Following on from Ugo Rondinone and Jeremy Deller, the Palais de Tokyo invites Adam McEwen the New York based British artist to take on the role of curator and come up with an out-of-the-ordinary-project.
“The rooms at the Palais might stand in for the artist’s studio, which might stand in for the artist’s mind—which is a landscape, and the landscape demands some kind of gesture. ‘Progress’ in this context is temporary. It needs to be reinvented afresh, endlessly. The phrase Fresh Hell is often misattributed to Shakespeare, presumably from Macbeth, but in fact it comes from Dorothy Parker. This quiet piece of historical slippage seems appropriate. History uncoils in a tangled, organic mess across the studio floor, and the artist picks through it, looking for what to do next.”
By mapping the artist’s brain, desires, and influences, the carte blanche gives a fresh slant on the creative process and aesthetic correlations. In the wake of Ugo Rondinone in 2008 and Jeremy Deller in 2009, Adam McEwen (British artist living in New York) hatches an extraordinary scheme and creates a dialogue between medieval sculpture and conceptual art, vaults and attempts to levitate, forgotten artists and those already blessed by history. When faced with this history, what stance can an artist take today? Everything has been done already? Great, now we can finally get to work!
The exhibition FRESH HELL dives into history, recent or distant, but doesn’t bore through the strata. Instead, it skims horizontally and nonlinearly, generating multiple paradoxes and stirring up a breath of fresh air that is constantly sucked away by ghostly shadows.
Bas Jan Ader
Gino De Dominicis
Walter De Maria
Hanna & Klara Liden
Bruce Nauman & Frank Owen
H. C. Westermann
& Œuvres du musée de Cluny – mnma, paris