Dorian Gaudin " Second Offense" September 8th - October 15th / Pacte with Gianni Motti, Galerie Perrotin
pact gallery is proud to announce «Second offense», the first exhibition in Europe of the French-American artist Dorian Gaudin. The exhibition will be on view from September 8th to October 15th at 70 rue des Gravilliers, Paris, France. As it is pact gallery's identity and singularity to link artists to their inspirations in the Art History, Gaudin's work will be highlighted by a piece from Gianni Motti: Revendication, Terremoto, Rhône-Alpes, 1994 (lent by Perrotin). The exhibition title, «Second Offense» is a nod to the violent movement the artist's installation will trigger into the gallery space, twenty years after Gianni Motti's revendication of an earthquake. It also alludes to the second personal exhibition this show will be for the artist, as well as it refers to the sociological tensions that currently shake the United States, where Gaudin lives and works.
Venue: galeriepact.com
Address: 70, rue des graviliers
Date: September 8th - October 15th
Web: http://www.galeriepact.com/project/daurian-gaudin/
EMail: info@galeriepact.com
Call: 761018383
Address: 70, rue des graviliers
Date: September 8th - October 15th
Web: http://www.galeriepact.com/project/daurian-gaudin/
EMail: info@galeriepact.com
Call: 761018383
"Dorian Gaudin's installation could be qualified as an absurd theatre staging in a car tuning era: the ingenious interpretation of a repetitive dialogue, interrupted by silences, between two paraplegic blind men with limited movements (for instance). To which one should add telescopic cylinders.
The gallery space is transformed into an adjacent stage where the visitor becomes the audience, put at a distance (and in danger) by the controlled and yet brutal movement of this anthropomorphic mechanic. The artist builds a black and slick surface combining the minimalist elegance of the 1970s and the meta-mechanic humour of the first kinetic art experimentations.
In short, a mix of John McCracken and Murphy's law, as everything that goes up, in Gaudin's work, must go down. His mobile sculpture of a seeming simplicity is moved by a system as complex as its effect is deceptive: the surface stands vertically, proud, and attempts to find its balance; it looks for its function, before crashing heavily on the floor. It gasps and exhales a sigh before giving up the effort. A kind of single machine struggling to maintain desire, a Sisyphean object bearing its own end and playing its own fall in a loop.
For his first solo show in a Parisian gallery, Dorian Gaudin chose to make his installation converse with a piece by Gianni Motti: Revendication, Terremoto, Rhône-Alpes, 1994. Contrary to Gaudin, who develops an intricate engineering serving a limited effect, Motti plays on an economy of means by offering three documents suggesting that he is responsible for an earthquake. One's action fills the other's inaction. And vice versa. Underneath it all, both artists stage the void by playing with (physical and media) scales and on the rather ridiculous grandiloquence of a system functioning in a vacuum."
Myriam Ben Salah
The gallery space is transformed into an adjacent stage where the visitor becomes the audience, put at a distance (and in danger) by the controlled and yet brutal movement of this anthropomorphic mechanic. The artist builds a black and slick surface combining the minimalist elegance of the 1970s and the meta-mechanic humour of the first kinetic art experimentations.
In short, a mix of John McCracken and Murphy's law, as everything that goes up, in Gaudin's work, must go down. His mobile sculpture of a seeming simplicity is moved by a system as complex as its effect is deceptive: the surface stands vertically, proud, and attempts to find its balance; it looks for its function, before crashing heavily on the floor. It gasps and exhales a sigh before giving up the effort. A kind of single machine struggling to maintain desire, a Sisyphean object bearing its own end and playing its own fall in a loop.
For his first solo show in a Parisian gallery, Dorian Gaudin chose to make his installation converse with a piece by Gianni Motti: Revendication, Terremoto, Rhône-Alpes, 1994. Contrary to Gaudin, who develops an intricate engineering serving a limited effect, Motti plays on an economy of means by offering three documents suggesting that he is responsible for an earthquake. One's action fills the other's inaction. And vice versa. Underneath it all, both artists stage the void by playing with (physical and media) scales and on the rather ridiculous grandiloquence of a system functioning in a vacuum."
Myriam Ben Salah