This week we started near République, a street called Rue Léon Jouhaux in the 10th. Those of you who have a bonne connaissance of Paris will no that this area, well especially this street, is not the sort of place you'd expect an art gallery. And you wouldn't be too far from the truth either. After 10 minutes of trying to explain what we were looking for to some shifty looking guys smoking outside the address we had been given, we (I had arrived with the two Italians) were about to abandon hope and go home. The address belonged to that of a large, highly secure Douane (customs) complex. With an underground loading bay area which resembled the dingy collect by car basement in my local M&S back home. After a while, and much exasperation, a security guard came, grabbed us, pointed to a narrow staircase and told us 3rd floor. Wadding through this bizzare top security warehouse was another 'have to be there to believe it' experience. But we managed to arrive safely. And was it worth all the effort.......no not really.
Inside this large warehouse style space was a 21 metres long, by 6 metres wide "Equality Float" by Thomas Hirschhorn, an artist who hs been chosen to represent Switzerland at the 54th Venice Biennale.
The Float's purpose was to demonstrate the ills and remedies of our community whilst highlighting specifically notions of equality and inequality. Crude sculpture, horrendous photographs (e.g. of decapitated bodies) and an abundance of cheap materials such as plastic flowers were displayed amongst banners and slogans. The Float was decisively political, upfront and bold. To supplement his visual work, the artist had supplied a library full of his research books consisting primarily of political and philosophical essays (e.g. Spinoza, Deleuze, Bataille, Gramsci). Without spending hours reading all the additional articles and books it is not crystal clear exactly what the artist is specifically trying to get at. The float itself, I found an aesthetic horror. Whether or not the artist had wanted to purposefully pass comment on the cheap, tacky, mass production and consumerism dominating our society this was definitely one possible interpretation with the cluttered plastic flowers, pom poms and common white garden chairs.
As a group, we were interestingly divided. Some found the work impacting, intelligent and successful. While others (myself included) found the whole thing visually vulgar, unnecessarily crude and lacking in any careful consideration. I am not keen on artists who are overtly forceful with their message. I personally prefer being presented with something I can think about and interpret on my own as opposed to being pressurized into a pre-decided judgment and conclusion. Timothy was quick to tell us not to dismiss the artist before taking a good look at his other work online and especially that which he completed for the biennale. Having grabbed a quick glance I have the impression that it is more mindfully executed.
After this, we headed off to a small gallery the other side of République on Rue Charlot. Hence crossing from the 19th to the 3rd arrondissement. I remember having a bad experience in a grotty hostel in this area last summer- one which necessitated putting money into a meter in order to get a flow of water and the flicker of an ancient light bulb in the communal shower! I had certainly not noticed any swanky modern galleries being in close proximity during that visit!
The gallery was called Galerie Bernard Jordan and the exhibition- "Entre les fantômes du passé" by Cécile Hummel. The title of the exhibition was the only real incline into the intended message and proposition posed by the work. Hence in a total contrast to the "Equality Float" we really did have to do a lot of thinking, self-interpretation and presumption. I was content with this. Both the work and the gallery were peaceful and pleasant. The photographed old photographs were a particular favourite of mine as I am very keen on the idea of re-interpreting and giving a new lease of life to aged objects.
We continued down Rue Charlot, which is a very trendy street indeed (I suppose we were working our way towards the Marais). The group work within the next space- Gallerie Denise René undoubtedly reminded me of the first exhibition we saw within Bugada & Cargnel Cosmic Galerie (the converted garage space which we frequented twice). The work on display was exceptionally 'sciency' and futuristic. Some were real enthusiasts whilst others felt that it had tipped the art-science scales...in the wrong direction. Personally I don't see a defined boundary within the both. I suppose the science approach has more to do with aesthetic qualities and less with meaning and message. More design than conceptual art? But then I am in no mood to get into the art vs design age old debate. I will simply show a few photos and you can make your own minds up.
Next we headed to Almine Rech Gallery to see the work of an American artist, Aaron Young titled Always Forever Now 20.10.11-22.12.11.
I don't really have much to say about this work as I found it rather uninspiring and decisively commercial. An abundance of American flags and stereotypical motifs..... This was work made to appeal to a consumer which had perhaps restrained the artists imagination, I don't know. What's interesting is that the gallery is located within a popular, prime spot so I suppose the rent is high and the need to sell equally as demanding. It is very unlike the far more experimental, 'out there' artwork on display in some of the small galleries in Belleville where rent would be significantly less and therefore artists perhaps allowed more freedom.
We then headed to our final stop (before the final final stop- the bar!), Galerie Chantal Crousel. Interestingly enough, the "Equality Float" gallery is also owned by Chantal Crousel. This was not my first visit to this space. Back when the summer was warming my back I had come her to watch an interesting piece of video work by Melik Ohanian. Now it was the photographic work of Wolfgang Tillmans on display. Tillmans, a german artist was the first photographer to have won the Turner Prize in 2000 and Timothy also told me that he used to be a reputable fashion photographer in London. In line with my comments on the last exhibition and bearing in mind that this gallery is also within the trendy Marais area, the work is visually pleasing but not exceptionally innovative or experimental.
He has captured a lot of natural phenomena which would certainly appeal to a wide market. At this point I think I should explain that I am not meaning to say this in a pejorative, undermining way. It is just passing comment and trying to understand contemporary art and the location of their exhibitions in a more clarified way. I am in truly in awe of these photos and by saying they are commercially minded it does not make them any more or less honorable than the invisible white on white prints of Belleville.
Anyway next week we are heading south of the river and I can't wait to see what interesting delights and discoveries are in store!
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