FILM SERIES Asari ffs which infvenced tccavan ofthe MACER exhibition Francés de Barcelona. Poco Tat acces Dery 1960 kee on woos Segue foe 197 leeschon Sean Evatache, 1970 fran en a ia, le pont ord Jacques Rove, 1981 sons sven 15820 Barden ai Cece Kain, 1991 se Level pS Level ND Level © DEBATE ipe Thomas. At, Fictions, and Advertising ‘iil Sih, ate tne Cone ‘ores Pompeu, Par Pata ages, oct. Pons ‘ete ti or LecTURE ‘Agoncy (Social Dissolutions and the Prodution of Meaning) euinen visits GE Apple MARC MARTI Museu d'Art Contemporani Paes gel, amie 70g ay 10am 8pm Saticay 19am te 3pm Sond ants PHILIPPE THOMAS ‘September 27 - November 26, 2000 This reuespecive exibiion on Philippe Thomas (Nice, 1951 - Paris, 1995) pusues various paths and clues literal, detective sense of the rem ~ char might allow us ro reveal Thomas artistic project si develope from the late 70 uncil che year of his death. Philippe Thomas propos «84 profound reflection on the limits ofthe history of mod- cermartand the mechanisms of the marke: his artistic pro- ject akes che displacement of the concept ofthe author 0 its most radical consequences. Thomas’ work touches upon a number of vc coneems, such asthe status ofthe creator, the art object itself, che ‘muscum as institution, and the roe of the spectator These «questions have set themselves up inthe heat of 20°-centa- fy art history as well asin its literature, scen fundamental ly in the work of Duchamp, Manzoni, or Broodthaers, as Well asin the writings of Blanchor, Barthes, Foucault or Derrida, and in the literary oeuvre of Borges, Pessoa, or Nabakow. Thomas’ work: must be set within this sphere of influence, chough itis informed as well by the important role played by literature and new language theories wi the artistic context ofthe 19805, AN ARTIST DENYING HIS OWN IDENTITY mn “Afterall, itis nor difficult co imagine that an art chat has Acjected the obligation to represent the world could also come to re- ject the obligation to represent an author.”* The words of Laura (Carpenter are precise, thus obliging us to consider the presentation of his work in a specific way. Each piece presented in this exhibition assumes certain rules dhrough which the artist himself might ‘confront a paradox situated quite beyond the frontier between reality and fiction. The game is that an artist, Philippe Thomas, “denies his identity” in favor of a col- lector, who nor only purchases che work but also the eon- dition of authorship, assuming responsibility for the sig nature. Through this mechanism, Thomas questions the characteristics associated with the function ofthe author ~ which since the 194-century have been associated with autonomy, freedom and individual genius ~ so aw expose the ambiguities the concept is based upon. In being ele Museu d'Art Contemporani 17a de Barcelona > i A F] (= 5 s 3 2 > iH ay 2 i 5 Hy a S 3 Hf :substicuted by the figure of the col lector, the artist reveals the relacion- ship between the owo, thus insisting ‘upon their interchangeable character In fact, Thomas proposes a radical critique of che speculative situation that emerged in the 80's, though in a certain way by taking advantage of its very own mechanisms: market val uc, the dominance of the media, and advertising This appropriation mechanisn where the creator, in disappearin leaves a place to occupy whose def nition points to the possbilit ‘game, is not a supplementary phe- ‘nomenon of the work, but rather an ‘event that its creation depends upon. In 1981, with Frage der Prisemtation [Question of Presentation], Thomas began a typeof de the clues left behind by an anony mous artist lead us to reflect upon how the “illusion of reality” that art has traditionally pursued guides us to 4 fiction where linguistic analysis might give rise to new circumstances. Perhaps dhs paradoxical relation- ofa rive tory where ata Mew York retmades tog teen readymades belong to everyone quotations sncy was described 3 fiction in search of its characte who in coming into existence, gave the project its character as sx capable of introducing “real”. Works such as the famous paintings of bar cod. cards of the buyer and signer, gave way to other activities belonging to an enterprise. Under this name exhib sions were organized such as Eres artis Arist rook, 1987-1988), “Agencement 88. Georges Verney-Carvon [Organization 88. Georges Verney Carron, 1988], Insights Jay Chit et Edward Merino, 1989, and Fens Paes [Pale Fites, 1991], Articles and texts were also published, such as Sur wm lieu commun (On a Commonplace 1988), “Advertsing, Advertising published in thece are magazines in different languages, signed by three diferent authors, of Lae Carpenter: dnsihts (1989), a personal diary that ‘was full of technical reflections and ked to the work ofthe artist with Carpenter aking note of the day-to-day activity of the agen ship between representation (wexcual Shalem Jk eaten fog ‘thus providing ie with a tangible annunciation) and what is annunci- 800°rra, at pubes peut changy te ve realy ated (meaning) is even clearer in Sujet FMaUDasda Marden Se ree tho the pain, anguish ‘Commissioned by the capeMus 2 diserésion [Discretional Subject, #00, 290 «dare contemporain in Bourdeaux, the 1985). This work consists of three equally identical photographs of the sea, that show that the sme image might have varied meanings acconding tothe ac utes given it. The frst literally shows a genctal view of the sea, whereas the second offers further interpretative grid, This lac ter work i signed Philippe Thomas. Autoportait (Vue de Ueiprie) [Philippe Thomas, Self portrait (View of the spirit], that is, a self-portrait ofthe mind. The third photograph has been lee free for a future transaction ~ virtually a sel portrait of the purchaser or collector, who, by his signature, accepts to become its author Each of Thomas’ projects thus rely upon the collaboration of others, who in signing the works become the characters in an artistic tion, though witha real presence. In Fctionnalisme tune pitce a conviction [Bictionalism: A Material Proof, 1985], seven artists prepate an exhibition in homage of Philippe Thomas in Galerie Claire Burrus. In fact the artists were sev- cen collectors brought together by Thomas ro pose in the sryle tour's Hommage a Delacroix, in a photograph ent tled Hommage a Philippe Thomas. Autoportrait en groupe [Homage to Philippe Thomas: Group Self Portrait) of Fanti: READYMADES BELONG TO EVERYONE® In 1987 Philippe Thomas transformed the space of New York's Cable Gallery into a public relations agency under the name of readymades belong to everyone®. In this way he adapted art's modes of production to the methods of contem- porary advertising and public relations. It was a radical pro- posal, especially if advertising were co be understood as way (of presenting an object for commercial benefit. In 1988 2 French branch of the agency was opened: les ready-made appartienent a rout le monde" agency responded by offering ro do a show on the museum as institution. [Funtl that point he had limited his activity to producing works that were attributed to and signed by the purchaser, with Few Paler—a name inspired by the Nabakow novel Pale Fire —Thomas took a further step in proposing a consideration on the exhibition as a unique ‘work of art signed by a bar code, with che museum appearing as the creator. Thomas was thus able to define his personality through the costiruting mechanisms of Fiction in his work 1. Carpe, Lara, sgh: New York: Cat Marcus Gallery, 1989, Ope BIBLIOGRAPHY ON ‘COMPLEMENTARY READINGS PHILIOPE THOMAS [ascot Macias, matte ob readme belong everyone Batce- ewe, Nw York D Lei, 1973 rw Tani: MACHA. Aci, 2000 Sevan ama Role Lamberon Philip Thomas, Wing Bal: ows, Jone Lai, ra emi [MACBA, 2000 (ander preparation). Buenos Aes Eres. 199 Shware stl, Adverting, Chas, Ah The Madre ager versings Some Cassin Point Art doko Boson: G.K. Hall 1988 coe. 71, Sep Oct. 1988 Foveavts, Michel, “What ie an Four pale wee pice & conviction, —Aushs?, in Language, Counter Bourdeaux capeMusée dare con- Memory Practice (el. Dovald F temporin, 1990, Boochin Mac New ike Comma Unive Prs, 1977 [Ta Roma F Buchan, Sherry Sm aust, Vadis, ale Fi, New York Knap, 1992. Pron, Fern djs. Bl ho, Msn y poe Tada, 1986