Glorius Read

Since 11 October last, when the Musée d’Art Moderne de Paris opened its doors once again, the public has had the opportunity to explore Glorius Read, an installation by Loris Gréaud.

Designed as a clandestine attempt to infiltrate the museum’s permanent collections, this installation—which constitutes an exhibition in its own right, has burrowed into the walls of the institution like a hidden chamber whose secret haunts the entire site.

For the last month, a rumour has rustled through the building: a group of individuals with black eyes lurks along the walls, wanders from gallery to gallery, passes through temporary exhibitions and provides an intimation that a mysterious place exists.

The public possesses a single piece of information—a telephone number for an ‘infoline’ reachable at +33756815474. This recalls methods used by the organisers of illicit parties in the 1990s to provide piecemeal and at the last possible moment the information necessary to accede to a ‘temporary autonomous zone’. And thus, after many thousands of callers and clues, the curtain lifts over Glorius Read.

Following in the footsteps of Ladi Rogeurs and Sir Loudrage, exhibitions presented first in Paris, then in Berlin at the Galerie Max Hetzler during 2018, Glorius Read continues the artist’s avenue of exploration. After the sketch and the still-life, we have a three-dimensional interpretation of landscape as a theme. The public is invited to push back the walls of the museum as they would open a door to feel in full an experience of stasis and contemplation.

The Glorius Read exhibition comes on the heels of the acquisition of MACHINE (2018), one of four works that are part of the installation, by the Amis du Musée d’Art Moderne de Paris. It is part of a programme for inviting an artist to conduct a project in the collection’s galleries that is based on a work of theirs which has recently entered the collection.

The catalogue, entitled Ladi Rogeurs | Sir Loudrage | Glorius Read was published for this occasion by Holzwarth Publications. The volume covers the earlier incarnations of the installation at the Musée d’Art Moderne de Paris.

Loris Gréaud:

Since the early 2000s, he has developed a singular trajectory in the international contemporary art scene whereby he constructs unique environments to house disruptive elements, often with an ambiguous narrative that blurs the boundaries between fiction and reality. Rumors, poetry, viruses, architecture and demolition, academicism and self-negation are therefore regularly summoned in his work as it strives to oppose the separation between physical and mental spaces.

Loris Gréaud’s projects have given rise to important solo exhibitions. He was the first artist to use all the space of the Palais de Tokyo (Paris), with his project Cellar Door (2008-2011), which was further developed at the Institute of Contemporary Art (London), the Vienna Kunsthalle, the Kunsthalle St Gall (Switzerland) and at the Conservera de Murcia museum (Spain). In 2013, the Louvre Museum and the Centre Georges Pompidou invited him to design a double exhibition that will bring the project to life [I]. In 2015, he took over all the spaces of the Dallas Contemporary (United States) with his project still at work The Unplayed Notes Museum. In 2016 he produced the project Sculpt specially for LACMA (Los Angeles) - it was his first major exhibition on the west coast of the United States. In 2017, he attracted the attention of the 57th Venice Biennale with his project The Unplayed Notes Factory in Murano (Italy). In 2019, the Tel Aviv Museum of Art hosted the 2nd phase of the LACMA project entitled: Sculpt: Grumpy Bear, the Great Spinoff. Finally, the exhibition The Original, The Translation recently highlighted all of his activities at the Kandinsky I Centre Georges Pompidou Library.

Loris Gréaud’s work is included in several public collections, including the Centre Geroges Pompidou (Paris); the LACMA (Los Angeles); the Musée d’Art Moderne de 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 (Korea); The Tel Aviv Museum of Art (Israel) ; Hirshhorn Museum (Washington).