Leading up to Paris+ par Art Basel, Mennour announced its representation of the conceptual artist Claire Fontaine and British artist Idris Khan. The Parisian gallery will feature new works from both artists at its Paris+ booth this month. Additionally, Mennour is slated to present the artists’ first solo exhibitions with the gallery in 2024.
Claire Fontaine, a feminist conceptual artist founded in Paris in 2004 by the British-Italian artist duo Fulvia Carnevale and James Thornhill, employs a wide range of media, such as neon signs, photographs, videos, paintings, sculptures, and installations, among others. Their work aims to manipulate an item or artwork’s original purpose, most vividly seen in Untitled (L.G.B.T.Q., shaved) (2017), a riff on Marcel Duchamp L.H.O.O.Q. (1919).
The name Claire Fontaine is an homage to Duchamp’s Fontaine (1917) and a leading French notebook brand. The self-proclaimed “readymade artist’s” ongoing neon sign series “Foreigners Everywhere” critiques how global society, especially in the West, treats immigrants. Out of context, the neons evoke alienation, calling attention to the perspectives of the populations targeted by this prejudice. The ongoing series inspired the title of the forthcoming edition of the Venice Biennale in 2024.
Born in Birmingham in 1978, Idris Khan creates work that invites viewers to engage with memory and human experience by evoking and manipulating philosophical works, theological texts, and sheet music. Khan’s artistic process involves a continuous interplay of creation and erasure, skillfully layering new elements while preserving traces of what has come before.
His 2022 body of work “The Pattern of Landscape,” exhibited at Sean Kelly Gallery, is composed of 22 works that use color to trace the emotional and rhythmic pattern of music. Khan will further explore the intertwined impressions of music and color in his new body of work. Khan has described his creative process, remarking, “I hit the glass palette with the oil and then hit the aluminum panel, and it adds a beautiful tempo to the work. I know when a work is finished because it starts to move. There is a beautiful moment when there is tension between the musical notation and the words; it becomes more human.”
The Milwaukee Art Museum is set to host Khan’s first retrospective in the United States, featuring over 100 artworks spanning over two decades, in April 2024.
from Artsy News https://ift.tt/qFp4UQa
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