‘DE LEUR TEMPS (7)’, group show ADIAF at FRAC Grand Large, Dunkerque (Fr). Exhibition view, on the left : Gabriel Folli, ‘THE NATION’, 2019, mixed media on paper, 150 x 150 cm, private collection. With works of Kapwani Kiwanga, Marcos Avila Foreno and Emmanuel Régent. Curated by Keren Detton and Michel Poitevin. Until 23.04.2023. photo : Aurélien Mole. 

Benedetto Bufalino, la voiture sur le lampadaire, Selestat, 2017 #benedettobufalino #artpublic #light #artcontemporain #artcars #selestat #alsace #biennale #biennaleartcontemporain #lampadaire #pieromanzoni #galeriemitterrand #galerieperrotin #frenchartist #ciel #cielbleu #sky #parisartfair #chateaulacoste @chateaulacoste #adiaf #pieromanzoni https://www.instagram.com/p/BuEIPMKHrqd/?utm_source=ig_tumblr_share&igshid=1qsj19sww4n55

'HIGH-TENSION - A look at the French scene with 8 winners the Marcel Duchamp Prize' with Cyprien GAILLARD (winner 2010) at Red Brick Art Museum curated by Alfred Pacquement. Exhibition until August 27

Cyprien GAILLARD 'Nightlife' 2015 video

Ida Tursic & Wilfried Mille nominated for Prix Marcel Duchamp 2019. This work “ River view” 2016 Oil on canvas 250 x 250 x 5 cm 98 3/8 x 98 3/8 x 2 inches Courtesy of the Artists and Almine Rech Photo: Rebecca Fanuele #idatursicetwilfriedmille #alminerechgallery #prixmarcelduchamp @mrandmissiw #randianmagazine #congratulations #centrepimpidou #alminerech #idatursic #wilfredmille #adiaf (at Centre Pompidou) https://www.instagram.com/p/Bsf3LIhlwJ0/?utm_source=ig_tumblr_share&igshid=36vlmx65n2qb

"... dans l’art, ce qui nous marque très longtemps, est ce que nous ne comprenons pas." Kader Attia Rencontre au #centrepompidou à l'occasion du #prixmarcelduchamp organisé par l' @adiaf avec @KaderAttia qui nous parle de son œuvre L'Empreinte de l'Autre sur Pointcontemporain.com Et à paraître début mars un grand entretien avec l'artiste dans la Revue papier Point contemporain #4 ! #kaderattia #prixmarcelduchamp #adiaf #centrepompidou #beaubourg #artcontemporain #contemporaryart #installation #exposition #reflechirlamemoire #entretien #focussuruneoeuvre #pointcontemporain (à Centre Pompidou)

#REPOST @isevebackonearth with @get__repost__app MESSAGE OF THE GODDESS KIARÊ FROM THE FUTURE

THIS IS THE MESSAGE OF THE CENTURY, COMING FROM THE FUTURE. YOU TOO CAN WATCH IT, UNDERSTAND IT AND SHARE IT

Link to Youtube video: https://youtu.be/e4dNcR5n8xQ

.

.

.

.

#imuepureart#mysteryland #womendesigners#artinvestor#미술관데이트#melaninart #blackgirlartist#adiaf#adiafemergence#デジタルアート

#visualartists#ギャラリー

#blackroyalty#magicalgirl #yuzmuseum#ilovethiswork#handreading #roses #otherworlds #Галерея #pharaon #artistsoninstagram#contemporaryartcollectors#uniqueartwork#当代艺术 #supportblackowned#exposicion#kunstgalerie#galeriedartcontemporain#flowers #repostandroid #repostw10

A 20-Year Legacy of Support for French Artists

A show at the Pompidou Center highlights the work of Kapwani Kiwanga, winner of the Marcel Duchamp Prize, and those who won before her.

Kapwani Kiwanga’s “Flowers for Africa” is a series of installations that consist of elaborately arranged fresh flowers. © Dmitry Kostyukov for The New York Times

PARIS — The conceptual artist Kapwani Kiwanga, whose latest exhibition here recreates elaborate floral arrangements from archival photographs to capture a moment in time, was awarded the Prix Marcel Duchamp on Monday in a celebration that also marked the 20th anniversary of the prize.

The award, viewed as France’s answer to Britain’s Turner Prize, is named after one of France’s most influential 20th-century artists and is given to an artist born or working in France. Ms. Kiwanga, a native of Canada, works in Paris.

The winner was announced by Bernard Blistène, director of the Musée National d’Art Moderne at the Pompidou Center.

“At a time of rising nationalism around the world, it is important to emphasize that this is not a ‘nationalistic’ prize, but the recognition of an international artist who is part of the French art scene,” said Mr. Blistène, who also presides over the seven-person jury. Members include Gitte Orskou, director of the Moderna Museet in Stockholm, and Marie-Cécile Zinsou, president of the Zinsou Foundation in Benin, in West Africa.

The award ceremony at the museum went ahead despite the pandemic that forced the cancellation of the annual International Contemporary Art Fair, or FIAC. The fair, which would have opened on Thursday, is usually the focal point of a buoyant week of art-filled events in the French capital. This year, the ceremony was held against a background of global travel restrictions compounded by a local nighttime curfew in place in Paris.

“It isn’t because we are going through a terrible period that this public institution should not stand for hope for the future,” Mr. Blistène said.

After studying anthropology and comparative religion at McGill University in Montreal, Ms. Kiwanga attended the École des Beaux-Arts in Paris. © Manuel Braun

With the prize Ms. Kiwanga was awarded 35,000 euros (about $41,000). The other nominees were Alice Anderson, Hicham Berrada and Enrique Ramírez, selected by a committee of the Association for the International Diffusion of French Art, a group of about 400 art collectors that created the prize.

The appropriation of history is the subject of “Flowers for Africa,” a series of installations by Ms. Kiwanga that consist of elaborately arranged fresh flowers, suspended as a garland from the ceiling or set in bouquets on pedestals. Each is a “reconstruction” of a floral arrangement the artist has gleaned from an archival photograph of an official ceremony marking the independence of an African country.

“The flowers wilt and dry over time and must be replaced according to a protocol,” said Ms. Kiwanga, who is 42. “They capture a moment in history.”

Sophie Duplaix, the chief curator at the Pompidou Center, where works by the nominees will be displayed through early January, said that “all four artists have touched on the notion of time and its impact on the individual and society.”

“That common thread helped us bring harmony to a show that we hope will resonate with the public, especially in a period when we are all reconsidering our own relationship with time,” she said.

In “Flowers for Africa,” Ms. Kiwanga examines that connection by confronting history and botany. History is retold through the life cycle of flowers left to wilt for the duration of the exhibition. Her reconstruction of ceremonial bouquets underscores the shortcomings of capturing history.

“The project was born out of my own frustration at looking at images that seemed always to depict political leaders present at independence ceremonies,” she said. “I wanted to look beyond those central figures and focus on the flower arrangements, which were witnesses on the sidelines of those historical events.”

After studying anthropology and comparative religion at McGill University in Montreal, Ms. Kiwanga attended the École des Beaux-Arts in Paris.

Hicham Berrada’s “Présage, SiO2” is a 12-minute video showing the reaction that occurs when he pours silicon dioxide to activate a controlled chemical reaction in a glass tank filled with a mixture of acid and water. © By Dmitry Kostyukov For The New York Times

This year is also the 20th anniversary of the Duchamp prize, and to mark this milestone, a six-month exhibition at the museum honors previous winners.

“I believe in French art for its spirit, its elegance and its joie de vivre,” said Gilles Fuchs, a collector and president of the association.

“This prize recognizes an artist whose innovative practice is representative of a generation and reflects the creativity of the French art scene,” he added. “The 20th-anniversary show is evidence of our continued support of the artists.”

Mr. Blistène said the award “is not driven by ‘market’ interests.” He added that the association collectors “are not motivated by commercial interests nor by mundane or ‘domestic’ considerations like whether they can hang the art in their living rooms.” Among the other nominees, Mr. Berrada’s artistic practice sits at the junction of science and nature. His installation, “Présage, SiO2,” is a 12-minute video showing the reaction that occurs when he pours silicon dioxide, a component used in making concrete, to activate a controlled chemical reaction in a glass tank filled with a mixture of acid and water. A mesmerizing landscape of moving shapes is captured in the video, projected onto a large screen. Mr. Berrada, 34, a native of Morocco, lives and works in Paris and Roubaix, in northern France.

Alice Anderson’s work is made up of drawings, dance movements and totemic sculptures constructed from everyday objects wrapped in copper thread. © Dmitry Kostyukov for The New York Times

The French-born Alice Anderson, 47, reflects on memory in a presentation made up of drawings, dance movements and totemic sculptures constructed from “recorded” everyday objects — like a computer mouse or a mobile phone — wrapped in copper thread, that connect man to technology.

“Technology is driving a change of civilization,” Ms. Anderson said. “These objects are mummified to be preserved.”

On a wall in the space dedicated to Mr. Ramírez, 41, a Chilean multimedia artist who lives and works in Paris and Santiago, are the words: “The future always repeats itself inseparable from the past.” The sentiment ties together several pieces that touch on issues of migration and history.

At the center, a video depicts a man entangled in the twisted fabric of a sail floating in the sea, in what could be interpreted as either a slow struggle for survival or a metaphor for a return to the fetal state inside a womb.

“The sea and the sail evoke both freedom and failure,” Mr. Ramírez said. “My work is less about politics and more about poetry.”

Enrique Ramírez’s work at the Pompidou Center includes a video of a man entangled in the twisted fabric of a sail floating in the sea. © Dmitry Kostyukov for The New York Times

Mr. Fuchs said the ADIAF (it is referred to with its French abbreviation) was founded in 1994 to promote the nation’s art. At the time, French artists were at a low point, their work was being purchased only by the state, and there were few private French art collections.

“Matisse had not been dead very long, yet the French art scene was completed discredited to the point that some even referred to Marcel Duchamp as an American painter,” Mr. Fuchs said.

“But thanks to the support of the Centre Pompidou from Day 1 and our own efforts, this prize has gained the prestige it has today,” he said.

The prize is less a launchpad for young artists than a spotlight on a body of work by more established names like Kader Attia, the 2016 winner, who went on to receive both the Joan Miró Prize and the Yanghyun Prize the next year. For many past winners, the prize has been a genuine boost to their careers, particularly thanks to the three-month show at the Pompidou.

“All prizes and encouragements are welcome in the life of an artist,” Thomas Hirschhorn, a Swiss artist who was awarded the first prize, wrote in a statement to the French press ahead of this year’s announcement.

“As an artist, I need my work to be shown, talked about and critiqued,” he wrote. “What is concrete about this prize and what really mattered to me were the prize money, the funding I received from ADIAF for a new piece, and my show at the Centre Pompidou.”

Laurent Grasso, a French multimedia artist who won in 2008, noted the attention the prize brought him. “Some 45,000 visitors came to my show at the museum,” he said. “This prize generates a lot of positive energy around the work of an artist.”

Upstairs, in the main galleries of the museum, works by all 19 past winners are displayed among pieces from the museum’s permanent collections.

“The dialogue with our historical pieces shows how more recent works fit into an ongoing artistic tradition,” said Nicolas Liucci-Goutnikov, the curator of the show.

“Some people consider contemporary artists to be engaged in a perpetual reinvention of art,” Mr. Liucci-Goutnikov said. “But this show demonstrates that art is a heritage being constantly renewed.”

[Source]

(via ADIAF-VueexpoFIACPMD2015-MelikOhanian-Photo-Florian-Kleinefenn.jpg (1922×1180))

Melik Ohanian

POUR QUI LE PRIX MARCEL DUCHAMP ?

EXPOSITION. Pour qui le Prix Marcel Duchamp 2019 ?

C’est à Éric Baudelaire, né en 1973 aux Etats-Unis, mais vivant en France,  qu’a été décerné le Prix Marcel Duchamp, créé en 2000 par l’Association pour la diffusion internationale de l’art français (Adiaf) et qui est décerné, en partenariat avec le Centre Pompidou, à un artiste de la scène française. Baudelaire a été récompensé pour un projet intitulé «Tu peux prendre ton temps» et composé de deux films documentaires, l’un de 13 minutes, «Prélude à «Un film dramatique», l’autre de 1h54, «Un film dramatique», ainsi que - sous le titre «Beau comme un Buren mais plus loin» - un drapeau visible au sommet d’une tour de bureaux à quelques kilomètres au nord de Paris. Ce drapeau a été réalisé, non par Baudelaire, mais par Dafa Diallo, qui fait partie d’un groupe de vingt élèves du groupe cinéma d’un collège de Saint-Denis, en banlieue parisienne, élèves avec lesquels Baudelaire a travaillé pendant quatre ans. Dans le film, ces adolescents, dont les parents sont souvent d’origine étrangère, parlent, entre autres, du racisme, de l’immigration et de la France d’aujourd’hui. Baudelaire s’est imposé par «la force du film réalisé, l’originalité de son dispositif et l’espoir qu’il porte en lui», explique Bernard Blistène (Centre Pompidou). Pour sa part, Gilles Fuchs (Adiaf) souligne que, «alors que le thème de la mélancolie apparaît souvent dans la création artistique», le jury a opté pour «le regard sur le futur» porté par Baudelaire. Nous décrivons ci-dessous les œuvres présentées par les trois autres artistes nommés pour ce prix Marcel Duchamp 2019 : Katinka Bock (née en 1976 en Allemagne et vivant à Paris et à Berlin) avait créé plusieurs œuvres, en particulier : 1) sous le titre «Le grand citron», une sculpture en céramique, acier et cuivre représentant un citron blanc recouvert d’écailles verdâtres et posé sur des rails ; 2) deux citrons qui, attachés à une tige métallique, en modifiaient la flexion à mesure qu’ils se gâtaient ; 3) un damier de plaques de cuivre oxydées sur lequel était disposé un radiateur de chauffage central, radiateur sur lequel était posé un poisson en bronze. Marguerite Humeau (née en 1986 à Cholet et vivant à Londres) a exposé, sous le titre «High Tide», principalement trois sculptures belles et mystérieuses, dans des teintes rosâtre et bleuâtre, à base d’acier, polystyrène, résine de polyuréthane et fibre de verre, avec intégration de «particules de pollution». On nous a précisé que «la trame narrative» de ce projet s’appuyait sur «l’hypothèse de nouveaux comportements religieux adoptés par des animaux en réponse aux bouleversements climatiques et aux extinctions de masse qui en résultent». Les trois sculptures représentaient les poumons de créatures marines victimes de la pollution. < Les poumons se gonflent et se dégonflent, et finissent par exécuter un rite dansé collectif en direction de la Lune >, nous a-t-on expliqué. Ida Tursic et Wilfried Mille, nés en 1974, l’une à Belgrade, l’autre à Boulogne-sur-mer, et vivant en France, travaillent ensemble depuis l’an 2000 et ont présenté plusieurs œuvres qui «interrogent la possibilité même de peindre aujourd’hui», nous a-t-on indiqué. Parmi ces œuvres, nous citerons : 1) une grande et belle huile sur toile représentant un parterre de fleurs multicolores sous un ciel étoilé ; 2) un ensemble de peintures juxtaposées représentant, entre autres, un visage féminin, un éphèbe nu, un chien et une fleur ; 3) une sculpture qui, reposant sur quatre socles en cèdre, était constituée d’un long tube noir en acier aux courbures complexes sur lequel étaient disposés des cubes en acajou, ainsi que trois sculptures représentant des canards.

#Repost @adiaf //EXPOSITION PRIX MARCEL DUCHAMP// Centre POMPIDOU Clément Cogitore realizes “The Evil Eye” with pre-existing images, in which a narrative of a female voice travels through anonymous, stereotypical stock scenes taken from global banks. — “The Evil Eye”, 2018 video installation 15’ Courtesy Galerie Eva Hober, Galerie Reinhard Hauff © Centre Pompidou/Philippe Migeat, 2018 © Adagp, Paris 2018 @centrepompidou @evahober @galeriereinhardhauff #prixmarcelduchamp #clementcogitore #artcontemporain #elainealain #artprize #contemporaryart #film #installationart #weloveart (à Centre Pompidou) https://www.instagram.com/p/BqUKtj_BYIt/?utm_source=ig_tumblr_share&igshid=1vvukczcxvr6b

Exhibition view // Triennale ADIAF “De leur temps (7)”, curated by Keren Detton and Michel Poitevin, 28.01 > 23.04.2023, FRAC Grand Large, Dunkerque (Fr).

‘THE NATION’, 2019, mixed media on paper, 150 x 150 cm. Private collection. 

photo : Aurélien Mole.

Benedetto Bufalino, la voiture sur le lampadaire, Selestat, 2017 #benedettobufalino #artpublic #light #artcontemporain #artcars #selestat #alsace #biennale #biennaleartcontemporain #lampadaire #pieromanzoni #galeriemitterrand #galerieperrotin #frenchartist #ciel #cielbleu #sky #parisartfair #chateaulacoste @chateaulacoste #adiaf #pieromanzoni (à Frac Alsace) https://www.instagram.com/p/Btenyg3nU6r/?utm_source=ig_tumblr_share&igshid=1qoft2u9h0p70

STARTING TODAY Le Prix Marcel Duchamp - "Paysages du monde" at Espace Musées with Cyprien GAILLARD (winner of the Prix Marcel Duchamp 2010) until January 16, 2018

Cyprien GAILLARD "La grande allée du château d’Oiron" 2008

Tatiana Trouvé.

  Tatiana Trouvé, High Tension, installation view. Artwork © Tatiana Trouvé, photo by Annette Kradisch.

“High Tension: 8 Winners of the Marcel Duchamp Prize” at the Red Brick Museum, Beijing, China.

On view May 27 through August 27, 2017. Reuniting some of the winners of the Marcel Duchamp Prize (created in 2000 by the ADIAF, Association for the International Diffusion of French Art), this…

View On WordPress

#LehmannMaupin congratulates #KadeAttia on winning the #PrixMarcelDuchamp 2016! 🎈 The Prix Marcel Duchamp was established in 2000 by the Association for the International Diffusion of French Art to honor outstanding artists working in France and support their ongoing practice. An exhibition of works by the nominated artists, "Prix Marcel Duchamp 2016 – Les Nommés," is on view at @centrepompidou through January 30, 2017. Kader Attia will have a solo exhibition at Lehmann Maupin in New York in January 2017. • Photo by Michael Danner #centrepompidou #ADIAF