Though he may be reluctant when it comes to biographies and chronological presentations, Loris Gréaud announces his upcoming exhibition for Stream, bringing to a conclusion the trilogy Cellar Door, The Unplayed Notes and Study for a Solipsism. His work defies description and is impossible to categorize, allowing metabolic themes to blossom—temporal dynamics, death and destruction, combustion and energy—and seizing hold of architectural environments to the benefit of a spatio-temporal experience which belongs to a more global body of work that is the trajectory between these artworks. Much like the living, his work outgrows its contexts, attaching itself more-so to processes of production than to fixed objects.
The exhibition opening in February 2018 at the Galerie Max Hetzler in Paris, is the preface to the final volume of the “trilogy” that has been imagined by artist Loris Gréaud since 2008: Study for a Solipsism.
The first two opuses, Cellar Door (2008–11) and The Unplayed Notes (2012–17), were developed in prestigious institutions, including the Palais de Tokyo (Paris), the ICA (London), the Kunsthalle of Sankt Gallen, the Kunsthalle of Vienna, and the Dallas Contemporary museum, allowing the artist to establish a very particular trajectory.
The exhibition at the Galerie Max Hetzler will be the point of departure for the final movement of this triptych that has only just recently been revealed, one that will be prolonged in an exceptional program at the MSU Broad Museum (East-Lansing, USA), at the Hermitage Museum (Saint Petersburg), and at Kunsthalle Darmstadt (Germany), to ultimately arrive at its destination on the grounds of the Casa Wabi Foundation (whose exceptional architecture was created by Tadao Ando) in Puerto Escondido (Mexico), where a strange sculpture park will be inaugurated.
Simultaneously, the new adjoining building of the Cellar Door studio, designed with architect Claude Parent (1923–2016) will be unveiled: somewhere between a bunker and a mausoleum of the future.
Cellar Door sought to address the issue of the place for work and for thinking; The Unplayed Notes questions the movement of artworks and the space that exists between them; this time, it is the idea of their destination that comes to haunt this third volume. Study for a Solipsism (2008–2020) is an ambitious collection whose final installment proposes a painting that will be as fascinating as it will be singular. Black milk, the song of dead stars, secrets, silence, and disappearances will notably bring rhythm to the artist’s prelude to HIS EXHIBITION at the Max Hetzler Gallery.”
NB: MSU Broad Museum, an exhibition curated by Marc-Olivier Wahler; the Hermitage Museum (Dimitri Ozerkov); Kunsthalle Darmstadt (Leon Krempel); the Casa Wabi Foundation (Pablo Leon de la Barra).
This article was initially published in Stream 04 – The Paradoxes of the living in November 2017.
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