philippe decrauzat
Transcription
philippe decrauzat
PHILIPPE DECRAUZAT Born 1974, Lausanne, Romandy, Switzerland Lives and works in Lausanne and Paris Professor at Ecole cantonale d'art - ECAL, Lausanne, CH EDUCATION 1999 DNSEP Ecole Cantonale d’art de Lausanne, Renens, Lausanne, Switzerland Founding member of CIRCUIT, Lausanne, CH SELECTED SOLO EXHIBITIONS 2016 Bright phase, Dark Phase, Medhi Chouakri, Berlin, DE Philippe Decrauzat , Francesca Pia, Zurich, CH 2015 A Personal Sonic Geology, FRAC Île de France, group show conceived by Philippe Decrauzat and Mathieu Copeland Philippe Decrauzat, Parra & Romero, Ibiza, ES Philippe Decrauzat, Praz Delavallade @ Vedovi, Brussels, BE 2014 pour tout diviser, Elizabeth Dee, New York, US Notes, Tones, Stone, Le Magasin, Grenoble, FR 2013 Folding, Praz-Delavallade, Paris, FR Corps Flottants, Parra & Romero, Madrid, ES Anti-Illusion, Mehdi Chouakri, Berlin, DE 2012 Philippe Decrauzat, Gallery at Barnsdall Park, Los Angeles, US Philippe Decrauzat, Elizabeth Dee, New York, US 2011 NYSTAGMUS, Centre d'édition Contemporaine, Geneva, CH Philippe Decrauzat on the Retina, House of Art Ceské Budejovice, Ceské Budejovice, Philippe Decrauzat, Le Magasin, Grenoble, FR Anistrophy, Le Plateau/FRAC Ile de France, Paris, FR 2010 screen-o-scope, Praz-Delavallade, Paris, FR Prix Gustave Buchet 2010: Philippe Decrauzat et Jean-Luc Manz, Musée Cantonal des Beaux Arts de Lausanne, CH Philippe Decrauzat, Parra & Romero, Madrid, ES Philippe Decrauzat, Praz-Delavallade, Paris, FR 2009 Philippe Decrauzat, Haus Konstruktiv, Zurich, CH Philippe Decrauzat, Elizabeth Dee, New York, US 2008 Philippe Decrauzat, Secession, Vienna, AT Philippe Decrauzat, Praz-Delavalade, Berlin, DE Philippe Decrauzat, Galerie Francesca Pia, Zürich, CH Philippe Decrauzat, Kunstverein, Bonn, DE Printemps de Septembre, Les Abattoirs, Toulouse, FR Philippe Decrauzat, Musée de l'Abbaye de Sainte Croix, Les Sables d'Olonne, FR 2007 2006 2005 2003 2002 2001 2000 1998 1997 Screening, The Fabric Workshop and Museum, Philadelphia, US Undercover, Kunstraum Walchetrum, Zurich, CH And on to the Discotheque Comrade?, Fri-art, Fribourg, CH Philippe Decrauzat, Centre d’Art Contemporain, Geneva, CH Vista Vision, Praz-Delavallade, Paris, FR Plate 28, Swiss Institute, New York, US Komaniko, Mamco, Geneva, CH General Dynamics, Synagogue de Delme Centre d’art Contemporain, Delme, FR Nowherenow, Kunstaus Baselland, Basel, CH That’s the Image I Want, Glassbox, Paris, FR Go for a Ride, Le Hall, Enba, Lyon, FR Prix Manor, Elac, Lausanne, CH Philippe Decrauzat, Galerie Patrick Roy, Lausanne, CH Le Rez, Musée Cantonal des Beaux Arts, Lausanne, CH Permanent Show, Lausanne, CH Philippe Decrauzat, Galerie Tutti Edition, Verduno, IT Rien que pour Vous, Lausanne, CH SELECTED GROUP EXHIBITIONS 2016 The Promise of Total Automation, curated by Anne Faucheret, Kunsthalle, Wien, AT ALL OVER (curated by Samuel Gross), Galerie des Galeries, Paris, FR 2015 Anatomie de l'automate, La Panacée, Montpellier, FR The Exhibition of a Film, by Matthew Copeland, Centre Pompidou & Tate Modern Inflected Objects #1: Abstraction Rising Automated Reasoning, Istituto Svizzero, Milan, IT James, Circuit & Le Freistilmuseum, Xippas, Paris, FR NOTYETSEENINBERLIN, Mehdi Chouakri, Berlin, DE Free Admission, Praz-Delavallade, Paris, FR 2014 Explore, Le Château, Rentilly, FR The Exhibition of a Film, Curated by Mathieu Copeland, Geneva, CH The Optical Unconscious, Curated by Bob Nickas, Kunst(Zeug)Haus, Rapperswil-Jona, CH Docking Station, Aargauer Kunsthaus, Aarau, CH Global exchange: astrazione geometrica dal 1950, MACRO - Museo d'arte contemporanea Roma, Roma IT 1:1 Sets for Erwin Olaf & Bekleidung, The New Institute, Rotterdam, NL 2013 Pathfinder, Curated by Arlène Berceliot Courtin, Moins Un, Paris, FR Dynamo. Un siècle de lumière et de Mouvement Dans l’art. 1913-2013, Curated by Serge Lemoine, Galeries Nationales du Grand Palais, Paris, FR Capitale(s), Galerie Gourvennec Ogor, Marseille, FR Sin Titulo, Elizabeth Dee, New York, US Abstract Generation: Now in Print, The Paul J. Sachs Print and Illustrated Books Galleries, MoMA, New York, US 2012 2011 Des Mondes Possibles, Frac Franche-Comté, Besançon, FR Moving. Norman Foster on Art, Curated by Norman Foster, Carré d'Art, Nîmes, FR An Exhibition as a Mental Mandala, Curated by Mathieu Copeland, MUAC, Mexico City, MX Things from Before. Beside. Things from After. Around. Things of The Moment, Parra & Romero, Ibiza, ES 20 years of Square Art, Museum of Contemporary Art, Nimes, FR DNA: Strands of Abstraction, Curated by Paul Sinclair, Loretta Howard Gallery, New York, US Projections : Vers d'Autres Mondes, Musée de l'Abbaye Sainte-Croix, Les Sables d'Olonne, FR The Beginning of Beyond, Parra & Romero, Madrid, ES Paramor in Songe d'une nuit d'été, FRAC des Pays de la Loire, Carquefou, FR La jeunesse est un art. Anniversaire du Prix Manor 2012, Aargauer Kunsthaus, Aarau, CH Au delà du Tableau, Le 19 CRAC - Centre Régional d'art Contemporain, Montbéliard, FR Advert, Insert, Cover, Headline... Or A Secret and Arbitrary Connection Between London and Lake Geneva, Curated by Julien Fronsacq, BISCHOFF/WEISS, London, UK Le Blues du Chien, FRAC Basse-Normandie, Caen, FR Un Monde Invérifiable, Couvent des Minimes, Perpignan, FR The Old, The New, The Different, Curated by Fabrice Stroun, Kunsthalle, Bern, CH Tell The Children/Abstraction pour Enfants, La Salle de Bains, Lyon, FR Le Confort Moderne, Curated by Mathieu Copeland, Confort Moderne, Poitiers, FR 10th Anniversary Summer Exhibition, Elizabeth Dee, New York, NY, US Take Off Your Silver Spurs And Help Me Pass The Time, Curated by Gerold Miller, Galerie Niklaus Ruzicska, Salzburg, DE Collection Amplifiée, Curated by Arnaud Maguet, Musée Départemental d'art Contemporain, Rochechouart, FR Mr. I, Graff Mourge d'Algue, Geneva, CH LOST (in LA), Curated by Marc-Olivier Wahler, presented by FLAX, Los Angeles, US Municipal Art Paramor in Songe d'une nuit d'été, FRAC des Pays de la Loire, Carquefou,FR L'Ecal à Paris, Cité Internationale des Arts, Paris, FR Et Pis Meu là, et Pis Teu là!, Frac Languedoc-Roussillon, Montpellier, FR Echoes, Centre Culturel Suisse, Paris, FR Europunk, la Culture Visuelle Punk en Europe: 1976-1980, Villa Médicis, Roma, IT Black Should Bleed to Edge, Organized by Spot du Havre, ERBA de Rouen, Rouen, FR Le Château, Collection du CAPC, Musée d'art Contemporain de Bordeaux, Bordeaux, FR Safari, Curated by Patrice Joly, Le Lieu Unique, Nantes, FR Philippe Decrauzat, Olivier Mosset, Paul Snowden, Nymphius Projekte, Berlin, DE L'art au Château, Château de Portes, Portes, FR Play Bach, CIRCUIT, Lausanne, CH Ventajas de Viajar en Tren, Parra & Romero Gallery, Madrid, ES 2010 2009 2008 All of the Above, Curated by John Armleder, Palais de Tokyo, Paris, FR Uchronie ou des Récits de Collection, Organized by Le Bureau, Institut Français de Prague / Galerie Klatovy-Klenova, Prague / Klatovy, PL Schwarz Weiss - Design für Gegensätze, Museum für Gestaltung, Zurich, CH Electro Geo, FRAC Limousin, Limoges, FR It's all American, Curated by Haley Mellin & Alex Gartenfeld, New Jersey MOCA, Asbury Park, NJ Babel, FRAC Auvergne, Clermont-Ferrand, FR Radical Postures, Galerie les Fille du Calvaire, Brussels, BE Cut – Stéphane Dafflon, Philippe Decrauzat, Evergreen, Geneva, CH NEGATION, SUBTRACTION, DISSOLUTION, Curated by Front Desk Apparatus, Kantor Gallery, Los Angeles, US Chim Chim Cheree, Curated by Anne-Laure Chamboissier, L. A. P., Brussels, BE Black Hole, Centro Cultural Andratx, Andratx Mallorque, ES Collection 10, Institut d'Art Contemporain de Villeurbanne, FRAC Rhones-Alpes, FR Nothingness and Being, Fundación/Colección Jumex, Mexico, MX Drawings, Praz-Delavallade, Paris, FR Cave Painting, Curated by Bob Nickas, PSM Gallery, Berlin, DE Three Leap Seconds Later, Kunsthaus Grenchen, Grenchen, CH La Rose Pourpre du Caire: Works from the FRAC Collection, Les Ecuries – Jardin des Carmes, Aurillac, FR Solaris, Gio Marconi, Milan, IT T - Quelques Possibilités de Textes, Centre d'édition Contemporaine, Geneva, CH Geoplay (Part I), Pillar Parra & Romero, Madrid, ES Just with Your Eyes I Will See: Works from the FRAC Collection, Fond d'art Moderne et Contemporain, Montluçon, FR Made by ECAL, L’Elac, Lausanne, CH Notorious, Le Plateau / Frac Ile-de-France, Paris, FR Reinvented: Study and Play, Galerie Jan Wentrup, Berlin, DE Le Spectarium (les Fantômes dans la Machine), Cité le Corbusier, Pavillon Suisse, Cité Internationale Universitaire, Paris, FR Fade In / Fade Out, Bloomberg Space, London, UK L’exposition Continue, Curated by Mathieu Copeland, 1m3 & Circuit, Lausanne, CH The Eternal Flame, Kunsthaus Baselland, Basel, CH Abstraction Extension, Curated by Christian Besson, Julien Fronsacq, and Samuel Gross, Foundation Solomon, Chateau d'Arenthon, Alex Rolf Ricke Collection: A Contemporary Museum on Time, Villa Merkel, Esslingen, DE No Picture Available, Galerie Art & Essai, Rennes, FR Toute la Collection du Frac (ou Presque), MAC/VAL, Vitry-sur Seine, FR Abstraction Étendue - Une scène Romandes et ses Connexions, Espace de l'Art Concret / Château de Mouans, Mouans-Sartoux, FR 2007 2006 2005 Black Noise: A Tribute to Steven Parrino, CNEAI, Chatou, FR Welschland, Substitut – Raum für Aktuelle Kunst aus der Schweiz, Berlin, DE Black Noise, A Tribute to Steven Parrino, MAMCO, Geneva, CH Secondary Structures, KIT/Kunsthalle Dusseldorf, Dusseldorf, DE Rooms, Conversations, Le Plateau, Frac Ile-de-France, Paris, FR The Freak Show, Musée d’Art Contemporain, Lyon, FR A Moitié Carré A Moitié Fou, Curated by Lili Reynaud Dewar, Vincent Pécoil, Elisabeth Wetterwald, Villa Arson, Nice, FR White Light Write It, Lieu-Commun, Toulouse, FR At Home In The Universe, Curated by John Armleder, Mongin Art Center, Séoul, KR Introvert, Extrovert, Makes no Difference, Catherine Issert Gallery, Saint Paul de Vence, FR The Happiness of Objects, Sculpture Center, New York, US At Home in the Universe, Mongin Art Center, Seoul, KR Painting as Fact and Fact as Painting, curated by Bob Nickas, de Pury & Luxembourg, Zürich, CH Peintures Aller/Retour, Centre Culturel Suisse, Paris, FR Accélération, Curated by Gauthier Huber & Arthur de Pury, Centre d’Art Neuchatel, Neuchatel, CH Hysteria Siberiana, Cristina Guerra Contemporary Art, Lisbon, PT Cinq Milliards d’Années, Palais de Tokyo, Paris, FR Black/White & Chewing Gum, Galerie Krobath Wimmer, Vienna, AT War on 45 / My Mirrors Are Painted Black (For You), Curated by Banks Violette, Bortolami, New York, US Bring the War Home, Curated by Drew Heitzler, Elizabeth Dee, New York, and QED, Los Angeles, US Hradacany, La Générale, Paris, FR Surfaces Polyphoniques, Centre Régional d’Art Contemporain Languedoc-Roussillon, Sète, FR Branding, Centre PasquArt, Bienne, CH Objets d’hier et d’aujourd’hui, Ecole Municipale des Beaux-Arts, Galerie Edouard Manet, Gennevilliers, FR Supernova, Domaine Pommery, Reims, FR HERENOWHERE, Kunstaus Baseland, Basel, CH L’humanité Mise à nu et l’art en Frac, Même, Casino Luxembourg, Luxembourg, LU Group Show, Rolf Ricke, Köln, DE Especial, Galerie Shmidt Maczollek, Cologne, DE Decrauzat, Dafflon, Kropf, Proposed by d’Olivier Mosset, Verney-Carron, Villeurbanne, FR Odiseado tra Tempo, Curated by Charlotte Mailler, Peter Kilchmann Gallery, Zurich, CH Group Show, Les Abris Antiatomiques de l’ARSENIC, Geneva, CH 2004 2003 2002 2001 2000 1999 1998 Shimmy II, Musée d’art Moderne et Contemporain de Strasbourg, Strasbourg, FR Sensations Suisse, Place Vendôme, Paris, FR La Piste Noire, Galerie Loevenbruck, Paris, FR None of The Above, Curated by John Armleder, Swiss Institute, New York, US The Age Of Optimism, No Picture Available, with Francis Baudevin and Stéphane Dafflon, Peter Kilchmann Gallery, Zurich, CH La Lettre Volée, Musée des Beaux Arts de Dôle, Dôle, FR Circa Circé, Forde, Geneva, CH Programm VIII, Galerie Rolph Ricke, Köln, DE Unter 30”, Museum Liner, Appenzell, CH En Mouvement, Galerie Jean Brolly, Paris, FR Jour d’hypnose, Le Rectangle, Lyon, FR Hot Lunch, Kunsthaus Glarus, Glarus, CH 5 Billion Years, Swiss Institute, New York, US Circuit, Galerie Arte Ricambi, Verona, IT Group Show, Galerie Lovenbruck, Paris, FR La Partie Continue, Crédac, Ivry-sur-Seine, Paris, FR Dessins, Galerie Jean Brolly, Paris, FR Meanwhile In The Real World, Chapelle de La Sorbonne, Paris, FR Lee 3 Tau Ceti Central Armory Show, Villa Arson, Nice, FR Des Voisinages, Le Plateau / FRAC Ile de France, Paris, FR Drawing by Numbers, Glassbox, Paris, FR MURSOLAICI, Centre Culturel Suisse, Paris, FR VOID, CAN, Neuchatel, CH Galerie des Multiples, Paris, FR Rétrospective des prix Manor, Elac, Lausanne, CH Les Heures Claires, Villa Savoye, Poissy, FR Help, Elac, Lausanne, CH Inside the sixties, MCBA, Lausanne, CH FRI-ART 81, Fri-art, Fribourg, CH BCV Art, Musée Jenish, Vevey, FR Perspectives Romandes 3, Musée Arlaud, Lausanne, CH Record Collection, Forde, Genève, CH Quotidien Aidé (les Locataires), ESBA, Tours, FR The Doors, Luzerne, US CC La Santa, Barcelone Art Contemporain, Barcelona, ES CIRCUIT, Galerie éof, Paris, FR CIRCUIT, Celeste & Eliot Kunstsalon, Zürich, CH Carte Blanche, Paris, FR Scène Ouverte, Nouvelle Galerie, Grenoble, FR Glassbox, Paris, FR 1997 Circuit, Lausanne, CH Commerce, Galerie Gaxotte, Porrentruy, CH In Vitro, alternative spaces, Zürich, CH (…), Casablanca, MA Espace MAC, Lausanne, CH Villa Gracieuse 5, Lausanne, CH VIDEOS/SCREENING 2016 2014 Anisotropy, La Panacée, Montpellier, FR (with Alan Licht) Anistropy The Promise of Total Automation, curated by Anne Faucheret, Kunsthalle, Wien, Anisotropy, Centre Culturel Suisse, Paris, FR (with Alan Licht. Co-produced by La Batie 20 Anisotropy in La Batie 2014, Cave 12, Geneva, CH (with Alan Licht) After Birds, FRAC Basse-Normandie, Caen, FR PROJECTS 2015 A Personal Sonic Geology, FRAC Île de France, group show conceived by Philippe Decrauzat and Mathieu Copeland SELECTED PUBLIC COLLECTIONS Albright-Knox Art Museum, Buffalo, US CAPC, Musée d'art Contemporain de Bordeaux, Bordeaux, FR Collection Assurance Bâloise, Basel, CH Collection d’art Swiss Life Groupe, Zurich, CH Collection de la Banque Cantonale Vaudoise, Lausanne, CH Collection de la Banque Nationale Suisse, Zurich, CH Collection of the Swiss Confederation, Federal Office for Culture, Bern, CH Collection Julius Baer, Zurich, CH Collection Kunsthaus, Zurich, CH Collection LVMH, Paris, FR Collection Rhône-Alpes, Institut d’art Contemporain, Villeurbanne, FR Espacio 1414: Berezdivin Collection, San Juan, PR, US Fondation pour l-art contemporain Claudine et Jean-Marc Salomon, Alex, FR FNAC, Paris, FR FRAC Basse-Normandie, Caen, FR FRAC Franche-Comté, Dôle, FR FRAC Ile-de-France/Le Plateau, Paris, FR FRAC Nord Pas-de-Calais, Dunkerque, FR FRAC Languedoc-Rousillon, Montpellier, FR FRAC Pays de Loire, Nantes, FR Les Abattoirs, Toulouse, FR Museo de Arte Contemporaneo de Buenos Aires, AR Musée de l'Abbaye de Sainte Croix, Les Sables d'Olonne, FR Musée Cantonal des Beaux-Arts, Lausanne, CH Museum of Modern Art, New York, US BIBLIOGRAPHY Barachon, Charles. “Philippe Decrauzat, l'hypnose sur un plateau.” Technikart, April 2011. Baumann, Daniel. "Undercover." Spike, Spring 2007. Bigman, Alex. “Philippe Decrauzat: Pour Tout Diviser at Elizabeth Dee.” Daily Serving, October 9, 2014. Bonaspetti, Edoardo. “Philippe Decrauzat.” Mousse, no.6 January/February2007. Bonnet, F. “Paroles d’Artistes: Philippe Decrauzat; J’avais envie d’une confrontation avec le soleil,” Le Journal des Arts, 16-29 April 2010, p.15. Boucher, Brian. “The Top 10 Booths at Independent New York 2016”. ArtNet News, March 4, 2016. Carmine, Giovanni. "OP& LOW," 20/27, no. 1 2006. Christiansen, Jen. “Art and Science of the Moire’ Scientific American, September 2014. Copeland, Mathieu. Decrauzat, Philippe, Partons de zéro, Madrid, Parra & Romero, 2011. Davies, Lillian. "Paris, Critics’ Picks: Philippe Decrauzat." Artforum.com, February 2006. De Pahlen, Tatiana. “Philippe Decrauzat, Centre Culturel Suisse / Paris”, Flash Art, 25 January 2015. Decrauzat, Philippe, Trois films photographiés - A Change of Speed, a Change of Style, a Change of Scene - After Birds - Screen O Scope, livre d'artiste, Geneva, Centre d'édition contemporaine, 2011. Demousseaux, Astrid. Paris-art, January 2006. Derieux, Florence, Flash Art, March-April 2006. Descombes, Mireille, “Philippe Decrauzat.” Le Phare, January-April 2011. Francblin, Catherine. "Art Cinétique, la Sortie du Purgatoire.” Art press : 314, July/August 2005. Fronsacq, Julien. "Philippe Decrauzat - CAC Genève." Frog, Spring/Summer, p.100-103 2007. Gagnebin de Bons, David. “Decrauzat hyperartiste,” Edelweiss, October 2011, pp.50-51. Grandjean, Emmanuel. "Vertige au Centre d’art avec Philippe Decrauzat." Tribune de Genève, November 4, 2006 Greenberg, Kevin. “Philippe Decrauzat.” Last Magazine, 2011. Gross, Samuel. "L’exposition du spectateur – le jeu spatial de Philippe Decrauzat." Kunstbulletin, January/February 2007. Houston, Joe. Optic Nerve: Perceptual Art of the 1960’s. Columbus: Columbus Museum, 2007. Indrisek, Scott. “Independent New York Is a Cute Above: Moment by Moment.” BlouinArt Info. March 2016 Jakubowicz, Alexis. “Philippe Decrauzat.” Artpress: 378, March 17-May 15, 2011. Jaumin, Francoise. “Philippe Decrauzat rayonne a Zurich.” 24 Heures, September 2009. “L'art op...pop...optique”, Mouvement, April-June 2011. Launay, Aude. “Entretien avec Philippe Decrauzat.” 02, N°57, Spring 2011, pp.12-16. Lavrador, Judicael. "Art élastique." Les Inrockuptibles, January 2006. Lavrador, Judicaël. “La playlist de Philippe Decrauzat.”Beaux Arts Magazine, n°323, May 2011, p.38 Lavrador, Judicaël. “Fatale attraction.” Les Inrockuptibles, March 30-April 5, 2011. Lavrador, Judicael. “Qu’est-ce que la peinture aujourd’hui?” Beaux Arts Editions, December 2008. Lequeux, Emmanuelle. “Philippe Decrauzat nous met les pupilles au carré.” Beaux Arts Magazine: 323, May 2011, p.141. Lesauvage, Magali. “Philippe Decrauzat sert son cocktail visuel au Plateau,” Fluctuat, “Le Top 10 2008.” Technikart, December 2008 Januray 2009. Link, Christina. "Art Premiere." Art Investor. Martinez, Alanna. “The Independent Fair’s New Tribeca Home is the Best Place to View art the Week”. The Observer. March 2016 Meade, Fionn. “Review: Philippe Decrauzat at Elizabeth Dee Gallery.” Artforum, May 2009. Nikas, Bob. Painting Abstraction: New Elements in Abstract Painting. Phaidon Press Ltd. October 2009. Pécoil, Vincent. "Op-ed World: Philippe Decrauzat." Contemporary no. 82 2006. Perret, Mai-Thu. “Favorite Exhibition of the Year.” Artforum, December 2008. Piettre, Céline. “Philippe Decrauzat – Anisotropy.” ParisArt, April 18, 2011. Poirier, Matthieu. “Philippe Decrauzat”, Code 2.0 : 10, Spring 2015. Portier, Julie. “Peinture-onde.” Journal des Arts: 345, April 15-28, 2011, p.12. Prodhon, Françoise-Claire. “Le mouvement et la lumière.” AD Magazine: 116, May 2013, p.76. Pulimood, Steve. “Philippe Decrauzat: For The Birds.” Interview Magazine, March 2009. Schwendener, Martha. “Independent Fair Is More Conventional, but Eye-Catching”. The New York Times, March 4, 2016 Sennewald, Emil. “Philippe Decrauzat.” Kunstbulletin, May 2011. Stroun,,Fabrice.,"Progress,Report”,,Les$Presses$du$Réel,,2003.,, "Un chef d’orchestre de la perception." Beaux-Arts Magazine, no. 272, February 2007. "Visual Effect." Vogue, January, p78 2006. Vicente, Anne Lou. “L'illusioniste - Philippe Decrauzat au Plateau.” Trois Couleurs, March 2011. Velasco, David. "Review about the show in the Swiss Institute." Artforum, October 2006. Wahler, M.-0., "Dossier Paraminimal – Entretien avec Marc-Olivier Wahler." 02 – revue d’art Contemporain, Summer 2001. PHILIPPE DECRAUZAT 25/01/2015 PRESS REVIEW FLASH ART DAILY Philippe Decrauzat Centre Culturel Suisse / Paris Philippe Decrauzat “Anisotropy” (2013) Courtesy of the Artist Philippe Decrauzat is known for his multidisciplinary practice. Shifting from one medium to another, his paintings, films, installations, drawings and sculptures find common ground in their complex geometrical compositions. Although often associated with abstraction and Op art, his work precisely amalgamates contrasting influences. Decrauzat positions himself not far from a historian’s perspective, investigating the past in order to divulge the future. Creating bridges through space-time, the references in his work are abundant but always discreetly integrated and are never completely visible on the surface. As in a game, the artist deftly collects his source material from eclectic fields: popular culture, scientific literature, graphic design, experimental cinema. A point of departure might be the logo of the punk rock band Dead Kennedys, the cover of a scientific review, the geometric carpet in Kubrick’s The Shining or the mirror paintings of Roy Lichtenstein. Decrauzat often distorts those found elements and sets them into motion, questioning the notions of perception and the status of the image in a passive poetic manner. For “Anisotropy,” the artist is showing a succession of filmic sequences that take for their subject a scientific object produced as part of research on the misappropriation of waves. The object rotates on an axis and evokes the zoetrope, the early filmic animation device that produced the illusion of movement due to the persistence of vision. Decrauzat invited New Y York–based musician Alan Licht to compose live over and in response to the blackand-white graphic images. Merging layers of perception, the audio-visual installation leaves the viewer in a state of consciousness in which sound, images and speed reverberate and meld into a single form. Reality is abruptly erased, only to become heightened through a synesthesia of the senses. - by Tatiana T De Pahlen ELIZABETH DEE 545 WEST 20TH STREET T 1 212 924 7545 PHILIPPE DEcRAuZAT Spring 2015 ELIZABETH DEE PRESS NO 10 545 WEST 20TH STREET T 1 212 924 7545 PHILIPPE DEcRAuZAT ELIZABETH DEE 545 WEST 20TH STREET PRESS T 1 212 924 7545 PHILIPPE DECRAUZAT PRESS SEP 2014 Art and Science of the Moiré By Jen Christiansen The views expressed are those of the author and are not necessarily those of Scientific American. I’m a bit obsessed with Scientific American covers, but my knowledge of the archive during the years before my time on staff is broad rather than deep. Artist Philippe Decrauzat, on the other hand, has developed an intense connection with a very specific cover image: May 1963. It was the inspiration point for his series of paintings, On Cover, initiated in 2011. The latest iteration of that series can be seen now in the Pour Tout Diviser exhibition at the Elizabeth Dee Gallery in Manhattan (September 13-Octo- ber 29, 2014). Clearly well versed in moiré effects, Decrauzat breathes life into the classic cover image. Cover credit: Joan Starwood and Photo-Lettering View of "pour tout diviser" exhibition, by Philippe Decrauzat. Photograph by Etienne Frossard. Courtesy the Artist and Elizabeth Dee, New York ELIZABETH DEE 545 WEST 20TH STREET T 1 212 924 PHILIPPE DECRAUZAT PRESS The May 1963 article “Moiré Patterns” (by Gerald Oster and Yasunori Nishijima) defines moiré patterns thusly, “When one looks through a window screen that happens to be in front of another window screen, one sees a curious pattern that results from a combination of the lines in the two screens. Such patterns are called moirés, and they are produced whenever two periodic structures are overlapped… In the typical moiré pattern the moiré effect materializes when two sets of straight lines are superposed so that they intersect at a small angle. If the superposed lines are nearly parallel, a tiny displacement of one of the figures will give rise to a large displacement in the elements of the moiré pattern. In other words, the displacement is magnified. This phenomenon has far-reaching implications in many disciplines of science.” Graphic by Joan Starwood and Photo-Lettering, In “Moiré Patterns” by Gerald Oster and Yasunori Nishijima, in Scientific American, May 1963 ELIZABETH DEE 545 WEST 20TH STREET T 1 212 924 PHILIPPE DECRAUZAT PRESS Painting by Philippe Decrauzat (On Cover, 2014; Acrylic on canvas; 74 3/4 x 31 1/2 inches (190 x 80 cm); Image courtesy the Artist and Elizabeth Dee, NY; Photographer: Etienne Frossard) A conversation with Decrauzat about his research and influences—which includes the co-author of the article mentioned above, Gerald Oster (1918-1993)—inspired me to learn more. ELIZABETH DEE 545 WEST 20TH STREET T 1 212 924 PHILIPPE DECRAUZAT PRESS Author of seven articles for Scientific American magazine (his bio as it appeared in the February 1970 issue is shown to the right), Oster also taught biophysics at Mount Sinai School of Medicine and polymer chemistry at the Polytechnic Institute of Brooklyn. He was exhibited at the Howard Wise Gallery (Oster’s Magic Moirés in 1965, and Moirés and Phosphenes in 1966), and was included in the Museum of Modern Art’s (MoMA) 1965 exhibition entitled The Responsive Eye, a collection of works that existed “less as objects to be examined than as generators of perceptual responses in the eye and mind of the viewer.” (Click here for a pdf download of the original release). Despite the fact that he was an artist in his own right, it is interesting to note that Oster did not execute any of the illustrations in the May 1963 article. Credits go to Joan Starwood and Photo-Lettering for the cover image, and Joan Starwood, Photo-Lettering, and Martin J. Weber Studio for the article graphics. Many thanks to Decrauzat for sharing his work, and highlighting Scientific American’s connections to the Op art (optical art) movement. ELIZABETH DEE 545 WEST 20TH STREET T 1 212 924 PHILIPPE DECRAUZAT PRESS SOUNDTRACK For the past several years, Philippe Decrauzat has developed a body of film and video work concurrent with his pictorial practice. Through this filmography, he develops iconographic references within the work – which enriches the entire oeuvre. For his most recent film Anisotropy (2014) Decrauzat invited Alan Licht, a key figure of the noise and minimal scenes, to collaborate. This alliance can be read, seen and heard as a modern visual demonstration, shifting boundaries and perception thresholds in the history of art and visual culture. - Text by Olivier Michelon In 2003 Alan Licht released A New York Minute, an opus divided in two parts. Part one, ”Studio” is composed of a series of recordings exploring the possibilities of multitrack recording – that is, the layering and mixing of multiple sound recordings to create a cohesive whole. Part two, “Live,” is concerned with instrumental virtuosity. With an electric guitar, Licht weaves fluid landscapes in endless variations, stridency and harmonic touches. The achievement of this supposed duality is exemplified in A New York Minute’s fifteen-minute compositional introduction. Composed by a series of weather reports, it simultaneously condenses, summarizes and introduces the atmospheric content of the album. This preface precisely situates the work, while strengthening the abstraction of its content. A New York Minute is also well interpreted as the spectral expansion of a short never ending meditation, an endless climb – a quality consistent with drone music, of which Licht is a contemporary disciple. Minute translates from French as a physical cartography. In legal terms, it refers to the origin of a decision, its first official record. However, as accurate as their initial perception and interpretations may be, both parts of A New York Minute gain their gravity once experiences at the appropriate volume. The last track, “Remington Khan,” subtitled Hearing Test, begins at an indiscernible level and rises gradually. A New York Minute comes across as central in Licht’s discography, as it is sufficiently punctuated by indications, iconography or titles – making the “sound fiction” intelligible, which his output has been exploring for the last twenty years. His affliation with historical vanguards is crystallized in his relationship with the Minimalist experimentations of the 60’s and 70’s, the heterogeneity of their flirtation with the counter-cultures and subjective permeability. Probably driven by a pop sentimentalism, Licht chose Perfect Lovers by Felix Gonzalez-Torres to illustrate his record. In relation with the lover clocks of Gonzalez-Torres, the revolutions of Anisotropy are monomaniacal and limited to a single face, yet still disruptive. Carved in an aluminum block, the sculpture featured in the film is a third larger than a record; it has a diameter of 48cm and is about 9cm thick. Eventually, the repetitive rotations divert light waves of the solid and make them visible. “Anisotropic” is an object whose characteristics vary according to its orientation. The film manifestation of the anisotropic object’s rotations closely resembles a vortex and its interference creates unconventional visual distortions. This singularity is also on Decrauzat’s filmography, although Anisotrophy knows no filmography equivalent in Decrauzat’s practice. Unlike A Change of Speed. A Change of Style, a Change of Scene (2006), After Birds (2008) or Screen O Scope (2010), the film is not a product of recycling of pre-existent shots - geometric grids, images, movies - but from the direct input of a camera on a three-dimensional moving object. For those familiar with the work Decrauzat, Anisotropy can be read as a sequel to László Moholy-Nagy’s Ein Lichtspiel Schwarz-Weiss-Grau, a long-standing influence within Decrauzat’s environmental installations and sculptures. But the interference on the film goes beyond the mechanical ballet world of the 20’s and 30’s. Apart from its film existence the disk of Anisotropy could have never had any material existence. Beginning with the digital extrapolation from a 2D scientific illustration, it is then built into a 3D mechanism, and then captured at a rate of 24, 48 or 64 frames per second on silver film. Like Screen O Scope and its cloaked reference to the naturalistic cinema of Kurosawa , Anisotropy is a return to cinema. The plateau that runs in front of the viewer is a reconstructed rotation. Projected on a screen, the luminous body derives from the rhythm of the shutter of the camera and the projector. In this form, it reminds in a obvious way of praxinoscope trays. Therefore disguised as a tribute to the avant-gardes of the 1920s and 1930s, Anisotropy revives a fundamental aspect of the experimental cinema of the 60’s and 70’s: the spatial and temporal inversion bordering led near the minimalism. Like Michael Snow’s Wavelength (1967), which was a clear breakthrough towards photography, or Sharits’ structural cinema practice touched with optical nervousness, or the poetic reflexivity of Frampton, or the covert candidness of Warhol’s photography, Anisotropy develops both a horizontal and temporal vision of the shot. More than a lighted picture rail, the experience of the black room amplifies the frontal aspect of the screen until its dissolution. The exploration at the same time of the drone by La Monte Young and Phill Niblock, operated in a similar way. In a comparable style, the minimal compositions of Licht amplify the moment, the sound, the magnetic vibration and are placed in a gritty landscape. It is these gestures that drive Decrauzat’s painting, irretrievably too minimal to be further classified as Op Art. This is not Decrauzat’s first collaboration with Alan Licht. This invitation follows an encounter between the musician and Marrakech Press (a collaboration between Decrauzat and Mathieu Copeland). In Alan Licht / regional press (2011), a musical improvisation on guitar is superimposed on views of a destroyed printing shop. The amplified fragments, themselves audio tools used by Licht, fit within images of the brutally scattered fonts. Licht’s sound intervention in Anisotropy pursues these disturbances between amplification systems, reproduction and distortion. It is not synchronized or analogue but “friendly transformations”. It distorts, but in the direction of sameness, so that if his power was not balanced the world would be reduced to a point, to a homogeneous mass, the dismal figure of the same: all its parts would be held and communicate with one another without break or distance, as the metal chains suspended by sympathy to the attraction of one magnet” (2) Namely the magnetic windings organ agreement supported the early five variations of Rabbi Sky (1999) by Licht or the visual dust of Anisotropy. 1- One of the main pattern on Screen O scope is inspired by the sun reflected on the water, which appeared in Rashomon 2 - Giambattista della Porta “Magie Naturelle” 1615 mentioned by Michel Foucault, Les Mots et les Choses p.39, Gallimard PHILIPPE DECRAUZAT PRESS 9 MARCH 2012 PHILIPPE DECRAUZAT: FOR THE BIRDS By STEVE PULIMOOD ELIZABETH DEE 545 WEST 20TH STREET T 1 212 924 7545 PHILIPPE DECRAUZAT By Kevin Greenberg “No one can own a striped painting,” the artist Philippe Decrauzat remarks, noting that the technical vocabulary that has become his trademark over the past twelve years “is certainly indebted to the history of 20 th-century abstraction, but its foundation rests on forms and patterns that are deeply charged with cultural and historic meaning.” At their most effective, the paintings and installations for which Decrauzat is best known engross and beguile the viewer with borderless striations and bottomless vortices that simultaneously call to mind the most hypnotic examples of Op Art and the most esoteric fringes of Minimalism and Constructivism. On both standard rectangular and custom-cut canvases, Decrauzat renders simple linear patterns as well as elegantly baroque parametric forms seemingly indebted to complex mathematics. In their clinical simplicity, Decrauzat’s canvases practically leap from the walls, creating an almost queasy dual impression of extreme flatness and limitless depth. Though many of his works are rendered in a stark palette of black and white, the artist’s most seductive pieces showcase a sophisticated understanding of color. A piece like 2009’s Novo, for example, is rendered more powerful by the subtlety of the single hue the artist chose for the composition, and the restraint with which it was applied. Though its evenly spaced vertical stripes inevitably recall the work of Daniel Buren, the subtle gradient that lends 2008’s Slow Motion its rich depth seems like an integral component of an equation, as crisply logical as the sharp, repeated, triangular canvases that comprise the piece. Ambitious in scale and remarkable for their technical rigor and precision, Decrauzat’s works offer much more on closer inspection than the rolling moire patterns and bold graphic motifs that color a viewer’s first impression. Decrauzat’s use of these perceptual manipulations is as much at the heart of his project as the grand scale and site-specificity of many of his works. He is interested in time, he says, and motion, in the frailty and fallibility of human perception, the gap between mind and eye. His works are often most effective when they temporarily overwhelm the visual apparatus. By forcing the viewer to grapple with perspective, his work becomes less susceptible to strict formal analysis and engages more explicitly with space and the observer’s place within it. “The idea is that these forms should create a very personal relationship with the viewer. They should locate the viewer in a very specific situation,” Decrauzat explains, almost as a film might. In fact, he notes, the larger pieces are meant to function the way a film or animation does, obscuring the line between time and space, enhancing illusions of depth and movement, and forcing the viewer to engage fully with an image projected into a room at large. A growing portion of Decrauzat’s practice is explicitly concerned with cinema, and in recent years he has begun to experiment with film works. After Birds, from 2008, is one such experiment, an elegant 16mm manipulation that reworks footage from the title sequence of Alfred Hitchcock’s 1963 film into a pulsing nearabstraction reminiscent of the “flicker” films of Ken Jacobs and Peter Kubelka. Experiencing After Birds, it’s evident that Decrauzat intends to parse the experience of cinema into something like the classic Deleuzian pairing of time-image and movement-image—the better to underscore the subtleties of the medium’s spatial component. Decrauzat notes that forthcoming work will also actively incorporate sound, adding a more substantial sonic treatment of space to his usual visual palette. One thinks of La Monte Young and Marian Zazeela’s Dream House, the longstanding light and sound installation tucked into a Tribeca walkup, as well as the deep bass pulsations of experimental musicians like Eliane Radigue or Eleh, whose mystical drones possess a neartangible spatial character. Decrauzat’s concern with intangibles is offset by his use of objects, which often occur as simple, starkly crafted three-dimensional shapes carefully placed within his installations. The resulting figureground relationship is an unsettling one, ultimately enhancing the viewer’s sense of subjectivity, of being one of several points in a flattened field without limit or edge. A new project promises still a different perspective. For an upcoming exhibition in Geneva, Decrauzat will create a book of condensed stills from his film manipulations that fuse time and image in a way that’s different from his paintings, films, or installations. By creating a bound and printed series of compositions from film stills, Decrauzat can capture the essentials of his practice in a pocket-sized object. After so much time creating works on walls and in spaces, working with images and the nuances of projected light, “I’m looking forward to a return to paper,” Decrauzat says. “This is my chance to take all of these elements and to come back to the start,” a trajectory not unlike the complex shapes of many of his most intriguing canvases. “It will be a perfect media loop,” he laughs. Above left: Philippe Decrauzat, Process II, 2009 (Installation View). Courtesy of the artist and Elizabeth Dee. Photography by Tom Powel Imaging Inc. Above center: Philippe Decrauzat, Exhibition View, “Printemps de Septembre,” Les Abattoirs, 2008. Courtesy of the artist and Galerie Praz-Delavallade. Photography by Damien Aspe. Above right: Philippe Decrauzat, SEYES, 2009. Courtesy of the artist and Elizabeth Dee. Below: Philippe Decrauzat, Exhibition View, “Philippe Decrauzat,” Elizabeth Dee, 2009. Courtesy of the artist and Elizabeth Dee. Photography by Tom Powel Imaging Inc. PHILIPPE DECARUZAT PRESS MAY 2009 PHILIPPE DECRAUZAT ELIZABETH DEE The so-called neo-geo artists of the 1980s — New York painters Peter Halley, Ashley Bickerton, Philip Taaffe, and a few others—promoted an ironic distance from the often doctrinaire history of abstract painting, arguing that various art styles and effects be understood as nothing more than a series of ready-mades borrowed an brought together. Seeking to reveal complicity between the maker, viewer, and consumer in appreciating its own clearly Philippe Decrauzat’s composite style of reference and reproduction recalls this stance. His paintings, sculpJohn Armleder. It closely resembles the latter’s use of various inherited styles, devices, and installation effects as outmoded, given the propensity for art to serve, in the end, as décor. in a shape faintly resembling a swastika; modeled on a bench designed by Laszlo Moholy-Nagy to allow views in all directions in a circular room, Decrauzat’s work, with its hasty brush marks and drab color choice, makes for a seems today. - View of “Philippe Decrauzat,” 2009. ELIZABETH DEE 545 WEST 20TH STREET T 1 212 924 7545 PHILIPPE DECARUZAT PRESS staff in his performace I Like America and America Likes Me, 1974), the bars also brought to mind the parodic gesture of Armleder’s Don’t Do It!, 1997-2000, a work composed of a series of Flavin-like neon suggest three rectangles halved, their respective two parts hung, in this show, opposite each other. The compositions inevitably recall Daniel Buren’s signature motif—borrowed from an industrially produced awning pattern—though the allusion is vitiated by a gradual darkening at the edges of the red, as if to - contraction. ELIZABETH DEE 545 WEST 20TH STREET T 1 212 924 7545 PRAZ-DELAVALLADE 28 , rue louise Weiss 75013 Paris t: 33 (0)1 45 86 20 00 f: 33 (0)1 45 86 20 10 gallery@praz-delavallade.com www.praz-delavallade.com