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Hans Hartung, 1914

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貝納.維尼, “Le contexte de l’art, l’art du contexte”,artpress,1996

貝納.維尼認為生命是不能預測的。就好像他也不會知道自己會於1985在尼 斯的展覽上邂逅美麗的巴黎記者一樣,這次邂逅展開了他人生的快樂的另一 頁。現時他有一半的時間會在紐約,另一半時間則在尼斯附近的Le Muy。這是 他的家,他在那裡設置了一個大型的畫室及雕塑室,同時也用來收藏他和其 他他所欣賞的藝術家交換而來的作品。 公眾的委約促使他有機會製作大型的雕塑作品。最著名的不確定線條(Indeterminate Lines)是與中國的象形文字及書法有關的創作。那些看似隨意的線 條,就好像手寫的書法一般,同時又像畢加索及David Smith的幾何圖像,充 滿了現代主義的感覺,這跟傳統的雕塑作品大相徑庭。其中一件他於1986年 為巴黎La Défense 所製作,高三十呎的Two Indeterminate Lines雕塑,就像一 只探戈。 那些 Indeterminate Line保留了鋼鐵被扭曲時對抗的痕跡,那些不能測的結曲 線。和在 Le Muy的工作室, 貝納.維尼可製作像建築般的大型雕塑,除了構 成主義藝術家Tatlin外,並沒有多少雕塑家可以做到。

他在不確定線條之外再加多一個詞彙「拱形(Arcs)」,這些圓型的碎片早於 他的繪畫中已出現過。在1987年,他創作了高達60 呎 x 120呎,拱形有124.5度 的大型作品,這是法國政府為慶祝柏林750週年所委約創作的,它現正擺放在 Urianaplatz廣場上。跟其他一系列的拱形雕塑一樣,他會將作品的題目、拱形 的度數刻在作品上,去突顯它們的獨特性。 每一片貝納.維尼所製作的拱形,其實也是圓形的一部份,雖然我們見到的只 是其中一片,但我們仍能想像拱形的延伸,這使他的作品有一種更複雜的閱 讀。它不單是告訴我們看得見的部份,同時也包含我們看不到的投射,這些投 射是被準確計算過的,是一絲不苟地建立的non finito。 根據它的參數,貝納.維尼嘗試把雕塑的邊界推至極限。這些大型雕塑不單 充滿爆炸力,且極具表現性,充分發揮了這個媒界的可能。他又嘗試將一個 又一個的拱形加起來,形成更多不同的組合。這些雕塑無可避免地會被四週 的環境所影響。堅硬的鋼鐵跟翠綠的環境形成強烈的對比,就像不確家線條 (Indeterminate Lines)的對角線跟毗鄰的,像立方體一樣的大廈之間所產生的 矛盾一樣。大型的拱形雕塑感覺並不穩定,它像是會搖動似的。而未曾完成的 垂直的拱形,則有一種正在違抗地心吸力的感覺。 由圖表、公式,去到重金屬大型雕塑,這一切引領貝納.維尼去到一個新的藝 術境界。隨機的動作、物料的重力以及其平衡點之間的相互關係,都是他創作 這些大形雕塑時重要的考慮因素。偶然排列的線堆,成為了Heap of Coal的初 型。像迷宮一樣,錯綜複雜的線條,正對應著我們自身的存在的問題,透過這

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些作品,讓我們藉以嘗試了解宇宙是從哪裡開始,往哪裡結束。他早期的創作 曾拒絕任何隱喻,這脫變讓他的作品由冰冷的數學計算演化成更有人性及更 具表現性,這些作品包含著一種對人纇不穩定的及無法預測的處境的關懷。 從他的創作概念發展以及技術上的推進,貝納.維尼的線及拱形變得不單愈 來愈大,還愈來愈密集。那些垂直的大型拱形,把人們的目光從地面引伸至天 空,代表著人與人之間的關係。這些都跟貝納.維尼最初想表達的一種純學 術的出發點不同。有關非表現主義的簡化論,被多元的而且複雜的表現主義取 代,但這不代表多愁善感。 貝納.維尼的雕塑率直和直接,它的比例與週邊的建築物出奇地配合,當中吸 引人之處,是那種像魔法般的令人應到驚訝的平衡。這些看似簡單的形狀,是 藝術家累積多年並不斷努力嘗試的成果。 在創作的過程中,貝納.維尼越來越意識到人纇的無力感。於是他容許他的 作品蘊含一種隨機性。作品探索「可預測的」及「不能預測的」兩者的對話。他 他開始以「非組織的」及「偶發」這兩個原則做作品,合拼不同的線條、角度、 拱形等,這成為了Heap of Coal的初型。 回溯他起初將木炭堆隨意倒在地上並為之拍照的創作方法,我們已可見到他 使用的是一種希望挑戰傳統的風格,當中包含著反對及矛盾。這種自相矛盾的 議論貫徹他整個創作生涯,包括他的繪畫以及雕塑,也同樣如出一徹。這議論 成為了他之後創作的原則,問題是,他怎樣調節這種自相矛盾性以及邏輯理 性的關係。 貝納.維尼解決這個問題的方法,是根據他所寫的論文有關邏輯上的總結。 假如第一個原則跟其他的出現自相矛盾,而其他元素好像「隨機性」或「意 外」同時包含其中,那麼這議論的連貫性便難於順利地進行,就連像蘇格拉底 (Socrates)也不會知道怎樣處理。 貝納.維尼嘗試根據哥德爾Kurt Gödel的「哥德爾不元備定理」(Theory of Incompleteness)去處理這矛盾。他指出任何嚴謹的系統也有能力表達一些根 據數學推算的論點,包括一些真實但仍未能被證明的,以及一些自相矛盾的議 論。 他指出任何一個允許定義自然數的體系必定是不完全的,在數理上的系 統必定是不完整及不一致的,這允許矛盾的出現。哥德爾認為數學某程度上 也是主觀的,並不能完全分辨理性以及非理性。 哥德爾認為線可以無限地從不同的方向伸延,可惜其實從來也沒有人可證 實這一論說是正確的,因此貝納.維尼把他的「線」命名為「不確定線條」 (indeterminate),它可由我們的視覺投射去決定其起點和終點。哥德爾證實世 上有很多東西雖然是真的,但也未能被證實,因為數學本身就存在相當的盲 點。假如數學中的不完整是真實的話,那它同樣會在科學、語文、哲學和藝術 中出現,就如邏輯並不能證明上帝存在與否。


最新的黃金畫作背後並沒有理論存在,貝納.維尼也沒有為它刻意去尋找一 套理論,這樣的創作使他感到難得的自由,他沒有去計較畫布上展示的的合理 性,他只想隨意地把文字拼貼,去達至一種不能預期的效果。 「在用過很多高飽和度的色彩後,現在我希望嘗一些「非顏色」,像Cimabue 宗教畫的背景一樣。在1959年至1960年,當時我還是一位很年輕的藝術家,那 時候我曾嘗試用最少的色彩繪畫宗教畫。」在最近的系列中,貝納.維尼愛上 人工的金色,因為他認為這色彩是不會在大自然中找到的,這是一種關於文 化的顏色,與宗教裡和建築裝飾有關。當然,有關數學的想象並不同於宗教 插畫。 儘管貝納.維尼在 Le Muy的工作非常忙碌,但由於工作室建在牧區的關係, 他也能享受一片寧靜,有時候能好好的在古老的磨坊旁邊聽著瀑布的聲音沉 思。他的圖書館有大量藏書 ,這是貝納.維尼其中一個靈感的泉源。在床頭上 方,人們通常掛上十字架的地方,他則寫上數學家庫爾特.哥德爾(Gödel )的 不完整理論(Theory of Incompleteness)。

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Bernar Venet in front of a pile of coal, Avenue Albert 1er, Nice, France, 1963.

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BIOGRAPHY

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View of “Pile of Coal” with “Déchets”, “Goudrons”, “Macadams” “Relief cartons”, and “Tubes” in the background. Retrospective exhibition at the Busan Museum of Art, Busan, South Korea, 2007.

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BERNAR VENET BIOGRAPHY

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1941

Born on April 20 in Château-Arnoux Saint-Auban in the Alpes of Haute-Provence. His father, Jean-Marie Venet, a schoolteacher and chemist, dies at the age of forty-three, leaving his widow Adeline Gilly in charge of their four sons, of which Bernard is the youngest.

1947-1957

Attends grade school followed by Lycée Paul Lapie in Château-Arnoux Saint-Auban, Département des Alpes de Haute-Provence. Suffering from asthma, he is forced to spend long periods in a health spa in Saint-Raphaël on the Côte d’Azur. As a youth, attracted to religion, he wants to become a missionary. With the encouragement of a local artist, he draws and paints extensively by the age of ten. At eleven, Bernar is invited to exhibit a painting in the Salon de peinture Péchiney in Paris.

1958

Fails his entrance exam for the Decorative Arts School in Nice. Studies for one year at the Villa Thiole, the municipal art school of the city of Nice. When caught defending Picasso’s work to his fellow students, he is suspended for a week.

1959-1960

Works as an assistant stage designer for the Nice City Opera. Paints highly stylized pictures influenced by Paul Klee, which he describes as being in a symbolist style.

1961

In March, he joins the army and serves his mandatory twenty-two months. Initially assigned to the army selection center in Tarascon, he is granted access to an attic, which he converts into a studio. In the beginning, Venet’s works are gestural, and executed with his feet. Soon, they develop into black monochromes made with tar. He has himself photographed lying between garbage cans, an action that will be his first recorded performance. He begins his photographic work.

1962

Sent to Algeria for ten months to complete his military service.

1963

Returns to Nice. He sets up a studio in the old quarter, at 18 rue Parolière. Develops the tar paintings further and makes detailed photographs of gravel and coal piles, as well as asphalt. The Pile of Coal (“Tas de charbon”), the first sculpture without a specific shape, is considered today a major step for the artist in the development of his work. Becomes friends with Arman, and with some of the Paris Nouveaux Réalistes such as César, Hains, Villeglé, who offer to share their exhibitions with him. Towards the end of the year, he makes the first of his abstract Cardboard Reliefs, which he describes as industrial paintings.

1964

Venet participates in the Salon Comparaisons at the Musée d’Art Moderne de la Ville de Paris. He exhibits alongside the Nouveaux Réalistes and American pop artists, despite the abstract nature of his Cardboard Reliefs. He also participates in the 1965 and 1967 exhibitions at the same Salon.

1966

First trip to New York in April and May. Initially lives in Arman’s studio at 84 Walker Street, previously Jean Tinguely’s workshop. Invited to participate in the exhibition Impact at the Musée de Céret in the Pyrénées, he sends a blueprint (industrial drawing) for a tube. Aware of the objective nature of blueprints, and their semantic character, he chooses diagrams as his subjects, which become his first monosemic works. Conceives of a ballet, Graduation, to be danced on a vertical plane; it is performed twenty-two years later. In December, he decides to settle permanently in New York.

1967

Rents a studio apartment on 14th Street and 1st Avenue. Visits Jack Ullman in the Nuclear Physics Departments at Columbia University. His conceptual work on scientific information develops along rational lines. Meets minimalist artists at the Dwan Gallery. Produces nonvisual works on magnetic tape. His focus is on content, not on the form in which the content is rendered. Sets up a four-year program for himself with the intention to stop all art production upon its completion.


貝納.維尼 生平 1941

於4月20日在法國Chateau-Arnoux 聖奧邦 (Saint-Auban)出生。他的父親 Jean-Marie Venet是一位教師及物理學家,終年43歲,留 下妻子Adeline Gilly 去照顧四名兒子,當中貝納.維尼是排行最小的。

1947-1957

在阿爾卑斯山附近的上普羅旺斯,阿諾克斯聖奧邦城堡的Lycée Paul Lapie 就讀。因哮喘病的關係,要長時間留在蔚藍海岸的 聖拉斐爾療養院。年青的時候他深受宗教吸引,希望成為一位傳教士。後來受到當地的藝術家鼓勵,他十歲起便開始大量地 繪畫。十一歲的時候,貝納被邀請到巴黎的Salon de peinture Péchiney作展覽。

1958

他在尼斯的藝術學院Decorative Arts School考試中落選。然後在尼斯市辦藝術學校Villa Thiol修讀了一年。他因捍衛畢加索的 作品被停學一星期。

1959-1960

在尼斯城市歌劇團作舞台設計助理。畫風受保羅.克利(Paul Klee)的影響,繪畫極風格化,他形容這是一種象徵主義風格。

1961

三月,他加入軍隊進行為期二十二個月的強制兵役。他最初被派到塔拉斯孔(Tarascon)的軍隊選拔中心服役,在那裡他被分配 到一個閣樓,他將之改裝成他的工作室。最初的時候貝納的作品是一種「姿態」,他會用腳去執行。不久他發展用瀝青繪畫單 色畫。除此之外,他又躺在垃圾箱旁邊並用照片紀錄下來,這是他第一次以表演形式創作,也是他開始嘗試用攝影創作。

1962

被送到阿爾及利亞進行為期十個月的兵役。

1963

回到尼斯,在舊區18 rue Parolière 設立了工作室,繼續以瀝青繪畫,並拍攝一系列爍石、煤堆以及瀝青。 <<The Pile of Coal>> (“Tas de charbon”)是他第一件雕塑作品,它並沒有固定形狀,這件作品被視為他藝術創作上的一 個重要階段。他跟阿曼(Arman)及一班巴黎新藝術主義(Nouveaux réalistes )的藝術家成為朋友,當中包括塞薩(César)、 Hains、Villeglé,他們提供了一些展覽機會給他。年底的時候,他創作了第一件抽象作品《Cardboard Reliefs》,這件作品被他 形容為第一件工業繪畫。

1964

貝納.維尼參加了在巴黎現代藝術博物館(Musée d’Art Moderne de la Ville de Paris)的Salon Comparaisons中舉辦的展覽。同場 包括一班巴黎新藝術主義藝術家及美國的藝術家。他所展出的《Cardboard Reliefs》是一件抽象作品。他在1965以及1967年也 同樣在這裡舉辦展覽。

1966

在四月及五月的時候,他第一次到紐約,最初住在阿曼位於84 Walker Street的工作室,它前身是Jean Tinguely的工作室。他被 邀請參加在Pyrénées的Musée de Céret所舉辦的展覽「Impact」。他認為用藍印(一種工業用的繪圖)去創作能有一種客觀地 記錄事物的能力,因此他選取藍印去做作品。他第一件monsemic作品是以圖表做主題的。此外他還做了一個芭蕾舞舞台的設 計,他幻想舞蹈員能在一個垂直的平面上跳舞,此作品在二十二年後上演。他於十二月的時候決定到紐約去,並在當地定居。

1967

在第十四街(14th Street)以及第一大道(1st Avenue)設立工作室。到哥倫比亞大學核子物理部探訪Jack Ullman。他根據科學知識 發展觀念藝術作品。在Dwan Gallery會見一班簡約主義藝術家。用磁帶製作非視覺藝術作品。他把重點放在其內容上而非它 的形式。為自己立下一個四年計劃,並打算於完成此計劃後停止所有藝術創作。

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1968

Rents a room at the Chelsea Hotel. Exhibits in Prospect 1968 at the Dusseldorf Kunsthalle, along with Joseph Beuys and Marcel Broodthaers. Museums begin to acquire his work, among them: the Museum Haus Lange Krefeld, and the Museum of Modern Art, New York. Columbia University scientists collaborate with Venet in staging a performance at the Judson Church Theater. Meets Ella Bogval, whom he marries in 1971; they separate in 1982.

1969-1970

Moves into a SoHo loft, on Broadway Avenue, and designs his own furniture in a minimalistic aesthetic. Participates in the exhibition “Conception Konzeption” in Leverkusen, Germany. Travels and lectures in Europe, the United States, and Japan. Invited to participate in “Art by Telephone” at the Museum of Contemporary Art in Chicago. Ceases to make art as planned. Retrospective at the Museum Haus Lange Krefeld, Germany, organized by Paul Wember. Makes multiples for Bill Copley’s The Letter Edge in Black Press and Marianne Goodman’s Artist and Photography portfolio. Sees his work included in group exhibitions at Dwan, Leo Castelli, and Paula Cooper galleries.

1971

After the group exhibition “Conceptual Art and Conceptual Aspects”, a retrospective at the New York Cultural Center, Columbus Circle, Donald Karshan, who organized the exhibition, publishes a catalogue raisonné of Venet’s conceptual work. Birth of his twin sons, Alexandre and Stéphane.

1972-1973

Moves to Paris with his family. A period of reflection follows, where he writes about his own work. Introduces the concept of monosemy – borrowed from Jacques Bertin. In order to rectify comments he believes are not pertinent, he wishes to explain and specify the nature of his approach himself. Is present at the exhibition “72-Douze ans d’Art Contemporain” at the Grand Palais, Paris.

1974

Teaches a course in Art and Art Theory at the Sorbonne, Paris. Lectures at universities and art centers in France, England, Italy, Poland, and Belgium. First monograph by Catherine Millet published by Editions du Chêne, France, and Edizioni Prearo, Italy. Jean-Pierre Mirouze produces a film on him entitled Œuvre terminée, œuvre interminable. Exhibits his conceptual work at the Institute of Contemporary Art, London. Chosen to represent France at the XIII São Paulo Biennial, along with Gottfried Honegger and François Morellet.

1976

Returns to New York in September, and moves into a loft on West Broadway. Begins to work in his studio again. The first canvases from the series Angles and Arcs can be characterized as extremely restrained renderings of geometrical figures. Retrospective of his conceptual works at La Jolla Museum of Contemporary Art, California, organized by Sebastien Adler.

1977

Participates in Documenta VI, Kassel. Exhibition of recent paintings at the Musée d’Art moderne in Saint-Étienne, France.

1978

Participates, on the invitation of Achille Bonito Oliva, in “From Nature to Art. From Art to Nature” at the Venice Biennale.

1979

Begins a series of wood reliefs, Arcs, Angles, Diagonals, and introduces the first Indeterminate Line. Starts making steel sculptures composed of two arcs. Receives a grant from the “National Endowment for the Arts.”

1982

Moves to a loft at 533 Canal Street, New York. First maquettes for steel sculptures of Indeterminate Lines. Seth Schneidman produces the film Bernar Venet 1983.

1983 1984

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Invited by the Ministry of Culture for the commission of Arc majeur de 185.4˚. The project is never completed. Starts making his sculptures at Ateliers CMW Marioni, a foundry in the Vosges region of France. First exhibition of Indeterminate Lines at Galerie Templon, Paris.


1968

在第十四街(14th Street)以及第一大道(1st Avenue)設立工作室。到哥倫比亞大學核子物理部探訪Jack Ullman。他根據科學知識 發展觀念藝術作品。在Dwan Gallery會見一班簡約主義藝術家。用磁帶製作非視覺藝術作品。他把重點放在其內容上而非它 的形式。為自己立下一個四年計劃,並打算於完成此計劃後停止所有藝術創作。

1969-1970

搬到百老匯大道的蘇豪的一所閣樓,並自己設計富簡約主義的傢俱。參加在德國勒沃庫森,名為「Conception Konzeption」的 展覽。到歐洲、美國和日本旅遊並進行演講。被邀請到芝加哥現代美術館參加名為「Art by Telephone」的展覽。他決定停止有 計劃地做作品。 複製Bill Copley的The Letter Edge in Black Press以及Marianne Goodman的Artist and Photography portfolio。在 德國Museum Haus Lange Krefeld辦回顧展,這個展覽是由Paul Wember策劃的。在Dwan、Leo Castelli及Paula Cooper galleries舉 辦聯展。

1971

參與名為「Conceptual Art and Conceptual Aspects」的聯展後,在Columbus Circle紐約文化中心舉辦由Donald Karshan策劃 的回顧展。出版名為raisonné of Venet’s conceptual work(貝納.維尼觀念作品全集)的展覽畫冊。他的雙生兒 Alexandre及 Stéphane於同年出生。

1972-1973

他與家人搬到巴黎,這是他進行反思的階段,他開始書寫有關自己作品的文章。介紹由Jacques Bertin提出的monosemy概念。 為了糾正一些別人對他的作品的誤解,他決定自己解釋他創作手法的性質。在巴黎Grand Palais舉辦名為「72-Douze ans d’Art Contemporain」的展覽。

1974

在巴黎索邦大學任教藝術及藝術理論。在法國、英國、意大利、波蘭及比利時的大學及藝術中心演講。第一本Catherine Millet 所寫的專題論文由法國 Editions du Chêne及意大利Edizioni Prearo出版。Jean-Pierre Mirouze拍攝有關他的電影œuvre terminée, œuvre interminable。在倫敦 Institute of Contemporary Art展示他的觀念藝術作品。代表法國參加第十三屆聖保羅雙年 展,同行的有Gottfried Honegger及François Morellet。

1976

九月回到紐約,搬到West Broadway(百老匯西)的閣樓,再次開始在工作室進行創作。他創作的「Angles and Arcs」(角度與拱形) 系列是一種極克制的幾何圖象。Sebastien Adler在加州 La Jolla Museum of Contemporary Art為他舉辦回顧展。

1977

參加第六屆卡塞爾文獻展。同年在法國Saint-Étienne現代藝術博物館展出一批新近的畫作。

1978

受Achille Bonito Oliva的邀請,參加威尼斯雙年展,展覽名為「從自然到藝術.從藝術到自然」 (“From Nature to Art. From Art to Nature”)。

1979

開始製作一系列木浮雕,拱形、角、對角線,並第一次創作「不確定線條」。開始結合兩個拱形去組成鋼鐵雕塑。得到來自「全 國藝術基金會」的贊助金。

1982

搬到紐約Canal Street 533號的閣樓。

1983

第一份「不確定線條」金屬雕塑草圖出現。Seth Schneidman製作名為「 貝納.維尼 1983」 (Bernar Venet 1983)的電影。

1984

受Ministry of Culture for the commission的邀請製作《Arc majeur de 185.4˚》,計劃一直未有完成。 開始在法國的Vosges的 Ateliers CMW Marioni製作他的雕塑作品。在巴黎Galerie Templon第一次展出「不確定線條」雕塑作品。

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1985

Meets Diane Segard, whom he marries in 1996. First big sculptures of Indeterminate Lines.

1986

Receives commissions for public sculptures in Epinal; Nice; Austin, Texas; and Norfolk, Virginia. Shows at the Leo Castelli Gallery Uptown.

1987

For the 750th anniversary of the City of Berlin, the French Ministry of Foreign Affairs and Air France commission a sculpture, 124.5˚ Arc, measuring 120 feet and sited at Alexanderplatz, near the clock on Urania Platz.

1988

Paris Opera director Jean-Louis Martinoty invites him to stage his ballet Graduation (conceived in 1966) at the salle Favard. The artist is author of the music, choreography, set designs, and costumes. Installation of Arc de 115.5° for Telic-Alcatel, Strasbourg. Receives commission for the monumental Two Indeterminate Lines to be sited at la Défense, Paris. Receives the prestigious “Design Award” in the United States. A monograph, Venet, by Jan van der Marck, is published by Les Editions de la Différence, Paris.

1989

Awarded the “Grand Prix des Arts de la Ville de Paris” by Jacques Chirac, Mayor of Paris. Performance piece La Ligne à vif (“The Live Line”) on November 23 at Galerie Templon, Paris. Installs Deux Arcs de 197.5° in Belley, France. Acquires a factory and watermill in Le Muy (Var), where he sets up to work and spend the summer months from then on. Laszlo Szalaï, of Hungarian descent, becomes his assistant.

1990

Installation of monumental sculpture Indeterminate Line at Place de Bordeaux, Strasbourg, France. First exhibition of his steel furniture at Galerie Mostra, Paris. First maquettes and large-scale versions of Random Combinations of Indeterminate Lines scattered on the floor.

1991

Works on several musical compositions, including Sons et Résonances, at the studio Miraval, Var. Two compact discs are released on the Circé-Paris label, Gravier Goudron, 1963, and Acier roulé E 24-2, 1990. Executes a series of new, heavy, torch-cut steel furniture. Noir, Noir et Noir, a book on photographic work from 1963 to 1990, is published by Editions Marval, Paris, with a text by Jean-Louis Schefer. Completes Le Rocher des trois croix, an homage to Giotto, Grünewald, and El Greco, which is raised atop a mountain in Roquebrune-sur-Argens, in the Var region of France. Filming of Bernar Venet, Lines by Thierry Spitzer and Jean-Marie del Moral begins and will be completed in 1996.

1992

Records the roar of the engines of a Concorde airplane for the musical composition Mur du son (“Wall of Sound”). Shoots the film Acier roulé XC-10 at the Ateliers CMW Marioni. Travels to Japan for the inauguration of an Indeterminate Line in Adachi-ku, Tokyo. Starts work on a series of steel reliefs composed of arrows, Arbitrary and Simultaneous Directions. Participates in the exhibition Manifeste at the Centre Pompidou.

1993

Invited to participate in the Artists Film Festival in Montreal with Acier roulé XC-10. Retrospective exhibition at the Musée d’Art Moderne et d’Art Contemporain in Nice, which then travels to the Wilhelm-Hack Museum in Ludwigshafen, Germany.

1994

Mayor of Paris Jacques Chirac invites him to present twelve sculptures from his Indeterminate Line series on the Champ-de-Mars, Paris, from May through July. This exhibition inaugurates a world tour of Venet’s sculptures. Works on his first Straight Lines sculptures. Appearance of the monograph by Carter Ratcliff, Bernar Venet, published by Abbeville Press, New York, and Cercle d’Art, Paris.


1985

邂逅Diane Segard,他們於1996年結婚。第一件大型的「不確定線條」雕塑作品出現。

1986

受Epinal委約,在尼斯、奧斯汀、Texas、Norfolk和Virginia創作公共雕塑作品 。在Leo Castelli Gallery Uptown展覽。

1987

法國外交部和法國航空委員為慶祝柏林市750週年,委約貝納.維尼製作大型雕塑《124.5°Arc》。雕塑高120呎,並選址在繆斯 女神廣場(Urania Platz)的時鐘附近的亞歷山大廣場( Alexanderplatz )。

1988

巴黎歌劇院總監Jean-Louis Martinoty邀請他在salle Favard 重做他的畢業時設計的芭蕾舞舞台(構思於1966年)。貝納.維尼同時製作音樂、舞蹈、布景設計和服裝設計。為 Telic-Alcatel, Strasbourg安裝《Arc de 115.5°》。得到委約製作大型的Two Indeterminate Lines,選址為巴黎 Défense。得到到美國著名的“設 計獎”(Design Award)。由Jan van der Marck所寫,關於貝納.維尼的專題論文由巴黎Les Editions de la Différence出版。

1989

榮獲由巴黎市長Jacques Chirac頒發“Grand Prix des Arts de la Ville de Paris”。11月23日在巴黎Galerie Templon展出名為《piece La Ligne à vif 》 (“The Live Line”)的表演作品。在法國Belley安裝《Deux Arcs de 197.5°》。在法國 Le Muy (Var)收購工廠和水 車,隨後的每年夏天他會到那裡工作。 擁有匈牙利血統的Laszlo Szalaï成為他的助手。

1990

在法國斯特拉斯堡的波爾多廣場(Place de Bordeaux)安裝大型的「不確定線條」雕塑作品。在巴黎的Galerie Mostra第一次展出 他所作的金屬家具,第一個草圖及大型版本的「不確定線條」隨機組合(Random Combinations of Indeterminate Lines)隨意散 落地上。

1991

他編寫了幾個音樂作品,包括在 Miraval, Var錄音室作的Sons et Résonances(聲音和共振)。Circé-Paris label為他發行了兩張雷 射光碟,包括 《 Gravier Goudron, 1963 》(瀝青 碎石 )及《 Acier roulé E 24-2, 1990 》( 鋼材 )。製作一系列新的重型金屬傢俱。 完成一本由巴黎 Editions Marval 出版,名為Noir, Noir et Noir(黑色、黑色和黑色)的相集,當中包括他在1963年至1990年的作品 以及由Jean-Louis Schefer撰寫的文字。完成Le Rocher des trois croix(三個十字架的岩石 )雕塑,以對 Giotto、Grünewald以及El Greco表示其敬意,這是立於法國瓦爾地區,Roquebrune-sur-Argens的山上的。開始了Thierry Spitzer及 Jean-Marie del Moral的 線條,並將於1996年完成。

1992

記錄和諧式飛機引擎發出的聲音,用作編寫樂曲Mur du son (“Wall of Sound”)。在Ateliers CMW Marioni拍攝電影 Acier roulé XC-10。到日本東京參加在 Adachi-ku舉行的「不確定線條」落成儀式。開始製作了一系列用箭頭、 Arbitrary(隨機) 和 Simultaneous Directions (同步方向)組成的鋼鐵浮雕。參加在Centre Pompidou(龐畢度中心)舉辦,名為「Manifeste」的展覽。

1993

因Acier roulé XC-10,被應邀參加在蒙特利爾「藝術電影節」。在尼斯Musée d’Art Moderne et d’Art Contemporain(現代藝術 和當代藝術博物館)舉辦回顧展。該展覽之後被送到德國 Ludwigshafen 的Wilhelm-Hack Museum博物館繼續展覽。

1994

巴黎市長Jacques Chirac邀請他從五月至七月在巴黎Champ-de-Mars展出一系列十二件「不確定線條」大型雕塑。 這次展覽開 創了貝納.維尼世界巡演雕塑展。嘗試製作第一件直線雕塑作品。由Carter Ratcliff及貝納.維尼撰寫的貝納.維尼論文集出版, 由紐約 Abbeville Press及巴黎Cercle d’Art發行。

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1995

In May, travels to Hong Kong for the inauguration of the China venue of his Champ-de-Mars sculptures at the Museum of Modern Art. In June, travels to Graphicstudio in Tampa, Florida, for an edition of large mono-prints made with tar and a steamroller. Develops his new work on the theme of the straight line and calls them Accidents. New reliefs executed in steel with an acetylene torch: Indeterminate Surfaces.

1996

Invited as a Master in Residence to the Atlantic Center for the Arts in Florida. Awarded the order of Commandeur dans l’ordre des Arts et Lettres by the Minister of Culture in France. Thierry Spitzer films an installation of Accident, chronicling one of the new works composed of straight lines, which are also exhibited at the Galerie Karsten Grève in Paris and at the Espace Fortant de France in Sète. From May through July the city of Brussels invites him to exhibit ten large sculptures from his Indeterminate Line series on Avenue Franklin Roosevelt.

1997

Moves to a new studio in Chelsea, New York. Begins a series of sculptures, Arc x 4 and Arc x 5. Designs a museum complex for an exhibition in the Espace de l’Art Concret, in Mouans-Sartoux, France. Becomes a member of the European Academy of Sciences and Arts, Salzburg.

1998

Travels to China, invited by the Mayor of Shanghai, to participate in the Shanghai International Sculpture Symposium. Further develops the series Indeterminate Surfaces.

1999

The third and definitive version of the film, Tarmacadam (1963) is finished with the help of Arkadin Productions for the exhibition Bernar Venet: 1961-1963 at the Musée d’Art Moderne et Contemporain, Geneva. Publication of a compilation of his poetry, Apoétiques 1967-1998, by the same museum. Public commission, 134.5˚ Arc, for the inauguration of the new university UNI MAIL in Geneva.

2000

Develops a new series of wall paintings, Major Equations, which are exhibited at the Museum of Modern Art in Rio de Janeiro, Brasília, and Saõ Paulo, and at the Centre d’Art contemporain Georges Pompidou in Cajarc as well as at the Musée d’Art Moderne et Contemporain in Geneva. A year with many monographs: Bernar Venet 1961-1970, a monograph by Robert Morgan published by Edition des Cahiers Intempestifs; Bernar Venet: Sculptures & Reliefs, written by Arnauld Pierre and published by Edizioni Prearo; La Conversion du regard, with texts and interviews from 1975 to 2000, published by Editions MAMCO, Geneva. Publication of a catalogue: Global Diagonals, a catalogue with a text by Jan van der Marck concerning a humanistic, artistic, and technological project with straight lines (each 300 feet in length) virtually connecting the five continents.

2001

Editions Assouline publishes Furniture, with a text by Claude Lorent, a book presenting the steel furniture design by the artist since 1968 in conjunction with an exhibition of his furniture at the Galerie Rabouan Moussion at SM’ART (Salon du mobilier et de l’objet design) at the Caroussel du Louvre, Paris. Inauguration of the Chapelle Saint-Jean in Château-Arnoux. The stained glass windows and all the furniture are designed by Bernar Venet.

2002

Solo performance evening incorporating the artist’s poetry, film, and music at the Centre Georges Pompidou, Paris. The European Academy of Sciences and Arts invites him to make a presentation at the Solomon R. Guggenheim Museum on the theme of “Arts as a Mediator of Tolerance.” Solo exhibition of his sculptures at the Robert Miller Gallery in New York, and of his new equation paintings at Ludwigsmuseum, Koblenz, and at Anthony Grant Inc., New York. Monograph by Thomas McEvilley on his complete body of work published in French, German, and English by Artha and Benteli Verlag. For the duration of summer, twelve large sculptures are exhibited at The Fields of Art Omi International Sculpture Park, New York. In November, the show moves to the Atlantic Center for the Arts in New Smyrna Beach in Florida.


1995

五月前往香港,參加在香港藝術館舉行,Champ-de-Mars雕塑作品的落成儀式,這是他首個在中國的作品。六月到位於佛羅里 達洲的Tampa,在Graphicstudio工作室創作用瀝青及壓路機製作的大型單色印刷作品。繼續研究以直線出發的作品,並稱它 們為Accidents(意外)。用鋼鐵及 acetylene torch (乙炔焊接)去製造新的浮雕作品:不確定平面(Indeterminate Surfaces)。

1996

被邀請到佛羅里達州Atlantic Center for the Arts作駐場藝術家(Master in Residence)。由法國文化部長頒發Commandeur dans l’ordre des Arts et Lettres。Thierry Spitzer拍攝關於裝置藝術Accident的電影,記錄這件用直線組合而成並於巴黎Galerie Karsten Grève以及Sète的Espace Fortant de France 展覽的新作品。 布魯塞爾邀請他於五月至七月在 Avenue Franklin Roosevelt 展出他的大型雕塑「不確定線條」系列。

1997

將工作室搬到紐約的Chelsea。開始很作名為 Arc x 4 and Arc x 5的雕塑。為位於法國Mouans-Sartoux的Espace de l’Art Concret 的展覽設計一組藝術館。成為薩爾茨堡 (Salzburg)的European Academy of Sciences and Arts(歐洲科學和藝術學院)成員。

1998

受上海市長的邀請到中國旅遊,參加上海國際雕塑研討會(Shanghai International Sculpture Symposium)。進一步發展的一系列 「不確定平面」。

1999

電影Tarmacadam (1963)的第三和最終版本得到Arkadin Productions幫助下完成,並於日內瓦的Musée d’Art Moderne et Contemporain (現代藝術博物館)所舉行的「Bernar Venet: 1961-1963」 ( 貝納.維尼: 1961-1963)展覽中放映,同時發行他的 詩集Apoétiques 1967-1998。在日內瓦一所新落成的大學UNI MAIL為他又一件被委約製作的雕塑作品《134.5˚ Arc》舉行 落成典禮。

2000

發展新系列的壁畫Major Equations,在巴西里約熱內盧的Museum of Modern Art(現代藝術博物館)、聖保羅、Cajarc的Centre d’Art contemporain Georges Pompidou(龐畢度藝術中心)以及日內瓦的Musée d’Art Moderne et Contemporain (現代藝術博 物館)展出。出版一系列的作品集,包括由Robert Morgan撰寫,Edition des Cahiers Intempestifs出版的Bernar Venet 1961-1970(貝 納.維尼1961-1970)、 由Arnauld Pierre撰寫,Edizioni Prearo出版的Bernar Venet: Sculptures & Reliefs(貝納.維尼: 雕塑及浮雕) 、由日內瓦的編輯MAMCO撰寫,當中包括文章及訪問的La Conversion du regard,還有作品畫冊Global Diagonals,裡面包括由 Jan van der Marck撰寫有關人文、藝術、直線雕塑 (各雕塑高達300呎,幾乎連接五大洲) 的製作研究等文章。

2001

Assouline出版社為他發行由 Claude Lorent篇寫,有關他的鋼鐵傢俱設計的作品集Furniture,記錄他由1968年始的設計。同時在 巴黎Caroussel du Louvre裡的SM’ART (Salon du mobilier et de l’objet design)的Galerie Rabouan Moussion 舉行相關展覽。為 Château-Arnoux的Chapelle Saint-Jean教堂舉行開幕典禮,裡面的彩色玻璃窗和所有的傢俱都是貝納.維尼設計的。

2002

在巴黎Centre Georges Pompidou (龐畢度藝術中心)作個人表演,內容包括貝納.維尼的詩、電影及音樂。歐洲科學和藝術學院 邀請他在Guggenheim Museum(古根漢博物館)的Solomon R演講,題目為“Arts as a Mediator of Tolerance”。在紐約Robert Miller Gallery舉行個人雕塑展覽。在Koblenz的 Ludwigsmuseum博物館及紐約的Anthony Grant Inc展出他的新畫作。由Thomas McEvilley為他撰寫,囊括他所有藝術作品的專著在法國、德國出版(英文由Artha及Benteli Verlag撰寫)。在紐約Art Omi International Sculpture Park展出他的十二件大型雕塑作品,展期長達整個夏天。同年十一月,這個展覽被送到佛羅里達 Arts in New Smyrna Beach的Atlantic Center再次展出。

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2003

Seventeen solo exhibitions, including a retrospective of early work from 1961 to 1963 at the Hôtel des Arts in Toulon, France, with a publication of Bernar Venet 1961-1963 by Thierry Lenain. An exhibition of interior views of the artist’s body made with a MRI, “Autoportrait”, at the Musée d’Art Moderne et d’Art Contemporain in Nice. Donald Kuspit is the author of the first book on the artist’s Equation paintings, Art and Mathematics: In Search of the Sublime, published by L’Yeuse, Paris. Participant with Ben and Bernard Heidsieck in Poésie-Performance at the Espace de l’Art Concret, Mouans-Sartoux, France. Temporary installations of large sculptures: at Schloss Herberstein, Austria; on the Promenade des Anglais, Nice; throughout the city of Luxembourg; in the city of Bad Homburg, Germany; in the Jardin des Tuileries, Paris. Ferenc Szalaï opens a factory in Nagykörös, Hungary, which will serve the artist as an exclusive fabrication facility.

2004

Three simultaneous solo exhibitions in New York: at Robert Miller Gallery, at Jim Kempner Fine Art, and on the Park Avenue Malls between 50th and 54th Streets. His traveling sculpture show moves to the city of Liège, Belgium; to Kennedy Park, in Miami; to downtown Denver. Publication with Hard Press Editions of Art: A Matter of Context, a book on his writings and interviews spanning 1975 to 2003. A year of large commissions: for the new headquarters of Bosch in Stuttgart; for AGF, Paris; for the Colorado Convention Center, in Denver. Retrospective of the artist’s Arcs at the Musée Sainte-Croix in Poitiers. Invited by Barbara Rose to exhibit in “Monochromos” at the Reina Sofia in Madrid. Participates in “Intramuros” at the Musée d’Art Moderne et d’Art Contemporain in Nice.

2005

On January 1, the French government awards him the order of Chevalier de la Légion d’honneur. His sculptures continue to tour Europe in Knokke-le-Zoute, and in North America, in Chicago. Exhibits his Autoportraits tomodensitométriques during Les Rencontres internationales de la photographie in Arles, at the Musée de l’Arles et de la Provence antiques. Invited by RoseLee Goldberg to participate in “Performa 05”, a biennial of performance artwork in New York.

2006

Receives the Robert Jacobsen prize for sculpture from the Würth Stiftung in France. Completion and inauguration of a new gallery space in Le Muy for large sculpture installations. There, he installs a sculpture entitled, “Straight Lines / Disorder / Steel XC10 / 140 Bars / 100 tons”. Participates in “La Force de l’art”, Grand Palais, Paris. Exhibits a group of large sculptures in Forest Park, St. Louis. An installation of four monumental Arcs is acquired by the city of Liège. Selected by the jury at the Ministry of Culture in Paris to paint the ceiling of the Galerie du Palais Cambon of the Cour des Comptes in Paris in celebration of the establishment’s bicentennial in 2007.

2007

Inauguration of Saturation on the ceiling of the Cour des Comptes in Paris by President Jacques Chirac. A retrospective of his work 1961-2007 at the National Museum of Contemporary Art in Seoul opens in May. The cities of Bordeaux and Metz will each play host to exhibitions of large sculptures during the summer months. June sees the installation of 2 Arcs of 135.5˚ and 100.5˚, measuring 25 meters tall, commissioned for the Toulouse Métro.

2008

Following their annual sculpture exhibitions in Florida, Sotheby’s for the first time invites a single artist - Bernar Venet – to present his work on the grounds of the Isleworth Country Club. From January through April 2008, approximately twenty-five monumental sculptures showcase the artist’s work of the last two decades, highlighting some of his most distinctive themes. In the fall, the city of San Diego hosts a dozen of the artist’s sculptures in California.

2009

Establishes the Fondation Venet in the United States. L’Espace de l’Art Concret in Mouans-Sartoux stages the first public exhibition of artwork from the Venet Family Collection. In June, the Arsenale Novissimo grants him 1,200 square meters of space in the 53rd Venice Biennale to exhibit four new monumental sculpture installations. Mounts a survey show of paintings and sculptures at the Kunsthalle Darmstadt in Germany, some of which move on to the Palais des Beaux Arts (BOZAR) in Brussels. Develops variations on his “shaped canvas” paintings set on gold backgrounds.


2003

舉行十七個個人展覽。包括在法國Toulon的Hôtel des Arts展出他於1961年至1963年期間創作的作品的回顧展,這個展覽出版了 由Thierry Lenain撰寫的Bernar Venet 1961-1963(貝納.維尼1961-1963)一書。在尼斯的 the Musée d’Art Moderne et d’Art Contemporain(現代和當代藝術博物館) 舉辦了名為“Autoportrait”的展覽,當中用 MRI (核磁共振攝影) 掃描了貝納.維尼的身 體內部。第一本有關他的Equation paintings(公式畫)的書Art and Mathematics: In Search of the Sublime出現,由 Donald Kuspit所 寫,巴黎L’Yeuse出版。參加法國Mouans-Sartoux的Espace de l’Art Concret所舉辦的 Poésie-Performance,其他參加者包括 Ben 和Bernard Heidsieck。在奧地利Schloss Herberstein、尼斯的Promenade des Anglais、盧森堡市內四周、德國的巴特洪堡、巴黎的 Jardin des Tuileries(杜樂麗花園) 放置臨時大型雕塑裝置。 Ferenc Szalaï 在匈牙利的 Nagykörös開設了一個工廠,成為貝納.維尼作品的獨家製造工廠。

2004

同一時間在紐約有三個個人展覽,地點分別是Robert Miller Gallery、 Jim Kempner Fine Art及在第50至第54街的Park Avenue Malls。他的雕塑作品巡迴展在比利時的Liège、邁阿密的 Kennedy Park(甘迺迪公園)和丹佛市市中心舉行。 由 Hard Press Editions 出版,有關他1975年至2003年的文章及訪問,名為Art: A Matter of Context一書出版。這一年得到大量委約作品,地點 包括斯圖加特Bosch的新總部、巴黎 AGF、丹佛市Colorado Convention Center。在普瓦捷的Musée Sainte-Croix博物館舉辦有 關Arcs的回顧展。受Barbara Rose邀請到馬德里Reina Sofia展出”Monochromos”。參加在尼斯的現代和當代藝術博物館所舉 辦的“Intramuros”展覽。

2005

法國政府在一月一日頒發Chevalier de la Légion d’honneur(騎士榮譽勳章)給他。他的雕塑作品繼續在歐洲Knokke-le-Zoute 作巡迴展覽以及到北美洲,芝加哥。在阿爾勒舉行的Les Rencontres internationales de la photographie攝影國際會議展出 Autoportraits tomodensitométriques(自畫像),展覽地點為 Musée de l’Arles et de la Provence antiques (阿爾勒和普羅旺斯古董 博物館)。受RoseLee Goldberg邀請參加在紐約所舉行的 “Performa 05”,這是一個表演藝術雙年展。

2006

藉箸在法國Würth Stiftung的雕塑而獲得Robert Jacobsen prize獎。在Le Muy的一個新畫廊為他的大型雕塑落成舉行相關儀 式,他所創作的雕塑作品名為“Straight Lines / Disorder / Steel XC10 / 140 Bars / 100 tons”。參加在巴黎大皇宮的“La Force de l’art”展覽。在聖路易斯的Forest Park展出一系列大型雕塑。 安裝四件被Liège市收藏的four monumental Arcs雕塑作品。被巴 黎文化部的陪審團選中為巴黎Cour des Comptes(審計院 )的Galerie du Palais Cambon繪畫天花板,以慶祝其將會於2007年邁向 二百週年。

2007

出席他為巴黎 審計院天花板繪畫的Saturation落成典禮, 儀式由總統希拉克主持。五月在首爾的National Museum of Contemporary Art (國家當代藝術博物館)舉辦回顧展,展出他1961年至2007年的作品。 波爾多及梅斯市在夏天的時候分別展出他的 大型雕塑作品。六月去看大型拱形裝置作品 《135.5˚》及 《 100.5˚》的安裝,這兩件作品是由圖盧茲地鐵所委約創作的。

2008

在佛羅里達洲的雕塑週年展後,蘇富比第一次邀請一位藝術家— 貝納.維尼—在Isleworth Country Club展示他的作品。從2008 年1月到4月,大約二十五個代表著貝納.維尼過去二個重要階段的大型雕塑展出,當中包括極具代表性的主題。同年秋季,十 二件雕塑作品在加州的San Diego市展出。

2009

在美國成立貝納.維尼基金。在Mouans-Sartoux的L’Espace de l’Art Concret第一次展出由貝納.維尼家族所收藏的作品。同年 六月,第53屆威尼斯雙年展批出在Arsenale Novissimo場館的1200平方米的場地給他,擺放四件大型雕塑作品。在德國的 Kunsthalle Darmstadt展出一批繪畫及雕塑作品,其中有部份作品後來被族到布魯塞爾的Palais des Beaux Arts (BOZAR)繼續展出。 創作及發展一系列在不同形狀的畫布上,以金色作底色的繪畫。

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2010

Valencia’s IVAM host a retrospective of Venet’s conceptual work as well as a full survey of his paintings under the curatorship of Barbara Rose. The Texan-French Alliance of the Arts and McClain Gallery lead the charge of bringing Public Art to Houston, in the form of 10 large-scale sculptures by Venet installed in Hermann Park. The Stiftung für Kunst und Kultur organizes for another group of 10 sculptures in the Krauthügel in Salzburg, Austria, in view of the Hohensalzburg fortress. President Nicolas Sarkozy inaugurates a sculpture of 9 Straight Lines, measuring 30 meters tall, on the Promenade des Anglais in Nice, in honor of the 150th anniversary of the city’s reunification with France. Dongkuk Steel Mill commissions a 38-meter tall Arc sculpture for the façade of their headquarters, Ferrum Tower, in Seoul, Korea. The Museum Les Abattoirs in Toulouse presents the contemporary art collection of the artist and his family. A selection of works by Bernar Venet were integrated into the exhibition to showcase the close relationships between the artist and friends such as Donald Judd, Dan Flavin, Sol LeWitt, Carl Andre, among others he was collecting. Earns a commission for Two Indeterminate Lines, 12 meters tall, from Hannam The Hill, Seoul.

2011

Mounts a painting retrospective at the Seoul Museum of Art, South Korea to cover 50 years of paintings (1961-2011). Following Jeff Koons, Xavier Veilhan, and Takashi Murakami, is invited by the Château de Versailles in France to stage an exhibition of his monumental sculptures. He presents seven site-specific works at Versailles and nearby Marly, including 85.8° Arc x 16, composed of two groups of arcs measuring 22 meters tall, which frame Louis XIV’s equestrian statue at the entrance to the historic Château. A film, “Sculptures” is produced by Thierry Spitzer on the occasion of Venet à Versailles. Exhibits paintings from 2001-2011 at the Hôtel des Arts in Toulon over the summer, with a focus on mathematical equations. Two exhibitions in the city of Valenciennes, France: at their Festival international de sculptures, as well as in an exhibition at the Musée des Beaux-Arts. Traveling sculptures continue to the Frankfurt Goethe-University, Frankfurt-am-Rhein, Germany and the Poppy & Pierre Salinger Foundation in Le Thor, France. The Ludwig Museum in Koblenz presents his drawings to celebrate the acquisitions of a sculpture in the Museum’s permanent collection. Develops his work on steel wall reliefs (“GRIBS”), which he inaugurates at the Von Bartha Garage in Basel, Switzerland, among a selection of his paintings and recent sculptures associated to historical works.

2012

Stages a retrospective at the Müscarnok Museum in Budapest, Hungary. A monograph accompanying the exhibition is published covering the artist’s pictorial work (1961-2011). Exhibits pieces from the new “GRIBS” series at the Gow Langsford Gallery in Auckland, New Zealand, while 88.5° Arc x 8, a 27-meter tall sculpture, was inaugurated at nearby Gibbs Farm in March. Venet will exhibit at the Galerie Forsblom in June, along with outdoor sculpture exhibitions in Helsinki, Hong Kong, Auckland and Singapore. The IVAM announces that the International Julio González Prize for 2013 will be awarded to Venet.


2010

Valencia的IVAM舉辦貝納.維尼觀念作品回顧展,同場包括他的繪畫作品,策展人為Barbara Rose。Arts and McClain Gallery 的德州法語聯盟決意在休斯敦推廣公共藝術並於Hermann Park擺放了十件貝納.維尼大型的雕塑作品。Stiftung für Kunst及 Kultur決定將另外十件大型的雕塑作品放在奧地利的Salzburg的Krauthügel,面向薩爾茨堡森林。總統薩科齊主持在尼斯的 Promenade des Anglais設立9 Straight Lines大型雕塑作品的落成儀式,此作品高30米,為慶祝尼斯與法國統一一百五十週年而 製作。 Dongkuk Steel Mill委約貝納.維尼為他們製造高38米的拱形雕塑,安放地點為他們在韓國爾首Ferrum Tower的總部正 門。在圖盧茲的Museum Les Abattoirs博物館展示一系列貝納.維尼以及他家族擁有的當代藝術藏品。貝納.維尼的部份作品 與一眾與他關係密切的藝術家一起展覽,當中包括唐納德.賈德、丹.弗萊文、索爾.勒維特和卡爾.安德烈,這些作品都是他 的私人藏品。獲委約在首爾Hannam的The Hill設立高12米的Two Indeterminate Lines。

2011

在南韓首爾市立美術館舉辦他的繪畫作品回顧展,展出他過去五十年的繪畫作品(1961-2011)。繼傑夫.昆斯、Xavier Veilhan及 村上隆後,被邀請在法國凡爾賽宮展示他的大型雕塑作品。他在凡爾賽宮及鄰近的馬爾利擺放了七件為它們特別去創作的作 品,包括 《85.8˚ Arc x 16》,這件作品是以兩組高22米的拱形合拼而成的。它把路易十四位於歷史悠久的城堡入口處的騎馬雕 像框起來。Thierry Spitzer製作的電影“Sculptures”記錄了貝納.維尼這個凡爾賽宮項目。在夏天的時候,於Toulon的Hôtel des Arts展出2001年至2011年的繪畫作品,重點放在mathematical equations系列上。在法國Valenciennes市為Festival international de sculptures國際雕塑節舉行兩個展覽,同期在Musée des Beaux-Arts亦有作品展出。雕塑作品巡迴展巡迴至法蘭克福的歌德大 學、德國的Frankfurt-am-Rhein以及法國Le Thor的Poppy & Pierre Salinger Foundation。在Koblenz的Ludwig Museum展出他的 畫作,以慶祝他的雕塑作品成為該博物館的永久收藏。創作及發展為瑞士巴塞爾的Von Bartha Garage所作的新作品 steel wall reliefs (“GRIBS”)(鋼做的牆上浮雕)並出席其落成儀式,同時包括他的繪畫、一部份舊有的雕塑及一批新的雕塑作品。

2012

在匈牙利首都布達佩斯的Müscarnok Museum博物館舉行貝納.維尼回顧展。有關他1961年至2011的pictorial work (圖案工作) 的專著出版。在新西蘭奧克蘭Gow Langsford Gallery展出他的新作 “GRIBS”系列。高27 米的大型雕塑作品 《88.5˚ Arc x 8 》 同時在Gibbs Farm於三月落成。貝納.維尼將會於六月在Galerie Forsblom舉行展覽,同一時間將在 赫爾辛基、香港、新加坡和 奧克蘭展出其大型戶外雕塑。西班牙的IVAM(Valencia Institute of Modern Art )公怖2013年的國際Julio González Prize大獎將 由貝納.維尼奪得。

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Square Gold with 4 Triangles, 2009 72 Acrylic on canvas 186.5 x 186.5 cm


BERNAR VENET Solo Exhibitions 1964

Galerie Ursula Girardon, Paris, France

1966

Galerie Jacques Matarasso, Nice, France

1968

Judson Church Theater, Relativity’s Track (performance), New York

1969

Newark College of Engineering, Newark, New Jersey

1970

O.K. Harris Gallery, New York Museum Haus Lange, Krefeld, Germany Kunsthaus, Hamburg, Germany

1971

Galerie Der Spiegel, Cologne, Germany Galerie Daniel Templon, Paris, France, Milan, Italy New York Cultural Center (Retrospective), New York

1972

Bruno Bischofberger Gallery, Zürich, Switzerland Galerie Daniel Templon, Paris, France

1973

Foksal psp Gallery, Warsaw, Poland

1975

Galleria Nuovi Strumenti Arte Contemporanea, Brescia, Italy XIIIth Biennale, São Paulo, Brazil Museum of Modern Art, Rio de Janeiro, Brazil Institute of Contemporary Arts, London, Great Britain

1976

La Jolla Museum of Contemporary Art, La Jolla, California

1977

Bruno Bischofberger Gallery, Zürich, Switzerland Musée d’Art et d’industie, Saint-Étienne, France Sonja Hennie - Niels Onstad Foundation, Hovikodden, Norway Galerie Denise René - Hans Mayer, Düsseldorf, Germany

1978

Special Project at PS1, Long Island City, New York

1979

ARCO Center for Visual Arts, Los Angeles, California

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1984

Musée Sainte-Croix, Poitiers, France Studio Marconi, Milan, Italy ARCA, Marseille, France Musée d’Art Moderne, Villeneuve-d’Ascq, France

1985

Musée Départemental des Vosges, Épinal, France

1986

Castelli Uptown, New York Galerie Elisabeth Franck, Knokke-le-Zoute, Belgium

1987

Quadrat Museum - Moderna Gallery, Bottrop, Germany Castelli Uptown, New York

1988

Graduation (contemporary ballet), Opéra de Paris, Salle Favart, Paris, France

1989

Ronald Greenberg Gallery, St. Louis, Missouri Galerie Daniel Templon, Paris, France Centre d’art contemporain, Noir/Noir 1963, (photography), Troyes, France

1990

Galerie Daniel Templon, La ligne à vif (performance) , Paris, France Vrej Baghoomian Gallery, New York Castelli Gallery, New York Theospacio, Madrid, Spain

1991

Fred Hoffman Gallery, Los Angeles, California Galerie Bjorn Ressle, Stockholm, Sweden Brent Sikkema Fine Arts, (photography), New York Galeria Theo, Barcelona, Spain Galerie Daniel Templon, Paris, France

1992

Person’s Weekend Museum, Tokyo, Japan

1993

Musée d’Art Moderne et d’Art Contemporain, Nice, France Wilhelm Hack Museum, Ludwigshafen, Germany André Emmerich Gallery, New York

1994

Museo de Arte Moderno de Bogotá, Bogotá, Colombia Venet on the Champ de Mars, Paris, France Total Museum of Contemporary Art, Seoul, Korea Gallery Hyundai, Seoul, Korea Boca Raton Museum of Art, Boca Raton, Florida


1995

Hong Kong Museum of Art, Kowloon, Hong Kong Alisan Fine Arts, Kowloon, Hong Kong Shanghai Museum of Art, Shanghai, China Galerie Karsten Greve, Paris FIAC, France

1996

Venet on Avenue Franklin Roosevelt, Brussels, Belgium Galerie Karsten Greve, Paris, France and Cologne, Germany

1997

Musée de Peinture et de Sculpture, Grenoble, France Le Nouveau Musée / Institut de Villeurbanne, Lyon, France Musée du Québec, Québec, Canada Gallery Hyundai, Seoul, Korea

1998

Musée d’Art Moderne de St. Étienne, St. Étienne, France Galleria Massimo Minini, Brescia, Italy Galleria Karsten Greve, Milan, Italy Galleria Persano, Torino, Italy

1999

Centro Cultural de Recoleta, Buenos Aires, Argentina Improvisé - Inachevé - Non-Formulé, Mücsarnok Museum, Budapest, Hungary Kunst im Bethmannhof, Galerie Scheffel, Bad Homburg, Germany Bernar Venet. Archi. Nuove proposte, Galleria Karsten Greve, Milan, Italy Musée d’Art Moderne et d’Art Contemporain (MAMCO), Geneva, Switzerland

2000

Museu de Arte Moderna do Rio de Janiero, Rio de Janeiro, Brazil Centre d’Art Contemporain Georges Pompidou, Cajarc, France Galerie Karsten Greve, Paris, France Teatro Nacional de Brasília, Brazil Galerie Kaj Forsblom, Helsinki, Finland Museu Brasileiro da Escultura, São Paulo, Brazil

2001

Galerie Jérôme de Noirmont, Paris, France Galerie Haas & Fuchs, Berlin, Germany

2002

Poetry- Performance, Centre Georges Pompidou, Paris, France Ludwig Museum, Koblenz, Germany The Fields at Art OMI International Sculpture Park, Ghent, New York Robert Miller Gallery, New York Atlantic Center for the Arts, New Smyrna Beach, Florida

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76

2003

Musée d’Art moderne et d’Art contemporain (MAMAC), Nice, France Sculptures on the Promenade des Anglais (MAMAC), Nice, France Equation/Saturation, MAMAC / Galerie des Ponchettes, Nice, France Centre d’art Patrick des Gachons, Fraïssé-des-Corbières, France 1961-1963, Hôtel des Arts, Toulon, France 10 sculptures in the city of Luxembourg, Luxembourg Bernar Venet aux Tuileries, Jardin des Tuileries, Paris, France City of Bad Homburg, Englische Kirche, Bad Homburg, Germany Eaton Fine Arts, West Palm Beach, Florida

2004

Sculptures on Park Avenue, New York Robert Miller Gallery, New York Musée Sainte-Croix, Poitiers, France Sculptures in the City of Denver, Performing Arts Sculpture Park, Colorado

2005

Musée de l’Arles et de la Provence antiques, Rencontres de la Photographie, Arles, France Vancouver International Sculpture Biennale, Vancouver, British Columbia, Canada Sculptures in Downtown Chicago, Illinois

2006

Gary Langsford Gallery, Auckland, New Zealand Museum / Kunsthalle Würth, Künzelsau, Germany William Shearburn Gallery, St. Louis, Missouri

2007

National Museum of Contemporary Art, Gwangmyeong-gil, South Korea Artcurial, Paris, France Bernar Venet in Bordeaux, France Wetterling Gallery, Stockholm, Sweden Museum Küppersmühle für Moderne Kunst, Duisburg, Germany Busan Museum of Modern Art, Busan, South Korea

2008

Bernar Venet: Sotheby’s at Isleworth, Isleworth Country Club, Orlando, Florida Eaton Fine Art, West Palm Beach, Florida Forsblom Galerie, Helsinki, Finland Bernar Venet in San Diego, California

2009

Kunsthalle Darmstadt, Darmstadt, Germany Palais des Beaux-Arts (BOZAR), Brussels, Belgium Arsenale Novissimo, 53rd Venice Biennale, Venice, Italy Galerie Guy Pieters, Knokke-Heist, Belgium


2010

Hermann Park, Houston, Texas, in collaboration with Robert McClain Gallery Galerie Pièce Unique, Paris, France Institut Valencià d’Art Modern (IVAM), Valencia, Spain, curated by Barbara Rose Le monde de Bernar Venet, Venet in Context, Musée Les Abattoirs, Toulouse, France Wetterling Gallery, Stockholm, Sweden

2011

Seoul Museum of Art, Seoul, South Korea Ludwig Museum im Deutschherrenhaus, Koblenz, Germany Venet-Versailles, Château de Versailles, Château de Marly, France Musée des Beaux-Arts, Valenciennes, France Bernar Venet in Frankfurt, Johann Wolfgang Goethe Universität, Frankfurt-am-Main, Germany Hôtel des Arts, Toulon, France Von Bartha Garage, Basel, Switzerland

2012

Artstage Singapore, de Sarthe Gallery Mücsarnok Kunsthalle, Budapest, Hungary Gow Langsford Gallery, Auckland, New Zealand Sculptures in Auckland, New Zealand de Sarthe Gallery, Hong Kong Hong Kong Cultural Center & Museum of Art Piazzas Galerie Forsblom, Helsinki, Finland

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1992

Martinoty, Jean-Louis; Louppe, Laurence. Graduation, Carte Blanche à... Bernar Venet, Théâtre National de l’Opera de Paris, Paris, France.

1993

Catoir, Barbara; Perlein, Gilbert. Bernar Venet. Musée d’art moderne et d’art contemporain, Nice, France; Wilhelm-Hack Museum, Ludwigshafen am Rhein, Germany. Perlein, Gilbert, Conversation with Bernar Venet. André Emmerich Gallery, New York.

1994

Descendre, Nadine, Bernar Venet, Lignes Indéterminées. Galerie Enrico Navarra, Paris, France. Descendre, Nadine, “La Mairie de Paris invite Bernar Venet au Champ de Mars,” Beaux-Arts Magazine. Paris, France. Eaton, Timothy, Venet. Boca Raton Museum of Art, Boca Raton, Florida. Perlein, Gilbert, Bernar Venet-1963-1993. Museo de Arte Moderno de Bogotá; Galeria Ressle; Galeria Tovar & Tovar, Bogotá, Colombia. Perlein, Gilbert, Bernar Venet. Total Museum of Contemporary Art, Gallery Hyundai, Seoul, Korea.

1995

Descendre, Nadine, Bernar Venet-Indeterminate Lines. Hong Kong Museum of Art , Galerie Enrico Navarra. Descendre, Nadine, Bernar Venet-Indeterminate Lines. Shanghai Museum of Art, Galerie Enrico Navarra.

1996

Ratcliff, Carter, Jean-Michel Foray, Bernar Venet • Droites et Accidents. Espace Fortant de France, Sète, France.

1997

Bal, Danielle, Bernar Venet-Droites et cartons. Musée de Peinture et de Sculpture, Grenoble, France. Hindry, Ann, L’Equation Majeure. Musée de Peinture et de Sculpture, Grenoble, France; Nouveau Musée/Institut de Villeurbanne, Lyon, France; Musée d’Art Moderne de St. Etienne, St. Etienne; Flammarion, New York/Paris, France. Maubant, Jean Louis, Pascal Pique, Bernar Venet 1961-1979. Nouveau Musée/Institut de Villeurbanne, Lyon, France. Ratcliff, Carter; John R. Porter and Michel Martin, Bernar Venet-Lignes. Musée du Québec, Québec, Canada. ---, Bernar Venet. Gallery Hyundai, Seoul, Korea.

1999

Beke, László, with an introduction by Jacques Chirac, Metal Signal - Fém Jalzés, Mücsarnok Kunstahalle, Budapest, Hungary. Espartaco, Carlos Klitenik, Pierre Restany and Catherine Millet, Bernar Venet. Centro Cultural Recoleta, Buenos Aires, Argentina. Hindy, Ann, with an introduction by Lygia Saboia, Bernar Venet Brasil. Museu de Arte Moderna do Rio de Janeiro; Museu Brasileiro da Escultura - MuBE/SP, Arte 21, Conexão, Brazil. van der Marck, Jan , Bernar Venet, Global Diagonals. e-speed, New York.

2000

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2002

Greenburger, Francis, Bernar Venet. The Fields Sculpture Park at Art OMI International Arts Center. Arte 21, Brazil. Hindry, Ann, Donald Kuspit, Catherine Millet, Arnauld Pierre and Bernar Venet, Bernar Venet. Galerie Mario Mauroner Contemporary Art, Salzburg, Austria.

2003

Barré, Francois, Bernar Venet à Luxembourg, Le Centre Culturel Français de Luxembourg, Luxembourg. Pedrini, Enrico, and Raphael Cuir, Bernar Venet, Musée d’Art moderne et d’Art contemporain, Nice, France.

2004

Various authors, Bernar Venet. Lignes indéterminées: L’espace de la perturbation, Galerie Jérôme de Noirmont, Paris, France.

2005

Place, Jean-Michel, Bernar Venet à Cergy-pontoise, Base de Loisirs de Cergy-Pontoise, Cergy-Pontoise, France. Tansini, Laura, Bernar Venet: Sculpture, Galerie Guy Pieters, Belgium.


2006

Joch, Peter, Formeln des Irregulären / Formulae of the Irregular, Edition und Galerie Scheffel GmbH, Bad Homburg, Germany. Murray, Peter, Bernar Venet: Robert-Jacobsen-Preis der Stiftung Würth 2005/2006, Stiftung Würth / Swiridoff Verlag, Künzelsau, Germany.

2007

Arnaudet, Didier, Thomas Bernard, Michel Duchène, Adrien Goetz, Florence Guionneau-Joie, Ann Hindry, Alain Juppé, Jean-Jacques Lescourgues, Jan van der Marck, and Philippe Raoux, Pommereau, Claude (Ed.), Bernar Venet à Bordeaux, Beaux Arts (special issue). Paris, France. Bouruet-Aubertot Veronique, “Bernar Venet, portrait of a sculptor”, Bernar Venet, (catalogue d’exposition), Wetterling Gallery, Stockholm, Sweden. Kim, Jeeyoung, Thomas McEvilley and Nanjie Yun, Bernar Venet: Line, Trace, Concept. National Museum of Contemporary Art, Gyeonggi-do, Korea. Kleine, Susanne and Walter Smerling, Bernar Venet: System und Zufall [Order and Chance]. Wienand Verlag & Medien GmbH, Köln, in association with Stiftung für Kunst une Kultur e.V. Bonn, Germany. Nanjie, Yun, Bernar Venet: Drawing with steel. Busan Museum of Modern Art, Busan, South Korea. Sausset, Damien, “Les ateliers de Bernar Venet”, Connaissance des Arts, H.S. n˚322, Paris, France.

2008

Rose, Barbara, Bernar Venet. Sotheby’s at Isleworth, Sotheby’s, New York.

2009

Charlier, Jacques, La Courbure de l’Art, BOZAR Books, Palais des Beaux-Arts, Brussels, Belgium. Marcadé, Bernard, Vivre l’Art: La Collection Venet, Somogy, Paris / Espace de l’art concret, Mouans-Sartoux, France. Laks, Déborah, “Bernar Venet: trabajando con ecuaciones”, art.es, n˚33, July, p 49 – 65, Madrid, Spain.

2010

Davila, Thierry, Alain Mousseigne, Jérôme Sans, Bernar Venet, Le monde de Bernar Venet: Venet in context, exhibition catalogue, Les Abattoirs, Toulouse, France.

2011

Schefer, Olivier, Bernar Venet. Paintings 1961-2011: A Retrospective, Seoul Museum of Art (SOMA), Seoul, South Korea.

Monographs 1974

Millet, Catherine, Bernar Venet. Éditions du Chêne, Paris, France.

1975

d’ Amore, Bruno, Thierry Kuntzel, and Filiberto Menna, Textes Théoriques sur Bernar Venet. Edizioni Nuovo Strumenti, Brescia, Italy. Kuntzel, Thierry, Logique du Neutre. Arthur Hubschmid, Paris, France.

1988

van der Marck, Jan, VENET. Éditions de la Différence, Paris, France.

1990

Kuspit, Donald, Bernar Venet. Art Random, Kyoto Shoin International Company, Ltd., Kyoto, Japan.

1991

Schefer, Jean-Louis, Noir, noir et noir, photographs 1963-1990. Éditions Marval, Paris, France.

1993

Ratcliff, Carter, Bernar VENET. Cercle d’Art, Paris, France; Abbeville Press, New York.

1999

Morgan, Robert, Bernar Venet 1961-1970. Editions des Cahiers Intempestifs, St. Etienne, France. Venet, Bernar, Apoétiques 1967-1998. Musée d’Art moderne et contemporain, Geneva, Switzerland.

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Red and Gold with member function,2009 Acrylic on canvas 180.5 (h) x 211.5 cm


Monographs 2000

2001

Besson, Christian and Bernar Venet, La Conversion du regard, Textes entretiens, 1975-2000, Musée d’ Art moderne et contemporain, Geneva, Switzerland. Pierre, Arnauld, Bernar Venet: Le discours et la méthode. Prearo Editore, Milan, Italy. Venet, Bernar, SURSATURATION. Maison des Arts Georges Pompidou, Carjarc, France. Lorent, Claude, Bernar Venet: Furniture. Assouline, Paris, France.

2002

McEvilley, Thomas, Bernar Venet (French and German editions). Benteli Verlag, Switzerland; Artha, Paris, France.

2003

Kuspit, Donald, Bernar Venet. The Sublime in Mathematics (French and English editions). Paris, France, L’Yeuse. Lenain, Thierry, Bernar Venet: 1961-1963: l’immanence mise en chantier. Hôtel des Arts of Toulon/Les Presses du Réel, Paris, France. McEvilley, Thomas, Bernar Venet (English edition). Benteli Verlag, Switzerland; Artha, Paris, France.

2004

Venet, Bernar, Art: A Matter of Context. Bernar Venet: Writings 1975-2003. Hard Press Editions, Lenox, Massachussetts.

2005

Bata, Philippe, L’Hypothèse de l’Arc. Editions Un, Deux, Quatre / Centre d’Art contemporain intercommunal d’Istres, Istres, France.

2006

Goldberg, RoseLee, Enrico Pedrini and Damien Sausset, Bernar Venet: Performances, etc. 1961-2006, Charta, Milan, Italy.

2007

Lenain, Thierry, preface by Thomas McEvilley, Bernar Venet. Flammarion, Paris, France. Moreau, Roland and Jean-Louis Schefer, Bernar Venet, Hommage à l’acier. Assouline, Paris, France.

2008

Peynot, Jean-Philippe, Bernar Venet: 1 pour1, Archibooks + Sautereau éditeur, Paris, France.

2009

Arnoux, Robert, Bernar Venet: L’expérience du Muy, Somogy, Paris, France. Marcelis, Bernard, Bernar Venet: Oeuvre sculpté, Somogy, Paris, France. van der Marck, Jan, Bernar Venet: Sculpture in Urban Landscapes, Sotheby’s, New York.

2010

Davila, Thierry (ed.), La conversion du regard, Musée d’Art Moderne et Contemporain, Geneva, Switzerland. Laks, Déborah, Thomas McEvilley, Carter Ratcliff, Jan van der Marck, Bernar Venet: L’hypothèse de la ligne droite, Éditions de la Différence, Paris, France. Rose, Barbara, Bernar Venet, La paradoja de la coherencia / The paradox of coherence, Institut Valencià d’Art Modern (IVAM), Valencià, Spain.

2011

Altieri, Gilles, Olivier Schefe, Bernar Venet, Peintures 2001-2011, Hôtel des Arts, Toulon, France. Marcadé, Bernard, Brian O’Doherty, Venet - Versailles, Editions du Regard, Paris, France. Schefer, Olivier, Bernar Venet: Paintings 1961-2011: A Retrospective, Seoul, South Korea.

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84 Two Indeterminate Lines, 2007, Rolled steel, 285 X 295 X 410 cm Yuanta Financial Holding Co. Ltd, Taipei, Taiwan


BERNAR VENET Museum Collections & Commissions Akron Art Institute, Akron, Ohio, USA Atlantic Richfield Corporation, Los Angeles, California Bank Audi, Beirut, Lebanon Busan Museum of Art, Busan, South Korea Citibank Corporation, New York, New York, USA City of Metz, France City of Vancouver, British Columbia, Canada Colonnade III Plaza, MEPC & Equity Properties, Dallas, Texas, USA Contemporary Art Center, San Diego, California, USA DaimlerChrysler Collection, Stuttgart, Germany Denver Art Museum, Denver, Colorado, USA Espace de l’Art Concret, Mouans-Sartoux, France Esplanade de Uni Mail, Geneva, Switzerland Esquire Company, Seoul, Korea First National Bank, Seattle, Washington Fonds d’Art Contemporain des Musées de Nice, Nice, France Fondation Looser, Zürich, Switzerland Fondation Mourtala, Dakar, Senegal Fondation Pierre Gianadda, Martigny, Switzerland Foundation Domnick, Nürtingen, Germany Frederik Meijer Gardens & Sculpture Park, Grand Rapids, Michigan, USA Gateway Foundation, St. Louis, Missouri, USA Georgia Museum of Art, Athens, Georgia, USA He Xiangning Art Gallery, Shenzhen, China Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA Ho-Am Art Museum, Seoul, Korea Hood Museum of Art Dartmouth College, Hanover, New Hampshire, USA Ilshin Spinning Company, Seoul, Korea Ilwoo Foundation, Jeju Island, Korea Institut Valencià d’Art Modern (IVAM), Valencia, Spain Internationales Künstlerhaus Villa Concordia, Bamberg, Germany Jumex Foundation, Mexico City, Mexico Kaiser Wilhelm Museum, Krefeld, Germany Les Abattoirs, Toulouse, France Ludwig Museum im Deutschherrenhaus, Koblenz, Germany Maison Européene de la Photographie, Paris, France McCrory Corporation Collection, New York, New York, USA Milwaukee Art Museum, Milwaukee, Wisconsin, USA MIT Permanent Collection, MIT, Cambridge, Massachusetts, USA Musée d’Art contemporain de Dunkerque, Dunkirk, France Musée d’Art et d’Histoire, Geneva, Switzerland

Musée d’Art moderne et contemporain, Geneva, Switzerland Musée d’Art moderne et d’Art contemporain, Nice, France Musée d’Art moderne et d’Art contemporain, Saint Étienne, France Musée de Peinture et de Sculpture, Grenoble, France Musée des Arts décoratifs, Paris, France Musée du Québec, Québec, Canada Musée national d’art moderne, Centre Georges Pompidou, Paris, France Musée national d’art moderne de Liège, Liège, Belgium Musée Sainte-Croix, Poitiers, France Musées Royaux de Belgique, Brussels, Belgium Museum im Kulturspeicher, Würzburg, Germany Museum of Art, University of Iowa, Iowa City, Iowa, USA Museum of Contemporary Art, Chicago, Illinois, USA Museum of Contemporary Art, Los Angeles, California, USA Museum Sztuky W. Lodzi, Lodz, Poland Museum / Kunsthalle Würth, Künzelsau, Germany National Museum of Contemporary Art, Seoul (Gwangmyeong-gil), South Korea National Museum of Jakarta, Jakarta, Indonesia Neue Galerie im Alten Kurhaus, Aachen, Germany North Fork Bank Collection, Melville, New York, USA Parc de la Boverie, Liège, Belgium Person’s Weekend Museum, Tokyo, Japan Polk Museum of Art, Lakeland, Florida, USA Quadrat Josef Albers Museum, Bottrop, Germany Samsung Museum of Art, Seoul, South Korea Santa Barbara Museum of Art, Santa Barbara, California, USA Sara Hilden Art Museum, Tampere, Finland Seoul Museum of Art (SOMA), Seoul, South Korea Seoul Olympic Museum, Seoul, South Korea Smalley Sculpture Garden, University of Judaism, Los Angeles, California, USA Sonja Henie - Niels Onstad Foundations, Hovikodden, Norway Sonje Museum of Contemporary Art, Kyongbuk, Korea The Arkansas Arts Center, Little Rock, Arkansas, USA The Detroit Institute of Arts, Detroit, Michigan, USA The Fields Sculpture Park, Omi International Arts Center, Ghent, New York, USA The Museum of Modern Art, New York, New York, USA The National Gallery of Art, Washington, D.C., USA The New York University Art Collection, New York, New York, USA

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The Solomon R. Guggenheim Museum, New York, New York, USA Total Museum of Contemporary Art, Seoul, Korea Vanderbilt University Medical Center, Nashville, Tennessee, USA Von der Heydt Museum, Wüppertal, Germany Wadsworth Athenaeum, Hartford, Connecticut, USA Wilhelm-Hack-Museum, Ludwigshafen, Germany Yale University, New Haven, Connecticut, USA Yuanta Financial Holding Co. Ltd. Taipei, Taiwan

Public Commissions Archon Company, Austin, Texas, USA Bank Al Maghrib, Agadir, Morocco Beijing Silver Tower Real Estate Development Company, Beijing, China Centre Hospitalier de Cannes, Cannes, France City of Adachi, Tokyo, Japan City of Belley, France City of Bergen, Norway City of Cologne, Germany City of Denver (Colorado Convention Center), Denver, Colorado, USA City of Epinal, France City of Lille, France City of Shenzhen, China Collège & École de Commerce Emilie-Gourd, Geneva, Switzerland Dongkuk Steel Mill Company, Seoul, South Korea Espace Fortant de France, Sète, France Gallery Hannam The Hill, Seoul, South Korea Goodman Segar Hogan, The World Trade Center, Norfolk, Virginia Groupe AGF, Paris, France Hansol Company, Seoul, Korea Jardin Albert 1er, Nice, France Kurpark, Bad Hamburg, Germany La Chapelle Saint Jean, Chateaux-Arnoux, France La Cour des Comptes, Paris, France La Défense, Paris, France Miyagi Prefectural Library, Sendai, Japan Place de Bordeaux, Strasbourg, France Place Sulzer, Nice, France Quai des Etats-Unis, Nice, France Rocher de Roquebrune, Roquebrune sur Argens, France Runnymeade Sculpture Farm, San Francisco, California, USA Société du Métro de l’Agglomération Toulousaine, Toulouse, France TCLM Mansons Development, Auckland, New Zealand Urania Platz, Berlin, Germany

86


Two Indeterminate Lines, 2010 Painted steel 12 x 12 x 10 meters Installation: Hannam The Hill, Seoul, South Korea

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Published on the occasion of the following exhibitions: - Bernar Venet: PAINTINGS: 1967 – 2010 May 3 – 6, 2012 - Bernar Venet in Hong Kong – Cultural Centre & Museum of Art Piazzas May 3 – 21, 2012

香港中環雪廠街16號西洋會所大廈8樓 8/F Club Lusitano 16 Ice House Street Central Hong Kong T: +852 2167 8896 F: +852 2167 8893 E: hongkong@desarthe.com www.desarthe.com ©Bernar Venet Catalog: ©2012 de Sarthe Gallery Design: Salotte Lau, de Sarthe Gallery Printing: Print Shop Photographic credits: Jean-Pierre Quarez, Nice - Page 8 Muriel Anssens, Nice - Page 10 Jérôme Cavalière, Marseille - Page 85 Jean-Christophe Lett, Marseille - Page 72, 78 André Morain, Paris - Page 14 LuxProductions, Paris - Page 24 Archives Bernar Venet, New York - Page 9, 11, 13, 17, 18, 19, 20, 21, 22, 25, 27, 28, 54, 58-59, Sin Ka Keung - Page 6 Courtesy de Sarthe Gallery, Hong Kong - Page 12, 16, 82, 84 Arnold Lee, Hong Kong - Pages Cover, 30-31, 33, 35, 37, 39, 41, 43, 45, 47 Warmest thanks to: Bernar and Diane Venet, Arnaud and Elisa Barthelemy, Gilles Bonnevialle, Vincent de Sarthe, Julien-Loic Garin, Constance Lemarie, Francois Lusteau, Esther Chiu, Salotte lau, Sophie Hirabayashi, Alexandre Devals, Chanez Baali, Jacki Mansfield, Jennifer Warner, Leisure and Cultural Services Department, Perriet-Jouet, the Peninsula Hotel, Art-Transports & Services, Helutrans.

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Exhibited at de Sarthe Gallery May 3 - 26, 2012 Bernar Venet Paintings: 1967 - 2010 Illustrated pages 12, 19, 20, 70, 76, 80

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Profile for de Sarthe Gallery

Bernar Venet  

Bernar Venet Paintings:1967 -2010Bernar Venet in Hong Kong - Cultural Centre & Museum of Art Piazzas

Bernar Venet  

Bernar Venet Paintings:1967 -2010Bernar Venet in Hong Kong - Cultural Centre & Museum of Art Piazzas

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