Opening on Friday, November 8 at 6 PM
September 8 – January 11, 2013
Isabelle, 10”×10”, oil on canvas, 2010
“Gee – How come I didn’t have that idea myself?” exclaimed Andy Warhol when he first saw the work of Duncan Hannah in 1976.
After having encountered Patti Smith and Tom Verlaine at Sutters, the French pâtisserie where he worked on 10th Street in New York, Hannah became one of the most notable of the decadent dandies at CBGB’s and Max’s Kansas City, an arbiter of style and major witness to punk and ‘No Wave’. A large part of his life of that period—between the Factory, the Chelsea Hotel, and such friends as Brian Eno, Nico or Richard Kern—is recounted in Please Kill Me by Legs McNeil. As an artist Hannah took part in seminal exhibitions of the period: “The Times Square Show” in 1980, curated by Colab; “New York/New Wave” at PS1; and the exhibition organized in 1981 in Brussels by the magazine Soldes, featuring the band Tuxedomoon.
A born romantic, born indeed in the hometown of Scott Fitzgerald, Minneapolis, Hannah began painting as a child. His first love was rock music, creating a series of local garage bands with himself as drummer and even smoking his first joint at age fourteen with Janis Joplin. He came to Bard College in 1971 where he worked under the combined auspices of Edward Hopper and Balthus, following the advice given to him by Hockney, “Drop the gimmicks.” Whether painting smiling pin-ups, pensive adolescents in Nouvelle Vague Paris, or his favorite movie stars, behind these postcard-perfect landscapes lies a persistent uncertainty: this idealized world will not end well at all. And it is forever lost.
How did we not have this idea ourselves? Thanks to Adrian Dannatt, the curator, castillo/corrales is proud to present the first solo exhibition of Duncan Hannah in France. The show gathers a selection of paintings, drawings and collages, and will be accompanied by a screening of extracts from some of the many films in which he has acted; beginning with Unmade Beds (1976) by Amos Poe, in which he co-stars with Debbie Harry, and The Foreigner (1978), also by Poe; but also Art for Teachers of Children (1995) by Jennifer Montgomery; and Hellaware, just completed by Michael M. Bilandic and a very young Brooklyn crew, and slated for distribution next year. The exhibition will be accompanied by a genuine ‘punk’ fanzine on Hannah, created uniquely for this show by Adrian Dannatt.
Work by Duncan Hannah is in the permanent collection of the Metropolitan Museum, The Minneapolis Art Institute and the Frederick Weisman Museum. In 2011 he received the Guggenheim Fellowship. His work is also notably present in the private collections of Genesis P. Orridge, George Clooney, Thurston Moore, Vincent Gallo, Allen Ginsberg, David Johansen, Linda Nochlin, George Condo, Philip Taaffe, Anna Sui, or at Mick Jagger’s château de Fourchette.
Starting from December, 18th
Albert Mertz at Tif’s Desk @ Castillo Corrales
Albert Mertz, Gauloises, 1972, Paris
Between the years of 1963 and 1976, Danish artist Albert Mertz (1920-1990) resided in Paris. With beginnings as a painter and then having been credited with making the first Danish Avant-Garde film Flugten (The Flight) in 1940, Mertz explored a variety of mediums and concepts during his long tenure as an artist.
Amid his years in Paris, Albert had little personal interaction with the art scene there aside from a casual relationship with Robert Filliou. His work was never exhibited and instead this time was spent reporting for Danish newspapers about art in greater Europe and developing his own art-making strategies.
Cooped up in a suburban flat on the Rue de Rossaye, Mertz produced hundreds of “notebooks” that contained a combination of his writing and collages reflecting his positions in art. It was during this time that he developed his most famous strategy, The Red/Blue Proposition, that he would employ until his death. It’s early stages of inception are reflected in the notebooks through both his writing and drawing.
For Albert Mertz at Tif’s Desk @ Catillo Corrales, I propose a recreation of this time period presented with the desk as the primary support structure for the exhibition. Enclosed within the vitrine of the desk is his first Red/Blue piece, painted packages of Gauloises cigarettes. Behind the desk a collage installation and next to the desk a bottle of whine with a painted red and blue label.
SLOB #4 – KINESICS OF THE PAGE (2013)
SLOR #1 – EVERYBODY KNOWS THIS IS NOWHERE (2013)
Paul Elliman, Tom Lax and Jon Bywater
LILI REYNAUD DEWAR – INTERPRETATION (2013)
Catalogue by several authors
Interpretation includes texts by Diedrich Diederichsen, Anthony Elms, Lili Reynaud Dewar, J. Griffith Rollefson.
GUILLAUME LEBLON – HELBLING (2013)
Catalogue by several authors
Helbling includes texts by Stuart Bailey, Michelle Grabner and Hélène Meisel.
CONSENSUS (THE ROOM) (2012)
By Karl Larsson
Consensus (The Room) is a theater play in two acts, that may not be designed to be performed. Characters, props and places don’t follow each other but they look alike. They don’t communicate. They remain stubborn, or stupid – as if they were blind to their destinies, content with hearing voices.
The scene gives room for writing; the stage gives way to the text. Words are to be handled and exchanged, the same way money circulates, glasses are filled up and emptied out, wars are remembered, and phones call on ghosts.
Published in conjunction with Karl Larsson’s show R,A,I,N (Consensus) at Signal, Malmö.
Section 7 Books is castillo/corrales’ bookshop. Installed in the back space of the gallery, it is open on regular hours: 2pm to 7pm, Wednesday trough Saturday.
Saturday, November 30, 5 PM / Samedi 30 Novembre, 17h
NOT SO NATURAL SELECTION
Presenting the publication 1946, 1947, 1948 – The missing years of the most beautiful Swiss books and meditating on the convenience of jury selections.
1946, 1947, 1948 – The missing years of the most beautiful Swiss books is a self-initiated research by Corina Neuenschwander and Roland Früh. Launched in 2009 it has been the catalyst for a series of exhibitions and events, workshops with students, and most recently the publication of a 168-pages publication and a web-archive at www.missingbooks.ch
Set out with an initial plan to reconstruct the fameless gap of three years in the history of the competition ‘The most beautiful Swiss books’ – the research moved on from Max Bill, Jan Tschichold and their contemporaries, and gradually expanded with the attempt to also address present-day issues of book design, production and publishing through presentations and discussions in public. At the same time came the ambition to formulate a counter-proposal to the existing jury procedures in competitions by sporting a more subjective process, where ‘experts’ decide for their own criteria and contribute their personal selection. The sum of clear, sharp individual decisions, so the thesis, may just as well represent an alternative to the seemingly objective agreement of a jury.
Seth Price – “Army Jacket” LP
Carter Mull – “Skins (I’ll Have a Double High Society on the Rocks)”(2nd Cannons)
EIGHTS – Issue No. One
Joëlle Tuerlinckx – “Lexique” (Wiels)
Calvin Tomkins –“Marcel Duchamp: The afternoon interviews” (Badland Unlimited)
Laure Prouvost – “The Artist Book” (Bookworks)
Drawing Room Confessions – Sarah Lucas
Drawing Room Confessions – Luis Camnitzer
Genesis P-Orridge – “G.P.O. versus G.P-O: a chronicle of mail art on trial” (Primary Information)
The Happy Hypocrite, Issue 6 : Freedom
Raoul Hausmann – “Hylé – État de rêve en Espagne” (les presses du réel)