Sunday, May 25, 2008
Congratulations On Your Wedding Messages
following opening of the exhibition: William TAKEOFF Louot ZEITSPIELRAUM
Wednesday, May 21, 2008
Dichloromethane And Quinine
expo: TAKEOFF guillaume louot
TAKEOFF
GUILLAUME LOUOT
About the installation: The act of appropriating
wall surfaces for aesthetic is given a specifically American
almost going back in history of art at the time
of abstract expressionism or what is called New York School. It was
artistic level of the need for large-area subjects express a strong
body dynamics. At the political level, it was to create
its history, its own history of painting, which also gave as
social perspective to this art: great pictures for large offices.
Here in Europe we have our contemporary history of large-format painting of
expressive painting in situ. But the shift that I am interested in the introduction
on two points. The first is a ratio scale, the
a confrontation between body and space or, put another way the report
it is possible to establish between our body wrapping and our habitat.
The second is "large paintings for large walls," and what I mean by then
is a question of desire: to make great paintings.
The exhibition "off" is an assessment of my desire, my intentions
perhaps. Not on canvas frame, and where it would be wider sphere
ideas, idea, painting ... somewhere. For the exhibition, I have several devices
table-place: A design that allows me to re-visit a
painting, which requires a place to exist. So I converted the premises of
Assault carpentry basis of collage and painting in which we can
, say, moving. There is also talk of position, how fickle! ...
Who works! Where the condition of the subject is a posture, a nomad with respect to its plan. 
TAKEOFF
GUILLAUME LOUOT
About the installation: The act of appropriating
wall surfaces for aesthetic is given a specifically American
almost going back in history of art at the time
of abstract expressionism or what is called New York School. It was
artistic level of the need for large-area subjects express a strong
body dynamics. At the political level, it was to create
its history, its own history of painting, which also gave as
social perspective to this art: great pictures for large offices.
Here in Europe we have our contemporary history of large-format painting of
expressive painting in situ. But the shift that I am interested in the introduction
on two points. The first is a ratio scale, the
a confrontation between body and space or, put another way the report
it is possible to establish between our body wrapping and our habitat.
The second is "large paintings for large walls," and what I mean by then
is a question of desire: to make great paintings.
The exhibition "off" is an assessment of my desire, my intentions
perhaps. Not on canvas frame, and where it would be wider sphere
ideas, idea, painting ... somewhere. For the exhibition, I have several devices
table-place: A design that allows me to re-visit a
painting, which requires a place to exist. So I converted the premises of
Assault carpentry basis of collage and painting in which we can
, say, moving. There is also talk of position, how fickle! ...
Who works! Where the condition of the subject is a posture, a nomad with respect to its plan.
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