A Time Coloured Space

Philippe Parreno
February 3 – May 7, 2017

From above: Speech Bubbles (Gold), 2009

Mylar balloons, helium
Collection Eleanor Heyman Propp

 

Fireflies, 2012-16

Ink on paper

Dimensions variable

Various private collections

 

AC/DC Snakes, 1995-2010

Electrical plugs and adapters

Dimensions variable

 

Photo © Andrea Rossetti

Speech Bubbles (Transparent Blue), 2016

Mylar ballons, helium

 

Fraught Times, For Eleven Months of the Year it’s an Artwork and in December it’s Christmas, (March), 2010-2015

Cast painted aluminium and brass

Height 250 cm, ⌀ 215 cm approx.

 

Photo © Andrea Rossetti

From above: Speech Bubbles (Transparent), 2017

Mylar ballons, helium

 

Fireflies, 2012-16

Ink on paper

Dimensions variable

Various private collections

 

AC/DC Snakes, 1995-2010

Electrical plugs and adapters

Dimensions variable

 

Photo © Andrea Rossetti

From above: Speech Bubbles (Transparent), 2017

Mylar ballons, helium

 

Fireflies, 2012-16

Ink on paper

Dimensions variable

Various private collections

 

AC/DC Snakes, 1995-2010

Electrical plugs and adapters

Dimensions variable

 

Photo © Andrea Rossetti

From above: Speech Bubbles (Transparent Orange), 2016

Mylar ballons, helium

 

Fade to Black series, 2004–13

Silkscreen print, phosphorescent ink on paper

Dimensions variable

 

AC/DC Snakes, 1995-2010

Electrical plugs and adapters

Dimensions variable

 

On the window: Orange Bay (After Gabriel Tarde's Fragment of Future History), 2002

Adhesive foil
Dimensions variable
 

Photo © Andrea Rossetti

From above: Speech Bubbles (Transparent Yellow), 2016

Mylar balloons, helium

 

Happy Ending, 2014–16

Crystal, electric cord

 

Photo © Andrea Rossetti

From above: Speech Bubbles (Transparent Yellow), 2016

Mylar balloons, helium

 

Happy Ending, 2014–16

Crystal, electric cord

 

Photo © Andrea Rossetti

Above: Speech Bubbles (Transparent), 2017

Mylar balloons, helium

 

Wall For The Bride, 2012

PMMA, copper lighting track, LED Spotlights, acrylic glass, LED-spots

 

Framed drawings: Fireflies, 2012-16

Ink on paper

Dimensions variable

Various private collections

 

Happy Ending, 2014–16

Crystal, electric cord

 

Photo © Andrea Rossetti

Above: Speech Bubbles (Transparent), 2017

Mylar balloons, helium

 

Wall For The Bride, 2012

PMMA, copper lighting track, LED Spotlights, acrylic glass, LED-spots

 

Framed drawings: Fireflies, 2012-16

Ink on paper

Dimensions variable

Various private collections

 

Happy Ending, 2014–16

Crystal, electric cord

 

Photo © Andrea Rossetti

From left: Fraught Times: For Eleven Months of the Year it’s an Artwork and in December it’s Christmas, 2011–14 (works from the series)

Various private collections

 

AC/DC Snakes, 1995–2010

Electrical plugs and adapters

Dimensions variable

 

How Can We Know The Dancer From The Dance, 2012–17

Wood, paint, moving wall, ceiling

ø 490 cm (ceiling), 301 x 51 x 600 cm (moving wall)

 

Photo © Andrea Rossetti

From above: Speech Bubbles (Transparent), 2017

Mylar balloons, helium

 

Outside: C’est une oeuvre d’art pendant onze mois de l’année et en décembre, c’est Noël, 1998
Tree, Christmas balls
Collection Andy Stillpass, Cincinnati

 

Photo © Andrea Rossetti

From above: Speech Bubbles (Transparent), 2017

Mylar balloons, helium

 

On the walls: Fireflies, 2012-16

Ink on paper

Dimensions variable

Various private collections

 

Photo © Andrea Rossetti

From above: Speech Bubbles (Black), 2007
Mylar balloons, helium
Collections Fondation Louis Vuitton, Paris

 

AC/DC Snakes, 1995-2010

Electrical plugs and adapters

Dimensions variable

 

Photo © Andrea Rossetti

From above: Speech Bubbles (Black), 2007
Mylar balloons, helium
Collections Fondation Louis Vuitton, Paris

 

AC/DC Snakes, 1995-2010

Electrical plugs and adapters

Dimensions variable

 

Photo © Andrea Rossetti

Marquee (Cluster) Disklavier Piano, 2014 (detail)
56 neon tubes, 20 transformers, 132 light bulbs, 8 sound transducers, sound amplifiers, microphones, computer, Disklavier piano
Collection Fundação de Serralves — Museu de Arte Contemporânea, Porto


A Time Coloured Space, 2017
3D projection, loop, colour, sound
 

Photo © Andrea Rossetti

A Time Coloured Space

Philippe Parreno
Museu Serralves, Porto
February 3 – May 7, 2017
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A Time Coloured Space is the first solo exhibition in Portugal of the work of Paris-based artist Philippe Parreno (Algeria, 1964). The exhibition occupies all of the galleries of the Serralves Museum, the auditorium foyer and auditorium. One of the most influential artists of his generation, Parreno creates work that crosses media of every kind, from cast sculpture and drawing to film and light animations generated by mathematical algorithms and organic life forms. The exhibition as a medium and form is fundamental to his vast and encompassing oeuvre. For Parreno, an exhibition is not a collection of individual objects but an artwork in itself, a polyphonic but coherent ‘object’, what he describes as ‘a project’. For Parreno, his art works maintain the status of the quasi-object awaiting their activation and eventual significance in the context of each exhibition.

 

A Time Coloured Space continues Parreno’s project of the work of art and the exhibition as a self-generating form. Like a piece of music that plays itself and begins to improvise over time, the exhibition at Serralves will evolve during the course of its presence in the Museum. The language of the puppeteer and the automaton enter into the structure of the exhibition and the architectural frame of the museum, which becomes alive, and in which the disposition of elements become part of a dramaturgy of an unseen script. 

 

Parreno has structured A Time Coloured Space according to concepts of repetition and counterpoint, qualities that can be found in the Baroque composition of the fugue. Responding to the progression of galleries of the Serralves Museum designed by Álvaro Siza, and the philosophical framework of the French philosopher Gilles Deleuze’s Difference and Repetition (1968), each of the exhibition’s thirteen rooms constitute a progression of recurring iterations, differentiated by variations in colour and arrangement, of objects, light and sound. The past, represented by works of art produced over time, and the future, in the form of the exhibition continuing to write itself, are inscribed into the present of each visitor’s experience. The exhibition becomes a factory in which to engineer these variables, and, in the words of the artist, ‘a form of imitation becomes a new invention’.

 

While the exhibition constitutes a process of self-creation, it also speaks to more classic forms of the retrospective, bringing together for the first time many of Parreno’s most emblematic series dating from the early 1990s until the present. They repeat in contrapuntal rhythm throughout the museum, with each room triggering effects of doubling, recurrence and after-image. The rhythms and pulsations of light and sound, and the movement of window blinds and wall are programmed to the musical score of Dmitri Shostakovich’s Fugue no. 24 in D Minor, as it is being translated and rehearsed in real time by the mathematical algorithm of an artificial intelligence installed into the Museum’s lighting and technological systems.

 

– A Guide to the Exhibition by Suzanne Cotter

 

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