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Raymond Hains, Richard Prince et al.

On Aime l’Art…!! (group show)
Collection Lambert en Avignon, Avignon
6 July - 5 November 2017

While exhibitions have already revealed some of the major works collected by clothes designer agnès b. for over thirty years, the idea of carrying out her multi-faceted portrait project was never conceived on this scale. Both designer, and director of a film selected at the Venice Mostra, My name is Hmmmm, intimately linked with the world of music, patron of the arts agnès b. has been, above all, a great discoverer of artists since the opening of the agnès b. Galerie du Jour in 1983.

Sharing the same passion for art, the same love of creation and individuals involved with the most sensitive aspects of life, agnès b. and Yvon Lambert connect on so many levels both through their intense involvement with the artists they are involved with, and also because of their eclectic nature and avant-garde vision, making them witnesses of the times they live in.

So, it’s no surprise that 400 works from the agnès b. collection now adorn the spaces of our institution, like so many witnesses drawing a portrait of this woman freed from all convention and a collection focussed on the avant-garde, including works acquired to be shared.

This exhibition takes the form of a journey of the senses and is organised around great artists she has often been the first to collect, and also worldly relationships or unusual aesthetics and strong ideas that seem like happy obsessions.

Just as commitment and politics permeate agnès b’s. own journey through and through, they will make their mark on the entirety of this exceptional presentation. Painting, love, reverie, music, experimental cinema, adolescence, modernity, the avant-garde, the transcending of established borders, whether physical, social or mental, Africa – these are all aesthetic landscapes offered to the visitor to explore through the richness and diversity of the exhibited works, crossed by the need for total commitment to the experience of life and the struggle for freedom.

Collection Lambert en Avignon, Avignon


Additional:

Raymond Hains

Les flâneurs. Collection Frac Normandie Caen (group show)
À 2angles, Flers
19 May - 30 June 2018


Richard Prince

Cowboys: Selected Works from the Collection (solo show)
Espace culturel Louis Vuitton, Beijing
13 April - 2 September 2018

© Richard Prince, all rights reserved © Courtesy Gagosian Gallery, New York
© Richard Prince, all rights reserved © Courtesy Gagosian Gallery, New York

For its third exhibition, the Espace Louis Vuitton Beijing presents Cowboys, an exhibition dedicated to American artist Richard Prince. This exhibition has been produced in the framework of the Fondation Louis Vuitton’s “Hors-les-murs” program, showcasing previously unseen holdings of the Collection at the Espaces Culturels Louis Vuitton in Tokyo, Munich, Venice and Beijing, thus carrying out the Fondation’s intent to realize international projects and make them accessible to a broader public.

Richard Prince belongs to the generation of American artists who grew up in the 1950s at the time of the explosion of mass media (television, cinema, magazines). He appeared on the international scene during the late 1970s alongside Cindy Sherman, Sherrie Levine and Barbara Kruger, as a major proponent of appropriation art. He deconstructed the mechanisms of representation and communication promoted by American popular culture. In 1977 his practice took a radical turn when he started re-using advertising images, which he photographed and appropriated. Cutting out the text logo, he reframed the images, creating blurred effects and emphasising colour. Working largely in series form, his subjects were models, cowboys and women on motorbikes. One of his most well-known series working in this vein is the Cowboys series, appropriating the advertising campaign images of Marlboro cigarettes.

Beginning in the 1950s Marlboro ads featured cowboys riding through the wide open terrain of the Wild West in the United States of America. The cowboy was an instantly recognisable icon, wearing denim, leather chaps, boots, spurs, and Stetson hat. Almost exclusively white, he is portrayed as handsome, weathered, and physically fit. Both a role model and sex symbol, the cowboy appeals to men and women alike. By the mid-1960s the “Marlboro Man”, as this figure became known, was so recognisable and brand-identified that Philip Morris was able to drop all direct references to cigarettes in its ads in favour of subtly alluring smokers to come, and be part of, the epic Western landscape of “Marlboro Country”.

The Espace Louis Vuitton Beijing invites you to experience emblematic works from the Collection of Prince’s Cowboys  series, including: Untitled (Cowboy)  (1994), Mountain Cowboys  (1998-89) and The Blue Cowboys  (1999). Comprised of eight works in total, these photographs exemplify this important and renowned moment in Prince’s oeuvre. Through appropriation by the means of ‘re-photography’, Prince turned the cowboy into an emblematic, complex object, expressing nostalgia for a mythical, foundational period while highlighting the stereotype through “clichés”.

Fondation Louis Vuitton



Raymond Hains

Art into Life! Collector Wolfgang Hahn and the 60s (group show)
mumok, Vienna
10 November 2017 - 24 June 2018

In the 1960s, a new avantgarde movement emerged in the Rhineland. It was to break down the parameters of artistic disciplines, with an new internationally networked generation of artists coming from nouveau réalisme, Fluxus, and new music. One of the first collectors of their works was Wolfgang Hahn, chief restorer at the Wallraf Richartz Museum in Cologne. In 1978 his collection of around 400 works came to Vienna, where it is now one of mumok’s key collections. In the exhibition Art into Life! Collector Wolfgang Hahn and the 60s, mumok now presents the major works from the Hahn Collection.
The slogan “art into life” was taken literally in the 1960s. The aim was to overcome an obsolete tradition in painting, using everyday objects, texts, and musical scores instead of creating classical painting and sculpture. All the works shown in this exhibition, beginning with Door by Joseph Beuys and ending with Wolf Vostell‘s action objects, are indebted to this expanded concept of art. Happenings, actions, and performances of new music are well represented, with works by Allan Kaprow, Nam June Paik, and John Cage. Prominent works of Pop art by George Segal, Claes Oldenburg, and Tom Wesselman enter into dialogue with material images from nouveau réalisme, which is a focus of the Hahn Collection, including works by Daniel Spoerri, Jean Tinguely, and Niki de Saint Phalle.

Mumok, Vienna