Loris Gréaud

Loris Gréaud

Loris Gréaud (born February 7, 1979 in Eaubonne, France) is a conceptual installation artist, as well as a filmmaker and architect.

Biography

He is seen in the media and recognized by international critics as one of the most important and influential artists of his generation. However, since the beginning of his career, the artist has refused to allow his biography to be published. Most of the biographies available are therefore knowingly incorrect or incomplete.[1]

His work is organized into projects rather than exhibitions.[2]

His first, Silence goes more quickly when played backwards, took place in 2005 at the Plateau/Frac île-de-France (Paris). This was the project that rocketed him onto the international art scene.[3]

In 2008, he became the first artist to be granted full use of the Palais de Tokyo in Paris for his project Cellar Door.[4] He developed and continued this project at the ICA in London, the Kunsthalle Sankt Gallen (Switzerland), the museum La Conservera de Murcia (Spain) and finally at the Vienna Kunsthalle (Austria), ending at Art Basel alongside the publication of a catalogue by JRP Ringier that charted the entire project.

Although international collectors and museums have made some important acquisitions of his work,[5] Greaud chooses to appear only occasionally in galleries and markets. He has had only one double exhibition in the galleries that represent him. The Unplayed Notes was presented at the Pace Gallery in New York City and then at the Yvon Lambert Gallery in Paris in 2012.

In 2013, he was the first artist to be invited to exhibit jointly by the Louvre and the Pompidou Center in Paris. The double exhibition, Loris Gréaud [I] was free to the public and took place in the museums’ courtyards, purposefully avoiding the usual exhibition spaces of the two institutions.

In 2014, he was appointed as a Knight in the Order of Arts and Letters (Chevalier des Arts et des Lettres).[6]

In 2015, for his project The Unplayed Notes Museum, he became the first artist to take over the entire space of the Dallas Contemporary (USA).[7]

Since 2010, the artist has rarely participated in group shows, preferring to concentrate his resources on developing personal projects.[8] The artist sees "the trajectory of the work through time as a sculpture in its own right."[9]

Artistic approach

His method is characterized by prioritizing the project’s idea over the exhibition. Loris Gréaud believes that only the idea and the project itself should be the governing principles, defining in particular the conditions of appearance, display, distribution, and even the length of time and cost.[10]

Productivity and efficiency based in the reality of his projects are the focal point of his practice. He also pays special attention to systematically erasing the limits between the spaces of fiction and reality.

One of the common characteristics among the various projects of Loris Greaud is their scale. By producing work of this magnitude with a global vision, he aims to overwhelm the space and time of the "exhibition".

Quotes

"Today, I see a lot of what I call Rimbaud Syndrome, "I AM another." The bloggers want to be journalists, the journalists want to be art critics, the art critics want to be curators, the curators want to be artists and tragically…the artists want to be artists…"[11]

Monographs

  • (fr+en) Loris Gréaud, Jannink Editions, 2015 ISBN 978-2-37229-004-3
  • (fr+en), Dis voir, 2015 ISBN 978-2-914563-75-8
  • (fr+en) Christophe Ono-Di-Biot, Gréaudstudio Éditions, 2013
  • (fr+en) Alain Seban, Marie-Laure Bernadac, Michel Gauthier, Jean-Luc Martinez, Louvre éditions, Centre Pompidou, 2013 ISBN 979-10-90490-32-1
  • (fr+en) Loris Gréaud, Gréaudstudio Éditions, 2011
  • (fr+en+es) Pascal Rousseau, Gréaudstudio Éditions - JRP Ringier, 2011 ISBN 978-3-03764-167-5
  • (fr+pl) Loris Gréaud, Poznan Arts Stations Foundation, 2010 ISBN 978-83-927804-0-3
  • (fr+es) Daniel Birnbaum, 2009 ISBN 978-1-933128-67-2
  • (fr+en) Raimundas Malasauskas, Aaron Shuster, Loris Gréaud, JRP Ringier, 2008 ISBN 978-3-905829-52-5
  • (fr+en), Onestar Press, 2007
  • (fr+en), HYX, 2006 ISBN 2-910385-44-2

Public collections

  • Frac île de France, (Fond Régional d'Art Contemporain d'île de France), France.
  • Frac Auvergne, (Fond Régional d'Art Contemporain Auvergne), France.
  • Fnac, (Fond National d'Art Contemporain), France.
  • Fond Municipal de la Ville de Paris, France.
  • Centre Georges Pompidou, Paris, France.
  • LVMH, Collection Bernard Arnault, Paris, France.
  • Collection François Pinault, Venise, Italy.
  • Goetz Collection, Munich, Germany.
  • Elysee Museum, Lausanne, Switzerland.
  • Kadist Foundation, Paris and San Francisco, United States.
  • LACMA, Los Angeles, United States.
  • Rubell Family Art Collection, Miami, United States.
  • Marguiles Collection, Miami, United States.
  • Israel Museum, Israel.
  • Nam June Paik Art Center, Korea.

References

  1. ↑ "Plus qu'un coup, c'est une prise de risques". Libération.fr. Retrieved 2016-02-12.
  2. ↑ Caroline Bourgeois and Loris Greaud (2013). Prima Materia. Electa.
  3. ↑ Noé, Paola (1 July 2005). "Paris / Loris Gréaud: Silence goes more quickly when played backwards". Modern Painters.
  4. ↑ "CELLAR DOOR, UNE EXPOSITION DE LORIS GREAUD". archives.palaisdetokyo.com. Retrieved 2016-02-12.
  5. ↑ "Palazzo Grassi".
  6. ↑ "Ministère de la Culture".
  7. ↑ Magazine, Wallpaper*. "Loris Gréaud's trail of destruction at Dallas Contemporary | Art | Wallpaper* Magazine". Wallpaper*. Retrieved 2016-02-12.
  8. ↑ "Initiartmagazine". www.initiartmagazine.com. Retrieved 2016-02-12.
  9. ↑ Ray, Michael (October 2012). "Icare vs Cousteau". Novo.
  10. ↑ "Initiartmagazine". www.initiartmagazine.com. Retrieved 2016-02-12.
  11. ↑ Quin, Elisabeth (30 January 2012). "Ouvert La Nuit". France Inter.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.