Zeitung, Fundaziun NV Nr.12 Not Vital by SÜSSKIND SGD

2 FUNDAZIUN

CHASTÈ DA TARASP

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August 7 – September 12 2020

cover Guillaume Bruère 28.04.2017 Coloured pencils, oil pastels and acrylic on paper, 65 x 50 cm thank you Guillaume Bruère publisher Fundaziun Not Vital Chastè da Tarasp, Switzerland curator Giorgia von Albertini artist Guillaume Bruère text Giorgia von Albertini graphic design Süsskind SGD layout Giorgia von Albertini edition 400 -

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GUILLAUME BRUÃ&#x2C6;RE What Trembles and Almost Dances

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16.10.2015 15 drawings after Francis Bacon’s Three studies of the Male Back (1970), Kunsthaus Zürich Coloured pencil on paper, each 30 x 21 cm -

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WHAT TREMBLES AND ALMOST DANCES Guillaume Bruère (b. 1976, Châtellerault, FR) is primarily a draughtsman, but also a painter and a sculptor. He is known for his productive restlessness, his appetite for portraiture, his thirst for colour and his habit of working in series. In 2008, Bruère began to draw in front of originals in museums thus turning the museum into his studio. While most painters are directly or indirectly preoccupied with the history of painting – either because they reference its technique or iconography, or because the past weighs on them – Bruère quite literally revives art historical icons by seizing their capacity for development. As the German Philosopher Ludwig Feuerbach has outlined, the genuinely philosophical element contained in a work – be it artistic, scientific or theoretical – is its inoperative remainder of potential. Such capacity for development makes possible the thought of thought, the painting of painting, the poetry of poetry. 1 Bruère is incredibly adept at identifying such surplus, even if it is hidden underneath the protective varnish of the past. Guided not only by his artistic training but also by his strong instinct and his pronounced empathy, he has studied the century-old tradition of painting with great care: Dürer, Holbein, Rembrandt, Goya and Van Gogh frequently resonate in Bruère’s work, as do other Flemish, French and German painters. Instead of simply copying or paraphrasing the historical subject matter, Bruère takes a performative approach, rapidly executing his frequently turbulent or broken lines in front of the public. In the process, he eliminates all that can be ignored, foregrounding the hidden and disorderly spirit of his subject matter. Bruère often listens to music while drawing, mostly the energetic beat of rap music, hence the signs and words that reference popular culture in his work.

In 2014, while working at the historic castle of Chambord in France, he made drawings of Marie Marguerite Delvaux de Chambord (1829-1899). In one case (13.11.2014), he penciled the contours and features of her somewhat authoritarian face, adding a few blotches of colour to highlight her eyes, mouth, forehead and dress. Glaring at the beholder she has raised her arm to form a distinct two-finger salute. Bruère, perfectly aware of how hands have been used historically to transmit messages in paintings, replaced her original pose with the “fuck off” gesture prevalent in hip-hop culture. On the upper right part of the drawing Bruère wrote: “Marie Marguerite d’Eminem”. Perhaps she was indeed a hustler, we think. And history suddenly regains a human scale. About his process of portraiture in museums, the artist said: “I want to bring the aspects of the painting to life that I don’t fully understand but that I sense to be integral parts of the painting. Everything begins with the pure presence of a painting. It fascinates and overwhelms me at the same time.” 2 Bruère’s unconditional and relentless confrontation with the pictorial past leads to its activation and displacement. Interestingly, every one of Bruère’s portraits is significantly transformed – stripped bare of its original style and manner, of its colouring and iconographic details – and yet its secret, its untranslatable and intangible truth, remain.

Ludwig Feuerbach, Entwürfe zu einer Neuen Philosophie, Hamburg: Felix Meiner Verlag, 1996.

“Die Macht der Bilder und das Nicht-Perfekte als das Menschliche, Alois Köbli im Gespräch mit Guillaume Bruère”. In: Denken und Glauben, Nr. 189, 2018, p. 16.

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What Trembles and Almost Dances includes a series of drawings that Bruère made at the Kunsthaus in Zürich in 2015. 16.10.2015 consists of 15 sketches executed in front of Francis Bacon’s triptych Three Studies of the Male Back (1970). Just like Bacon approached the male back from different perspectives, Bruère approached the triptych from different angles, testing, sequencing and overlapping Bacon’s perspectives. As usual, he worked quickly, barely looking at the paper, instead focusing entirely on his source images. His forceful yet nervously tentative pencil-lines are like electric impulses, send out to scan and feel the subject. 3 The exhibition further brings together two groups of lesser known and largely unseen works by Guillaume Bruère that differ significantly from his work in front of originals: painted clay sculptures and memory-drawings. Bruère started making sculptures in clay in 2016, alongside his drawing and painting practice. His fired clay-sculptures are moulded by hand, often anthropomorphic, and usually the size of a human head. Their painted surface is covered with imprints of the artist’s fingers and hands, testifying to the importance of the gesture in his sculptural practice. As in his drawings and paintings, Bruère sculpts with his “hand-eyes”: his eyes wander into his hands as he simultaneously scans and creates the subject. 08.2016 is a clay sculpture covered in greenish-fluorescent acrylic paint. The sculpture has the shape and size of an abstract human head, with two tired eyes peering out of their dark sockets. The modelling is rough with folds and dents on the surface revealing traces of the artist’s manual labour. The green paint, quickly and liberally applied, has dried while trickling down. As so often in Bruère’s work, the interplay between

imprecision and precision triggers an effective response: while the Gestalt (i.e. the head) is rough, if not to say abstract, the eyes, although not naturalistic, convey existential emotion. Tellingly, the distinction that Gilles Deleuze and Félix Guattari make between the head and the face appeals to Bruère. In A Thousand Plateaus, they posit that the head is included in the body, but the face is not: the face is like a map, wrapped around the head. 4 Eyes play an important role in the facial cartographies of Bruère’s subjects: they animate his subjects and look back at the beholder. 08.2016 is paradigmatic for the disconcerting and soulful agency of Bruère’s works: the sculpture features a glum, unsmiling mouth and seven small glass eyes embedded in the surface of a head that is essentially little more than a blob of clay. Gazing in different directions, some of the creature’s eyes are narrowed, others wide open. Can we ever be sure that we are not being watched? How many creatures can see us in their individual ways, with their mysterious brains? Shortly before taking up sculpture, Bruère had started to work not only from originals and live subjects, but from memory as well. A selection of these memory-drawings, on view here for the first time, shows an intimacy encouraged by the calm privacy of the studio – as opposed to the busy, public life of the museum – and also by the mnemonic process of their creation. Speaking of these drawings, the artist says, “When I portray a painting or a person, I never know if I will see that painting or person again. By recalling them and drawing them anew, they re-emerge as a sort of essence.” 5 Bruère’s memory-drawings, a heterogeneous series of works,

In an interview with Alois Köbli, Bruère stated that when he paints, his eyes wander into his hands. See: “Die Macht der Bilder und das Nicht-Perfekte als das Menschliche, Alois Köbli im Gespräch mit Guillaume Bruère”. In: Denken und Glauben, Nr. 189, 2018, p. 16.

Gilles Deleuze and Felix Guattari, A Thousand Plateaus, London and New York: Bloomsbury Press, 2013, pp. 198-199.

In conversation with the author, April 2020.

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executed in different colours and densities, conjure up a diversity of associations. Some of these drawings transport us back to ancient Greece (07.2017), others remind us of the strange creatures in the paintings of Hieronymus Bosch (23.01.2016), and still others evoke Andy Warhol (06.2017) or Jean-Michel Basquiat (07.2017). Some drawings, such as 02.2016, are spread like bread-andbutter with lines and patches of colour filling nearly the entire sheet. This particular drawing depicts a man in black, purple and grey, with green, red and yellow accents. The subject, quite like a bust, seems to be gazing into the distance, as if frozen in time. A curious tension emerges between the immobility of the subject and the animated, troubled lines, in which the drawing is rendered. We detect a sense of chaos that is heightened by the indication of a bird’s feet and wings. Masterful creation and rebellious anarchy govern Bruère’s draughtsmanship in equal measure. Other drawings, such as 07.2017, are much calmer, their expressive impact resting on just a few details. The drawing depicts the head of a person, its contours red, its features black and its skin yellow. The subject’s eyes consist solely of a line and a dot, and yet their expression seems complete. In another drawing, also dated 07.2017, the oil-pastel lines in pink and orange look as if Bruère’s hand had trembled while drawing this tender, fleeting face, which appears like a ghostly bundle of affects. Psychoanalysis reveals the complexity of memory: it is unconscious and becomes consciously articulated only when it is evoked and processed. It is at the crossroads of energy and representation, it is indestructible and yet displaceable, it is

intra- and intersystemic. 6 Bruère’s mobilization of a memory and his rendering of that same memory are two distinct yet similar processes: just like the memory that becomes representational only if it is evoked, the creative gesture invents itself as it emerges. In his practice, Bruère draws on what might be called a primal brew of affects, memories, impressions and history. He would be happy to render the original substance on paper without consciously drawing or painting it. He works towards this end by means of intense physical training which has enabled him to rely on the kinaesthetic intelligence of his fingers, hands, arms and ultimately his entire body. 7 In his quest for the autonomous line, Bruère informs his agile draughtsmanship with a dose of serendipity and randomness. It is these imperfections and collisions that make his subjects so human and compelling. The deviations, distortions, exaggerations and unexpected attributes of Bruère’s subjects are not to be mistaken as unplanned accidents or happy coincidences; they are the fruit of hard work. In fact, Bruère has turned practice into a dictum, practicing his artistic work just as seriously and urgently as the work of empathy and affect that underlies it. He devotes care to his subjects and accepts responsibility for them, be they historical, real or remembered. The works that emerge along the way cannot be disconnected from Bruère’s practice. The artist underscores the importance of practice by titling his works with their date of creation, encouraging us to see them as moments in his overall practice.

Julia Kristeva, Intimate Revolt. The Powers and Limits of Psychoanalysis, New York: Columbia University Press, 2002, p. 34.

Jacqueline Burckhardt, “Visiting with GIOM”. In: Guillaume Bruère. François Ier illimité, exh. cat., Chambord: Domaine National du Château de Chambord, p. 31.

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Burère’s pictures, both those created in front of historic originals as well as those drawn from memory, underscore his special relationship to the past. Ultimately, his creation takes place in the course of a retrospective turn, for it seeks to exploit the developmental potential of historical works and to retrieve and rework memories. Michel Foucault posits that the investigation of the past is nothing but the shadow cast by a question directed at the present. The Italian Philosopher Giorgio Agamben recently stated: “Since obviously the only place in which the past can live is the present, if the present is no longer aware of its past as living, then universities and museums become problematic places.” 8 Precisely because of our often troubled and sanitized relation with our past, Guillaume Bruère’s work is of great contemporary relevance: with trembling hands, he makes the past dance. And looking at his work, we sense that the past is alive, now. Giorgia von Albertini

Giorgio Agamben, Creation and Anarchy, Redwood City, CA: Standford University Press, 2019, pp. 1-2.

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08.2016 Acrylic on clay 30 x 18 x 20 cm -

08.2016 Acrylic on clay, glass eye and fur 27 x 30 x 26 cm -

08.2016 Acrylic on clay 28 x 15 x 14 cm -

02.2016 Coloured pencils, oil pastels and acrylic on paper 70 x 50 cm -

07.2017 Coloured pencils, oil pastels and acrylic on paper 70 x 50 cm -

19.12.2017 Coloured pencils, oil pastels and acrylic on paper 70 x 50 cm -

07.2017 Coloured pencils and oil pastels on paper 70 x 50 cm -

07.2017 Coloured pencils, oil pastels and acrylic on paper 70 x 50 cm -

05.01.2016 Coloured pencils, oil pastels and acrylic on paper 70 x 50 cm -

23.01.2016 Coloured pencils, oil pastels and acrylic on paper 65 x 50 cm -

08.2016 Coloured pencils, oil pastels and acrylic on paper 70 x 50 cm -

11.12.2017 Coloured pencils, oil pastels and acrylic on paper 70 x 50 cm -

07.2017 Coloured pencils, oil pastels and acrylic on paper 70 x 50 cm -

06.2017 Coloured pencils, oil pastels and acrylic on paper 70 x 50 cm -

14.11.2017 Coloured pencils, oil pastels and acrylic on paper 70 x 50 cm -

08.2016 Acrylic on clay and glass eyes 23 x 39 x 14 cm -

08.2016 Acrylic on clay 25 x 29 x 18 cm -

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GUILLAUME BRUÈRE Born 1976 in Châtellerault, France Lives and works in Berlin, Germany

SOLO EXHIBITIONS (SELECTION) 2020 Portraits de cette histoire, le CENTQUATRE, Paris, France What Trembles and Almost Dances, Fundaziun Not Vital, Chastè da Tarasp, Tarasp, Switzerland, curated by Giorgia von Albertini 2019 Guillaume Bruère, Kunsthaus Zurich, Switzerland, curated by Mirjam Varadinis Dibujos en el museo, Museum Lázaro Galdiano, Madrid, Spain, curated by Amparo López Guillaume Bruère, Nahmad Projects, London, UK, curated by Joseph Nahmad El Greco Museum, Toledo, Spain, curated by Pilar Rubiales Fuentes

Portraits of Refugees, Deutsches Historisches Museum, Berlin, Germany Das Gesicht der Anderen, Verbindungsbüro - Bundestag, Brussels, Belgium 2015 Francois Ier illimité, Château de Chambord, France Qu’est-ce qu’une idée?, Galerie RX, Paris, France, With Fabien Verschaere, curated by Robert Fleck 2014 Vanilla, Galerie Nahmad, New York, USA, curated by de Pury de Pury Galerie Heike Curtze, Vienna, Austria

Le portrait des oeuvres, Espace des Arcades, Antibes, France, curated by Jean-Louis Andral

Einblicke – in die Sammlung Wemhöner, Berlin, Germany

2018 I Have Nothing Left for You, Ivorypress, Madrid, Spain, curated by Elena Ochoa Foster

2013 Hip Hop Heraldik, French Institute, Berlin, Germany

en dehors de moi cette chose n’est pas faite, Katholische Hochschulgemeinde, Graz, Austria, curated by Johannes Rauchenberger

2012 GIOM Tausendfüßler, Marta Herford, Herford, Germany, curated by Roland Nachtigäller and Friederike Fast

2016 Über den Unterschied der Gesichtszüge im Menschen, Schadow Haus Berlin, Germany, curated by Kristina Volke Flüchtlingsportraits, Kulturzentrum bei den Minoriten, Graz, Austria, curated by Johannes Rauchenberger

Drawing performance with Chloe Moglia, 104, Paris, France

GIOM Tausendfüßler, Galerie der Stadt Backnang, Backnang, Germany, curated by Martin Schick Am Zeichnen sterben, Galerie Heike Curtze, Vienna, Austria Visionen, Andrae Kaufmann Gallery, Berlin, Germany Cabinet de desins, Galerie Bernard Jordan, Zurich, Switzerland

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GIOM auf den Spuren..., Galerie Ruth Leuchter, Düsseldorf, Germany Sur les traces de Delacroix, French Institude, Marrakesch, Morocco 2011 Museumszeichnungen, Galerie Heike Curtze, Salzburg, Austria

2007 Selbstportrait beim Gebären, Kunstverein Paderborn, Germany Radstaffelei / Vélochevalet, French Institute, Berlin, Germany 2005 Prometheus, Ilona & Celine, Tent, Centrum Beeldende Kunst, Rotterdam, The Netherlands

Sägenschnitte und Museumszeichnungen, Volksbank / Galerie Heike Curtze, Wien, Austria

2004 Drawings, galerie / store / 52°31’52“,13°22’55“/, Berlin, Germany

Guillaume Bruère, Kunstverein Heidenheim, Germany

reëéel (with Bram van Waardenberg), Dunkerque, France

Tierisch Zeichnen, Galerie Jordan / Seydoux, Berlin, Germany

The flag of the world, FRAC Poitou-Charentes, Prefecture, Poitiers, France

Strassenkünstler, Werkstadt, Graz, Austria Giom nach Paula auf Giom, Galerie kd.kunst, Wallhöfen, Germany Rembrandt was gay, Zwanzigquadratmeter, Berlin, Germany 2010 Sägenschnitte, Galerie Heike Curtze, Wien, Austria Ecole Francaise? Schon tod!, Galerie Ruth Leuchter, Düsseldorf, Germany Parabol von den Blinden, FRISCH, Berlin, Germany 2009 Rendez-vous met Ensor, Galerie Erna Hécey, Brussels, Belgium Levinas am Montmarte, Galerie Heike Curtze, Salzburg, Austria 2008 Selbstbildnisse als Kartoffel, Galerie Heike Curtze, Berlin, Germany Panoramalerei, Mars, Berlin, Germany

2003 Mener une campagne, Collective La Borne, Orléans, France Mourir sa méthode, IUFM Orléans-Tours, France 2002 On marchait autour de l’étant, Marcel Duchamp College, Châteauroux, France Copier l’envie copiée, Hôtel de région / town hall, Poitiers, France 2001 Sculptures qui poussent mon lit, Chapter 3, Faculty, Tours; Chapter 2, shopping center, Nantes; Chapter 1, Museum of the Tumulus, Bougon, France 2000 Rencontrer Jacques Villeglé en Boîtes, Art School, Nantes, France

Wappen, French Institute, München, Germany

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GROUP EXHIBITIONS (SELECTION) 2020 In the Picture: Portraying the Artist, Van Gogh Museum, Amsterdam, Netherlands, curated by Nienke Bakker and Lisa Smit

2015 Paarweise, Neue Werke in der Sammlung Marta, Marta Herford, Herford, Germany

Picasso, Baigneuses et Baigneurs, Musée des Beaux-Arts, Lyon, France, curated by Sylvie Ramond and Émilie Bouvard

Galerie Heike Curtze und Petra Seiser, Vienna, Austria, curated by Lóránd Hegyi

2019 Topor n’est pas mort, Galerie Anne Barrault Paris, France Vulgata, Dommuseum, Mainz, Germany Der Funke Gottes, Diözesanmuseum, Bamberg, Germany 2018 Chefs-d’oeuvre !, Musée Picasso, Paris, France, curated by Laurent Le Bon, Émilie Bouvard and Coline Zellal Glaube, Liebe, Hoffnung, Kunsthaus Graz, Austria, curated by Barbara Steiner, Katrin Bucher Tantrow and Johannes Rauchenberger Glaube, Liebe, Hoffnung, Kulturzentrum bei den Minoriten, Graz, Austria Schönheit & Anspruch, Stift Admont, Austria Hinsehen Reinhören, St. Marien-Dom, Hamburg, Germany 2017 Vulgata, Kulturzentrum bei den Minoriten, Graz, Austria

Sommer nacht traum, Sammlung Klöcker, ALTANA Kunstsammlung, Bad Homburg, Germany Galerie Heike Curtze und Petra Seiser, Salzburg, Austria Das gezeichnete Ich, Zwischen Auslöschung und Maskierung, Bruseum, Neue Galerie Graz, Austria Körpersprache, Heike Curtze Galerie, Vienna, Austria Tiere Schauen, Hegenbarth Sammlung Berlin, Germany Identité, identités..., Centre d’art contemporain, Châtellerault, France 2014 Van Gogh Live!, Fondation Vincent Van Gogh, Arles, France 6th Biennale de Zeichnung, Kunstverein Eislingen, Germany Der Himmel über Berlin (Wings of Desire), Globe Alley, Melbourne, Australia 2013 Visionen, Marta Herford, Herford, Germany Van Gogh Live 2013!, Foundation Vincent Van Gogh, Arles, France

2016 Kopf und Kragen, Galerie der Stadt, Backnang, Germany

Biennale internationale d’art contemporain, Melle, France

About Painting – Positionen der Sammlung Wemhöner, Berlin, Germany

Sammlung Klöcker, Lehmbruck Museum, Bad Homburg, Germany

The Difference between Sunrise and Sunset, Schloss Tussling, Germany

Barockrezeption, Belvedere, Wien, Austria Berlin Klondyke, Spinnerei Leipzig, Germany

Charles, insitu, Berlin, Germany

2012 Gold, curated by Thomas Zaunschirm, Belvedere, Austria

Only Lovers, Coeur, Paris, France, curated by Timothée Chaillou

wasistdas, Franklin Azzi Architecture, Paris, France Parsifal, Epicentro art, Berlin, Germany Ça & là, curated by Claude Closky, Fondation Ricard, Paris, France Sur les traces de Delacroix, Festival de l’Ètrange, Essaouira, Morocco

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Berlin Klondyke, Kunstverein Pfaffenhofen, Germany À Votre Décharge, Château de Servières, France The Hair in the Cannibal-Prophetic Soup of Dr. Emil Holub, Galerie NTK, Prague, Czech Republic 2011 Mr. Killer Acte I, Galerie Polad-Hardouin, Paris, France Berlin Klondyke, Odd Gallery, Dawson, Yukon, Canada / Art Center L.A., USA Jeder für sich und gott gegen alle, U 37 – Raum für Kunst, Berlin, Germany Paysage mental, Art Museum, MUba Eugène Leroy, Tourcoing, France Premier Regard, 10ans, Bastille Design Center, Paris, France Young artists from Germany, Swiss Art Institution, Karlsruhe, Germany 2010 Drawings, U 37 – Raum für Kunst, Berlin, Germany Die Entstellung des Augenblicks, Galerie Heike Curtze, Salzburg, Austria 2009 Ringen, Cream Contemporary, Berlin, Germany 2008 30 ans, Centre d’art de Meymac, Meymac, France Stadt als Oberfläche - Zwischen Repräsentation und Inbesitznahme, Goethe Institut, Sofia, Bulgaria Son of Leroy, MUba Eugène Leroy, Tourcoing, France, curated by Evelyne-Dorothée Allemand and Yannick Courbès 2007 Nouvelles acquisitions, MUba Eugène Leroy, Tourcoing, France

Max-Pechstein-Förderpreis (presented by Robert Fleck), Zwickau, Germany Aires de conflu(x)ence, Sibiu, Romania 2006 European Berliner, Maison de la Culture, Amiens, France Peintures / Malerei, Martin-Gropius-Bau, Berlin, Germany 2005 New Presentation, MUba Eugène Leroy, Tourcoing, France 2004 Baete, Bruère, Bernadet, Noiret-Thomé, MUba Eugène Leroy, Tourcoing, France 2003 Bandit-Mages, Bourges, France Jours de fête, Art Museum, Orléans, France 2002 Vidéosynchrones, Rueil-Malmaison, Paris, France PAC’n’CO, Art Center CCC, Tours, France Mulhouse 002, Mulhouse, France Courant d’art, collective La Réserve (Paris), Deauville, France 2001 Toxic dans ton coeur, Pavillon, Palais de Tokyo at FRAC Corse, Corsica, France 2000 Chambre d’hiver, Paris suXus, Artem Gallery, Quimper, France 1998 Réinventer le nomadisme, exposition itinérante, 18 villes, France Hybridation and commensality, Castle of Oiron, France

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PERFORMANCE

EDUCATION

2020 Museum Van Gogh, Amsterdam, Netherlands

2003 Diplôme d’Etudes Approfondies, Poitiers, France

2019 Guillaume Bruère, Kunsthaus Zurich, Switzerland

1999 Diplôme National Supérieur d’Expression Plastique, Nantes, France

Guillaume Bruère, Nahmad Projects, London, UK 2016 Flüchtlingsportraits, Hauptplatz, Graz, Austria 2015 Francois Ier illimité, Château de Chambord, France

1998 – 2002 Assistant to Fabrice Hybert, Jacques Villeglé, Richard Fauguet, Thomas Hirschhorn 1997 Diplôme National d’Arts Plastiques, Poitiers, France

2014 Drawing performance with Chloe Moglia, 104, Paris, France Nuit Blanche Paris, France 2013 Drawing performance with Chloe Moglia, 104, Paris, France Van Gogh Live 2013!, Foundation Van Gogh, Arles, France Dialoge 20-13, with Sasha Waltz and Guests, Festival d’Avignon, Avignon, France Hip Hop Heraldik, French Institute, Berlin, Germany 2012 GIOM Tausendfüßler, Marta Herford, Germany GIOM Tausendfüßler, Galerie der Stadt Backnang, Backnang, Germany 2011 Guillaume Bruère, Kunstverein Heidenheim, Germany 2008 Selbstbildnisse als Kartoffel, Galerie Heike Curtze, Berlin, Germany

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