Michael Riedel – Galerie Michel Rein, Paris

Michael Riedel
Galerie Michel Rein, Paris
Jusqu’au 20 novembre 2010

Cette première exposition monographique de MICHAEL RIEDEL en France marque son entrée à la galerie Michel Rein.

Qu'une oeuvre soit réalisée importe peu. Ce qui compte c'est qu'elle existe. Pour cela il faut qu'elle rencontre un public. Il faut qu'elle circule, ce qui n'a lieu que par la diffusion et la médiation. Pour qu'une oeuvre existe il faut qu'elle soit visible, il faut qu'elle soit retransmise, que des articles soient écrits à son sujet, que des photographies soient prises et diffusées. Il faut que l'oeuvre soit livrée à l'interprétation du langage et des techniques de reproduction. L'existence d'une oeuvre est donc dépendante des déplacements qu'implique sa diffusion. Un texte en fait une description toujours trop sommaire et une interprétation qui encercle ses enjeux. Une photographie lui ampute son volume, ses dimensions et un certain nombre de ses qualités plastiques. Sa mise en mouvement se fait donc en trahissant ses qualités.

Si ce mouvement est primordial à l'existence d'une oeuvre il semble assez logique de le privilégier puisqu'il se substitue à toute réalisation. D'autant plus que de toutes façons celle-ci a toutes les chances d'être déformée par cette mise en circulation. C'est la position que prend Michael Riedel. Il alimente le circuit auquel est destinée toute oeuvre. Un circuit fait d'expositions, de médiatisations et d'interprétations. Mais il l'alimente avec les modalités de ces déplacements eux-mêmes. Les posters sur toile Untitled ont ainsi comme contenu de l'information extraite de sites Internet, celui du site du Moma de New York qui documente une oeuvre de Michael Riedel présente dans ses collections et celui d'un site d'informations culturelles qui annonce l'actualité des expositions. Dans un cas comme dans l'autre ce sont des informations sur le travail de Michael Riedel qui servent de matériau.

Ce type d'information est par ailleurs régulièrement produit par des protocoles que Michael Riedel met en place lui-même. Chacune de ses expositions est accompagnée d'un poster contenant un texte et des images. Les photographies sont prises sur le vif, elles rendent compte du projet dans le moment où il se réalise, loin de la neutralité prétendue des « vues d'expositions ». Comme celles-ci, elles proposent un point de vue sur son travail. Les textes sont des monologues ou des discussions enregistrées avec un logiciel de reconnaissance vocale qui transcrit directement la parole en texte. Bien qu'ils soient produits sur le vif et de façon mécanique, ils sont comme tout compte-rendu d'exposition ou entretien publiés dans un magazine, ils s'écartent de leur objet malgré leurs intentions. Ces posters rendent compte d'un objet dont ils s'écartent. Leur fidélité est en effet trahie par leur nature même.

Ces posters ont été assemblés dans un ouvrage : Gedruckte und nicht gedruckte Poster 2003-08 (Posters publiés et non publiés, 2003-08). La technique pour les mettre en page a consisté à les assembler sur une unique planche dans laquelle les plis et les coupes ont été réalisés pour composer un livre au format inférieur aux posters, opération les rendant illisibles. Sa forme de livre empêche finalement la lecture de son contenu. C'est ici encore l'adaptation à un format et un type de diffusion qui génère un objet prenant ses distances vis-à-vis de ce dont il est censé rendre compte. On l'aura compris, ces déplacements fondent le travail de Michael Riedel.

La typographie utilisée par Michael Riedel est l'Arial, sorte d'Helvetica bas de gamme, fournie par défaut. Ses mises en page révèlent la même neutralité. Elles semblent le résultat d'un copier-coller ne respectant aucune des mises en forme de la source. L'un comme l'autre sont les signes de passages d'un médium à un autre produisant une modification du contenu et en bousculant la lecture. La série Four proposals for the change of modern * relève de ces déplacements. Lors d'une exposition au Modern Institute à Glasgow Michael Riedel extrait le mot « modern » du logo de cette institution qu'il découpe dans du tissu présenté comme une bannière. Utilisant le tissu découpé comme un pochoir, l'artiste crée une série d'impressions numériques sur toile, accordant la même importance au processus de production qu'à l'objet final. De nouvelles versions du mot Modern ont découlé de Four Proposals for the change of Modern in the logo of the Modern Institute, et continuent d'évoluer les uns des autres, en une série à la numérotation infinie quoique prévisible. Ces interprétations ne nous fournissent pas nécessairement d'informations à propos du travail de Michael Riedel, mais, comme avec ses posters et cartes postales, sur le fait qu'il existe et qu'il est transmis au monde.

FRANCOIS AUBART, Octobre 2010

GALERIE MICHEL REIN, PARIS

16/10 – 20/11/2010

www.michelrein.com

The Gallery, David Zwirner, New York

The Gallery
David Zwirner, New York
July 3 - August 8, 2008

Michael Riedel

Untitled (flag), 2007, Cotton

121 x 106 1/2 inches, 307.3 x 270.5 cm

Courtesy the artist and David Zwirner, New York

David Zwirner celebrates fifteen years with an anniversary exhibition, titled The Gallery. Highlighting the evolution of David Zwirner, the exhibition presents early and recent work by all of the artists represented and is the first to span the entire gallery, uniting 519, 525, and 533 West 19th Street.

David Zwirner opened its doors in February 1993 on the ground floor of 43 Greene Street in SoHo. Marked by pioneering exhibitions with Stan Douglas, Jason Rhoades, Toba Khedoori, Rachel Khedoori, and Diana Thater, the early years established David Zwirner as a home for innovative, emerging artists working across media. Over the years, the gallery has helped foster the careers of some of the most influential artists working today, including Luc Tuymans and Neo Rauch, who both had their U.S. debut exhibitions at David Zwirner in 1994 and 2000 respectively. During its time in SoHo, the following artists joined the gallery: Michaël Borremans, Raoul De Keyser, Marcel Dzama, On Kawara, The Estate of Gordon Matta-Clark, John McCracken, Jockum Nordström, Raymond Pettibon, Daniel Richter, Thomas Ruff, Katy Schimert, Yutaka Sone, and Christopher Williams.

Much like its artists, David Zwirner has experienced extraordinary growth. In 2002, the gallery moved to Chelsea. Four years later, it expanded from 10,000 to 30,000 square feet, allowing the gallery to mount three independent, full-scale exhibitions simultaneously. Many new artists have joined the gallery since its move to Chelsea including: Adel Abdessemed, Tomma Abts, Francis Alÿs, Mamma Andersson, R. Crumb, PhilipLorca diCorcia, Marlene Dumas, Isa Genzken, Chris Ofili, Michael Riedel, James Welling, Sue Williams, Yan Pei-Ming, and Lisa Yuskavage.

Only eight artists comprised the fifth anniversary exhibition in 1999, in contrast The Gallery celebrates the thirty-four artists now represented. It also includes work by Fred Sandback and Al Taylor, whose estates are represented by Zwirner & Wirth, located at 32 East 69th Street.

Adel Abdessemed (b. 1971, Algeria) joined the gallery in 2008. This exhibition features the new work Also sprach Allah, 2008. This fall, a solo exhibition of the artist’s work will be at the Massachusetts Institute of Technology (October 2008 –January 2009), where he also will be teaching. Adel Abdessemed will have his first show at David Zwirner in 2009 [Adel Abdessemed: Rio, April 3 - May 9, 2009]

Tomma Abts (b. 1967, Germany) joined the gallery in 2005. The Gallery includes one work on paper from 2005. This is the first time her work has been featured in an exhibition at David Zwirner, and this fall she will have her first solo exhibition at the gallery (October – December). Abts’ traveling solo exhibition, organized by the New Museum, opens at the Hammer Museum in Los Angeles on July 27.

Francis Alÿs (b. 1959, Belgium) joined the gallery in 2004. In this exhibition, the artist presents a work from the Sign Painting Project recently shown at the Schaulager in Basel. The work consists of three canvases: one painted by Alÿs and two reproductions by local sign–painters in Mexico City. This work is one in a series developed over four years exploring authorship, collaboration, and authenticity.

Mamma Andersson (b. 1962, Sweden) joined the gallery in 2004. The Gallery includes the painting The Best Storyteller II, 2005, which depicts two television monitors in acrylic and oil on panel and was recently included in the artist’s traveling European retrospective.

Michaël Borremans (b. 1963, Belgium) joined the gallery in 2001. In this exhibition, Borremans presents a new painting Chinese woman, 2008.

R. Crumb (b. 1943, United States) joined the gallery in 2006. The Gallery includes “When the Niggers take over America.” A six-page comic first published in 1993 in Weirdo, the drawings typify the aggressive confrontation of social taboos that has come to characterize Crumb’s work.

Raoul De Keyser (b. 1930, Belgium) joined the gallery in 1999. This exhibition includes the painting Front, 1992. His work is currently on view at FRAC Auvergne in France (June – September).

Philip-Lorca diCorcia (b. 1951, United States) joined the gallery in 2007. This is the first time his work has been featured in an exhibition at David Zwirner, and included is a photograph from the Heads series, 2000. A current solo exhibition is on view at the Los Angeles County Museum of Art through September.

Stan Douglas (b. 1960, Canada) was one of the first artists to exhibit at David Zwirner in 1993. Fittingly, this exhibition includes an early video work Television Spots, 1987-88. Originally created for insertion on broadcast television, the work was included in David Zwirner’s 1994 summer group show. Later this year, Douglas will have his ninth solo exhibition at the gallery (October – December).

Marlene Dumas (b. 1953, South Africa) joined the gallery in 2008. In this exhibition, the artist presents Against History, 2001, painted after Jacques-Louis David’s famous The Death of Marat, 1793. This is the first time her work has been featured at David Zwirner. She is currently the focus of a mid-career survey jointly hosted by the Museum of Contemporary Art in Los Angeles (June – September 2008) and the Museum of Modern Art in New York (December 2008 – February 2009). The exhibition, Measuring Your Own Grave, then travels to The Menil Collection in Houston, Texas (March –June 2009).

Marcel Dzama (b. 1974, Canada) had his debut solo exhibition at David Zwirner in 1998. The Gallery features a new sculpture.

Isa Genzken (b. 1948, Germany) joined the gallery in 2004. This exhibition features three sculptures from Genzken’s 2007 exhibition at David Zwirner.

On Kawara (27,585 days [July 1, 2008]) first exhibited at David Zwirner in 1999. The Gallery includes a recent date painting from the artist’s Today Series. A current solo exhibition of Kawara’s work is on view at Dallas Museum of Art until August. David Zwirner will host an unprecedented simultaneous live reading and recording of the artist’s One Million Years this winter.

Rachel Khedoori (b. 1964, Australia) was one of the first artists to exhibit at David Zwirner in 1994. This exhibition includes a new sculpture by the artist.

Toba Khedoori (b. 1964, Australia) was one of the first artists to exhibit at David Zwirner in 1994. The Gallery includes Untitled (White Fireplace), 2005.

The Estate of Gordon Matta-Clark (1943-1978, United States) has been represented by David Zwirner since 1999. The Gallery includes Graffiti Photoglyph, 1973. An exhibition of Matta-Clark’s work is on view at The Siena Contemporary Art Centre in Siena, Italy through October. The artist will be featured in this fall’s Gwangju Biennial in South Korea.

John McCracken (b. 1932, United States) began exhibiting at the gallery in 1997. This exhibition features the monolith Be, 2004. McCracken will have his fourth solo exhibition at David Zwirner in September.

Jockum Nordström (b. 1963, Sweden) joined the gallery in 2000. This exhibition includes a large collage work from Nordström’s 2006 exhibition at David Zwirner.

Chris Ofili (b. 1968, England) joined the gallery in 2005. The artist presents Annunciation, 2006. This bronze sculpture first appeared in Ofili’s 2007 exhibition Devil’s Pie.

Raymond Pettibon (b. 1957, United States) had his first solo exhibition at David Zwirner in 1995. The Gallery includes a selection of recent drawings.

Neo Rauch (b. 1960, Germany) had his US debut exhibition at David Zwirner in 2000, and recently had his fourth solo show at the gallery (closed June 21). This exhibition includes the painting Schmerz, 2004.

Jason Rhoades (1965-2006, United States) was one of the first artists to exhibit at David Zwirner in 1993, and the gallery continues to work with the Estate. This exhibition includes a neon work Sweet Potato Pie, 2003.

Daniel Richter (b. 1962, Germany) joined the gallery in 2001. This exhibition includes the painting Sketch study - dog planet, 2002.

Michael Riedel (b. 1972, Germany) joined the gallery in 2004. This exhibition includes Untitled (flag), 2007, one in a series of flags. Part of his ongoing exploration of text, the flag proposes a new font for the David Zwirner logo. Riedel will have his second solo exhibition at David Zwirner in September.

Thomas Ruff (b. 1958, Germany) first exhibited with David Zwirner in 2000. The Gallery includes jpeg rl05, depicting a rocket launch.

The Estate of Fred Sandback (1943-2003, United States) has been represented by Zwirner & Wirth since 2004. The Gallery features an untitled sculpture from 1968.

Katy Schimert (b. 1963, United States) had her first solo exhibition at David Zwirner in 1998. The Gallery features an early sculpture Red Sun with Black Heart, 1999, created from blown glass.

Yutaka Sone (b. 1965, Japan) first exhibited with the gallery in 1999. The Gallery includes the marble sculpture Amusement, 1998, which was also featured in the artist’s 1999 exhibition.

The Estate of Al Taylor (1949-1999, United States) has been represented by Zwirner & Wirth since 2006. The Gallery features the sculpture Bat Parts I, 1993, as well as one work on paper.

Diana Thater (b. 1962, United States) was one of the first artists to exhibit at David Zwirner in 1994. The Gallery includes Perfect Devotion Six, 2006. Filmed on 35mm film, the six-monitor work features tigers on California’s Shambala Preserve.

Luc Tuymans (b. 1958, Belgium) had his debut US exhibition at David Zwirner in 1994. The Gallery features Portrait, 2000, picturing a recently deceased woman in dark framed glasses. In 2009, the Wexner Center for the Arts and the San Francisco Museum of Modern Art will mount the artist’s first US retrospective, which will travel to the Dallas Museum of Art and the Museum of Contemporary Art, Chicago.

James Welling (b. 1951, United States) first exhibited at David Zwirner in 2005. In this exhibition, the artist presents three works from his Authors series, 2007. Evoking the 19th century through color, each work is titled after a writer of the period.

Christopher Williams (b. 1956, United States) had his first solo exhibition at David Zwirner in 2000. The Gallery includes an early example of the artist’s work, Boeing Retrofit Overhead Stowage Bins (Closed)..., 1997, comprised of four black-and-white photographs.

Sue Williams (b. 1954, United States) joined the gallery in 2005. The Gallery includes the painting Mr. Bolton and Mr. Olmert Step on Something in Southern Lebanon, 2006. This is the first time her work has been featured in an exhibition at David Zwirner, and she will have her first solo show at the gallery in September.

Yan Pei-Ming (b. 1960, China) joined the gallery in 2006. This exhibition includes a new watercolor portrait of David Zwirner. The Des Moines Art Center will present the artist’s first one–person museum exhibition in the United States in September.

Lisa Yuskavage (b. 1962, United States) joined the gallery in 2005. This exhibition features a new work on paper. The artist will have her second solo exhibition at David Zwirner in March 2009.

David Zwirner
519, 525 & 533 West 19th Street New York, NY
www.davidzwirner.com