Collection’12 follows the biennial principle of in situ presentation of the Institut d’Art Contemporain’s collection, which was constituted over more than thirty years. By combining recent acquisitions and older works, the exhibition aims to put the collection into perspective and encourage regular visibility of its evolution. It is presented throughout the year ex situ all around the Rhône-Alpes region, as well as on a national and international level.
At the heart of the Institute’s missions, creation constitutes the fundamental phase from which all of its activities are organised and developed, and, in this case, that of constituting the collection. Consisting of over 1 700 works from nationally and internationally renowned artists, the enhancement of the collection is closely linked to the activity of in situ exhibitions, and therefore relates very closely to creation and production.
Collection’12 brings together around twenty films, produced by several generations of artists. From media images to cinematographic works, the question of the “movement image” is central to the exhibition.
In the video Product Recall, artist Carey Young, lying on a divan during a psychoanalytic session, attempts to recall advertising slogans based on the words “creativity” or “imagination”, thus questioning the standardisation of language relating to advertising and the economy of art.
Around this pivotal work in the exhibition, a socio-critical, analytical and perceptual approach is articulated, occasionally veering towards the absurd.
In a similar manner to the exhibition Yes, we don’t presented in 2011 with the artists Bernard Bazile, Francois Curlet and Denicolai & Provoost, works by Candice Breitz, Tracey Emin, Douglas Gordon, Pipilotti Rist, Georgina Starr and Gillian Wearing, often infused with pop culture, subversively deconstruct the illusions of communication by subverting familiar narrative structures that shape our collective and individual realities.
Between reality and fiction, the works of Jordi Colomer and Anri Sala seem suspended in time, recomposing and recontextualising the chaos around us.
The works of Pierre Huyghe, Laurent Montaron, Matt Mullican and Melik Ohanian strive to represent the invisible and imperceptible, positioning themselves in an undefined spatio-temporal zone in which the question of dualities and a loss of familiar markers lead us towards an altered state of consciousness. The perceptual dimension reaches its apogee in Anthony McCall’s work, through the transformation of images into sculptures of “solid light”.
By reclaiming control of imagery and through it, language, these artists present a sublimated reality, ranging from life experiences that are sometimes extreme, to the very limits of experimentation with images.
Collection’12 brings together around twenty films, produced by several generations of artists. From media images to cinematographic works, the question of the “movement image” is central to the exhibition.
In the video Product Recall, artist Carey Young, lying on a divan during a psychoanalytic session, attempts to recall advertising slogans based on the words “creativity” or “imagination”, thus questioning the standardisation of language relating to advertising and the economy of art.
Around this pivotal work in the exhibition, a socio-critical, analytical and perceptual approach is articulated, occasionally veering towards the absurd.
In a similar manner to the exhibition Yes, we don’t presented in 2011 with the artists Bernard Bazile, Francois Curlet and Denicolai & Provoost, works by Candice Breitz, Tracey Emin, Douglas Gordon, Pipilotti Rist, Georgina Starr and Gillian Wearing, often infused with pop culture, subversively deconstruct the illusions of communication by subverting familiar narrative structures that shape our collective and individual realities.
Between reality and fiction, the works of Jordi Colomer and Anri Sala seem suspended in time, recomposing and recontextualising the chaos around us.
The works of Pierre Huyghe, Laurent Montaron, Matt Mullican and Melik Ohanian strive to represent the invisible and imperceptible, positioning themselves in an undefined spatio-temporal zone in which the question of dualities and a loss of familiar markers lead us towards an altered state of consciousness. The perceptual dimension reaches its apogee in Anthony McCall’s work, through the transformation of images into sculptures of “solid light”.
By reclaiming control of imagery and through it, language, these artists present a sublimated reality, ranging from life experiences that are sometimes extreme, to the very limits of experimentation with images.
