Pinault’s Emerging Artists

Sepulcher

Sepulchre

So who does Francois Pinault consider “emerging artists” such that he would include them in his collection now on view at Venice’s Biennale?  (For more on Pinault and the Biennale, see article below.) Apparently, he’s plucking artists that others (Saatchi, etc.) have already identified as gems and have given a shot at a big-time exhibition. So it sounds like he’s letting others (Saatchi) do his guesswork for him, just like how he may tap Mellon or UBS to help choose his business investments (Pinault holds the Gucci group and numerous other well-known establishments). If Pinault has similar success with picking winners in art as he has with his businesses, then roll the dice, I’m placing my bets with Pinault’s list.
So what are Pinault’s picks doing in terms of their art? What are their visions? Here’s two:
Matthew Day Jackson – in his Saatchi Gallery bio he says he’s “a sculptor who repurposes frontier symbols for political aims” — a unique concept and pretty fascinating on many levels, from the historical perspective to re-engineering “found” pieces. In Sepulchre, he took his punk t-shirts and stitched them into a mast. Is he saying that punk are the new pirates? I’m waiting for the eyepatch to come into fashion. 
Adel Abdessemed

Adel Abdessemed

Adel Abdessemed — Personally, I don’t know how he is still considered an “emerging” artist. His  CV is PHAT (10 pages!): solo and group shows all over the world, from Turin to Tenerife, and including the Pompidou and the Musee d’Art Moderne de la Ville de Paris. His works are big: at David Zwirner’s gallery in Chelsea he installed “Telle mère tel fils (which translates as “Like Mother Like Son”), which was created out of the nose and tails sections of three commuter airliners; connected by a tunnel made of white felt, the piece twists and turns like a giant serpent.” And like Matthew Jackson, he uses a lot of “found” pieces. His work has evolved from his upbringing in Algeria, but rather than focusing his art on the political climate there, he reacts to politics on a global scale.

He takes an interesting perspective on his “organic” work versus pop art:

 

 

 

My work is organic, constantly evolving. All of my artworks spring from an intuition of an image in construction. Things change as the work comes to life and it’s the direct experience of this construction that produces the result—as opposed to Pop Art, where the object is already finished before the work of art is created.

OK, will look at more of Pinault’s pics in the next post.

 

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