CURA.

DAN GRAHAM
Fashion and Architecture

Francesca Minini, Milan

March 16 – May 4, 2019 

Share on:
Facebook
Twitter

A fascination for fashion and architecture - of which Milan is an internationally recognized capital – is at the heart of Dan Graham’s show, which stages a dialogue among video works, texts, and drawings, all accompanied by his over-sized model pavilions.

A pioneer of conceptual art, Dan Graham debuted in the 1960s with performances, accompanied by site-specific works, films, and video installations. His art projects have from the very beginning existed side by side with his prolific career as a writer, beginning with his first conceptual works published in numerous magazines, and later on rich texts of social and cultural analysis with a particular interest in music and pop culture.

In the 1970s the artist’s work evolved into an exploration of social interactions and the boundaries between public and private space, through pavilions and architectural projects that achieved international renown. Starting from the concept of intersubjectivity, Graham’s pavilions create dialectical spaces in which the user is contemporaneously actor and spectator, in a continuous play of reflection and transparency. From this dynamic of overlapping images there emerges a need to direct the gaze beyond, to project oneself towards the external, whether it is a natural landscape, an urban area, or an exhibition space.

1/4
 
2/4
 
3/4
 
4/4
 

Conceived as sculptures, the over-sized model pavilions dialogue with the drawings, the collages, and the writings made for Liza Bruce’s London boutique. Another important link to the world of fashion is the pavilion created for Céline’s runway show during the 2017 Paris fashion week. The exhibited video of the runaway, shows how the moving bodies of the models follow the sinuosity of his two-way glass and perforated walls pavilion.

The gallery’s final room hosts the video Don’t Trust Anyone Over 30. The work, originally presented as a live rock’n’roll puppet theater, is set in the 1970s, when the hippie movement moved out of the countryside to go and live in the city. For Dan Graham this work represents the instrument with which all the grandparents and parents of the hippie era can share their memories of the cultural ferment of those years with their grandchildren and children.

CREDITS
Courtesy of the artist and Francesca Minini, Milan
Photos by Andrea Rossetti

OTHER TIPS
In the 19th and early 20th centuries, artists like Cézanne and Matisse took up this motif to express evolving notions about the body, changing ideas about pleasure, one’s relationship to nature, and how the longing for the new (in art) potentially renews a broader and more inclusive understanding of what it means to live with or against societal changes. Greene Naftali, New York
Antoine Levi, Paris
Galerie Perrotin, Paris
Peres Projects, Berlin
(MERIEM) Ok Mom. So you’re going to play yourself, but as if you existed inside the world of the CAPS. You don’t really have to be in character. I wrote this monologue for your interview scene that we’re going to shoot at the pharmacy. It’s just there to give you ideas but you don’t have to stick to any script as long as you make us believe you’re on the CAPS island in the future (...) At C L E A R I N G, New York
The exhibition presents more than twenty works produced since 1998, including one of his first pieces, Lichtzwang (1998–ongoing), a series of 256 geometrical and abstract watercolors that constitute a sort of generative process of all his production. HangarBicocca, Milan
The Horses exemplifies Appriou’s remarkably expressive style and will invite the public into an imaginative world where figuration and mythology meet. PUBLIC ART FUND, New York
Modern Art, London