{"id":501186,"date":"2022-05-03T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/art\/numero-art\/at-the-louis-vuitton-foundation-and-in-venice-with-katharina-grosse-colour-leaps-off-the-canvas\/"},"modified":"2022-05-03T00:00:00","modified_gmt":"1970-01-01T00:00:00","slug":"at-the-louis-vuitton-foundation-and-in-venice-with-katharina-grosse-colour-leaps-off-the-canvas","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/at-the-louis-vuitton-foundation-and-in-venice-with-katharina-grosse-colour-leaps-off-the-canvas\/","title":{"rendered":"At the Louis Vuitton Foundation and in Venice with Katharina Grosse, colour leaps off the canvas"},"content":{"rendered":"\n
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Sam Gilliam, Carousel Form II, 1969 \u00a9 Sam Gilliam \/ ADAGP, Paris 2022<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Steven Parrino, Blob (Fuckheadbubblegum), 1996 \u2028\u00a9 The Steven Parrino Estate\u2028\u00a9 Andr\u00e9 Morin for the Consortium<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Niele Toroni, Empreintes de pinceau n\u00b050 r\u00e9p\u00e9t\u00e9es \u00e0 intervalles r\u00e9guliers de 30 cm, 1997 \u00a9 Adagp, Paris, 2022 Courtesy of the artist and Marian Goodman Gallery <\/figcaption>\n <\/figure>\n \n <\/div>\n <\/div>\n \n
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It wasn\u2019t us (2020) by Katharina Grosse, view of Hamburger Bahnof museum f\u00fcr Gegenwart’s installation at Berlin. \r\nPhoto : Jens Ziehe \u00a9 Katharina Grosse and VG Bild-Kunst, Bonn, 2021. Courtesy of K\u00f6nig Galerie \u2013 Gagosian \u2013 Galerie n\u00e4chst St. Stephan Rosemarie Schwarzw\u00e4lder \u2013 Staatliche Museen zu Berlin, Nationalgalerie \r\n<\/figcaption>\n <\/figure>\n \n

While the art market seems to have eyes only for figurative painting<\/strong>, this spring, in Paris and Venice, the Fondation Louis Vuitton is celebrating abstract painters whose work departs from the limited scope of the canvas and splashes colour everywhere, from wall to ceiling. \u201cFigurative painting is riding high right now,\u201d affirms Suzanne Pag\u00e9, the foundation\u2019s artistic director, \u201cbut abstract painting is still here, with very strong personalities from all generations, like those we\u2019re showing in Paris: Sam Gilliam, Steven Parrino, Niele Toroni, Katharina Grosse and Megan Rooney. Their abstract art is not abstracted from the world, but is very aware of it. These artists eschew representation to better embrace the world. The real question is, \u201cWhat does painting do to the world and what does the world do to painting?\u201d<\/p>\r\n\r\n

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Megan Rooney, a 37-year-old Canadian based in the UK<\/strong>, has created a huge fresco in an open-air gallery at the Fondation Louis Vuitton. Alert to the world around her, Rooney painted what she saw: the arrival of spring, with its light and colour. Or rather, what the arrival of spring left in the way of aesthetic and emotional traces on her memory. Yet her painting cannot be reduced to this simple dimension. In London, she has set up her studio in a devastated former hospital, a very aggressive place. Rooney, who adores gardens, is exposed to world\u2019s harshness on a daily basis. When she was up in the scissor lift painting on the vast surfaces of the Fondation Louis Vuitton, she didn\u2019t use only soft brushes to cover them with her pastel colours, but also coarse brushes and the violence of spray paint. She even used a sander to blast off the skin of the wall. The ultimate softness combined with the utmost aggressiveness…<\/p>\r\n\n

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Das Bett (2004) by Katharina Grosse. \r\nPhoto : Nic Tenwiggenhorn. \u00a9 Katharina Grosse and VG Bild-Kunst, Bonn ; Nic Tenwiggenhorn and VG Bild-Kunst, Bonn\r\n<\/figcaption>\n <\/figure>\n \n

For decades, Swiss artist Niele Toroni (85), who now lives in Paris,<\/strong> has been revealing the world \u2013 especially space \u2013 through a precise method: repeated monochrome col- our marks made with a flat 50 mm brush, spaced at regular 30 cm intervals, on whatever surface he is working with: wall, staircase, window or canvas. All of a sudden, the surface of intervention is transformed. \u201cWhen I was director of Paris\u2019s Mus\u00e9e d\u2019Art Moderne,\u201d recalls Pag\u00e9, \u201cwe had this disgusting storeroom. Niele Toroni, who never goes for the obvious, set his sights on it and turned it into a painting cabinet. His intervention transformed it into a luminous palace. Toroni makes the world not only luminous but also intelligent and tangible. His world is that of painting, but his choice of colours is not disconnected from the world. They carry a symbolic dimension. The use of red, for example, is not left to chance.\u201d<\/p>\r\n\r\n

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But it is undoubtedly German artist Katharina Grosse\u2019s triple intervention that reserves the most pleasant suprise<\/strong>. A past master at monumental in-situ installations, she has been given two of the Vuitton galleries in Paris as well as its beautiful Venetian space, which has just joined the Art Biennale\u2019s official programme. Armed with her paint guns, Grosse is known for covering everything \u2013 floors, walls, canvas, bedrooms \u2013 in vivid iridescent col- our: yellow, blue, red, green, orange, purple… In Venice, her impressive installation comprise a giant piece of met- al-mesh fabric on which she has printed a photo of her own hands. Made from millions of tiny brass links, the piece blurs the boundaries between the artist\u2019s body and the material, covering the walls and floor. \u201cThe image represents a moment when my body and the materials intertwine in the act of painting,\u201d Grosse explains. Visitors\u2019 movements are reflected in it, creating a liquid, fluid mirror that evokes the water that is everywhere in La Serenissima. \u201cI let the printed brass mesh drape the walls and much of the floor of the exhibition space, like water, so that it wavers between surface, texture, image and object; be- tween order and chaos; destruction and creation; tension and release; forced and free movement. The shimmering image will constantly evolve, depending on the angle of the light and how the reflections on the metal echo view- ers\u2019 movements, in reference to Leibniz\u2019s concept of folds of time, space and movement.\u201d<\/p>\r\n\n

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Study for Apollo, Apollo (2020) by Katharina Grosse. \r\nPhoto : Daniela G\u00f6rgens, LRRH_. \u00a9 2022 Katharina Grosse and VG Bild-Kunst, Bonn <\/figcaption>\n <\/figure>\n \n

In Paris, Grosse has installed a gigantic suspended sculpture-object in the foundation\u2019s \u201ccanyon\u201d,<\/strong> a vertiginous vertical space in Frank Gehry\u2019s building. The work com- prises eight spray-painted \u201cpetals\u201d (as Grosse calls them), each 8 to 15 metres high. Finally, in the gigantic Galerie 10, she has installed a monument of overlapping triangular forms that once again choreographs colour with flamboyant \u00e9lan. As for the late Steven Parrino, who was also a musician, performer and video artist, he would first paint his material before twisting and tearing it to give it new form. At the Fondation Louis Vuitton, this choreographic construction-destruction of form propels colour into space with the energy of a teenager on the run. \u201cThe whole exhibition is built around colour,\u201d concludes Pag\u00e9. \u201cAll the artists in the show have a perfomance side to their practice. Colour is on the run, free, ready to embrace liberty. Everything seems to say: \u201cThe world is open and it belongs to you. All you need do is go for it.\u201d<\/p>\r\n\n

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Like son (2020) by Megan Rooney. \r\nPhoto : Eva Herzog. \u00a9 Megan Rooney. Courtesy of Thaddaeus Ropac, London, Paris, Salzburg, Seoul \r\n<\/figcaption>\n <\/figure>\n \n \n
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Back to breath, back to wind (2018) by Megan Rooney. View of exhibition Encore un jour banane pour le poisson-r\u00eave au Palais de Tokyo (2018). \r\nPhoto : Aur\u00e9lien Mole. Courtesy de l\u2019artiste et Drei (Cologne) <\/figcaption>\n <\/figure>\n \n

\u201cLa Couleur en fugue\u201d,<\/em> from May 4 to August 29, Fondation Louis Vuitton, Paris.
\r\nKatharina Grosse, \u201cApollo, Apollo\u201d, until November 27, Espace Louis Vuitton, Venice.<\/strong><\/p>\r\n","protected":false},"excerpt":{"rendered":"

While the art market seems to have eyes only for figurative painting, this spring, in […]<\/p>\n

Read More… from At the Louis Vuitton Foundation and in Venice with Katharina Grosse, colour leaps off the canvas<\/span><\/a><\/p>\n","protected":false},"author":0,"featured_media":501165,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[3182],"tags":[],"class_list":["post-501186","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-numero-art-en"],"acf":[],"yoast_head":"\nAt the Louis Vuitton Foundation and in Venice with Katharina Grosse, colour leaps off the canvas<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/numero.com\/en\/art-design\/numero-art-en\/at-the-louis-vuitton-foundation-and-in-venice-with-katharina-grosse-colour-leaps-off-the-canvas\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" 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