Louis Vuitton Foundation, Paris, France
A selection of 70 works by 23 international artists recalls the diversity and consistency of the collection of the Louis Vuitton Foundation. The leitmotiv, chosen by Suzanne Pagé, artistic director of the site and general curator of the exhibition, is painting from 1960 until today. A magnificent array of works is completed by a visit to Gallery 2, which brings together six monumental drawings by Gilbert & George, done in charcoal on paper. Suzanne Pagé provides us here with a guided tour of several rooms.
On the first contact with the exhibition. The
SUZANNE PAGÉ: visitor is in direct contact with the flamboyance of Joan Mitchell, to whom an entire room is dedicated. It was important to show the colossal evolution of the work of this American artist who has resided in France for many years. Her early large formats bear the imprint of the expressionist American gesture, before we perceive a kind of melancholy towards the end. To create a form of tension in this vast first room, I chose to place a sculpture by Carl André, so that the eye is encouraged to settle more on Mitchell’s paintings. In a way, Carl André’s monumental brings the spectator’s attention to the paintings.
On the specificities of architecture.
We have, of course, parameters to negotiate with the specific architecture of the Foundation and its different levels. This is essential, because although over the same level there is, I think, some homogeneity, when the visitor goes from one level to another, there is a break. This is a feature of this building, and it’s also why I appreciate it a lot: at each exhibition it generates a tremendous boost.
On new abstractions: “Painting differently”.
We chose, among other things, works by Daniel Buren, exhibited in different ways: hanging on the wall, leaning against the wall and installed on the floor. These are the first works of the artist, made
in 1966 with acrylic paint on cotton canvas—after this, the artist began working on awning canvas—he has already identified and adopted the pattern of stripes, but here it is still at an intermediate stage. Laying the canvas on the ground induces a certain geometry and totally changes the relationship to space. In this ensemble, we have highlighted the new materials used by the artists, such as Raymond Hains’s recovered sheet metal, but also the mix of mechanical and manufactured techniques dear to Albert Oehlen.
On the work done on the surface of the canvas.
The collection houses several works by Mark Bradford. We chose to show a very large and beautiful painting. This very interesting artist never leaves anything to chance: in his works, nothing is innocent, everything has a secondary meaning. He has developed a particular technique of successive layers of paper, the surface of which he unifies with the help of varnish, lacquer, and paint, which he digs into in order to deposit various materials (wire, rope...) that he then fixes beneath resin. He is a highly political artist, and he translates the history of his country, replete with conflicts, drama, and pain.
On particular materials.
Outside traditional painting, we find Christopher Wool, with silkscreen ink on canvas. With Wade Guyton, the work is done from a printer, which incorporates all the accidents and plays on the concept of the copy and the original. In the movement through this same space, there is a beautiful painting by Pierre
Soulages, from 2002, which alternates horizontal black and white stripes. Four panels: two black, two white, each of which inscribe lines in the painted material.
On writing in painting.
We have selected a series by Jesus Rafael Soto made in 1979, which shows vibration at the surface, in a very musical dynamic. It’s a special design that uses all the basic parameters of painting in an extremely new way. In resonance with this, we chose to install a sculpture by Robert Breer: it is a beautiful white volume, reflective and quite disturbing, which moves very slowly and randomly in the room. This gives a different perspective on the other surrounding works.
On the drawings of Gilbert & George.
We wanted to show this set of six monumental charcoal drawings on paper, made by Gilbert & George in 1971. This work, There Were Two Young Men, is exhibited for the first time in Paris: it reappeared in an extraordinary way after having being stolen for decades. It is totally immersive and is presented during a limited period because of the fragility of the drawings. Three video sculptures accompany the presentation: Gordon’s Makes Us Drunk (1972), In the Bush (1972) et A Portrait of the Artists as Young Men (1970).
“La collection de la Fondation, le parti de la peinture”, until August 26.
Gilbert & George, There Were Two Young Men, 1971, July 3-August 26 (Gallery 2).
Dan Flavin, Untitled (for you, Leo, in long respect and affection) 1, 1977; coll. Fondation Louis Vuitton, Paris. Photo: Louis Vuitton/Jérémie Souteyrat. © ADAGP, Paris, 2019.