Marine Hugonnier

Art for Modern Architecture – Years of Lead (1977), 2017

Silk printed paper clips onto vintage newspapers front pages

68 x 51 cm


Interested in purchasing this work?

Enquire

Additional Information

Accompanied by a certificate of authenticity.

We offer collectors a range of shipping options including a variety of specialist art couriers.
Please allow four to six weeks for the artwork to arrive after purchase.

Artwork
Description

In 2004, Marine Hugonnier began a series, ‘Art for Modern Architecture’, in which she took the front page of a newspaper and concealed its images with colourful cut-outs taken from Ellsworth Kelly’s book Line, Form, Color. In 2009, she stopped extracting her overlays from Kelly’s book and began creating them herself with paper silkscreened in the standard hues of a kodak colour chart: red, blue, green, yellow, magenta and black. While Hugonnier’s process changed, Ellsworth Kelly remained a significant influence on the collage series. In particular, his belief that art can serve a structural function remained embedded in the artist’s use newspaper pages. These are, after all, documents with a heavy impact upon social structures.

This particular collage comes from a recent incarnation of ‘Art for Modern Architecture’, in which Hugonnier responds to the art of Pietro Consagra. For this reason, the newspaper grounds come from vintage editions of the Italian Corriere della Sera, dated 1977—a year around the middle of Consagra’s most productive period. By 1977, the Years of Lead (1969-1980) were well underway in Italy: the extremist left-wing organisation known as the Red Brigade had formed in 1970, and had been carrying out more and more regular terror attacks ever since its conception. The newspapers which Hugonnier uses naturally focus upon this state of turmoil. The headlines describe kidnappings, bomb attacks, assassinations, violent protests and fires.

By hiding the images which accompany these headlines, the artist sabotages and questions the systems of propaganda, spectacle and power which journalistic photography bolster. She also encourages the viewer to engage more actively with the artwork, demanding that we bring our own memories of the reported news—or else our imagined versions of it—to fill in the collages’ blanks.

About
the artist

Marine Hugonnier was born in Paris in 1969. She studied philosophy and anthropology, before gaining a Bachelor of Fine Arts at Le Fresnoy, Studio National des Arts Contemporains, in 2000. She now lives and works in London.

Hugonnier’s works have been widely exhibited over the past fifteen years, including in shows at The Museum of Contemporary Arts, Seoul; The BALTIC Centre, Newcastle; Zabludowicz Collection, London. Hugonnier is also included in the collections of The Louvre, Paris; The Museum of Modern Art, New York; and Philadelphia Museum of Art, Philadelphia.

Hugonnier has worked in many different media—film, photography, collage, books and performance—but she has consistently engaged with the politics of representation. For instance, her works frequently acknowledge the fact that the viewer’s perception will be determined by their particular angle of observation; and they often employ this unavoidable aspect of the viewing experience as a metaphor for the inevitability of interpretational bias. In doing so, Hugonnier’s art not only deconstructs how and what we perceive visually; it also illuminates the viewer’s tendency to accommodate their predilections, circumscribing how and what they perceive analytically.

Never more is this the case than in Hugonnier’s ongoing series, Art for Modern Architecture (2004 – present), in which she takes the front page of various newspapers and obscures their images with patches of bright colour. This erasure technique works (alongside the general flatness of Hugonnier’s collage mode, which dictates a frontal approach) to enforce extreme restrictions upon our visual perception. These restrictions are then echoed in—and contribute towards—the viewer’s necessarily limited interpretation: we can only understand these collages according to our individual and necessarily biased memory or invented notion of the obscured images.

Hugonnier’s work revisits modernist tropes, often casting a disbelieving shadow upon their utopian aims to revolutionise the politics of power. For while her work shows that art can function in a social/political sphere to make people ‘think for themselves’, it also suggests that such a process might be considered a kind of propaganda in itself: one which enforces its own strict boundaries upon the viewer.


Hugonnier’s works have been widely exhibited over the past fifteen years, including in shows at The Museum of Contemporary Arts, Seoul; The BALTIC Centre, Newcastle; Zabludowicz Collection, London. Hugonnier is also included in the collections of The Louvre, Paris; The Museum of Modern Art, New York; and Philadelphia Museum of Art, Philadelphia.

Hugonnier’s work revisits modernist tropes, often casting a disbelieving shadow upon their utopian aims to revolutionise the politics of power. For while her work shows that art can function in a social/political sphere to make people ‘think for themselves’, it also suggests that such a process might be considered a kind of propaganda in itself: one which enforces its own strict boundaries upon the viewer.


Marine Hugonnier
on Artuner

Part of the
exhibition

September 26th, 2017 until
January 10th, 2018
Curated by ARTUNER