 |
P h i l i p p e P a r r e n o
b. 1964, Oran, Algeria
Lives and works in Paris
 |
Pierre Huyghe and Philippe Parreno
Anna Sanders
1996
Magazines, 64 pp., edition 1,500
Courtesy of the artists
|
Parreno’s work presents a cinematographic view of the world. Creating scenarios as installations, videos, or objects onto which he embroiders stories in a mixture of Hollywood fiction and social reality, Parreno explores the malleability of reality. His work inhabits the interstices between the real, the image, and its interpretation or experience, and frequently operates on the boundary of artistic expression, in terms of its visibility and temporality, its content or political and social role. His ongoing exploration of collaborative processes in both the creation of work like Credits (1999), which involved the contributions of over 15 people, and its completion through a viewer’s participation, blurs the boundaries between art and social intervention to highlight the primary focus of Parreno’s work: the evolving forms of relations.
Anna Sanders (1996)
Pierre Huyghe and Philippe Parreno
Structured like a film and aping the stereotypes of the media genres so closely that it’s advertisements and features, stories and reports pass for authentic, Anna Sanders reveals the interchangeability of real and fictional personality traits, lifestyle features, and experiences, between the moving image and contemporary life.
The magazine takes its title from an imaginary character from a movie called “History of a Feeling.” On the cover is a blurred image of a woman’s face, halfway out of the frame. But this is not Anna Sanders, and the warning on the cover tells us that there will be no pictures of her inside the magazine either; instead her presence is expressed in the choice of articles and images, the advertisements and graphic design. The magazine is part of a proposal for a film; subsequent issues will develop other characters and aspects of the story. With Anna Sanders, Huyghe and Parreno exploit the fictional possibilities within the representation of reality in life/style magazines on newsstands and in cinema, and the relation of these genres to the experience of reality.
From the generic images of design, architecture and fashion, unspecific urban locations and vague but detailed narratives inside the magazine, we gather together a persona that is as real as it is fictional, as individual as it is off-the-shelf. Anonymous but ubiquitous, Anna Sanders is the cinematic subject sans pareil. In a perpetual state of becoming, fragmented and never fully realized, she represents what Gilles Deleuze has noted as the potential of film not just to represent a subject’s position but to create new forms of life. She inhabits the any-place-whatever of film – simultaneously nowhere in particular but recognizable anywhere – while stories proliferate around her, generating multiple, mobile, and contradictory realities.
See Pierre Huyghe’s bio
Selected Solo Exhibitions
2002 Anywhere Out of the World, Kunstverein, München, Germany. El Sueno de una cosa, Portikus, Frankfurt, Germany. Philippe Parreno: Alien Seasons, ARC, Musée d’Art Moderne de la Ville de Paris, France. 2001 El Sueno de una cosa, Museet Project, Moderna Museet, Stockholm, Sweden. Anywhere Out of the World, Institute of Visual Culture, Cambridge, UK. 2000 One Thousand Pictures Falling from One Thousand Walls, Musée d'Art Moderne et Contemporain, Geneva, Switzerland. 1998 Kunstverein Ludwigsburg, Germany. INOVA (Institute of Visual Arts), University Of Wisconsin, Milwaukee, WI. 1997 Postman Time, Kunsthalle Nürnberg, Germany. 1995 Snow Dancing, Le Consortium, Dijon, France. While…, Kunstverein, Hamburg, Germany.
Selected Group Exhibitions
2002 Stories, Haus der Kunst, Munich, Germany. (The World May Be) Fantastic, 13th Sydney Biennial, Sydney, Australia. No Ghost, Just a Shell, Kunsthalle Zurich, Switzerland; San Francisco Museum of Modern Art, San Francisco, CA. 2001 Tele(visions), Kunsthalle Wien, Vienna, Austria. Egofugal, 7th International Istanbul Biennial, Istanbul, Turkey. Intentional Communities, Contemporary Art Centre, Vilnius, Lithuania; Rooseum, Malmö, Sweden. Animations, PS1, New York, NY. Mouvements Immobiles, Museo de Arte Moderno, Buenos Aires, Argentina. Il Dono, Palazzo della Papesse, Sienna, Italy. Neue Welt, Frankfürter Kunstverein, Frankfurt, Germany. Cinema Without Walls, Museum Boijmans van Beuningen, Rotterdam, The Netherlands. Dominique Gonzalez-Foerster, Pierre Huyghe, Philippe Parreno, Kunstverein Hamburg, Germany. In Many Ways the Exhibition Already Happened, Institute of Contemporary Art, London, UK. Dévoler, Institut d'Art Contemporain, Villeurbanne, France. Double Life, EA-Generali Foundation, Vienna, Austria. 2000 Vivre sa Vie, Tramway, Glasgow, Scotland. Au-delà du Spectacle, Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France. Let’s Entertain, Walker Art Center, Minneapolis, MN. I love you too, but…, Galerie Für Zeitgenössische Kunst, Leipzig, Germany. Voilà, le monde dans la tête, ARC/Musée d’Art Moderne de la Ville de Paris, France. Presumed Innocent, CAPC/ Musée d’Art Contemporain, Bordeaux, France. What if - Art on the Verge of Architecture and Design, Moderna Museet, Stockholm, Sweden. 1999 Culbutes, Ouevres d’impertinence (with Pierre Joseph), Musée d’Art Contemporain de Montréal, Canada. D’Apertutto (with Pierre Huyghe and Dominique Gonzalez-Foerster), 48. Biennale di Venezia, Venice, Italy. 1998 Le Procès de Pol Pot (with Liam Gillick), Magasin-CNAC, Grenoble, France. Weather Everything, Galerie für Zeitgenössische Kunst, Leipzig, Germany. Dumbpop, Jerwood Gallery, London, UK. Dominique Gonzalez-Foerster, Pierre Huyghe, Philippe Parreno, ARC/ Musée d’Art Moderne de la Ville de Paris, France.
Further Reading
Bossé, Laurence, Hans-Ulrich Obrist, Angeline Scherf, et al., Philippe Parreno Alien Affection (ARC/Musée d’Art Moderne de la Ville de Paris: Paris, France, 2002)
Bourriaud, Nicolas, “Philippe Parreno: Real Virtuality: Interview with the artist,” Art Press no.208 (Dec. 1995): 41-44
Cotter, Holland, “Philippe Parreno,” The New York Times, Apr. 27, 2001: E31
Dominique Gonzalez-Foerster / Pierre Huyghe / Philippe Parreno, exh. cat. (Musée d'Art Moderne de la Ville de Paris: Paris, France 1998)
Lequeux, Emanuelle, "Philippe Parreno: Petits Contes Modernes," Aden, Le Monde, Dec.19, 2002
Nobel, Philip, “Sign of the Times,” Artforum International v.41 no.5 (Jan. 2003): 104-11
Troncy, Eric, "Gonzalez-Foerster, Huyghe & Parreno: interview," Beaux Arts Magazine no.174 (Nov. 1998): 46-51
Vergne, Philippe, “Philippe Parreno, la représentation en question, Speech Bubbles,” Art Press no.264 (Jan. 2001): 22-28
Wetterwald, E., "Philippe Parreno, l'Exposition comme Pratique de Liberté," Parachute no.102 (Apr. 2000): 32-43
Artists
Return to Sodium Dreams home page
|
|
