Art Press : 2020-07-21



65 vernacular practices Seulgi Lee. Vue de l’exposition « Le plus tôt c’est deux jours mieux ». La Criée centre d’art contempora­in, Rennes. 2019. (Ph. Benoît Mauras). Trois oeuvres en soie de Jinju et coton réalisées en collaborat­ion avec Sukhee Chung et Seungyeon Cho de Tongyeong, Corée. De gauche à droite : 2017, 2018 et 2014. Chacune : 155x195x1 cm. (Court. Galerie Jousse Entreprise, Paris ; Gallery Hyundai, Séoul; The National Gallery of Victoria, Melbourne) and drew disturbing, Jim Shaw exhibited Mike Kelley manufactur­ed birdhouses. The current trend of the first object to come in a hybrid and rickety installati­on is a resurgence (or a lesson badly understood) of the arrival of the California­n urban vernacular on the internatio­nal artistic scene. In 1992 the exhibition at MOCA in Los Angeles adopted the opposite approach of at MoMA in New York the previous year, an exhibition in which “high and low met on a one-way street”, in the words of Roberta Smith in the Centred on the California­n scene, (which refers to Charles Manson, murderous Los Angeles guru, who had appropriat­ed this title from the Beatles) gathered artists preferring a rough vernacular to a standardiz­ed pop: DIY against consumeris­m, against the backdrop of apocalypti­c urbani- sketchy california­na; thrift-store-paintings; artifying Helter Skelter High & Low usable, some nonetheles­s evoke vases, dishes, blankets, carpets. We even dare say that, from biennial to biennial, site-installati­ons with elements of scaffoldin­g, plywood, trinkets of all kinds, plants and wool scraps have become a mode of thought. Sub-Jason Rhoades with a touch of Marcel Broodthaer­s. Except that the green plant now denotes a more relaxed urban interior than any institutio­n, unlike the Broodthaer­s palm trees, and despite declaratio­ns of intent. Basically, all the ambiguity of the neo-vernacular – and therein lies the California­n lesson zation. Kelley, Pettibon and Shaw then imposed their work, before the gallery empires like Gagosian and Zwirner appropriat­ed their works to transform them into luxury vernacular­o-trash products. New York Hel- Times. ter Skelter VERNACULAR­ITY Today demonstrat­ions of “vernacular­ity” are in order. The “home-made” character and re-appropriat­ion of vernacular know-how must be legible. Clearly identifiab­le signs have to be given. One of them is the ambiguity of the function of objects: not really Vue de l’exposition « Les Chemins du Sud ». Musée régional d’art contempora­in Occitanie / PyrénéesMé­diterranée, Sérignan. 2019. (Ph. James Ruffato)

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