
Argote’s first gesture is one of critique, wherein he dismantles, topples, and pokes fun at monuments and their contingent histories, using humor and fiction to spark conversation and encourage us to imagine other possible worlds. His second gesture offers a generative force, one of poetry and tenderness, love poems to the public to soften the hard histories etched into the built environment. While Breathings is titled for the six text-based paintings on silk that bring this generative chapter to the exhibition, I have imagined a few alternate titles as entry points to Argote’s thinking.
Born in Bogotá, Colombia, in 1983, Iván Argote settled in Paris in 2006. Argote creates videos, photographs, sculpture, public interventions and performances, as a way to explore our inextricable links to history, tradition, art, politics and power. Argote investigates the city as a place of transformation and potentiality, traveling the world in search of vestigial signs of fallen power, studying the indirect manifestations of control, and observing the conventions that gain acceptance in order for one vision of history to become the official version. Public monuments and sculpture are also recurring themes in the artist’s work. Through his personal narratives, and their connections to history, ideology, and consumerism, Iván Argote questions a Western perspective of history. Emmanuel Perrotin met Iván Argote in 2008 while the artist was a student at Paris Fine Arts School. Perrotin has represented Argote since 2009.





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