Arts - Gila Walker

This volume gathers and expands upon the results of the research project “Theater, Garden, Bestiary: A Materialist History of Exhibitions,” held at ECAL/University of Art and Design Lausanne, and proposes a history of exhibitions sourced from a wide corpus reaching beyond the framework of art institutions. It undertakes a transdisciplinary history at the nexus of art history, science studies, and philosophy, exploring the role the exhibition played in the construction of the conceptual categories of modernity, and outlines a historiographical model that conceptualizes the exhibition as both an aesthetic and an epistemic site.

The complex oeuvre of the American artist Cy Twombly comprises a time period of around six decades, during which it never lost any of its expressive power. Twombly was one of the most productive artists in the history of more recent art. Acclaimed as one of the most important painters of the second half of the twentieth century, he fused the legacy of American Abstract Expressionism with European and Mediterranean culture.
Edited by Jonas Storsve, the book focuses to a degree never before seen on his major cycles: Nine Discourses on Commodus (1963), Fifty Days at Iliam (1978), and Coronation of Sesostris (2000). The artist’s development as a whole is traced based on nearly 200 paintings, sculptures, drawings, and photographs. This thus provides unique insights into the overall intellectual and sensual richness of the oeuvre. From his early works at the beginning of the nineteen-fifties, which are characterized by the use of text, to his compositions of the nineteen-sixties, his reaction to the minimal art and conceptual art of the nineteen-seventies to his final paintings, the overview of the oeuvre underscores the significance of the series and cycles in which Cy Twombly invented history painting anew.
With its polyphonic conception, the monograph offers numerous approaches with essays that shed light on the various aspects and phases of Twombly’s path as an artist.

This exhibition catalogue accompanies a grand retrospective of works by an artist who rejuvenated our habits of perception.
After celebrating its twentieth anniversary with three blockbuster exhibitions in 2017, the Fondation Beyeler and is starting the year 2018 with Georg Baselitz—without a doubt one of the most influential painters and sculptors of our time—is celebrating his eightieth birthday, and the Foundation is devoting an extensive retrospective to this provocateur. Many of Baselitz’s most important paintings and sculptures from the past six decades will be seen together for the first time. By displaying key works together, on an equal footing, it becomes easier to perceive the unique wealth of his formal and contextual innovations. Leafing through more than two hundred richly illustrated pages, the reader encounters the beautiful, the ugly, the ambiguous, and the disturbing.

Creator of famous sculptures in motion, particularly the mobile, he was the "king of wire" who invented pre-war wire sculpture and who modestly built a miniature circus which was admired by the Parisian avant-garde. He then quite naturally went on to embrace the Parisian abstract art world and its great figures such as Mondrian, Léger and Arp. During the last fifteen years of his life, Calder lived and worked in his studio in Saché (Touraine) creating monumental metal sculptures designed for cities and buildings around the world.
The exhibition of between 60 and 80 works will feature: - sculptures (Mobiles, Stabiles, "wire" sculptures), gouache paintings and drawings from the Pompidou Centre, the Calder Foundation (New York), the Fondation Maeght, French and foreign museums, private collections and also from galleries including Maeght for a monumental work in the garden in front of the museum - portraits of the artist done by great photographers such as Ugo Mulas, Gilles Ehrmann, Marc Vaux, André Kertesz, and others.

Ross Lovegrove is an internationally renowned designer and visionary whose works are celebrated as the new aesthetic expression of the twenty-first century. His industrial design is inspired by the logic and beauty of nature and connects technology and innovative production methods with new materials and an intelligent, organic vocabulary of forms in an inimitable way. By carefully selecting, combining, and composing these elements he succeeds in inventing a completely unique language of his own. A very human vision and a sustainable, inventive approach form the basis for all of his work. His philosophy is obviously rooted in elegant functionalism. Despite all of the imaginativeness and pleasure in experimentation revealed in his body of work, he considers himself a thinker whose interest is not in the pretentious, but in the development of sensible, useful things. At the heart of this monograph, therefore, is a lasting combination of high standards and creativity, design and nature, and the latest technologies from the fields of physics, biology, anthropology, and ecology.

The work of “artist-walker” Éric Bourret participates in the tradition of Land Art and land surveying photography.
Since the early 1990s, he has been traveling the world on foot, hiking over all kinds of terrains and at all altitudes, shooting photographs that he refers to as “experiences of walking, experiences of the visible.”
His photographs express the deep physical and sensory transformations that walking provokes. The very act of walking over long distances heightens perception and receptiveness to the surrounding landscape.
Éric Bourret spent the winters of 2015 and 2016, in answer to an invitation from the Musée dauphinois in Grenoble, hiking over the mountains situated in Belledonne, Dévoluy, Oisans, and Vercors. The images he produced transcribe both the experience of discovery and the remarkable landscape of these emblematic massifs of the Isère.

Trails and Traces is an artist book by Manon de Boer published on the occasion of her solo exhibition at the Secession, Vienna (summer 2016). The book is a collection of thoughts and traces of conversations that were of inspiration to her work in the last few years and that reflect a parallel process to the making of her new film An Experiment in Leisure.
Texts by Manon de Boer, Sirah Foighel Brutmann, Sara De Roo, Latifa Echakhch,Yves Gevaert, Latifa Laâbissi, Agnes Martin, Marion Milner, Michael Schmid, Christophe Wavelet, Julia Wielgus
Published by Vienna Secession
Distributed by Revolver Publishing

Yervant Gianikian and Angela Ricci Lucchi visited the Soviet Union at the end of the 1980s. It was during the closing years of the Soviet Empire, and the words on everyone’s lips were glasnost and perestroika. They wanted to gather the memories of the cinematographic literary and artistic Russian avant-garde of the ’20s and ’30s, seeking out survivors and listening to their life stories.
They both had the habit of filling up notebooks with thoughts, drawings, notes and recipes: a hotchpotch which reflects their own way of working.
The volume features a selection of pages from these notebooks, reproduced here for the first time, thus providing us with access to the very source of their inspirations. Essays by Corinne Diserens and Eva Fabbris follow, along with an interview by Andrea Lissoni examining the work of two of the most important artists and filmmakers on the contemporary scene.

BIBLIOGRAPHY

Georges Didi-Huberman, “Out of the Dark” in Critical Inquiry (University of Chicago Press, Autumn 2020)

Seloua Luste Boulbina, “Doris Salcedo's Unsubmissive Hauntology" in Doris Salcedo, exhibition catalogue (Beyeler Foundation, 2024)

Michel Mourlet, “On a Misunderstood Art” in Critical Inquiry (University of Chicago Press, Spring 2022)

Agnès Vannouvong, “Giacometti & Genet: The Great Divide” in Giacometti: Face to Face, exhibition catalogue (Moderna Museet, forthcoming 2020)

Corinne Diserens, “Vincent Meesen: A blue thread in the inextricable labyrinth of history” in Blues Klair (Leonard & Bina Ellen Gallery, forthcoming 2020)

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Corinne Diserens, “Letter to Susana,” Show Me Tomorrow, We Will Go There (HISK Higher Institute for Fine Arts Exhibition, Ghent, Belgium, 2018)

Something we Africans got: the new focus on African art and critical thought, issue no. 5 (Spring 2018)

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Something we Africans got: the new focus on African art and critical thought, issue no. 3 (Fall 2017)

Jonas Storsve (ed.), Cy Twombly, Centre Pompidou Retrospective (Munich: Sieveking Verlag, 2017)

Ross Lovegrove: Convergence, Marie-Ange Brayer (ed.), texts by Frédéric Migayrou and Marie-Ange Brayer (Munich: Sieveking Verlag, 2017)

Yervant Gianikian & Angela Ricci Lucchi, The Arrow of Time: Notes from a Russian Journey 1989-1990, texts by Corinne Diserens (Milan: Humboldt Books, 2017)

Calder: Forgeron de Géantes Libellules, texts by Annie Cohen-Solal, Alfred Pacquement, Benoît Decron et al. (Gallimard/musée soulages, 2017)

Catherine Perret, Corinne Diserens et al., in Gestures and archives of the present, genealogies of the future: a new lexicon for the biennial, Taipei Biennial 2016 (Taipei Fine Arts Museum, 2017)

Awotele 7, Panafrican Film Critic Magazine (Sudu Connexion, 2017)

Jonas Storsve, Divine Dialogues: Cy Twombly & Greek Antiquity (Athens: Museum of Cycladic Art, 2017)

Éric Bourret, Carnet de Marche (Arnaud Bizalion, 2017)

Cy Twombly, Jonas Strovsve, Shepheardes Calendar (Paris: Éditions Dilecta, 2016)

Manon de Boer: Trails and Traces, texts by Christophe Wavelet, Yves Gevaert, Latifa Laâbissi (Secession, 2016)

Martin Le Chevallier, Utopies, monograph (Galerie Jousse Entreprise, 2016)

Guy Tosatto, “Rooms of Intranquility” in Cristina Iglesias, exhibition catalogue (Musée de Grenoble, 2016)

Vélodrome, Le Douzième Homme, texts by Christian Bromberger, Laura Serani & Lionel Briot (A. Bizalion / Le Garage Photographie, 2016)

Claude Lévêque, Benoît Decron, Claude Lévêque: Le Bleu de L’Œil (Musée Soulages, 2015)

William Guidarini, Ceux Qui Restent (A. Bizalion, 2015)

Daniel Quesney, La Côte normande: la Côte d'Albâtre photographiée il y a cent ans et aujourd'hui; La Seine-Maritime (Périple, 2015)

Jean-Louis Fabiani, Mer (A. Bizalion, 2015)

Guy Tosatto, Giuseppe Penone (Actes Sud, 2015)

Claude Lévêque, Benoît Decron, Claude Lévêque (Musée Soulages, Rodez, 2015)

Jean-Louis Fabiani, Mer (A. Bizalion, 2015)

William Guidarini, Ceux Qui Restent (A. Bizalion, 2015)

Richard Castelli and Gottfried Hattinger, Robotic Art Robotic (Art Book Magazine, 2015)

Daniel Quesney, La côte normande: la Côte d'Albâtre photographiée il y a cent ans et aujourd'hui; La Seine-Maritime (Périple, 2015)

Bernard Plossu, Jean Louis Fabiani, Les Jardins du large (Bizalion, 2014)

Christophe Wavelet, Corinne Diserens, Rétrospective by Xavier Le Roy (Les Presses du reel, 2014)

Stéphane Couturier, François Cheval, Étienne Hatt, Alger, Climat de France (A. Bizalion, 2014)

Didier Ben Loulou (photographs and notes), Marseille (A. Bizalion, 2014)

Guy Tosatto, “Domenico’s World” in Domenico Gnoli: Beds, exhibition catalogue (Luxembourg & Dayan, 2014)

Anne-Marie Garat, Frédérique Citéra-Bullot, Bernard Brochand, Georges Rousse: Mediterraneo, la mer au milieu des terres (Actes Sud, 2013)

Bernard Marcadet, Guy Tosatto, Sigmar Polke (Actes Sud, 2013)

Elisabeth de Fontenay, “Adel Abdessemed: Urgency of a Decreation” (unpublished, 2013)

Corinne Diserens, “La Vigie/The Lookout Man” in Yasmil Raymond, Jean-Luc Moulène: Opus + One (Dia Art Foundation, 2012)

Nadine Descendre, Halim al Karim (Skira, 2012)

Guy Tosatto, Yves Peyré, Philippe Cognée (Actes Sud, 2012)

Tzvetan Todorov, The Limits of Art: Two Essays (Seagull Press, 2010)

Jonas Storvse, Sandra Vasquez de la Horra (Centre Georges Pompidou, 2010)

Jonas Storsve, “Anne-Maris Schneider’s Daily Writing” in Anne-Marie Schneider: Jambes Longues, exhibition catalogue (Museum Het Domein, Sittard, 2010)

Guy Tosatto, “La Mémoire des Statues” in Stephan Balkenhol (Actes Sud & Musée de Grenoble, 2010)

Jonas Storvse, Jim Hodges: Love et Cetera (Centre Georges Pompidou, 2009)

William Paris, Daniel Johnston R.I.P (capcMusée d’art contemporain online journal, 2009)

Pacôme Thiellement, Beyond the Valley of A Day in the Life: The Beatles, the Beach Boys and Stepping Outside History (capcMusée d’art contemporain online journal, 2008)

Vincent Labaume, Jean-Luc Moulène, Laymert Garcia dos Santos in Journal, a MUSEION publication (Bolzano, 2008)

Corinne Diserens, Yehuda Safran, et al, Peripheral Vision & Collective Body (Museion, 2008)

Présence Panchounette, exhibition catalogue (capcMusée d’art contemporain de Bordeaux, 2008)

Daniel Quesney, Honfleur photographiée il y a cent ans et aujourd'hui (Périple, 2008)

Jonas Storsve, Silvia Bächli – Nuit et Jour /Night and Day Works (Paris: Centre Georges Pompidou, 2007)

Andrei Nakov, Kasimir Malevich, Black and White. Suprematist Composition (1915) (Moderna Museet, 2007)

Daniel Quesney, La Côte normande: le Calvados (Périple, 2007)

Jonas Storsve, Vija Celmins: Drawings (Centre Georges Pompidou, 2006)

Maurice Maeterlinck, The Intruder, an installation by Ana Torfs (2005)

Thierry Kuntzel Title T K Notes 1974-1992 (Anarchive/Musée des Beaux-Arts de Nantes, 2006)

Jean Torrent in Ana Torfs. Figuren / Projektionen 2000-2005 (Gesellschaft für Actuelle Kunst, 2006)

Jonas Storsve, Amelie von Wulffen (Centre Georges Pompidou, 2005)

Thierry De Cordier, Jonas Storsve, Thierry De Cordier: Drawings (Centre Georges Pompidou, 2004)

Jean-Charles Massera, Sex, Art, and the Dow Jones (Lukas & Sternberg, 2003)

Gilbert Fastenaekens, Catherine Mayeur, Noces (Arp, 2003)

Olivier Foulon, Michel Assenmaker, “En Coulisses, parfois, les artistes changent de costumes,” (Jan van Eyck Academie, 2003)

Maurice Fréchuret, Seventies Art in Question (capcMusée d’art contemporain de Bordeaux/Réunion des musées nationaux, 2002)

Michel Guerin, François Méchain: The Exercise of Things (Somogy, 2002)

Catherine Perret, Valérie Mavridorakis, and Eric Troncy, Peter Kogler, Stéphane Dafflon, Francis Baudevin, exhibition catalog (Villa Arson, 2002)

Jean Charles Massera, Paul McCarthy: Pinocchio (Réunion des musées nationaux, 2002)

Jonas Storsve, Marlene Dumas: Name No Names (Centre Georges Pompidou, 2001)

Xavier Zimbardo, Monks Of Dust: The Holy Men Of Mount Athos (Rizzoli, 2001)

Christian Meynen, Willy Van den Bussche, Anne Wauters, Yves Robert, Cités de sable (Arp, 2001)

Miroirs-Reconstitution Photographique: Eugène Atget / Daniel Quesney (ARP Editions, 2001)

Joséphine Matamoros et al., Soutine: Céret 1919-1922 (Musée d’Art moderne de Céret, 2000)

Michel Dieuzaide, “De l'éphémère à l'immuable” in François Méchain, Hypothesis, sculpture / photographie, 1979-1999 (Galerie du Château d'eau, Toulouse, 2000)

Marie-Laure Bernadac, Jean-Charles Massera et al, Présumés innocents: L’Art contemporain et l’enfance (capcMusée d’art contemporain, 2000)

Christine Buci-Glucksmann, Between Centre and Absence: the photography of Jacqueline Salmon (Kehrer, 2000)

Pierre Restany, Jean-Michel Ribettes, Philippe Pasqua (Saga, 1999)

Michèle Chomette, Les Photographies de Dora Maar: une dernière rencontre (Piasa, 1999)

Hubert Damisch et Alain Fleischer, Michael Snow Panoramique : œuvres photographiques & films (Palais des Beaux-Arts de Bruxelles, 1999)

Colette Garraud, François Méchain: L'Arbre de Cantobre, exhibition catalogue (Actes Sud, 1998)

Marie-Laure Bernadac, Renaud Camus, et al, Anish Kapoor, exhibition catalogue (capcMusée d'art contemporain de Bordeaux, 1998)

Jacques Aumont, Gestes d'Henri Foucault, text for the Spirit exhibition (Galerie Michèle Chomette, 1998)

Henry-Claude Cousseau, Marie-Laure Bernadac, Niele Toroni, exhibition catalogue (capcMusée d'art contemporain, 1997)

Jean-Claude Lemagny, Xavier Zimbardo, Le Belles disparues (Natives, 1996)

Phillipe Sollers in James Bishep (Richter Verlag, Düsseldorf, 1995)

Michèle Chomette, Pierre Marc Richard, Paul-Emile Miot : photographie 1857-1870, exhibition catalogue (Galerie Michèle Chomette, 1995)

Jacques Leenhardt, Annette Haudiquet François Méchain: Sculptures, exhibition catalogue (Musée des Beaux-Arts de Calais, 1994)

Catherine Grout, “L’Autorité et l’humilité au monde de François Méchain” in In Situ, François Méchain, exhibition catalogue (Le temps qu'il fait, Cognac, 1994)

Serge Salat, Françoise Labbé, Le Livre infini (Cedust, 1994)

Patrick Roegiers, Alain Fleischer: le cadre et le reflet (Massimo Riposati, 1993)

Marc Meyer, Catherine Bédard, Canada, A New Generation (FRAC des pays de Loire, 1993)

Denys Riout, Philippe Dubois, Éric Rondepierre (Ed. Espace J.Verne/ Galerie Michèle Chomette, 1993).

Jean Noël Vuarnet, Jean Charles Blais: Suites (Fonds régional d'art contemporain de Picardie, Amiens, 1992)

François Chapon, The Illustrated Books by Rouault (A. Sauret/M. Trinckvel, 1992)

Harper, Prudence O., Joan Aruz, and Françoise Tallon, eds., The Royal City of Susa: Ancient Near Eastern Treasures in the Louvre (The Metropolitan Museum of Art, 1992)

Catherine David, “The Great Labyrinth” in Hélio Oiticica (Fundació Antoni Tàpies, 1992)

Gila Walker, Lisa Davidson-Petty, Catherine Eyquem eds. The Louvre Guides Bleus (Hachette, 1991)

Alfred Pacquemont et al, Jean Dubuffet : Les Dernières Années (English supplement edited by Gila Walker) (Réunion des Musées Nationaux, 1991)

Alfred Pacquemont, Pierre Dunoyer Tableaux, exhibition catalogue (Jeu de Paume, 1991)

Nadine Gasc et al., René Lalique : Jewelry, Glass (English version edited by Gila Walker) (Musée des Arts decoratifs/Reunion des musees nationaux, 1991)

Marie-France Bézier, Françoise Fromonot, Jeu de Paume: A History (Ed. de la Réunion des musées nationaux, 1991)

Gila Walker, "An Analysis of Der Ewige jude: Its Relationship to Nazi Antisemitic Ideas and Policies," Wide Angle 3:4 (1980), pp. 48-53

VIDEO, VOICEOVERS & SUBTITLES

Martin Le Chevalier

Münster, subtitles for film, 2016
The Audit, consulting process performance piece, 2008
Safe Society, video, 2003
Attila’s Garden, movie, 2012
The Cargo, video installation, 2013
The Year 2008, short film, 2010
The Butterfly, interactive video starring Mathieu Amalric, 2005

Vanessa Atlan

Wonderland Stereo, 2014