La
galleria Max Hetzler a Berlino presenta l'ultimo lavoro di Loris Gréaud
una intensa istallazione intitolata "Ladi Rogeurs sir
Loudrage" sviluppo del progetto che aveva già trovato forma nei locali di
Parigi. Il lavoro affronta una poetica meta-scientifica prendendo le mossa da
figure quali Andrei Tarkovsky.
CS
Galerie
Max Hetzler is pleased to announce the upcoming solo exhibition LADI ROGEURS:
SIR LOUDRAGE – a still life by Loris Gréaud at Goethestraße 2/3.
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.
The
two solo exhibitions of Loris Gréaud at Galerie Max Hetzler introduce the last
part of the trilogy initially started in 2008 with Cellar Door (2008-2011) and
continued with The Unplayed Notes (2012-2017).
At
the same time, Galerie Max Hetzler presents a solo exhibition with new works by
Thomas Struth at Bleibtreustraße 45 and the gallery's temporary exhibition
space at Kurfürstendamm 213.
Loris
Gréaud (*1979, Eaubonne) lives and works in Eaubonne in the suburbs of Paris.
Gréaud’s projects have given rise to important solo exhibitions. He was the
first artist to use the entire space of the Palais de Tokyo in Paris with his
project Cellar Door (2008-2011), which was further developed at the Institute
of Contemporary Art, London, Kunsthalle Wien, Vienna, Kunsthalle St. Gallen and
at La Conservera, Murcia. In 2013, a double exhibition of his acclaimed project
[I] was held at the Louvre and the Centre Pompidou in Paris. Gréaud took over
the Dallas Contemporary in 2015 with his project The Unplayed Notes Museum. In
2016, he produced the project Sculpt specially for LACMA, Los Angeles, on the
occasion of his eponymous solo show. His latest project is The Unplayed Notes
Factory in Murano, which was curated by Nicolas Bourriaud as part of the 57th
Venice Biennale. Gréaud’s work forms part of numerous public collections,
including the Centre Pompidou, Paris; the LACMA, Los Angeles; the Musée d'Art
Moderne de la Ville de Paris, Paris; Collection François Pinault, Venice;
Fondation Louis Vuitton, Paris; Israel Museum, Jerusalem; Margulies Collection,
Miami; Goetz Collection, Munich; Rubell Family Collection, Miami; Nam June Paik
Art Centre, Yongin, among others.
