“FACES OF PI­CASSO”

REMAI MOD­ERN, SASKA­TOON From Oc­to­ber 21

Canadian Art - - Preview - Ryan Gan­der Draw­ings from Be­ing Pi­casso 2017

The Remai Mod­ern cel­e­brates its grand open­ing with an ex­hi­bi­tion by conceptual artist Ryan Gan­der, who se­lects from the world’s largest col­lec­tion of Pi­casso linocuts and presents them along­side crude copies he has made him­self.

RYAN GAN­DER: Iõve got this re­ally strong idea that when we close our eyes and think of Pi­casso, we donõt see his work: we see an im­age of the man him­self. The per­sona of Pi­casso the man ñ or the stereo­type of the artist ñ and his work are all seam­lessly bound to­gether. Theyõre al­most the ex­act same thing. Iõve done a lot of work about artist clichés, where the frame­work of be­ing an artist is the sub­ject of the art­work. The Remai owns a work of mine called Field­work, a col­lec­tion of 33 ob­jects on a con­veyor belt; you only see one at a time through a win­dow. Iõve se­lected 130 prints ñ all about Pi­casso as a per­son: all por­traits or self-por­traits, all as­so­ci­ated with him and his life ñ to sur­round this con­veyor belt. Iõve spent the last three months re-draw­ing every print in their col­lec­tion of 406 with Sharpie and Wite-out pen­sñiõm bad at draw­ing, so theyõre crude ap­prox­i­ma­tions ñ be­cause I wanted to start this process where I un­der­stood what it was to be Pi­casso. Itõs this strange, creepy rit­ual that I do every morn­ing, where, by re­peat­ing the work that heõs done, I some­how as­sim­i­late my mind with his. Itõs like me try­ing to be­come Pi­casso, es­sen­tially. IÕM sure thereõs al­ready a very ex­pen­sive book of the real prints, but IÕM print­ing a crude ver­sion with my draw­ings on cheap pa­per for a few dol­lars, so that any­one could buy it.

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