
In Morceaux Choisis, Bertrand Lavier’s latest exhibition with the gallery, the artist unveils two new bodies of work, alongside extensions of his ongoing chantiers or ‘worksites’. The exhibition title—French for ‘selected pieces,’ or ‘anthology’—sets the tone, invoking notions of choice, arrangement, and display that lie at the centre of Lavier’s practice. It also speaks to the breadth and variety that define his work, making it an especially apt name for these new bodies of work.
The exhibition opens with a metaphorical bang: the wreckage of a Fiat 500, one of the icons of the last century’s golden era of the automobile, its crushed body painted in a glossy, enticing red. Standing in isolation at the end of the gallery, on a platform that functions more like a stage than a plinth, Fiat 500 is the latest of Lavier’s damaged car works, the origins of which can be traced back to his seminal Giulietta (1993). Emblematic of the irony, humour and semantic play that characterise Lavier’s practice, Fiat 500 introduces some of the exhibition’s central concerns: the boundary between art and the everyday; between representation and reality; between language and meaning; and the status of the object in relation to authorship.
Upstairs, Lavier introduces a new body of work: Inclusions. These abstract canvases—found in flea markets and junk shops—are encased in blocks of acrylic resin. As with the wrecked Fiat 500, these works are ‘found’ rather than made: Lavier’s intervention is conceptual, grounded in selection and display rather than painterly authorship. Encapsulation produces another kind of perceptual short circuit. With both the front and back of each canvas visible, traditional viewing hierarchies dissolve. Arranged as what Lavier calls an ‘abstract bouquet’, the seven works playfully challenge orientation and display. Shown in the same gallery, Brushstrokes forms the exhibition’s second new body of work, fabricated from painted steel and translating gesture into three-dimensional form.
In the adjacent gallery, Lavier presents four new paintings from a selection of his most renowned chantiers: a painted vitrine (based on Parisian shop windows), a painted mirror, a painted Fujichrome, and a juxtaposed colour painting. These works probe thresholds between transparency and surface, reflection and image, photography and painting, and assert painting as a physical and material presence rather than a purely representational system.










Although French post-modern philosophers had a profound impact on American art during the 1980s, concepts such as simulacra and appropriation had less of an influence in their country of origin. The work of Bertrand Lavier, however, is an exception. Thanks to the heritage of Marcel Duchamp and the Nouveaux Réalistes, Lavier was able to give the art of the found object a typical French touch. Since the late 1960s, Lavier has reflected upon the relationship between painting and sculpture, representation and abstraction, life and art. An overriding characteristic of his work is its tongue in cheek attitude. In order to shape his ideas, Lavier developed a series of ‘demonstrations’: methods and strategies that enable him to question our intellectual baggage and to disrupt our most entrenched visual habits. His best-known intervention is to cover everyday objects with what he refers to as typical ‘Van Gogh-brushwork’. With this act, banal objects become artworks but, even more importantly, the object becomes a painted image of itself. Paradoxically, the representation of reality only occurs when the original object is hidden from view and completely disappears. Another ‘demonstration’ consists of combining two different objects in an absurd associative manner, such as a sculpture of Alexander Calder placed upon a radiator with an identical brand name, or La Bocca (Dali’s famous lip-shaped sofa) balanced upon a white freezer manufactured by Bosch.




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