times and the show appears quite desorganized... I never had a chance to see the artist's production.

no photgraphs were allowed

1/2 FIAC

Today, I visited the FIAC at the Grand Palais. Compared to last year, the crowd was sparse. Was it because of the strikes in Paris? If I had not read the papers I would not have noticed the disruptions, at least in my area.
The gallerists appeared morose and the visitors were not buying.
Space is plentiful. Last year, a mezzanine was adding square footages and well-known galleries had created a sanctuary-like structure, surrounded by private guards to show their best pieces.
Overall, the galleries did not bring great treasures this year, but mainly small minor paintings from well-known artists, sometimes straight from the seller, still hanging in questionable frames.
Noticeable were works from Louise Bourgeois, who died this year, Joan Mitchell and Lynda Benglis, also two works from Jean-Michel Basquiat. A great restropective of the artist is taking place at the Musee d'Art Moderne de la Ville de Paris.
This is my first impression, usually the right one.
I still have to visit the other half, at the Cour Carree du Louvre. I may even go back to the Grand Palais...in case I missed something.

short note, on the road...

living sculpture

The artist Laurent Tixador was living in the cubicle for four days during the FIAC, according to the sign near the sculpture called "Jumping Beans."
I did not detect any sign of life when looking at it in the "Jardin des Tuileries" near "Le Louvre".

The crowd was very interested and made comments like: "How is he going to the bathroom?"
or "How did he get there?"

And I asked myself : "Should we judge a piece of art by the comments it brings from the viewers?" If we did, this sculpture would be an F .

I also asked myself: "What is the purpose of this? Will the artist emerge and be enlighten and produce the most interesting piece of art of his career after meditating four days ?"

What is the statement of this sculpture? The artist places himself above us and from his height judges his viewers. The ironwork makes it appear almost like a prison where the artist isolates himself. Is he trying to protect himself from the world?
The artist is inaccessible.

I read about another artist in Japan who is living a whole year in a cell.
I forgot his name.


The artist was enclosed in his version of an "ivory tower".


I am curious to see what the artist is going to produce next...

photograph by the author

Day three, four and after

Day three was spent at the "Cour Carre du Louvre' to visit younger artists. The "prix Duchamp" was announced that day. Art was political, philosophical, vigorous at times in its statement, but not enough. War of course was the subject for a few artists. None of these works took my breath away: not strong enough, not engaged enough, not violent enough.
They were more photographs which may reflect the market for these, younger and cheaper?

Day 4, I walked in the "Jardin des Tuileries" and went by the sculptures presented outdoors.
I used my camera. I had to read the artists statements to understand the presentations. Usually, it is not a good sign for me.

Saturation may be part of feeling somewhat deflated today. I will have the length of a trip back to the States to digest all of this.

photograph by the author

FIAC day two

By day 2, I was fully oriented and was able to go back to special paintings or sculptures I wanted to see again. I made photographs.
I took my time to look at paintings from Soulages, Nicolas de Stael, Miro, Kandinski, Tanguy to name a few, sculptures from Tinguely, Brancusi...I wanted to remember each of these, they will be most likely bought by a private collector, and I will not be able to see them for a long time.
I enjoyed that day even more.

I spent a lot of time looking at these pieces of art. Why? I will not forget these. They are now in my visual bank. These encounters are thought provoking or create an aesthetic emotion which follows me like a perfume or a tune.

photograph by the author

FIAC day one

It is my first visit to the FIAC (Foire Internationale d'Art Contemporain). Its location is perfect, on one side "Le Grand Palais" and the other side "La Cour Carree du Louvre" with a walk from one location to the other through the "Jardins des Tuileries".
I chose to start with a visit to " Le Grand Palais". I walked through the galleries first to "get the feel" and of course bought the catalogue which is worth its price in content and ...weight.

I was amazed to see so many high quality works, paintings, sculptures that I did expect to find in museums. They could be bought. It was a real pleasure and I was like a child in a candy shop. I decided to stay till saturated and come back the following day. The gallerists were pretty relaxed (or appeared so) and it was a different experience than visiting a gallery. I felt no pressure to buy (it was obvious I was not a buyer) and was able to appreciate all these beautiful pieces at my own pace. Photographs were permitted.

I will not go in details about all the pieces I saw, they were so many , I may come back in other blogs about a few of them. But the galleries brought their best collections and made this event memorable.

photograph by the author