Da pochi giorni presso NMNM - Villa Paloma di Monaco si è aperta la mostra Promenades d'amateurs - Regard(s) sur une Collection Particulière di Loïc Le Groumellec e Marie-Claude Beaud, che durerà fino al 5 Gennaio 2014.
“Promenades d’amateurs” is a
meeting between a collector and an artist. A meeting informed by works:
from advertising posters to the typography of books, ancient and modern
alike, from the writings of Guillevic to Toroni’s paintings of brush
imprints. A personal look – that of the artist Loïc Le Groumellec – at a
private collection presenting, his own works and those of Chris Burden,
Mark Francis, Gérard Gasiorowski, Peter Joseph, Jonathan Lasker, Robert
Mangold, Joyce Pensato, Yves Peyré, Raymond Savignac, Niele Toroni,
Bernard Villemot and Lawrence Weiner.
"One of the characteristics common to
the artists selected by our ‘art lovers’ is that they have worked with a
small number of resources and themes, whether through a minimalist or
conceptualist approach. This is the case with the artist at the heart of
the exhibition, Loïc Le Groumellec. Since 1980, his vocabulary has
consisted of just two elements – megaliths and houses, sometimes topped
with crosses. These elements are constantly reworked, and radiate the
same feeling of strangeness and immutability. He has chosen Guillevic’s
verses to provide the rhythm for the exhibition.
By 1966, in a radical move, Niele Toroni
decided that he would paint only a single, identical imprint of a
paintbrush, repeated infinitely. He never varies his approach, giving
himself a choice only in terms of colour. During the same period, Robert
Mangold, an exponent of abstract minimalism, began to work with simple
geometric shapes. Like Toroni, he never varies his approach.
At almost the same time, Lawrence
Weiner, disappointed with the reception of one of his pieces by some
students who destroyed it, concluded that a work does not necessarily
have to be realised, and published a collection of potential works. He
made the transition from minimalism to conceptualism. Language became
the medium, the definition was sufficient to constitute the work.
Chris Burden offers another vision of what is possible. In the 1970s, he opted to create objects (like the B-Car,
a lightweight vehicle) and installations in the form of voyages where
technology was mixed with political reflection. Thus, a new generation
was to position itself beyond purely visual concerns. Mark Francis took
scientific imagery as his basis, Peter Joseph works within self-imposed
structures and parameters.
On the sidelines, Joyce Pensato constantly examined the icons of popular US culture, while Jonathan Lasker found his own innovative and entirely unique visual language."1
In the videoroom, "Si un jour tu vois qu'une pierre te sourit...",
a sound and visual creation by Pauline de Coulhac confronts poems or
extracts by Guillevic to Loïc Le Groumellec’s work as a complementary
approach around a shared territory, that of Carnac in Brittany and its
surroundings
Ciel vague 25, with a text by Yves Peyré
and illustrations by Loïc Le Groumellec has been published on the
occasion of the exhibition by Pagina d'Arte, Switzerland.
In La Table des Matières on the
ground floor of Villa Paloma, two photographs by Brancusi dating from
1922 and recently acquired by the NMNM are shown. The two photographs
depicting Lizica Codreanu demonstrate the skilful staging by Brancusi in
his studio and his desire to capture a movement through the
photographic lens.
1 Extract from Jim Palette's text written on the occasion of the exhibition