There is nothing personal of yours to exhibit

Julien Carreyn, Than Hussein Clark, Jochen Dehn, Maurizio Galante et Tal Lancman, Samara Golden, Jason Matthew Lee, Shana Moulton, Cindy Sherman

May 23 - July 19, 2014

In The Belly of An Architect by Peter Greenaway (1987), a character called Stourley Kracklite, American architect, travels to Rome with his wife Luisa to achieve a major exhibition about Etienne-Louis Boullée, French architect of the 18th century, deeply inspired by Enlightment, recognized today as an important theoretician and pedagogist, but who hardly was a builder.

Stourley Kracklite, while in Rome, becomes more and more obsessed by architecture, by his own innards which bother him (he suspects his wife to poison him) and develops a belly fixation that induces him to study many photographs of his pregnant wife’s belly, the Emperor Hadrian’s and his own. Despite Kracklite’s intense and sincere admiration for Boullée, and an ongoing fictional correspondence from him to Boullée, the project of Boullée giant exhibit-hall retrospective experiments a progressive failure. The failure of Kracklite as curator of this exhibition echoes in the film with a paradigm of failures: Kracklite fails as an architect commenting another architect, as a husband and finally as a man.

In his 43rd postcard to his imaginary friend and fellow-architect Boullée, Kracklite writes that «there is nothing personal of yours to exhibit – no writing desk, no discarded walking stick, no medals or silk hat – no wig or marriage certificate. Io asked me yesterday if, with this exhibition, we are inventing you in our own image. I have to confess he might be right.»

Stuck in his own physical and spiritual obsessions, Kracklite regrets not to be able to show personal artifacts which would embody the utopian architect. This note leads us to a series of questions that the group show at Crèvecoeur wishes to explore. Which part of the artist is revealed inside a fragment of his creation? Is there a part of the work which remains absolutely autobiographical, or intimate? In which way displaying a piece of art in an exhibition is part of «inventing» the artist?


Dans Le ventre de l’architecte, de Peter Greenaway (1987), un personnage du nom de Stourley Kracklite, architecte américain, se rend à Rome avec sa femme Luisa pour organiser une grande exposition sur Etienne-Louis Boullée, architecte français du XVIIIème siècle, profondément inspiré par les Lumières et aujourd’hui reconnu en tant que théoricien et pédagogue très important, alors même qu’aucun de ses bâtiments n’a été érigé.

Stourley Kracklite, une fois à Rome, est de plus en plus préoccupé par l’architecture de Boullée mais aussi par d’insupportables maux de ventre (il suspecte sa femme de l’empoisonner). Il développe alors une obsession maladive quant à cette partie de son corps, ce qui l’amène à étudier obsessionnellement de nombreuses photographies : du ventre de sa femme enceinte, de l’empereur Hadrien et du sien. Malgré l’intense et sincère admiration de Kracklite, pour Boullée - qui va jusqu’à l’entretien d’une correspondance fictionnelle entre lui et l’architecte français -, l’immense projet d’exposition connaît un échec progressif. L’insuccès de Kracklite en tant que commissaire d’exposition fait écho, dans le film, à d’autres défaites : Kracklite échoue en tant qu’architecte analysant le travail d’un autre architecte, en tant que mari et en fin de compte en tant qu’homme.

Dans la 43ème carte postale à son ami (imaginaire) et confrère Boullée, Kracklite écrit «qu’il n’y a rien qui t’ait appartenu à exposer - ni table de travail, ni canne usée, ni médailles ou chapeau en soie - ni postiche ni certificat de mariage. Io m’a demandé hier si, pour l’exposition, nous t’inventions selon notre propre image. Je dois bien avouer que cela pourrait être vrai.»

Enlisé dans ses propres obsessions physiques et spirituelles, Kracklite regrette de ne pas pouvoir montrer d’affaires personnelles de l’architecte utopiste, qui permettraient de donner corps à celui-ci. Comme si montrer un chapeau en soie pouvait le sauver de son échec. Cette réflexion nous mène à une série de questions que cette exposition souhaite explorer. Quelle part de l’artiste est révélée par un fragment de son œuvre ? Quelle fraction de l’œuvre peut être considérée comme autobiographique ou intime ? Montrer une œuvre d’art contribue-t-il à fabriquer l’artiste ?

  • There is nothing personal of yours to exhibit

    There is Nothing personal of yours to exhibit, exhibition view, 2014 © Aurélien Mole

  • There is nothing personal of yours to exhibit

    There is Nothing personal of yours to exhibit, exhibition view, 2014 © Aurélien Mole

  • There is nothing personal of yours to exhibit

    There is Nothing personal of yours to exhibit, exhibition view, 2014 © Aurélien Mole

  • There is nothing personal of yours to exhibit

    There is Nothing personal of yours to exhibit, exhibition view, 2014 © Aurélien Mole

  • There is nothing personal of yours to exhibit

    There is Nothing personal of yours to exhibit, exhibition view, 2014 © Aurélien Mole

  • There is nothing personal of yours to exhibit

    There is Nothing personal of yours to exhibit, exhibition view, 2014 © Aurélien Mole

  • There is nothing personal of yours to exhibit

    There is Nothing personal of yours to exhibit, exhibition view, 2014 © Aurélien Mole

  • There is nothing personal of yours to exhibit

    There is Nothing personal of yours to exhibit, exhibition view, 2014 © Aurélien Mole

  • There is nothing personal of yours to exhibit

    Cindy Sherman, Untitled Film Still, 1979, Gelatin silver print, 8 x 10 inches, courtesy of the artist and Metro Pictures

  • There is nothing personal of yours to exhibit

    Cindy Sherman, Untitled Film Still, 1979, Gelatin silver print, 8 x 10 inches, courtesy of the artist and Metro Pictures

  • There is nothing personal of yours to exhibit

    Than Hussein Clark, Catalogo e Questo (Grey): Let him Freeze Madame. Goodbye and Thank You for Your Technical Advice, 2013, shagreen, sycamore, patinated steal, sycamore, brass, embossed leperello with photoprint, 90 x 240 x 30 cm © Aurélien Mole

  • There is nothing personal of yours to exhibit

    Samara Golden, Mass murder of the guides and guardians 2, 2014, fabric, paint, stuffing, variable dimensions © Aurélien Mole

  • There is nothing personal of yours to exhibit

    Samara Golden, Mass murder of the guides and guardians 2, 2014, fabric, paint, stuffing, variable dimensions © Aurélien Mole

  • There is nothing personal of yours to exhibit

    Shana Moulton, The Undiscovered Drawer, 2013, video, exhibition view © Aurélien Mole

  • There is nothing personal of yours to exhibit

    Shana Moulton, After Meissen, 2013, 14 wood shelves, 14 objects (plastic, ceramic),120 x 140 cm © Nicolas Giraud

  • There is nothing personal of yours to exhibit

    Jason Matthew Lee, Champaigne Bubbles, 4-oxy-Dribbles Fear and Loathing in Wolverhampton The Puppet Master of Life, 2014, inkjet, ink, solvents, nonlead soldering alloy, uvprotective varnish, custom tamper-proof security stickers, on canvas, 54 x 73 cm © Aurélien Mole

  • There is nothing personal of yours to exhibit

    Julien Carreyn, untitled, 2013, drawings (pen and graphite on paper), plexiglas

  • There is nothing personal of yours to exhibit

    Julien Carreyn, untitled, 2013, drawings (pen and graphite on paper), plexiglas

  • There is nothing personal of yours to exhibit

    Julien Carreyn, Val de Loire Treillages , 2013, pigment print on Hahnemüle paper, 62 x 87 cm

  • There is nothing personal of yours to exhibit

    Jochen Dehn, La revanche des stéphanoises, a short film by Julien Carreyn presented by Jochen Dehn, 2014, performance

  • There is nothing personal of yours to exhibit

    Jochen Dehn, La revanche des stéphanoises, a short film by Julien Carreyn presented by Jochen Dehn, 2014, performance

  • There is nothing personal of yours to exhibit

    Jochen Dehn, La revanche des stéphanoises, a short film by Julien Carreyn presented by Jochen Dehn, 2014, performance

  • There is nothing personal of yours to exhibit

    Jochen Dehn, La revanche des stéphanoises, a short film by Julien Carreyn presented by Jochen Dehn, 2014, performance

  • There is nothing personal of yours to exhibit

    Jochen Dehn, La revanche des stéphanoises, a short film by Julien Carreyn presented by Jochen Dehn, 2014, performance

  • There is nothing personal of yours to exhibit

    Jochen Dehn, Freedom's just another word for nothing left to lose, 2014