Bruno Peinado
25 Sep 2010 - 09 Jan 2011
BRUNO PEINADO
CASINO INCAOS – Baroque Courtoisie
25 September 2010 - 9 January 2011
At a turning point in his artistic career, Bruno Peinado (*1970) seizes the opportunity provided by this solo exhibition to sum up the last decade of frantic creation and production. The artist, an insatiable consumer of all types of images that are as many reference points in his works, casts his gaze on his own work to review its reading and to set new perspectives. For this exhibition, some old pieces are revisted in order to interact with new productions. This baroque project questions the artworks‘ status as well as the exhibition dogma. The exhibition space of Casino Luxembourg – entirely occupied by the artist – does not just house the artworks but actively participates, sometimes highlighting them and sometimes placing them in shadow. Visitors thus are really involved in discovering the exhibition and find themselves carried away by the discoveries made on route.
A monograph on Bruno Peinado will be published on the occasion of the exhibition. With texts by Julien Fronsacq (curator, Palais de Tokyo, Paris), Patrice Joly (editor in chief and director of the art magazine 02), Aude Launay (art critic), Clio Lavau (curator) and Mick Peter (artist).
Curator: Kevin Muhlen
The artwork by Bruno Peinado (*1970) is presented as an abounding and expandable group of heterogeneous elements from the culture industry in its widest sense. Indeed, literature, art history, cinema, music, advertising, pop culture, television and comic strips, to mention but a few, are all sources of food for thought for the artist and, a fortiori, his work.
The quotations and references he delves into are deviated and reinterpreted. Like the network of cracks formed by the impact of a fist on a mirror, Bruno Peinado’s body of work involves a vast collection made up of interlinked elements that interpenetrate each other or collide.
His solo exhibition at Casino Luxembourg titled CASINO INCAOS – Baroque Courtoisie is constructed around the very principle of an inter-relational and creative dynamic. Conceived from the outset as a baroque installation filling the entire space of the venue, the exhibition is mainly composed of new productions created by this desire.
The first act of the setting up of the exhibition was the new arrangement of the letters of the luminous sign of the venue – CASINO becoming INCAOS through a simple game of anagrams. Much related shifting of gears ensued. Bruno Peinado conceived the exhibition according to his guiding principles, obstinately refusing a simple display of artworks. Certain older pieces have been revisited by the artist in order to re-engage them in a dialogue with the new productions. Beyond simply operating as a backdrop or scenographic support, the space also participates actively in the exhibition by sometimes placing the artworks in light, sometimes in shadow. Thumbing his nose at a linear and ordered exhibition circuit, the artist proposes to push the visitor into a veritable „baroque chaos“ with an overwhelming visual impact.
A catalogue will be published during the exhibition with texts by Julien Fronsacq (curator of the Palais de Tokyo, Paris), Patrice Joly (editor and director of the art review 02), Aude Launay (art critic), Clio Lavau (curator) and Mick Peter (artist).
CASINO INCAOS – Baroque Courtoisie
25 September 2010 - 9 January 2011
At a turning point in his artistic career, Bruno Peinado (*1970) seizes the opportunity provided by this solo exhibition to sum up the last decade of frantic creation and production. The artist, an insatiable consumer of all types of images that are as many reference points in his works, casts his gaze on his own work to review its reading and to set new perspectives. For this exhibition, some old pieces are revisted in order to interact with new productions. This baroque project questions the artworks‘ status as well as the exhibition dogma. The exhibition space of Casino Luxembourg – entirely occupied by the artist – does not just house the artworks but actively participates, sometimes highlighting them and sometimes placing them in shadow. Visitors thus are really involved in discovering the exhibition and find themselves carried away by the discoveries made on route.
A monograph on Bruno Peinado will be published on the occasion of the exhibition. With texts by Julien Fronsacq (curator, Palais de Tokyo, Paris), Patrice Joly (editor in chief and director of the art magazine 02), Aude Launay (art critic), Clio Lavau (curator) and Mick Peter (artist).
Curator: Kevin Muhlen
The artwork by Bruno Peinado (*1970) is presented as an abounding and expandable group of heterogeneous elements from the culture industry in its widest sense. Indeed, literature, art history, cinema, music, advertising, pop culture, television and comic strips, to mention but a few, are all sources of food for thought for the artist and, a fortiori, his work.
The quotations and references he delves into are deviated and reinterpreted. Like the network of cracks formed by the impact of a fist on a mirror, Bruno Peinado’s body of work involves a vast collection made up of interlinked elements that interpenetrate each other or collide.
His solo exhibition at Casino Luxembourg titled CASINO INCAOS – Baroque Courtoisie is constructed around the very principle of an inter-relational and creative dynamic. Conceived from the outset as a baroque installation filling the entire space of the venue, the exhibition is mainly composed of new productions created by this desire.
The first act of the setting up of the exhibition was the new arrangement of the letters of the luminous sign of the venue – CASINO becoming INCAOS through a simple game of anagrams. Much related shifting of gears ensued. Bruno Peinado conceived the exhibition according to his guiding principles, obstinately refusing a simple display of artworks. Certain older pieces have been revisited by the artist in order to re-engage them in a dialogue with the new productions. Beyond simply operating as a backdrop or scenographic support, the space also participates actively in the exhibition by sometimes placing the artworks in light, sometimes in shadow. Thumbing his nose at a linear and ordered exhibition circuit, the artist proposes to push the visitor into a veritable „baroque chaos“ with an overwhelming visual impact.
A catalogue will be published during the exhibition with texts by Julien Fronsacq (curator of the Palais de Tokyo, Paris), Patrice Joly (editor and director of the art review 02), Aude Launay (art critic), Clio Lavau (curator) and Mick Peter (artist).