Art Fairs


ART BASEL 2018

June 14-17, 2018
Basel, Switzerland
Booth E1, Hall 2.0

Art Basel 2018

We're delighted to announce our participation to Art Basel 2018!
See you in Basel in June 2018.
More information
Press release

 


ART-O-RAMA 2018

August 31 - September 2, 2018
Marseille, France

Art-O-Rama 2018
 
We're delighted to announce our participation to ART-O-RAMA 2018!
See you in Marseille in August 2018.
More information

 


 Archives

 

ART MONTE-CARLO 2018

April 28-29, 2018
Monaco, France
Booth E8

Art Monte-Carlo 2018

Press Release

For its first participation at ART MONTE-CARLO, mfc-michèle didier is pleased to present four works by Annette Messager Ma collection de proverbes, Mes dessins secrets, Ma collection de champignons bons et de champignons mortels, Mon guide du tricot and Journal by Mathieu Mercier.

Artist-collector and handywoman, Annette Messager has made nearly sixty “collection albums” between 1972 and 1974. Inspired by words, writings and images, the artist has created her albums from an accumulation of texts, photographs, notes and miscellaneous items, cautiously collected and sorted. Sometimes carefully glued in notebooks, sometimes gathered in bulk folders, each one of Annette Messager’s albums include a handwritten title by the artist.

The albums are organized according to various themes, such as love life, encounters or domestic life and resemble sometimes a diary, a photo album or a recipe book. Annette Messager assembles common, everyday items to create a work that is subtly both poetic and feminist. Although the use of the personal pronoun suggests that the albums are autobiographical, they are works of fiction. They reveal the ironic fantasy life of a young woman embodying the archetype of the 60's housewife. This woman is not Annette Messager.

Ma collection de proverbes is one of these collections that Annette Messager has compiled over a long period of time and that consists of a series of “misogynist”proverbs. The artist has embroidered them on pieces of white fabric, attributing them in an incisive and ironic perspective. Slipped in a wooden box, each set of this edition is composed of the same 13 proverbs and 2 different proverbs in each set, for a total of 15 proverbs per set.

Mes dessins secrets, other album by Annette Messager, is consisting of 76 erotic drawings facsimile - drawn freehand by the artist on various papers from notebooks and booklets - these drawings are torn or detached from their original support and are collected in this bulk folder. During ARTMONTE-CARLO, all the drawings will be arranged on a large table, allowing the audience to browse among memories and fantasies of the artist.

Additionally displayed in the booth, Ma collection de champignons bons et de champignons mortels takes the form of a bound album. The artist has drawn a variety of colorful mushrooms, as if she were a botanist, indicating for each if it is toxic or not. The good and the toxic mushrooms are presented on the same pages, only the words “bons” (good) and “mortels” (deadly) in red allow us to differentiate them. A classification which seems quite personal and can be possibly risky for the users of the guide.

The fourth album, Mon guide du tricot, gathers a series of knitting techniques, through annotated photographs and schematic drawings. Two cardboards slid in the album show a woman wearing a mohair sweater and a man a suiza sweater. Each of these boards has its own thread sample.

Each works by Annette Messager presented on the mfc-michèle didier’s booth is limited to 24 numbered and signed copies and 6 artist's proofs.

Mounted on a wooden newspaper stick, Journal by Mathieu Mercier takes the form of a limited edition newspaper containing a series of nude photographs, all coming from the artist’s private collection. Mesmerizing because of their composition, these black and white photographs “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...”

With Mathieu Mercier's Journal as well as Annette Messager’s albums, ARTMONTE-CARLO's audience will get caught up to the acute collecting and perhaps becomes a collector...

ARTMONTE-CARLO 2018

ARTMONTE-CARLO 2018

ARTMONTE-CARLO 2018

ARTMONTE-CARLO 2018



ART GENEVE 2018

February 1-4, 2018
Geneva, Switzerland

Art Basel 2018

Press release

For its first participation in ARTGENÈVE 2018 mfc-michèle didier is delighted to present I READ, a new work by On Kawara.

Unlike the three parts of the Trilogy, I GOT UP, I WENT and I MET, published respectively in 2008, 2007 and 2004, I READ by On Kawara is not a daily work but is connected to the Today Series, artwork gathering all the Date Paintings realized from 1966 to the eve of the death of the artist, in 2014.

If I READ also begins in 1966 and stops in 1995, by publishing I READ post-mortem, mfc-michèle didier respects the last will of the artist to pursue the work until his death.

I READ contains 3 272 pages. On Kawara has carefully annotated and dated the newspaper clippings which are stuck on the 3 272 sheets of lined paper. On a page are juxtaposed or overlayed several clippings from numerous daily newspapers. Only the date is common to the different selected newspaper articles. Sometimes, the newspapers are dated a day or two days later, but it's the date mentioned on the page header which is precisely the date of the Date Painting.

I READ is thus directly linked to the Today Series and each page is corresponding to a Date Painting. The artist’s interest in world news as well as the rhythm of the work of painting by On Kawara are revealed in I READ.

At the occasion of ARTGENÈVE 2018, all the publications by On Kawara published by mfc-michèle didier: the Trilogy consisting of I GOT UP, I WENT and I MET and the One Million Years will be presented at our booth D46.

ARTGENEVE 2018

ARTGENEVE 2018

ARTGENEVE 2018

ARTGENEVE 2018

 

 

IFPDA PRINT FAIR 2017

October 26-29, 2017
New York, USA

IFPDA 2017

Press release

Since 1987, mfc-michèle didier has been a figurehead as producer and publisher of unique works with a longstanding interest in American conceptual art, collaborating extensively on exceptional projects which fall under the historical category of artists’ books.
For the 2017 edition of IFPDA - Fine Art Print Fair, mfc-michèle didier will show a selection of works from four major artists: Robert Barry, Mel Bochner, On Kawara and Christian Marclay.

In the same manner as many of their contemporaries, these four artists question the book as an object and, in a broader sense, the forms which can be derived from it. They have continuously experimented with textual and visual material, cutting loose from conventional practices and common methods. Their approach is one of strong commitment, which they lay claim to and steadily nourish with new productions.

On the occasion of the IFPDA, mfc-michèle didier will present Mel Bochner’s Singer Notes, 1968, a facsimile of the original Singer Notes folder bringing together each note and sketch put on paper by Bochner during sessions shared with researchers and engineers at the Singer Corporation as part of his participation in E.A.T. (Experiments in Art and Technology). This programme hinged upon the research and development of new information technologies in the industrial sector, and although Bochner’s bi-weekly sessions didn’t allow him to grasp the entirety of the issues at stake (which were of course too far-reaching), he instead developed a way to mark out their limits: measuring. Upon returning to his studio, Bochner began taking the measures of his walls, bringing forth the series entitled Measurements. Singer Notes traces out the evolution of Bochner’s artistic thought process from its state as inchoate, nebulous manuscript to the methodic and precise (if not to say determining) gesture of measuring.
Mel Bochner’s handwritten notes can be easily compared to those typed by Robert Barry entitled Somethings that… (2016). Following his own compositional method devised in 1969, Barry has created a collection of twenty-four sets, each made up of three parts, which respectively contain a statement. The two primary statements are repeated in each set, whereas the third is one of twenty-four possibilities, creating just as many possible combinations. A selection of sets from this work will be shown on one side of the stand, and will shed light upon the importance of language in Robert Barry’s artistic production. While using, playing with, staging and questioning words, the statements from Somethings that… are unique in that they never conjure up an image. Although the combinations of words hold meaning and are grammatically correct, no visual transcription arises in the reader’s mind: the thought remains textual and evolves as such.

The same can be said of Something in a Box and its sixty-two sheets placed in a walnut box. On the first sheet we read an introduction to the 61 statements which are to follow. These, however make a bid to define something whose nature we will apparently never be able to fathom. Robert Barry’s serial and systematic research, made manifest in Somethings that… and Something in a Box, is brought into dialogue with On Kawara’s inventories. In his trilogy comprising I MET, I WENT and I GOT UP, On Kawara shares his efforts to archive the personal in an extreme manner. An impressive quantity of information as well as sheer precision and daily discipline were instrumental to Kawara for the twelve years during which he created these three works. The names of each person the artist spoke to between May 10th 1968 and September 17th 1979 (I MET), the retranscription of itineraries onto maps from visited places (I WENT) and the daily sending of postcards bearing witness to his geographical location (I GOT UP) create what we might call a poetry of the moment. This same vein of poetry can be observed in the artist’s posthumous work, I READ. This piece – shown for the first time at the IFPDA – is made up of six volumes. On Kawara has carefully affixed, annotated and dated press cuttings to each one of the 3272 pages of lined paper, juxtaposing or overlaying articles from numerous daily newspapers, the date being the only common factor to the selected columns. Sometimes, the newspapers are late by one or several days if we are to look at the date heading the pages of I READ. This is because he would have completed a Date Painting on that day instead. I READ is thus directly linked to Today Series and each page acts as a mirror to a Date Painting. The artist’s interest in international affairs as well as his consistent “pictural” activities are revealed in these works.

On Kawara’s renowned piece, One Million Years, will also be prominently placed within mfc-michèle didier’s stand. The visitors to the IFPDA will have the pleasure of seeing (perhaps not for the first time) this two-volume book project that resembles a musical score: the piece uses ten strictly aligned columns which are in turn subdivided into ten lines, each representing a decade.
In a musical echo to On Kawara’s inventories, the twenty-eight folios of Christian Marclay’s Ephemera will also be present. These can be seen as the result of a decade-long accumulation of decorative, eclectic musical notes and scores gleaned from various sources (advertisements, illustrations, menus, candy packets, etc.). These come together to create a visual and potentially musical score, as Ephemera was originally conceived to be played by musicians.

IFPDA 2017

IFPDA 2017

IFPDA 2017

IFPDA 2017

IFPDA 2017


 

 

FIAC 2017

October 19-22, 2017
Paris, France

FIAC 2017

Press release

For its 30th year, the Parisian gallery and publishing house mfc-michèle didier proposes for the FIAC a sensitive booth through a selection of artworks from seven artists: Ida Applebroog, Hannah Collins, Paul-Armand Gette, Annette Messager, Camille Moravia, Athena Tacha and Martha Wilson.

From a scientific perspective, touching is seen as the original act, essential to human being. Indeed, it is able to evolve without seeing or hearing, but he cannot live whithout touching and being touched. However, sight may assist this touching necessity or even remlace it. This need of touch leading sometimes to the desire to touch.

From the Museum instruction «Please touch only with your eyes» to Duchamp’s instruction «Prière de toucher» are the works of these seven artists. Seven artists whose  approach of body and touch reveals their commitment as much as their risk taking.

The thin publication of It’s very simple - A performance by Ida Applebroog is printed in an only color–blu. A drawing, sometimes two, occupying the almost whole page, is repeated on all the pages. This repetition obliges to imagine the body of the perfromance.

Hannah Collins‘s Hair Shawl represents a massive hair in black and white. A series of little glass eyes hunging on the hair have been painted in color on this «hair shawl». Despite being from the back, this body looks at us and invites us to look back at him. This artwork approaches the body not only by the sight or the touch but, as well, through what Deleuze calls–in Francis Bacon. Logique de la sensation–the haptic. This «third eye» that  «does not oppose two sense organs but supposes that the eye is itself able to have this function that is not optical». With Hair Shawl, Hannah Collins makes visible a corporal way to apprehend the look.

Recent publication of mfc-michèle didier, Cinématographies by Paul-Armand Gette is what might be called an «essay on photographical set classification». Actually, since 1970, the artist’s work has been mainly dedicated to model study. This leads to a large amount of pictures that he describes himself as Cinématographies. In this part of the work of the artist, even if sometimes the photograph gets closer to the model, there is never any contact. In this way the artist banishes touch but does not annihilate its effect.  

Mes dessins secrets is one of Annette Messager’s albums which gathers untidily 76 erotic freehand drawings by the artist on various papers from notepads and notebooks. The album seems like a private diary that relates with more or less precision and realism, a woman sexual life at a time when the perfect housewife stereotype prevailed.

With Expressions 1 (A Study of Facial Motions) a serial work by Athena Tacha, the artist shows us how the body becomes language.

With Nympha Nocturna ssp. Rosea P. A. G., Paul-Armand Gette allows us to touch the silky material of a black and pink little panty put into an insect box. Erotic substitution of female body, this lingerie will finally get out from its box, weared by Camille Moravia and photographed 22 years later by Paul-Armand Gette.

Five photographies titled Cinématographie - Le modèle et son peintre, will attest the presence of the artist that moves the lingerie on the body of the model and adjust the  creased fabric.

Finally, we will show at FIAC The Arnotated Alice, a work of 1976 by Martha Wilson, that permitted to the artist to rewrite Alice in Wonderland by Lewis Carroll.

FIAC 2017

FIAC 2017

FIAC 2017

FIAC 2017

 

 

 

ART-O-RAMA 2017

August 25-27, 2017
Marseille, France

Art-O-Rama 2017


Press release

 

 

ART BASEL 2017

June 15-18, 2017
Basel, Switzerland
Booth E8, Hall 2.0

Art Basel 2017
Press release

Vanitas vanitatum, omnia vanitas

If the theme seems ancient – it has been found in the Antiquity and became an autonomous genre circa 1620 in the Netherlands before spreading in Europe during the 17th century – vanities have not vanished from the 20th and 21st century artistic production. Even though Vanity is now characterised by a large variety of expressions, the artistic interest it inspires is not fading.

Skull and sill life certainly stay indisputable symbols of Vanity – in this respect, mfc-michèle didier saves them a prominent place in its booth with the poster Heart of Darkness from Fiona Banner's series The Greatest Film Never Made (Fiona Banner and Name Creative) – though it is far away from being the only subject of representation for this recurrent theme in Art and Human History.

Since the dawn of time, artists have tried to substantiate not only life and death matter but rather the transition between these two and its inscription in time. In this regard, contemporary artists make no exception.

As such, is it not On Kawara's work the most contemporary Vanity ? With the I Got Up, I Went and I Met trilogy – to which I Read is to be added in 2017 – the artist pushes his personal archive work towards an extreme point, not only because of the huge amount of information it contains but also for the rigour and discipline he forced himself to obey to. Conscientiously collected, these figures reflect a certain narcissism, particularly displayed by the use of the first person singular. They also are a proper challenge to time, as is evident from the art piece One Million Years which endless litany of numbers sieves years like a hourglass – another symbolic object of Vanity – turning them into laborious witnesses of the race of time.

With Mes dessins secrets, Annette Messager allows us to penetrate her most personal life, her private diary-like erotic drawing collection. Starting with the possessive pronoun " my ", same as On Kawara's use of " I ", the title suggests the autobiographical nature of these images. Playing with a falsely naive exhibitionism, the artist offers us the contemplation of the illustrated tales of her fantasies and passionate sexual life.

In a very different way, Allan McCollum's The Shapes Project consists of a system generating more than 31 billions different shapes composed from various combinations of 6 standard elements groups. Every shape is intended to one particular individual, each person owning his unique shape as his own genetic map.

The Fountain Archives is a perfect example of the art world Vanity. First, thanks to Saâdane Afif's interest in a special art piece – the most famous Fontaine by Marcel Duchamp presented as the first ready-made in Art History – Then, because of the vertiginous amount and variety of its representations collected by the artist.

Still in this critical perspective towards the artistic sphere and its protagonists, Robert Barry's work Art Lovers displays 31 photographs of artists, art collectors and amateurs. These portraits implying their model's Vanity are however purposely covered by a flat black ink layer, opened by the shape of a word that uncovers only a glimpse of the photograph below. Masked identities then create an archetype of the various art  world actors.

In a more political matter, the group of feminist artists The Guerrilla Girls produces posters displaying texts, printed in a black bold uppercase font, occupying the entire space and taking a critical and ironical look at the limited position allowed to women by the art world and more generally the whole society. The Advantages Of Being A Woman Artist or Bus Companies Are More Enlightened Than NYC Art Galleries, are social Vanities that reflect contemporary discriminations.

Referring to this particular way of understanding society by the filter of humour and irony, Antoni Muntadas's poster We are Fantastic deals with national expressions and what they imply in terms of identity and representation. The expression, printed in a bold font similar to the one used by The Guerrilla Girls, discusses with the fulfilling background image in a contrasted text/image relation. Uruguay is represented here by the presumptuous statement " We are Fantastic ", however the background photograph showing the top of an elderly bald man's head is not very flattering. Death is not far away…

Death or at least desappearance. Desappearance of words, forms, images, even of content itself like in the artwork No Image Available published by Fiona Banner's own editorial structure named Vanity Press, which directly refers to self-publishing process. Very common in the 60's and the 70's, self-publishing had promoted the artist book development in times when it was easier for artists to create and edit their books themselves (or amongst them). We keep in mind Ed Rusha's Heavy Industry Publications and Dieter Roth's Forlag.

With a piling of 43 prepared canvases by Claude Rutault used as a base for Allan McCollum’s Collection of Four Perfect Vehicles, the two artists jointly attempt to counter time impact on their respective artworks. Through this singular collaboration might hide a comforting strategy: a promise of reactivation for one of them ; the hope of an escape to the danger of uniqueness for the other?

As a Vanity gathering of this world goods, mfc-michèle didier's booth displays its own publications – books or torn off pages as symbols of knowledge, and paintings, drawings, posters as symbols of vain arts (?!) – in a perfect Vanitas vanitatum, (Vanity of the vanities).

Art Basel 2017

Art Basel 2017

Art Basel 2017

Art Basel 2017

 

 

MULTIPLE ART DAYS - MAD 2017

May 26-28, 2017
Paris, France

Art Basel 2017
Press release

 

 

ARTISSIMA 2016

November 4-6, 2016
Turin, Italy

More information

Artissima 2016

Artissima 2016

Artissima 2016

 

 

 

FIAC 2016

October 20-23, 2016
Paris, France
Booth 1.F03

Press release

« 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.

FIAC 2016

FIAC 2016

FIAC 2016

FIAC 2016

FIAC 2016

 

 

 

MULTIPLE ART DAYS - MAD 2016

September 30, October 1st and 2nd, 2016 - Nuit Blanche
Paris, France

More information

MAD 2016      MAD 2016

MAD 2016      MAD 2016

 

 

 

ART-O-RAMA 2016

August 26-28, 2016
Marseille, France

More information

ART-O-RAMA 2016

ART-O-RAMA 2016

ART-O-RAMA 2016

 

 

 

ART BASEL 2016

June 16-19, 2016
Basel, Swiss
Booth E6, Hall 2.0

Press release

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.

Art Basel 2016

Art Basel 2016

Art Basel 2016

Art Basel 2016

 

 

 

FIAC 2015

October 22-25, 2015
Paris, France
Booth 0.A35

Press release

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.

FIAC 2015

FIAC 2015

FIAC 2015

FIAC 2015

 

 

 

ART-O-RAMA 2015

August 28-30, 2015
Marseille, France

Press release

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.

Art-o-Rama 2015

Art-o-Rama 2015

Art-o-Rama 2015

Art-o-Rama 2015

Art-o-Rama 2015

 

 

 

ART BASEL 2015

June 18-21, 2015
Basel, Switzerland

Press release

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.

Art Basel 2015

Art Basel 2015

Art Basel 2015

Art Basel 2015

 

 

 

MULTIPLE ART DAYS - MAD 2015

May 22-24, 2015
Paris, France

Press release

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 2015

March 5-8, 2015
New York, USA

Presse release

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.

Artists on display: Robert BarryOn Kawara, Mathieu MercierAnnette Messager, Muntadas and Allen Ruppersberg

The Armory Show 2015

The Armory Show 2015

The Armory Show 2015

The Armory Show 2015

The Armory Show 2015

 

 

FIAC 2014

October 23-26, 2014
Paris, France

Press release

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.

Artists on display: Robert BarryClaude CloskyYona FriedmanOn KawaraChristian MarclayAllan McCollumAllen Ruppersberg, UNTEL

MFC@FIAC 2014

MFC@FIAC 2014

MFC@FIAC 2014

MFC@FIAC 2014

 

 

ART-O-RAMA 2014

August 30-31, 2014
Marseille, France

Press release

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.

Art-O-Rama 2014

Art-O-Rama 2014

 

 

ART BASEL 2014

June 2014
Basel, Switzerland

Press release

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 MarclayAllan McCollumAnnette MessagerMuntadasMaurizio Nannucci, Roland Penrose, Francis Picabia, Alexander Rodtchenko and Andy Warhol.

Art Basel 2014

Art Basel

Art Basel

Art Basel

Art Basel

Art Basel

Art Basel

 

 

ABCDays 2013

November 2013
New York, USA

Presentation of art works by Leigh LedareAllan McCollum and Jim Shaw

ABC DAYS 2013

 

 

FIAC 2013

October 2013
Paris, France

Press release

Face-to-face between the works by Samuel BianchiniRaymond Pettibon and by UNTEL

FIAC 2013

FIAC 2013

FIAC 2013

 

 

ART BASEL 2013

June 2013
Basel, Switzerland

Press release

Presentation of works by Samuel Bianchini, On KawaraLeigh Ledare, Allan McCollum, Annette Messager,
Jonathan Monk and Maurizio Nannucci

Art Basel 2013

Nannucci - whichever word     Annette Messager - Ma collection de proverbes

Trilogie - On Kawara

 

 

ART BASEL 2012

June 2012
Basel, Switzerland

Presentation of works by On Kawara, Christian Marclay, Annette Messager and Maurizio Nannucci

Art 43 Basel

Art 43 Basel    Art 43 Basel

Art 43 Basel

 

FIAC 2011

October 2011
Paris, France

Presentation of artworks by Annette MessagerRobert Morris and Lynda Benglis

Robert Morris - Lynda Benglis

Robert Morris - Lynda Benglis     Robert Morris - Lynda Benglis

Robert Morris - Lynda Benglis

Annette Messager

Annette Messager

 

 

ART BASEL 2011

June 2011
Basel, Switzerland

Presentation of works by Robert BarryOn KawaraAllen Ruppersberg and Jim Shaw

Art 42 Basel

Art 42 Basel

Art 42 Basel    Art 42 Basel   

 

 

FIAC 2010

June 2010
Paris, France

Presentation of works by Carl AndreRobert Barry, Paul-Armand Gette, On KawaraChristian MarclayJohn Miller
Jonathan Monk and MuntadasPhilippe Parreno and Allen Ruppersberg

FIAC 2010

FIAC 2010     FIAC 2010


 

ART BASEL 2010

June 2010
Basel, Switzerland

Presentation of works by Carl AndreRobert BarryAA BronsonDavid CunninghamOn Kawara, Allan McCollum,
John MillerJonathan Monk and Muntadas

Art 41 Basel

Art 41 Basel

 

 

NEW YORK ART BOOK FAIR 2009

November 2009
New York, USA

Presentation of works by Carl Andre, Robert BarryAA BronsonOn KawaraJohn Miller and Allen Ruppersberg

New York Art Book Fair 2009

New York Art Book Fair 2009    New York Art Book Fair 2009


 

ART BASEL 2009

June 2009
Basel, Switzerland

Presentation of works by Robert BarryAA Bronson, On KawaraChristian Marclay, John Miller and Allen Ruppersberg 

Art 40 Basel

Art 40 Basel     Art 40 Basel

Art 40 Basel

 

 

NEW YORK ART BOOK FAIR 2008

November 2008
New York, USA

Presentation of works by Robert Barry and On Kawara

New York Art Book Fair 2008

New York Art Book Fair 2008

New York Art Book Fair 2008

New York Art Book Fair 2008    New York Art Book Fair 2008

 

 

ART BASEL 2008

June 2008
Basel, Switzerland

Presentation of works by Robert Barry and On Kawara

Art 39 Basel

Art 39 Basel

 

 

ART BASEL 2004 - Art Unlimited

June 2004
Basel, Switzerland

Presentation of a unique installation confronting On Kawara's I MET publication with twelve of his Date Paintings from 1968 to 1979.

Art Unlimited 2004

Art Basel 2004