Can Site-Specific Artists Really Claim Space? The Georges Rousse Apnalaya Benefit Collection

Elizabeth Prendiville of Saffronart discusses appropriation in the site-specific work of artist Georges Rousse.

“Mumbai 2014/Shivaji Nagar IV” by Georges Rousse Photo Courtesy of StoryLTD

“Mumbai 2014/Shivaji Nagar IV” by Georges Rousse
Photo Courtesy of StoryLTD

Paris-based artist Georges Rousse is a master of layering perceptions for his viewers. Locations, shapes, and spaces that were once familiar are reformed and combined in unexpected ways forming a multi-dimensional work that presents itself as both familiar and foreign. This summer StoryLTD presents Rousse’s Apnalaya Benefit Collection. This location is an interesting choice for the artist who often works in ruins or forgotten architectural spaces. In contrast, the Apnalaya center’s mission focuses on rebuilding the lives and communities of individuals in the poorest slum neighborhoods of Mumbai. I see a noteworthy correlation between the artist’s dedication to revitalizing and repositioning locations through his work and the center’s goals for supporting and improving nearby communities. Both the artist and the center create change in seemingly bleak circumstances. But how does the artist’s process bring new life into a location while still honoring the true history of the space? Unlike deteriorating ruins or forgotten spaces, the Apnalaya center is alive and active, making it harder to find this appropriative balance. Can Rousse truly claim a space as his own when the singular purpose of the location is fostering greater communities? This brings forward an intriguing discussion in regards to site-specific work in general.

Georges Rousse and his team from the Apnalaya center Photo courtesy of Apnalaya

Georges Rousse and his team from the Apnalaya center
Photo courtesy of Apnalaya

 

Rousse’s work has been acclaimed internationally for his unique utilization of multiple mediums simultaneously molded together to create a single dynamic piece. His practice typically consists of creating a site-specific installation using paints and other traditional mediums to bring a new aesthetic to the space. In the case of the Apnalaya collection, large stars were painted in the space to create a playful effect of physical depth and perspective. After completing the space Rousse photographs it, creating a permanent and tangible testimony of the artistic occurrence. The photograph is intended to last, while the installation is temporary. Throughout his work we see the fleeting and liminal quality of public art installations in juxtaposition with the documented finality of photography.

 

Installation with the Apnalaya Team Photo courtesy of Apnalaya

Installation with the Apnalaya Team
Photo courtesy of Apnalaya

Although the pieces in this collection appear simple in composition and color scheme initially, they have an entrancing quality that invites you into a unique space that is only truly represented in the artist’s photographs. He achieves the perfect balance of removing viewers from the familiar and paying visual homage to an everyday location.  The familiarity and safety of a school works in dialogue with the slightly dizzying change of perspective. Rousse’s “Nagar” series (I, II, III, IV) allow viewer’s perspective to dictate how they take in the work. The iconography in these pieces is nothing new. However, the placement and technical choices both in the original installation and the photography create an open-ended product that gives viewers freedom to determine their own viewpoint. Simply viewing the work I found it difficult to determine what is a manipulated through photography and what is in the actual space. Rousse is successful in creating an engaging mysterious quality for his viewers; familiar landscapes are tweaked to transport you elsewhere. However, with this visceral appropriation in mind, is the original space truly honored or is it simply a stepping-stone to the artist’s final product?

The Apnalya Benefit Collection will be shown on StoryLTD through July 15th. However, limited edition prints are selling fast. Find out what pieces are still available for sale here. You can also learn more about Rousse’s process by watching a video by the artist here.

 

 

Paris Art Week Takes On New International Contemporary Markets

 Elizabeth Prendiville shares news about the Paris Art Week and the FIAC Art Fair

Mona Hatoum Projection (velvet), 2013 Silk velvet and mild steel 97 x 162 cm Read more at http://www.fiac.com/galeries/white_cube#Fqzvh35lpBO6mfFu.99

Mona Hatoum
Projection (velvet), 2013
Silk velvet and mild steel
97 x 162 cm
Read more at http://www.fiac.com/galeries/white_cube#Fqzvh35lpBO6mfFu.99

New York: In this season of abundant international art fairs, Paris is the most recent destination for stunning contemporary art and culture. The 40th year of the Foire Internationale d’Art Contemporain (FIAC) was held this past weekend in Paris. Although its opening ceremonies followed the notorious Frieze art fair in London, this art fair stands apart historically and stylistically. With a forty-year tradition of showcasing the most premier performances, artists, galleries and art institutions, the FIAC is a yearly must for any international art fair enthusiast.

Dan Rees Vue de Solo pr, 2010 exhibition view Photo : Aur Read more at http://www.fiac.com/galeries/new_galerie#yUIdDyGeAWp1JaY5.99

Dan Rees
Vue de Solo pr, 2010
exhibition view
Photo : Aur
Read more at http://www.fiac.com/galeries/new_galerie#yUIdDyGeAWp1JaY5.99

In past years the fair has had a specifically French focus and displayed mostly established French artists and galleries. This year an upward trend in artists outside of the country bodes well for the South East Asian Contemporary Art market as well as other destinations. 70% of the exhibitions are now from other international markets. This expansion is bringing in a new buyer community as well as forging a new opportunity for fair loyalists. In addition to this new trend on non-French contemporary art communities, a number of new fair programs and events have sparked. It is a given that the more international markets are incorporated, the more opportunity there will be for innovative performances and speakers. With this increase in international exhibitors Paris was the jewel of the international contemporary art market worldwide this past weekend.

Tony Cragg Cubic Early Form, 2011 bronze 102 x 105 x 120 cm the artist and Marian Goodman Gallery Read more at http://www.fiac.com/galeries/marian_goodman#MUBs74K7q2yvS6wD.99

Tony Cragg
Cubic Early Form, 2011
bronze
102 x 105 x 120 cm
the artist and Marian Goodman Gallery
Read more at http://www.fiac.com/galeries/marian_goodman#MUBs74K7q2yvS6wD.99

Galleries that exhibited this week include Herve Perdriolle Gallery, White Cube, Pace Gallery, David Zwirner and New Galerie. In addition to the traditional gallery booths in the fair, a number of other programs affiliated and unaffiliated with the FIAC took place. This included outdoor programming, film screenings, performances, installations, public art and a number of conference panels.

To learn more about this year’s fair, please visit the FIAC website here.

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