Artists of the 2022 Marcel Duchamp Prize, in keeping with the times – November 16, 2022 – Le Journal des Arts

Paris. As every year since 2016, the works of four artists nominated for the Marcel Duchamp Award, created to support the French scene, are exhibited at the Pompidou Center. The name of the 2022 winner was announced on October 17: it is Mimosa Echard (born 1986), represented by the galleries Chantal Crousel (Paris) and Martina Simeti (Milan). In a kind of creative syncretism, the artist seeks its reflection, mixing the consumer world and digital technologies with elements of nature. For the Marcel Duchamp Prize, he imagined a fluid device in the form of a wall of flowing water, through whose curtain one can guess the objects and images embedded within (run more [voir ill.]). As in his previous exhibition (Sporal, 2022, Palais de Tokyo), heterogeneous sources provided the components of this visual patchwork. Moreover, here the attempt to distinguish a detail or to connect the indices between them is drowned in the flow. The viewer is invited to sit on a bench, wash the gaze with passive thought and overcome the slight boredom caused by seeing the landscape in the rain behind the frosted glass. Should we see a form of aquaoibonism in this water metaphor? At least the lack of Manichaeism, according to Xavier Ray, director of the National Museum of Modern Art, member of the jury of the prize for the work of Mimosa Echard. “The power of the image pushes the expressive boundaries of different mediums to offer a powerful aesthetic experience that unites many of the public’s concerns, such as the visible and the hidden, the management of bodies, equality, or the relationship between space and society.”. The visual artist has continued a well-celebrated career: he graduated from the National School of Decorative Arts in Paris in 2010, a finalist for the Meurice Prize for Contemporary Art in 2015, and completed and benefited from a residency at Villa Kujoyama in Japan (2019). From several solo exhibitions at institutions and foundations, including the Plateau-Frac Île-de-France (2015) or the Lambert Collection in Avignon (2021). Her works can be seen especially in the Fnac collections, the Museum of Modern Art in Paris, the Louis Vuitton Foundation… Tendinism, cyber-resistance, eco-feminism are among the most relevant terms associated with her work.

False innocence, anticipation and architectural memories

It is the paintings and sculptures of Giulia Andreani (born 1985) that welcome the visitor to discover the 2022 vintage. Depicting a gray world, the artist (represented by Max Hetzler Gallery) has no color in his paintings. , fed by his iconographic studies. Her installation highlights female figures forgotten by history or relegated to the role of mother, next to a portrait of a child dictator, a symbol of innocence on the brink of destruction. In the middle of the video triptych, a cozy pink velvet sausage is installed in an adjacent room, reminiscent of parts of the ruins. [voir ill.] Iván Argote (born 1983), represented by Perrotin, Vermelho (São Paulo) and Albarrán Bourdais (Madrid) galleries. The artist takes his audience to a “film of anticipation” shot in Paris, Rome and Madrid, imitating the removal of historical monuments. Much of the action consists of a ballet of trucks and construction equipment interspersed with cityscapes and red monochrome screens. Bilingual subtitles ensure the progression of the story while providing a good understanding of the meaning of the work – the relativity of historical narratives and the need to retrace them. As is often the case with Ivan Argote, the tone is quite playful, as if the whole thing was just one big joke.

Finally, the proposal by Philippe Decrouzat (b. 1974) unfolds in two adjacent spaces. From the Swiss artist (galleries Francesca Pia [Zürich]Mehdi Choukri [Berlin], and Nara Roesler (São Paulo), we know experimental films and geometric paintings that testify to his interest in modern forms and the history of their perception. The visual phenomenon (the retina) is the basis of this serious and fascinating work. A series of black and white paintings-sculptures as a prelude to his installation (Feedback Loop, ) evoking hypnotic mazes like traps for gazes.

A movie is being shown in the next room A replica, made from photographs of the marble replica of Mies van der Rohe’s Pavilion (designed for the 1929 Barcelona International Exhibition). Like a slow slide show, the film interweaves static shots of marble surfaces, evoking media coverage of images of the site where this pavilion is reproduced, without showing the building, which in fact becomes a ghost. This sequence of planes is incorporated into a device of slanted mirrors that emphasizes its obsessive nature and invites us to read the figures in the marble like a Rorschach test, the architectural concept then referring to memories as mental constructs. Like Echard’s fluid tableau of mimosa, Decrauzat’s work thus taps into our most intimate mechanisms, and perhaps even more acutely.

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