the IMPOSSIBLE COLLECTION
Foundation Fernet-Branca
Saint-Louis
France
20th October 2013 – 23rd March 2014
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EXTRACT FROM EXHIBITION BROCHURE
La Collection impossible
FRAC Alsace: 30 years of Collecting.
Roland Recht, Olivier Grasser
Introduction
This exhibition borrows its name from a short story by the Viennese writer Stefan Zweig (1881-1942). During World War One, there being not much on the market, an art dealer who has been a victim of the economic crisis, goes in search of pieces to buy from a famous collector who has accumulated a veritable museum of prints.
But the collector – who has lost his sight – is ignorant of the fact that his wife and daughter have already sold his stock in order to provide for their day to day needs. Instead the poor man proceeds to give a particularly heartfelt description of the succession of blank pages the two women have substituted for his treasures.
The title given to the FRAC Alsace collection does not refer to an invisible or absent collection but rather calls for a reassessment of the idea of collecting, designating works of art that compliment each other through their heterogeneity as well as encompassing several pieces from other collections.
«La Collection Impossible» is the largest of the four parts of the exhibition «Pieces Montrées»:30 Years of Collecting. Free from chronological concerns, the method doesn’t follow a strict protocol or scientific method . The Regional Art fund aims to encourage artistic sensibility and promote education. Through their choices, the curators have privileged a mix of subjective as well as more rational criteria in order to point out themes and underlying issues and open a dialogue with the public about the nature of contemporary practices.
Exceptional works of art have been selected for this exhibition. The quality of the space allowing for the display of works that would otherwise be rarely seen. In light of a difficult task the curators have privileged a sensitive approach, subtly and successfully presenting the FRAC Alsace collection as a history of taste in the past thirty years.
Room 9
…moving on from Nely Massera’s video depicting a sensual, intriguing, nocturnal place, the following room is dominated by darkness and silence.
Opposite a self-portrait by Gerd Bonfert characterized by subtle play of light, three large works by Susan Morris first appear like abstract Expressionist paintings. Her marks in fact correspond to the mechanical recording of her movements. The British artist’s entire body of work is concerned with the revision of aesthetic codes of painting. Juxtaposing seemingly mundane or personal textual elements, the nature of the image itself is called into question as the making process becomes further entwined within it.
In the middle of the room, the sculpture “500 metres of silence” by Mounir Fatmi is a critical statement on loneliness in modern societies despite the advancements in communication technology.
TRANSLATION BY ANTHONY ROBINSON