Like Pierre Huyghe, Claude Closky is old studying 3Ecole Nationale Sup3erieure of decorative Arts and a member of the collective of painters “the Frères Ripoulin” which had made the beautiful hours of the Free Figuration at the beginning of the the Eighties.
Its current work is quite different and covers almost all the fields of the visual arts, since the drawing and painting until Internet sites or with the creation of wallpapers while passing by photography.
At first sight, Claude Closky is an artist who clears with the immateriality. He is at ease with the electronic media, and certain objects which he manufactures do not give to see immediately - the books for example. In addition the language seems the most direct instrument of appropriation of the materials which it uses: images, texts, figures, and sounds taken in our environment. The work of Closky is not concerned of it with its material specificity, its degree of visibility, and the way in which it occupies space.
Often (but not always) started from an observation of the media, Closky seizes without complexes the codes publicity, of supports such as the poster, the banner, the magazine or of means of diffusion and exposure such as the “connected” Parisian shop Colette. Closky does not resort, which would be more comfortable, to the irony: it does not dissociate from what it diverts. Its self-portraits (having lost the head, in signal-model filled by its giant eskimo, out of bean, holder satisfied with objects of a catalog…), its interventions in the press the such Eye of Claude or in shopping servant boy in a female magazine, show it alienated in the world that it describes. He does not pretend ignorance and uses of a form of humor which rests at the same time on the proximity with what he aims and the reserve of the personal judgment - a consent with the consensus is enough to make waver its effectiveness. As for the reserve of Closky, at the price of an assumed deficit, it represents a method of impregnation formidable. That this attitude is natural or the fruit of a constant effort, it enables him to operate a close-up on the things: a vision which sows the doubt.
One of its other characteristics is the taste of accumulation and the classifications rationalized until the absurdity: “the first 1000 numbers classified alphabetically”, for example, or “comparative Tables”, published by Not of Irony , which takes again the comparative tables of Fnac for their only plastic value. Closky is not made any illusion: what it adapted does not offer of new information, was not compared to a field of competence. It suggests exhaustiveness, is kept some well, is satisfied to apply a decision according to a so repetitive system that it becomes absurd about it. What leads to a second report: Claude Closky is conscious that nothing is never sure and that it would not know to let itself go to govern the destiny of the things - vanities. That which looks at cannot be unaware of it: zero utility, zero magic. Additional index, this artist who seems to like to arrange the things does not claim to invent an order, produces neither apology nor critical. Closky simplifies the grammar of the things which surround us and the fact of seeming the words of an invisible and dumb language. By adding to him this obvious supplement, a quasi autistic translation, it deteriorates the automatisms of our systems of representation.
In 1999, Claude Closky received the National Grand Prix of visual arts decreed by the Ministry for Culture.
Since 2004, it teaches at the post of professor with the 3Ecole Nationale Sup3erieure of the fine arts.
In 2004, the center of contemporary art of Grenoble entrusts to Claude Closky the creation of an Internet site which, more than one catalog of works, is an artistic support in itself. It invites various artists to carry out a work posted in banner page of Internet site of the CNAC, at a rate of a creation per week during a little more than one year.
In 2005, its work “more beautiful” , ordered by the ministry for the culture within the framework of the law known as of the 1%, is inaugurated in the new buildings of the institution. In October 2005, he is prize winner of the Prix Marcel Duchamp. The Center Pompidou then enables him to carry out an installation, Manèges , which consists of sixteen screens hung on the walls of a large part, each screen showing in turn a “action” of some seconds.
selection of recent personal exposures
“Horse-gear”, Center Pompidou, space 315, Paris, 2006
- “Wheel of fortune”, gallery Edward Mitterrand, Geneva, 2005
- “Newspaper”, GEM, Museum off Contemporary Art, $the Hague, 2005.
- “You want you cuts”, Galerie Mehdi Chouakri, Berlin, 2004
- “U”, Fondation Miró, Barcelona, 2004
- Galerie Roger Pailhas, Marseilles, 2004
- “New paintings”, Galerie Nicola - Fornello, Turin, 2003
- “Television”, Hiring 1, New York, 2003
- the bathroom, Lyon, 2003
- Field of Kerguéhennec, 2003
- “World News”, Gallery Jennifer Flay, Paris, 2002
- “Dîneurs”, the Square - Pau, 2002
- Dundee, Contemporary Art, Dundee, 2001
- Gallery Edward Mitterrand, Geneva, 2001
- “Hello and Welcome”, Bases, Florence, 2001
- Vitrine of the Central Union of Decorative Arts, 2000
- “Yiyi”, Galerie Jennifer Flay, Paris, 2000
- “Ski”, Mala Galleria, Moderna Galerija, Ljubljana, Slovenia, 2000
- CCC, Turns, 1999
- “Tattooings”, CNEAI, Chatou, 1999
- Frac the Limousin, Limoges, 1999
- “Weekend”, The Deep Gallery, Tōkyō, 1999
- Climb At your own risk - Eduardo Cicelyn, Katy Siegel & Paul Mattick, interview by Marie Muracciole - Electa, 2007
- Claude Closky - Jean-Pierre Bordaz, Marie Muracciole, François Piron, Katty Siegel & Paul Mattick - Edition Centers Georges Pompidou, 2006
- Hello and Welcome - Carole Boulbès, Lynne Cooke, Alexandra Midal, Frederic Paul, François Piron, David Platzker, Eric Troncy - co-edition field Kergéhénec/Le Parvis, 2004
- Claude Closky - Frederic Paul - Hazan 1999
- Claude Closky - Magazines - Olivier Zahm - Purple Books, 1998
- Claude Closky - the Square - Pascaline Cuvellier - edition the Square, 1996
Books of artistMore than one around fifty, of which for example:
SEX , (ED Electa, Rome, 2007)
- has meeting At home , (ED NEROC' VGM, Amsterdam, 2005)
- the euros (ED. M19, Paris, 2003)
- My father (ED. M19, Paris, 2002)
- Colors as you want, draws and written what you veux' (Threshold Youth, Paris, 2001)
- Beautiful faces (trans-photographic near, Paris, 2001)
- Coloriage (onestar close, Paris, 2001)
- Vacances at Arcachon (ED Gallery Jennifer Flay, Paris, 2000)
- on August 11th, 1999 (ED. the spirit-rapper and Purple books, Paris, 1999)
- Documentation Claude Closky.
- Topicality Claude Closky.
- Works in line Claude Closky.
- Internet site of the Museum of Modern art Large-Duke Jean, Mudam Luxembourg, carried out by Claude Closky.
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