Galerie Lara Vincy.

 

The Lara Vincy gallery is showing "Asphalte-Jungle", a new installation by the group Dix10 (Roma Napoli and J. J. Dow Jones) founded in 1982. It is their seventh solo exhibition in the gallery, after those of the 80’s : "Le paradis des jouets" (1984), "Souvenirs de Paris" (1985), "La boutique du musée" (1987), "Coffres-Forts & Co" (1988) "Enseignes" (1989) and “Curiosités" (1990).

In resonance with the Fluxus mindset, this installation shows, in a playful mode, the de-territorialized “brio” of an unambiguous vanishing point.

This new exhibition will also provide an opportunity to present the monograph "DIX 10, un art contextuel pour tous", recently published by Somogy Editions and available in March 2014. In that perspective, you can (re)discover in the back room a selection of historical works taken from previous exhibitions.

 

« We are going to transform the gallery space into a  fairground site, from an urban area. The paintings on show are carried out with the stencil techniques. They are all original creations representing the “artistic products” which graffiti have become.

For this installation, we have hungrily picked out in our own fashion, the improvised revival by the Brooklyn art students of an initiative carried out by the English artist Banksy in a New York avenue last September. The Youtube network relayed this imbroglio, seen by over a million people. The worldwide media then produced it unendingly, thereby creating a global buzz.

When an artist who has become famous constantly takes part in his self-promotion within the conventional setting of the art market, and then pretends to differentiate himself by offering at cut-rate prices, unsigned works within a street market context, that is undoubtedly a con-trick, and to wonder, as some are wont to do, if it represents a menace for the powers-that-be, appears irrelevant.

The replica, identically provided by young artists, only increased this fiction by bestowing upon it that ironical aspect, that we had experimented during our installation "Les Modigliani des Dix10" in Milano in 1984.

To go as far possible into the question relating to the notion of  the “real-fake” in art, it seemed to us at that moment very clear that everyone could henceforth carry out a copy, even imaginary, of an artwork and the latter’s authenticity would only be relevant insofar as it was subjected to an examination by an authority empowered to decree as to whether it was receivable or not.

The Graff, initially carried out and signed without counterpart, in the public space, is first of all transferred into the art galleries’ system which provides it with a price. From there, it is re-introduced in the shape of an anonymous painting and exhibited, devalued, in a booth among others on a city sidewalk. Then, a stall, similar in every way, is reproduced in the same place by anonymous artists, henceforth the Graff becomes an authentic copy of a discounted original and not declared as such.

For this installation "Asphalte-Jungle", we intervene by re-introducing the Graff concept at that point and we are showing it with a new price within an art gallery. In this particular instance, the Graff can be deemed an authentic, certified original, since it is presented within a universally acknowledged format. »

 

Dix 10, January 2014

 

Translated by Ann Cremin

 

With the supprt of vinetculture.fr