Perrotin opens a solo exhibition of work by Iván Argote
The First Art Newspaper on the Net    Established in 1996 Saturday, November 2, 2024


Perrotin opens a solo exhibition of work by Iván Argote
View of Iván Argote’s exhibition ‘Prémonitions’ at Perrotin Paris, 2022. Photo: Claire Dorn. Courtesy of the artist and Perrotin.



PARIS.- Perrotin is presentng Prémonitions a solo exhibition of Iván Argote. On this occasion the artist presents a new body of paintings and sculptures. Concurrently, the artist presents Air de jeu at the Centre Pompidou, as part of his nomination for Marcel Duchamp Prize. These two exhibitions feed back into each other, one prefiguring the contours of the other in an endless spiral.

Iván Argote is a sensitive artist. Constantly listening to the world around him, it is with tenderness that he studies the inner murmurings of men and the societies that they have built for themselves, often through illusions. Fragile foundations, an earth constantly trembling, thin as the layer of tar on a road laid bare by the umpteenth construction site in the city of Paris, on which, however, the ego of the powerful has erected empires and monuments. The heroic figures of the national narrative and the monuments dedicated to them are precisely subjects towards which the artist directed his critical gaze for the past several years.

Through a series of interventions in the public space, Iván Argote plays with the collective perception and tests the particular relationship we have with history and its artifacts. By simulating the removal of a statue in honor of Marshal Joseph Gallieni in Paris (Au Revoir Joseph Gallieni, 2021), the relocation of a sculpture dedicated to Christopher Columbus in Madrid (Paseo, 2022), and finally a Levitation of the Flaminio obelisk in the Piazza del Popolo in Rome, a summer 2022 performance as part of his residency at the Villa Medici, the artist reveals our attachment to the fictional narratives that constitute the history of nations. Like children unable to symbolically cut the umbilical cord, we want to continue to believe in our heroes, in their discoveries and their virtuous triumphs, which are as factual as Hans Christian Andersen’s fairytales.

Iván Argote is not a teacher, however. Like an experienced director of our psychological spaces, he is happy to redirect the light, to guide the gaze, to shine a spotlight where sometimes, by looking, the eye has stopped seeing. The guides he summons to enlighten us, for example on the several thousand year old history of Rome and the obelisks that punctuate its landscape, are not without humor: they are pigeons, for example, in the video Post Human.




Produced in a studio decorated with sets painted by the artist, sets that themselves become works in their own right, Post Human traces the origins of the obelisk as an architectural form, and its instrumentalization as a symbol and public demonstration of power. The irony of the pigeons as guides, as numerous as the tourists who flock to the same places of pilgrimage that these famous cities and squares have become, is not unrelated to that of the contemplation of these great architectural gestures that have become tourist trinkets, sold on the street and carried home in a pocket. Reverence and popularization. Fragments of monuments, in the form of an installation of soft sculptures made by the artist, amplify the idea of mobility and immutability of sculptures and monuments in the public space.

Prize, Iván Argote presents a new set of paintings and sculptures at Perrotin. In a game of self-reference where even accidents can seem premeditated, these two exhibitions and the places, films, paintings, sculptures and installations they present feed back into each other, one prefiguring the contours of the other in an endless spiral.

That the exhibition is entitled Prémonitions is not insignificant. The Fallen series of paintings sees the artist returning to this medium, after several years exploring different materials such as concrete. Fragments of obelisks, empty pedestals and amputated monuments stand out in gradations of pastel tones: grayish, yellow or evoking the radical tenderness of millennial pink, like a prophetic dream of the end of a patriarchal and ecologically suicidal society. Collapsed monuments become fountains, sources of overflowing life, and luxuriant branches cut across the concrete, indicating nature regaining its rights. As is often the case with Iván Argote, nothing is final. The end of monuments seems to go hand in hand with the end of humanity, and pink is, unfortunately, a color that technically does not exist: an amalgam of colors close to each other, constituted by our imagination. Are we collectively capable of true self-criticism?


Olivia Anani

Alongside the three films and the installation presented by the artist at the Centre Pompidou as part of his nomination for the Marcel Duchamp










Today's News

October 19, 2022

Rich, Famous and then Forgotten: The Art of Rosa Bonheur

Restoration of Artemisia's painting in the home of Michelangelo announced

The Colonial Williamsburg Foundation acquires it's earliest piece of American Silver

Getty Research Institute acquires Richard Hunt archive

Mazzoleni London opens a major exhibition of works by Victor Vasarely

MASSIMODECARLO opens an exhibition of new works by French artist Jean-Marie Appriou

'Done on the sly': France's flawed return of skulls to Algeria

Phillips announces highlights ahead of the London Design Auction

Rare clocks head to Bonhams New York Fine Watches Sale

Shehan Karunatilaka wins Booker Prize for 'The Seven Moons of Maali Almeida'

Kunsthalle Münster stages Mikołaj Sobczak's first institutional solo exhibition outside Poland

The designer exploring African stories through traditional fabrics

What comes after a storm? From Twyla Tharp, a softer world

Jakub Hrusa set to lead Royal Opera House

Kiki Smith and Yayoi Kusama to class up the new Grand Central Madison Terminal

University Archives to offer rare autographs, manuscripts, books

The Arts of the Samurai comes to Bonhams New York

Fondazione Luigi Rovati - the new art museum in Rome with an Etruscan collection in dialogue with contemporary art

Perrotin opens a solo exhibition of work by Iván Argote

Karimah Ashadu receives the 2022 Prize of the Böttcherstraße in Bremen

First major Contemporary Art Society acquisition for UK museum by award-winning Ibrahim Mahama

ACMI appoints global creative leader as inaugural Executive Director of Programming

Robert De Niro's career in a few artifacts

The rarest known Buddy Holly and Bob Dylan posters surface at Heritage Auctions in November




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Attorneys
Truck Accident Attorneys
Accident Attorneys
Holistic Dentist
Abogado de accidentes
สล็อต
สล็อตเว็บตรง

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful