Yves Musard’s performance Timeline at Galerie Campagne Première Berlin
Yves Musard
Performance
Timeline
7 October 2011, 7pm at the gallery
In counterpoint to the exhibition
Vittorio Santoro
Les vingt-quatre heures
Until 15 October 2011
Presentation of Vittorio Santoro’s Edition Libelle
Across the River and Into the Trees
7 October 2011, 7 pm at the gallery
Campagne Première Berlin
Chausseestrasse 116
D-10115 Berlin
Germany
On occasion of the exhibition Les vingt-quatre heures by Vittorio Santoro, Yves Musard will stage his performance Timeline in counterpoint to the exhibition at Campagne Première.
Musard relates to the ‘invisible bowl’ as a visual framework of his movement. Based on the observation of the French philosopher Pascal who considered nature as an infinite circle, whose centre is everywhere and circumference nowhere.
Yves Musard lives in New York, Truth of Consequences (USA) and Marseille. He defines himself as a ‘movement artist.’ Musard collaborated with numerous artists and institutions, most recently the Collection Yvon Lambert in Avignon, DIA Center for the Arts (New York), Guggenheim Museum (New York), PS1 MOMA (New York), Mamco (Geneva), Fondation Cartier (Paris), Biennale de Lyon, MAC (Marseille)…
Vittorio Santoro‘s exhibition Les vingt-quatre heures comprises installations and works on paper. Vittorio Santoro uses allusions to books, films, other works of art, historical or social events, etc. in order to explore the ways in which ideas disseminate and interfere with one another. His mixed media works are also the springboard from which he constructs new narratives. Conceptually, they revolve around questions of reception and interpretation.
The title of the exhibition loosely points towards Samuel Beckettʼs play “Waiting for Godot” (1952) in that it calls attention to the first of the two consecutive days over which the action of the play takes place. The first day or act with its specific web of ideas is mirrored in the second act in a structure that is also emblematic of the current show insofar as references are drawn to external sources as well as within the works of the exhibition.
Vittorio Santoro, born in Zurich in 1962, is based in Paris. He currently lives in Dublin with a studio residency of the Irish Museum of Modern Art.
Upcoming or recent solo or group exhibitions include: Aujourd’hui, Demain / Today, Yesterday, Fondation Ricard, Paris (2012); Que tout le monde vive comme si personne “ne savait”: some script works, Rosascape, Paris (2011); The Unbearable Lightness of Being, Yvon Lambert, New York (2011); Man Leaving Harbour on a Ship (in a Room), La BF15, Espace d’art contemporain, Lyon (2010); Press Art – Annette and Peter Nobel Collection, Kunstmuseum St. Gallen and Museum der Moderne, Salzburg (2010); La chambre de Marlow, Galerie Xippas, Paris (2009); Shifting Identity, CAC, Vilnius and Kunsthaus Zurich (2008); Three Attempts to Avoid the Inevitable, Les Complices, Zurich (2008); The Truth About Your Own Tolerance for Cruelty, Cortex Athletico, Bordeaux (2007); Learn to Read, Tate Modern, London (2006).
“Across the River and Into the Trees is a project of many possible parts that at every turn during the processes of discovery prompts questions on the reception and interpretation of the work of art; as concept, object and experience. The artist has commissioned the manufacture of an aluminium plaque engraved with the statement ‘Silence Destroys Consequences’ on one side and its French translation ‘Le silence détruit les conséquences’ on the other. It has been dispatched to an individual who has been instructed by Santoro to hang the object from a tree of their choosing in the forêt d’Ermenonville (an hour’s drive north of Paris), photograph it and meticulously map the location from the Parisian Pantheon or a nearby railway station. (…) At what point during the process of engaging, wittingly or unwittingly, with the project brief can one be said to have experienced the work?“ (Rebecca Geldard)
Every two months, Rosascape Paris invites an artist to create a totally original artwork for the Edition Libelle. The object is an A2-sheet printed recto-verso on synthetic Polyart paper. 1.300 copies of the work are distributed in a self-service arrangement. 30 copies are numbered and signed by the artist.
For digital image material and additional information, please contact us by telephone or e-mail:
Campagne Première, Kristina Bewersdorff
phone: ++49.30.40054300
mail: bewersdorff [at] campagne-premiere.com