Loris Gréaud et al.
Marcel Duchamp: The Barbara and Aaron Levine Collection (group show)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
9 November 2019 – 15 October 2020
The Hirshhorn Museum and Sculpture Garden has announced a two-part exhibition on the life and legacy of Marcel Duchamp, commencing with “Marcel Duchamp: The Barbara and Aaron Levine Collection,” on view 9 November – 15 October 2020. This first part of the exhibition will feature the recent gift of over 50 major historical artworks, including more than 35 seminal works by Duchamp, promised to the museum by Washington, D.C., collectors Barbara and Aaron Levine. The second stage of the exhibition, on view 18 April – 15 October 2020, will examine Duchamp’s lasting impact through the lens of the Hirshhorn’s permanent collection, including significant works by a diverse roster of modern and contemporary artists. Both exhibitions are organized by Evelyn Hankins, the Hirshhorn’s senior curator, and accompanied by a 224-page publication.
“Marcel Duchamp: The Barbara and Aaron Levine Collection” comprises an unparalleled selection of artworks, thoughtfully acquired over the course of two decades and offering a rarely seen view of the entire arc of Duchamp’s career. The second exhibition focuses on the extraordinary legacy of Duchamp by examining works from the Hirshhorn’s permanent collection that touch upon a number of broad themes pivotal to the artist’s practice. Work by Loris Gréaud is included.
The Underground Sculpture Park (solo show)
Casa Wabi Foundation, Puerto Escondido
Inauguration 1 February 2020
Director: Carla Sodi
Curator: Paola Jasso
As the Casa Wabi was being designed, Loris Gréaud was contemplating burying his sculptures to create a real ‘underground’ sculpture park. After several years and many correspondances and meetings between the artist and the Casa Wabi Foundation, The Underground Sculpture Park will be inaugurated there on the 1st of February 2020.
Loris Gréaud has selected twenty or so of his iconic art pieces produced since the start of the 21st century, which will be buried forever along the natural paths formed within the gardens designed by Alberto Kalash as a continuation of the institution architecture created by Tadao Ando. Yet, this real sculpture park will remain hidden from the public: only benches marked with the anniversary date of the park official opening, in February 2021, will be placed once the vegetation has returned. Visitors will be able to sit on them and enjoy a contemplative outlook onto the surrounding landscape and the art pieces lying a few metres below their feet in some sort of backward archeology.
The artist’s concept – both straightforward and extremely intricate in its execution - astutely brings in the epitome of the ghost: the pieces are invisible, yet physically present. Visitors are therefore encouraged to project these pieces, picture them, fantasize about them. Thus, the artist’s intention is not to put an end to them but to start an exploration of their underlying potential through everyone’s imagination by using this form of self-negation: what if these pieces were to be unearthed and reappear?
This very concept eventually indicates a break in the work of Loris Gréaud as he explored, with his project The Unplayed Notes (2012-2018) and its various occurrences, the question of space between art pieces and now focuses on their potential destination. Therefore, in symbiosis with the Casa Wabi Foundation’s philosophy and with the support of the local community, the artist brings up the concept of a romantic journey allowing his pieces to travel to the edges of the world, in a freely accessible place seemingly timeless, yet in perfect harmony with its surroundings.
The Underground Sculpture Park asks us to contemplate this poetic event and bring our own answer: what message would be sent to the world if an artist came to conceal the vestige of their work and have it move as the constant drift of a sculpture park which would be real yet could only be accessed through people’s mind?
In conjunction with the official opening of The Underground Scultpure Park, Hatje Cantz Publishing will release the catalog The Unplayed Notes / Introduction to The Underground Sculpture Park which, together with an essay by Nicolas Bourriaud, closes the seven-year-long project which travelled through many places including Paris, New York, Dallas and Venice.
Glorius Read (solo show)
Musée d’Art Moderne de Paris, Paris
11 October 2019 – 9 February 2020
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.
Musée d’Art Moderne de Paris