Inauguration of Jean-Pierre Khazem show at the gallery
PARIS
May 5, 1998
John Water’s Paris exhibition brought together works he produced between 1993 and 1998: photographic stills from old films succeeded one another within long horizontal frames. These “edited” film excerpts were pulled from his own productions or borrowed from other filmmakers. The images linked thematic connections, contrasts, sequences of actions...
MOVING TO 5 RUE LOUISE WEISS
PARIS
2000
OPENING OF NANO GALLERY (galerie Perrotin), 5 RUE LOUISE WEISS
PARIS
2000
“I had entrusted our gallery assistants (Peggy Leboeuf and Adeline Cacheux) to curate the vitrine of the gallery on rue Louise Weiss. The idea was to provide my employees with a space where they could showcase their tastes, their interests. This was how we organized the first exhibition featuring Aya Takano and Mr.”
“Three sets of hands were involved in this painting since it is impossible, alone, to draw three or four lines simultaneously. These tableaux localize a surface where we use brushes together, without ever lifting them off from the canvas. Their arabesques braid together, and the length of the tableau doubles as a measure of time.”
PALERMO, SICILY
June 10 - November 04, 2001
Maurizio Cattelan has been invited in 2001 for the 49° Venice Biennal. Weary of his fourth participation, he wished to move the context of his participation to the city of Palermo, Sicily.
Maurizio Cattelan constructed on the hills of the city a perfect copy of the sign "Hollywood", emblem of the american star system situated on the hills of Los Angeles.
This huge installation, constructed near the municipal dumb, it's 22 metres of height for 180 metres of lenght.
150 people among collectors, critics and curators were invited the day of the opening of the Biennal to take a plane from Venice direction Palermo for a special cocktail in front of the installation and then back to Venice the same evening. The public was so urged to leave a paradise of tourisme of luxe to go to visit a city stroken by 22% of unemployment.
The guests received on the plane a big catalogue, published by Vanity Fair, were all the Hollywood stars were reproduced. The cover was the image of the fake Hollywood of Palermo.
This photo, taken by the helicopter during the opening day, gives the idea of this huge project. Indeed, through its back side view, we can discern, in the order, the proportions of the letters, the cocktail, his public and the city at the bottom.
Many Cattelan's works function through the rumour. This piece has been propagated by 150 guests, only witness that day of this project. It's quite rare that an artist becoming famous makes fun of the star system itself.
Would Hollywood be the capital of the world-wide cinema if movies on the sicilian mafia would not have been made?
