FIAC 2015 – Nef du Grand Palais – 22-25 October 2015 (preview Wednesday 21):
André Cadere (1934-1978) is undeniably part of these mythical artistic personalities who have made a major contribution to the history of contemporary art in a dazzling and concentrated manner. Indeed, the trajectory of this artist of Romanian origin, one of the few in the 1970s to have invented a new artistic form by which he is completely identified – his famous roundwood bars composed of segments colored according to a system predetermined and disruptive by error and not subject to a place or a single mode of exposure – which continues to have considerable influence on contemporary art. Five years after presenting Art Basel with a first set of works, mainly made up of early works, the gallery brought together for the first time in a fair a unique set of roundwood bars which will be presented opposite several textual pieces in 1972-73. These are part of the activities carried out by Cadere concomitantly and are completely unrecognized. One of them, The paper on which this text is printed is to be thrown away. The text, for its part, is to forget …, will be reactivated, following the instructions left by the artist, at the opening of the fair on Wednesday 21 October.
FIAC 2015 – Hors les murs – Jardin des Tuileries – opening Tuesday 20 October:
We are pleased to be able to propose a work by the Swiss artist Eric Hattan (* 1955) in the course Hors les murs. Precisely ten years after a first version, which was presented inside the Museum of Modern and Contemporary Art in Strasbourg, Hattan offers the Parisian public a new version of Sans crier gare, a piece built from shouts that replay one eminently famous, that of Tarzan. These cries gathered together, a dozen forming an anonymous collective and condemned in some way to incomprehension, are delivered by loudspeakers suspended in the vegetation, randomly and last for a few seconds. The insertion of Hattan’s works into space, whether public or dedicated to artistic demonstration, is often discreet and can sometimes take the form of a sort of game of track. The constancy of everyday life, of unexpected or aroused situations, shows us that the most touching and strange spectacle can arise at any moment, and in any circumstance: one could almost say that it is simply by displacements, or by diversions that the artist modifies our perception sensibly.
With Without warning, the power wires of the loudspeakers sometimes become clotheslines, sometimes lianas. If this work has the appearance of a purely sound installation, its relation to space makes it a sculptural piece not devoid of humor in the current context.