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PLIAGE / FOLD

February 28–April 17, 2014
rue de Ponthieu, Paris

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Works Exhibited

John Chamberlain, EMPIREMICROPHONE, 2009 Painted and chrome-plated steel, 64 ¾ × 34 ¼ × 27 ½ inches (164.5 × 87 × 69.8 cm)© 2014 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York

John Chamberlain, EMPIREMICROPHONE, 2009

Painted and chrome-plated steel, 64 ¾ × 34 ¼ × 27 ½ inches (164.5 × 87 × 69.8 cm)
© 2014 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York

John Chamberlain, Untitled, 1969 Brown resin on brown paper, 5 × 5 × 5 inches (12.7 × 12.7 × 12.7 cm)© 2014 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York

John Chamberlain, Untitled, 1969

Brown resin on brown paper, 5 × 5 × 5 inches (12.7 × 12.7 × 12.7 cm)
© 2014 Fairweather & Fairweather LTD/Artists Rights Society (ARS), New York

Sheila Hicks, Compass Arica, 2012–13 Linen and iron, 59 × 47 ¼ × 27 ½ inches (150 × 120 × 70 cm)Photo: Zarko Vijatovic

Sheila Hicks, Compass Arica, 2012–13

Linen and iron, 59 × 47 ¼ × 27 ½ inches (150 × 120 × 70 cm)
Photo: Zarko Vijatovic

Piero Manzoni, Achrome, 1958–59 White velvet, 7 ⅛ × 9 ½ inches (18 × 24 cm)

Piero Manzoni, Achrome, 1958–59

White velvet, 7 ⅛ × 9 ½ inches (18 × 24 cm)

Steven Parrino, Untitled, 1991 Sprayed enamel and pencil on vellum, 9 × 12 inches (22.9 × 30.5 cm)

Steven Parrino, Untitled, 1991

Sprayed enamel and pencil on vellum, 9 × 12 inches (22.9 × 30.5 cm)

Robert Rauschenberg, Freeway Glut, 1986 Riveted and painted metal, 52 × 91 × 6 ¼ inches (132 × 231 × 16 cm)© The Robert Rauschenberg Foundation 2014/Licensed by VAGA, New York. Photo: Tom VanEynde

Robert Rauschenberg, Freeway Glut, 1986

Riveted and painted metal, 52 × 91 × 6 ¼ inches (132 × 231 × 16 cm)
© The Robert Rauschenberg Foundation 2014/Licensed by VAGA, New York. Photo: Tom VanEynde

Anselm Reyle, Untitled, 2012 Mixed media on canvas, acrylic glass, 59 × 49 ⅝ × 9 inches (150 × 126 × 23 cm)© Anselm Reyle

Anselm Reyle, Untitled, 2012

Mixed media on canvas, acrylic glass, 59 × 49 ⅝ × 9 inches (150 × 126 × 23 cm)
© Anselm Reyle

Rudolf Stingel, Untitled, 2010 Oil and enamel on canvas, 78 ¾ × 63 inches (200 × 160 cm)© Rudolf Stingel

Rudolf Stingel, Untitled, 2010

Oil and enamel on canvas, 78 ¾ × 63 inches (200 × 160 cm)
© Rudolf Stingel

Tatiana Trouvé, Refolding 2011, 2011 Concrete, 41 ¾ × 22 ⅞ × 17 inches (106 × 58 × 43 cm)© Tatiana Trouvé

Tatiana Trouvé, Refolding 2011, 2011

Concrete, 41 ¾ × 22 ⅞ × 17 inches (106 × 58 × 43 cm)
© Tatiana Trouvé

Rachel Whiteread, FOLDED, 2004 Plaster, 4 × 11 ½ × 15 ¼ inches (10.3 × 29 × 39 cm)

Rachel Whiteread, FOLDED, 2004

Plaster, 4 × 11 ½ × 15 ¼ inches (10.3 × 29 × 39 cm)

About

Folding-unfolding no longer simply means tension-release, contraction-dilation, but enveloping-developing, involution-evolution.
—Gilles Deleuze

When I am folding, I am objective and that allows me to lose myself.
—Simon Hantaï

Gagosian Paris is pleased to present PLIAGE / FOLD. The exhibition will include works by Tauba Auerbach, Davide Balula, Alain Biltereyst, Tom Burr, César, John Chamberlain, William Daniels, Simon Hantaï, Sheila Hicks, Olaf Holzapfel, Sol LeWitt, Piero Manzoni, Steven Parrino, Jack Pierson, Diogo Pimentão, Charlotte Posenenske, Robert Rauscherberg, Blake Rayne, Anselm Reyler, Dorothea Rockburne, Rudolf Stingel, Tatiana Trouvé, Daniel Turner, and Rachel Whiteread.

PLIAGE / FOLD brings together artists from different generations who have explored the act of folding as both concept and formal process. Folding as action, illusion, and symbol has appeared throughout contemporary art and literature, including Simon Hantaï’s literal process of folding the canvas, dousing it in oil paint, then unfolding it to reveal inadvertent yet lyrical patterns; Gilles Deleuze’s influential meditation The Fold: Leibniz and the Baroque (1988), in which the world is interpreted as an infinity of surfaces twisting through time and space; and Tatiana Trouvé’s recent Refoldings sculptures cast from discarded and refolded packing materials.

For Robert Rauschenberg the act of folding produced Freeway Glut (1986), a muscular assemblage of manipulated industrial parts, while John Chamberlain worked lightly and in miniature with resin-coated crumpled paper. Some works involve aleatory processes that transcend artistic control, such as Hantaï’s Blanc (1974), or Davide Balula’s canvases that he immersed in soil or in rivers, allowing incidental organic residue to take hold.

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Plier-déplier ne signifie plus simplement tendre-détendre, contracter-dilater, mais envelopper-développer, involuer-évoluer.
—Gilles Deleuze

Quand je plie, je suis objectif et cela me permet de me perdre.
—Simon Hantaï

Gagosian Paris est heureuse de présenter “PLIAGE / FOLD.” L’exposition inclura des œuvres de:

Tauba Auerbach

Davide Balula

Alain Biltereyst

Tom Burr

César

John Chamberlain

William Daniels

Simon Hantaï

Sheila Hicks

Olaf Holzapfel

Sol Lewitt

Piero Manzoni

Steven Parrino

Jack Pierson

Diogo Pimentão

Charlotte Posenenske

Robert Rauschenberg

Blake Rayne

Anselm Reyle

Dorothea Rockburne

Rudolf Stingel

Tatiana Trouvé

Daniel Turner

Rachel Whiteread

L’exposition “PLIAGE / FOLD” rassemble des artistes de différentes générations ayant exploré l’action de plier en tant que processus à la fois conceptuel et formel. Le pliage comme action, illusion, et symbole s’est déployé à travers l’art et la littérature contemporaine, depuis le procédé littéral du pliage de la toile de Simon Hantaï, en la trempant dans la peinture à l’huile, puis en la dépliant pour laisser apparaître des motifs aussi inattendus que lyriques; à l’influente méditation de Gilles Deleuze Le Pli: Leibniz et le Baroque (1998), dans lequel le monde est interprété comme une infinité de surfaces se tordant à travers le temps et l’espace; aux récentes sculptures de Tatiana Trouvé, Refoldings, moulées à partir de matériaux d’emballage jetés et repliés.

Pour Robert Rauschenberg, l’acte de plier a permis Freeway Glut (1986), un assemblage puissant d’éléments industriels; tandis que John Chamberlain a travaillé légèrement et en miniature à partir d’un papier froissé enduit de résine. Certaines œuvres impliquent un processus aléatoire qui transcende le contrôle artistique, comme Blanc (1974) de Simon Hantaï, ou encore les toiles de Davide Balula, plongées dans la terre ou dans des rivières, laissant des résidus organiques fortuits se déposer.

D’autres artistes ont plié du papier, de la toile et d’autres matériaux afin de produire de nouvelles formes en trois dimensions. Dans Untitled (1971), Sol Lewitt a plié un papier blanc, créant ainsi un quadrillage minimaliste; presque quarante ans plus tard, Tauba Auerbach a légèrement vaporisé depuis différents angles une toile pliée puis l’a remise à plat afin de créer une impression de lumière réfléchie indirectement (Untitled Fold Painting VII, 2009). Zwei Räume / Deux chambres (Peach) (2008) d’Olaf Holzapfel, qui ressemble à une couverture épaisse, pliée avec soin, se révèle être du Plexiglas chauffé et manipulé.

Enfin, le rôle de la forme sacrificielle est présent dans la genèse du pli: dans Untitled (2010), Rudolf Stingel a peint sa toile à la bombe à travers une couche de gaze froissée et chiffonnée, qu’il a ensuite enlevée pour révéler l’empreinte qui en résulte; Folded, titre de la sculpture en plâtre de 2004 de Rachel Whiteread, fait allusion à la réalisation de la forme sacrificielle plutôt qu’à l’objet final en plâtre. En inversant la relation entre contenant et contenu, elle traduit les nuances de l’espace vide en une matière solide. Dans cette exposition, le pliage est montré comme un processus artériel à travers lequel des œuvres s’adressent à elles-mêmes littéralement ou symboliquement.

Installation view, Tatiana Trouvé: The Great Atlas of Disorientation, Centre Pompidou, Paris

Tatiana Trouvé: Le grand atlas de la désorientation

In this video, Tatiana Trouvé provides an overview of her latest installation, presented at the Centre Pompidou, Paris. The exhibition, whose title translates to The Great Atlas of Disorientation, includes a selection of drawings and sculptures that create fantastical landscapes where reality engages in infinite exchanges with its doubles.

Tatiana Trouvé’s studio, Montreuil, France, 2021

In Conversation
Tatiana Trouvé and Jean-Michel Geneste

Tatiana Trouvé speaks with Jean-Michel Geneste, archaeologist and curator, about the paradoxes of her practice: absence and presence, the ancient and the contemporary, the natural and the human-made.

Tatiana Trouvé, The Residents, installation view, sculpture with jacket on water, Orford Ness, Suffolk, England

Tatiana Trouvé: The Residents

Tatiana Trouvé discusses her installation The Residents (2021), commissioned by Artangel for the exhibition Afterness on Orford Ness, a former military testing site in Suffolk, England

Tatiana Trouvé in her Paris studio.

Behind the Art
Tatiana Trouvé: In the Studio

Join the artist in her studio as she speaks about her new series of drawings, From March to May. Trouvé describes the genesis of the project and the essential role its creation played in keeping her connected with the outside world during the difficult months of pandemic-related lockdown.

Installation view of Urs Fischer’s Untitled (2011) in Ouverture, Bourse de Commerce – Pinault Collection, Paris, 2021. Artwork © Urs Fischer, courtesy Galerie Eva Presenhuber, Zurich; Bourse de Commerce – Pinault Collection © Tadao Ando Architect & Associates, Niney et Marca Architectes, Agence Pierre-Antoine Gatier. Photo: Stefan Altenburger

Bourse de Commerce

William Middleton traces the development of the new institution, examining the collaboration between the collector François Pinault and the architect Tadao Ando in revitalizing the historic space. Middleton also speaks with artists Tatiana Trouvé and Albert Oehlen about Pinault’s passion as a collector, and with the Bouroullec brothers, who created design features for the interiors and exteriors of the museum.

Tatiana Trouvé, April 4th, The New York Times; April 11th, South China Morning Post, China from the series From March to May, 2020, inkjet print and pencil on paper, 16 ⅝  × 23 ¼ inches (42.1 × 59 cm)

Tatiana Trouvé: From March to May

A portfolio of the artist’s drawings made during lockdown. Text by Jesi Khadivi.