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PARIS | CARPENTERS WORKSHOP GALLERY

TRIBALCARPENTERS WORKSHOP GALLERY I GALERIE BERNARD DuLON

DESIGN & TRIBAL ARTS | 26 MAY – 27 AUGUST 2016

PRESS KIT

PRESS OPENING THURSDAY 26 MAY 2016, 5 – 9 PM

54 RuE DE LA VERRERIE, 75004 PARIS

1. MASK OF PRINCESS NGON | BEKOM PEOPLE STYLE OF THE KINGDOM OF KOM

2. ATELIER VAN LIESHOUT | SENSORY DEPRIVATION SKULL | 2007

press contacts

Americas Elizabeth Clark, Stefan Golangco, Andrey Furmanovich | + 212 228 5555 | [email protected]

World Lindsey Marsh, Timothée Nicot | + 33 1 71 19 48 01 | [email protected] | [email protected]

TRIBAL | PRESS KIT PARIS | CARPENTERS WORKSHOP GALLERY

TRIBALCARPENTERS WORKSHOP GALLERY I GALERIE BERNARD DuLON

EXHIBITION FROM 26 MAY TO 27 AUGUST 2016

CONTENT

ABOUT THE EXHIBITION p. 3

FROm THE ORIGINS OF ART TO 21ST CENTuRY WORKS

ANCIENT COmPARISONS

MASKS p. 4

CONFRONTATIONS p. 5

AFRICAN FANTASY p. 6

MOTIFS p. 7

SHAPES & SYMBOLISM p. 8

IMAGES AVAILABLE FOR THE PRESS p. 9 - 12

GALERIE BERNARD DULON p. 13

CARPENTERS WORKSHOP GALLERY p. 14

PRACTICAL INFORMATION p. 15

The visuals used in these pages represent the selection available for use by the press. These images are copyright free and can be used until the end of the exhibition.

Each image needs to be accompanied by its own caption and corresponding credit. Please see pages 9 to 12 for more details.

press contacts

Americas Elizabeth Clark, Stefan Golangco, Andrey Furmanovich

+ 212 228 5555 | [email protected]

World Lindsey Marsh, Timothée Nicot

+ 33 1 71 19 48 01 | [email protected] | [email protected]

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TRIBAL ART, FROM THE BEGINNING TO THE 21ST CENTURY

From the 26 May to the 27 August, Carpenters Workshop Gallery and Bernard Dulon gallery are creating a dialogue between design and tribal art in a much anticipated exhibition.

Since its creation ten years ago, Carpenters Workshop Gallery has unconsciously developed an aesthetic and creative line that is evident in many of its creative endeavors. An imaginary link is clear in the work of Ingrid Donat who draws from her Creole roots, and it is equally seen in the work of Rick Owens, Wendell Castle, Kendell Geers and Atelier Van Lieshout. Come and discover this ancestral link in a confrontation of major Tribal artworks selected by one of the most important galleries in the world in this sector: Galerie Bernard Dulon. Today, it brings a singular perspective on two disciplines that appear at first as if they are opposites. ‘Tribal’ aims to break down the traditional approach that we usually think of when art poses the question, “Without forgetting, can we pass beyond the borders of genres, eras, continents and cultures?”

ANCIENT COMPARISONS

Tribal art, particularly from Africa, has always generated a large interest from the decorative and contemporary art community. At the beginning of the 20th century, artists began to collect sculptures originating from Africa. Therefore, the attraction to African objects is nothing new.

Contact between Europe and Africa began after indigenous artifacts were taken as souvenirs from trips to the continent and introduced into European collections as exotic curiosities in the 15th century. Yet, a movement born in Paris lingered with insistence on the inspiration taken from sculptures (masks and statues). This enthusiasm quickly won over Europe and soon the rest of the world caught on in the 1920s.

“Primitivism” expressed a refusal of bourgeois values represented by the industrialization that galloped through and devastated social and cultural areas. A number of artists turned towards the so-called “primitive” societies of Africa and Oceania. They were attracted by their way of life, inspired by their closeness to nature, and by their indigenous artwork. They were drawn by these formal conceptions to interpret their own sensibilities. These artists also saw the equal attraction of authenticity and spontaneity-- two values that they felt were pushed aside by the fashionable life of bourgeois materialism that became more and more important in the 19th century. The artists were familiarized with “primitive art” found in ethnographic museums and related dealers. Face-to-face with western public perception, African artifacts passed progressively from the sphere of ethnographic objects to those of artistic works. The precursor to this artistic approach come from the likes of Paul Gauguin. Picasso also expressed an interest in African art from 1907. Other European artists from Germany to Czechoslovakia soon followed suit as interest in Tribal Art began to provoke their inspiration as they searched for aesthetic ideals. This trend soon grew internationally and took many forms as it followed the desires of artists contemporary to the 20th century. In the decorative arts domaine, Pierre Legrain is one example of an artist who took inspiration from African furniture. He created a number of seats, notably curule stools, inspired by objects taken from French colonies in Africa such as Senegal, the Ivory Coast, Dahomey, and Gabon that were exhibited multiples times in Paris. In 1919, an exhibition took place called “Negro Art and Oceanic Art”, and in 1923, another named “Indigenous Art of the French Colonies” was held at the Marsan pavilion at the Louvre. These two exhibitions were thanks to clients and patrons of Pierre Legrain, Jacques Doucet and Jeanne Tachard who participated by loaning their private collections of African art.

3. RICK OWENS | CURIAL (PETRIFIED WOOD) | 2011

4. SEAT | NGOMBE PEOPLE, CONGO | 19TH - 20TH CENTURY43

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The mask is very present in this exhibition, a universal symbol that embodies the incarnate bridge between cultures and disciplines. Traditionally the use of masks is present in a diverse variety of activities found in everyday village life: the representation of ideal feminine or masculine beauty, the changing of the seasons, the power of a chief or king, magic, or even the initiation of young men into secret societies. African artists are usually anonymous; they do not sign their works of art.

The creation of masks, as seen here, responds to the demands of use, effectiveness, and the knowledge of its creator. A dialogue as much as a confrontation, the masks of the Bekom and Fang people in the 19th century respond to the mask-sculptures of South African artist Kendell Geers and British artist Thomas Houseago.

Inspired both by cubism and African masks, the contemporary artists claim here to be creating figurative works. Just like others before him such as Picasso, Houseago is clearly fascinated by the tribal art of Africa and Oceania.

MASKS

5. THOMAS HOUSEAGO | TEARDROP MASK | 2012 (DETAIL)

6. MASK | FANG PEOPLE, GABON, 19TH CENTURY (DETAIL)6

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Beyond masks, the exhibition aims to create structural relationships or discussion-confrontations. As seen in the “Curial” armchair made of fossilized wood, this work responds to the post-modern armchair ‘Leviathan’ by Kendel Geers which is made of bronze tires. This is an awe inspiring clash between the story of thousand-year old African art and the critique of its of modern interpretation. The armchair ‘Onedent,’ composed of bone, by Rick Owens evokes the animal world which is considerably present in Tribal Art as also demonstrated in a horned mask from the Kwele people seen here.

CONFRONTATIONS

7. RICK OWENS | ONEDENT | 2013

8. MASK KWELE PEOPLE | GABON / CONGO | 19TH CENTURY

9. STOOL | CAMEROON

10. KENDELL GEERS | LEVIATHAN STOOL | 2014

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Joep Van Lieshout found inspiration in the Western fantasy of cannibalism in tribal societies as seen in ‘Gastronomy,’ a low table made of bronze with black patina; it depicts a scene of anthropophagy. His ‘Sensory Deprivation Skull,’ a cranium styled armchair, evokes a fantastical western vision of African and Oceanic societies (as seen on the cover of the press kit). The ‘Cocoon’ table from Nacho Carbonell, shown in earthy colors, evokes the giant termite mounds of West Africa and Australia.

AFRICAN FANTASY

11. NACHO CARBONELL | TABLE COCOON 6 | 2015

12. ATELIER VAN LIESHOUT | GASTRONOMY | 2011

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The pieces from Ingrid Donat that feature tribal motifs are reminiscent of scarification, and they interact with the ornamental treatment of a 19th century studded stool from the Sanngo people of the Democratic Republic of Congo. In comparison, an ancestral statue from the Mumuyé people of the Adamawa Province in Nigeria observes with intrigue the bronze statuettes created by Kendell Geers.

MOTIFS

13. SEAT | SANGO PEOPLE (NGBANDI), THE DEMOCRATIC REPUBLIC OF CONGO, THE MOBAYE REGION | END OF THE 19TH CENTURY

14. INGRID DONAT | BANC TRIBAL | 2014

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For certain artists, works from Africa or Oceania are a framework, or a pretext, to create social commentary. Yet, for others, it is a simple influence of shapes that it is never without its symbolism.

This exhibition does not give a profound knowledge of these arts, but these artists ask the question of the identity of their era as well as the encompassing influence of tribal art.

Tribal art is starting to be comprehended under a different status since its first contact with the west: from curiosities to colonial trophies followed by ethnographic objects and works of art. These artists take this question of supremacy towards the image of african objects and help transform it into a work of art.

FORMALISM & SYMBOLISM

15. ANCESTRAL STATUE | MUMUYE PEOPLE, SOUTH OF THE KUNINI RIVER, ADAMAWA PROVINCE, NIGERIA

16. KENDELL GEERS | FLESH OF THE SPIRIT 10 | 2010 (DETAIL)

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IMAGES AVAILABLE FOR THE PRESS

MASK OF PRINCESS NGON | BEKOM PEOPLESTYLE OF THE KINGDOM OF KOMBLACK PATINA WOOD, RED PIGMENTH44 CM / H17.3 INSOURCE: FROM THE COLLECTION OF RICHARD ULEVITCH, LA JOLLA / FROM THE COLLECTION OF STANISLAS GOKELAERE, BRUSSELSCOURTESY OF GALERIE BERNARD DULON

ATELIER VAN LIESHOUT | SENSORY DEPRIVATION SKULL2007FIBREGLASS, SYNTHETIC FURH137 L150 W110 CM / H53.9 L59.1 W43.3 INEDITION OF 10COURTESY CARPENTERS WORKSHOP GALLERY

RICK OWENS | CURIAL (PETRIFIED WOOD)2011PETRIFIED WOODH66 L83 W60 CM / H26 L32.7 W23.6 INLIMITED EDITION OF 8 + 4 APCOURTESY CARPENTERS WORKSHOP GALLERY

SEAT | NGOMBE PEOPLE THE DEMOCRATIC REPUBLIC OF CONGOEND OF THE 19th CENTURY / BEGINNING OF THE 20th CENTURYL92.5 CM / L36.5 INCOURTESY OF GALERIE BERNARD DULON

THOMAS HOUSEAGO | TEARDROP MASK2012BRONZEH116.8 L90.2 W25.6 CM / H46 L35.5 W10 INLIMITED EDITION OF 3 + 2 APCOURTESY CARPENTERS WORKSHOP GALLERY

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MASK | FANG PEOPLE, GABON, 19th CENTURYWOODH39.5 CM / 15.5 INSOURCE: COLLECTED BEFORE 1914COURTESY GALERIE BERNARD DULON

RICK OWENS | HALF BOX (OX BONE)2011OX BONEH77 L50 W50 CM / H30.3 L19.7 W19.7 INLIMITED EDITION OF 8 + 4 APCOURTESY CARPENTERS WORKSHOP GALLERY

MASK KWELE PEOPLES | GABON / CONGO19th CENTURYWOODH51 CM / H20 INSOURCE: COLLECTED BY MR.COURTOIS, ENGINEER IN THE CONGO, BEFORE 1920DOCTOR DEAK, SOUTH AFRICA / GEORGE OLTAY, SOUTH AFRICA / HENRI KAMERCOURTESY GALERIE BERNARD DULON

STOOL | CAMEROONFOSSILIZED WOODH39.5 CM / 15.5 IND44.5 CM / 17.5 INSOURCE: EX COLLECTION R. RASMUSSEN / EX COLLECTION P. MORIGICOURTESY GALERIE BERNARD DULON

KENDELL GEERS | LEVIATHAN STOOL2014PLYWOOD, PATINATED BRONZEH95 L83 W50 CM / H37.4 L32.7 W19.7 INBASE: H49 L80 W47 CM / H19.3 L31.5 W18.5 INLIMITED EDITION OF 8 + 4 APCOURTESY CARPENTERS WORKSHOP GALLERY

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NACHO CARBONELL | TABLE COCOON 62015STEEL FRAME, METAL MESH AND PAVERPOL MIXH260 L170 W140 CM / H102.4 L66.9 W55.1 INUNIQUECOURTESY CARPENTERS WORKSHOP GALLERY

ATELIER VAN LIESHOUT | GASTRONOMY2011BRONZEH56 L113.5 W67 CM / H22 L44.7 W26.4 IN | TABLE: H40 CM / H15.7 INLIMITED EDITION OF 8 + 4 APCOURTESY CARPENTERS WORKSHOP GALLERY

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SEAT| SANGO PEOPLE (NGBANDI) THE DEMOCRATIC REPUBLIC OF CONGO, MOBAYE REGIONEND OF THE 19TH CENTURYWOOD, PLATED BRASS, STUDSH30 CM / 11.8 INCOURTESY GALERIE BERNARD DULON

INGRID DONAT | BANC TRIBAL2014BRONZE, LEATHERH34.5 L111 W39 CM / H13.6 L43.7 W15.3 INLIMITED EDITION OF 8 + 4 APCOURTESY CARPENTERS WORKSHOP GALLERY

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ANCESTRAL STATUE | MUMUYÉ PEOPLE, SOUTH OF THE KUNINI RIVER, ADAMAWA PROVINCE, NIGERIAWOOD, KAOLINH116 CM / H45.6 INCOURTESY GALERIE BERNARD DULON

KENDELL GEERS | FLESH OF THE SPIRIT 102010BRONZELEFT: H20 L4 W9 CM / H7.9 L1.6 W2 INRIGHT: H22 L7 W5 CM / H8.7 L2.8 W2 INUNIQUECOURTESY CARPENTERS WORKSHOP GALLERY

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GALERIE BERNARD DULON

The Bernard Dulon gallery consecrates the essential of their activities in the representation of art from the highest eras of tribal societies. Since September 2002, the gallery has regularly organized outstanding expositions accompanied by reference catalogs in their space on Jacques Callot street in Paris. Expert member since 1985 of the National Company of Experts, Bernard Dulon is well known as a curator of remarkable exhibitions, notably “Black Light” at the Château de Tanlay (1997), “Objetos-Signos de Africa” with the foundation of Iber Caja de Saragosse (2000) and “Travel Notebooks” in collaboration with the Museum of Tervuren for the museum of President Jacques Chirac (2010).

The gallery also exhibits in New York in collaboration with the Friedman-Vallois gallery and participates in the Biennial of Antiquaries since 2004.

GALERIE BERNARD DULON

COURTESY GALERIE BERNARD DULON

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CARPENTERS WORKSHOP GALLERY

Carpenters Workshop Gallery produces and exhibits functional sculptures by international rising and already established artists and designers going outside their traditional territories of expression.

The gallery is actively involved in the research and production of the limited edition works exhibited. The choices are guided by the research of an emotional, artistic and historical relevance; a relevance that appears as an evidence.

The gallery relies on the partnership of childhood friends, Julien Lombrail and Loic Le Gaillard. They first opened a space in London’s Chelsea in 2006 in a former carpenter’s workshop; they then followed with a second space in Mayfair in 2008. The opening of a 600 square metre space in Paris in 2011 in the heart of Le Marais district, an address steeped in history as it was previously occupied by the Galerie de France for several decades, was a return to their roots.

2015 marks a major turning point for the gallery with the opening of Carpenters Workshop | Roissy, a unique 8,000 meter square space dedicated to artistic research and development, bringing together the elite of artisans, an homage to the French heritage of ‘Arts Décoratifs’.

Carpenters Workshop Gallery | New York is the lastest step in the gallery’s remarkable development. This new space confirms the leadership and dominant position of the gallery in today’s international territory of art and design.

JULIEN LOMBRAIL & LOÏC LE GAILLARD

COURTESY CARPENTERS WORKSHOP GALLERY

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TRIBALCARPENTERS WORKSHOP GALLERYGALERIE BERNARD DuLON

DESIGN & TRIBAL ARTS | EXHIBITION FROM 26 MAY TO 27 AUGUST 2016


54 RuE DE LA VERRERIE, 75004 PARIS

PRESS OPENING THURSDAY 26 MAY 2016, 5 – 9 PM

CURRENT & UPCOMING

NEW YORK | STUDIO JOB mAD HOuSE retrospective at MAD Museum of Arts and Design, until 21 August

NEW YORK | SEBASTIAN BRAJKOVIC LATHE solo show, until 2 July

LONDON | INGRID DONAT ORIGINS solo show of new works, 26 May – 22 July

DESIGN MIAMI/ BASEL | GROUP SHOW 14 – 19 June

PRESS CONTACTS

AMERICAS | ELIzABETH CLARK, STEFAN GOLANGCO, ANDREY FURMANOVICH

+ 212 228 5555 | [email protected]

WORLD | LINDSEY MARSH, TIMOTHÉE NICOT

+ 33 1 71 19 48 01 | [email protected] | [email protected]


COURTESY CARPENTERS WORKSHOP GALLERY

ATELIER VAN LIESHOUTSEBASTIAN BRAJKOVICMAARTEN BAASANDREA BRANZIFERNANDO & HUMBERTO CAMPANANACHO CARBONELLWENDELL CASTLEVINCENZO DE COTIISINGRID DONATVINCENT DUBOURGJOHANNA GRAWUNDERSTUART HAYGARTHMATHIEU LEHANNEURFREDERIK MOLENSCHOTNENDORICK OWENSWONMIN PARKRANDOM INTERNATIONALGIACOMO RAVAGLIPABLO REINOSOROBERT STADLERSTUDIO DRIFTSTUDIO JOB

REPRESENTED ARTISTS

LONDON 3 ALBEMARLE STREET / W1S 4HE PARIS 54 RUE DE LA VERRERIE / 75004

NEW YORK 693 FIFTH AVENUE / NY 10022

WWW.CARPENTERSWORKSHOPGALLERY.COM

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