Georges rousse writing art

Exposition Personnelle et installations in-situ

A world-reknown installation artist and photographer, Georges Rousse creates pieces whose beauty comes from the crossover between the 2-Dimension and 3-Dimension.

They invite the spectators to observe and feel 'the flat and the cubic', 'reality and apparition· simultaneously, allowing an interesting and peculiar experience. The historical and societal understanding that cultivated his experience as a writer will be added on to the history of the Seoul Arts Center who will be celebrating its 25th anniversary. A monumental masterpiece in modern art is much anticipated.

Seoul Art Center(SAC) is very pleased to invite Georges Rousse who is one of the most prominent installation artists in the world from France to commemorate 25th foundation day of SAC. The exhibition will be held from 15th April 2013 to May 25th, 2013 under the title of Space, Fiction and Photography.

It consists of three parts; a new memorial work of the 25th anniversary of SAC, several existing works created in the beautiful spots of the world and some of photographs and videos shooting every process of making the works.

First, for this fantastic project, Georges Rousse will design and install his works in SAC from the middle of March to April 2013. During the installation, the process is supposed to be recorded as photographs, which will be mainly put on display in Hangaram Art Museum. Some of the installation pieces including the commemorative work will remain in SAC during the exhibition. Pre-applied volunteers are going to involve the whole installation process. It is expected that this exhibition will provide our audience with unconventional and innovative experience of modern art.

Secondly, his established photographs which he possesses in Paris will be on the exhibition. In his photographs, Georges Rousse compels us to read architecture as static, images as immobile, then gradually transforms our perce

Artworks

Exhibition / Art Fair

The Catherine Putman Gallery is pleased to present, during the MAD Fair (Multiple Art Days), the new prints by Georges Rousse. These inkjet prints of size 92x112cm, sold in 30 copies by Galerie Catherine Putman are printed by the Studio Franck Bordas.

MAD
A new art fair devoted to a wide range of contemporary art editions

A new, annual fair for limited art editions of all kinds, MAD will present, over a 3-day period, a wide spectrum of contemporary styles, from zines to rare objects: prints, multiples, artists’ books, videos, audio CDs, vinyls… Co-curated by Sylvie Boulanger, director of the cneai =, and printer-publisher Michael Woolworth, at the invitation by the maison rouge, MAD is proposing three days of talks and performances, as well as the first edition of Adagp’s Revelation prize for Young Talents in Artist’s Books.

Much more than a fair, MAD revolves around the figure of the publisher, the most independent and versatile actor in today's art world, taking over the entire space of the maison rouge, an institution dedicated to contemporary creation: 96 international publishers, selected for the quality of their prospectus; in an original, innovative setting designed by Roch Deniau, and with the support of La Réserve des arts.

During those three days, the fair will also feature the MAD TALKS program: a series of performances, conversations and panel discussions on editorial trends in contemporary art with artists, writers, printers, curators, publishers, graphic designers, dealers and collectors from around the world.

Georges Rousse photographs abandoned buildings—either the outsides or, more commonly, the empty interiors—shortly before the buildings are to be torn down, after first altering these derelict spaces in some way. In one untitled work from 1985, for example, he painted an illusionistic rendering of a squared-off spiral across the corner of a room before photographing it; in another untitled work, this one from 1982, he painted a series of human figures along the wall of a staircase, as if they were the ghosts of all the people who had climbed those stairs in the building’s lifetime. Depending on the precise accent of these interventions—whether they involve imposing an illusionistic form on the scene or recalling the human presence in it—these images are related to earlier work by such artists as Jan Dibbets, Justen Ladda, John Divola, and John Pfahl.

In the works shown here, Rousse painted the rooms or structures a deep, blood red, giving them the quality of sacred sites. (Most of these pictures are from the “Embrasure” series, 1987, and depict the interior spaces of derelict buildings.) The ritualistic overtones of these spaces are heightened by the golden light that spills into each interior, through empty window frames or cracks in the walls themselves; in some cases, Rousse has even burnished the painted walls with polished beeswax in order to deepen the glow of the sunlight that flows across them. In two pieces, Rousse’s intervention includes writing fragments of poetic phrases across the floor of the space or around the tops of the walls. “DU VAGABOND. L’APPRENTISSAGE” (Of the vagabond. The apprenticeship) reads the inscription along the frieze of a room in Embrasure III, 1987; seen in a slanting beam of light from the ceiling, this circular room suggests the most famous of all ancient temples, the Pantheon. The form of the inscription strengthens this allusion, but the