ECRAN TOTAL

jeudi 11 octobre 2007

mercredi 10 octobre 2007

-Tino Schaedler and Michael J Brown, Strato Cruiser (remix)
-Double système bicéphale, campagne Jil Sander, automne hiver 2007-2008
-Franck Stella, The Marriage of Reason and Squalor, II. 1959
-John Armleder, Untitled, 1998-2002
-Olivier Mosset et Andy WARHOL, Sans titre, 1979/1985
-Olivier Mosset, Blue Star , 1993
-Olivier Mosset, Red Square, 1998-1999
-Victoire de Castellane, Dior Joaillerie 2007
-Kate moss photographiée par Mario testino, 2001
-Peter Halley, Untitled, 1992-1993, Mono relief on handmade paper
-Erick Van Egeraat, Federation Island, 330 ha artificial archipelago, Sochi, Russian Black Sea, 2007
-Dior Joaillerie, Belladone Island, design : Ida Tursic & Wilfried Mille, 2007
-Guy Bourdin
-Tino Schaedler and Michael J Brown, Strato Cruiser 2007
-Pierre Huyghe, Float, 2004
-Nick Knight, campagne Kilgour, automne hiver 2007-2008
-idem
-idem
-Ann Veronica Janssens,
-Ann Veronica Janssens, installation au Mukha, Anvers, 1997
-Ann Veronica Janssens, Blue, Red and Yellow – Scalemodel 1, 2002
-Tom Dixon, cone light

mardi 9 octobre 2007

portrait incrédule du NY Times

M/M (paris) photo Inez Van Lamsweerde, Vinoodh Matadin
"(...)Nowhere was this level of distortion more evident than in the show at the Palais de Tokyo. What was originally conceived as two separate exhibitions — one of the contemporary art collection of a prominent Greek collector, the other an M/M (Paris) retrospective — evolved into “Translation,” which is described in the accompanying limited-edition catalog as “a visual trip operated and articulated by M/M (Paris) with the Dakis Joannou collection.” In the Palais de Tokyo’s sprawling industrial galleries, well-known pieces by Jeff Koons, Maurizio Cattelan, Chris Ofili and Mike Kelley duked it out with advertising images for Calvin Klein Jeans, Balenciaga invitations and a trove of posters created by M/M (Paris) for various Théâtre de Lorient productions. The artist Yinka Shonibare’s piece, “Dressing Down,” was installed upon a variation of the Café Étienne Marcel carpeting, in a room lined with frenetic M/M-designed wallpaper, while the title for Kara Walker’s “Being the True Account of the Life of N,” writ extra large in the model alphabet, threatened to overtake the artwork itself. However visually stunning, the raucous installation often seemed less like a dialogue and more like a shouting match, with M/M apparently winning. “An art collection,” M/M explained, “is an individual’s chance to write their own story using art. In our way of working over the past 10 years, we have also collected little stories. When someone asks us to do an exhibition, it’s the opportunity for us to de-archive and re-edit all those microhistories.”

And how did the art world receive this creative intervention? “They still don’t want to talk about it,” Augustyniak says.

Their solo show in London caused a similar sensation. Titled “Haunch of Venison/Venison of Haunch,” M/M (Paris) created a visual identity for the gallery, which has been open since only 2002, reflected in the mirror of their own experience. In other words, a portrait of the gallery but also a self-portrait. “It’s not like we are graphic designers and suddenly decided to become artists,” they insist. But the approach, they say, made both people from the art world uncomfortable and people from the design world uncomfortable. This, we are meant to understand, was a good thing.

Recently, Hans Ulrich Obrist commissioned M/M (Paris) to create a Web site for the Serpentine Gallery, where he is now a director. The Serpentine already has a perfectly functional if totally unremarkable Web site, with a nice picture of the gallery in its bucolic setting in Kensington Gardens, and useful information about opening hours and future exhibitions. “There is no one better to do this,” Obrist exclaims, “because we knew that they would never want to design a Web site. So what would it be? An anti-Web site? An invisible Web site?” In answering his own questions, Obrist veers off into a tangent about quantum physics, and suddenly he is no longer talking about a Web site as we — or for that matter even Craig Newmark — know it, but a virtual art institution, an entire parallel world unto itself. If you click a button on the Serpentine Web site, you can see the M/M work in progress. It is a fat, squiggly animated line that emerges and disappears in an endless loop — a serpent eating its own tail."

By ALIX BROWNE

Published: June 3, 2007

"They still don’t want to talk about it."

Study for the "Tree of Signs," a project in progress in Iceland
in collaboration with Gabriela Fridriksdottir.

Fall-Winter 2007-8 ad campaign for Stella McCartney.

-Balenciaga invitation to Fall-Winter 2001-2 show,
with a photo by Inez van Lamsweerde and Vinoodh Matadin.
-Ad campaign for Balenciaga, Spring-Summer 2002.
-Stage design for Pluie d'été à Hiroshima at the Cloître des Carmes, Avignon, 2006.
-Givenchy invitation to Fall-Winter 2007-8 ready-to-wear show.