For the artists, these conditions are materials. “American exuberance is part myth and part reality… Paradoxically, exuberance is linked to stagnation, entropy and ruin. The following is an excerpt from John Miller’s essay that has deeply informed our understanding of the subject: We asked a number of participating artists to comment on American Exuberance for the catalog. The artworks span the last few decades for context, with a focus on works made in today’s America. In its totality, the exhibition creates a portrait of the American condition.
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The 64 artists in American Exuberance, all citizens or residents of this country, are keen observers of American culture, economy and politics – whatever their country of origin. In our efforts to understand the America we live in today, we turn toward contemporary art and artists. A 244-page catalog will be available, with writings by 13 artists in the exhibition including Kathryn Andrews, Frank Benson, Hannah Greely, Thomas Houseago, Richard Jackson, Rashid Johnson, Nate Lowman, John Miller, Richard Prince, Sterling Ruby, Haim Steinbach, Ryan Trecartin, and Kaari Upson. museum, and all works in the exhibition are drawn from the Rubell Family Collection/Contemporary Arts Foundation. Tempera on wood, 31 x 38 1/4 inches (79 x 97 cm).American Exuberance at the Rubell Family Collection/Contemporary Arts Foundation will include 64 artists and 190 artworks, 40 of which were made in 2011, many specifically for this exhibition.Īmerican Exuberance will occupy all 28 galleries in the 45,000 sq. © Julien Hayard / Courtesy of the artist and CLEARING New York, Brussels Patience de la truite et du pêcheur, 2017 Tempera on wood, 31 x 38 1/4 inches (79 x 97 cm) © Julien Hayard / Courtesy of the artist and CLEARING New York, Brussels MEPHISTO WALTZ, 2017 Loc Raguns Normal price from400,00 Reduced price from400,00 Normal price.
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© Julien Hayard / Courtesy of the artist and CLEARING New York, Brussels Loïc Raguénès ‘Tulips’ Installation view at CLEARING, 2017 Loïc Raguénès ‘Tulips’ Installation view at CLEARING, 2017 The product of a bulb, like an onion, whose translucent layers contain as many possibilities as the decision to offer its flower to a person you think you might love. This, perhaps is what is contained in a tulip. Raguénès’ practiced geometry and measured colours are decisions that mask slippage into an intriguing, and much murkier world. And yet, one suspects a certain entropy about to give way to the moment in which our ease in digesting the work will falter. They are methodical, rhythmic, and serene. Like Seurat’s scene, it asks us to focus not only on what is in front of us, but what may be to come, what is just out of reach of the horizon or the edges of a painting.įor his eighth exhibition and fourth solo exhibition at C L E A R I N G, Loïc Raguénès asks us to meditate on these disparate elements as they mell with the seeming simplicity of his paintings in gouache and tempera. Most crucially, it is a colour that exists for the background, originally formulated in order to better reproduce the desaturated haze of atmospheric perspective. A D&B Hoovers Subscription is your foot in the door to RAGUENES LOIC contact information. It contains no black in its pigmentation, but is a muddle of ultramarine (or indigo) blue and sienna: vibrancy rendered mute when paired. Payne’s Grey masquerades at first as black, its dilutions gradually giving way to a brooding bluegrey, like the colour of the Atlantic on a cloudy day. Raguénès has edited the image via an exhibition poster, reproduced a million times, thus asking the image to continue reverberating through time, mutating – its focus shifting.
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![loïc raguénès loïc raguénès](https://i.pinimg.com/originals/fb/6e/d6/fb6ed6d02e1a1395ee85aba3585dd7c9.jpg)
What happens to the scene’s composition, its mood, its meaning in their absence? With whom does the agency of decision lie? Seurat’s painting, of course, is hardly his own anymore. Ses monochromes troubls par un motif de vagues dclinent avec subtilit une palette de nuances, de halos et de contrastes. In having done so, Raguénès has left us to wonder if the man and his dog were ever really there – or ever needed to be there. En choisissant comme unique thme de ses toiles le paysage marin, Loc Raguns explore l’expression mme de la peinture. They have been cut out of Seurat’s Bathers at Asnières (1884) by Loïc Raguénès. A man and his dog once lounged in the foreground too, but they are gone now. How it mirrors his own crooked nose, the smoke stacks and those pensive working men who relax in the background. We will never find order in the sea, only in our depiction of its surface, pointed loops that calm our fears of its disorder.Ĭonsider the lazy curve of the young bather’s back in the hum of the midday heat. The sea whose rhythmic surface belies an entire unseen world, an overwhelming number of dangerous contingencies. And what about the sea? The unpredictable sea that we wistfully mistake for calm when it is really very, very unrelenting.