|Titre :||Parkett, 74 - septembre 2005|
|Type de document :||Bulletin : texte imprimé|
|Paru le :||01/09/2005|
|Année de publication :||2005|
|Catégories :||FRIZE Bernard ; GROSSE Katharina ; SERRA Richard|
"The Matter of Time immerses its viewers in circumstances that make the embodiment of the eye undeniable. It forces upon its viewers the question who sees? And in the astonishing ambiguities and fugitive impressions it generates, this ensemble of works extends that question beyond curiosity about ones own nature as an observer, to the social curiosity of who sees what I see, and how do we know? In other words, Serras art, which we see fulfilled in The Matter of Time, offers itself as a set of devices for reconstructing our view of the world, starting not with the question what can be known? but with the question what can be shared?
"Frizes paintings deploy colors in their multiplicity of forces; far from any kind of composition, they are machinations of forces in all senses of the word: the contrivance of a machine, a calculation, crafty plotting, cunning, an event.
"Within my compositions, the colors have the function of distinguishing between different movements. I like working with a certain palette, one that is usually very raw and very cold. Its extremely artificial, like Pontormos, for example. Then, within this spectrum, there are some colors that develop certain characteristics. A particular red, when it meets up with blue, doesnt become purple but rather brown. I like this ambivalence that makes colors surrender their identity and yet still show signs of their origins.
Katharina Grosse interviewed by Hans Ulrich Obrist
|12279||P / PAR||Périodique||Réserve||Périodiques||Exclu du prêt|