24/04 2014

Michael Riedel, act II

Le Point Perché is today celebrating its new skin! After the thousands of “o”s, the furnishings and the few discreetly scattered whole words which had covered the floor and walls of the platform at the Palais de Tokyo since last July, the German artist Michael Riedel is providing a logical sequel to his Jacques comité [Giacometti] with Dual air [Dürer]

The lounge is now occupied by the same system of thick strips of paper folded like pop-ups, and new furniture. Black and white, design and graphics still dominate the architecture, but this time it is the letter “l” which has pride of place.

Style and communication 

This spare and stylized world actually implicitly transcribes—as was already the case with Giacometti in the installation’s first version—a recent temporary show in a German museum, the Dürer exhibition at the Städel Museum in Frankfurt. A rising figure on the international scene, represented by the David Zwirner gallery, in New York, and the Michel Rein gallery, in Paris, Riedel (born in 1972) has always focused his works on the methods of communication and presentation specific to the presentation of art, so as to expose their perception by the public and the grist of their making.

Drills and invective

Dual air [Dürer], a Dürer-less Dürer show, thus borrows as such a part of the scenery of the Frankfurt museum—presentation stands, pedestals and benches—while the 3,219 “l”s, installed on a random canvas of short black lines, come from the transcription, by vocal recognition, of a sound recording of several hours made during the dismantling of the exhibition of the German Renaissance master. Michael Riedel has decided to isolate all the “l”s in this sound track where the noise of drills punctuated the dialogues and invective of the workers between them, as they worked away. The outskirts of the art world are thus transformed, with him, into a fully-fledged artwork. And the artist has made the most of this to make the new lounge of le Point Perché ring out with the daily life of the Palais de Tokyo, because the sounds and noises in the art centre are also transcribed live. The immersion could not be more total.

View of Michael Riedel's installation, "Dual air [Dürer]", Palais de Tokyo, 2014.

Photo: Aurélien Mole.

© The Absolut Company.