#bertrand lavier

[mentaltimetraveller]

Bertrand Lavier, Calder sur Calder, 1988

Kunstmuseum Liechtenstein

[carsthatnevermadeitetc]

Dino, 2018, by Bertrand Lavier. Another of the artist's "ready-destroyed" projects, a 1970s Dino 308 GT4 designed by Bertone which he recovered from a scrap yard. Once again I have seen posts claiming that Lavier himself crashed the car but this is not true. An important aspect of his "ready-destroyed" artistic practice is to find already destroyed items and repurpose them as artworks. Another aspect of the series is that the car was wrecked in a crash that did not cause any deaths or serious injuries. Exhibited for the first time during the "Debout !" ("Stand Up!") show at the Couvent des Jacobins in Rennes in 2018.

[godwantsit]

[nicecollection]

Bertrand Lavier - Pongori, 2023

[ce-sac-contient]

Bertrand Lavier - Canon, 1981

Acrylique sur appareil photographique (10.3 x 14.8 x 11 cm)

[madebytj]

Bourse de Commerce, Pinault Collection, Paris, France — Photo by Thibault Jorge

[riffsandfragments]

In Strasbourg recently, the Musée d'Art Moderne et Contemporain had displayed Lavier's "Giulietta" (also 1993) in a room with Gustave Doré's "Le Christ quittant le prétoire." The juxtaposition of scale, subject, form, composition... the two pieces in communication about death and tragedy... it stopped me in my tracks when I walked into the room.

Dino, Bertrand Lavier, 1993

[megabif]

Bertrand Lavier

Dino, 1993

Damaged Ferrari Dino 308 GT4

51 3/16 X 165 3/8 X 70 7/8 In. (130 X 420 X 180 Cm.)

Via

[sentimental-obsessions]

BERTRAND LAVIER - [ACRYLIC ON PLEXI GLASS ON MIRROR] 2014

[detournementsmineurs]

“Les Sept Meules Dormantes” (détail) de Bernard Dejonghe en grès émaillé (1993) et “La Bocca” de Bertrand Lavier pour la Manufacture de Sèvres en porcelaine dure (2008) au Musée National de Céramique de Sèvres, août 2024.

[grad604-melody-tan]

Detail of “Jet Lag” (2022) Do Ho Suh, courtesy of the artist and Lehmann Maupin, New York, Hong Kong, Seoul, and London

 Australian artist Tanya Schultz works as Pip & Pop to create immersive installations and artworks from an eclectic range of materials including sugar, glitter, candy, plastic flowers, everyday craft materials and all sorts of objects she finds on her travels.

Her practice embodies both independent and collaborative processes across varying disciplines including installation, painting, wall-works and sculpture.

Often ephemeral, her meticulously constructed and highly detailed works embrace notions of abundance, utopian dreams and fleeting pleasure. She is fascinated with ideas of paradise and wish-fulfillment described in folk tales, mythologies and cinema. 

Pip & Pop began as a collaboration with fellow artist Nicole Andrijevic in 2007. After four years Nicole left the partnership to pursue a different career. Tanya now works solo and with other friends and artists creating projects in many parts of the world.

Tanya has exhibited her work in Australia, Japan, Taiwan, Korea, Hong Kong, Germany, Netherlands, Mexico, the UAE and the UK. 

Artist : JAN KALÁB

Artist : ESER GÜNDÜZ

Naoshima, Japan | Pumpkin, Yayoi Kusama

 Naoshima, Japan | Pumpkin, Yayoi Kusama

Balloon Dog,Jeff Koons

Dutch artist Florentijn Hofman‘s Rubber Duck 

Christo and Jeanne-Claude, The London Mastaba, Serpentine Lake, Hyde Park

Bertrand Lavier's fountain

Sydney University Graffiti Tunnel

Jerkface 🚬 Artist NYC IG: incarceratedjerkfaces

Public Art - Sky Mirror Anish Kapoor

Massive mural "Red Brick Building" on Shanghai Street by Italian artist Pixelpancho 

[carsthatnevermadeitetc]

Giulietta (-vue-de-dos), 1993, by Bertrand Lavier. A crashed 1970s Alfa Romeo Alfetta GT which the artist found in a wrecker's yard and repurposed as an art piece. I have seen a post which claims the car belonged to the artist and he crashed it but I don't think this is true because I have read an interview with him where he talks about the work and doesn't mention that it was his car. He also doesn't explain why he called the work "Giulietta" when it's actually at Alfetta GT

[acasaintgillesenfants2]

Sculpture de BERTRAND LAVIER Posca sur papier noir

[canalorange]

Ferrari Dino 308 GT4 de Bertrand Lavier.

[chez-mimich]

LE MONDE COMME IL VA (parte II)

(segue) Gli “anelli” superiori della Bourse sono occupati da pezzi della grandiosa collezione Pinault, ricontestualizzati e suddivisi in sezioni dove, in “Art, amour et politique” (forse la meno originale dell’intera mostra), troviamo opere di Jeff Koons, Damien Hirst, Robert Gober che attaccano i meccanismi alla base dei diversi poteri (politico, istituzionale, commerciale, mediatico). Come sostenne Alain Badiou, all’inizio degli anni Novanta le verità furono nascoste: “l’arte divenne cultura, l’amore sessualità, la scienza divenne tecnica e la politica management”. Molto interessante la sezione “Fantasme et faillites” (fantasie e fallimenti) dove tra le opere più interessanti ci sono le sequenze fotografiche di Wolfgang Tillmans del Concorde, aereo divenuto oggetto di culto e precipitato rovinosamente dopo pochi anni dal suo primo volo ,o l’opera di Christopher Wool che cancella i suoi gesti e scrive parole che testimoniano l’incomprensione tra artista e pubblico. Nella sezione “Fabriquer des ruines”, benché l’opera più spettacolare sia certamente la Ferrari distrutta di Bertrand Lavier del 1993, ci sono anche le terribili e inquietanti nuvole di fumo di Anne Imhof (2022), che preoccupano come poco altro, soprattutto in un tempo con guerre in atto. Se nella sezione “Les fantômes du passé”, l’opera imprescindibile è “Him” di Maurizio Cattelan del 2001 (per chi non lo ricordasse, si tratta del piccolo Hitler genuflesso), nella sezione “Vacillements du sujet”, che indaga sulla crisi di identità del soggetto artistico, i lavori più affascinanti sono senza alcun dubbio quelli della grandissima Marlene Dumas e del pittore dei pittori come mi piace definire Peter Doig. Infine nel “Silence du monde” spiccano per grandiosità ed ironia “Lemurenkopfe” di Franz West, ovvero i lemuri, (spettri maligni che nell’antichità romana erano assimilati alle anime incapaci di trovare riposo) e che West ripropone come solo lui saprebbe fare. Anche quest’anno la Collection Pinault stupisce e stranisce con la rassicurante presenza di tanti artisti noti e con i dubbi e le domande sollevate dalle nuove acquisizioni. Un edificio, la Bourse, che sembra amplificare la bellezza e il mistero delle opere e che Mr.. Pinault ha consapevolmente scelto come straordinario palcoscenico.

[formlab]

Bertrand Lavier, Canon