Art + Culture

現代美術コレクター、兼オークションハウス・クリスティーズ社長フランソワ・ピノー氏のコレクション展 in モナコ公国 Contemporary Art Collector, Christie’s Auction House Owner François Pinault Shows His Collection In The Principality of Monaco

村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail @ ピノー・コレクション
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail @ ピノー・コレクション

モナコで開催された、ピノー・コレクションから主要なアート作品40点を集めた展覧会「アート・ラバーズ」を観た時、日本できちんと紹介した方がいいと現場でわかりました。
ピノー氏は世界最高の現代美術コレクターと言っても過言ではありません。ヴェネツィアやパリで開催された彼の展覧会を見れば、将来的に次の「アート・プラクティスの規範」がどのように書かれるのか、想像がつくかもしれません。
モナコ展のために推薦された作品に関して、残念ながら女性の芸術活動の視点が欠けています。これはチーフ・キュレーターの責任だと思っています。
とはいえ、展示された作品は、目に見えるか見えないかにかかわらず、古典作品とのつながりや関係性を示すために特に選ばれたものです。
芸術の文脈性という考えは、モナコで発表された作品の選択に共通するテーマであり、コレクションの中で最も有名な作品と、以前の展覧会では一度も展示されたことのない15点を含む稀少な作品が集められました。
「アートラバーズ」では、引用、暗示、参照、パロディ、賞賛、批判、転用、リメイク、アプロプリエーション、再利用などを通して、作品間の絡み合う関係の多様性から生まれるインスピレーション、変化、形やアイデアの生成の並外れたダイナミクスを探求しました。ピノー氏にとって、それは前向きな、ポジティブなダイナミズムであり、過去にさかのぼって敬意を表したり、後悔したりするようなものではないのだと思います。
「アートラバーズ」展は、60年代から現在に至るまで、ヨーロッパ、アメリカ、アジア、中東など様々な地域で活躍するアーティストたちの絵画、彫刻、インスタレーション、ビデオ、ドローイングを一堂に集め、ピノー・コレクションの多様性を証明しています。そのため、ポスト・モダニズムの進化の過程における新たな要素や層を示しています。

アーティストたちのラインアップ:

アデル・アブデスメッド
マウリツィオ・カッテラン
ジェイク&ディノス・チャップマン
チェン・ジェン
マレーネ・デュマ
ウルス・フィッシャー
ダン・フラビン
ポール・フライヤー
シプリアン・ガイヤール
ダグラス・ゴードン
スボッド・グプタ
デビッド・ハモンズ
ダミアン・ハースト
ジェフ・クーンズ
バートランド・ラヴィエ
ルイーズ・A・ロウラー
シェリー・レヴィン
ポール・マッカーシー
ジョナサン・モンク
村上隆
ジューリオ・パオリーニ
リチャード・プリンス
ロブ・プルーイット
チャールズ・レイ
ルドルフ・シュティンゲル
スターテバン
杉本博司
ハビエル・テレス
ピョートル・ウクランスキー
レイチェル・ホワイトリード
ヤン・ペイミン
ツェン・ファンジー
チャン・ホァン

ART LOVERS : STORIES OF ART IN THE PINAULT COLLECTION
https://www.grimaldiforum.com/en/exhibition-summer-monaco/pinault-collection-grimaldi-forum-monaco#.YSK8lC2B2Rs

フランソワ・ピノーについて、その他にもご参加:

ルドルフ・スティンゲルが焼け落ちる Burning Down Rudolf Stingel
https://art-culture.world/articles/burning-down-rudolf-stingel/

クリスティーズ香港のジョージナ・ヒルトン氏:杉本博司の東京オークション後、オークショニアとしての輝きを放つ
After SUGIMOTO Hiroshi’s auction in Tokyo, Georgina Hilton shines as brilliant auctioneer @ Christie’s Hong Kong
https://art-culture.world/articles/georgina-hilton/

フランソワ・ピノーの三番目の刺激的な現代美術館、再建築 by 安藤忠雄
Exciting 3rd Contemporary Art Museum for François Pinault, rebuild by ANDO Tadao
https://art-culture.world/articles/francois-pinault-art-museum/

日本の現代アーティスト・トップ 6(2020年)
Contemporary artists from Japan, Top 6 (2020)
https://art-culture.world/articles/contemporary-artists-from-japan-top-6-2020-日本の現代アーティスト・トップ-6-2020年/

モナコ公国
モナコ公国
Principality of Monaco
Principality of Monaco
Principauté de Monaco
Principauté de Monaco
モナコ公国
モナコ公国
アルベール2世 (モナコ公)
Albert II de Monaco アルベール2世 (モナコ公)
モナコ公国の君主アルベール2世とシャルレーヌ (モナコ公妃)
モナコ公国の君主アルベール2世とシャルレーヌ (モナコ公妃)
ピノー・コレクション Art Lovers展の入口
ピノー・コレクション「Art Lovers」展の入口
Subodh Gupta “Very Hungry God” 2006
Subodh Gupta “Very Hungry God” 2006
Subodh Gupta “Very Hungry God” 2006, detail
Subodh Gupta “Very Hungry God” 2006, detail, Stainless steel structure covered with steel kitchenware and bright polished stainless steel kitchenware (approx. 3.000 pieces)
Art Lovers展の入口
Art Lovers展の入口
グレース・ケリー モナコ公国の公妃、1956年4月18日 – 1982年9月14日
グレース・ケリー モナコ公国の公妃、1956年4月18日 – 1982年9月14日
グレース・ケリー モナコ公国の公妃
グレース・ケリー モナコ公国の公妃
Grace Kelly by Andy Warhol
Grace Kelly by Andy Warhol
Actress Grace Kelly
Actress Grace Kelly
モナコ公国の君主アルベール2世とシャルレーヌ (モナコ公妃)の結婚記念日
モナコ公国の君主アルベール2世とシャルレーヌ (モナコ公妃)の結婚記念日
ピノー・コレクションの中の様々な美術史
ピノー・コレクションの中の様々な美術史
アーティストのラインアップ
アーティストたちのラインアップ
Jeff Koons “Hanging Heart (Red:Gold)” 1994-2006, Mirror-polished stainless steel with transparent colour coating
Jeff Koons “Hanging Heart (Red/Gold)” 1994-2006, Mirror-polished stainless steel with transparent colour coating
Jeff Koons “Hanging Heart (Red:Gold)” 1994-2006
Jeff Koons “Hanging Heart (Red/Gold)” 1994-2006

compare with 比較:

LOVE展 2013@ 森美術館 MORI ART MUSEUM, Tokyo
LOVE展 @ 森美術館 MORI ART MUSEUM, Tokyo, 2013
皇后陛下、森美術館にて
当時の皇后陛下 at that time, Her Majesty the Empress of Japan looking at Jeff Koons’ “Sacred Heart” 1994-2007, High chromium stainless steel with transparent color coating, 364 x 213 x 122 cm, Collection Pinchuk Art Centre, Kyiv @ “All You Need Is LOVE” 展、Mori Art Museum, Tokyo 森美術館、東京 2012
(right side) Paul McCarthy “Henry Moore Bound To Fail Maquette (Stainless Steel)” 2007, Polished stainless steel
(right side) Paul McCarthy “Henry Moore Bound To Fail Maquette (Stainless Steel)” 2007, Polished stainless steel
Giulio Paolini “L’Invenzione di Ingres” 1968, Print on canvas
Giulio Paolini “L’Invenzione di Ingres” 1968, Print on canvas
Charles Ray “Light From The Left” 2007, Painted fiberglass
Charles Ray “Light From The Left” 2007, Painted fiberglass
Maurizio Cattelan “All” 2007, 9 Carrare white marble sculptures
Maurizio Cattelan “All” 2007, 9 Carrare white marble sculptures
Jeff Koons “Bourgeois Bust – Jeff and Ilona” 1991, Marble
Jeff Koons “Bourgeois Bust – Jeff and Ilona” 1991, Marble

This sculpture is part of Jeff Koons’s ‘Made in Heaven’ series, which shows the artist in intimate or erotic situations with his wife of the time, Ilona Staller, known as Cicciolina. In the stylised nobility of its poses and the perfection of its lustrous, sensual surface, Bourgeois Bust borrows from the canons of neoclassical sculpture ranging from Canova – Psyche Revived by Cupid’s Kiss (1793) – Gérome and Clésinger.


compare, reference, 比較、参照:

“Sala di Amore e Psiche” Mantua, Palazzo del Te, Italy
Giulio Romano “Sala di Amore e Psiche” 1526-1528, Mantua, Palazzo del Te, Italy
Giove seduce Olimpiade 1510-1513, Mantua, Palazzo del Te, Italy
“Giove seduce Olimpiade” 1510-1513, Mantua, Palazzo del Te, Italy
Giulio Romano “Fall of the Giants” 1532, Mantua, Palazzo del Te, Italy
Giulio Romano “Fall of the Giants” 1532, Mantua, Palazzo del Te, Italy

Giulio Paolini “Mimesi” 1975-1976, Two plaster casts
Giulio Paolini “Mimesi” 1975-1976, Two plaster casts

Here Paolini returns to one of sculpture’s most celebrated motifs, the Medici Venus. Itself a copy of a Greek bronze, the Medici Venus has inspired artists ranging from Coysevox to Pistoletto. The mute dialogue taking place between these two works in plaster calls into question the concepts of singularity and duality, original and copy, before and after.

Video guide in the Uffizi Galleries, Medici Venus
Video guide in the Uffizi Galleries about “Medici Venus”

video:
https://www.uffizi.it/en/artworks/medici-venus

Urs Fischer “Untitled” 2011, Wax, pigments, wicks, steel
Urs Fischer “Untitled” 2011, Wax, pigments, wicks, steel. Pinault Collection, Monaco ピノー・コレクション、モナコ

These three candle-sculptures by Urs Fischer (Swiss, born 1973) comprise a life-size replica of Giambologna’s Rape of the Sabine Women (c. 1579), a portrait of Fischer’s artist friend Rudolf Stingel and a representation of an ordinary office chair. In the course of the exhibition they all gradually melt, in a metamorphosis leading from the figurative to the abstract, from a deliberately chosen form to a shape due entirely to chance. This work points to art as something as mutable and impermanent as everything else.

reference、参照:

Giambologna’s The Rape of the Sabine Women サビニの女たちの略奪

Urs Fischer “Untitled” 2011, Wax, pigments, wicks, steel, detail1
Urs Fischer “Untitled” 2011, Wax, pigments, wicks, steel, detail
Urs Fischer “Untitled” 2011, Wax, pigments, wicks, steel, detail2
Urs Fischer “Untitled” 2011, Wax, pigments, wicks, steel, detail
Urs Fischer “Untitled” 2011, Wax, pigments, wicks, steel, detail3
Urs Fischer “Untitled” 2011, Wax, pigments, wicks, steel, detail
Urs Fischer “Untitled” 2011, Wax, pigments, wicks, steel, detail4
Urs Fischer “Untitled” 2011, Wax, pigments, wicks, steel, detail
Urs Fischer “Untitled” (Rudi Candle) 2011
Urs Fischer “Untitled” (Rudi Candle) 2011

比較 compare, check this edition work via the following links:

ルドルフ・スティンゲルが焼け落ちる
Burning Down Rudolf Stingel
https://art-culture.world/articles/burning-down-rudolf-stingel/

Works by Urs Fischer
Urs Fischer “Untitled” 2011, Wax, pigments, wicks, steel. Pinault Collection, Paris ピノー・コレクション、パリ 2021年
Urs Fischer „Untitled“ (2011)
Urs Fischer “Untitled” (2011), Paris 2021
Urs Fischer Untitled 2011-2021, detail
Urs Fischer “Untitled” 2011-2021, detail
Urs Fischer “Rudi Candle” from “The Rape of the Sabine Women” (2011) (2021-7-15)
Urs Fischer “Rudi Candle” from “Untitled” (2011) (Paris 2021/7/15)

please compare 比較:
フランソワ・ピノーの三番目の刺激的な現代美術館、再建築 by 安藤忠雄
Exciting 3rd Contemporary Art Museum for François Pinault, rebuild by ANDO Tadao
https://art-culture.world/articles/francois-pinault-art-museum/

Urs Fischer “Untitled” (2011) (Rudi Candle) @ Collection Maja Hoffmann, LUMA Arles 2021
Urs Fischer “Untitled” (2011) (Rudi Candle) @ Collection Maja Hoffmann, LUMA Arles 2021
Rudi Candle
“Rudi Candle” by Urs Fischer
Urs Fischer (Rudi Candle) 2021
Urs Fischer (Rudi Candle) 2011-2021, Arles
Rudolf Stingel ルドルフ・スティンゲル 2019
Rudolf Stingel ルドルフ・スティンゲル 2019

taken from:
Rudolf Stingel ルドルフ・スティンゲル
https://art-culture.world/articles/rudolf-stingel/

Urs Fischer “Untitled” (2011) (Rudi Candle : The Rape of the Sabine Women) @ Collection Maja Hoffmann, LUMA Arles 2021
Urs Fischer “Untitled” (2011) (Rudi Candle / The Rape of the Sabine Women) @ Collection Maja Hoffmann, LUMA Arles 2021

please compare 比較:
ダーム・パトロネス マヤ・ホフマン氏の新建物「LUMAアルル」
Dame Patronesse Maja Hoffmann’s New Building “LUMA Arles”
https://art-culture.world/articles/dame-patronesse-maja-hoffmann/


Rachel Whiteread “Untitled (One Hundred Spaces)” 1995, Resin, 100 elements
Rachel Whiteread “Untitled (One Hundred Spaces)” 1995, Resin, 100 elements

比較 compare with:

レイチェル・ホワイトリード 「Wardrobe」2019年 と バルテュス「Passage du Commerce-Saint-André」1952-1954年 @ バイエラー財団 2020年1月まで
Rachel Whiteread “Wardrobe” 2019 & Balthus “Passage du Commerce-Saint-André” 1952-1954 @ Fondation Beyeler, until Jan. 2020
https://art-culture.world/articles/rachel-whiteread-balthus-fondation-beyeler-バルテュス-バイエラー財団/

Piotr Uklanski “Untitled (Dancing Nazis)” 2008, Plexiglas panels, coloured lightbulbs, raised floor structure, audio equipment and computer-controlled sound system
Piotr Uklanski “Untitled (Dancing Nazis)” 2008, Plexiglas panels, coloured lightbulbs, raised floor structure, audio equipment and computer-controlled sound system

“Untitled (Dancing Nazis)” is a combination of two earlier pieces by Piotr Uklanski (Polish, b. 1967): firstly a sound and light installation referencing the club in Saturday Night Fever and the Minimalist works of Carl Andre and Dan Flavin; and photographs of actors who have played Nazi roles in the movies. This new work sets out to blur the boundaries between art and entertainment, good and bad taste, history and fiction.

Piotr Uklanski “Untitled (Dancing Nazis)” 2008 @ ピノー・コレクション
Piotr Uklanski “Untitled (Dancing Nazis)” detail, 2008 @ ピノー・コレクション
1
Marlon Brando in Piotr Uklanski “Untitled (Dancing Nazis)” 2008
Marlon Brando in Piotr Uklanski “Untitled (Dancing Nazis)” 2008
2
Charles Bronson & Sting in Piotr Uklanski “Untitled (Dancing Nazis)” 2008
Charles Bronson & Sting in Piotr Uklanski “Untitled (Dancing Nazis)” 2008
3
Klaus Kinski in Piotr Uklanski “Untitled (Dancing Nazis)” 2008
Klaus Kinski in Piotr Uklanski “Untitled (Dancing Nazis)” 2008
4
7
5
Dirk Bogarde in Piotr Uklanski “Untitled (Dancing Nazis)” 2008
Dirk Bogarde in Piotr Uklanski “Untitled (Dancing Nazis)” 2008
6
Adriano Celentano in Piotr Uklanski “Untitled (Dancing Nazis)” 2008
Adriano Celentano in Piotr Uklanski “Untitled (Dancing Nazis)” 2008
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, Acrylic on canvas mounted on board
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, Acrylic on canvas mounted on board

HSH Prince Albert, Farah Pahlavi and Francois Pinault in front of MURAKAMI Takashi’s work “727-272 The Emergence of God At The Reversal of Fate”
Opening Reception. HSH Prince Albert, Farah Pahlavi and François Pinault in front of MURAKAMI Takashi’s work “727-272 The Emergence of God At The Reversal of Fate”

旧イラン皇妃ファラー・パフラヴィー陛下について、regarding Her Imperial Majesty Farah Pahlavi, Shahbanou (Empress) of Iran from 1959 to 1979, learn more via:
原口典之と関根伸夫のアート実践を考える
Thoughts on the artistic practice of HARAGUCHI Noriyuki and SEKINE Nobuo
https://art-culture.world/articles/haraguchi-noriyuki-sekine-nobuo-原口典之-関根伸夫/

展覧会の画像一覧:素晴らしい三島喜美代 + 茂司 @ MEM
Exhibition Images: Wonderful MISHIMA Kimiyo + Shigeji @ MEM
https://art-culture.world/articles/exhibition-images-mishima-kimiyo-shigeji/


This polyptych by Takashi Murakami (Japanese, b. 1962) is deeply marked by the history of Far Eastern art. Among the sources openly acknowledged by the artist are a big cat crouched on an arch made of skulls, inspired by Sakaki Hyakusen (1697-1752), and a tornado and a gigantic wave harking back to Soga Shohaku (1730-1781), Utagawa Kuniyoshi (1797-1861) and Kano Sansetsu (1590-1651). Murakami makes no secret of his allegiance to this ‘Lineage of Eccentrics’: so important are they to him that he personally published an English-language version of the book bearing this title.

説明
説明

(この村上隆(日本、1962年生まれ)のポリプティク作は、極東美術の歴史が深く刻まれています。彭城百川(1697-1752)の影響を受けた、頭蓋骨でできたアーチの上でうずくまっている大きな猫や、曽我蕭白(1730-1781)、歌川国芳(1797-1861)、狩野山雪(1590-1651)の影響を受けた竜巻や巨大な波など、村上隆が公に認めている出典がある。村上氏は、この「奇人の系譜」への忠誠を公言しており、このタイトルを冠した本の英語版を自ら出版するほど、重要な存在となっています。)

村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009 (左側)
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009 (左側)
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009 (センター)
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009 (センター)
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009 (右側)
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009 (右側)
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail1
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail1
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail2
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail2
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail3
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail3
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail4
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail4
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail5
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail5
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail6
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail6
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail7
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail7
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail8
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail8
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail9
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail9
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail10
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail10
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail11
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail11
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail12
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail12
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail13
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail13
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail14
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail14
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail15
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail15
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail16
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail17
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail17
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail18
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail18
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail19
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail19
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail20
村上隆 Takashi Murakami “727-272 The Emergence of God At The Reversal of Fate” 2006-2009, detail20
Zheng Fanzhi “Hare” 2012, Oil on canvas, 2 pannels
Zheng Fanzhi “Hare” 2012, Oil on canvas, 2 pannels
Zheng Fanzhi “Hare” 2012, Oil on canvas, 2 pannels, detail1
Zheng Fanzhi “Hare” 2012, Oil on canvas, 2 pannels, detail1
Zheng Fanzhi “Hare” 2012, Oil on canvas, 2 pannels, detail2
Zheng Fanzhi “Hare” 2012, Oil on canvas, 2 pannels, detail2
Zheng Fanzhi “Hare” 2012, Oil on canvas, 2 pannels, detail3
Zheng Fanzhi “Hare” 2012, Oil on canvas, 2 pannels, detail3
Cyprien Gaillard “Pruitt-Igoe Falls” 2009, Video installation 6’55”
Cyprien Gaillard “Pruitt-Igoe Falls” 2009, Video installation 6’55”
Louise A. Lawler “Marie+90 (ensemble)” 2010-2012, 3 Cibachromes face mounted to Plexi on museum box
Louise A. Lawler “Marie+90 (ensemble)” 2010-2012, 3 Cibachromes face mounted to Plexi on museum box

This work by Louise Lawler (American, b.1947) appropriates Degas’s sculpture Little Dancer Aged Fourteen, which created a furore when it was shown at the sixth Impressionist Exhibition in 1881. The changes effected include photography, cropping, decontextualisation, multiplication and colourisation.

Paul Fryer “Ophelia (White)” 2007, Silicon, wax, glass, detail
Paul Fryer “Ophelia (White)” 2007, Silicon, wax, glass, detail
Paul Fryer “Ophelia (White)” 2007, Silicon, wax, glass
Paul Fryer “Ophelia (White)” 2007, Silicon, wax, glass

Here Paul Fryer (British, b. 1963) transposes Sir John Everett Millais’s iconic Pre-Raphaelite Ophelia (1851) from painting to sculpture, from the two-dimensional to the three-dimensional, from the dignified world of the great museums to the more trivial, ambiguous one of the wax museum, with its mixed bag of anatomical exactitude and popular entertainment.

Damien Hirst
Damien Hirst “Matthew, Mark, Luke and John” 1994-2003, Glass, painted steel, silicone, kitchen knives, barbecue skewers, resin books, leather and brass wallet, glass ink well, Mont Blanc fountain pen, wooden paint pallet, wooden paintbrushes, cows’ head, bulls’ heads and formaldehyde solution, detail

The title of this work, such as The Evangelist, explicitly references Christian imaginary and, more specifically, the representation of the four Evangelists. The Evangelists are canonically associated with the ox, the lion, the eagle and the man, but despite the title Matthew, Mark, Luke and John, only the ox appears: the attribute of Luke, traditionally the patron saint of painters and artists.

Hirst, Damian
Damien Hirst “Matthew, Mark, Luke and John” 1994-2003, Glass, painted steel, silicone, kitchen knives, barbecue skewers, resin books, leather and brass wallet, glass ink well, Mont Blanc fountain pen, wooden paint pallet, wooden paintbrushes, cows’ head, bulls’ heads and formaldehyde solution
Damian
Damien Hirst “Matthew, Mark, Luke and John” 1994-2003, Glass, painted steel, silicone, kitchen knives, barbecue skewers, resin books, leather and brass wallet, glass ink well, Mont Blanc fountain pen, wooden paint pallet, wooden paintbrushes, cows’ head, bulls’ heads and formaldehyde solution, detail
Hirst
Damien Hirst “Matthew, Mark, Luke and John” 1994-2003, Glass, painted steel, silicone, kitchen knives, barbecue skewers, resin books, leather and brass wallet, glass ink well, Mont Blanc fountain pen, wooden paint pallet, wooden paintbrushes, cows’ head, bulls’ heads and formaldehyde solution
Damian Hirst “The Evangelists” 2004, Mixed media @ Pinaul Collection
Damian Hirst “The Evangelists” 2004, Mixed media @ Pinaul Collection
Damian Hirst “The Evangelists” 2004, Mixed media, detail
Damian Hirst “The Evangelists” 2004, Mixed media, detail
Damian Hirst “The Evangelists” 2004 detail1
Damian Hirst “The Evangelists” 2004 detail1
Damian Hirst “The Evangelists” 2004, detail2
Damian Hirst “The Evangelists” 2004, detail2
Damian Hirst “The Evangelists” 2004, detail3
Damian Hirst “The Evangelists” 2004, detail3
Damian Hirst “Insomnia” 2008, Triptych, oil on canvas
Damian Hirst “Insomnia” 2008, Triptych, oil on canvas

A number of works by Damian Hirtst (British, b. 1965) make specific reference to Francis Bacon, English painting’s major 20th-century figure. Here Hirst borrows highly characteristic aspects of the Bacon style in order to address personal issues, either aesthetic (questions of painting and the artist’s touch) or existential (the death of his artist friend Angus Fairhurst).

Damian Hirst “Turn Away From Me” 2009, Oil on canvas
Damian Hirst “Turn Away From Me” 2009, Oil on canvas
杉本博司 Hiroshi Sugimoto “The Last Supper” 1999, Black and white silver gelatin prints
杉本博司 Hiroshi Sugimoto “The Last Supper” 1999, Black and white silver gelatin prints

This work by Hiroshi Sugimoto (Japanese, b. 1948) is a photo of a wax version of Leonardo da Vinci’s Last Supper from a museum in Japan. in this translation from painting through sculpture to photography, we are offered the ghost of a ghost of an image – or one of that image’s avatars.

杉本博司 Hiroshi Sugimoto “The Last Supper” 1999, Black and white silver gelatin prints, detail1
杉本博司 Hiroshi Sugimoto “The Last Supper” 1999, Black and white silver gelatin prints, detail1
杉本博司 Hiroshi Sugimoto “The Last Supper” 1999, Black and white silver gelatin prints, detail2
杉本博司 Hiroshi Sugimoto “The Last Supper” 1999, Black and white silver gelatin prints, detail2
杉本博司 Hiroshi Sugimoto “The Last Supper” 1999, Black and white silver gelatin prints, detail3
杉本博司 Hiroshi Sugimoto “The Last Supper” 1999, Black and white silver gelatin prints, detail3
杉本博司 Hiroshi Sugimoto “The Last Supper” 1999, Black and white silver gelatin prints, detail4
杉本博司 Hiroshi Sugimoto “The Last Supper” 1999, Black and white silver gelatin prints, detail4
杉本博司 Hiroshi Sugimoto “The Last Supper” 1999, Black and white silver gelatin prints, detail5
杉本博司 Hiroshi Sugimoto “The Last Supper” 1999, Black and white silver gelatin prints, detail5
Marlene Dumas “Gelijkenis I & II” 2002, Diptych, oil on canvas
Marlene Dumas “Gelijkenis I & II” 2002, Diptych, oil on canvas
Marlene Dumas “Gelijkenis I & II” 2002, Diptych, oil on canvas, detail
Marlene Dumas “Gelijkenis I & II” 2002, Diptych, oil on canvas, detail

Gelijkenis (‘Likeness’) by Marlene Dumas (South African, b. 1953) brings together two images with very similar formal structures: Holbein’s The Body of the Dead Christ in the Tomb and a photograph of Michael Jackson in the oxygen chamber supposed to slow his ageing (1986). The work sets up a dialogue between registers: the sacred and the profane, the spiritual and the trivial, art and the gutter press.

Adel Abdessemed “Dio” 2010, Video installation 2’37’’ (loop)
Adel Abdessemed “Dio” 2010, Video installation 2’37’’ (loop)

Dio by Adel Abdessemed (French, b. 1971) returns to the visual tradition of the via crucis, the Way of the Cross. The significance of art history is underscored here by the choice of the location: the Villa Medici in Rome. Dio also references the history of the cinema and in particular the Pier Paolo Pasolini of The Gospel According to St Matthew and La Ricotta.

Adel Abdessemed “Dio” 2010, Video installation 2’37’’
Adel Abdessemed “Dio” 2010, Video installation 2’37’’ (loop)
Adel Abdessemed “Dio” 2010, Video installation
Adel Abdessemed “Dio” 2010, Video installation 2’37’’ (loop)
Dan Flavin “Alternate Diagonals of March 2, 1964” (to Don Judd)” 1964, Red and gold fluorescent light
Dan Flavin “Alternate Diagonals of March 2, 1964” (to Don Judd)” 1964, Red and gold fluorescent light
Zhang Huan “Old Baishi in 99 Years Old” 2007, Ash on linen
Zhang Huan “Old Baishi in 99 Years Old” 2007, Ash on linen
Zhang Huan “Old Baishi in 99 Years Old” 2007, Ash on linen, detail
Zhang Huan “Old Baishi in 99 Years Old” 2007, Ash on linen, detail
Yan Pei-Ming “Portrait de Giacometti” 2007, Oil on canvas
Yan Pei-Ming “Portrait de Giacometti” 2007, Oil on canvas
Yan Pei-Ming “Portrait de Giacometti” 2007, Oil on canvas, detail1
Yan Pei-Ming “Portrait de Giacometti” 2007, Oil on canvas, detail1
Yan Pei-Ming “Portrait de Giacometti” 2007, Oil on canvas, detail2
Yan Pei-Ming “Portrait de Giacometti” 2007, Oil on canvas, detail2
Yan Pei-Ming “Portrait de Giacometti” 2007, Oil on canvas, detail3
Yan Pei-Ming “Portrait de Giacometti” 2007, Oil on canvas, detail3
Bertrand Lavier “Gabriel Gaveau” 1981, Grand piano, liquitex acrylic paint (single edition)
Bertrand Lavier “308 GTS” 1998-2004, car, liquitex acrylic paint

When he decided to paint – literally – the Gabriel Gaveau grand piano, Bertrand Lavier (French, b. 1949) opted for ironic appropriation of a totally unmistakable manner and brushwork: the ‘Van Gogh touch’, which in the course of the 20th century became the clichéd yardstick for artistic quality and expressive sensitivity. Through a gap in the exhibition wall we get a glimpse of the same artist’s 308 GTS, acquired by the New National Museum of Monaco 2009, in the garage of Villa Sauber, on the other side of Avenue Princess Grace.

Bertrand Lavier “Gabriel Gaveau” 1981, Grand piano, liquitex acrylic paint (single edition), detail1
Bertrand Lavier “308 GTS” 1998-2004, car, liquitex acrylic paint, detail1
Bertrand Lavier “Gabriel Gaveau” 1981, Grand piano, liquitex acrylic paint (single edition), detail2
Bertrand Lavier “308 GTS” 1998-2004, car, liquitex acrylic paint, detail2
Bertrand Lavier “Gabriel Gaveau” 1981, Grand piano, liquitex acrylic paint (single edition) part
Bertrand Lavier “Gabriel Gaveau” 1981, Grand piano, liquitex acrylic paint (single edition)
Bertrand Lavier “Gabriel Gaveau” 1981, Grand piano, liquitex acrylic paint (single edition) detail
Bertrand Lavier “Gabriel Gaveau” 1981, Grand piano, liquitex acrylic paint (single edition) detail
Maurizio Cattelan We + Sans titre
Maurizio Cattelan “We” + “Sans titre”
Maurizio Cattelan “We” 2010, Fiberglass, polyurethane, rubber, fabric, detail
Maurizio Cattelan “We” 2010, Fiberglass, polyurethane, rubber, fabric, detail
Maurizio Cattelan “We” 2010, Fiberglass, polyurethane, rubber, fabric
Maurizio Cattelan “We” 2010, Fiberglass, polyurethane, rubber, fabric
Maurizio Cattelan “Sans titre” 1998, Polyester resin, fabric and leather
Maurizio Cattelan “Sans titre” 1998, Polyester resin, fabric and leather
Pinault Collection Monaco Art Lovers
Pinault Collection Monaco “Art Lovers”

These two works by Rudolf Stingel (American, b. Italy 1956) involve the same process: they are painted from an enlargement of an old or damaged photograph, with the artist meticulously reproducing both the motif – a sculpture, a landscape or, in this case, a portrait – and such fortuitous elements as rips and paint spatters. Suffused with melancholy and the inexorable passing of time, they show the Expressionist painter Ernst Ludwig Kirchner (1880-1938) and the artist Franz West, a longtime friend of Stingel’s who died in 2012.

Rudolf Stingel “Untitled (Ernst Ludwig Kirchner)” 2010, Oil on canvas
Rudolf Stingel “Untitled (Ernst Ludwig Kirchner)” 2010, Oil on canvas
Rudolf Stingel “Untitled (Ernst Ludwig Kirchner)” 2010, Oil on canvas
Rudolf Stingel “Untitled (Ernst Ludwig Kirchner)” 2010, Oil on canvas
Rudolf Stingel “Untitled (Ernst Ludwig Kirchner)” 2010, Oil on canvas, detail1
Rudolf Stingel “Untitled (Ernst Ludwig Kirchner)” 2010, Oil on canvas, detail1
Rudolf Stingel “Untitled (Ernst Ludwig Kirchner)” 2010, Oil on canvas, detail2
Rudolf Stingel “Untitled (Ernst Ludwig Kirchner)” 2010, Oil on canvas, detail2
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas, Pinault Collection Monaco
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas, Pinault Collection Monaco
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas, detail1
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas, detail1
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas, detail2
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas, detail2

compare 比較:

Rudolf Stingel @ Palazzo Grassi 2013
Rudolf Stingel Solo Exhibition @ Palazzo Grassi 2013
Rudolf Stingel @ Palazzo Grassi Venezia 2013
Rudolf Stingel @ Palazzo Grassi Venezia 2013
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas @ Palazzo Grassi 2013
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas @ Palazzo Grassi 2013
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas @ Palazzo Grassi 2013, detail1
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas @ Palazzo Grassi 2013, detail1
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas @ Palazzo Grassi 2013, detail2
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas @ Palazzo Grassi 2013, detail2
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas @ Palazzo Grassi 2013, detail3
Rudolf Stingel “Untitled (Franz West)” 2011, Oil on canvas @ Palazzo Grassi 2013, detail3

more その他に:

Rudolf Stingel ルドルフ・スティンゲル
https://art-culture.world/articles/rudolf-stingel/

ルドルフ・スティンゲルが焼け落ちる Burning Down Rudolf Stingel
https://art-culture.world/articles/burning-down-rudolf-stingel/

Installation with 3 artists David Hammons, Chen Zhen and Bertrand Lavier
Installation with 3 artists: David Hammons, Chen Zhen and Bertrand Lavier
David Hammons “Cultural Fusion” 2000, Wooden masks
David Hammons “Cultural Fusion” 2000, Wooden masks
Chen Zhen “Couldn’t Bananas Be Black” 1999, Wood, chairs, African statuettes, Chinese chess
Chen Zhen “Couldn’t Bananas Be Black” 1999, Wood, chairs, African statuettes, Chinese chess
Chen Zhen “Couldn’t Bananas Be Black” 1999, Wood, chairs, African statuettes, Chinese chess, detail1
Chen Zhen “Couldn’t Bananas Be Black” 1999, Wood, chairs, African statuettes, Chinese chess, detail1
Chen Zhen “Couldn’t Bananas Be Black” 1999, Wood, chairs, African statuettes, Chinese chess, detail2
Chen Zhen “Couldn’t Bananas Be Black” 1999, Wood, chairs, African statuettes, Chinese chess, detail2
Bertrand Lavier “Toko” 2008, Nickel plated bronze
Bertrand Lavier “Toko” 2008, Nickel plated bronze
Jake & Dinos Chapman
Jake & Dinos Chapman “Like a Dog Returns to Its Vomit Twice (80)” 2005, 80 reworked and improved etchings from Francisco Goya’s Los Caprichos
Jake & Dinos Chapman “Like a Dog Returns to Its Vomit Twice (80)
Jake & Dinos Chapman “Like a Dog Returns to Its Vomit Twice (80)” 2005, 80 reworked and improved etchings from Francisco Goya’s Los Caprichos, detail1
Jake & Dinos Chapman “Like a Dog Returns to Its Vomit Twice
Jake & Dinos Chapman “Like a Dog Returns to Its Vomit Twice (80)” 2005, 80 reworked and improved etchings from Francisco Goya’s Los Caprichos, detail2
Jake & Dinos Chapman “Like a Dog Returns to Its Vomit Twice (80)” 2005
Jake & Dinos Chapman “Like a Dog Returns to Its Vomit Twice (80)” 2005, 80 reworked and improved etchings from Francisco Goya’s Los Caprichos, detail3
Javier Téllez “La Passion de Jeanne d’Arc (Roselle Hospital, Sydney)” 2004, installation view1
Javier Téllez “La Passion de Jeanne d’Arc (Roselle Hospital, Sydney)” 2004, installation view1

Javier Téllez “La Passion de Jeanne d’Arc (Roselle Hospital, Sydney)” 2004
Video installation, double projection and red velvet curtains.
Twelve and a Marionette
Super 16 mm movie transferred on video, colour, sound, 40’55’’
La Passion de Jeanne d’Arc
16 mm movie transferred on video, black and white, silent, 97’02’’

La Passion de Jeanne d’Arc – trailer

Javier Téllez “La Passion de Jeanne d’Arc (Roselle Hospital, Sydney)” 2004, installation view2
Javier Téllez “La Passion de Jeanne d’Arc (Roselle Hospital, Sydney)” 2004, installation view2
Javier Téllez “La Passion de Jeanne d’Arc (Roselle Hospital, Sydney)” 2004, installation view3
Javier Téllez “La Passion de Jeanne d’Arc (Roselle Hospital, Sydney)” 2004, installation view3

This work by Javier Téllez (Venezuelan, b. 1969) emerged from a workshop in which the artist asked women patients in a Sydney psychiatric hospital to rewrite the inter titles for Carl Theodor Dreyer’s masterpiece “La Passion de Jeanne d’Arc” 1928. In this installation the revisited version is shown opposite a film in which each participant in the project recites – or sings – her personal narrative of confinement, repression and exclusion.

Javier Téllez “La Passion de Jeanne d’Arc (Roselle Hospital, Sydney)” 2004, installation view4
Javier Téllez “La Passion de Jeanne d’Arc (Roselle Hospital, Sydney)” 2004, installation view4
Richard Prince “Untitled (With de Kooning)” 2005, 6 books with mixed media
Richard Prince “Untitled (Fuck Richard Prince)” 2005, 6 books with mixed media

Based on the rechanneling and appropriation of existing images from art history or American popular culture, the oeuvre of Richard Prince (American, b. 1949) seeks to subvert the concepts of artistic paternity, authority and property. Here, in a homage to the great American painter he avowedly venerated, Prince draws directly onto the pages of a book about the Women of Willem de Kooning (1904-1997), triggering an ambiguous dialogue between the original images and his own handiwork.

Fuck Richard Prince 8
Fuck Richard Prince
Fuck Richard Prince 1
Fuck Richard Prince
Fuck Richard Prince 2
Fuck Richard Prince
Fuck Richard Prince 3
“Fuck Richard Prince” 2005
Fuck Richard Prince 4
“Fuck Richard Prince” 2005
Fuck Richard Prince 5
“Fuck Richard Prince” 2005
Fuck Richard Prince 6
Fuck Richard Prince
Fuck Richard Prince 7
Fuck Richard Prince

“You talkin’ to me? You talkin’ to me? You talkin’ to me? Then who the hell else are you talkin’ to? You talkin’ to me? Well I’m the only one here. Who the fuck do you think you’re talking to?”

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Who the fuck do you think you’re talking to?
Douglas Gordon “Through a Looking Glass” 1999, Video installation with sound, 2 projections, 59’55’’ each
Douglas Gordon “Through a Looking Glass” 1999, Video installation with sound, 2 projections, 59’55’’ each @ Pinault Collection, Monaco
Douglas Gordon “Through a Looking Glass” 1999
Douglas Gordon “Through a Looking Glass” 1999
Douglas Gordon Through a Looking Glass 1999
Douglas Gordon “Through a Looking Glass” 1999
Sherrie Levine “After August Sander” 2012, 18 Lambda Prints
Sherrie Levine “After August Sander” 2012, 18 Lambda Prints
Sherrie Levine “After August Sander” 2012, 18 Lambda Prints, detail
Sherrie Levine “After August Sander” 2012, 18 Lambda Prints, detail

Since the early 1980’s Sherrie Levine (American, b. 1947) has produced several series of rephotographed iconic images by such greats as Edward Weston, Walker Evans and, in 2012, August Sander. Titled ‘After’, these series – remakes seemingly identical in every way to the originals – are critical incursions into the concept of the readymade, the modernist myth of originality and feminist appropriation of a long-patriarchal history.

Jonathan Monk “Dear Painter, Paint For Me One Last Time” 2011, 10 acrylics on canvas @ Pinault Collection Monaco
Jonathan Monk “Dear Painter, Paint For Me One Last Time” 2011, 10 acrylics on canvas @ Pinault Collection Monaco

This cycle of paintings by Jonathan Monk (British, b. 1969) references German artist martin Kippenberger (1953-1997). In 1981 Kippenberger had a sign painter produce a series of pictures on different (and sometimes absurd) themes. Titled ‘Dear Painter, Paint for Me’ and signed by Kippenberger, this attack on concepts like style, authorship and originality is now considered a seminal work. In 2011 Jonathan Monk commissioned online a reproduction of Kippenberger’s series from a Chinese company specialising in the copying of pictures. In addition to its use of mockery and irony, Monk’s remake raises once more the question of authorship and uniqueness in art, at a time when the circulation of images has gone global.

Jonathan Monk “Dear Painter, Paint For Me One Last Time” 2011, 10 acrylics on canvas
Jonathan Monk “Dear Painter, Paint For Me One Last Time” 2011, 10 acrylics on canvas
Jonathan Monk “Dear Painter, Paint For Me One Last Time” 2011, 10 acrylics on canvas, detail 1
Jonathan Monk “Dear Painter, Paint For Me One Last Time” 2011, 10 acrylics on canvas, detail
Jonathan Monk “Dear Painter, Paint For Me One Last Time” 2011, 10 acrylics on canvas, detail 2
Jonathan Monk “Dear Painter, Paint For Me One Last Time” 2011, 10 acrylics on canvas, detail
Jonathan Monk “Dear Painter, Paint For Me One Last Time” 2011, 10 acrylics on canvas, detail 3
Jonathan Monk “Dear Painter, Paint For Me One Last Time” 2011, 10 acrylics on canvas, detail
Jonathan Monk “Dear Painter, Paint For Me One Last Time” 2011, 10 acrylics on canvas, detail 4
Jonathan Monk “Dear Painter, Paint For Me One Last Time” 2011, 10 acrylics on canvas, detail
Sturtevant “Warhol Flowers” 1990, Silkscreen print on canvas
Sturtevant “Warhol Flowers” 1990, Silkscreen print on canvas

Between 1965 and her recent death on 7 May 2014, the American artist Sturtevant devoted herself to producing from memory replicas of groundbreaking works of modernism and contemporary art. Neither homages nor pastiches, her pictures embody a subtly radical take not only on issues of uniqueness and reproduction, but also on the image-based fabrication of art history in mass culture. In an ultimate allusion the two works on show featured in earlier Grimaldi Forum exhibitions: Flowers from the ‘Superwarhol’ exhibition in 2003 and a work by Felix Gonzalez-Torres from the ‘New York New York’ show of 2006.

Sturtevant “Felix Gonzalez-Torres America America” 2004, Light bulbs, rubber light sockets and cords, 12 parts
Sturtevant “Felix Gonzalez-Torres America America” 2004, Light bulbs, rubber light sockets and cords, 12 parts
MURAKAMI Takashi goods etc.
村上隆 MURAKAMI Takashi goods etc.
MURAKAMI Takashi prints
村上隆 MURAKAMI Takashi prints
MURAKAMI Takashi T-shirts etc.
村上隆 MURAKAMI Takashi T-shirts etc.
村上隆 MURAKAMI Takashi goods
Grimaldi Forum Entrance
Grimaldi Forum Entrance Hall
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モナコ庭園
モナコ日本庭園 in モナコ公国 Jardin Japonais à Monaco
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モナコ日本庭園 in モナコ公国 Jardin Japonais à Monaco
モナコ庭園 3
モナコ日本庭園 in モナコ公国 Jardin Japonais à Monaco
モナコ庭園 4
モナコ日本庭園 in モナコ公国 Jardin Japonais à Monaco
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モナコ庭園 in モナコ日本公国 Jardin Japonais à Monaco
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