It is not easy to home in on Pierre Joseph’s work. Speculating as to whether artists should «evolve with no criminal record and no curriculum vitae» (1), he summed up his practice in less than a dozen words: «Exhibitions of my work as an artist in France and abroad.» (2) His oeuvre has developed in a temporality of its own, a relative Now that can be seen as an oscillation between past and future: «The world has already been thought out by others, and that’s a capital to be turned to account.»(3) Aligning himself with traces of the past and making play with kinship(4), he declares, like Ulysses and Terence Hill, «My name is Nobody.» (5) Google Pierre Joseph and mixed in with his works you’ll find the 18th/19th-century watercolour flowers of Pierre Joseph Redouté(6). Included in this new exhibition will be eight photographs of flowers in the Redouté manner; titled «#pierrejosephredouté» the exhibition explores the role of the signature via this new system of indexation.
1 Lecture, Rennes, 28.08.96: Artworks memories: from ephemeral works to monument.
2. Le Monde m’intéresse, 1998.
3. Oui Non Peut-être. Dans la clôture, Stéphanie Moisdon, 2008.
4. Retrospectives, Biennale de Lyon, 2007.
5. Mon nom est personne, 2013.
6. Pierre-Joseph Redouté (1759-1840), painter, engraver and teacher from Belgium. Best known for his watecolours of Roses, he was nicknamed «The Raphaël of Flowers»
Born in Caen, 1965
Lives and works in Paris
Pierre Joseph has exhibited extensively in Europe and internationally. His work is in collections that include Centre Pompidou, Nouveau Musée National de Monaco and Van Abbe Museum as well as private collections. Recent exhibitions include MAC/VAL, Dallas Biennial, Centre Pompidou Metz and Fondation d’Entreprise Ricard. His catalogue raisonné Oui, Non Peut-être published in 2011 by les Presses du réel is available at Air de Paris.