{"id":10574,"date":"2014-12-04T08:12:00","date_gmt":"2014-12-04T08:12:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=10574"},"modified":"2023-04-18T08:21:49","modified_gmt":"2023-04-18T08:21:49","slug":"philippe-parreno-at-esther-schipper-berlin","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/philippe-parreno-at-esther-schipper-berlin\/","title":{"rendered":"Philippe Parreno at Esther Schipper, Berlin"},"content":{"rendered":"\n

by Chris Moore<\/strong><\/p>\n\n\n\n

Philippe Parreno, \u201cQuasi-Objects\u201d and \u201cHow Can We Tell the Dancers from the Dance\u201d<\/p>\n\n\n\n

Esther Schipper<\/strong><\/a> (Sch\u00f6neberger Ufer 65, Berlin) Nov 14 \u2013 Jan 15, 2015<\/strong><\/p>\n\n\n\n

Schinkel Pavillon<\/strong><\/a> (Oberwallstrasse 1, Berlin) Nov 15 \u2013 Dec 21, 2014<\/strong><\/p>\n\n\n\n

In the moment before realization, between heartbeats and thoughts, vision stutters. A momentary, epileptogenic psychosis interrupts interpretation and understanding. Confusion and cognizance collide; memory and imagination entwine. \u201cReality\u201d and \u201cart\u201d are indistinguishable. It is here, in this space, that artists like Philippe Parreno and Pierre Huyghe operate, conjuring half-familiar ghosts at the periphery of vision.<\/p>\n\n\n\n

Fake snow is heaped in a corner\u2014a m\u00e9lange of polymer, diamond powder (carbon) and clay. Helium-filled colored reef fish swim randomly through the gallery space recalling Warhol\u2019s metallic \u201cSilver Clouds\u201d (1966) and standing in for Cage\u2019s \u201cmusicircus\u201d, whereby musicians would move around and interact with a space, playing different pieces of music (whimsically at the expense of Jeff Koons). A cluster of light box signs, naked of advertising, flash apparently intermittently but actually in sync with the gallery\u2019s ceiling strip lighting and other wall-mounted lights of a seemingly anachronistic design, and a 1958 floor lamp by Danish designer Arne Jacobsen. (1) Wall labels light up and fade. A robotic Disklavier piano plays, in time with the lights, on a light-box plinth. Another light-box supports clusters of international electrical adaptors, connected\u2014adapting\u2014to each other but not to the power. The windows, covered with a semi-transparent film, offer a diffuse view of \u201coutside\u201d.<\/p>\n\n\n\n

\"\"<\/a>
Philippe Pareno, \u201cQuasi Objects: My Room is a Fish Bowl, AC\/DC Snakes, Happy Ending, Il Tempo del Postino, Opalescent acrylic glass podium, Disklavier Piano\u201d, various helium inflatable float balloons in the shape of fish, electrical plugs and adapters, lamp with Arne Jacobsen lampshade, electrical system, electrical wire and plug, magnifying glass, opalescent acrylic glass podium, LED lights, 6 plugs, 194,5 x 600 x 300 cm, 2014 (image courtesy the artist and Esther Schipper, Berlinl Photo \u00a9 Andrea Rossetti)<\/figcaption><\/figure>\n\n\n\n

Parreno\u2019s new exhibition at Esther Schipper gallery ostensibly presents a type of retrospective of select works dating from 1992. The exhibition title \u201cQuasi-Objects\u201d refers to concepts developed by philosophers Michel Serres and Bruno Latour regarding a re-contextualization of the interaction of science, taxonomies and language\u2014particularly in Latour\u2019s notion of the \u201cParliament of Things\u201d. Put simplistically, Latour argues that the agency of objects has been ignored and deprived by language\u2019s assumption of arbitrary classification, whereas in fact all objects exist in relation to one another as a shifting discourse, our nominal categorization of them in fact producing hybrid-concepts that are independent elements of discourse in themselves, rather than simply passive designations and taxonomies. Latour says: \u201cQuasi-objects are much more social, much more fabricated, much more collective than the \u2018hard\u2019 parts of nature.\u201d (2) Inevitably this has been criticized (3) but as a conceptual\/creative tool for artists to steal, it has been revolutionary, allowing them to raid a completely new larder of metaphors.<\/p>\n\n\n\n

What takes place in Parreno\u2019s \u201cQuasi-Objects\u201d is a reincarnation and unification, indeed \u201cliberation\u201d, of a selection of Parreno\u2019s works, all within the specific exhibition space at Esther Schipper gallery: creating new hybrids via environment and interbreeding of already-hybrid beasts. Accordingly, Parreno\u2019s exhibition should be understood as a medium in its own right\u2014one that is in flux. Different threads may be followed.<\/p>\n\n\n\n

\"\"<\/a>
Philippe Pareno, \u201cMarquee (cluster)\u201d, 56 neons, 20 transformers, 132 light bulbs, 8 sound transducers, sound amplifiers, microphones, computer, soundcard, 2,154 cm x 2,167 cm x 1,190 cm, 2014
\u201cFlickering Light\u201d LED light, 1 programmed chip, 120 x 20,5 x 15,5 cm, 2013
(image courtesy the artist and Esther Schipper, Berlin; Photo \u00a9 Andrea Rossetti)<\/figcaption><\/figure>\n\n\n\n

To illustrate, consider some connections to Stanley Kubrick\u2019s \u201c2001: A Space Odyssey\u201d (1968), an adaptation of science fiction writer Arthur C. Clarke\u2019s 1951 short story \u201cThe Sentinel\u201d. The film\u2019s plot revolves around the attempt to discover the meaning and purpose of certain disruptive oblong monoliths, which at least one critic, the semi-respectable Rob Ager, argues represents a film screen. If so, we are once again in the cave with Plato\u2019s prisoners\/patients\/lab rats. The monoliths appear in various scenes but most importantly for present purposes in the \u201cBeyond the Infinite\u201d scene, where a (perhaps prematurely) aging astronaut, Dr David Bowman, wanders through an hermetic bedroom and bathroom suite\u2014presumably in the space station\u2014projected by the spaceship\u2019s sentient computer, HAL. The rooms are furnished with anachronistic \u201cfake\u201d baroque furniture offset against clinical minimalist walls, light-box floor and round spaceship escape-pod.\u00a0Parreno\u2019s Disklavier piano installation invokes 2001 stylistically (it is installed in a room with a nineteenth-century decorative stucco ceiling with the light box plinth) but also thematically, the fish appropriating the gallery space as\u00a0space<\/em>-ship, floating through the aquarium\/gallery like the astronauts through the space-station. The piano is HAL. And the lamp? It was designed by the Danish architect and designer,\u00a0Arne Jacobsen,\u00a0for Scandinavian Airlines System\u2019s SAS Royal Hotel in Copenhagen, built between 1956 and 1960. Formally, the hotel\u2019s architecture bears a surprising resemblance to the monolith in 2001 (the cutlery Jacobsen also designed for the hotel is used by the astronauts in 2001). The adaptors eerily resemble the spacecraft displayed following the famous cutaway from the bone thrown by an ape up into the sky. (By placing the adaptor-sculptures on the light-boxes, Parreno creates a new \u201ccutaway\u201d by inserting them into the \u201cinside\u201d of the spaceship.) The Disklavier piano plays \u201cNuages Gris\u201d (1881) by Franz Liszt, which was used in Kubrick\u2019s \u201cEyes Wide Shut\u201d in 1999 for a scene in which Tom Cruise kisses a corpse in a morgue.(4)<\/p>\n\n\n\n

\"\"
Philippe Pareno, \u201cSnow Drift\u201d, artificial snow, diamond powder, clay, 180 x 185 x 185 cm, 2014 (Courtesy the artist and Esther Schipper, Berlin; Photo \u00a9 Andrea Rossetti)<\/figcaption><\/figure>\n\n\n\n

It is equally easy to run down \u201cpaths of inquiry\u201d\u2014and rabbit holes. So much of Parreno\u2019s work has focused on the viewer\u2019s \u201cperspective\u201d\u00a0vis-\u00e0-vis<\/em>\u00a0the object, particularly film work, including \u201cJune 8, 1968\u201d (2009), a reenactment of the train journey taking the body of U.S. presidential candidate Robert F. Kennedy from New York to Washington as seen from the perspective of the corpse; \u201cMarilyn\u201d (2012), invoking the actress as a ghost seen via her former possessions; and even \u201cZidane: a 20th Century Portrait\u201d (2006), with fellow artist and film-maker Douglas Gordon, which follows the enigmatic French football star through a match edited with his voiceover thoughts. Importantly, the \u201cperspective\u201d is always uncertain and shifting\u2014however familiar we think we are with the \u201cobjects\u201d. Parreno creates a stage for evolution\u2014of objects and subjective thinking\u2014as experience, and pleasure. What initially appear \u201creal\u201d are products of a transubstantiation of notions, existing among a number of relations in play, deliberately and coincidentally. Ultimately how we understand the\u00a0mise-en-sc\u00e8ne\u00a0<\/em>is a matter of perspective. Yet understanding here is shadowed by the potential for obsession and paranoia\u2014succumbing to delusion, seeing connections where none exist (amusingly, the scientific term \u201cApophenia\u201d for this behavior also dates from 1958). The object is always a little bit schizophrenic. (5) Perhaps we should take Slavoj \u017di\u017eek\u2019s advice after all, and learn to enjoy our symptoms. Now, is Jack Torrence about to slump into the Parreno\u2019s snow, or spring out of it?<\/p>\n\n\n\n

\"\"
Philippe Pareno, \u201cAC\/DC Platform\u201d (main work, installation view), opalescent acrylic glass podium, LED lights, 3 plugs, 2 AC\/DC Snakes, 2013 (image courtesy the artist and Esther Schipper, Berlin; Photo \u00a9 Andrea Rossetti)<\/figcaption><\/figure>\n\n\n\n

Also on show in Berlin is Parreno\u2019s \u201cHow Can We Tell the Dancers from the Dance\u201d at the tiny Schinkel Pavilon art space near the former royal boulevard of Unter den Linden, which connected the Brandenburg Gate and the successively demolished imperial Berlin Palace and proletarian Palast der Rupublik of the GDR. (6) A homage to American choreographer, Merce Cunningham (1919-2009), long-term partner of composer John Cage (1912-1992), the installation was first shown in two Duchamp-focused exhibitions, in 2012 in \u201cDancing Around the Bride\u201d at the Philadelphia Museum of Art and in 2013 in \u201cThe Bride and the Bachelors\u201d at London\u2019s Barbican Art Gallery, which also included Parreno\u2019s Disklavier piano.(7) A pristine white round stage invites visitors to stand upon it; but projected from beneath can be heard a recording of Cunningham\u2019s dancers performing a selection of five of his pieces performed after his death: \u201cSuite for Five\u201d (1956), \u201cRain Forest\u201d (1968), \u201cDuets\u201d (1980), \u201cRoaratorio\u201d (1983), and \u201cXOVER\u201d (2007). Meanwhile, a curved wall moves around the stage, obscuring views through the windows, including of Unter den Linden and the Schloss Berlin construction site. The palace is being rebuilt. We might think of them\u2014each one\u2014as historical space stations, inevitable ruins. The disembodied beat of the dancers seems more present. The ghosts can be heard, even in space.<\/p>\n\n\n\n

Notes<\/strong><\/p>\n\n\n\n

1. Jacobson designed the lamp for the Louis Poulson company for a commission by the Swedish hotel chain, SAS Royal Hotel, Copenhagen.<\/p>\n\n\n\n

2. Latour, We Have Never Been Modern<\/em>, (English translation: 1993) Harvard University Press, p.55.<\/p>\n\n\n\n

3. See, for example, John Ashton, \u201cWe Have Never Been Modern (Review)<\/a>\u201d academia.edu, January 10, 2013<\/p>\n\n\n\n

4. Here from a recording by French pianist Mikhail Rudy rather than the recording by Dominic Harlan used for the film.<\/p>\n\n\n\n

5. Klaus Conrad, Die beginnende Schizophrenie. Versuch einer Gestaltanalyse des Wahns<\/em> (Stuttgart: Georg Thieme Verlag, 1958).<\/p>\n\n\n\n

6. Berlin Palace (Stadt Schlo\u00df) (1451-1950) was heavily bombed in the second world war, and finally secretly demolished with explosives by the Communist government in 1971; this was replaced by the Palast der Republic (1976-2008), itself demolished after the fall of the Berlin Wall in 1989, and now being replaced by a new Berlin Palace with a fake fa\u00e7ade of the old palace.<\/p>\n\n\n\n

7. See the astute review by Jeremy Miller \u201cThe Bride and the Bachelors and Robert Rauschenberg<\/a>\u201d in Frieze<\/em> magazine, Issue 155, May 2013. The other bachelors in this case being fellow artists Jasper Johns and Robert Rauschenberg, from Black Mountain College (1933-1957, North Carolina, USA).<\/p>\n","protected":false},"excerpt":{"rendered":"

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