Marcel Broodthaers, Tony Cragg, Abraham Cruzvillegas, David Douard, Robert Filliou, Isa Genzken, Wade Guyton, Thomas Hirschhorn, Ray Johnson, Jean-Luc Moulène, Carol Rama, Reena Spaulings, Clément Rodzielski, Kurt Schwitters, Wolfgang Tillmans, Haegue Yang, Heimo Zobernig
“For I consider it vitally important that in the end an entire life with all its aspirations can be viewed in its entirety, that nothing gets lost, not even what was wrong or dull.”
— Kurt Schwitters, 1927
Galerie Chantal Crousel presents ReCycle, a reflexion on the power of object recycling, bringing together a selection of works by seventeen compelling artists, created between 1942 and 2017.
The exhibition traces the history of assemblage and the potential of recycling from Kurt Schwitters’ pioneering work, to the artists who have been articulating this practice through the 80s and until today. It does not only involve the idea of bringing new sense to everyday life material, but also investigates the relationship these artists express with the adopted objects.
Connecting the mixed media collages by Kurt Schwitters, Carol Rama and Ray Johnson from mid 20th century, with more contemporary works by Thomas Hirschhorn, Clément Rodzielski and David Douard, the exhibition explores the organizational hierarchy of recuperated material. These works also borrow common expressions and imagery found in magazines and medias, and seek unexpected dialogues in rigorously structured compositions.
In the same way as Marcel Broodthaers, Tony Cragg and Robert Filliou experiment and play with the physical characteristics of the materials used with humor and wit, Isa Genzken, Abraham Cruzvillegas, Jean-Luc Moulène, Haegue Yang and Heimo Zobernig –inspired by the search of the original purpose of the existing objects, assemblages and installations– reveal a distorted nature of the employed materials. In their own manner, these artists inquire the notion of a recycled object, its social, economic and political value, in order to offer new systems of vision and communication.
Finally, the exhibition builds around that which is echoed of the material’s physical aspects in its used, damaged, and transformed state. These alterations are carried out in the exhibited works by Wade Guyton, Wolfgang Tillmans and Reena Spaulings. The discarded is displayed as refined, creating a conversation beyond borders and a new definition of beauty.
Altogether, this way of creating art resonates with the ongoing problematic of our present world as environmental changes occur. The visionary idea of an artwork as integrity of things and expressions which Schwitters’ and all the other artists of this exhibition share, brings a positive and constructive gaze on a certain beauty and what universal language can offer us.
1 Introduction, Kurt Schwitters Catalogue Raisonné, Band 2 1923-1936, Edition Hatje Cantz, Sprengel Museum Hannover, p.19.eExhibition views at Galerie Chantal Crousel, Paris (March, 10 - April, 21, 2018). Photo : Florian Kleinefenn
Kurt Schwitters, Sans Titre (Merzrelief, Blau, Beige), 1942. Relief, oil painting, wood, plaster and metal sheet on a wooden panel 24.7 x 18.5 cm | 49.8 x 38.5 x 6.5 cm (framed). Courtesy Galerie Natalie Seroussi & Galerie Zlotowski
Abraham Cruzvillegas, The hare with amber eyes, 2015. Stone, wood, brick, glass, paper, clay, phone wire, vinyl record, dipstick 125 x 245 x 55 cm. Courtesty of the artist and Galerie Chantal Crousel, Paris. Photo : Florian Kleinefenn
Isa Genzken, Untitled, 2012. Child mannequin, stuffed toy monkey, stool, mixed media 149 x 96 x 63 cm. Child 149 x 57 x 56 cm. Monkey 72 x 38 x 35 cm. Courtesy Galerie Buchholz, Cologne/Berlin/New York
Thomas Hirschhorn, WHY NON-PERMANENCY PERSISTS, 2017. Cardboard, print, silver coins, tape 240 x 160 cm. Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Sebastiano Pellion di Persano
Ray Johnson, Sans titre (Dear Emile Bern ard) (and Greta Garbo) 1975 – 1990 –1991 – 1 et 2 août 1993 –15 avril 1994. Collage 38.1 x 38.1 cm. Private collection. Photo : Florian Kleinefenn
Haegue Yang, Adventure at Villeperdue, 2015. Yew, lacquer, wood, metal fixture, Roman stones, metal tools, wooden sticks, metal basket, metal chain, steel funnel, metal balls, metal eight 125 x 180 x 190 cm. Courtesy of the artist and Galerie Chantal Crousel, Paris. Photo : Sebastiano Pellion di Persano
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