Timothée Chaillou

COLLAGES
Incisions - Fragments - Montages

galerie thaddaeus ropac

timothée chaillou

JESSE ASH
FRANCIS BAUDEVIN
PIERRE BISMUTH
CAROL BOVE
BARBARA BREITENFELLNER
TOM BURR
MARC CAMILLE CHAIMOVWICZ
PHILIPPE DECRAUZAT
SAM DURANT
HARIS EPAMINONDA
ANGUS FAIRHURST
HANS-PETER FELDMANN
URS FISCHER
BRENDAN FOWLER
BABAK GHAZI
NOA GINIGER
LIAM GILLICK
WADE GUYTON
RACHEL HARRISON
NATHAN HYLDEN
LUIS JACOB
MICHAEL ST JOHN
SCOTT KING
JOSH KOLBO
GABRIEL KURI
ELAD LASSRY
CLAUDE LEVÊQUE
LINDER
JUSTIN LOWE
CHRISTIAN MARCLAY
PAUL MCCARTHY
JOSEPHINE MECKSEPER
MATHIEU MERCIER
JONATHAN MONK
CADY NOLAND
RICHARD PRINCE
REBECCA QUAYTMAN
VITTORIO SANTORO
STEVEN SHEARER
DASH SNOW
MEREDYTH SPARKS
HAIM STEINBACH
JOHN STEZAKER
JESSICA STOCKHOLDER
CATHERINE SULLIVAN
KELLEY WALKER
MARNIE WEBER
LAWRENCE WEINER
TJ WILCOX
JORDAN WOLFSON
CERITH WYN EVANS

galerie thaddaeus ropac

timothée chaillou

“A l’époque où une idée, une rose, un bouquet de fleurs, une promenade peuvent être
de l’art, c’est un défi de prendre quelques objets et d’en faire une composition.”
Olivier Mosset

“Was appropriation shomehow a form of ecology? Just another way of collaging the
bedroom.” Richard Prince

“Making collage is like running a marriage bureau with lots of very demanding
customers. Those that you think will rub along nicely, often file for divorce within minutes.”
Linder

Notre réalité, faut-il le rappeler, est un collage composé de ce qui attire notre
attention et de ce qu’en retient notre mémoire. L’image est, selon Lyotard, « reconnaiss-
able, parce qu’elle s’adresse à la mémoire de l’œil, à des repères d’identification fixés, connus au
sens de ‘bien connus’, établis »1. Dans ce sens, l’artiste Haris Epaminonda utilise la scé-
nographie muséologique comme mode d’expression (comme collage d’œuvres dans un
espace), pour indiquer que les musées « ne sont pas capables de présenter toute la mémoire
du monde, et que ce caractère fragmentaire est une réflexion sur notre propre compréhension
fragmentaire du monde »2. A ce sujet, notons ce qu’écrit Thomas Hirschhorn :
« Je veux mettre le monde entier dans mes collages. […] Je tiens à exprimer la complexité et
les contradictions du monde. Je tiens à m’exprimer sur le monde dans lequel je vis, non comme
un ensemble mais comme un monde fragmenté. Mes collages sont un engagement face à
l’universalité du monde. […] Je tiens à affronter le chaos, l’incompréhensibilité et le manque
de clarté du monde, non pas en apportant de la paix ou de la quiétude, ni en travaillant de
façon chaotique, mais en travaillant dans ce chaos et dans ce manque de clarté. »3
De la même manière, Associative Photograph (2004) de Ryan Gander (forme
plastique de ses conférences Loose Associations), est une série de photographies d’un
ensemble d’images et de textes liés les uns aux autres par associations d’idées et anec-
dotes. Celles-ci sont « comme des outils pour comprendre la façon dont le cerveau humain
traite automatiquement de vastes quantités d’informations compliquées ». Les idées ne sont
souvent que des collages et le collage est la représentation analogique de ces associa-
tions.
1. Jean-François Lyotard,
« L’A-cinéma », Cinéma :
Théories, lectures, Klincksieck,
Le collagiste travaille en ayant conscience du statut d’une image, de sa fonction
1973, p. 362 et de son histoire culturelle, des conditions de sa diffusion et de sa réception. Le col-
2. Haris Epaminonda, Cura
lage permet d’évoquer la vitale fréquentation des images : arrêtées et indexées, après une
Magazine N°6, octobre/novem- flânerie, des images sont introduites dans un nouveau récit pour prendre position, sans
bre 2010, p. 92
que leurs identités et particularités ne « disparaissent dans leur utilisation » ( John Stezak-
3. Statement, 2006.  er). Ces images sont soustraites à leurs médias premiers, comme « sauvées, pour qu’elles

galerie thaddaeus ropac

dit Tom Burr. RMN/Cité image fonctionne en un temps hétérogène. Le collage produit des interactions conflictuelles ou fusionnelles. indique Haris Epaminonda. leurs sujets. Le collage est une méthodologie qui s’intéresse non pas à produire in fine un ensemble d’images plaquées sur un espace plat mais à créer une activité spatio-temporelle impliquant des possi- bilités chorégraphiques (donc du mouvement) dans l’agencement d’une collection de choses en soi. La lecture de ces images ne peut se faire en voulant séparer les symboles qui sont à la fois en action dans leurs contenus. J’aime leurs surfaces différentes et la détresse dans laquelle sont ces objets facilement reproductibles ». les images comme objets. Flammarion. il ne peut y avoir une rupture entre signifié et signifiant : « La texture. une multiplication.. par l’intermédiaire de processus de subjectivations. comme l’évoque Sturtevant. une image est un appel à d’autres images Bismuth ». à leurs souvenirs : « Il n’y a pas une image qui se forme de rien. L’image comme prélude : « Trouver un objet qui est déjà là m’a toujours paru plus intéressant que de construire à partir de rien. Michael Snow. p. d’objets imprimés. « Pierre celui où elle se déploie (devenu cadre élargi). déjà « informé » et rendu public. Un présent (temps de l’évènement). Il est un écosystème d’associations hétérogènes. Pierre Bismuth. Dans son espace propre (délimité par ses bords) et dans 4. Les artistes font simplement transiter des objets – quels qu’ils soient – du langage public vers le langage privé (du réel vers la fiction) avant de les retourner dans le langage public (le réel). le contenu et l’essence de l’image . L’histoire « per- 6. la façon dont l’encre est imprimée sur le papier. celle du temps. 2006. assonantes ou dissonantes entre des images agencées. […] Chaque 5. « J’aime. « car il suggère une dimension supplémentaire. Face à cette utilisation d’un objet déjà en circulation. un passé. l’original est toujours un mythe. les traces du temps. Ce qui se passe d’une image à l’autre (ce que les images se passent) est leur migration spatio-temporelle. tous ces élé- ments sont importants. 2007. les couleurs. et galerie thaddaeus ropac . 18 Novembre 2008 montage à celui de collage. et l’originalité une notion romantique ».157 antérieures. N’est-ce pas une façon de se rapprocher de l’improvisation ? Improviser. timothée chaillou ne soient pas oubliées ou coincées entre les pages d’un livre ou d’un magazine » (Marnie Weber). En somme. « Replay : Christian Marclay ». Elles restent « l’un des avatars de la page blanche » (Mark Geffriaud) et sont utilisées comme « une simple feuille de papier »4 (Pierre Bismuth). dit Michael Snow. toujours »6. autant que la forme. et ceux issus de leur matérialité. flashartonline. il n’y a pas de matériaux bruts ou vierges et qu’« aujourd’hui. les tons. c’est réagir à l’instant au lieu de préparer quelque chose à l’avance »5. Elad Lassry. Une image est un montage. régi par le principe de mutabilité : c’est à la fois vouloir « faire crier les ressemblances » (Georges Bataille) et « cabrer les différences » (Sergueï Eisenstein). p. C’est pour ces raisons que Martha Rosler préfère le mot com. une de la musique. Ce jeu consistant à changer l’usage de ces éléments.ainsi que le lieu et le contexte dans lesquels elles sont exposées ». n’ayons pas l’automatisme sur l’appropriation ou la postproduction puisque.128 mémoire (une sédimentation géologique) » (Georges Didi-Huberman). siste. hante l’image. etc. Une image vient d’une multiplicité d’autres. en présence dans la sphère publique.

timothée chaillou le temps peut être courbé. sur des carnets de notes. Enfin. Ces collages faisaient la chronique d’une nouvelle culture de la mobilité. selon Höderlin. la libre association analytique. « un patrimoine esthétique. pour la rendre plus évidente. décrivant les dynamiques industrielles et oniriques. nous dit Georges Didi-Huberman. l’Atlas Mnemosyne d’Aby Warbug sert aussi de modèle. Mer- rell. qui en arrêtant le rythme et le déroulement des mots et des représentations. « Atlas ». pro- mouvant l’idée que lorsque deux esprits travaillent ensemble.96 sont les lettres anonymes. quelques aspects et tendances 8. précisons ici. l’excès et l’atomisation des images. nous ne pouvons pas. dans une lignée moderniste. et un patrimoine épistémique car il inau- gure un nouveau genre de connaissance – et. surréal- galerie thaddaeus ropac . un temps d’agitation causé par les guerres. il renvoie l’attention sur la source des documents. garder le silence sur sa fragilité fondamentale. s’il est vrai qu’il continue à marquer profondé- ment nos manières contemporaines de produire. Il est à la fois. écrit par Napoleon Hill. par la culture des fanzines musicales et punks. du collage actuel. Ce qui rapproche sa démarche de la notion de césure. 2008. au même moment. Il préfère le moment où elle se libère de son contexte d’origine. 2010. Puis la théorie du cut-up permit à Brion Gysin et William Burroughs de ras- sembler. plus présente. Il suggère que des séquences sont maintenues ensemble par d’autres choses que de la colle. ‘Montage’ est un terme beaucoup moins sta- tique que celui de collage. Esthétique qui fut adoptée.19 Un premier corpus est dit « traditionnelle ». avant même de parler d’archéologie et d’exploration de sa richesse. Georges Didi-Huberman. laisse apparaître le mot et la représentation en tant que tels. « Collage : The En prenant appui sur ces traditions (tout en ayant en mémoire les modèles que Unmonumental picture ». et illustré par des images photocopiées. John Stezaker dit ne pas être intéressé par l’utilisation d’une image comme trace in- dexicale d’une histoire. Museo Reina Sofia. »8 7. Ils se caractérisent par l’utilisation de fragments d’images hétéroclites réunis pour créer des chocs visuels dans lesquels primaient l’incohérence. p. d’exposer et de comprendre les images. Les collages cubistes. Le pari que les images. L’atlas Warburgien est un objet conçu sur un pari. les reconstitutions criminelles ou les panneaux d’affichages à annonces). collectées d’une certaine manière. »7 D’un autre côté. Martha Rosler. exténué ou raccourci. nous offriraient la possibilité – ou mieux encore la ressource inépuisable – d’une relecture du monde. Dans The Third Mind (1978) Burroughs note que ce titre vient de l’ouvrage Think and Grow Rich (1937). car il invente une forme. dadaïstes et surréalistes forment la tradition de cette pra- tique. tant sociale qu’éthique. p. où le texte est formé par des lettres découpées – comme pour les lettres anonymes –. une multitude d’images et de coupures de journaux en les réarrangeant en permanence. une nouvelle façon de placer des images ensemble . un troisième émerge : c’est la naissance d’un troisième espace – un espace qui fait pivoter des images le long d’une charnière.

masqué. et « montre l’image plus que l’événement décrit par l’image 9. pour ensuite être collées sur des images. dans le champ de la sculpture. on ne distingue plus les corps. Barbara Breitenfellner. Ces associations soulig- nent qu’un acteur est par essence un joueur qui. Pierre Bismuth double une image sur la une d’un journal. comme dans la série Tabula Rasa de John Stezaker où des rectangles blancs viennent masquer une partie d’une image : « J’aime à penser ces intru- sions comme des suspensions du temps de la narration. De son côté. Dans la série Masks (2005). C’est voir au travers d’elles. Paul McCarthy. octobre/novem- (…). et comme en lutte. quelquefois. puis enlève leurs textes et corps représentés – créant une éviscération. p. Steven Shearer. Ce retour aux figures mythologiques et paysages de notre antiquité est la version « la plus manifeste dans l’art contemporain. d’Heidegger nostalgique de la Grèce antique et sa notion de « revenir auprès-des-choses-mêmes ». Un second corpus est composé par une utilisation de formes géométriques élémentaires découpées ou déchirées dans du papier monochrome. elles masquent des images. se cache derrière l’identité d’un rôle adopté. John Stezaker recouvre des visages d’acteurs avec des cartes postales de paysages (chutes d’eau. sur une scène figurative. ou au contraire c’est sur quoi le regard bute. fatiguée de répéter une galerie thaddaeus ropac . »10 Un double comme pour « épuiser » une image. Ces formes opaques peuvent évoquer des « parts d’ombres ». » Ces formes « peuvent avoir des fonctions. Haris Epaminonda en évidant des zones d’images. laissant apparaître les fantômes de silhouettes humaines. comme pris dans le cumul de morceaux de papiers colorés. et dans ces conditions. émerger pour ensuite encore mieux se distinguer. révèle des formes géométriques au sein même de celles-ci grâce à du papier coloré appliqué en dessous. Des métaphores de violence et de désespoir face à l’échec du désir de représenter » ( Jimmy Robert). Pour la série Newspaper. Ces formes sont la marque éternelle de la peinture abstraite. James Rosenquist et. De son côté. il se dit intéressé par la notion de durée. »9 Une marque éternelle qu’utilise Ellsworth Kelly pour une série de collages de petits morceaux de papiers colorés déchirés puis collés sur des cartes postales de paysages ou de monuments historiques. elles pourraient être considérées comme des sortes d’amnésies. Jeff Koons. En répétant et collant la même image à côté de son double. Un troisième corpus est composé d’agencements entre deux images trouvées. grottes. paysagés. des affiches pour Abribus. Ces combinaisons figureraient « une lutte. timothée chaillou iste. de Rachel Harrison ou Jessica Stockholder. C’est l’image qui est reproduite par une autre image et non plus la réalité reproduite par bre 2008. Clément Rodzielski. et dans leurs agressions et leurs proximités ils semblent se lier. elles portent des images. issues de maga- zines de voyages des années 1950-1960 (présentant des paysages méditerranéens ou des statues antiques).9 une image. Michael St John. comme dans le cas de Richard Prince. Christian Marclay. Particules n°21. Angus Fairhurst accu- mule. qu’est le travail de Haris Epaminonda » (Benoit Maire). sous-bois…). les unes sur les autres.

photographies. po- sés sur des tables de bois –. « et si on dit association. dans un ensemble. alors regardons les vitrines de Josephine Meckseper (ou les étagères de galerie thaddaeus ropac . » Il rappelle des faits. parfois colorés. son ombre » ( John Stezaker). déchirées. Wolfgang Tillmans collecte des documents (journaux. en soulignant qu’une image est déjà assez chargée et forte. « Le montage est avant tout le fin mot de la mise en scène. Sur des panneaux d’affichages. des images malmenées. sans prendre appui sur d’autres. on peut dire socialisme » : une communauté d’images 11. Une tautologie puisque « l’image trouvée peut être considéré comme étant le crépuscule d’une image. éclaboussées par des traces de peintures bombées. Comme en circulation dans un espace donné. (engageant le comportement). pour pouvoir créer « une permanence dans le caractère associatif des collages. 2001). un panneau ou un écran devenant l’espace de réception. Flammarion. doctrines 10. 158 éléments présentés. le support et la délimitation d’une articulation de ces images découpées. timothée chaillou même scène. son double : métaphoriquement. Dans les collages d’Isa Genzken – ayant la forme de panneaux ou de tours –.32) le rayonnage »12. elles ne font pas littéralement référence à la circulation des images elles- mêmes. produisant des portraits morcelés des specta- teurs : une description du symptôme fétichiste du partialisme (concentration exclusive sur une partie d’un corps). brochures. Tom Burr ne colle pas ses images. pliées. éparpillées et disjointes pren- nent place sur une table. 2006. si « le recyclage (une méthode) et la mon beau souci in Théories du cinéma. « Pierre et dogmatismes. les tours vitrées. etc. Ces travaux représentent la structure minimale du dialogue. cette juxtaposition est alors fixée. Un quatrième corpus est composé d’images qui. Pierre Bismuth. dans un souci de « clarté et de complète contingence » entre les différents Bismuth ». et les remonte à la surface – ici. En utilisant des épingles ou du ruban adhésif il y a volontairement une ombre autour de chaque image pour suggérer une forme de temporalité » (Ryan Gander). sous verre. emballages. » dont l’agencement est ainsi un travail physique (engageant la forme) et politique Jean-Luc Godard (Montage. Jean-Luc Godard note que le montage et le collage sont des as- sociations. 1998) . Ils évoquent les vitrines de magasins. sont associées à des miroirs de verre ou de plastique. Petite Anthologie des disposition chaotique (une esthétique) supplantent en tant que matrices formelles la vitrine et Cahiers du cinéma. ou des architectures brutalistes avec des images de Jim Morrison (Brutalist Bulletin Board. cornées. 2004. pour tenir tête à une seconde. photocopies d’images et de textes. puisqu’en utilisant de la colle pour une collision des sens. coupées ou simplement montées11. Pour Truth Study Center. mais évoquent simplement que « l’utilisation d’images contribue à leur diffusion » (Haris Epaminonda). p. Tom Burr punaise des images qui associent des œuvres de Tony Smith avec des images des films de Kenneth Anger (Black Bul- letin Board. pour tenter de mettre au jour certaines idéologies. p. De la même façon.) pour in- diquer que « les problèmes et conflits de notre époque sont provoqués par des gens proclamant des vérités absolues.

pour ne pas mettre les images sur un même plan. de la copie ou de l’appropriation. Ces images se rapprochent les unes des autres par métonymie. John Stezaker ou Linder se disent être à 14. des publicités Macintosh et des œuvres de Kelley Walker). » Haris Epaminonda. dans lesquelles des trous de différentes tailles et formes ont été découpés au laser. jouant sur leurs associations visuelles. Luis Jacob souhaite les traiter « 13. des pages arrachées de catalogues d’expositions ou de ventes aux enchères. 12/13. pp. des absences qui suggèrent la présence muette de tout ce qui a été mis de côté. 2011) Wade Guyton présente 15 longues tables vitrées. Les Albums de Luis Jacob se composent de centaines d’images trouvées. Joséphine Meckseper. 2010. « Joséphine Meckseper ». Pour son exposition à la galerie Captain Petzel (Berlin. avant et après une publication ou une exposition. révélant le mur à l’arrière.23 aspect commun. Le caisson lumineux Mac (2007) « fonctionne comme un compte-rendu global de ce processus » en décrivant les modifications qui sont apportées à des images (ici. Nicolas Bourriaud. propre ensemble de récits créé par la combinaison de ces images. Hatje de manière démocratique. se lisant selon un production ». Pour la série Printer Drawings. les presses du réel. L’art même. 1er trimestre larités. explorant les « contradictions et les absurdités qui relient ces objets exposés »13  : « Mes vitrines devien- nent des cibles vulnérables – prêtes à être attaquées et détruites – tout en étant la caricature de nos structures capitalistes établies. galerie thaddaeus ropac . possiblement. Des flammes. N°45. d’images et d’objets. en dessous de la photographie. et qu’en ce sens aucune image Cantz. pour former des banques d’images imi- tant un tableau d’affichage. ce bleu d’incrustation vidéo permettant le collage de corps et d’éléments réels sur un paysage inventé). des bandes ou quadrillages colorés sont imprimés sur ces pages : des ajouts qui à la fois ornent et oblitèrent une partie de ces images comme protégées par de très larges plaques de verre. Chaque album a son propre récit. hors cadre. Elles sont des blancs. l’atelier de recherche et le podium14. un inauthentique respect des singu- l’auteur dans « Apparaître ici ». par rime. ou plus précisément son 12. pour qu’aucune d’elles ne soit centrale.27 ne “domine” les autres. Wade Guyton insère entre de larges plaques de verre divisées en croix. Ces découpes sont empilées sur le sol. de la propriété. p. 2008. contre le mur. assem- blées et protégées dans des feuilles de plastique. et endommagées. Kelley Walker utilise la capacité qu’ont les images « médiées » à se fondre sans fin les unes dans les autres en étant toujours réutilisables au sein de ce système. timothée chaillou Carol Bove et d’Haim Steinbach) comme des collages. 2004. des croix. « Post. par l’action d’une imprimante « crachant » son encre. Dans ce sens. » Associative Template (2009) de Ryan Gander est une série de 31 photographies de collages d’images et d’articles. p. à l’intérieur desquelles ils déposent ces mêmes images (comme des feuilles volantes) sur un papier de vinyle bleu (qui évoquerait. Cette notion de podium l’opposé de cet emploi. Ces tables sont un condensé entre la table de montage. sur les thèmes de la censure. pour ne pas ayant été approfondie par risquer de créer une forme de pédagogie du regard.

alors que les images trouvées et « achetées dans les magasins de seconde main ont l’odeur de la mort » ( John Stezaker). Une mort. John Stezaker.31 16. et sa fixation à vouloir coller ensemble des choses et des images » (Tom Burr). et j’ai réalisé que je devais casser quelque chose chaque semaine… Pour me rap- peler combien la vie est fragile. Théories du cinéma. « Collage : The Unmonumental picture ».117 galerie thaddaeus ropac . sont issues de conversations effectuées par l’auteur avec les artistes. 2008. belle et bien imprimée. indique la fragilité d’un matériau : des bris et des éclats devenant fragments d’images touchant d’autres fragments d’images16. p. La collection donne une visibilité à l’image. » Jean-Luc Godard. timothée chaillou Le collage est un display d’images-objets. les images ‘disparaissent dans leur utilisation’. p. » Andy Warhol 17. il est une « métaphore de fraternité » ( Jean-Luc Godard). Ces morceaux sont tels des résidus évoquant la saleté. Le collage est une mise en évidence de l’intervention manuelle. ou simplement déchirer. 2004. C’est une « constellation de fragments » (Haris Epaminonda). c’est une sorte de vie après la mort de la marchandise-image. « Si mettre en scène est un regard. le « dénuement » ( Jimmy Robert). « J’ai cassé quelque chose aujourd’hui. »17 Note : Toutes les citations. « Montage. qui ne renvoient pas à des notes de bas de page. monter est un battement de cœur. de la rencontre amoureuse15 ou de la copulation : « Il y a une énergie libidinale adolescente dans cette pratique. une métaphore de la dépendance. Dans l’obsolescence (la mort de la marchandise). une association d’images structurées par contagion « s’infectant les unes les autres » (Luis Jacob). mon beau souci ». Petite An- thologie des Cahiers du cinéma. Pouvoir dé- couper. elles apparaissent. 15. Merrell. une présentation de la réaction en chaîne et de la collision : du ping-pong. puisque « dans leur circulation quotidienne.

timothée chaillou JESSE ASH galerie thaddaeus ropac .

timothée chaillou Jesse Ash. 2001 Troubled by a Vivid Score for a Superficial Speech. 2010 galeriecollage Newspaper thaddaeus (29 x 17 cm.ropac framed) . Troubled by a Vivid Score for a Superficial Speech.

timothée chaillou pierre bismuth galerie thaddaeus ropac .

timothée chaillou Pierre Bismuth. Newspaper (First human embryo). 2001 galerie thaddaeus ropac . 2001 Newspaper (Poli Divisi). Pierre Bismuth.

timothée chaillou CAROL BOVE galerie thaddaeus ropac .

2002 galerie thaddaeus ropac . timothée chaillou Carol Bove Conversation with Luis Borges.

timothée chaillou barbara breitenfellner galerie thaddaeus ropac .

timothée chaillou Barbara Breitenfellner Untitled. 2011 galerie thaddaeus ropac .

2008 Untitled. 2008 Barbara Breitenfellner Barbara Breitenfellner Untitled. 2011 Untitled. 2008 galerie thaddaeus ropac . timothée chaillou Barbara Breitenfellner Barbara Breitenfellner Untitled.

timothée chaillou tom burr galerie thaddaeus ropac .

2008 Tom Burr Brain board. 2008 galerie thaddaeus ropac . timothée chaillou Tom Burr Slacks.

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SAM DURANT

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Sam Durant
History of Death Row, 2008

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Haris epaminonda

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2007 galerie thaddaeus ropac . 2007 Haris Epaminonda Untitled 0012c/g. timothée chaillou Haris Epaminonda Untitled 0013c/g. 2007 Haris Epaminonda Untitled 0011c/g.

timothée chaillou Angus fairhurst galerie thaddaeus ropac .

2002 galerie thaddaeus ropac . timothée chaillou Angus Fairhurst One week of the news (Kathimerini).

timothée chaillou Angus Fairhurst Angus Fairhurst Ten pages from a magazine. 2007 Ten pages from a magazine. body and text removed. body and text removed. 2007 galerie thaddaeus ropac .

timothée chaillou HANS-PETER FELDMANN galerie thaddaeus ropac .

2007 galerie thaddaeus ropac . timothée chaillou Hans-Peter Feldmann Hat with photograph.

timothée chaillou Hans-Peter Feldmann Lovers. 2008 galerie thaddaeus ropac .

timothée chaillou urs fischer galerie thaddaeus ropac .

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Urs Fischer,
Dark Darkness, 2010

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brendan fowler

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Brendan Fowler,
Brendan Fowler, CANCELLED Fall 2008 West Coast Tour poster
April 2009, 2009 (3 w/keyboard), 2009

Brendan Fowler, Brendan Fowler,
Fall 2009 (Fall 2008 West Coast Tour Poster - N, Flowers Fall 2009 (Flowers on Walk With Andrea/Terry/Cindy 3, New
Outside Silk Flowers Show in LA 1 and 2), 2009 Song/Lyrics with 3 Screen Flower Print), 2009

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Steven Shearer
Choices and Associations, 2004

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Dash Snow,
I am real and you are only imaginary, 2006

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aluminium foil. 2009. Scan numérique. 113.5 x 114. impression numérique.5 cm. paillettes. vinyl. glitter.. 2009. feuille d’aluminium. paillettes. aluminum foil. Scan numérique. Digital scan. glitter. 2009. Pièce unique Extraction. 152 x 152 cm. Digital scan. timothée chaillou Meredyth Sparks Extraction. 2009 Meredyth Sparks Extraction. 59 3/4 x 59 3/4 in. 44 x 45 in. Unique . Pièce unique galerie thaddaeus ropac Extraction. Unique © Bertrand Huet / Tutti Image Meredyth Sparks Extraction. digital print.. 2009. vinyle. feuille d’aluminium. 2009 Meredyth Sparks Extraction.

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the nouns they speak. fabric or paper. appropriate or steal? TB: I use what is in front of me. attaching disparate things. But I think the appropriation artists broke this down for us at a particular time. differently. I am comfortable working this way. Fragmentation is a familiar frame of thinking for me. the colors. and apply the same considerations as other materials and elements in my work. There is a careful craft element and a brutal tearing at the same time. So now there are just large piles of leftovers. timothée chaillou Interview with Tom Burr Timothée Chaillou: In your work.   TC: Who owns the images you use?  TB: Is this a copyright infringement investigation? “I didn’t do it.   TC: Do you recycle. There are specific instances of course that are easier to point out. piles of leftovers from other projects.   TC: Do you feel connected to the collage tradition itself? TB: Yes. the age and condition. and then something will occur to me that is not there. I am trying to make them work like collages. and media changed. in a sense. which kind of relationship links two pictures when they are joined or juxtaposed?  Tom Burr: I am not entirely sure about what happens in general. no one saw me do it. I think there is an adolescent libidinal energy in gluing and pinning and pasting together things and images that I identify with in the Dada and Surrealists when I was younger. whether it can be wood. from everyone’s projects. when I was an adolescent. the size. the paper. rip it apart and put it back together. It persists. there’s no way you can prove anything!” (Bart Simpson) galerie thaddaeus ropac . and then I have to use certain channels to acquire it. but it is some collapses between what is actually depicted in the images. things I have gathered. But I think your question is more about method- ology. And what I just said as well. and the formal qualities of the images as objects. actually. or is implied by what is there but is missing.

maybe not always immediately spotted. is an easy route to visual appeal and identification.. It may not be how we really feel. describes this I think. etc. it is like a residue.” also. as I said earlier. timothée chaillou   TC: Do you feel close to what Barbara Kruger says about her work as ‘more about pleasure.. That ensemble to use your word. origin and authorship have slipped and slid with regard to ownership.. images from the internet. Maybe things still do belong to certain contexts and individuals and stealing does exist. of people. Does the irony stem from the use of the word ‘appropriating. but the context lingers. become part of the piece.. but their relation- ship is’ (Georges Braque)? TB: There is something interesting in both of these quotes. but the place of the things is’?   ‘Things are not important. desire only exists where there is absence. Martha Rosler. Bringing up Roland Barthes.    TC: Do you refer to (or describe) the actual (or past) circulation of images? TB: The process of using magazine images. associations. known things. is at least partially present.   TC: Elad Lassry says there is something ironic when appropriating contemporary images. there are many reasons that converge to make me grab it. of bodies. possibly reconfigured and looked at anew. Circulation. If you wish-- I can be irreproachably gentle’   TC: What is left from the original context of the images you uses? From the ensemble they belong to? TB: Much is left. a particular picture of Kate look- ing a particular way at a particular time. When I use a picture of Walt Whitman or Kate Bush. Images are an easy fix. those designations and delineations of place. I’m not interested in the desire of the image (. I like the term “out of circulation. I think my sporadic and sparing and somewhat reluctant use of images. I’ll rage on raw meat like a vandal Or change into hues that the sunrise arouses. but maybe that is all a hazy media illusion meant to dazzle and daze us. espe- cially when things continue to circulate. comes from this. a simplification and a summation of a more compli- cated scene. photographs of things. and I understand how desire is fraught with regard to im- ages. I think that images. Barbara Kruger. so that she and everything she drags along with her. this notion of public domain. New York in the 1980’s..’ TB: I like the notion of pleasure in work. pre-owned books. and this time was extremely productive not simply with regard to the formal practice of collage. in the popular sense of pictures.) I am basically interested in suggesting that we do not need to destroy difference. but I like that it can be a particular moment. just at different levels. it evokes a time and a place for me.. and how we really think. (Bart Simpson needed again)   TC: Do you try to treat all pictures in an equal and democratic way? TB: This time I’ll borrow from Mayakovsky: ‘If you wish. willfully.’ and that. What do you think of that within the framework of your own work? TB: I am not sure what he means. and working galerie thaddaeus ropac . while at the same time the images simply ushers in the idea of Kate Bush. ads. books from libraries.    TC: What do you think about Barthes’ statement when he says ‘whatever the sense: things are not what matters. Something that is simply floating around cannot be ap- propriated.

infected as it is by waste when using residues.and on.   TC: Does collage talks about fragility? TB: It does. metaphors of de- pendence or a love encounter? TB: Sometimes they are an orgy. This is to me... What walls.. not fix- ating on the icon or the singular image but on the connective tissues between things. renewed or rebuilt.. I think of the places my work is seen in. a sort of charming. that is always on my mind. not so plotted as a method to reflect “our times. And if I were to think of it that way. but to all art making. and speeded up. Definitely to fragment. (or make them. I have a lingering obsessive compulsive tendency towards site specificity that I am trying to shake without complete success. and the subjects who look at them. rest of images? TB: I like to think so!   TC: Is collage ‘thinking with your hands’ (Denis de Rougemont)? TB: I don’t think of it this way. what rooms. what city.. or sell them. and try to resist to a still predominating modernist inheritance. and between objects and other objects. and live in it. timothée chaillou with images. I respond to this of course... Or maybe the spaces the images come from.     TC: Are your collages a praise to diversity.’ TB: To me. But “speeded up” from where? this is the modernist sensibility speaking I would think. it would not be specific to col- lage. and what it all means. and if I want to be somehow “honest”. what works are nearby. objects and ideas. or write about them. then my art must reflect it. art responding to the machine dynamics of the world. but. old fashioned proposition. mine does anyway. Contagion. What do you think? TB: I wonder what sort of space she refers to: the distance or closeness between images within a frame. which seeks for a form or a significant and reproducible style. to fragment or to contagion? TB: Not diversity. collage talks more about space than time. what people might be looking at them. a conservator’s nightmare. The paper is fragile. lefto- vers. galerie thaddaeus ropac . his de-centered view. then I would say yes. and issues of authenticity. I doubt it. Many parts of my work could be made again. but the investment in a sort of debunking of a master plan.   TC: What do you think about Keith Tyson’s statement: ‘The world with which I am confronted is dynamic complex. and where they are now. But I don’t think of any of it in the sense of praise. TC: Are you collages ‘metaphors of fraternity’ as Jean-Luc Godard puts it. mutant.). If you mean the idea that certain images. sometimes they are a lone act of jerking off. I don’t think of it this way.     TC: Do you think collage is a dirty medium.   TC: For Martha Rosler. it is different. it tears and it changes color and is pinned in a way that is difficult to change. Because much of what I do is fragile and is the antithesis of other more bulky aspects of my practice. This had a big impact on me during those years. not sure. of the idea of being synchronized with the effects of the media world around us.. I love Braque’s quote. objects and ideas can destabilize and pollute the pristine space of other images. These collage elements generally speaking resist that.” I am usually suspicious of this.

and varying degrees of use. Ghosts of images and commodity-images exist in this sense. like vinyl records. I find myself dwelling on things and images (and images as things) that have been slightly removed from dominant circulation. they appear. People are still always dazzled by technology though. because of it. Even a digital print has this factor.   TC: What do you think of that: ‘In their everyday circulation. Stezaker.   galerie thaddaeus ropac .” In obsolescence (the death of the commodity). simply less valued in the sense they were put on the planet to perform. I just gathered together over 60 copies of Jonathan Livingston Seagull. that are a little past their prime and are less dazzling. I love different surfaces. and magazines. it is a kind of after-life of the commodity-image. This is what I was just thinking about with the above answer. The collection gives visibility to the image. I love the distress on easily reproducible objects. less disappearing. and I love all the variations in the materiality due to age and wear. its aging is sort of denied.’ ( John Stezaker)  TB: Bingo! Right on Mr. repressed or overlooked. and are very real. This devalued status seems to make them available to other kinds of meanings and performances. less blinding. images “disappear into their use. timothée chaillou   TC: What is the importance of the materiality of the images you are using compared to their informative contents? TB: Very important. It carries where these objects have been.

 » « I’m basi- cally interested in suggesting that we needn’t destroy difference. TC: Do you recycle. timothée chaillou Interview with Haris Epaminonda Timothée Chaillou: In your work. desire only exists where there’s absence. testing the limits that a two-dimensional image has in relation to an alternative three-dimensional imagined sphere. they mutate. what happens between two pictures when they are joined or juxtaposed? Haris Epaminonda: They form one image. Are those forms « part of shadow ». TC: Do you feel connected to the collage tradition itself? HE: I feel connected to the process itself and the possibilities it offers. TC: Who owns the images you use? HE: I don’t see images as fixed entities. TC: In some of your images you put a geometrical form over other images. amnesia? Are they forms of power? Is there a relationship: monochrome forms / abstract (silent forms) inside a figurative ensemble (talkative forms)? HE: I used these forms as an experiment. » HE: For me images are fascinating. The minute they appear in a certain context or are juxta- posed with one another. to define space and create connections. also because I can never really fully understand them. they have a life of their own. TC: Do you feel close to what Barbara Kruger says: my work is « more about pleasure. galerie thaddaeus ropac . appropriate or steal? HE: I work with images and found material. And I’m not interested in the desire of the image.

TC: Do you try to treat all pictures in an equal and democratic way? HE: I am very selective with the type of images I work with. TC: What is left from the original context of the images you use? From the ensemble they be- long to? HE: That depends on what I do with the image really. I don’t see or treat all images in an equal way. and if I am “ honest “ anyhow then my art must reflect it. it is first to point it out. TC: Do you refer to (or describe) the actual (or past) circulation of images? HE: Only in as much as the use of images contributes to their circulation. All this is close to the fore- finger pointing out the sky. it’s the place which does» (Roland Barthes). « Things are not important. I like the idea though that certain pictures enable us to dwell on and be touched by them so that a shift of perception might take place. similar or antinomian associations? HE: If you mean the associations that are created between the juxtapositions and groupings of images and/or objects.” galerie thaddaeus ropac . the original context remains only as a trace. speeded up. mutant. TC: When using a picture. Are you close to this? HE: I am not sure I agree with the analogy described above. TC: What do you think of what Keith Tyson: “The world with which I am confronted is a dy- namic complex. metaphors of depen- dence or a love encounter? HE: I am not keen on giving such strong statements about my work. Often. TC: Are your collages a praise to diversity. TC: Are your collages assonant or dissonant. to fragment or to contagion? HE: I don’t think they praise anything in that sense. I like that a work keeps open the potential for multiple readings. I don’t like the idea that the artist is someone who claims knowledge and points towards the beyond. and try to resist to an inheritance modernist still predominating. timothée chaillou TC: Elad Lassry says there is something ironic when appropriating contemporary images. they are usually quite loose and abstract. that searches a form or a sig- nificant and reproducible style. HE: Which particular work of mine are you referring to? TC: Are your collages « metaphors of fraternity »  ( Jean-Luc Godard). then to index it. but their rela- tionship is » (Georges Braque). TC: In regard to your work what do you think about that: «whatever the sense: things don’t count. showing a transcendent. What do you think of that in your own work? HE: I don’t appropriate contemporary images in my work.

timothée chaillou HE: What do you think of this? TC: Do you think collage is a dirty medium.” In obsolescence (the death of the commodity). the way the ink sits on the paper. etc. it depends on the collage. colors. TC: What is the importance of the materiality of the images you’re using compared to their in- formative content? HE: The texture. What do you think? HE: For me. images “disappear into their use. left- overs. rest of images? HE: No. TC: For Martha Rosler. all these are important. collage talks more about space than time. it is a kind of after-life of the commodity-image. TC: What do you think of that: « In their everyday circulation. equally to the form. galerie thaddaeus ropac . never saw it this way. it relates in as much to space as it does to time. The collection gives visibility to the image. they appear. content and essence of the image – as well as the place and context in which they are exhibited. tones. » ( John Stezaker) HE: Well said. TC: Does collage talk about fragility? HE: I suppose so. being a constellation of fragments joined to- gether to form a whole. the traces of time. perhaps because of its very nature. infected as it is by waste when using residues. TC: Is collage « thinking with your hands » (Denis de Rougemont)? HE: Possibly.

appropriate or steal? Wade Guyton: I just tear pages out of books. TC: Do you feel connected to the collage tradition itself? WG: No I wouldn’t call these collages. so I guess I buy. So its about writing in a way. And I’m not interested in the desire of the image. But since they are drawn. TC: Who owns the images you use? WG: I don’t really know. » « I’m basi- cally interested in suggesting that we needn’t destroy difference. But maybe they are connected to the tradition. I call them drawings. amnesia? Are they forms of power? Is there a relationship : monochrome forms / abstract (silent forms) inside a figurative ensemble (talkative forms)? WG: They are drawn in Microsoft Word. desire only exists where there’s absence. timothée chaillou Interview with Wade Guyton Timothée Chaillou: Do you recycle. » WG: Very close. I also forget to save the file so I have to remake it each time I want to make a similar drawing-so it’s never the same TC: Elad Lassry says there is something ironic when appropriating contemporary images. Are those forms « part of shadow ». What do you think of that in your own work? WG: In “The Bubble” (episode 15 of Season 3) of 30 Rock. Jon Hamm (who plays Drew Baird) galerie thaddaeus ropac . I often forget where the pages are from. Usually I have bought the books.   TC: In some of your images you put geometrical forms over other images. Probably a lot of different people   TC: Do you feel close to what Barbara Kruger says : my work is « more about pleasure. and sometimes forget to print the correct page while I’m reading emails.

It was very ironic. Thats not how you use that word. I want to stay in the bubble. speeded up. TC: Are you collages « metaphors of fraternity »  ( Jean-Luc Godard). mutant. to fragment or to contagion? WG: Sure–they all sound worthy of praise. that searches a form or a significant and reproducible style. but as they say getting there is half the fun. and one doesn’t have to refer to it explicitly for it to be there   TC: When using a picture. similar or antinomian associations? Are your collages a praise to diversity. then to index it.” Drew : “I wanna use ironic however I want. TC: Is collage « thinking with your hands » (Denis de Rougemont)? galerie thaddaeus ropac . and if the kitchen floor is dirty. showing a transcendent. Are you close to this? WG: It could instead be the thumb up one’s ass. lefto- vers. TC: Do you refer to (or describe) the actual (or past) circulation of images? WG: The circulation appears to be ongoing. the collages get dirtier. Liz. TC: Do you think collage is a dirty medium. unless one chooses to ignore it. TC: In regard to your work what do you think about that : « whatever the sens : things don’t count.” TC: Do you try to treat all pictures in an equal and democratic way? WG: One tries to be fair. rest of images? WG: Definitely. metaphors of dependence or a love encounter? WG: More a casual fuck that ends in long term relationship.” Liz : “No it wasn’t. it is first to point it out. All this is close to the fore- finger pointing out the sky.   TC: What do you think of what Keith Tyson : “ The world with which I am confronted is a dynamic complex. but their rela- tionship is » (Georges Braque) WG: Its definitely the place. it’s the place which does. » (Roland Barthes) « Things are not important. infected as it is by waste when using residues. TC: Are your collages assonant or dissonant. Liz. but these days its very difficult. TC: What is left from the original context of the images you uses? From the ensemble they belong to? WG: Everything is left. and try to resist to an inheritance modernist still predominating. “ WG: He is right. and if I am “ honest “ anyhow then my art must reflect it. timothée chaillou tells Tina Fey (who plays Liz Lemon) : Drew : “I didn’t like it outside the bubble.

What do you think? WG: She is right. TC: For Martha Rosler. my fingers do the walking and the printer does the thinking. And where there is already an image. So sometimes the information causes the ink to bleed. galerie thaddaeus ropac . the paper sometimes soaks up the ink more readily than others. the ink acts very differently as wellvery different contours and texture to the white page.” In obsolescence (the death of the commodity). collage talks more about space than time. timothée chaillou WG: In my drawings. TC: Does collage talks about fragitily? WG: Only if the collage is fragile. The collection gives visibility to the image. so I will take the other sideTime. TC: What is the importance of the materiality of the images you’re using compared to their informative content? WG: Depending on the books. images “disappear into their use. TC: What do you think of that : « In their everyday circulation. it is a kind of after-life of the commodity-image. they appear. » ( John Stezaker) WG: John is brilliant.

shapes. This rhyming creates narrative sequences in the Album. TC: Do you recycle. The word “appropriation” relates my work to artistic strategies of the 1980s. appropriate or steal? LJ: When I make an Album. Stealing is a legal ques- tion. in order to create genuinely new meaningful expressions. I believe that my use of already existing images in the Albums is “linguistic. as it seems to the viewer that a given form is “migrating” – appearing. Narrative links are created by each viewer out of individual images by means of visual rhymes – when something in one image rhymes with something else in a different image – producing what Ruth Noack and Roger Buergel have called a “migration of forms. what happens between two pictures when they are joined or juxtaposed? Luis Jacob: The “Albums” (2000-ongoing) consist of hundreds of images that have been excised from books and magazines. There is also a kind of “migration” that occurs at a higher level: in the interplay and correspondence between the forms of the artwork and the forms of the viewer’s life-experience. iconography) present in one image begin to rhyme with those present in adjacent images. and transforming – from im- age to image across several sheets. to be honest.” Visual forms (colours. I am recycling images that already exist. which.” Like any language user I am using existing cultural elements that I did not invent. timothée chaillou Interview with Luis Jacob Timothée Chaillou: In your work. which is indeed the time of my first interest in contemporary art. and a lawyer would be better prepared to answer it than I am. reappearing.   TC: Do you feel connected to the collage tradition itself? galerie thaddaeus ropac . The experience of reading Album entails perceiving relationships between images that criss-cross in many directions across various sheets. and assembled in plastic-laminate sheets to form narrative “image banks”. although this makes it sound like there is an environmental concern in what I am doing. is not something I think about with these works.

its own set of narratives. the speculative architecture groups Superstudio and Archi- zoom produced amazing collage and montage works. This is where the “relational” or social aspect of the Albums arises. From an historical perspective. in the Web. timothée chaillou LJ: Certainly the collage tradition is extremely important. I see how particular images “jump out” for different viewers. I feel most connected to the work of Thomas Hirschhorn. so it is difficult to make a brief summary. however. in my opinion. So while the images create an all-over assemblage at the moment of creation. What do you think of that in your own work? LJ: I am not thinking in terms of irony. TC: What is left from the original context of the images you use? From the ensemble they belong to? galerie thaddaeus ropac . Album X (2010) is the one that most explicitly poses questions about the nature of the picture.   TC: Do you try to treat all pictures in an equal and democratic way? LJ: As democracy is. and the architectural practice of a Dutch firm like MVRDV explores the juxtaposition of ‘incompatible’ vernacular forms collaged together within the same building. in television editing tech- niques.    TC: What are Albums? LJ: The Albums all have the same form: each one of them is a collection of various images cut from published sources and assembled in plastic-laminate sheets to compose an extended narrative. and in that sense no one “dominates” the others. that recently I have been focusing on the nature of “the picture”. Over the past twelve years I have produced ten different Albums.   TC: Who owns the images you use? LJ: In the Albums. On the other hand. every single “image” is actually two things at once – an image protected by copyright. On the one hand. the conditions of spectatorship and the subjectivity of aesthetic experience. Malevich’s collage works are very inspiring to me. and creating dynamic relationships between them. There is an extended sequence within Album X that is about the very process of making an Album. In Italy. I can say. I do treat the pictures within the Album in such a way that none of them is experienced as being central. when I observe viewers looking at an Album. Each Album has its own narrative. at the moment of reception they create different configurations of intensity. This process is depicted as being linked in some way to Theatre: organizing images into an “image bank” is similar to arranging actors and props on a theatrical stage. catching their attention over and above other images. or more precisely.   TC: Elad Lassry says there is something ironic when appropriating contemporary images. a concept that refers to social and political forms – formations between people – I find it difficult to apply it to pictures per se. When it comes to the use of collage in the visual arts. and this has been re- flected more consciously in the Albums themselves. Collage is everywhere: in music. because it provides us with expressive forms that now we take for granted. All these examples are truly fascinating to me. which is vested in the original creator – and an artifact physically cut out from a book or magazine that belongs to me. the idea of “pictures of nothing” (the monochrome tradition). and refocusing their engagement with the work as a whole. and to that of the Canadian artist-collectives General Idea (from Toronto) and Image Bank (from Vancouver).

I found a quote from Braque in the exhibition catalogue for “Art and Utopia: Restricted Action” (MACBA. and is in turn the product of these entities in their particular assemblage. and finally offering it for viewing as a work of art can be understood as an indexical act. But I would be careful not to get carried away with these thoughts. Are you close to this? LJ: I agree with your idea that the act of selecting an image. All this is close to the fore- finger pointing out the sky. the fourth. 2004). only relationships”. If we think in terms of humour. then to index it. look at this. and the seventh Albums exist as artist-books. what we first encounter in everyday experience is a meaningful whole in terms of which we engage with particular things. Put differently. I do concur with the idea that it’s the relationship between things that first “gives” us those things as meaningful entities (that is. the juxtaposed images create a cruel joke. When one arrives in this intellectual nothingness. sometimes the paper is glossy in a uniquely contemporary way. recontextualizing it in the Album. are perceptible to viewers. it’s the place which does. free-floating images. the third. a form of “pointing with one’s finger”. » (Roland Barthes) « Things are not important. cutting it out. Images arriving from different worlds are gathered in the Album to create a new context. Viewers elaborate new narratives through the interplay between these old contexts and the new contextual “world” that is the Album itself. timothée chaillou LJ: Because the image is also an “artifact” that bears a physical connection to its original context. brutal juxtaposition. To read an Album is the experience of diving into the vertigo of criss-crossing relationships that simultaneously produce meaningful entities. in ways I cannot predict.   TC: Do you refer to (or describe) the actual (or past) circulation of images? LJ: I do not “footnote” the source of each image. These traces. as “things”). I am endeavouring to publish all the Albums as book-works – so far. the first. encountering an Album in the gallery is experienced as responding to a gesture that says.   TC: In regard to your work what do you think about this : « whatever the sense : things don’t count.” This act of pointing relates the Albums to Theatre – which I understand as “pointing to something from inside a frame”. “Here. He wrote: The point of departure is nothingness. this context is carried by that image as a trace. it is first to point it out. Sometimes the paper on which the image is printed has turned yellow with time. a harmony in which words go further. where it becomes difficult to imagine how the “same” world can accommodate such incongruous. this ‘Hollow Musical Noth- galerie thaddaeus ropac . Simply put. This is possible thanks to the artifactual quality of the images contained in the Album. Albums invite us to welcome the experience of such vertigo. showing a transcendent. and in that way we can become attuned to the fact that these images are the physical carriers of traces from dif- ferent “worlds” rather than disembodied. and Album IX (2011) was published this Spring as an insert in the Belgian art journal A Prior – so that they can circulate outside of art galleries. but their rela- tionship is » (Georges Braque) LJ: I agree completely. which sociologists like Bruno Latour investigate. There are instances in the Albums where two images are placed together to create a shocking. have a meaning. incompatible realities. TC: When using a picture. but I rely on the collective image-literacy that we possess as viewers to be able (or not be able) to reconstruct how the images circulated from their original contexts to the new context within the artwork we find in the art gallery. which originally he had published in Les peintres vous parlent (1964). and conclude: “There exist no things at all.

the “D” image now before my eyes has been shown to rhyme in some way with the “A” image I saw earlier. This statement was illustrated in the catalogue by one of Braque’s cubist depictions of a mandolin. There is another way in which this rhyming occurs – at the level of the narrative. when I assemble the images into an Album. A rhyme might take the form of A:B – “A rhymes with B”. I recognize that those images do serve a purpose by creating a context of meaning in which other images begin to stand out as useful for the Album. even cruel juxtaposi- tions are made between adjacent images. immediately stand out as significant. and sometimes I simply cannot recall where I saw them. Things belong essentially to relationships that. I “swim” in images. as well as be- tween images that appear far apart. it is as if long-separated siblings had been reunited. So a sequence of “B:C… B:C. I might rummage through thousands of images in this process. and between images places far apart. others. Dissonances are created in certain places where strange. and might even be in contradiction. we see that. then one is in Painting. It is frustrating to look for those images. timothée chaillou ingness’ as Mallarmé wrote. and find those images that had become lodged in my mind but which I had not cut out. and when finally I pair them up with their “fraternal siblings”. And other images do not immediately jump out at me from the stream of images. Con- sonances are created between images that appear next to one another in the Album. that look unalike. At that point. similar or antinomian associations?   LJ: Earlier I spoke about the visual rhyming that takes place between images in an Album. itself transforming eventually into C:D – “and now C rhymes with D”. TC: Are your collages « metaphors of fraternity »  ( Jean-Luc Godard).. Finally being brought together in the Album. metaphors of depend- ence or a love encounter?   LJ: Good question! The process of making an Album requires that I look at many. For months while making an Album. To my eyes this is a beautiful image for the notion that the things we encounter in the world are “possessed” by a hole. Most images pass me by with- out making any connection. it also takes place between images that are dissimilar. but somehow remain lodged in my mind – so that later. I feel as if the images had awoken from a deep sleep – a long period of separation. as I recognize that the two images D and A begin to “rhyme” in my mind even though they do not look alike at all. of wait- ing for one another. whose black sound hole was placed prominently in the centre of the composition. the rhyme transforms into B:C – “B now rhymes with C”. which for me entails the experience of vertigo I mentioned earlier. several sheets away at different moments of the narrative. are invisible and cannot be seen or touched. But if we look back. by definition. But when I do find them. not at the level of simple juxtaposition – creates new consonances and dissonances. After a sequence “A:B… A:B… A:B”. B:C” will follow. though I cannot predict their usefulness until much later. to circulate in quite different social fields and image-worlds. I must go back through all the books and magazines in my boxes. galerie thaddaeus ropac . in this process of semiotic sliding. by contrast. TC: Are your collages assonant or dissonant. many more images than the hundreds that are included in the finished work. there is a strange sense that there was a “secret purpose” for which these images had been made. Things are possessed by holes – it is this insight that is behind my interest in the pictorial tradition of the monochrome. asking to be excised. This new rhyme – which emerges at the level of narrative. appearing as a fractured void. But I must be more precise and say that while the rhyming occurs between things that are similar and look alike. Although I know that these images were created by different people for entirely different purposes.

who as an artist I see as being a Modernist in his “flesh and blood”. galerie thaddaeus ropac . speeded up. to fragment or to contagion?   LJ: Yes. rest of images?   LJ: Kurt Schwitters worked with residues and leftovers in his collage work. endowing the work with a sense of both individual personality and publicness. and if I am “ honest “ anyhow then my art must reflect it. like the ones used to produce cheap identification cards. When I addressed your question about the dissonant/consonant relations between images in the Album. These commonplace images are preserved in plastic laminate sheets. even epic in their narrative. which is not simply an optical experience. that searches a form or a significant and reproducible style. speeded up. I first learned about this “stylistic heterogeneity” from the example of Gerhard Richter. when we perceive a semiotic sliding between images. which relates to their materiality. I said that these relationships emerge both spatially – between images that are near to one another. More recently. or because they signal a kind of “failure”. mutant. the Album relates both to the idea of the collector’s scrapbook. TC: What is the importance of the materiality of the images you’re using compared to their informative content?   LJ: I talked earlier about the “artifact” quality of the pictures. I would have to disagree. and the “sound” of each image is affected by our act of reading. TC: Is collage « thinking with your hands » (Denis de Rougemont)? LJ: It might be for other artists. What do you think?   LJ: If I understand correctly what she is saying. Lately I have been intrigued by the work of Toronto artist Michael Snow. as well as distant from one another – and temporally – at the level of narrative. TC: For Martha Rosler. “   LJ: I do feel close to this statement. and try to resist to an inheritance modernist still predominating. but not for me. mutant. In this way. This is an undeniable aspect of all collage works. In the Albums both levels of relationship – the temporal and the spatial – are equally essential to me. TC: What do you think of what Keith Tyson said: “ The world with which I am confronted is a dynamic complex. but it’s worth being cau- tious about the risk of fetishizing things because they are fragmentary or dirty. TC: Does collage talk about fragility? LJ: The Albums are encyclopedic. but they are modest and meek in their physical qualities. because they have acquired the patina of old age. the Vancouver artist Roy Arden has been pursuing this “dirty” aspect of the leftover in his photography and his collage work. And the sheets are not framed behind glass. infected as it is by waste when using residues. fixity and ephemerality. but whose work appears to me as distinctly Post-Modernist in its embrace of forms that are “dynamic complex. This materiality is an important aspect of the experience of read- ing an Album. lefto- vers.” TC: Do you think collage is a dirty medium. timothée chaillou TC: Are your collages a praise to diversity. collage talks more about space than time. as opposed to their image-content. a simpler way to say what I have just described is to point out that the images in an Album infect one another – their association is structured by contagion. and to the idea of the public bulletin-board. but are placed on the wall using simple push-pins.

releasing new pos- sibilities for meaning. each Album presents itself as “a model”. This self-detaching gives us the possibility to see the images “with fresh eyes”. This is the case. or the broader activity of assembling them in the studio or experiencing them in the gallery. Queer literacy releases new possibilities for meaning that are inherent in images. In the case of Queer mis-reading. Within the Album. » ( John Stezaker) LJ: I agree that the collection allows the images to detach from the contexts to which they were originally bound. the images relate to one another in ways that construct a synecdoche. However. The collection gives visibility to the image. in particular sections of the Album. it is a kind of after-life of the commodity-image. timothée chaillou TC: What do you think of that : « In their everyday circulation. is represented “in microcosm” within a particular section of the narrative. for instance. as a picture of the world. the images in an Album relate to one another by means of metonymy – the rhym- ing or interplay between forms shared by different images. This process of constructing a synecdoche creates a vertiginous “hall of mir- rors” where the viewer in the gallery may find herself or himself pre-figured in miniature inside the Album. But I am aware that this can also happen while this original context remains active and intact. At times. theatrical frames of reference. images are placed in relationships that cause them to burst. images “disappear into their use. in the extended section in Album X that thematizes the very processes of making and viewing an Album. This bursting is possible thanks to the obsolescence of images – that is. where the artist’s role and the viewer’s role begin to trade places within shifting.” In obsolescence (the death of the commodity). even when the everyday context of their circulation is still active and even socially dominant – that is. they appear. prior to that context’s becoming obsolete because of the passing of time or the transformation of social norms. galerie thaddaeus ropac . the passing-away of their original context of significance. in their strangeness. the entirety of the Album. Through synecdoche. TC: Are your collages synecdoches?   LJ: In general. and this results in a new lease of life for the images. and. more significantly. to undergo a dehiscence. for instance. mainstream imagery is interpreted “incorrectly” in terms of the capacity of such imagery to participate in narratives that it was presumably never intended to do.

what happens between two pictures when they get joined or juxtaposed? Linder: Making collage is like running a marriage bureau with lots of very demanding customers. You have to work with as much integrity as you can. Images that I have made have been re-appropriated within advertising and editorial. then immediately there is a birth . more a sense of getting everything out of the way. Those that you think will rub along nicely. So. TC: Do you feel connected to the collage tradition itself? L: I was adopted by George Grosz when I was ten. I think that when I find images. Some pop stylists have borrowed blatantly from my work too but plagiarism is such an ugly word! It seems dif- ficult to keep track of who owns what anymore. You cannot contrive it.   TC: Who owns the images you use? L: Life seems to be a ruthless game of ‘finders keepers’ and I can be as guilty of that as the next per- son. I learn as much from the changing fashions in cake decorating books.  TC: Do you recycle. timothée chaillou Interview with Linder Timothée Chaillou: In your work. often file for divorce within minutes. You know. ‘I do not search. no theft.there are only so many copies of The Rose Annual and Men Only magazine that one can live with. I find’ and my mother said.  When elements of two pictures do finally marry. My father who was a builder used to say: ‘measure twice and cut once’. than I do from volumes of history books. that is why I am a collagist and not a writer. This has to operate psychologically and physically too . so that things can find their way to me. I galerie thaddaeus ropac . something new exists. although sometimes one tries. ‘you always find what you’re not look- ing for’. I sometimes feel as much a social historian as an artist. one doesn’t want to launch in with a scalpel too soon. appropriate or steal? L: Picasso said. they have to go through a homing period. something that wasn’t there before.to extend the metaphor. What happens to the two pictures is very difficult to articulate. they just have to lie around and breathe a little.

collage happens in the spaces between my thoughts.   TC: Elad Lassry says that there is something ironic when talking about the appropriation of con- temporary images. I wanted to repeat the experiments that I made in late 1976. I have a Larry McMurty quote pinned on my wall: ‘and the ironic shall yield to the mythic again’ and I am sitting it out culturally.and then purchase new magazines at a discount price. roses. I am incredibly picky about which pictures I work with and again. TC: Do you think collage is a dirty medium. Very little has changed over thirty five years except that everything is far more pumped up now . The covers of the magazine end up with various prices scrawled over them and various pages missing. I›m becoming more and more interested by the spaces between images too. TC: Do you feel close to what Barbara Kruger when she writes ‘my work is more about pleasure.    TC: Does collage deal about fragility? galerie thaddaeus ropac . rather than to protect myself.. cup cakes. that is why I have to make the work I do . to hijack it. leather sofas. timothée chaillou work with original negatives from ‘glamour’ photography sessions .) I am basically interested in suggesting that we don’t need to destroy difference.I don’t know if it is because a certain generation of photographers have now died. I wear white gloves to protect the pages. Maybe the pornography shop operates a sort of casual masturbatory library. the material I use could be seen to be dirty in various meanings of the word.  So. go to a newsagent and buy a selection of men’s and women’s magazines. What do you think of that in your own work? L: I have only recently started to appropriate contemporary images (for the Revolutionary Hardcore series). or whether it is because everyone has gone digital. I know this because one of the shops that I visit offers this service.  TC: Do you try to treat all pictures in an equal and democratic way? L: No. I tend to become quite forensic when I handle it.women’s breasts. hence making thirteen hour performance works last year is an attempt to find the place where spectacle runs out.’ L: The fascination is how the arrangement of the pixel and the halftone dot configure and stimulate desire. I am always reminded that I can return the magazines after a fortnight .e. The challenge then is to divert that drive.inflated even. it is almost impossible to articulate why. Does possession of a negative grant possession? It is as much a philosophical question as a legal one. both psychologically and physically. On a good day I am Dr Frankenstein using a Pritt stick instead of suture thread. My hands help to keep the space open long enough to create something new. take it to somewhere it doesn’t want to go. i.to offer myself some form of articulation when words fail. left- overs. Collage is never about thinking . desire only exists where there’s absence. I cut images from the pages on a sheet of glass using a surgeon’s scalpel.they are beginning to be available for sale in certain quarters . lips - all portrayed as glossier and firmer than they used to be. Each picture has to earn its place in my world. waiting for that to happen. I’m very undemocratic. And I’m not interested in the desire of the image. (. rest of images? L: I often use pornography magazines that have been sold and resold several times.if I am not happy with them .   TC: Would you say that collage is ‘thinking with your hands’ (Denis de Rougemont)? L: No. infected as it is by waste when using residues. then collage what I found therein.. or maybe it is their form of sexual recycling.

All prone to more than their fair share of anxiety. one collage tells you more about my life than twenty years of diaries ever could. Any- one who spends their waking hours wandering around with a knife in their hands is either a serial killer. a surgeon or a collagist.   TC: Are your collages synecdoche? L: Yes.  galerie thaddaeus ropac . We are a strange species. timothée chaillou L: Collage reflects the fragility of the collagist. not particularly robust.