SOLEIL POLITIQUE

27 September 2014 – 11 January 2015
MUSEION (BOLZANO)
CAC BRÉTIGNY (BRÉTIGNY-SUR-ORGE)

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SOLEIL POLITIQUE

27 September 2014 – 11 January 2015
MUSEION (BOLZANO)
CAC BRÉTIGNY (BRÉTIGNY-SUR-ORGE)

Guest curator: Pierre Bal-Blanc
Museion (Bolzano)
CAC Brétigny (Brétigny-sur-Orge)
from 27 September 2014 to 11 January 2015 at Museion
opening 26 September 2014
Artists: Mathieu K. Abonnenc, Silvano AgostiMarie Cool Fabio Balducci, Josef DabernigAlberto Garutti, Marcus Geiger, Isa GenzkenPrinz Gholam, Dan Graham, Mauricio Guillén, Sanja Iveković, Benoît MaireMarcello Maloberti, Marianne Maric, Rä di Martino, Mattin, Isidoro Valcárcel MedinaMarta Minujín, Deimantas Narkevicius, Rainer OldendorfRoman Ondák, Christodoulos PanayiotouEmilie Parendeau, Gianni Pettena, Pratchaya Phinthong, Emilio PriniLili Reynaud-DewarR&Sie(n) François Roche, Stéphanie Lavaux, Jean NavarroBernhard RüdigerMatthieu SaladinSantiago Sierra, Terre Thaemlitz, Slaven Tolj, Ron Tran, Annie Vigier & Franck Apertet, Marie VoignierClemens von Wedemeyer, Lois WeinbergerLawrence Weiner.
Including works by: Raimund Abraham, Robert Breer, KP Brehmer, Marcel Broodthaers, CAPC musée d’art contemporain de Bordeaux – Philippe Thomas, Achille CastiglioniGiorgio De Chirico, Felix Gonzalez-Torres, Pier Paolo Pasolini, Walter Pichler, Carlo ScarpaAllan Sekula, Sturtevant.

 Soleil politique
The museum between light and shadow

32 Lili Reynaud deware Vivre avec a¦üa Soleil politique Museion Bolzano (Conflit lie¦ü au codage Unicode)

2. Lili Reynaud-Dewar, Vivre avec ça ?!, 2014

22 Lili Reynaud deware Vivre avec a¦üa Soleil politique Museion Bolzano (Conflit lie¦ü au codage Unicode)

3. Lili Reynaud-Dewar, Vivre avec ça ?!, 2014

4. Lili Reynaud-Dewar, Vivre avec ça ?!, 2014

4. Lili Reynaud-Dewar, Vivre avec ça ?!, 2014

5. Lili Reynaud-Dewar, Vivre avec ça ?!, 2014

5. Lili Reynaud-Dewar, Vivre avec ça ?!, 2014

Marcel Broodthaers, Soleil Politique, 1972

6. Marcel Broodthaers, Soleil Politique, 1972

Prozession mit Tragbarem Schrein, 1970

7. Prozession mit Tragbarem Schrein, 1970. (Walter Pichler and Werner Stupka).

Allan Sekula, Meat Mass, 1972

8. Allan Sekula, Meat Mass, 1972

Emilio Prini, Stampa di un consumo - Monaco '71 Il caffè del Kunstverein, 1971

9. Emilio Prini, Stampa di un consumo – Monaco ’71 Il caffè del Kunstverein, 1971

Marta Minujín, El obelisco acostado, 1978

10. Marta Minujín, El obelisco acostado, 1978

Marcel Broodthaers, fig. 1, fig. 0, fig. 12, 1972

11. Marcel Broodthaers, fig. 1, fig. 0, fig. 12, 1972 

The title of the exhibition Soleil politique (Political Sun) is taken from a work of the same name by Marcel Broodthaers, made in 1972 using a black and white illustration cropped from an encyclopedia. The artist altered the illustration depicting the relative size of the planets in the Solar System. In adding the word ‘politics’ to the largest sphere depicting the Sun, Broodthaers praises the Sun’s emancipatory force and, at the same time, reveals the hegemonic character of a power that demands obedience. In completing the work by altering the smallest circle, depicting the Earth, he places his discourse in space and affirms a consciousness of its finitude. In merging planet Earth with the darkness of the universe, as rendered by the page’s black background, the former director of the Musée d’Art Moderne, Départment des Aigles (Museum of Modern Art, Department of Eagles) brings to light the risk of a return to obscurantism. With the stroke of a pen, Broodthaers eclipses the entire planet with ink, and thus points to the somber threat that an identity oblivious to its incompleteness and insufficiency poses.
The exhibition Soleil politique is presented at the Bolzano Museion (Italy), the name of which takes us back to the origins of the museum as it was founded in 391 BC by the Ptolemy Dynasty. During the French Revolution, the term ‘Museion’, from the Latin ‘museum’, referred to the sanctuary that housed the riches of collective memory previously in the possession of the monarchy or the clergy and subsequently handed over to the people. At the time, it was still inhabited, as indeed it was in Ancient Egypt. Ancient or revolutionary, it is the refuge for a community of artists and trans-disciplinary scholars in constant dialogue with their students and temporary guests.
We return here to this polymorphous and living model shared by philosophers, from both the ancient world and the Enlightenment, in order to build the Museum of the twenty-first century. The industrial age and its taxonomy gave body to the modern art museum in the twentieth century. Yet its dogmatism, such as that of the encyclopedia, the outmoded form of which Marcel Broodthaers relied upon to make his work, will end up decalcifying the skeletal structure of an edifice otherwise subjected to economic profit, divisions of labor and the compartmentalization of specialized areas of competence. Recent attempts to reinvigorate the museum institution with internal changes (by introducing museum educators and docents or de-compartmentalizing disciplines) or external trends (opening the museum to new geographies and populations) should not hide the causes of such reforms. Endogenesis or exogenisis are not sufficient to stop an organism from reviving the same dangerous traditions in which it continues to prospect for deposits of authenticity as a potential source of profit, as its architecture and segmentary programs reveal.
Is the museum the site that consecrates capitalist homogeneity or the site of a ‘heterogenetic’ process?
In the age of urban and digital revolution, the domestic market colonizes the globe and mental space. The exhibition Soleil politique infiltrates the vast, multitudinous systems to which we belong. It relies on the stories and scripts of artists or authors and borrows their distinct creative and operational methods in order to thwart the organized insecurity which pervades society through the dominant system of commodity exchange. Existing or specially commissioned works produced in the heart of the borderland Alto Adige Valley introduce spatial perspectives that, in all ways, exceed distinct regions. They establish temporal rhythms that stimulate an intentionally involuntary memory. The exhibition Soleil politique replaces this years trends and media events with an program of moods and feelings.

Pierre Bal-Blanc, Paris, 2014.

 

 

L’intenzione della mostra è interrogare il ruolo del museo nella città ripensando alla sua storia attraverso lo sguardo di artisti provenienti da diverse discipline: architetti, registi, performer, musicisti e compositori. Il visitatore è invitato a intraprendere un percorso che, una volta superata la soglia del museo, inizia direttamente nel cuore delle opere per svilupparsi in seguito nella città.
Il primo gesto curatoriale è infatti invertire la gerarchia che regola la suddivisione degli spazi museali dall’entrata ai piani nobili, dal basso verso l’alto dell’edificio. Quest’atto spaziale sottolinea l’uso del luogo. Il museo d’arte contemporanea, così utilizzato, si distacca dalla regola normalmente imposta dai musei tradizionali. Dall’ultimo piano del museo, trasformato in belvedere, il visitatore potrà lasciar vagare il proprio sguardo sulla città, condizionato dai riferimenti offerti nella mostra al piano terra, per poi in seguito scendere e proseguire la visita degli spazi urbani imboccando realmente strade, vie.
Saranno presentati in mostra maquette, sculture, cortometraggi o documentari di artisti già riconosciuti (Marcel Broodthaers, Achille Castiglioni, Giorgio De Chirico, Isa Genzken, Sanja Iveković) o che lo stanno diventando (Deimantas Narkevičius, Slaven Tolj, Alejandra Riera, Josef Dabernig, R&Sie(n) François Roche, Stéphanie Lavaux, Jean Navarro, Roman Ondák), ma anche opere più intime come quelle di Isidoro Valcárcel Medina, Emilio Prini, Terre Thaemlitz.
La mostra è associata inoltre a opere chiave che hanno ispirato il progetto e che hanno partecipato alla nostra comprensione della storia della museografia, da La forma della città di Pier Paolo Pasolini, alla presentazione della statua equestre di Cangrande della Scala di Carlo Scarpa al Museo di Castelvecchio di Verona e altre ancora.

 

L’exposition Soleil politique invite le visiteur a s’engager dans un parcours qui débute, une fois le seuil du musée franchi, directement au cœur des œuvres, pour s’étendre ensuite a l’échelle de la ville.
Le premier geste curatorial est d’inverser la hiérarchie qui distribue d’ordinaire les espaces d’accueil et les contenus nobles, du bas vers le haut de l’édifice. Cet acte spatial souligne un usage particulier du lieu. Cet emploi des espaces se distingue de la règle imposée par le Palais des beaux-arts traditionnel ou par le temple religieux qui préparent l’accès aux contenus progressivement et par paliers. Du dernier étage du musée transformé en belvédère, on pourra promener son regard sur la ville, conditionné par les repères offerts dans l’exposition, pour ensuite redescendre et poursuivre la visite de la cité en empruntant réellement ses rues, ses avenues et ses ponts.
Le contenu de l’exposition est formé par des maquettes, sculptures, courtsmétrages ou documents, émanant d’artistes reconnus (Marcel Broodthaers, Achille Castiglioni, Giorgio De Chirico, Isa Genzken, Sanja Iveković) ou confirmés (Deimantas Narkevičius, Slaven Tolj, Alejandra Riera, Josef Dabernig, R&Sie(n) François Roche, Stéphanie Lavaux, Jean Navarro, Roman Ondák), mais aussi à l’appui d’œuvres d’artistes plus confidentiels comme Isidoro Valcárcel Medina, Emilio Prini, Terre Thaemlitz.
Leur travail est associé a des œuvres-clefs qui ont inspiré ce projet et qui participent à notre compréhension de l’histoire de la muséographie : La forma della città de Pier Paolo Pasolini, l’exposition de la statue de Cangrande della Scala par Carlo Scarpa au Musée du Castelvecchio de Vérone, le portrait du musée d’art de Cincinatti par Félix González-Torres, le Nu descendant un escalier d’Elaine Sturtevant, l’œuvre identifiée sous le nom CAPC musée d’art contemporain de Bordeaux de Philippe Thomas ou l’obélisque couchée de Marta Minujín en sont quelques exemples.

Video:
Marta Minujín, El Obelisco acostado, 1978–1985, Music by Laurie Anderson. © Marta Minujín

Images:
1-5. Lili Reynaud-Dewar, Vivre avec ça ?!, 2014
6. Marcel Broodthaers, Soleil Politique, 1972, print and collage on paper and ink, 25,5 x 35,5 cm. Copyright Estate Marcel Broodthaers
7. Prozession mit Tragbarem Schrein, 1970. (Walter Pichler and Werner Stupka). Photo: Marina Faust
8. Allan Sekula, Meat Mass, 1972. Photo: Allan Sekula and David Alward. © Generali Foundation
9. Emilio Prini, Stampa di un consumo – Monaco ’71 Il caffè del Kunstverein, 1971. Courtesy Galleria Pio Monti, Rome
10. Marta Minujín, El obelisco acostado, 1978. 1st Latin American Biennial of São Paulo. Courtesy of the artist
11. Marcel Broodthaers, fig. 1, fig. 0, fig. 12, 1972, paper and photograph collage, white soft-lead pencil frame, 36 x 44 cm. Copyright Estate Marcel Broodthaers

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