#Pierre Leguillon

[antronaut]

Artists as Iconographers

Texts by François Aubart, Garance Chabert, Aurélien Mole, Ingrid Luquet-Gad, Jan Verwoert, interviews with Pierre-Olivier Arnaud, Barbara Breitenfellner, Céline Duval, Haris Epaminonda, Aurélien Froment, Wade Guyton, Camille Henrot, Thomas Hirschhorn, Pierre Leguillon, Jonathan Monk, Clément Rodzielski, Linder Sterling, John Stezaker, Oriol Vilanova by Timothée Chaillou Edited by Garance Chabert and Aurélien Mole Designed by Syndicat

[contemporaryartdaily]

Pierre Leguillon at The Island Club

[polaroidtransfers]

Meet Pierre Leguillon today and fixed his Polaroid. His lecture starts in a few minutes at Harvard's Carpenter Center. He’s covering a history of photography! Pumped!

[littlebrownmushroom]

Just received: Ads. by Pierre Leguillon

[elinelsa]

Pierre Leguillon, La grande évasion (The Great Escape), 2012, installation view, at Wiels, Brussels, 2015.

[rob-art]

(via Pierre Leguillon The Museum of Mistakes: Contemporary Art and Class Struggle | Exhibitions | WIELS)

Pierre Leguillon

[worldfoodbooks]

OPEN TODAY 11-5 PM. IN THE BOOKSHOP: PURPLE 11 SPRING 2002 - A rare early issue of the iconic Purple magazine, edited by Elein Fleiss and Olivier Zahm, this wonderful early edition features work by: Jeff Rian, Bruce Benderson, Nick Tosches, Jens Hoffman, Claude Closky, Elein Fleiss, Maurizio Cattelan, Wolfgang Tillmans, Pierre Leguillon, Dominique Gonzalez-Foerster, Lutz Huelle, Miltos Manetas, Ola Rindal, Mark Borthwick, Giasco Bertoli, Laetitia Benat, Masafumi Sanai, Richard Prince, Helmut Lang, Marc Jacobs, Ann-Sofie Back, Louis Vuitton, A.F. Vandevorst, Jil Sander, and many many more. In 1992 Olivier Zahm and his partner Elein Fleiss printed the first issue of Purple Prose, a Parisian literary art zine that over the years has evolved into Purple Fashion Magazine and Purple. Soon after the birth of Purple Prose, Zahm and Fleiss created spin-off publications like les cahiers purple, Purple Sexe, Purple Fiction, and of course, Purple Fashion. Zahm aimed at fusing together his two worlds, fashion and art, in creating Purple. - Available today with other early editions, in the bookshop and via our website. - #worldfoodbooks #purple #markborthwick #jeffrian #dominiquegonzalezfoerster #richardprince #mauriziocattelan #jenshoffman #brucebenderson #eleinfleiss #wolfgangtillmans #afvandervorst #jilsander (at WORLD FOOD BOOKS)

[antronaut]

The Museum of Mistakes

[rogergaillard]

Atelier Désécrire, l’écriture comme dessin, au @centredartcontemporaingeneve dans le cadre de l’exposition Scrivere Disegnando, quand la langue cherche son autre. ••• Inspiré par la méthode du calligraphe et typographe allemand Martin Andersch (1921–1992), l’atelier «Désécrire» propose une approche non-conventionnelle de l’écriture manuscrite. Les participant·e·s sont invité·e·s à imaginer librement différentes formes d’écritures avec des outils fabriqués spécialement pour l’atelier. Au terme de la séance, les productions compose une cartographie de multiples écritures possibles, organisée et discutée en commun. L’atelier a été proposé et animé par Roger Gaillard et Elia Fidanza, étudiants @workmaster.geneva de la @headgeneve et accompagné par Pierre Leguillon @lapromessedelecran #asemicwriting https://www.instagram.com/p/CB1Uv8HhzLc/?igshid=1ns4x7zids14j

[contemporaryartdaily]

Group Show at Shiseido

[marcogiovenale]

recensioni recenti a "scrivere disegnando" (ginevra) + proroga della mostra

recensioni recenti a “scrivere disegnando” (ginevra) + proroga della mostra

SCRIVERE DISEGNANDO Quand la langue cherche son autre @ Centre d’Art Contemporain, Genève

EXHIBITION time EXTENDED: it will be open until the 23rd of August

Curators : Andrea Bellini and Sarah Lombardi Section documentaire : Sara De Chiara Programme public : Étudiant·e·s Work.Master de la HEAD – Genève avec la complicité de Pierre Leguillon, artiste et enseignant

En collaboration avec la Collectio…

[artefields]

Pierre Leguillon, Learning from Looking

Pierre Leguillon, après avoir passé plusieurs mois au Japon, nous invite à la Fondation Ricard à un parcours qui n'est plus exposition et pas encore un voyage.

Artefields's insight:

Pierre Leguillon échafaude depuis de nombreuses années un musée des erreurs qui est aussi un répertoire du trouble des frontières et des catégories culturelles.

[paulguinan]

https://www.editionpatrickfrey.com/en/books/oracles-artists-calling-cards-pierre-leguillon-barbara-fedier#

[blittman]

Pierre Leguillon: The Promise of the Screen: Manual of Photography. (at French Embassy)

[micaramel]

Artists: Jay Chung, Q Takeki Maeda, Sarah Deraedt, Pierre Leguillon, Klara Lidén, Carissa Rodriguez, Yuji Takeoka

Venue: Shiseido, Tokyo

Exhibition Title: Surface and Custom

Date: October 18 – December 22, 2019

Curated By: Jay Chung, Q Takeki Maeda

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Shiseido, Tokyo. Photos by Ken Kato.

Press Release:

In commemoration of its 100th anniversary, Shiseido Gallery invites Berlin-based duo Jay Chung & Q Takeki Maeda for an exhibition alongside artists of their selection. 

Shiseido was established in 1872 in Ginza, Tokyo. The company’s founder, Arinobu Fukuhara, was the first to open a Western-style dispensing pharmacy in Japan, based on Western learning during the country’s modernization. Later Arinobu’s third son, Shinzo Fukuhara, crossed to the United States to study pharmacology in 1908. Shinzo then moved to Europe and was introduced to many artists in Paris, such as Léonard Tsuguharu Foujita, by Riichiro Kawashima, a painter friend from his time in America. The new understanding of art that Shinzo acquired in the West would go on to have a significant impact on the aesthetics of Shiseido.  

Shiseido Gallery, established by Shinzo Fukuhara in 1919, is said to be the oldest art gallery still operating in Japan. From its very beginning, the gallery has supported emerging artists by providing them with a venue to present their work. Its first exhibition was a solo exhibition by Riichiro Kawashima. Kawashima returned to Paris the next year, and the information and various articles sent back by him formed a valuable source of Western culture in Japan at that time. Such information was published alongside sophisticated illustrations as “Correspondence from Paris” in Shiseido Geppo (“Shiseido Monthly,” a company paper for consumers) in 1924. Shiseido Geppo was succeeded by Shiseido Graph in 1933, and then by Hanatsubaki in 1937, with each incarnation providing information on the latest Western trends, fashions, and beauty, as well as serving as a cultural reading material. 

Since coming together as a duo in 2002, Jay Chung & Q Takeki Maeda have exhibited mainly in Europe and America. The spirited artists garnered attention with work referencing art history and criticism, at exhibitions including Travelers: Stepping into the Unknown in 2018 (commemorating the 40th anniversary of the opening of the National Museum of Art, Osaka), and the Yebisu International Festival for Art and Alternative Visions 2018: “Mapping the Invisible.” They showed Moulting, a slideshow reconfiguring images taken from Shiseido’s printed materials, at their exhibition The Auratic Narrative held in Kölnischer Kunstverein (Germany) in April this year. In this work, Chung and Maeda—having developed an interest in the role Western aesthetics played in Japan’s modernization—home in on Shiseido’s pioneering efforts of actively embracing Western modern art. The duo curates images, drawing from Shiseido’s advertisements and the above mentioned publications, based on themes such as modern art, fashion, display systems, urban lifestyles, social ideologies, and consumer culture, weaving together a kind of visual poetry.

This exhibition will be based on the themes taken up by Moulting, comprising work from the following five artists selected by Jay Chung & Q Takeki Maeda: Sarah Deraedt, Pierre Leguillon, Klara Lidén, Carissa Rodriguez, and Yuji Takeoka. We hope that you will enjoy this exhibition featuring contemporary artists who reexamine the trajectory of Shiseido’s imagery (as it constructed a unique identity by fusing Western culture with Japanese aesthetics), as well as history and preconceived ideas, and sublimate it into their own art. 

Sara Deraedt is concerned with the immediate exhibition situation and intends for the viewer to encounter the piece as it exists in itself. In this exhibition, Deraedt will show a new work.

Pierre Leguillon is the founder and operator of The Museum of Mistakes. His work asks us to reconsider the system by which art is accepted in society. Leguillon frequently uses cloth in his work, and he owns a large collection of Japanese kasuri (fabric woven from dyed thread to create patterns). Leguillon will be showing Mérida (Painting for Sale, by the Meter), paintings created in collaboration with kasuri master Kyozo Shimokawa from the city of Yame in Fukuoka Prefecture, and selling this work during the exhibition.

Klara Lidén employs as her tool of choice the infrastructure and social fabric of the city, using her own body and presence to engage in action within this framework. For her sculptural objects, installations, and spontaneous performative interventions, the artist draws on various resources the city has to offer, such as public garbage cans, ATMs, signs, and fences. Lidén will present a new work for this exhibition, the outcome of a residency in Tokyo.

Carissa Rodriguez, having arrived at art from other places, defines herself as a trespasser in the world of art. Recognizing artistic activity as an occupation, she sees each of her projects as the consolidation of its own internal, external, conscious and unconscious conditions. In doing so, she is ready to move on to the next world at any time. For this exhibition, Rodriguez will be presenting The Maid, a video work premiered at SculptureCenter in New York last year.

Yuji Takeoka began his study of objects as phenomena in the 1970s. Through a process of trial and error he arrived at his “pedestal sculptures,” an artistic form in which pedestals are themselves presented as artworks. Takeoka’s practice continues to depend upon concepts that focus on the space that co-exists with the artwork, such as “spatial presentation” and “spatial disposition.” This exhibition features drawings presented at Takeoka’s first solo exhibition at the Konrad Fischer Galerie in Düsseldorf in 1986.

Link: Group Show at Shiseido

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from Contemporary Art Daily http://bit.ly/2tlYEZ7