ФИЛИПП ПАРРЕНО
فيليب بارينو
菲利普·帕雷诺

Marquee the any space whatever

source: pilarcorrias

Philippe Parreno creates works that question the boundaries between reality and fiction, exploring the nebulous realm in which the real and the imagined blur and combine. Working in a diverse range of media including sculpture, drawing, film, and performance the internationally acclaimed French artist seeks to expand our understanding of duration, inviting us to radically re-evaluate the nature of reality, memory, and the passage of time. Central to Parreno’s practice is his quest for an ultimate form of communication capable of transcending language.

Previous meditations on the nature of reality include No Ghost Just a Shell (1999) a collaborative project in which the Japanese Manga character Ann Lee was liberated from the binds of intellectual copyright in a deliberate blurring of reality and fiction; and Zidane: A 21st Century Portrait (2006) a full-length feature film the artist co-directed with Douglas Gordon. Focusing on the French footballer Zinedine Zidane, this extraordinary real-time portrait spans the duration of a football match during which seventeen 35mm cameras followed the footballer’s every move.

For the inaugural exhibition at Pilar Corrias Gallery, Parreno created a large-scale, cast-aluminium sculpture of a generic snow-covered Christmas tree. Entitled Fraught Times: For Eleven Months of the Year it’s an Artwork and in December it’s Christmas (October), the work operated as both a decorative object and a time marker inviting us to expand our comprehension of time in a process of metaphorical game-playing. The sculpture was shown alongside a pane of glass on which condensation was etched. The ghostly breath hovered at the exact height of the mouth of the famous Spanish poet Federico Garcia Lorca killed by the Franco Regime in 1936.

Philippe Parreno was born in 1964 in Oran, Algeria. Major exhibitions of the artist’s work include: Fondation Beyeler (2012): The Serpentine Gallery, London (2010); Irish Museum of Modern Art, Dublin (2009); Centre Pompidou, Paris (2009); Kunsthalle Zurich (2009); Center for Contemporary Art, CCA Kitallyoshu, Japan (2006); Kunsthalle Zürich (2006); San Francisco Museum of Modern Art (2003); Musée D’Art Moderne de le Ville de Paris (2002), and Moderna Museet, Stockholm (2001). Parreno’s work is represented in the collections of: Centre Pompidou, Paris; Kanazawa Museum of the 21st Century, Japan; Musée D’Art Moderne de le Ville de Paris; Musée du Luxembourg, MOMA, New York; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Tate Modern, London, and the Walker Art Centre, Minneapolis.

Philippe Parreno lives and works in Paris.
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source: casaescusawordpress

Philippe Parreno, Marquee, 2008. Installation view, Solomon R. Guggenheim Museum, 2008, Manhattan, New York
O artista plástico francês Phillippe Parreno e o director de fotografia Darius Khondji estiveram ontem em visita a Castelo de Vide com o objectivo de visitar espaços para a implementação de obras de “Land Art“. Na visita foram acompanhados por António Pita e Daniel Carreiras da Silva, respectivamente Vice-presidente e Vereador da Câmara Municipal de Castelo de Vide, que se manifestaram satisfeitos pela escolha de Castelo de Vide para acolher este projecto.

Phillippe Parreno , conhecido artista plástico francês, produzirá peças para integrar na paisagem, criando novos efeitos e novas leituras do espaço. A obra final é produzida em suporte vídeo e servirá enquanto conteúdo para museus de renome internacional, tal como o conhecido Centro Georges Pompidou, em Paris. Um elemento importante destas obras é a paisagem, o espaço envolvente, daí que se repitam as filmagens periodicamente, de cinco em cinco anos, para se entender a evolução do espaço.

Para filmar, virá a equipa do famoso director de fotografia Darius Khondji. Darius Khondji, note-se, foi director de fotografia de filmes como Sala de Pânico, Evita, O Intérprete, A Praia, Seven – Sete Pedados Mortais, entre muitos outros. Darius Khondji tem trabalhado com directores como David Fincher, Jean-Pierre Jeunet, David Fincher, Bernardo Bertolucci, Alan Parker, Roman Polanski, Sydney Pollack, Wong Kar-wai e Woody Allen, com quem, brevemente, iniciará a rodagem de um filme, como o próprio nos disse. Um dos “decors” (área para filmagem) estará já garantido em Castelo de Vide, havendo ainda a forte possibilidade de poder vir a ser escolhido outro, embora, no dia de visita que os dois artistas dedicaram a Castelo de Vide, não tenha sido encontrado. Este projecto chegou-nos pela mão de Rodrigo Areias, realizador de cinema que trabalhou na longa-metragem de Francisco Manso, O Último Condenado à Morte, rodado em Castelo de Vide em 2006.
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source: interactive-scape

The large white “Marquee,” 2009, hung above the entrance to Parreno’s first major retrospective at the Centre Pompidou in Paris. At 3m by 3m by 32cm, the glowing white acrylic frame is internally lit by 16 fluorescent tubes, and its external surfaces are adorned by 42 white neon tubes and 196 incandescent bulbs. The whole massive piece looks as if it hangs by two glowing chains which loop around a big blue air duct in the Pompidou’s ceiling. The chains are comprised of milled semi-translucent acrylic segments, internally lit by 1,060 tiny white LEDs. All of these outputs are individually sequenced by a master controller via the DMX protocol. The bulbs, programmed in a chase pattern like a sunburst, dim down and turn off when the Pompidou gallery, now transformed into a movie house, goes dark. After Parenno’s 70mm film is screened, the Marquee lights up again in sections, first internally, like a ghost, then externally, with all of it’s glittering bulbs, neons and LEDs. Interactive scape is responsible for all of the electronics and lighting design, wiring, and installation of this major multi-media artwork.