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Francis Alˇs at the Irish Museum of Modern Art
An exhibition comprising a series of 111 small-scale paintings by the Belgian-born artist Francis Alˇs, one of the most original artists working today, opens to the public at the Irish Museum of Modern Art on Friday 26 February 2010. Francis Alˇs: Le temps du sommeil has been described as a storyboard or archive of Alˇsís highly imaginative oeuvre, much of which takes as its starting point simple actions performed by the artist and documented in photographs, film or by other means such as postcards. These actions, involving strange objects and fruitless exercises, frequently suggest the dreamlike state of the exhibitionís title, which could translate as ďsleep timeĒ. They are also incorporated into the exhibition in the form of accompanying texts, many derived from the artistís postcards.
Le temps du sommeil was begun in 1995 and continues today as an ongoing body of work. The technique is consistent throughout. The figures or other images in the paintings begin as drawings on tracing paper, which are then transferred onto a miniature oval landscape with golden green grass and a darkened, olive green sky. In each case this scene is surrounded by a rich Venetian red ground, built up in layers with the whole measuring no more than 11.5 by 15 cms. Alˇs compares the oval with the veduta of early Italian Renaissance paintings, a special distant scene inserted into a larger landscape. Each painting is dated with a rubber stamp, underlining the narrative aspect of the series and providing a kind of diary of the artistís fantasies and obsessions.
Several of the paintings have an obvious connection with Alˇsís recorded actions. The man walking along carrying a leaking can of paint, echoes the artistís 1995 action† The Leak, in which he roamed the streets of Ghent with a punctured paint can leaving a trail back to the gallery, where he mounted the empty can on the wall. Another painting calls to mind Alˇsís epic 2002 project, When Faith Moves Mountains, which took place near the Peruvian capital Lima. This involved 500 volunteers who, armed only with shovels, moved a 1,600-foot sand dune just four inches from its original location. The change in the landscape was minute, but Alˇs Ďs concern was with its relationship to the prevailing social and political situation at once ďfutile and heroic, absurd and urgentĒ.
In 2004 the artist described the place of painting in his work: ďWhat justifies my recourse to painting is that itís the shortest way Ė or the only way Ė to translate certain scenarios or situations that cannot be said, that cannot be filmed or performed. Itís about entering a situation that could not exist elsewhere, only on the paper or canvas. They are images, and I want for them to live as such. Like in a childrenís book.Ē In June of this year the series will travel to Tate Modern, London, as part of a retrospective of Alˇsís key works, which will also be shown at Wiels, Brussels, and at MoMA, New York.
Born in Antwerp, Belgium, in 1959, Francis Alˇs studied architecture at the Institut díArchitecture de Tournai in Belgium and at the Instituto Universitario di Architettura in Venice. Since 1986 he has made his home in Mexico and has been particularly associated with Mexico Cityís historic centre where his studio is located. His work has been extensively shown worldwide, recent exhibitions include in 2009 - Shanghai Art Museum; The National Museum of Modern Art, Tokyo, and Centro Galego de Arte ContemporŠnea, Santiago de Compostela; in 2008 - KW Institute for Contemporary Art, Berlin; San Francisco Museum of Modern Art; Kiasma Museum of Contemporary Art, Helsinki, and Istanbul Museum of Modern Art. As Alˇsís international reputation has grown many of his projects have taken place at the invitation of museums, for example, The Modern Procession, created in 2002, to mark the temprorary move of The Museum of Modern Art, New York, from Manhattan to Queens.
The exhibition is curated Catherine Lampert, independent curator and former Director of the Whitechapel Art Gallery.
The exhibition is accompanied by a fully-illustrated catalogue, with an afterword by Enrique Juncosa, Director, IMMA. This artistís book, co-published with Charta, Milan, provides an essential key to understanding Alˇsís singular imagination.
The exhibition has received assistance from the Embassy of Mexico in Dublin. The opening reception is supported by Corona Extra
Francis Alˇs: Le temps du sommeil continues until 23 May 2010. Admission is free.
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