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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