Galerie Venturi, Riccardo. «Wade Guyton. Le Consortium/Académie Conti/Le Mur», Art Forum, October 2016, p. 284.

Transcription

1 Galerie Wade Guyton Selected Press

2 Galerie Venturi, Riccardo. «Wade Guyton. Le Consortium/Académie Conti/Le Mur», Art Forum, October 2016, p. 284.

3 Grandjean, Emmanuel. «Wade Guyton, impression d une exposition», Le Temps, October 7, Galerie Tout un étage rien que pour lui m2 d espace pour y exposer ses derniers travaux, soit une trentaine de toiles dont certaines dépassent les 10 mètres de long. Coproduite avec le Consortium de Dijon et organisée par le commissaire indépendant Nicolas Trembley, le Musée d art moderne et contemporain de Genève (Mamco) accroche Wade Guyton sur ses murs. Il est Américain et depuis quinze ans l un des artistes les plus en vue de la scène contemporaine. Son style? Reconnaissable au premier coup d œil: Wade Guyton réalise ses œuvres avec des imprimantes à jet d encre. «Au début je faisais de la photographie mais surtout des sculptures qui prenaient une place folle dans mon minuscule atelier de l époque. Et puis je me suis mis au dessin. Mais ça n allait pas, je cherchais un moyen de me passer du travail de la main. J avais cette petite Epson sur mon bureau que j utilisais comme tout le monde pour sortir des images et des s. Je me suis dit qu elle ferait parfaitement le job», reprend l artiste, physique pas du tout geek de beau type aux cheveux longs. «J ai pris des pages de magazine sur lesquelles j imprimais des caractères et des motifs. C est ainsi que tout a commencé.» Tous uniques, tous différents Si, à la fin des années 1990, Wade Guyton n est sans doute pas le premier à détourner l imprimante comme un outil au service de l art, il est en revanche le seul qui va en faire son médium privilégié. Dans l absolu, la photographie numérique peut aussi difficilement s en passer, mais l imprimante, chez l artiste américain, n est

4 Grandjean, Emmanuel. «Wade Guyton, impression d une exposition», Le Temps, October 7, pas qu un simple objet utilitaire: elle contribue à sa démarche artistique. «Une imprimante sert à deux choses: à reproduire des images et du texte, continue Wade Guyton. C est un processus photographique dans le fond, mais qui a supprimé la chambre noire de la chaîne de production. Mes premiers travaux avaient plutôt rapport avec l écriture. Au lieu de tracer un X ou un U qui sont des lettres très significatives en langue anglaise je les tapais sur le clavier de mon ordinateur. Je les agrandissais, les multipliais et je les imprimais sur de la toile.» La suite? Elle est déléguée à la machine, qui n est pas prévue pour fonctionner avec un autre support que du papier ou du plastique fin. Ce qui va produire une image avec tous les accidents que cela suppose. Taches d encre, mauvais alignement des têtes d impression, lignes laissées vides: les bugs appartiennent au principe de création. «Plusieurs facteurs jouent. L humidité, par exemple, donne des images au traitement très pictural. J assume ces erreurs, mais ce n est absolument pas ce que je recherche. Une fois que la machine est lancée, rien ne l arrête. En fait l œuvre est un fichier que je peux utiliser autant de fois que je le veux, mais qui, une fois imprimé, donnera des résultats toujours différents.» Galerie Accrochage en série, typique de Wade Guyton avec la fameuse image de sculpture et une vue du sol de son atelier. Mamco/Annik Wetter D où ces objets étranges, difficiles à classer. Fruit de la reproduction mécanique, mais de fait toutes uniques, ces pièces ne sont ni vraiment des multiples imprimés, ni des peintures, ni strictement des photographies. Mais un peu des trois à la fois. Certains critiques parlent d abstraction à l ère numérique ou de «peinture digitale». Ils voient dans ces grands monochromes noirs et ces compositions géométriques une lecture de l art qui balayerait l histoire du suprématisme russe du début du siècle jusqu aux tableaux d Ad Reinhardt dans les années Wade Guyton, lui, ne se prononce pas. «Disons que je ne viens pas de la peinture et que je ne me considère pas comme un peintre. Que les gens articulent un discours sur la peinture à travers mon travail ne me dérange pas.»

5 Grandjean, Emmanuel. «Wade Guyton, impression d une exposition», Le Temps, October 7, Atelier mausolée Par contre, qu on le qualifie d artiste abstrait le contrarie davantage. «Cela m a fait beaucoup réfléchir, c est vrai.» Dans son exposition du Mamco, il montre ainsi pour la première fois des travaux représentant des objets réels. Notamment une sculpture en tubulure exposée en mai dans le musée genevois. En fait les restes d une chaise du designer du Bauhaus Marcel Breuer. «Je l avais trouvée dans une rue de l East Village. Elle était en mauvais état et je m étais juré de la réparer, raconte Wade Guyton. Sauf que je ne l ai jamais fait. Au final, je me suis dit que cela ferait une bonne sculpture. Une manière pour cette chaise de quitter son monde fonctionnel pour le champ dysfonctionnel de l art. Je l ai désossée et posée devant une de mes anciennes toiles, une Black Paintings. Et j ai pris une photo avec mon téléphone portable. J aime bien ce rapport entre deux objets venus du passé, mis en scène dans mon atelier.» Galerie L atelier, plus qu un lieu de travail, un mausolée. «C est le meilleur endroit pour voir mes tableaux parce que c est là d où ils viennent.» Au point qu en 2008, pour son exposition dans la galerie parisienne, Wade Guyton va reproduire au sol la réplique du plancher de son atelier new-yorkais. Lequel est aussi le sujet d une série de tableaux exposés au Mamco. «Mon atelier est un lieu capital. Je pense que c est le cas de tous les artistes; c est l endroit de la création, de la réflexion et du repos.» Il se trouve aussi que ces deux dernières années, Wade Guyton y a passé le plus clair de son temps. Il faut dire que dès ses premiers succès, l artiste américain n a pas cessé d enquiller les expositions. Il a été montré dans les plus grands musées du monde. Son œuvre appartient aux plus prestigieuses collections. Une vie pleine de trépidation pour ce natif de la très tranquille ville d Hammond dans l Indiana, qui débarque à New York en 1996 à l âge de 24 ans. «Je n ai pas grandi entouré d art. Enfant, je n y connaissais pas grand-chose. Je ne me souviens pas pourquoi je m y suis finalement intéressé. A New York, j ai suivi des cours à Hunter College. L art conceptuel était ce qui me parlait le plus.» En 2003, il expose pour la première fois ces toiles imprimées. La suite vous la connaissez. Formats géants Avec le temps, les formats des tableaux sont devenus de plus en plus grands. Jusqu à atteindre un gigantisme extrême. A la Kunsthalle de Zurich en 2014, pour son avant-dernière exposition, ses toiles de 15 mètres de long s adaptaient au millimètre près aux parois où elles étaient accrochées. «La confrontation avec l architecture m intéresse. Travailler avec l espace, exercer une tension entre les œuvres et le bâtiment, comme ici au Mamco, est la direction que je prends. Mais après Zurich, j ai ressenti le besoin de faire un break. Il devenait nécessaire de me recentrer, de me ressourcer, d avoir de nouvelles idées. Je me suis retiré pendant deux ans.»

6 Grandjean, Emmanuel. «Wade Guyton, impression d une exposition», Le Temps, October 7, Après Dijon, le résultat de cette retraite s expose donc dans le musée genevois. Wade Guyton a retenu quatre images de base qui se répètent et s associent dans des tailles et sur des rythmes différents. Dans son atelier new-yorkais, l artiste produit ces impressions à la chaîne sur des Epson grand format standards (il est resté fidèle à la marque). «Je plie la toile en deux dans le sens de la longueur pour la faire entrer dans la machine. Une fois l opération terminée, je la retourne pour utiliser la face laissée vierge.» Ce qui explique cette ligne tacite qui sépare symétriquement chaque tableau en deux côtés. Reste à choisir parmi ce nombre incalculable d œuvres, qui parfois se ressemblent, lesquelles seront exposées ou pas. «Comme dans toute production artistique, il y en a de mauvaises. Les plus ratées ne sont pas perdues: je réimprime autre chose par-dessus.» A voir Galerie Wade Guyton, vernissage mardi 11 octobre dès 18h, exposition jusqu au 29 janvier 2017, Mamco, 10, rue des Vieux-Grenadiers, Genève, , www. mamco.ch

7 Galerie «Wade Guyton at Academie Conti», Contemporary Art Daily, September

8 Galerie «Wade Guyton at Academie Conti», Contemporary Art Daily, September

9 Galerie «Wade Guyton at Academie Conti», Contemporary Art Daily, September

10 Galerie «Wade Guyton at Academie Conti», Contemporary Art Daily, September

11 Galerie «Wade Guyton at Academie Conti», Contemporary Art Daily, September

12 Seungeduk, Kim. «Wade Guyton: The Digital Ghosts and The Epiphany of Painting», Space, 586, September 2016, pp SEP Galerie PLATFORM-L: A SPACE THAT COMMUNICATES WITH IMMEDIACY EXHIBITING ARCHITECTURE: THE POWER OF THE SPECTACLE FOR NEW DISCOURSES Casal Balaguer Flores & Prats Architects + Duch-Pizá Nonhyeon Stocker Lee Architetti Gyeorenuri Hall, The Independence Hall of Korea JU architects & planners Interlaced Folding Hyoung-gul Kook + Urban Intensity Architect Wade Guyton: The Digital Ghosts and The Epiphany of Painting MMCA HYUNDAI MOTOR SERIES 2016: KIMSOOJA / ARCHIVE OF MIND APMAP 2016 Yongsan Make Link A Village in the Precincts of Temple, A Duck Village and the Next One: The Hama Village Project Interactive Media Art Becomes Popular?: teamlab World 18,000

13 Seungeduk, Kim. «Wade Guyton: The Digital Ghosts and The Epiphany of Painting», Space, 586, September 2016, pp Art Prism _ Talk 웨이드가이튼 : 디지털유령과회화의강림 Wade Guyton: The Digital Ghosts and The Epiphany of Painting 웨이드가이튼 김승덕 ( 공동디렉터, 르콩소르시움, 컨템포러리아트센터 ) Wade Guyton Seungduk Kim (co-director, Le Consortium, the Contemporary Art Center) Galerie Le Consortium, André Morin Wade Guyton, Exhibition view at Le Consortium, 2016 each work: Untitled, Epson UltraChrome K3 inkjet on linen, cm, 2016

14 Seungeduk, Kim. «Wade Guyton: The Digital Ghosts and The Epiphany of Painting», Space, 586, September 2016, pp Markus Tretter Galerie Wade Guyton, Installation views, So machen wir es: Techniken und Asthetik der Aneignung. Von Ei Arakawa bis Andy Warhol, Kunsthaus Bregenz, Austria, 2011 수세기를지나오는동안, 다양한형태의분신으로거쳐온것이회화의숙명이다. 근대가태동한이후때마다회화는죽어가고있다든지, 사라질것이라든지, 없어져야만한다는주장은끊이지않지만아직일어나지않은일이다. 이러한논의는 인쇄하기 / 그리기두작업모두신중한준비과정이필요하다. 오프셋인쇄에서, 잉크농도의균형을맞추고확정할때까지여러장의종이를돌리는과정은피할수없다. 그러는가운데버려지는종이의 존재들에대한 음모 를꾸몄다. 구성주의적전략은다소어색할수있는 PC 소프트웨어가실험적으로쓰이면서회화라는거대한장르를위해쓰여졌다. 실크스크린시대 -워홀(Warhol) 과크리스토퍼울 (Christopher Wool) 의 좋거나나쁘거나, 도의적이거나아니거나, 부족한이론또는 인쇄된부분들이어떤이유에서미확정의구성처럼하나의 시대 - 를한단계넘어선새로운장난감이자, 매력적이고도 지나친상업화와같은, 양자택일의문제는아니다. 벽이회화를 유형으로자리잡는순간이만들어진다. 인쇄가진행되면서 위험한 ( 그누가이기계가사용하는색소의영구성을예측할 위해놓여있다는것은여전한사실이다. 그것이최악이든 생겨나는층위들과이미지합성, 퇴색, 잉크의얼룩이나튄 수있겠는가 ) 가정용도구상자인잉크젯프린팅기기를웨이드 최선이든그래왔다. 이젤위에서그려진그림은생생하지만, 자국은잠재력있는회화를구성하는전략적요소다. 가이튼은완벽히숙달했다. 작가들은다른방법론을새로이적용하거나그것에익숙해질수 기계의한정된너비 (150cm) 때문에캔버스의정중앙을접어 있는상황속에서디지털툴이작업에활용되고있다. 붓없이그리기 두번출력하면이미지들사이에차이가생겨나고한면은다른 웨이드가이튼 (Wade Guyton) 은 1972 년미국 붓없이그리는것이전후아방가르드실천이후의반복은 면으로부터미끄러져내려오면서중첩되거나왜곡된다. 인디애나주햄몬드 (Hammond) 에서태어나, 1995 년 아니다. 대도시의벽에겹겹이쌓여붙어있는포스터출력물을 18 세기후반기술의여명은수공예에서산업으로의길을 테네시대학교 (University of Tennessee) 녹스빌 (Knoxville) 가져다가찢어작품을만들었던 포스터작가 레이몬드 열었다. 기계는진일보했고, 속도의문제만남았다. 기계는 캠퍼스에서학사학위를받았다 년뉴욕으로이주하여 하인즈 (Raymond Hains), 자끄빌레글리 (Jacques Villeglé), 위험한괴물을생산해내는바이러스에감염될수도있지만, 헌터대학 (Hunter College) 에입학하였으나과정을마치지는 미모로텔라 (Mimmo Rotella) 는새로운시대의영웅들이었다. 가이튼은불확실성과필연성, 구성과거침없음사이의긴장감 않았다 년대초반부터캔버스위에우연적이고기술적 그작업들은도시의현실에서발견된기억과버려진정보들을 안에서거장으로자리잡았다. 프랑스디종에위치한 정교함을동시에다루는디지털프린팅작업을해왔다. 연작 다루는거칠고겹겹이쌓여감춰진것이지만여전히 르콩소르시움에서신작들을공개한웨이드가이튼을만나 기반의회화는형식적인어휘대신알파벳 X 와불꽃, 두터운 수작업이다. 오늘날디지털기술은더욱더많은것을가능하게 보았다. 검정빛표면, 그리고요즘에와서는사실적이고뒤틀어진 한다. 이미지로채워졌다. 그는경매의레코드를깨고경매가에얘깃거리가되면서, 그 회화적추상이후에, 인쇄물을활용한전략은 2000 년대에 세대에서선두주자로자리매김하였지만, 작품제작에있어 이르러새로운발견과디지털프린팅기계에대한새로운 사적이거나공적인영역에서 ( 파라노이아증상없이 ) 평정심을 태도를주도했다. 오해의소지가있는속임수를끌어내고, 유지하였다. 프로그래밍된실수를실행했고, 잘못됐다고인식된밀폐된

15 Seungeduk, Kim. «Wade Guyton: The Digital Ghosts and The Epiphany of Painting», Space, 586, September 2016, pp Art Prism _ Talk 김승덕 ( 김 ): 속도를늦추고, 예전작업을뒤로하고, 더욱신중하고드물게 - 상업적인것뿐아니라, 공공기관의벽까지 - 작품활동을하는것이과중한심리적압박과작업속도를다루는유일한방법인가? 웨이드가이튼 ( 가이튼 ): 심리적압박과속도의문제가반드시부정적인것만은아니다. 오히려어떻게하면이러한힘이작품을만들고예술가를만들어내는가를생각하게한다고보는 않고이미지를회전시키거나늘려긴공간을채운다. 그림에서볼수있는것중에는스튜디오의바닥도있다. 여기에는이전시에서보이는두작품의서로다른지향점이드러난다. 나의모든그림은어떤면에서캔버스앞면이바닥을마주보고있다. 이들은프린터에서나와바닥에쌓이는데, 이과정이그림의표면에자국으로남은것이다. 나는프린터옆에서서다른그림을만드는동안바닥사진을찍었다. 사진속에서 어떠한일이일어나는가? 이미지가그자체를넘어서어떤반향을일으키는가? 그것이배포되는방법, 그리고그것이등장하는맥락과어떻게반응하는가? 이러한맥락의변화에어떠한대안이있는가? 예술작품은어떤면에서는고정되어있다. 그러나그들은또한세상을돌아다니면서시각적으로물리적으로매력적인의미를만들어낸다. 작품은고정된사물이아니며나는최근작업을통해이러한것들을알게되면서그 것이아마도더욱적절할것이다. 개인적으로나는작업을하는 파란테이프와내신발의일부를볼수있을것이다. 이는내가 깨달음을작품에투영시켰다. 데있어서마찰이없는환경을추구하지는않는다. 그러나혼자 뭔가를만드는동안종종발생하는일이다. 이러한바닥그림도 조용히일하고싶은때와공공에공개되어도편하게느끼는 이번에선보인다. 김 : 디지털은고해상도이미지복제의질을높인동시에 시점을스스로결정한다. 저해상도이미지가우리의일상으로침투하게만들었다 ( 구글 김 : 최근 20 년간해온당신의작업방식을어떻게말할수 이미지, 스크린캡처, 저해상도비디오등 ). 당신의작품구성과 김 : 이번아트바젤에서작가의딜러가마련한부스에신작 있을까? 후기인쇄물회화인가, 디지털과컴퓨터가이뤄낸 생산과정은디지털시대의양면모두를다루고있는것인가? 3 점 ( 혹은 4 점 ) 이나오면서자연스럽게이번전시가사전 하이퍼리얼리즘에대한기술의비틀기일까? 가이튼 : 나는둘중어느것도우위에두지않는다. 이미지 공개되었다. 덕분에많은사람이디종에즉각적인관심을 가이튼 : 이질문은나보다더큰그림을볼수있는사람에게 품질의정도를크게신경쓰는편은아니다. 오히려이러한 보였다. 전시는본관 2 개층에서진행된다. 주로마르셀 넘겨야할것같다. 나로서는작품고유의구조를만들기위해 이미지들이전세계로움직이고복제가된다는것이중요하다. 브로이어 (Marcel Breuer) 가디자인한캔틸레버의자 최종적으로더하는수많은세부사항들또는전환점을제외한 작업할때 300dpi 법칙이나이미지복제를위한전문적 B32(Cantilever chair B32, 1928) 의금속튜브부분에 채일반화시키기어렵다. 기준을따르지않는다. 이미지는고해상도화되기도하고 집중한이미지를캔버스에잉크젯으로출력한방대한연작을 최근작업을보면, 내가작품을읽어낼수있는구조를 저해상도화되기도한다. 나는작업을주로휴대전화나노트북 중심으로한다. 신작에대해설명해줄수있나? 만들어내기위해오랜시간을들인다는것이분명하다. 이것은 화면을통해서보며나중에출력할파일을문자메시지에첨부해 Galerie 가이튼 : 나는스튜디오에머물며은밀히작업해왔다. 최근나의몇몇전시에서는공간자체가작업에형태를부여하도록강조했다. 2013년에는작품을쿤스트할레취리히 (Kunsthalle Zurich) 벽길이에정확하게맞춰조정해야만했는데몇개의패널은 15m에달했다. 2014년파리에있는갤러리샨탈크루젤 (Galerie ) 전시에서는갤러리의공간적기억으로부터완전히벗어났었다. 스튜디오내에서압박감을느끼진않는다. 있다하더라도그것은아마내안에서나오거나, 전작에서나오거나, 스튜디오자체의조건에서나온다. 부분적으로는간단한기술과소프트웨어를사용하고, 그것을물리적재료로생각했기때문이다. 디지털혹은기술의유토피아적인가능성에몰두하기보다는일상적으로쓰는도구로서그것들을이용했다. 그것이프린터의크기든스튜디오화물엘리베이터의규격이든, 작업하는데있어서언제나제약이있었다. 나는이런제약들을작업의구조로만들었고, 매개변수에기반해결정을내렸다. 한편으로나는언제나예술작품을어떻게읽고, 경험하는지그역할에관심이있었다. 작품의이런면은기술이나물리적제약으로제한받지않는다. 예술작품의제작과정밖에서는 내게보내기도하는등다양한범위의해상도, 농도, 밀도를활용한다. 이런과정의일부를디종의작업에서도확인할수있다. 이러한비트맵회화중몇몇은예전에다양한각도로확대해그렸던각기다른작업을제작했던것처럼, 파일들을확대한이미지다. 프린터는더나은이미지를생성하기위해계속발전되고개선되고있다. 정기적으로모델들은대체되며, 잉크의기술도변한다. 엡손의최근신조는 당신의시각을넘어선다 이다. 이는인쇄산업에서이미지품질을어떻게인식하는지를보여주는흥미로운사실이다. 지금언급한작업은 2002 년제작한구부러진브로이어의 세스카 (Ceska) 의자조각의사진으로만들었다. 내스튜디오에서조각은 2X4s 1 목재로받친, 벽에기대선검은그림앞에서있었다. 휴대전화로내과거의작품을찍어사진으로복제했고, 문득이이미지가다시회화로표현될수있을지궁금했다. 이이미지는여러가지로내게궁금증을불러일으켰다. 그것은나의작업속으로다른종류의공간을 Le Consortium, André Morin 집어넣은것이다. 어떤면에서는그것을 사진 으로만들기위해 일부러프린터를사용했다. 이새로운이미지는나의오래된 작업두점을돌이켜보게했고, 또그것을변형시켰다. 형태에 의미를함축한조각은이미지로서더욱구체화되었다. 그것은 규모를바꿔실물보다더크게만들어졌다. 그리고검은그림의 재생산은그그림자체의물성에접근하였다. 이새롭고도 사진적인 그림은또한소위 추상화된 검은그림에다른 성격을부여하였다. 나는이이미지가다양하게반복됨으로써전시의골조가되도록 했다. 어떤경우에그림들은전체이미지를재구성하려는 시도를한다. 다른경우에는파일을반복해, 중첩되어나타난다. 또다른경우, 다른공간의그림들로부터추출한비트맵패턴파일로이그림의절반을채운다. 아래층에는리넨천을자르지 Wade Guyton, Exhibition view at Le Consortium, 2016 Untitled, Epson UltraChrome HDR on linen, cm, 2015

16 Seungeduk, Kim. «Wade Guyton: The Digital Ghosts and The Epiphany of Painting», Space, 586, September 2016, pp Galerie 김 : 회화의마법은그림이마무리되기전까지스튜디오안에서그려지는동안작업의개방성, 우연적인사고, 왜곡, 오염을기꺼이받아들이는과정, 그리고긍정적인그림의강림에있다. 먼지가날리면서뭔가잘못출력되는순간, 이작업은디지털파일을넘어선회화작업이되는것이다. 페인팅 이라는용어가여전히당신과상관이있는것인가? 가이튼 : 나는회화에기반을둔작가가아니고, 회화의물질적성격에는그리관심이없다. 지적차원에서다른이들이재료의무게나점도에열광하는것을충분히이해한다. 나는회화라고부르는유형, 유전적정보가매우풍부하고밀도가높은역사적형식에관심이있는것이다. 나는변이를유발하는요소를변형시키고흡수하기위해스스로윤곽을그려내며모습을바꿔나가는것을선호한다. 회화자체는관념적이지만유연하고회복력이있으며, 반대와재정의를허용할만큼충분히실리적이다. 내작업이어떻게그림이면서도그림이아닌지, 회화의이념적논란에어떤태도로대처할것인지, 어떻게하면순수한정체성에대항하면서도담론으로들어갈것인지, 또디지털, 극사실적, 조각적, 시간기반과같은다른정체성등을어떤방식으로강조해나갈것인지를생각하는것은언제나가치있는일이다. 한편으로, 그들은출력되지만출력물은아니며, 사실적이지만사진은아니고, 그림이지만회화는아니다. 작품들은불명료한상태속에서안정적이지만동시에자기입지에온전히안주할수만은없다. 이러한회화는자기변화의과정을자체기록한다. 먼지, 스튜디오에서의과정, 그리고이러한모든사건들이작품의일부가된다. 그들을어떻게정의할지어느정도는관객의관점에달린것이다. 김 : 시각적요소로캔버스표면에층위만들기 ( 그리고겹치기기법 ) 는수십년간탐구되어온것이다 ( 한예로프란시스피카비아 (Francis Picabia) 가있다 ). 당신스스로는구성주의적전통에서어디쯤있다고생각하나? 가이튼 : 구성주의에속하는작품들은대체로그자체의절차적논리에따르기때문에선택할수있는방법이몇가지로국한된다. 파일들은왼쪽에서오른쪽으로또는위에서아래로출력되어야한다. 리넨은접어야하고봉제선은언제나중앙에있어야한다. 대부분캔버스는한쪽면에만프린트된다. 때때로이것은연속적으로일어나며, 어떨땐미뤄질수도있다. 간혹출력이불완전할때도있다. 이는구성주의적선택에서생기는일들이지만, 그것이전부는아니다. 이를온전히따르는것은작업에방해가될뿐이며나는절차만큼이나공정에서일어나는모든일이작품을이룬다고생각한다. 포토샵은이미지를층으로본다. 그리고우리는스크린으로겹쳐진윈도화면들을바라본다. 이미지는눈앞에서보였다사라졌다하며미끄러져간다. 이것과온전히같지는않지만, 나의그림은이와유사성이있다. 김 : 이미지나대상을선택하는과정은매우신중하게결정되고여러번의실험에걸쳐연작에포함되기도한다. 이러한 Le Consortium, André Morin Wade Guyton, Exhibition view at Academie Conti, Vosne-Romanée, 2016 Untitled, Epson UltraChrome K3 inkjet on linen, cm, 2016 요소들은어떻게선정하나? 가이튼 : 이는실제보다더전략적으로들릴것이다. 실험을거듭할수록이미지들은그당시에생각했던것보다더쓸모있거나흥미로워진다. 나는특정이미지에지나치게중요성을부여하는것에신중한편이다. 때때로그것은주변의것이거나쉽게접할수있다. 때로는키보드의키가될수도있고, 책상위의책에서찾은것이기도하다. 김 : 전시는큰계획아래마련되었다. 이번전시의형식적전략을어떻게설명할수있나? 디종에서는다른천장고를갖는두공간에서각기다른높이의작품을내놓았다. 아래층의미술관느낌과비교하면위층은상대적으로사적공간처럼보인다. 이것이이야기의시작인가? 가이튼 : 천장높이의차이는이번전시를계획하는데주요요소였다. 큰작품을아래층에놓았고, 작은작업을위층에놓았다. 나는사적또는미술관규모에서작품이해석되길의도하진않았다. 대다수작품이건물에맞춰만들어지지않기때문에, 나는건물이어떻게작품을보여줄것인지결정하기로했다. 벽이나공간을활용할수있는방법이많지않았기에, 이번전시직전에열린레미자우그 (Remy Zaugg) 전시를위해디자인된것처럼보이는건물상층부를쓸수있어좋았다. 많은경우에공간들이어떤이야기를만들수있도록했다. 그러나가끔전시를위한구조가공간자체로부터드러나기도한다는것을발견했다. 그래서이번경우에는공간을유심히보았다. 들어오자마자 보게되는첫그림은바닥에놓여있다. 설치중에깨달았는데, 작품이기대어있는벽이애초에작품을매달기엔너무낮았다. 그래서바닥에놓았다. 이것은미리계획된것은아니었으나, 관객이서있는자리로부터작품과전시공간안팎에서관심을이끄는효과가있었다. 김 : 유명세, 가격, 미술시장에대한질문을빼놓을수가없다. 당신은 ( 예를들어아시아와같은 ) 중요한정부기관들이미술시장을그들의경제에서중요한요소로성장시키려하는시도와주식상장된여타의제품들처럼미술에쏟는투기를북돋는것을도외시하지않는다. 우리는이제 ( 예술가가새로운거물이나아이콘으로등장하는 ) TV 교양프로그램또는예술이일정부분을차지하고돈세탁에기여하는세계금융시장에살고있다. 브루클린은새로운월스트리트인가? 가이튼 : 르네상스이후에예술은돈과권력과의관계를잘다루어야만했다. 새로운것은아니나오늘날대부분이예술의금융화와예술가를유명인사처럼홍보하는게다소당황스러운것일뿐이다. 예술의금융화와함께후기자본주의의부정적인면이집중되는것을볼수밖에없다. 때로예술은이러한문제들을효과적으로영향력있게드러낼수있다. 다른한편으로는그렇게하진못하더라도, 산만한것들을무시해버리거나, 불에연료를끼얹는것을막고, 단지예술에집중하는것에효과가있을수있다. 또한오늘날우리를당황하게하는것들이미래의미술사가들을흥분시킬수도있다. 91

17 Seungeduk, Kim. «Wade Guyton: The Digital Ghosts and The Epiphany of Painting», Space, 586, September 2016, pp Art Prism _ Talk Galerie Wade Guyton, North Wall, Bowery Studio, WG3505, Printed adhesive vinyl applied to a built wall with dimensions of cm, Edition of 5 plus 2 AP, 2016 Multiple avatars are a fate faced by painting throughout the centuries, and even if, since the modern era, it has been claimed in every decade that painting is dying or is predicted to die, it still hasn't happened. It doesn t mean that it is good or bad, moral or immoral, due to this or that a lack of theoretical discussion or excessive commercial trading it is a fact that walls still desire paintings. And this is the way it has long been, for better or for worse. Easel painting is vivid, but other modes may be made available to artists and employed by painters: digital tools are now at work. Wade Guyton was born in 1972 in Hammond, Indiana. He received a BA from the University of Tennessee, Knoxville in He moved to New York in 1996 to attend Hunter College, and since the early 2000s he has been working with digital printers to create works on canvas, dealing with chance and technological precision. Series-based paintings reduce a formal vocabulary to X, flames, deep black surfaces and more recently photographic distorted imagery. He became, through record-breaking auction stories, the leader of a generation, maintaining control (without paranoia) over production, privately and publicly. To Print or To Paint Both require patience in preparation and set-ups. In an offset lithographic business, running sheets of paper to balance the ink levels until they can be agreed and fixed is a normal and inevitable part of the process, up to the point that wasted paper or undecided compositions become additional printed elements to be saved for reasons that may at the time be unclear. Layers of printing runs, super impositions, faded away colours, stains, or splashes of ink are all the strategic components for potential paintings. Painting Without Brushes Although not exactly a common process in post-war avant-garde practices: the affichistes Raymond Hains, Villeglé, and Rotella grab and tear down layers of posters tacked to the walls of big cities, and can be considered the heroes of the new era. They are still manual, wild, and undercover, dealing with found memories of cities reality and decayed ephemera. Digital technologies allow much more within this style. Post painterly and post printed matter strategies lead in the 2000 s to new inventions and new attitudes towards digital printing machines. Pioneering strategies of illusion, running programmed mistakes, and plotting against decaying figures, the compositional strategies work with awkward PC software to be twisted to the service of the grand genre of painting. A step beyond the timing of the silk screen the warholia and the christopherwoolia ink jet printing machines are the new toys, (who can predict the permanency of colour pigments used in these machines), sexy and risky domestic toolboxes which Wade Guyton has mastered to perfection. Due to the limited width of the machine (around 150 cm) the printed canvas is folded in its middle and printed twice, causing a discrepancy in the image(s) and with one part sliding down from the other in a duplicated/ distorted play. Machinery is clearly the step forward the mechanical loom at the end of the 18th century marked the passage from craft to the industrial all as a question of speed. However, machines can be given viruses to produce hazardous monsters, and Guyton has become a master in it, in a perpetual tension between the random and the necessary, between composition and laisser-aller.

18 Seungeduk, Kim. «Wade Guyton: The Digital Ghosts and The Epiphany of Painting», Space, 586, September 2016, pp Galerie Seungduk Kim (Kim): Slowing down, with certain things remaining behind us, being more careful and prizing the rare not only in commerce but on the walls of public institutions is this the only way to deal with too much pressure and the rapid rate of progress? Wade Guyton (Guyton): Pressure and speed are not necessarily negative things. It s maybe more pertinent to think about how these forces shape artworks or artists. Personally, I don t long for a frictionless environment in which to work. However, I do make decisions about when I want to work privately and when I feel comfortable about being more public. Kim: You decided, along with the guest curator Nicolas Trembley, to make a new public display of your new works at Le Consortium, in Dijon, France. Why there? Guyton: I have always respected the history of exhibitions at Le Consortium, so when the invitation came I was happy to consider it. And of course I was also promised great food and wine in Burgundy, so the decision was clear. Kim: The exhibition has been teased, by some, by allowing 3 (or 4) new works to appear in the booths of your dealers at Art Basel. That brought immediate attention to the exhibition in Dijon. Across two floors of the main building a large series of ink-jet printed canvases have been spread, whose images have been mainly taken from a the tube part of the famous Marcel Breuer Cantilever chair B32 (1928). What are your thoughts on the genesis of these new paintings? Guyton: Recently, I ve worked more privately in the studio. In my last few exhibitions the spaces themselves placed pressure on the artworks, giving them form. In 2013, paintings became the exact lengths of the walls of the Kunsthalle Zurich, with some panels reaching fifteen metres. In 2014, the show at Galerie in Paris came out of the spatial memory of the gallery. In the studio, there is a less specific pressure. It may come from myself, from previous works or from the conditions of the studio itself. The paintings you mention were made using a photograph of a sculpture from 2002 that is a bent Breuer Ceska chair. In the studio, the sculpture was standing in front of a black painting propped up on 2x4s 1 and leaning against the wall. I was taking pictures of my work with my phone and then wondered if this image could be used for a painting as well. The image intrigued me for a number of reasons. It introduced a different kind of space into my work. In a way, it uses the printer with its intended purpose in mind to make a photograph. It also brought two older works of mine back into view and transformed them. The sculpture, which already had such bodily connotations, became even more figurative as an image. It changed scale and became larger than life. The reproduction of the black painting approached the materiality of the black paintings themselves. This new more photographic painting also threw a different light on the black painting that was supposedly abstract. I decided that this image would structure the show in various iterations. In some cases, the paintings attempt to reconstruct the entire image. In others the file is repeated, appearing doubled. In another a bitmap pattern file of paintings from another room migrate into one half of a painting. Downstairs the linen is not cropped and the image is rotated and stretched to fill a very long room. Visible in these paintings is also the floor of the studio, which appears in a different orientation in two of the other works in the show. All of my paintings at some point lie face down on the floor. They come out of the printer and pile up on the floor, leaving its traces on the surface of the paintings. I took a photo of the floor where I was standing while making other paintings, next to the printer in the image you can see blue tape and my shoe is also partially visible. It was often what I would be looking at while making something else. These floor paintings also went into the exhibition. Kim: To return to your last two decades of work, how would you characterize your formal strategy(ies)? Perhaps as post-printed matter paintings? Twisting technology when it comes to digital and computerdriven work into a kind of hyper-realism? Guyton: I should leave this question to someone else who will be able to see the bigger picture. It s difficult to generalize without omitting lots of important details or distractions that in the end give the work its texture. However, looking at the current work it is clear that I have had to work a long time to be able to create a structure in which the artwork may become legible. This is in part through using simple technology and software, and through thinking about them as you would physical materials. Rather than engaging with the utopic possibilities of the digital or technological I have treated Raymond Hains, sans titre, 1966 them as everyday tools. There are always limitations in working, whether it is the size of the printer or the dimensions of the studio s freight elevator; I have used those limits to structure the work and to make decisions based upon these parameters. On the other hand I ve always been interested in how an artwork functions and how it is read, how it is experienced. This aspect of the work is not limited by technology or by physical limits. What happens outside the process of making the artwork? How does an image reverberate beyond itself? How does it interact with its method of distribution and the context in which it might appear? What alterations happen to a work through these contextual shifts? Artworks are sticky in a way. They produce but also attract meaning through the way they travel in the world, either virtually or physically. They are not static objects. I think the more recent works acknowledge this more directly and absorb this knowledge into themselves. Kim: The digital brought high resolution rendering of images for a far better reproduction quality and at the same time the low resolution images are totally invading our daily life (Google images, screen grabs, low res videos) Your composition and production process has been dealing with both sides of the digital era? Guyton: I don t privilege one over the other. The range of quality of images isn t disturbing to me. What is significant is the way these images travel and replicate. In practice, I don t really follow the 300dpi rule or professional standards for image production. Things get up-resed or down-resed. I look at a lot of my own work through my phone or on a laptop screen. In some cases I can text a file to myself to print later, and I use a range of resolutions or depths or densities. A part of this process is demonstrated in the works in Dijon. Some of these bitmap paintings are zoomed-in images of files I have used for other paintings in the past that at a different magnification produce different kinds of works. The printers themselves are being developed and improved in order to produce a better image. The models are replaced regularly and the technology of the ink changes. Epson currently has the motto Exceed your vision. It s interesting to see how businesses perceive image quality. Kim: The magic of painting also lies in its openness and the welcoming process of accidents, distortion, dirtying the freedom of the studio phase until its completion, and the ultimate epiphany of the painting. Dust, matter and those moments of physical misprinting take the work as a painting far beyond the printing process of a digital file. Is the word painting still relevant to you? Guyton: I don t come from a background in painting and I don t have much interest in the materiality of paint. On 93

19 Seungeduk, Kim. «Wade Guyton: The Digital Ghosts and The Epiphany of Painting», Space, 586, September 2016, pp Galerie 94 Art Prism _ Talk Ron Amstutz an intellectual level yes, I have an appreciation, and I love it when other people are excited about the weight or viscosity of the stuff. On a material level, personally I just never got into it. I am interested in this thing we call Painting: the category, the densely historical format that has lots of genetic information. I like this shape-shifting thing that allows its own contours to morph and absorb its aggressors. Painting is ideological but also elastic and resilient, and pragmatic enough to allow dissent and redefinition. For me it has always been valuable to think about how these works that I make are and are not painting; how they stand next to ideological battles of painting and get pulled into the discourse but also resist pure identification; how they still assert their other nature as digital, photographic, sculptural, time-based. In some ways they are prints and not prints, photographs and not photographs, painting and not paintings. The works are comfortable in this place of uncertainty while at the same time never become totally complacent about their status. These paintings record their own process of becoming. The dust, the process of the studio, and all these events are part of what they are. How they are defined depends upon the point of view of the viewer. Kim: Layering (and superimposing) visual elements over the surface of the canvas has been explored over decades (Picabia to quote one voice among many ). Do you locate yourself within a certain compositional tradition? Guyton: Composition-wise, the works usually respond to their own procedural logic. There are few choices for me to make. The files are printed left to right, top to bottom. The linen is folded and the seam always lands in the centre. Usually a canvas is printed on one side, then the other. Sometimes this happens sequentially, other times there can be a delay. There are times when the printing is incomplete. This appears to be a compositional choice, but it is not. It is an interruption to the job. I think of the work as processing as much as a process. Photoshop sees images as layers, and we look at windows overlapping on our screens. Images slide over each other in and out of view. While not exactly the same, there are similarities in my paintings. Kim: The selection of motives (images, objects) may have been decided and tested very carefully (X, flames, U, found images) as they will be kept for number of works stored into series. How do you scout these elements? Guyton: This sounds more strategic than it is. Over time certain images were useful or intriguing depending on what I was thinking about at the time. I would be cautious about giving any image too much importance. Often they were just around and within reach. In some cases, they were a key on the keyboard, in other cases found in a book on my desk. Kim: Exhibitions are master-planned. How would you describe the formal strategy of the exhibition? In Dijon the two spaces, with different ceiling heights, lead you to scale the paintings across two heights and this makes the upper floor more domestic and the ground level more of a museum. Is this the beginning of a narrative? Gutyon: The difference in the ceiling heights was an obvious factor in planning the show. Larger works could fit downstairs and smaller ones upstairs. I didn t consider whether they read as either domestic or museum-scale. While the majority of the works were not made for the building, I did make decisions about how the building was to be used to present the works. Very little alteration was made to the walls or spaces, and I liked using the architecture upstairs, which I believe had been designed for a Remy Zaugg exhibition that occurred before mine. In many cases, I let these rooms dictate what the narrative should be. Often I find that structures for an exhibition are revealed in the space itself. So in this case I listened to the space. The first painting you encounter is sitting on the floor. I realized, during the installation, that the wall it leans against was too short to hold the painting in the way I would have wanted if it was hanging, so I placed it directly in the floor. This wasn t planned in advance but it had the effect of drawing your attention to the space inside and outside the painting and the ground on which you were standing. Kim: We cannot avoid the questions that govern fame, price, secondary markets and so on. You do not ignore the fact that there are serious governmental agencies (in Asia for instance) trying to promote the art market as an important component of their economy, encouraging speculation on it as any other stockmarketed goods. Are we now in a sophisticated TV series (with artists as the new tycoons, iconic figures) or in a global financialized world where art plays its part and contributes to the laundering of money laundry? Is Brooklyn the new Wall Street? Guyton: Art since the Renaissance has had to deal with its relation to money and power. This isn t new at all. Much of what is happening today with the financialization of art and the publicity of artists as celebrities is rather embarrassing. It s not hard to see the convergence of the worst aspects of late capitalism with the financialization of art. Sometimes art can address these issues effectively and powerfully. Other times it can t and maybe it s useful to just ignore the distractions, resist fueling the fire and to just focus on the art. However, it s possible that what embarrasses us today will excite art historians in the future. Wade Guyton, Installation views, OS, Whitney Museum of American Art, New York, NY, 2012

20 Seungeduk, Kim. «Wade Guyton: The Digital Ghosts and The Epiphany of Painting», Space, 586, September 2016, pp Ron Amstutz Galerie Wade Guyton, Installation views, OS, Whitney Museum of American Art, New York, NY, 인치스탠다드로제작된나무토막으로페인팅이바닥에직접닿지않도록임시밑받침대로쓴다. 1. A 2 4 is a common US standard size piece of wood. It refers to 2 inches by 4 inches. Wade Guyton uses them to hold up the paintings so they don t sit directly on the floor. 웨이드가이튼은인디애나주햄몬드출신으로지금은뉴욕에서살며작업한다. 디종의르콩소르시움을포함해뉴욕휘트니미술관, 쿤스트할레취리히, 퀼른루드비히미술관, 프랑크푸르트포르트쿠스, 비엔나의시세션에서개인전을열었다. 이외주요그룹전으로는카네기인터내셔널 (2013), 베니스비엔날레 (2013), 리옹비엔날레 (2007), 휘트니비엔날레 (2004) 가있다. 그의작품은뉴욕휘트니미술관, 파리조지퐁피두센터, 뮌헨피나코덱현대미술관, 바젤현대미술관, 스톡홀름현대미술관, 샌프란시스코현대미술관, 뉴욕현대미술관에소장되어있다. 김승덕은유럽에서거주하며삼성문화재단 ( 현삼성미술관리움 ) 자문큐레이터 (1993~2000) 와파리퐁피두센터객원큐레이터 (1996~1998) 를지냈다. 2000년프랑스아트센터르콩소르시움에서국제전시기획감독을시작으로, 현재공동디렉터이다. 플라워파워문화수도릴전시 (2004), 발렌시아비엔날레 (2005), 안양공공예술프로젝트 (2007), 야요이쿠사마순회전 (2008~2009), 린다벵글리스순회전 (2009~2011) 등다양한국제전시프로젝트의공동커미셔너이자큐레이터로활동하고있다. 2013년베니스비엔날레한국관커미셔너를맡았고, 2011년부터 2013년까지카타르도하도시계획의자문위원으로활동했다. 파리팔레드도쿄의프로그램자문위원을맡고있으며, 2015년이래아시아문화전당에서공용공간의예술감독으로 ( 후랑크고트로감독과함께르콩소르시움팀으로 ) 일하고있다. Wade Guyton (b. 1972, Hammond, Indiana) lives and works in New York. Solo exhibitions include Le Consortium, Dijon; the Whitney Museum of American Art, New York; Kunsthalle Zurich; Museum Ludwig, Cologne; Portikus, Frankfurt; and the Secession, Vienna. Major group exhibitions include the 2013 Carnegie International; 2013 La Biennale di Venezia, 2007 Biennale de Lyon, and the 2004 Whitney Biennial. Public collections include the Whitney Museum of American Art, New York; Centre Georges Pompidou, Paris; Pinakothek der Moderne, Munich; Kunstmuseum Basel; Moderna Museet, Stockholm; San Francisco Museum of Modern Art; and the Museum of Modern Art, New York. Seungduk Kim was born in Korea, lives in Paris. Joined Le Consortium, the contemporary art center (Dijon, France) in 2000, now works as Co-Director since Associated Curator in Collection dept. at the National Museum of Modern Art,Georges Pompidou Center ( ); Project Director/ Art Consultant on an overall art strategy for a new urban development in Doha, Qatar ( ); Committee Member of Programmation for the Palais de Tokyo in Paris since 2011; Commissioner/Curator of the Korean Pavillion for the Venice Biennale And among many important international shows; Lynda Benglis traveling shows; Yayoi Kusama traveling shows, APAP 2007, Valencia Biennale 2005, and Flower Power, Lille Asia Culture Center, artistic director for common space area (along with Franck Gautherot as Le Consortium team) since 2015.

21 Galerie Nicolas Trembley. «Dans l atelier de Wade Guyton», Numéro, n 174, June-July, 2016, pp

22 Galerie Nicolas Trembley. «Dans l atelier de Wade Guyton», Numéro, n 174, June-July, 2016, pp

23 Galerie Nicolas Trembley. «Dans l atelier de Wade Guyton», Numéro, n 174, June-July, 2016, pp

24 Galerie Nicolas Trembley. «Dans l atelier de Wade Guyton», Numéro, n 174, June-July, 2016, pp

25 Galerie Nicolas Trembley. «Dans l atelier de Wade Guyton», Numéro, n 174, June-July, 2016, pp

26 Galerie Brett Sokol «All That Glitters», Art Basel, December, 2014, p. 124.

27 Jean-Max Collard. Autocopie, Les Inrockuptibles, n 97, March 26, Galerie, autocopie Peut-on être radical deux fois? La preuve que oui avec l artiste américain Wade Guyton. P our sa nouvelle expo parisienne à la galerie Crousel, l artiste américain Wade Guyton a reproduit à l identique la première exposition réalisée au même endroit six ans auparavant. On y retrouve un sol en contreplaqué peint en noir et dix peintures monochromes noires posées exactement aux mêmes endroits. La différence tient au statut de cet ensemble : il y a six ans, les toiles étaient vendues séparément, aujourd hui, le tout forme une seule et même installation. Certes, Guyton n est pas le premier à refaire l expo : l été dernier à Venise, la Fondation Prada avait organisé un minutieux remake de When Attitudes Become Form curatée par Harald Szeemann en 1969, nous rappelant que la reconstitution d expositions est une pratique instituée des historiens d art. En 1997, Maurizio Cattelan avait reproduit à l identique chez Perrotin le show de l artiste Carsten Höller qui exposait à côté, chez Air de Paris. Plus récemment, chez Art : Concept, le New- Yorkais Jakob Kassay avait rejoué en 2013 l expo montrée en 2010 mais cette redite était aussi alors le signe d un artiste un peu perdu, coincé dans une production à la chaîne mais successful de toiles métalliques argentées. Ici, le résultat est d une beauté plastique, d une force visuelle époustouflantes. Tant il est vrai que la sérialité et la répétition sont les armes dures de la radicalité conceptuelle. Less is more. Pomme C, pomme V : le geste est d autant plus simple que les toiles de Wade Guyton sont injectées d encre noire par des imprimantes Epson que l artiste maltraite en multipliant les passages. Il lui aura donc suffi de réutiliser le fichier numérique utilisé en Mais entre-temps, la technologie a évolué, passant d une Epson 9600 au modèle 9900, et d une qualité d encre à une autre, si bien que l artiste doit updater sa pratique et brutaliser ces machines toujours plus sophistiquées pour provoquer à la surface de la toile accidents, taches, défauts d impression. Et depuis, également, Wade Guyton s impose comme le plus puissant de la nouvelle génération des peintres new-yorkais. Jean-Max Colard Vue de l exposition Wade Guyton. Photo Florian Kleinefenn, courtesy de l artiste et galerie, Paris 26 avril-7 juin 2008 jusqu au 19 avril à la galerie, Paris III e, crousel.com les inrockuptibles 97

28 Galerie Erik Verhagen. Wade Guyton bis repetita placent?, Artpress, n 415, October 2014, pp

29 Galerie Erik Verhagen. Wade Guyton bis repetita placent?, Artpress, n 415, October 2014, pp

30 Galerie Erik Verhagen. Wade Guyton bis repetita placent?, Artpress, n 415, October 2014, pp

31 Galerie Erik Verhagen. Wade Guyton bis repetita placent?, Artpress, n 415, October 2014, pp

32 Galerie Erik Verhagen. Wade Guyton bis repetita placent?, Artpress, n 415, October 2014, pp

33 Galerie Erik Verhagen. Wade Guyton bis repetita placent?, Artpress, n 415, October 2014, pp

34 Galerie Dan Fox. «Wade Guyton», Frieze, n 164, July August 2014, p. 217.

35 William Massey. «Wade Guyton Printing system», Officiel Art, Juin-Aout Page 1/4 GUYTO Galerie PRINTING 'i SYSTEM A I invitation de la Fondation François Pinault, Wade Guyton (né en 1972 ai Etats-Unis) a conçu à Panta délia Dogana une oeuvre pour le "Cube", espac central de l'édifice. Peintre sans pinceau qui a fait d'une imprimante son outi de travail, lartiste soumet ses oeuvres aux aléas d'un m. processus mécanique qui forme et déforme les images. 'repos recueillis par ^William Massey ujet sont reproduites à partir i casion de l'ex position éponyme à fo Fondation François Pinault, Vem;

36 Galerie William Massey. «Wade Guyton Printing system», Officiel Art, Juin-Aout 2014.

37 William Massey. «Wade Guyton Printing system», Officiel Art, Juin-Aout Page Galerie On vous a propose de creer une nouvelle œuvre pour le cube central de Punta délia Dogana à Venise. Vous avez choisi d'exposer dans quinze tables vitrines vos "dessins" des pages arrachées a des magazines ou des livres d'art que vous avez fait passer dans une imprimante à jet d'encre. De quelle manière ce travail s'insère-t-il dans votre pratique? Pour cette exposition a Venise, j'ai décide de reinstaller une œuvre que j'avais réalisée pour Sécession en 2011 Zeichnungen fur em kleines Zimmer (dessins pour une petite chambre) Les dessins étaient exposes a l'étage, dans le Grafisches Kabinett Comme il s'agit d'une petite salle qui ne pouvait contenir que quatre vitrines, beaucoup de dessins étaient invisibles car j avais dû les empiler Au total l'œuvre compte cent seize dessins sur papier Vu sa surface, le Cube de Punta délia Dogana m'offrait une occasion exceptionnelle d'exposer l'intégralité de la serie, ainsi que la possibilité de la decouvrir vue d'en haut Les artistes qui m'ont précède ont utilise les murs, j'ai décide, quant a moi, d'utiliser le sol La salle peut recevoir quinze vitrines, aussi j'ai pu repartir les cent seize dessins dans tout l'espace Cela fait plus de dix ans que je réalise des dessins avec cette technique, aussi cela n'a rien de nouveau Et j'ai l'habitude d'adapter mon travail aux salles dans lesquelles il est presente J ai expose des œuvres sur papier dans différents lieux - le musee Ludwig a Cologne, la Kunsthalle de Zurich, le Whitney Muséum Les dessins sont réalises en imprimant, sur des pages arrachées a des livres, soit des aplats ou des formes obtenus sous Microsoft Word, soit des informations figurant sur des pages Web ouvertes par mon navigateur Maîs il arrive parfois que des pages ne comportant aucune impression se retrouvent par hasard dans la pile Croyez-vous au pouvoir des formes? Les formes que vous tracez sur votre ordinateur sont-elles le resultat d'une decision artistique consciente? Je ne sais pas tres bien ce qu'est le pouvoir des formes Dans mon travail, les formes ne sont que les véhicules de l'encre II y a si peu de volonté qui entre en jeu dans ces dessins qu il serait embarrassant de parler de ' design", de demarche délibérée Cela se reduit souvent a la simple frappe d'une touche Maîs c'est moi qui prends les decisions, et généralement de maniere consciente Votre travail semble explorer une sorte de paysage visuel de l'"ère des ecrans" et remettre en question la perception du spectateur en remplaçant le pinceau par l'imprimante. Comment en êtes vous venu à inventer ces nouvelles règles du jeu ' Je ne me suis quasiment jamais servi de pinceaux, aussi il n'y a de ma part aucun acte de remplacement d'un outil par un autre Quand j'ai commence a realiser ces dessins, j'avais le sentiment qu'ils avaient un rapport avec l'écriture, et le clavier, ici comme dans la plupart des aspects de notre pratique de l'écriture, a remplace le stylo "DANS MON TRAVAIL, LES FORMES NE SONT QUE DES VÉHICULES DE L'ENCRE IL Y A PEU DE VOLONTÉ QUI ENTRE EN JEU DANS CES DESSINS" Mes œuvres imprimées ne peuvent donc voir le jour que parce que nous sommes dans l"'ere des ecrans', je ne vois pas comment elles pourraient exister sans cela Elles ressemblent parfois a des peintures ou a des dessins, maîs au fond ce sont surtout des objets d'une espèce différente Le fait que je les qualifie de dessins ou de peintures n est qu'une sorte de sténographie, un raccourci, et en tout cas cela ne doit pas limiter leur identité On pourrait tout aussi bien les qualifier de photos ou de sculptures, ce qui ferait alors ressortir d autres aspects importants de ces œuvres On utilise souvent pour décrire votre travail un vocabulaire qui évoque une certaine forme de violence. On dit par exemple que vous trompez les imprimantes pour qu'elles impriment sur des supports que vous choisissez au préalable, que vous manipulez les images que vous arrachez dans les livres, que vous jouez avec les limites de la machine On fait remarquer que l'encre peut baver et que vos œuvres sont en fait le resultat du hasard, de l'échec et d'incidents imprévus survenant pendant l'impression. Peut-on considérer votre travail comme un combat a la fois contre et avec la technologie? Tout cela parait singulièrement dramatique ' II y a toujours combat quand il s agit de realiser de I art de qualite, et comme la technologie contemporaine fait partie intégrante de mon travail, il peut lui arriver d'être prise dans la bagarre Maîs ce n'est qu'un aspect du travail II s'agit autant d'un enregistrement que d'un processus de production, et les peintures et dessins sont le resultat de ce processus - tout en n'étant encore qu un commencement On a pu vous définir comme adepte de l'appropriation, diriez vous pour autant que vous êtes lie a une tradition particulière? Etes vous plutôt radical ou plutôt traditionnaliste? Si j'étais vraiment un artiste appropnatif, je serais sans doute en mesure de repondre a cette question ' Ce projet a donné lieu a la production d'un livre édite par Walther Konig. Comment l'avez vous conçu? Le livre constitue le second volume des photographies que j'ai faites de mes dessins sur le sol de ma cuisine Pour le premier volume, publie pour Sécession, j'étais arrive en haut de la pile Le second volume reprend la ou le premier s était arrete, et quèlques evenements surviennent en cours de route AVOIR "Prima Materia",jusqu'au 31 decembre, Punta délia Dogana Dorsoduro, 2, Venise, arrêt vaporetto Salute (linea 1), www palazzograssi it Wade Guyton est représenté par les galeries Chantal Creuse! (Pans), Gisela Captain (Cologne), Francesca Fia (Zurich), Cio Marconi (Milan) et Friedrich Petzel (New York)

38 William Massey. «Wade Guyton Printing system», Officiel Art, Juin-Aout Page 4/4 Galerie

39 Galerie Matthew Collings. Art featured Mexico, Art Review, February 2014, p

40 Galerie Matthew Collings. Walter Benjamin on Wade Guyton, Art Review, February 2014, p

41 Galerie Matthew Collings. Walter Benjamin on Wade Guyton, Art Review, February 2014, p

42 Wade Guyton, Triangulation, July 2, source=feedburner&utm_medium=feed&utm_campaign=feed%3a+triangulationfeeds+%28 TRIANGULATION+BLOG Galerie «Wade Guyton s paintings are ostensibly black monochromes. Made with an Epson large format printer in the same manner as the paintings he has been producing for the last years, these works are printed on pre-primed linen intended for oil painting and not inkjet printing. As such, the images, marks, and letters Guyton continues to employ are absorbed into the porous material and disperse the ink rather than allowing it, as in his previous works, to «sit on the surface.» Upon discovering this difference in the ink s interaction with the surface, the artist began to overprint his own paintings with a Photoshop-drawn rectangle «filled» with the color black. By repetitively overprinting, an unexpected painterly process developed.

43 Wade Guyton, Triangulation, July 2, source=feedburner&utm_medium=feed&utm_campaign=feed%3a+triangulationfeeds+%28 TRIANGULATION+BLOG As each piece is created, they transcribe a visual record of the printer s actions: the trace of movement of the print heads, the varying states of their clogged-ness, the track marks of the wheels on wet ink all mixed with the scratches and smears on the paintings from being dragged across the floor to be fed back again into the printer.» - Friedrich Petzel Gallery. See more; Galerie