Collage for Men - Linda
2002
collage
112.6 x 84.6 centimeters
Unique
In Collages for Men, Bismuth has re-clothed pictures of naked women from pornographic magazines. By cutting white paper in the shape of clothes to fit over their bodies, the transformation is so misleading that it is hard to imagine these women were once naked. It is as if Bismuth misunderstands the purpose of pornography, suppressing any sense of lust that these pictures may have originally communicated. His intervention takes portraits of girls and transforms them into ‘suitably clothed' women, yet despite Bismuth's ‘censorship', the use of soft focus and ‘erotic' poses continue to associate these pictures with ‘glamour photography'.
Collage for Men - Nadine
2003
collage on magazine image
30.3 x 24.3 centimeters
Unique
In Collages for Men, Bismuth has re-clothed pictures of naked women from pornographic magazines. By cutting white paper in the shape of clothes to fit over their bodies, the transformation is so misleading that it is hard to imagine these women were once naked. It is as if Bismuth misunderstands the purpose of pornography, suppressing any sense of lust that these pictures may have originally communicated. His intervention takes portraits of girls and transforms them into ‘suitably clothed' women, yet despite Bismuth's ‘censorship', the use of soft focus and ‘erotic' poses continue to associate these pictures with ‘glamour photography'.
Collage pour homme (Claudia)
2002
33.8 x 25.3 centimeters
Unique
In Collages for Men, Bismuth has re-clothed pictures of naked women from pornographic magazines. By cutting white paper in the shape of clothes to fit over their bodies, the transformation is so misleading that it is hard to imagine these women were once naked. It is as if Bismuth misunderstands the purpose of pornography, suppressing any sense of lust that these pictures may have originally communicated. His intervention takes portraits of girls and transforms them into ‘suitably clothed' women, yet despite Bismuth's ‘censorship', the use of soft focus and ‘erotic' poses continue to associate these pictures with ‘glamour photography'.
Collage pour homme (Jennifer)
2001
33.8 x 25.3 centimeters
Unique
In Collages for Men, Bismuth has re-clothed pictures of naked women from pornographic magazines. By cutting white paper in the shape of clothes to fit over their bodies, the transformation is so misleading that it is hard to imagine these women were once naked. It is as if Bismuth misunderstands the purpose of pornography, suppressing any sense of lust that these pictures may have originally communicated. His intervention takes portraits of girls and transforms them into ‘suitably clothed' women, yet despite Bismuth's ‘censorship', the use of soft focus and ‘erotic' poses continue to associate these pictures with ‘glamour photography'.
Collage pour homme (Morena)
2002
30.3 x 24.3 centimeters
Unique
In Collages for Men, Bismuth has re-clothed pictures of naked women from pornographic magazines. By cutting white paper in the shape of clothes to fit over their bodies, the transformation is so misleading that it is hard to imagine these women were once naked. It is as if Bismuth misunderstands the purpose of pornography, suppressing any sense of lust that these pictures may have originally communicated. His intervention takes portraits of girls and transforms them into ‘suitably clothed' women, yet despite Bismuth's ‘censorship', the use of soft focus and ‘erotic' poses continue to associate these pictures with ‘glamour photography'.
Collage with Marcel
2004
collage on black and white offset print
50 x 70 centimeters
Unique
The Collage with Marcel uses the delicate technique of paper cutting to cover, with white paper, the naked body of Eve BABITZ, the young woman playing chess with Marcel DUCHAMP in the famous photograph taken in Pasadena in 1963. Intervening on an iconic work, symbol of a certain artistic and erotic freedom, like a censor trying to "dress up" the artist's nude model, Pierre BISMUTH introduces a reversal of roles and directs the attention to less known aspects of this photograph.
Complexe des villas / Bâtiment Le Corbusier (élévation)
2010
ink on polyacetat
72.3 x 52.3 centimeters
Unique
Pierre BISMUTH performs the impossible synthesis between the two faces of Le Corbusier: from the villas blanches to housing projects, with a sense of humor and economy of means that are his trademark. He superposes, in a small scale model, section views and computer generated images (Complexes des villas / Bâtiment Le Corbusier, 2006-2010), several Villas Savoye, to create a building that the Swiss architect might not have rejected – let alone the destiny of neglected social housing and the carcass of torched cars in front.
Confusion (The Guardian - mercredi 31 octobre 2001)
2001
collage on newspaper
68 x 46 centimeters
Unique
The 'Newspaper' series uses the act of duplicating an image : by using collage, Pierre BISMUTH adds a double to the image on the cover of major newspapers. Showing its status of replicated image, the image in the press loses some of its power of persuasion.
Double Duty (International Herald Tribune – mercredi 26 mars 2003)
2003
66 x 44 centimeters
Unique
The 'Newspaper' series uses the act of duplicating an image : by using collage, Pierre BISMUTH adds a double to the image on the cover of major newspapers. Showing its status of replicated image, the image in the press loses some of its power of persuasion.
DUM
2006
spray painting on paper
172.5 x 126 centimeters
Unique
This serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. Of this ephemeral painting, remain the collection of labelled spray cans each with an artist's name and six large preparatory drawings.
Following the Right Hand of - Sophia Lauren in "La Ciociara"
2008
permanent marker on anti-UV plexiglas and lambda print on forex
162 x 254 centimeters
Unique
From the beginning of the movie “La Ciociara” to the moment the image was taken, Pierre Bismuth (born in 1963 in Neuilly-sur-Seine, lives and works in Brussels) has carefully followed and retranscribed the right hand movements of Sophia Loren, thereby creating a drawing overlaying the original image. Apparently random, this tangle of lines is in fact extremely meaningful and personal, since it captures the gesture of an iconic actress, whose myth the artist approaches subtlty. Bringing together several artistic approaches of the 20th century, from early photographic experiences of decomposing movement to Pablo Picasso's drawings with a flashlight in space and in the dark, from automatic writing to action painting, Bismuth poetically reconciles fixed images and movement.
I agree - the idea of cloning humans is disgusting
2004
drawing on paper
75 x 106 centimeters
Unique
The drawing 'I Agree - The Idea of Cloning Humans is Disgusting' evokes a news event showing the application of reproducibility to living organisms : when Dolly was born, the world's first cloned sheep from the cells of another living sheep, the New Yorker published this little cartoon reversing the roles between men and animals. Pierre BISMUTH uses this image as a repetitive pattern for wallpaper, reproduced by hand, but potentially to infinity.
Left Over
2004
diptych. Cut out paper
54 x 75 centimeters
Unique
The two words ("left over") are cut from patterned paper and placed on a white background, in relation to the remaining hollow patterned paper. Tautological at first glance, this combination introduces doubt about what is referred to as the leftovers and therefore, what constitutes the work. Pierre BISMUTH plays on words by using a conventional technique, paper-cutting, wherein the void is used as a material.
Left Over
2004
diptych. Cut out paper
54 x 75 centimeters
Unique
The two words ("left over") are cut from patterned paper and placed on a white background, in relation to the remaining hollow patterned paper. Tautological at first glance, this combination introduces doubt about what is referred to as the leftovers and therefore, what constitutes the work. Pierre BISMUTH plays on words by using a conventional technique, paper-cutting, wherein the void is used as a material.
Newspaper - 500 Marines
2001
collage on newspaper
61 x 40.8 centimeters
Unique
In the series "Newspaper" Bismuth duplicates front-page photos of daily papers for a double take effect. Reminiscent of Warhol's paintings, the images work to neutralize each other, producing a muted feeling. On one hand repetition introduces the notion of duration and on the other hand it denies it.
Newspaper - Attack
2001
collage on newspaper
59.2 x 41.2 centimeters
Unique
In the series "Newspaper" Bismuth duplicates front-page photos of daily papers for a double take effect. Reminiscent of Warhol's paintings, the images work to neutralize each other, producing a muted feeling. On one hand repetition introduces the notion of duration and on the other hand it denies it.
Newspaper - Britsh Rush
2001
collage on newspaper
61.1 x 40.3 centimeters
Unique
In the series "Newspaper" Bismuth duplicates front-page photos of daily papers for a double take effect. Reminiscent of Warhol's paintings, the images work to neutralize each other, producing a muted feeling. On one hand repetition introduces the notion of duration and on the other hand it denies it.
Newspaper - Fashion Week
2000
collage on newspaper
61.4 x 40.3 centimeters
Unique
In the series "Newspaper" Bismuth duplicates front-page photos of daily papers for a double take effect. Reminiscent of Warhol's paintings, the images work to neutralize each other, producing a muted feeling. On one hand repetition introduces the notion of duration and on the other hand it denies it.
Newspaper - First Human Embryo
2001
64.3 x 41 centimeters
Unique
In the series "Newspaper" Bismuth duplicates front-page photos of daily papers for a double take effect. Reminiscent of Warhol's paintings, the images work to neutralize each other, producing a muted feeling. On one hand repetition introduces the notion of duration and on the other hand it denies it.
Newspaper - Innamorarsi a Comando
2002
collage on newspaper
55.6 x 40.7 centimeters
Unique
In the series "Newspaper" Bismuth duplicates front-page photos of daily papers for a double take effect. Reminiscent of Warhol's paintings, the images work to neutralize each other, producing a muted feeling. On one hand repetition introduces the notion of duration and on the other hand it denies it.
Origami "Eventail" (Sol Lewitt)
2003
unfolded origami on poster
37.4 x 31.8 centimeters
Unique
The paper-folding (origami) can be made of different materials – magazines, journals, posters, plans etc. A ready-made origami is unfolded and doesn't reveal any trace of its creation; every object keeps nevertheless name of the thing that the corresponding origami is supposed to represent.
Origami "Cochon" (Matrix)
2003
unfolded origami on poster
105.8 x 75.6 centimeters
Unique
The paper-folding (origami) can be made of different materials – magazines, journals, posters, plans etc. A ready-made origami is unfolded and doesn't reveal any trace of its creation; every object keeps nevertheless name of the thing that the corresponding origami is supposed to represent.
Origami "Coquillage" (New York)
2003
unfolded origami on poster
66.4 x 86.4 centimeters
Unique
The paper-folding (origami) can be made of different materials – magazines, journals, posters, plans etc. A ready-made origami is unfolded and doesn't reveal any trace of its creation; every object keeps nevertheless name of the thing that the corresponding origami is supposed to represent.
Paris for two (The Independent – lundi 22 janvier 2001)
2001
collage on newspaper
66 x 46 centimeters
Unique
The 'Newspaper' series uses the act of duplicating an image : by using collage, Pierre BISMUTH adds a double to the image on the cover of major newspapers. Showing its status of replicated image, the image in the press loses some of its power of persuasion.
Pop Culture
2006
two musical scores on paper
80 x 100 centimeters
Unique
For 'Pop Culture' the artist crosses out the lyrics of a globally renowned pop song from its partition. Coded for any non-musician, stripped of its popularity and thereby of its power, this icon of pop culture stands in front of the viewer in a form of silence.
Repetition (Tel-Aviv- 10 janvier 2001)
2001
64 x 48 centimeters
Unique
The 'Newspaper' series uses the act of duplicating an image : by using collage, Pierre BISMUTH adds a double to the image on the cover of major newspapers. Showing its status of replicated image, the image in the press loses some of its power of persuasion.
Signed anonymous letter to be sent to someone I don't know (A. & C. Scherer)
2002
60.7 x 45 centimeters
Unique
In the series Signed anonymous letters to be sent to someone I don't know, the artist addresses the recipient in inverted manner. This piece consists of a fake anonymous letter (it's signed with the name of the artist) written using letters cut out of newspapers, sent to an unknown recipient randomly selected in the phone book. By declaring "I don't know you", Pierre BISMUTH reverses the relationship usually established by an anonymous letter, in which the sender knows more than the recipient.
Signed anonymous letter to be sent to someone I don't know (E. Murer)
2002
60.5 x 45 centimeters
Unique
In the series Signed anonymous letters to be sent to someone I don't know, the artist addresses the recipient in inverted manner. This piece consists of a fake anonymous letter (it's signed with the name of the artist) written using letters cut out of newspapers, sent to an unknown recipient randomly selected in the phone book. By declaring "I don't know you", Pierre BISMUTH reverses the relationship usually established by an anonymous letter, in which the sender knows more than the recipient.
Signed anonymous letter to be sent to someone I don't know (M.-L. Drame)
2002
59.5 x 45 centimeters
Unique
In the series Signed anonymous letters to be sent to someone I don't know, the artist addresses the recipient in inverted manner. This piece consists of a fake anonymous letter (it's signed with the name of the artist) written using letters cut out of newspapers, sent to an unknown recipient randomly selected in the phone book. By declaring "I don't know you," Pierre BISMUTH reverses the relationship usually established by an anonymous letter, in which the sender knows more than the recipient.
Symétrie symétrique (The National Palace of Culture, Sofia)
2002
73 x 57 centimeters
Unique
Duplication and replication are at the origin of the Symétries symétriques (symmetrical symmetries) series, which takes as its starting point several monuments of Sofia dating back to the first half of the twentieth century, which architecture observes an almost perfect symmetry. The artist creates, from a photograph taken frontally, two images with each half exactly symmetrical to the other. Pushing the neoclassical obsession for symmetry to its most extreme point, this gesture makes visible all that refuses to comply with the requirement of architects : vegetation, fountains, bystanders that reveal the artificiality of the created image.
Symétrie symétrique (The National Theatre Ivan Vazov, Sofia)
2002
73 x 57 centimeters
Unique
Duplication and replication are at the origin of the Symétries symétriques (symmetrical symmetries) series, which takes as its starting point several monuments of Sofia dating back to the first half of the twentieth century, which architecture observes an almost perfect symmetry. The artist creates, from a photograph taken frontally, two images with each half exactly symmetrical to the other. Pushing the neoclassical obsession for symmetry to its most extreme point, this gesture makes visible all that refuses to comply with the requirement of architects : vegetation, fountains, bystanders that reveal the artificiality of the created image.
Symétries symétriques (The Monument of the Soviet Army, Sofia)
2002
collage on black and white photography
73 x 57 centimeters
Duplication and replication are at the origin of the Symétries symétriques (symmetrical symmetries) series, which takes as its starting point several monuments of Sofia dating back to the first half of the twentieth century, which architecture observes an almost perfect symmetry. The artist creates, from a photograph taken frontally, two images with each half exactly symmetrical to the other. Pushing the neoclassical obsession for symmetry to its most extreme point, this gesture makes visible all that refuses to comply with the requirement of architects : vegetation, fountains, bystanders that reveal the artificiality of the created image.
The Toppling of Saddam (The Guardian – jeudi 10 avril 2003)
2003
64 x 46 centimeters
Unique
The 'Newspaper' series uses the act of duplicating an image : by using collage, Pierre BISMUTH adds a double to the image on the cover of major newspapers. Showing its status of replicated image, the image in the press loses some of its power of persuasion.
Two Tent (The Independent - mercredi 9 février 2000)
2000
66 x 45 centimeters
Unique
The 'Newspaper' series uses the act of duplicating an image : by using collage, Pierre BISMUTH adds a double to the image on the cover of major newspapers. Showing its status of replicated image, the image in the press loses some of its power of persuasion.
Unfolded Origami "Crevette" (Paris)
2003
unfolded origami on poster
125.9 x 157.2 centimeters
Unique
The paper-folding (origami) can be made of different materials – magazines, journals, posters, plans etc. A ready-made origami is unfolded and doesn't reveal any trace of its creation; every object keeps nevertheless name of the thing that the corresponding origami is supposed to represent.
Unfolded Origami (moto papillon)
2004
unfolded origami on poster
72 x 104 centimeters
Unique
The Unfolded Origami series is based on an absence. Folds are made from posters and presented unfolded. Only the title refers to the original form (butterfly, pigeon), which traces remain on the creased paper.
Unfolded Origami - Lamp
2003
paper-folding
67.5 x 98.5 centimeters
Unique
The paper-folding (origami) can be made of different materials – magazines, journals, posters, plans etc. A ready-made origami is unfolded and doesn't reveal any trace of its creation; every object keeps nevertheless name of the thing that the corresponding origami is supposed to represent.
Unfolded Origami - Mont Fuji
2003
unfolded origami on poster
108 x 144.5 centimeters
Unique
These foldings are Origamis consisting of different materials – magazines, newspapers, posters, maps etc. The origamis are showed unfolded, bearing only the trace of its folding. Nevertheless, each piece keeps the name of what it was as an origami.
Unfolded Origami - Poisson
2003
paper-folding
107.8 x 76.8 centimeters
Unique
The paper-folding (origami) can be made of different materials – magazines, journals, posters, plans etc. A ready-made origami is unfolded and doesn't reveal any trace of its creation; every object keeps nevertheless name of the thing that the corresponding origami is supposed to represent.
Unfolded Origami - Turtle (Les gazelles)
2003
56.8 x 76.4 centimeters
Unique
The paper-folding (origami) can be made of different materials – magazines, journals, posters, plans etc. A ready-made origami is unfolded and doesn't reveal any trace of its creation; every object keeps nevertheless name of the thing that the corresponding origami is supposed to represent.
Unfolded Origami – Casque de Samurai
2003
paper-folding
72.5 x 72.5 centimeters
Unique
The paper-foldings (origami) are of different materials – magazines, journals, posters, plans etc. An origami is shown unfolded and does not reveal any trace of what it was as an origami; nevertheless every object keeps the name of the thing that the corresponding origami is supposed to represent.
Unfolded Origami – Turtle
2003
paper-folding
67.4 x 97.2 centimeters
Unique
The paper-folding (origami) can be made of different materials – magazines, journals, posters, plans etc. A ready-made origami is unfolded and doesn't reveal any trace of its creation; every object keeps nevertheless name of the thing that the corresponding origami is supposed to represent.
Untitled
2006
spray painting on paper
181 x 125.7 centimeters
Unique
This serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. Of this ephemeral painting, remain the collection of labelled spray cans each with an artist's name and six large preparatory drawings.
Untitled
2006
spray painting on paper
180.7 x 126.3 centimeters
Unique
This serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. Of this ephemeral painting, remain the collection of labelled spray cans each with an artist's name and six large preparatory drawings.
Untitled
2006
spray painting on paper
203 x 125 centimeters
Unique
This serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. Of this ephemeral painting, remain the collection of labelled spray cans each with an artist's name and six large preparatory drawings.
Untitled
2006
spray painting on paper
180.5 x 125.5 centimeters
Unique
The serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. Of this ephemeral painting, remain the collection of labelled spray cans each with an artist's name and six large preparatory drawings.
Untitled
2006
spray painting on paper
174.5 x 125.5 centimeters
Unique
This serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. Of this ephemeral painting, remain the collection of labelled spray cans each with an artist's name and six large preparatory drawings.
