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John Armleder

14.12.2021 | 23.12.2021
Pièce Unique

MASSIMODECARLO Pièce Unique is delighted to conclude this first year in Paris with its first presentation of a work by John Armleder.

- “I have always believed that a show using artworks- existing ones or not- creates another artwork, which is separate from the artworks themselves and is a new one.”

- “As you know, I am also fascinated about decoration, Christmas decorations and all that stuff. Glitter has always existed in art since as long as we can think, in one form or another like mosaic mirrors.”

- “My work is a cultural fact, an inevitable fact. If artists disappeared, art would be produced by others, with different consciousness, means and materials. The individual artist fulfills just a box. He is an instrument so that this establishment, this accumulation of facts can organize themselves. In fact, I had two goals in this prospect that were lost on their own. The first would have been not to recognize my work. I have unfortunately not arrived yet to enter a museum and not recognize one of my pieces. And for the second, ideally I would have wanted to do only one thing.”

- “My mother went to Hawaii when I was a kid and brought me back a Hawaiian shirt, which maybe changed my life!”

- “The juxtaposition of real and fake has always interested me. Because we produce life in one way or another, or picture it, and the origin of the image sometimes decays.”

- “I always have a problem when people fashion the fact that they are clever. They stage the fact that they are clever. I think this sophistication is very attractive. It’s aesthetically very impressive but in a way that bugs me.”

- “The message doesn’t exist. Art never said anything: it has always been a platform that people can use to say things if they want, but art itself is mute, all art is mute.”

- “When I see art which has nothing to do with what I do and I would never do, I nevertheless think that it’s something I could have done.”

- “One can imagine that all the apples that Cézanne painted are no longer on this planet, maybe they have been eaten, maybe by him.”

- “In a way a genius architect like Frank Lloyd Wright did everything wrong in terms of installing artworks and it’s somehow successful. I have very good memories of most of the shows I saw at the Guggenheim and in a way it’s the worst technical museum you can imagine. The good thing about this kind of museum- this is what I always tell my son who is a skateboarder- is that they are the best museums in the world for skateboarding. The sad thing is that they don’t let anyone skate…”

- “What you do is simply something that was bound to happen when you do it.”

- “At one point we decided that an artist should be a guy who doesn’t fit. If he fits perfectly, there are no consequences. I think that’s totally wrong. In fact, you cannot not fit. The more you don’t fit, the more the world of art will crosstalk, and it would mean that you fit again. The more you break the mold the more the mold is there in a way. Isn’t it a parody of life, perhaps?”

The Artist

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John Armleder

约翰·阿姆莱德 (JOHN ARMLEDER) 1948年出生于瑞士日内瓦,现工作居住在日内瓦。

约翰·阿姆莱德跨越五十年的职业生涯融合了该时期中各种相互竞争的美学发展历程。他是上世纪六十年代日内瓦激浪派的一员,是ECART GROUP的创始人,也是新几何运动的领军者。其作品以多样化而闻名,其中包括激浪派精神、抽象艺术、现成品和雕塑、表演艺术,以及房间大小的装置艺术。作为一名艺术家、雕塑家,同时也是表演艺术家,阿姆莱德不断提出问题:艺术是什么;它能做什么;怎样的艺术是被允许的。从房间大小的装置到抽象绘画,从几何构成主义到家具雕塑以及布满图案的墙纸,阿姆莱德的艺术诚然具有至上主义绘画、极简主义雕塑、具体主义和达达主义中日常物件化的属性。


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