Go tell fire February 2 February 25, 2012 Opening: Thursday 2 nd February / 6 9 pm Group exhibition: Arturo Hernández Alcázar Benoît- Marie Moriceau Duncan Wylie galerie dukan hourdequin 24 rue Pastourelle 75003 Paris www.dukanhourdequin.com info@dukanhourdequin.com +33 (0) 9 81 33 49 95 dukan hourdequin gallery is pleased to present Go tell fire (February 2 February 25, 2012), a group exhibition featuring works by Arturo Hernández Alcázar (1978), Benoît- Marie Moriceau (1980) and Duncan Wylie (1975). The title of the exhibition Go tell fire takes up the yelled anthem, the rebel scream sung by Wu Lyf, a collective from Manchester, with a wild energy in their latest album (Go tell fire to the mountain, 2011). These three artists (Arturo Hernández Alcázar, Benoît- Marie Moriceau and Duncan Wylie) with diverse and complementary practices (sculpture, installation, drawing, painting, video) are attentive observers of the economic, politic, social and visual reality that surrounds them. They show a critical position in relation to the system that alienates us and arouse our ability to brutalize it. Making an evaluation of the contextual issues, the starting point of their works can be the rules to build an anti- atomic shelter as well as a trip in Gaza in 2005 or an accumulation of wooden beams disused in a construction site. They explore, without cynicism, the possibilities of materials, found objects, found images on the Internet, brownfield sites: this recycling is a way to give a new value to what exists; in fact, they suggest an augmented reality. Following in the footsteps of artists such as Robert Smithson, Gordon Matta- Clark or more recently Francis Alÿs, their artistic strategies aim to question the systems of order when it comes to architecture, space, power or economy of our contemporary societies and to approach the possibilities of chaos. Wit h a felling of urgency, they work to disrupt, destabilize and reverse what seems to be perennial. They also take a look at History, Duncan Wylie s painting dealing with the ruin of Zimbabwe since Mugabe came to power and Arturo Hernández Alcázar with Mexico, where might is right. During this post September 11 th decade, where the violence (human or natural) of the world surrounds us, Go tell fire is based on the notion of entropy, as a measurement of the surrounding disorder. Yet, as with the music in convulsions made by Wu Lyf, which eventually exults joy, the works of these three artists also
show a humanist, resisting view and in the end creativity: creation is always a product of destruction. Arturo Hernández Alcázar was born in 1978 in Mexico City where he currently lives and works. He graduated in 2001 from Escuela Nacional de Pintura, Escultura y Grabado, La Esmeralda (Mexico City) and has already exhibited internationally: No trabajes Nunca (solo exhibition, curator: Guillermo Santamarina), 2010, MuAC, UNAM, Mexico City; Resisting the Present (group exhibition, curators: Angeline Scherf and Angeles Alonso Espinosa), 2011-2012, Museo Amparo, Puebla and Musée d Art moderne de la Ville de Paris, Paris; Disponible, a kind of Mexican show (group exhibition, curators: Hou Hanru and Guillermo Santamarina), 2011, San Francisco Art Institute, San Francisco and Museum of Fine Arts of Boston, Boston. Benoît- Marie Moriceau was born in 1980 in Poitiers. He lives and works in Rennes. He studied at Ecole des Beaux- Arts de Quimper and graduated in 2003. He had a few solo exhibitions in France such as Formwork, 2009, Le Spot, Le Havre and Psycho, 2007, 40mcube, Rennes and has recently taken part in important group shows: 25 square meters (per second) or the Spirit of the Hive, No Soul For Sale, 2010, Tate Modern, London, curators: Yoann Gourmel, Elodie Royer; Dynasty, 2010, Musée d Art moderne de la Ville de Paris and Palais de Tokyo, Paris; Ce qui vient, Les Ateliers de Rennes/Biennale d'art contemporain, 2010, Rennes, curator: Raphaële Jeune. Duncan Wylie was born in Harare, Zimbabwe in 1975. He graduated from Ecole Nationale Supérieure des Beaux- Arts de Paris in 1999, he lives and works in France since 1994. He notably had a solo exhibition at Musée de Grenoble (Open House, 2009) and takes part in the 6 th Curitiba Biennial, 2011 (curator: Alfons Hug) and Dynasty, 2010, Musée d Art moderne de la Ville de Paris and Palais de Tokyo, Paris.
Arturo Hernández Alcázar Una Jornada de Trabajo de Carlos y El Kimos, 2011 Copper disc Una ola de muerte y destrucción, 2011 Copper, plastic, newspaper Malas noticias / Bad news, 2011 Newspaper printed in black, rope Empty building, 2012 Collages on canvas
Benoît- Marie Moriceau Cutter crusher (forward compatibility), 2011 The shear or nibbler is used for public works for the progressive building demolition to avoid fast collapse by impact or explosion. The nibble tool is fixed at the end of the balance of a backhoe and takes the shape of a crab claw or a predator mouth. The project Cutter- crusher (forward compatibility) shows the animal correspondence through a reproduction of the mechanical device. The sculptural form is similar to a fossilization process in the sense that it uses a molding process from a sedimentary material. The molding fundamental principle proceeds in reverse (negative) and by extension; the impression is here as one in turning back time. "Forward compatibility" refers to the "backward compatibility", that means the computer ability to be compatible with versions that are not yet designed. Simply, it is to imagine what kind of forthcoming representation the world will be able to produce itself. The work Cutter Crusher (Forward Compatibility) has been produced by dukan hourdequin gallery, Paris and Tripode. It will be on view for the exhibition Go tell fire and also gives its name to the solo exhibition of Benoît- Marie Moriceau at Tripode (January 5 28). Cutter crusher (forward compatibility) - detail, 2011 Cement, plaster
Cutter crusher (forward compatibility), 2011-2012 Cement, plaster 250 x 140 x 35 cm
Duncan Wylie Wave (diptych), 2008-2011 Oil on canvas 200 x 275 cm