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Loris Gréaud

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Loris Gréaud

Loris Gréaud (born February 7, 1979 in Eaubonne, France) is a conceptual installation artist, as well as a filmmaker and architect.

Biography

He is seen in the media and recognized by international critics as one of the most important and influential artists of his generation. However, since the beginning of his career, the artist has refused to allow his biography to be published. Most of the biographies available are therefore knowingly incorrect or incomplete.[1]

His work is organized into projects rather than exhibitions.[2]

His first, Silence goes more quickly when played backwards, took place in 2005 at the Plateau/Frac île-de-France (Paris). This was the project that rocketed him onto the international art scene.[3]

In 2008, he became the first artist to be granted full use of the Palais de Tokyo in Paris for his project Cellar Door.[4] He developed and continued this project at the ICA in London, the Kunsthalle Sankt Gallen (Switzerland), the museum La Conservera de Murcia (Spain) and finally at the Vienna Kunsthalle (Austria), ending at Art Basel alongside the publication of a catalogue by JRP Ringier that charted the entire project.

Although international collectors and museums have made some important acquisitions of his work,[5] Greaud chooses to appear only occasionally in galleries and markets. He has had only one double exhibition in the galleries that represent him. The Unplayed Notes was presented at the Pace Gallery in New York City and then at the Yvon Lambert Gallery in Paris in 2012.

In 2013, he was the first artist to be invited to exhibit jointly by the Louvre and the Pompidou Center in Paris. The double exhibition, Loris Gréaud [I] was free to the public and took place in the museums’ courtyards, purposefully avoiding the usual exhibition spaces of the two institutions.

In 2014, he was appointed as a Knight in the Order of Arts and Letters (Chevalier des Arts et des Lettres).[6]

In 2015, for his project The Unplayed Notes Museum, he became the first artist to take over the entire space of the Dallas Contemporary (USA).[7]

In 2016, he produces the Sculpt project specifically for the LACMA in Los Angeles, his first exhibition on the West Coast of the United States[8].

In 2017, he attracted the attention of the 57th Venice Biennale with his project The Unplayed Notes Factory in Murano (Italy) [9][10]

In 2019, the Tel Aviv Museum of Art hosts the monographic project: Sculpt: Grumpy Bear, the Great Spinoff, as a continuation of its first exhibition at LACMA in 2016.[11]

Recently, the exhibition The Original, The Translation shed light on the artist's entire publishing activity at the Bibliothèque Kandinsky I Centre Georges Pompidou after all the works produced by the artist were added to its holdings and documentary collections[12].

After acquiring the work MACHINE in 2018[13], the Musée d'Art Moderne de Paris invited Loris Gréaud to design a specific exhibition, as part of the permanent collections, entitled Glorius Read[14].

In 2020, after several years of development with the Casa Wabi Foundation, Loris Gréaud will inaugurate a perennial project entitled The Underground Sculpture Park. The artist has chosen some twenty works emblematic of his production, which will be buried for eternity in the gardens of Alberto Kalach, which are an extension of the architecture designed by Tadao Ando.[15]

Since 2010, the artist has rarely participated in group shows, preferring to concentrate his resources on developing personal projects.[16] The artist sees "the trajectory of the work through time as a sculpture in its own right."[17]

Artistic approach

His method is characterized by prioritizing the project’s idea over the exhibition. Loris Gréaud believes that only the idea and the project itself should be the governing principles, defining in particular the conditions of appearance, display, distribution, and even the length of time and cost.[18]

Productivity and efficiency based in the reality of his projects are the focal point of his practice. He also pays special attention to systematically erasing the limits between the spaces of fiction and reality.

One of the common characteristics among the various projects of Loris Greaud is their scale. By producing work of this magnitude with a global vision, he aims to overwhelm the space and time of the "exhibition".

Discussions, collaborations

Loris Gréaud has on several occasions engaged in "specific discussions "[19] , an essential element in his practice, with professionals from all fields, in an attempt to provide productive answers to his aesthetic questions :

Since 2004, with David Lynch, on the occasion of the conception of his work Eye of The Duck, then in 2012 for his project The Snorks: a concert for creatures.[20]

In 2009, with Lee Ranaldo, for the conception of the work Think Loud[21], then for his film The Unplayed Notes[22] in 2012.

In 2011-12, with M.I.T. of Boston[23], and the ANTARES[24] station, as well as with Pr Michel André's LAB[25] for his project The Snorks: a concert for creatures.

On the same occasion, with the hip-hop abstract group Anti-Pop Consortium[26].

In 2012, with the CNRS for the production of his film The Unplayed Notes[27].

With NASA and more specifically the Stennis Space Center[28] , for his film Sculpt and the subsequent spinoff Grumpy Bear, in 2016.

Between 2014 and 2016, with Claude Parent, who also appears, notably in his film Sculpt[29].

In 2016 with the CENIR of the ICM, again for his film Sculpt[30].

As well as with the Voodoo Priestess Myriam Chamani[31] and The Residents, always for the Sculpt project.

He has also been fortunate to be able to call upon film icons for his audiovisual productions: Charlotte Rampling and Willem Dafoe among others.[32]

Quotes

"Today, I see a lot of what I call Rimbaud Syndrome, "I AM another." The bloggers want to be journalists, the journalists want to be art critics, the art critics want to be curators, the curators want to be artists and tragically…the artists want to be artists…"[33]

Monographs

  • (en) Loris Gréaud, , Galerie Max Hetzler Paris et Berlin, Musée d'Art Moderne de Paris, Holzwarth Publications, 2019 (ISBN 978-3-947127-09-2)
  • (en + he) Ruth Direktor, Loris Gréaud, Charlotte Rampling, Sculpt, Grumpy Bear: The Great Spinoff, vol.2, Gréaudstudio Editions, 2019
  • (en) Loris Gréaud, Sculpt: A potential Continuity Editing, Vol. 1, Gréaudstudio Editions, 2016
  • (fr+en) Loris Gréaud, Jannink Editions, 2015 ISBN 978-2-37229-004-3
  • (fr+en), Dis voir, 2015 ISBN 978-2-914563-75-8
  • (fr+en) Christophe Ono-Di-Biot, Gréaudstudio Éditions, 2013
  • (fr+en) Alain Seban, Marie-Laure Bernadac, Michel Gauthier, Jean-Luc Martinez, Louvre éditions, Centre Pompidou, 2013 ISBN 979-10-90490-32-1
  • (fr+en) Loris Gréaud, Gréaudstudio Éditions, 2011
  • (fr+en+es) Pascal Rousseau, Gréaudstudio Éditions - JRP Ringier, 2011 ISBN 978-3-03764-167-5
  • (fr+pl) Loris Gréaud, Poznan Arts Stations Foundation, 2010 ISBN 978-83-927804-0-3
  • (fr+es) Daniel Birnbaum, 2009 ISBN 978-1-933128-67-2
  • (fr+en) Raimundas Malasauskas, Aaron Shuster, Loris Gréaud, JRP Ringier, 2008 ISBN 978-3-905829-52-5
  • (fr+en), Onestar Press, 2007
  • (fr+en), HYX, 2006 ISBN 2-910385-44-2

Public collections

  • Frac île de France, (Fond Régional d'Art Contemporain d'île de France), France.
  • Frac Auvergne, (Fond Régional d'Art Contemporain Auvergne), France.
  • Fnac, (Fond National d'Art Contemporain), France.
  • Fond Municipal de la Ville de Paris, France.
  • Centre Georges Pompidou, Paris, France.
  • LVMH, Collection Bernard Arnault, Paris, France.
  • Collection François Pinault, Venise, Italy.
  • Goetz Collection, Munich, Germany.
  • Elysee Museum, Lausanne, Switzerland.
  • Kadist Foundation, Paris and San Francisco, United States.
  • LACMA, Los Angeles, United States.
  • Rubell Family Art Collection, Miami, United States.
  • Marguiles Collection, Miami, United States.
  • Israel Museum, Israel.
  • Nam June Paik Art Center, Korea.

References

  1. ^ "Plus qu'un coup, c'est une prise de risques". Libération.fr. Retrieved 2016-02-12.
  2. ^ Caroline Bourgeois and Loris Greaud (2013). Prima Materia. Electa.
  3. ^ Noé, Paola (1 July 2005). "Paris / Loris Gréaud: Silence goes more quickly when played backwards". Modern Painters.
  4. ^ "CELLAR DOOR, UNE EXPOSITION DE LORIS GREAUD". archives.palaisdetokyo.com. Retrieved 2016-02-12.
  5. ^ "Palazzo Grassi". Archived from the original on 2016-02-16.
  6. ^ "Ministère de la Culture".
  7. ^ Magazine, Wallpaper*. "Loris Gréaud's trail of destruction at Dallas Contemporary | Art | Wallpaper* Magazine". Wallpaper*. Retrieved 2016-02-12.
  8. ^ "Sculpt at LACMA".{{cite web}}: CS1 maint: url-status (link)
  9. ^ Silamo, Sabrina (2017-08-31). "A Venise : La vanité en verre de Loris Gréaud". IDEAT (in French). Retrieved 2020-01-15.
  10. ^ Duponchelle, Valérie (2017-09-29). "Loris Gréaud entrouvre son laboratoire de magicien à Murano". Le Figaro.fr (in French). Retrieved 2020-01-15.
  11. ^ "Loris Gréaud: Sculpt: Grumpy Bear, The Great Spinoff - Tel Aviv Museum of Art". www.tamuseum.org.il. Retrieved 2020-01-15.
  12. ^ Gherghescu, Mica. "Loris Gréaud. The Original, The Translation". Le carnet de la BK (in French). Retrieved 2020-01-15.
  13. ^ "Le MAMVP reçoit une installation de Loris Gréaud". Le Quotidien de l'Art (in French). Retrieved 2020-01-15.
  14. ^ agence, GAYA-La nouvelle. "Loris Gréaud". www.mam.paris.fr (in French). Retrieved 2020-01-15.
  15. ^ De Santis, Sophie (January 15, 2020). "Loris Gréaud, l'art post-apocalyptique". Le Figaroscope.{{cite news}}: CS1 maint: url-status (link)
  16. ^ "Initiartmagazine". www.initiartmagazine.com. Retrieved 2016-02-12.
  17. ^ Ray, Michael (October 2012). "Icare vs Cousteau". Novo.
  18. ^ "Initiartmagazine". www.initiartmagazine.com. Retrieved 2016-02-12.
  19. ^ "Loris Gréaud - Silence goes more quickly when played backwards*". frac île-de-france (in French). 2005-03-10. Retrieved 2020-01-15.
  20. ^ ""Sculpt" de Loris Gréaud : objet filmique non identifié". Télérama.fr (in French). Retrieved 2020-01-15.
  21. ^ "Think Loud | NJP ARTCENTER". Retrieved 2020-01-15.
  22. ^ Court, Kala (2012-10-30). "The Unplayed Notes of Loris Gréaud". Untapped New York. Retrieved 2020-01-15.
  23. ^ "The ARTchemists - Court-métrage : The Snorks, A concert for creatures - Loris Gréaud". The ARTchemists (in French). 2013-01-09. Retrieved 2020-01-15.
  24. ^ "Loris Gréaud Smashes the Mold in Dallas". artnet News. 2015-01-23. Retrieved 2020-01-15.
  25. ^ celador. "Credits_ | THE SNORKS A CONCERT FOR CREATURES". Retrieved 2020-01-15.
  26. ^ "Gaîté Lyrique | The Snorks : Loris Gréaud + Anti-pop Consortium". La Gaîté Lyrique (in French). Retrieved 2020-01-15.
  27. ^ "The Unplayed Notes, les apnées hypnotiques de Loris Gréaud". Vogue Paris (in French). Retrieved 2020-01-15.
  28. ^ "Loris Gréaud Sculpt: Grumpy Bear, The Great Spinoff - Announcements - art-agenda". www.art-agenda.com. Retrieved 2020-01-15.
  29. ^ "An interview with Loris Gréaud on his first feature film "Sculpt" starring Willem Dafoe, Charlotte Rampling, and Abel Ferrara - purple ART". Purple (in French). 2016-07-13. Retrieved 2020-01-15.
  30. ^ "The Making of "Sculpt" - purple TELEVISION". Purple (in French). Retrieved 2020-01-15.
  31. ^ "Loris Gréaud - Sculpt". Tique | art paper. 2016-06-11. Retrieved 2020-01-15.
  32. ^ Moshakis, Alex (2016-08-16). "Why Loris Gréaud and Willem Dafoe made a film few will see". The Guardian. ISSN 0261-3077. Retrieved 2020-01-15.
  33. ^ Quin, Elisabeth (30 January 2012). "Ouvert La Nuit". France Inter.
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