Complexe des villas / Bâtiment Le Corbusier
2010
Wood, cardboard, paint
57.87 x 39.37 x 39.37 inches
Pièce 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.
2010
Wood, cardboard, paint
57.87 x 39.37 x 39.37 inches
Pièce 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.
Occupancy by More than 6'682'685'387 Persons is Dangerous and Unlawful (Installation view)
2008
11.81 x 23.23 inches
Pièce unique
This piece by Pierre Bismuth parodies occupancy signs in public places in the US under an ironically Malthusian phrase. It was displayed as an introduction for an eponymous exhibition curated by Pieree Bismuth at Cosmic Gallery in 2008, for which he invited ten artists and writers to each collaborate on an artwork around a theme that is central in his practice, the notion of 'sabotage'.
2008
11.81 x 23.23 inches
Pièce unique
This piece by Pierre Bismuth parodies occupancy signs in public places in the US under an ironically Malthusian phrase. It was displayed as an introduction for an eponymous exhibition curated by Pieree Bismuth at Cosmic Gallery in 2008, for which he invited ten artists and writers to each collaborate on an artwork around a theme that is central in his practice, the notion of 'sabotage'.
Various Colours in Different Locations (Installation view)
2005
In this slide installation, random colors are projected over the walls in a room. The title is an objective description of the work, containing within it a rule applied in the course of the work's execution. The work constitutes a sort of tranlsation of the verb into a visual language. The colors here have no symbolic sense; the artist is rather interested in the movement of the image in the room. The work thus becomes mobile, inviting the spectator to move along with the perambulating projections.
2005
In this slide installation, random colors are projected over the walls in a room. The title is an objective description of the work, containing within it a rule applied in the course of the work's execution. The work constitutes a sort of tranlsation of the verb into a visual language. The colors here have no symbolic sense; the artist is rather interested in the movement of the image in the room. The work thus becomes mobile, inviting the spectator to move along with the perambulating projections.
Ibhayibhile
2005
Pièce unique
The most widely known and disseminated book in the world is presented here in different translations: from Korean to Armenian to Persian. The artist has called the work "Ibhayibheli", thus using the South African xhosa word for Bible. What emerges is an image of community between the most diverse of cultures, all of which have their own version of the Bible. At the same time, we are still aware of differences: the translations are never absolutly exact, the text differs in each language version. Ibhayibheli is a “work in progress”, as implied by
the plinth, which can be extended by means of additional colored elements. Inspired by Le Corbusier's "infinte museum the expension follows the scheme of the Fibonacci Sequence.
2005
Pièce unique
The most widely known and disseminated book in the world is presented here in different translations: from Korean to Armenian to Persian. The artist has called the work "Ibhayibheli", thus using the South African xhosa word for Bible. What emerges is an image of community between the most diverse of cultures, all of which have their own version of the Bible. At the same time, we are still aware of differences: the translations are never absolutly exact, the text differs in each language version. Ibhayibheli is a “work in progress”, as implied by
the plinth, which can be extended by means of additional colored elements. Inspired by Le Corbusier's "infinte museum the expension follows the scheme of the Fibonacci Sequence.
Ibhayibhile
2005
Pièce unique
The most widely known and disseminated book in the world is presented here in different translations: from Korean to Armenian to Persian. The artist has called the work "Ibhayibheli", thus using the South African xhosa word for Bible. What emerges is an image of community between the most diverse of cultures, all of which have their own version of the Bible. At the same time, we are still aware of differences: the translations are never absolutly exact, the text differs in each language version. Ibhayibheli is a “work in progress”, as implied by
the plinth, which can be extended by means of additional colored elements. Inspired by Le Corbusier's "infinte museum the expension follows the scheme of the Fibonacci Sequence.
2005
Pièce unique
The most widely known and disseminated book in the world is presented here in different translations: from Korean to Armenian to Persian. The artist has called the work "Ibhayibheli", thus using the South African xhosa word for Bible. What emerges is an image of community between the most diverse of cultures, all of which have their own version of the Bible. At the same time, we are still aware of differences: the translations are never absolutly exact, the text differs in each language version. Ibhayibheli is a “work in progress”, as implied by
the plinth, which can be extended by means of additional colored elements. Inspired by Le Corbusier's "infinte museum the expension follows the scheme of the Fibonacci Sequence.
Someone I don't know who reminds me of someone you don't know
2004
Once again, Pierre BISMUTH holds to a rule dictated by himself alone which he references in thte title: this collection of images pulled for the most part from magazines shows us people whom the artist doesn't know but who nonetheless remind him of someone. The title incites us to think about our own circle of acquaintances, who will certainly bear certain correspondances to these images, to the point of contradicting the BISMUTH's title.
2004
Once again, Pierre BISMUTH holds to a rule dictated by himself alone which he references in thte title: this collection of images pulled for the most part from magazines shows us people whom the artist doesn't know but who nonetheless remind him of someone. The title incites us to think about our own circle of acquaintances, who will certainly bear certain correspondances to these images, to the point of contradicting the BISMUTH's title.
In prevention of technical malfunction - Unplugged Bruce NAUMAN video work (Installation view)
2003
Two unplugged screens on pedestals
Pièce unique
"In prevention of technical malfunction (unplugged Bruce NAUMAN video work)" is a humorous reference to a situation with which every exhibitions visitor is familiar: videos that can not be seen because of technical problems. All that can be seen here is the presentation medium, namely, the monitors. According to Bismuth, the work that should be running on these monitors is "Good Boy, Bad Boy" by the famous American artist Bruce Nauman. Instead, the viewers have to call it up in their mind's eye, or imagine something themselves based on the title. We, as recipients are thus challenged to a very high degree to become actively, creatively involved.
2003
Two unplugged screens on pedestals
Pièce unique
"In prevention of technical malfunction (unplugged Bruce NAUMAN video work)" is a humorous reference to a situation with which every exhibitions visitor is familiar: videos that can not be seen because of technical problems. All that can be seen here is the presentation medium, namely, the monitors. According to Bismuth, the work that should be running on these monitors is "Good Boy, Bad Boy" by the famous American artist Bruce Nauman. Instead, the viewers have to call it up in their mind's eye, or imagine something themselves based on the title. We, as recipients are thus challenged to a very high degree to become actively, creatively involved.
One Thing Made of Another On Thing Used as Another - Andy Warhol
2003
Folded origami
7.87 x 7.87 x 23.62 inches
Pièce unique
Using art posters with motifs from works by Klimt, Warhol, Klee and others, Pierre BISMUTH produces the simplest folded objects. While this disrespectful treatment of icon-like works from history of art breaks a taboo, at the same time the artist makes something useful out of the – strictly speaking useless- art products, namely, small decorative boxes.
2003
Folded origami
7.87 x 7.87 x 23.62 inches
Pièce unique
Using art posters with motifs from works by Klimt, Warhol, Klee and others, Pierre BISMUTH produces the simplest folded objects. While this disrespectful treatment of icon-like works from history of art breaks a taboo, at the same time the artist makes something useful out of the – strictly speaking useless- art products, namely, small decorative boxes.
Of the Influence of Fontana on His Own Work
2003
Paper
8.27 x 8.27 x 1.18 inches
Pièce unique
2003
Paper
8.27 x 8.27 x 1.18 inches
Pièce unique