Erika Verzutti
Centre Pompidou /
Paris
Martial
Raysse

Méca, Frac
Nouvelle Aquitaine / BORDEAUX
Julie Mehretu
LOs angeles county museum of art (LACMA) 
Whitney Museum of american art / NEW YORK
High Museum of art /
Atlanta
Walker Art Center / Minneapolis
Christian Marclay
Museu d’Art Contemporani de Barcelona (MACBA)
 
<i>Gravid</i>, 2014 <br/>  Bronze, concrete, and acrylic <br/> 90 × 60 × 28 cm
Erika Verzutti
Centre Pompidou / Paris

<span class="alinea"></span>For her first major exhibition in Europe, invited as part of the Mutations / Creations program at the Centre Pompidou, Erika Verzutti (born in 1971 in São Paulo) presents an exhibition with an original scenography, spatialized in archipelagos, which is itself a work of art. <i>Gravid</i> is at once a sculpture, a painting, and an abstract bas-relief; its evocative title means pregnant, heavy, ponderous. The interplay of reliefs and this colorful form that emerges produce feelings of gravity and gravitation. Perhaps it is an egg, a motif often used by the artist as a symbol of fertility. The rounded forms often used by Verzutti are not consensual: on the contrary, they are indomitable, an indication of a committed feminism, diluted with a dose of humor. <b>C.D.</b>
 
<i>Actions: Whaak Plop Plooch Sooosh (2)</i>, 2013 <br/>  Screenprint and acrylic on canvas <br/> 165,1 × 237,5 cm
Christian Marclay
Museu d’Art Contemporani de Barcelona (MACBA)

<span class="alinea"></span>Since the 1980s, Swiss American artist Christian Marclay (born in 1955 in California) has developed a unique practice of quotation: he samples and remixes pop culture, cutting and collaging visual arts and music. Known for his video works, including the emblematic <i>The Clock</i>, a 24-hour epic masterpiece, Marclay creates installations, photographs, and paintings. <i>Actions: Whaak Plop Plop Plooch Sooosh (N°2)</i> is an acrylic painting on canvas, in the «manner» of a Jackson Pollock drip painting, that can be read and heard. This homage to action painting—with an irreverent, punk attitude to art history—is combined with onomatopoeias that are both gory and cartoonish. Bringing together Abstract Expressionism, Stephen King, and Batman, the golden yellow background of the canvas also evokes the altarpieces painted by the Old Masters, stained with the blood of martyrs. <b>S.H.-B.</b>
 
<i>Le Carnaval à Périgueux</i>, 1992 <br/>  Distemper on canvas <br/> 300 × 800 cm
Martial Raysse
Méca, Frac Nouvelle Aquitaine / Bordeaux

<span class="alinea"></span>Artist, painter, sculptor, and filmmaker Martial Raysse (born in 1936 near Nice) is a key figure in the Pinault Collection, which presented his work in a monographic exhibition at Palazzo Grassi in 2015. In <i>Le Carnaval à Périgueux</i>, an eight-meter long monumental painting from 1992, the artist stages, in the manner of ancient friezes, masked characters and seductive girls intertwined under the watchful eyes of children: a mixture of myth and reality, the human comedy as seen by Martial Raysse. This work will be on display through November 9, 2019, at La Méca, the Frac Nouvelle Aquitaine’s new museum in Bordeaux, as part of its inaugural exhibition «Il est une fois dans l’Ouest,» a history of the artistic scene in western France, with more than one hundred artists on display. <b>M.M.</b>
 
<i>Black City</i>, 2007 <br/>  Ink and acrylic on canvas <br/> 305 × 489 × 5 cm
Julie Mehretu
Los Angeles County museum of art (LACMA)
WHITNEY Museum of American Art / NEW YORK
High Museum of art / Atlanta
Walker Art Center / Minneapolis


<span class="alinea"></span>Four of the largest American museums have joined forces to organize the first retrospective of the work of Julie Mehretu (born in 1970 in Ethiopia). Three works from the Pinault Collection are included in this major exhibition, travelling from 2019 to 2021: <i>Invisible Line</i>, <i>Black City</i>, and <i>Sun Ship (J. C.)</i>. Mehretu’s work is inspired by her reflections on current geopolitical events, by a study of history and the consequences of colonization: Mehretu is interested in how, in her words, “we treat territories and places, people and history, art and language over the centuries.” By borrowing the visual vocabulary and geometric structures of maps, architectural plans, and urban design, Mehretu composes abstract, stratified, fragmented landscapes. <b>L.D.</b>
 

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Pinault Collection Magazine - Issue #13

 

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