It is our pleasure to inform you that we will be taking part in the next edition of MAD, Multiple Art Days. See you in Paris in May 2017!
ART BASEL 2017
It is our pleasure to inform you that we will be taking part in the next edition of Art Basel. See you in Basel in June 2017!
November 4-6, 2016
We took part in 2016 edition of Artissima!
Grand Palais, Paris, France
October 20-23, 2016
Booth 1. F03
« How doing art when we do not know what to make ? »
To this question asked by Mel Bochner in 1967, mfc-michèle didier gallery answered with a stand proposition specially thought for the FIAC 2016.
Robert Barry, Allan McCollum, Claude Rutault, On Kawara. Four artists who have set up specific methods that they are continuously enriching with new statements.
Robert Barry, Allan McCollum, Claude Rutault, On Kawara. Four artworks produced by mfc-michèle didier that return to the respective founding artworks of these artists from the same generation.
You could discover Robert Barry's new art piece entitled Somethings that… Following his own compositing method, the artist conceived a system of 24 three-folded sets, on which 3 sentences are written. The two first sentences are identical, whereas the third one offers a variety of 24 different statements producing as much original propositions.
Responding to the 24 folds of Robert Barry's artwork, a selection of two series of 12 framed silhouettes entitled The Shapes Project: Shapes From Maine Shapes Silhouettes (n°73-84 and 109-120) were highlight Allan McCollum's colossal Shapes Project, that consists of a system generating more than 31 billions different shapes – each one intended to one particular individual – composed from various combinations of 6 standard elements. These two series came with the two book volumes, The Book of Shapes, that take over the entire « pattern » and the instructions.
Placing Allan McCollum's Collection of Four Perfect Vehicles on a pile of 43 prepared canvas from Claude Rutault, the two artists settle a new statement on the « definitions/methods » set up by Rutault, questioning the collaborative artwork boundaries and jeopardising the paternity concept to reopen the scope of possibilities.
As for the famous On Kawara's One Million Years, opened at the current date, it offered the results of the daily ritual the artist forced himself to obey from 1969, rituals that have become a true work method, consisting on typing the past million years and then the one to come.
MULTIPLE ART DAYS - MAD#2 2016
Maison Rouge, Paris, France
September 30, October 1st and 2nd, 2016 - Nuit Blanche
We took part in the second edition of MAD!
La Friche la Belle de mai, Marseille, France
August 26-28, 2016
ART BASEL 2016
June 16-19, 2016
Booth E6 (Hall 2.0)
The span of the human hand is greater than the distance between the eye and the ear. So it’s no surprise that artists, as well as viewers and listeners, are attracted by music and visual art.
With the close relationship between art and music in mind, mfc-michèle didier has decided to propose for Art Basel 2016 a project that was completely dedicated to music, in all its forms, showing various examples of contemporary artists crossing over between art and music.
Nevertheless, the music is not always where you expect it most.
First, the four letters that forms the neon tubes by Maurizio Nannucci will set the tone: HEAR. So the public is invited to keep an ear as well as to keep an eye.
Then there was Christian Marclay’s musical score Ephemera, which is the result of the long-term accumulation of eclectic and decorative musical notations, gleaned from here and there in various advertisements, illustrations, menus, candy wrappings and more.
More conceptual, the graphical score of One Billion Colored Dots by Robert Barry counts one billion colored dots printed on 25 volumes. With this accumulation of dots emerge a repetitive visual melody close to some musical compositions by La Monte Young and John Cage.
Also, there will be Allen Ruppersberg’s, El Segundo Record Club, the record store imagined by Allen Ruppersberg in 2014, following the mythical tradition of the 1969 Al’s cafe and the 1971 Al’s Grand Hotel. The two projects consisted, respectively, of opening a fully-functioning café and hotel; the originality coming from the fact that they were run according to rules defined by the artist.
Our booth will also be the place to rediscover Raymond Pettibon’s iconic Black Flag posters and flyers. Emblematical figure of the West Coast Culture, Raymond Pettibon is the artist behind the iconography of the famous punk group Black Flag.
In line with Rock is my religion by Dan Graham, the two videos Stooges burn out and Dance practice by Dave Allen, Douglas Gordon and Jonathan Monk will remember that rock and contemporary art are linked since the ‘60s.
Saâdane Afif will also be presented on our booth with a series of limited edition posters. Produced on the occasion of an exhibition / performance, each design lists the title and date of the related project, as well as the names of any additional collaborators. Like concert posters, Fantasmagoria (poster), R.L/Pompidou II (poster) and Blue Time PDT (poster) are both announcement and archival document.
And of course, there will be two volumes of the epic work One Million Years by On Kawara that will be on display to the sound of the record of its famous performance: a man and a woman reading the years in order, switching of the odd and even years, in a steady, slow rhythm, a sort of conceptual and metaphysical music, placing the listener into a meditative state.
Like a song lyric, Ma collection de proverbes by Annette Messager will warning tirelessly against the misogyny chorus.
So, with all these works, and this three generations of artists, our booth at Art Basel 2016 will definitely resonate to the sound and the vision of music.
October 22-25, 2015
At the time of its creation, Paris was the world capital of cinema, which it was since 1895, when the brothers Lumière decided to organize the first public representation of La sortie des ouvrières de l’usine Lumière, rive gauche, rue de Rennes. More than 100 years later, Paris is still on the film front... the seventh art often close to contemporary art.
Therefore, for FIAC 2015, mfc-michèle didier proposed to focus its curatorial proposal on the cinematographic dimension of a selection of publications, for example with Fiona Banner’s work, Heart of Darkness, a publication that will be launched in 2016. A sort of «trailer» of this major project was presented for the first time at FIAC, an edition of four posters excerpted from the work Heart of Darkness. Heart of Darkness was Orson Welles’ film project imagined from an adaptation of Joseph Conrad’s eponym book, but which in the end was never realized. Fiona Banner retrieved the film’s screenplay, and published it through her own production house, The Vanity Press. She has decided to pursue this project, by producing the various promotional materials of this unfinished film, such as film posters. Revealing a significant visual esthetic, these posters are built according to typographical and stylistic protocols of the traditional movie posters. The edition of posters was co designed by Fiona Banner with well known movie poster designers under the heading The Greatest Film Never Made.
Other artworks revealed for this occasion their cinematographic dimension: reference to silent film for Art Lovers by Robert Barry, to vintage porn cinema for Mathieu Mercier’s Journal and, in a total different way, The Fountain Archives by Saâdane Afif would be more of a documentary.
An attracting billboard, that you can see again in FIAC's virtual visit!
August 28-30, 2015
It was a great pleasure for mfc-michèle didier to take part in the 2015 edition of ART-O-RAMA.
After presenting at ART-O-RAMA 2014 a conceptual proposal of the artist Robert Barry’s works, mfcmichèle didier decided to take an opposite approach and to highlight works with a much more sensual nature, erotic even. The theme of mfcmichèle didier’s presentation was based on the idea of a Lost Paradise, between sex and beatitude.
First, there was Mes dessins secrets by Annette Messager. One of the nearly sixty “collection albums” made by the artist between 1972 and 1974, this work consists of 76 erotic drawings, drawn freehand by the artist on various papers from notebooks and booklets. These drawings were torn or detached from their original book and gathered in a portfolio. Showing graphic fantasies of erotic scenes, the drawings found a place on the exhibition wall and revealed themselves to the public.
Furthermore, Journal by Mathieu Mercier consisted of a limited edition newspaper, containing a series of nude photographs, all coming from the artist’s private collection. Where do these images come from? Mathieu Mercier tries to provide an answer. «These images are fascinating as they don’t reveal any stylistic indication - the models don’t have any cloths nor accessory and the scene always shows an exterior, rural decor. Nonetheless, we can guess the era thanks to the women’s hairstyle, the way they pose and the quality of the picture. Even if they give the impression of a lost paradise, they clearly seem dated...
Finally, there was 1001 nuits + 1 jour by Yona Friedman, which revealed the mythological aspect of the project. The book consists of 168 drawing-scenes illustrated in the artist’s distinctive style, in a « naïve » manner. All the scenes, that are detachable from the book, can create a sort of decor: Isis et Osiris, Idylle avec lion, Le Paradis, avec licorne, Adam et Eve, the titles of the drawings directly and indirectly refered to the myth of lost paradise.
June 18-21, 2015
In 2015, mfc-michèle didier occupied a corner booth, E6 on the ground floor, which is considered a privileged booth location in a fair. For such an exceptional location, one had to take exceptional measures; so mfc-michèle didier has chosen a large-scale display. The publisher has decided to exhibit almost all its productions. All the angles will be considered: books, multiples, prints, posters, neon works, and even Augmented Reality; productions from the nineties until 2015. However, the right angle remains dominant, the rigorous display didn’t deceive this constant that has now become the publisher’s signature.
MULTIPLE ART DAYS - MAD 1#
May 22 - 24, 2015
We were happy to take part in the first edition of MAD - Multiple Art Days, held at la Maison Rouge / Fondation Antoine de Galbert, Paris. New yearly event centred on the figure of the publisher, MAD offered during three days a panorama of contemporary publishing practices.
mfc-michèle didier proposed for MAD a series of very heterogeneous artworks; Many seemed to be focused on completely opposed questions, yet all were the result of «severe obsessions». We can clearly distinguish two monomaniac families. The first one gathers individuals showing signs of madness of a serial and repetitive nature, the other one madmen who are more inclined to the carnal, even erotic aspects of the work.
Certain obsessions tend to remain hidden, because of their intimate character:
- Photographs of nude women gathered in the Journal by Mathieu Mercier;
- Erotic drawings in the album entitled Mes dessins secrets by Annette Messager.
While other obsessions are more conceptual, yet as mad as the ones above, turn out to be conventionally easier to reveal:
- Time passed or yet to come by On Kawara in his famous One Million Years;
- Statements by Robert Barry in Something in a Box;
- The vanishing point with Claude Closky in Inside a Triangle;
- The look of Samuel Bianchini on his public in Audience Works;
- 31 billion shapes made by Allan McCollum in The Book of Shapes.
THE ARMORY SHOW
March 5-8, 2015
For our first participation in the Armory show, we proposed to recreate the atmosphere of a contemporary library modeled on the American library. «A space dedicated to a collection of reading materials such as books, periodicals and newspapers arranged in a certain sequence», that’s the first definition of a library. However, the notion of “library” has several other meanings. Therefore, mfc-michèle didier’s booth display will try to play with this polysemy in a subtle way: as a public space, the library is a place for reading, for consultation, for information and research. When a private place, it becomes a space of intimacy and secrets, creating a particular and privileged relationship with its owner.
October 23 - 26, 2014
This year mfc-michèle didier’s booth was located in the central nave of the Grand Palais. In order to be in tune with the monumentality of the Grand Palais, mfc-michèle didier has chosen, for this 2014 edition, to present the most imposing artworks from the publisher’s catalog, both in terms of form and content, as well as in regards to their place in art history. In a presentation that reminded us of a traditional dovecote, mfc-michèle didier has presented the colossal artworks by Robert Barry, One Billion Colored Dots and by On Kawara, the Trilogy: I GOT UP, I WENT, I MET.
August - September, 2014
Together, Nathalie Daviet-Thery and Michèle Didier have presented a shared curatorial project for this edition of ART-O-RAMA 2014. Conceptual art is the common thread running through the works selected by both publishers.
Nathalie Daviet-Thery invites the artists Claire Morel and Yann Sérandour to re-appropriate, each in their own way, the Art & Project Bulletin number 72 realized in 1973 by Lawrence Weiner, following up the Four proposals for changing Bulletin 72 by Michael Riedel. For Claire Morel, it is all about reducing the bulletin’s inked surface, according to her own modus operandi. Yann Sérandour will on the other hand react to a «stained» version of the bulletin.
mfc-michèle didier presents SOMETHING IN A BOX by Robert Barry, replaying on its own scale — 10,2 x 15,2 cm — the measurements of the cards — here 62 — that were distributed about forty years ago. This new production actualizes the artist’s work Index Cards, initially created in 1971. A box made of walnut wood gathers here 62 index cards, each one proposing a different statement by Robert Barry. Art lovers, an unbound book by the same artist, contains 31 portraits of famous «Art Lovers» who were photographed by Robert Barry. They are hidden behind a black surface where only the perforation of a word reveals a few clues on the identity of the people behind it. The reader has thus no choice but to reconstruct their faces, to imagine new identities and to replace the «Art Lovers» selected by the artist.
To deconstruct the past thanks to the present in order to build a new present based on the past: history of art is a game of construction that has to be assembled and disassembled eternally.
In 2014, mfc-michèle didier proposed to show at Art Basel a cabinet of curiosities, following the Renaissance tradition, displaying a series of heterogeneous works and novelties. mfc-michèle didier’s major publications echoed a series of historical artworks, selected precisely because of their relevance in regard to the publisher’s productions. Gathering all these “wonders” (merveilles), as Patricia Falguières calls them, allowed us to offer a generous display, connected with the History of Art.
The confined space of the booth is perfectly adapted to immerse any collector or curious person in a confidential and intimate atmosphere. The same way the traditional cabinet of curiosities could be divided into categories such as artificialia, naturalia, exotica and scientifica, the artworks were here displayed in groups, organized according to several techniques: collage, drawing, poster, accumulation, vanity, language.
Here are the artist's names whose work we have exhibited: John Banting, Robert Barry, Hans Bellmer, Joaquin Edwards Bello, Victor Brauner, Vija Celmins, Serge Charchoune, Joseph Cornell, Pedro Da Costa, Max Ernst, Yona Friedman, Lajos Kassàk, On Kawara, Mark Lombardi, Christian Marclay, Allan McCollum, Annette Messager, Muntadas, Maurizio Nannucci, Roland Penrose, Francis Picabia, Alexander Rodtchenko and Andy Warhol.
ART I 43 I BASEL
ART I 42 I BASEL
ART I 41 I BASEL
NEW YORK ART BOOK FAIR 2009
ART I 40 I BASEL
NEW YORK ART BOOK FAIR 2008
ART I 39 I BASEL
ART I 35 I BASEL - Art Unlimited
Presentation of a unique installation confronting On Kawara's I MET publication with twelve of his Date Paintings from 1968 to 1979.