Twenty years after its success at London's Serpentine Gallery the exhibition "Take Me (I’m Yours)" - curated by Christian Boltanski and Hans Ulrich Obrist, now joined by Chiara Parisi - has been recreated at Monnaie de Paris in a new spirit of freedom. The show invites visitors to become either a participant, a buyer, a co-author of the artwork or even its creator. Artists generously offer and give away objects and artworks throughout the exhibition’s space. Starting at the entrance of the Monnaie de Paris’ building, Fabrice Hyber, Yoko Ono, Kerstin Bratsch & Sarah Ortmeyer present their projects to the public.
The main entrance is framed by two olive trees.These Wish Trees from Yoko Ono do not yield olives whereas visitors are invited to hang their wishes on a label to the branches of the trees. The public becomes the driving force of a collective impetus by hanging its hopes on this symbol of peace.
MONSTER (KOKO Edition)
With MONSTER (KOKO edition), Kerstin Brätsch & Sarah Ortmeyer collaborated to create an environment combining nature and artificiality. The eggs displayed in the staircase by Kerstin Brätsch seem to have fallen from tall palm trees designed by Sarah Ortmeyer. The visitor is invited to make his or her way through this offbeat setting and pick up fruits like an Easter egg hunt. Picking up these eggs reminds the first gesture of men and women who fed themselves with what nature provides.
Visitor’s body is put to the test with artworks and installations to try out. Physical experimentation takes over the traditional behavior one can have when visiting a museum. Divan from Franz West is both a place to rest for the visitors who just climbed up the stairs of Monnaie de Paris and a sculpture to look at. You now have the choice to interact or not with the artwork.
Take Me (I'm Yours)
Between the two Divan pieces, artist Douglas Gordon invites visitors to participate in a raffle. The prize, winning an intimate dinner with the artist himself, turns art into a social event.
In the ticket office, art is also present as a matter for discussion and exchange. Paweł Althamer sets up a trading bank where the audience sits down with a performer and creates its own virtual currency. This one becomes very real when the performer validates it with a buffer and thus allows the visitor to trade it against a workshop, a visit or an event at the Monnaie de Paris and other art institutions.
Untitled (Eau de RRose of Damascus)
Before entering into Salon Dupré, artist Rirkrit Tiravanija sets up an environment that invites to sharing with each other. People can gather around a 14th century still from Syria that produces rose water. Every each visitor can take a vial of this perfume and also eat a rose-scented Host.The title of the work, Untitled (Eau de RRose of Damascus), is a reference to both the primary function of the still as well as its particular shape that recalls the Bottle Rack from Marcel Duchamp. RRose also refers to the creation in 1921 of a perfume called Eau de voilette Belle haleine by Duchamp’s alter ego RRose Sélavy in collaboration with Man Ray.
Inside Salon Dupré, people make their way through Christian Boltanski’s piles of clothing and Félix González-Torres’ stacks of posters. Boltanski’s work is titled Dispersion (Dispersal). According to the artist, these pieces of clothing are the equivalent of a photographic portrait or a corpse in the way they represent the absence of someone. By taking away one of these pieces, public gives life back to the clothing.
Visitors have to pick up one of Felix González-Torres’ posters from the stacks to activate the work of art. This process turns each stack into a "huge public sculpture" because of their scattering and permanent circulation. This work of art is made public mainly because it has the power to belong to everyone by taking advantage of its reproducibility. Another work of Félix González-Torres, Untitled (Revenge) is a bunch of blue candies displayed on the ground of an exhibition room. The weight of this pile represents the one of Felix González-Torres and his partner, Ross, who both died from AIDS. The erosion of the candy pile echoes the slow consummation of the couple bodies by the disease.
Even though the title of this piece could refer to an advertisment, the texts written on the banners are more related to protest slogans rather than publicity. The public can take these slogans away on badges which are available in a stand tray. Gilbert & George thus transform the visitor’s body into an artistic device. The artworks carried by the public contribute to the achievement of one of the main ideas of this English duo: "art for all".
A performer behind a table, like a vendor, provides an object. When the first visitor enters the room, the performer tries to exchange this object for any object belonging to the visitor and which he or she is willing to swap. A collective bargaining is then set up about the value of exchange. Roman Ondák produces works that echo the exhibition space and place the visitor at the centre of the creative process. He creates a situation in which the visitor is involved and actuates the work, which "develops" throughout the exhibition.
L'Os du bonheur
In Poland, where the artist was born, witch doctors used this wishbone to heal illnesses, whereas sorcerers used them to cast spells on men so women could marry them. The artist applies the concept of mechanical chain production to an artwork. In this way, she overturns traditional commercial channels. This work is an encounter between the irrational world of superstitions which nourishes the artist's work, and the rational world of advanced technologies, which the 3D printer represents.
Esposizione in tempo reale n.43: Lascia su queste pareti una traccia fotografica del tuo passaggio
Franco Vaccari is the first artist to install a working photo booth in an exhibition space and make it available to the public. The artist's work encourages visitors to take a picture of them and pin it up to the walls of the gallery. Visitor's work is split between a co-creation and a souvenir from his or her participation to the exhibition. Franco Vaccari uses photography as a proof of a physical presence of the individual.
Monnaie de Paris presents Take Me (I'm Yours), an exhibition curated by Christian Boltanski, Hans Ulrich Obrist and Chiara Parisi, from 16 of september through 8 of november 2015.
Monnaie de Paris is proud to thank Photomaton for their support to the work of Franco Vaccari.
Monnaie de Paris is proud to thank SONY for their support to the exhibition and providing Xperia Z3 and Xperia Z4 tablets.
Monnaie de Paris is thankful for the participation of all the artists Etel Adnan, Pawel Althamer, Christian Boltanski, Kerstin Brätsch & Sarah Ortmeyer, James Lee Byars, Heman Chong, Jeremy Deller, Maria Eichhorn, Simone Fattal, Hans-peter Feldmann, Andrea Fraser, Gloria Friedmann, Felix Gaudlitz & Alexander Nussbaumer, Jef Geys, Gilbert & George, Felix Gonzalez Torres, Douglas Gordon, Christine Hill, Carsten Höller, Jonathan Horowitz, Fabrice Hyber, Koo Jeong-A, Alison Knowles, Bertrand Lavier, Charlie Malgat, Angelika Markul, Gustav Metzger, Otobong Nkanga, Roman Ondak, Yoko Ono, Philippe Parreno, Daniel Spoerri, Wolfgang Tillmans, Rirkrit Tiravanija, Sean Raspet, Ho Rui An, Takako Saito, Amalia Ulman, Franco Vaccari, Danh Vo, Lawrence Weiner, Franz West, point d'ironie