Fresh Hell — Carte blanche à Adam mcEwen — Palais de Tokyo — Exhibition

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Fresh Hell — Carte blanche à Adam mcEwen

Exhibition

Installation, painting, photography, sculpture...

Fresh Hell
Carte blanche à Adam mcEwen

Past: October 20, 2010 → January 16, 2011

By mapping the artist’s brain, desires, and influences, the carte blanche gives a fresh slant on the creative process and aesthetic correlations. In the wake of Ugo Rondinone in 2008 and Jeremy Deller in 2009, Adam McEwen (British artist living in New York) hatches an extraordinary scheme and creates a dialogue between medieval sculpture and conceptual art, vaults and attempts to levitate, forgotten artists and those already blessed by history. When faced with this history, what stance can an artist take today? Everything has been done already? Great, now we can finally get to work! The exhibition Fresh Hell dives into history, recent or distant, but doesn’t bore through the strata. Instead, it skims horizontally and nonlinearly, generating multiple paradoxes and stirring up a breath of fresh air that is constantly sucked away by ghostly shadows.

Michelangelo Pistoletto, The Ears of Jasper Johns-Minus Objects, 1966 Photographs on paper, two elements — 250 × 80 cm chaque Collection Fondazione Pistoletto, Biella

Fresh Hell will include rarely seen works by such artists as martin Kippenberger, Dan Graham, David Hammons, Isa Genzken, Jessica Diamond, Georg Herold et Michelangelo Pistoletto; as well as works by younger artists such as Steven Shearer, Anne Collier, Hanna et Klara Liden, Michael Landy ou matias Faldbakken, among others. It also aims to set up a dialogue between different histories and different generations, and will include several stone and carved wood Medieval works from the Musée Cluny in Paris, placed in relationship to works by major contemporary artists of the last half-century. The intention is to suggest that historical influence and inspiration evolve in a manner that is lateral rather vertical, organic rather than linear.