14 june - 11 september 2017 steven pippinkit+pippin_21.06.2017.pdf · pippin, together with the...

STEVEN PIPPIN#EXPOSTEVENPIPPIN

COMMUNICATION AND PARTNERSHIPSDEPARTMENT

PRESS KIT

STEVEN PIPPINABERRATION OPTIQUE14 JUNE - 11 SEPTEMBER 2017

STEVEN PIPPINABERRATION OPTIQUE14 JUNE - 11 SEPTEMBER 2017

CONTENTS

1. PRESS RELEASE PAGE 3

2. EXHIBITION MAP PAGE 5

3. EXHIBITION CIRCUIT PAGE 6

4. LIST OF PRESENTED WORKS PAGE 10

5. PUBLICATION PAGE 12

6. SOLO SHOWS PAGE 13

7. THE PHOTOGRAPHY GALLERY OF THE CENTRE POMPIDOU PAGE 15

8. PHOTOGRAPHY ACQUISITION GROUP PAGE 16

9. PRESS VISUALS PAGE 17

10. PRACTICAL INFORMATIONS PAGE 20

communicationand partnerships department75191 Paris cedex 04

directorBenoît Parayretelephone00 33 (0)1 44 78 12 [email protected]

press officerÉlodie Vincenttelephone00 33 (0)1 44 78 48 [email protected]

www.centrepompidou.fr

21st June 2017

communicationand partnerships department75191 Paris cedex 04

directorBenoît Parayretelephone00 33 (0)1 44 78 12 [email protected]

press officerÉlodie Vincenttelephone00 33 (0)1 44 78 48 [email protected]

www.centrepompidou.fr

Steven Pippin

Mamiya 330, de la série Non Event, 2010

© Steven, Pippin

#ExpoStevenPippin

21st June 2017

PRESS RELEASESTEVEN PIPPIN ABERRATION OPTIQUE14 JUNE - 11 SEPTEMBER 2017GALERIE DE PHOTOGRAPHIES, FORUM-1

The digital revolution was already under way in the mid-eighties when British artist Steven Pippin made a name for himself with his «proto-photographs», produced with everyday objects transformed into dark rooms. With wardrobes, refrigerators, bath tubs and washing machines, not to mention public toilets and exhibition rooms, everything was grist to his mill, including the automatic photo booth, which Pippin considers the perfect model of the «bachelor machine» as an all-in-one camera, developer and printer for ready-to-consume images.

The exhibition, devised by the Centre Pompidou’s Galerie de Photographies, follows the recent entry of three works by Pippin into the museum’s collection. It provides a journey through the artist’s work since 1982, and a potted history of photography. It brings together not only photographs but also devices designed or fixed by Pippin, together with the equipment he used to create his various works.

In 1993, in acrobatic conditions, Steven Pippin converted a toilet on the London-Brighton train into a studio and photo lab during the journey: The Continued Saga of an Amateur Photographer. In 1998, the artist pushed his experimentation further still in an automatic laundromat, when he got the idea of recording images of a figure moving in front of the line of washing machines. This was a tribute to Muybridge, the Englishman who emigrated to San Francisco and who laid out a line of 12 view cameras to deconstruct the movements of a galloping horse in 1878. Pippin repeated Muybridge’s experiment in Laundromat Locomotion, setting a horse loose in the laundromat to capture its movement, then using the washing machines to develop the images. After this exploit, exhibited for the first time at the SF MOMA in San Francisco, Pippin abandoned photography for ten years, after which his frantic race towards the instant image began anew. The reunion was violent: the Non Event series staged the destruction of cameras at the very instant when a gun was fired at point-blank range, rendering them useless.

Steven Pippin is not alone in his fascination with archaic photographic techniques, but he gives his invention epic dimensions. In his view, the result is less important than the process. The only purpose of subverting existing objects is to bring the invention of photography within the empirical reach of the first comer. Pippin is above all a performer; his work is an extraordinary narrative that turns photography into a show.

In partnership with

Steven Pippin was born in 1960, and lives in Greenwich (UK). His works feature in the collections of the Centre Pompidou, the MOMA (New York), the Tate Gallery (London), the SF MOMA (San Francisco), the Collection Lafayette Anticipations - Moulin Family Endowment Fund, Paris, the FNAC, Puteaux, and in the FRACs (regional contemporary art collections) of the Limousin and Brittany regions.

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2. EXHIBITION MAP

POINT BLANK

LAUNDROMAT LOCOMOTION

LAUNDROMAT LOCOMOTION

BASIC PHOTOGRAPHS

BASIC PHOTOGRAPHS

ENTRANCE

6

BASIC PHOTOGRAPHS

Eggs (laid before Fridge)

1982

Positive print from original paper negative

Collection of the artist, Greenwich

Untitled, Hassocks, Sussex, 1984

Negative paper obtained by transforming a bathtub into an elementary camera (pinhole)

Exposure : 90 min


Beach Bath, Brighton, 1985

Documentary photographs of the device

Exposure : 20 min


Self-Portrait with Photobooth, 1987

Positive print from original paper negative, 1/5

Exposure : 20 min.

Collection Frac Limousin, Limoges

A public photo booth machine situated on Villiers Street close to the Embankment underground station

was converted into a pinhole camera. A wooden panel fitted into the opening of the machine, sealing

the booth of light. All internal lights were disconnected or covered over. A small compartment (or cat flap)

enabled the operator to load the internal, darkened space with photographic paper and then exit the booth

without exposing the emulsion. The operator then uncovered the small aperture (at the centre of the

wooden panel) and stood opposite the machine some three yards away adopting a motionless, rigid pose.

The Continued Saga of an Amateur Photographer, 1993

5 positive contact prints from original paper negatives exposed and developed using a lavatory

in a London - Brighton train

Print 5/10

Private collection, Paris

The Continued Saga of an Amateur Photographer, 1993

Film, 22 min 5 s

3. LIST OF PRESENTED WORKS

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WASHING MACHINE AS CAMERA

Done in a laundromat, the Laundromat Locomotion series was a more complex endeavour than earlier

experiments, in that it sought to capture movement, paying tribute to the chronophotography of

Eadweard Muybridge. It is also an outstanding demonstration of the similarities between washing

machine and camera.

Launderette Interior, 1985

Positive contact print from original negative obtained by transforming a washing machine into

a pinhole camera

Centre national des arts plastiques, Puteaux, FNAC 96075

Laundramatic, 1989

6 positive contact prints from original negatives obtained by transforming a washing machine into

a pinhole camera

Centre national des arts plastiques, Puteaux, FNAC 96076

Laudromat Locomotion, « ER » sequence, 1997

12 positive contact prints from original negatives exposed and developed using as many washing

machines

Centre Pompidou, Musée national d’art moderne, AM 2016-684

NB : “ER” here is not an allusion to HM Queen Elizabeth (Elizabeth Regina) but simply stands for

“erection”

Laudromat Locomotion, Horse Rider, 1997

12 positive contact prints from original negatives exposed and developed using as many washing

machines

Centre Pompidou, Musée national d’art moderne, AM 2016-683

Laundromat Locomotion,1997

Case containing 12 aluminium hoods with lenses and shutters, wooden frames, flash gun with spare

bulbs, and a bicycle pump


Equipment made available through the kindness of Gavin Brown’s Enterprise, New York

Laundromat Locomotion, 1997

Exploded views of the equipment needed to convert a washing machine into an effective means

of photographic reproduction

Film, 6 min 39 s

8

POINT BLANK

« The equipment is set up and the procedure carried out in complete darkness with the flash being triggered just as the bullet breaks open the camera. » Steven Pippin

Dead End, Doha, Qatar, 2013

Color print


Non Event, Wisconsin, 2010

Color print


In Camera, 2014

Color print


For In Camera, a gun was placed inside the camera and fired out toward the front, the whole being

arranged in such a way that the camera is reflected in two mirrors and can capture the bullet coming out.

Non Event, 2011

Color print


A Petri 35 mm camera is shot with a bullet from a 32 calibre automatic pistol.

Non Event, Wisconsin, 2010

Color print


A 4 x 5 inch De Vere folding camera is shot with six bullets.

Reverse Logic, from the In Camera series, 2014

Color print

Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris

Deepfield, 2010

Color print


3 D Breach of 2 Dimensional Space, from the In Camera series, 2010

Color print


The camera is pointed at a mirror and the front edge of the De Vere folding camera is visible at the

left-hand margin of the image, together with the bullet at the moment it emerges from the camera.

Mamiya C330, from the Non Event series, 2010

2 color prints

Centre Pompidou, Musée national d’art moderne,

inv. AM 2016-685

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AUTO-PHOTO

The Non Cameras and the Philosophical Machine are cameras modified so as to capture their own imaging

process to the exclusion of all else. The former are sterile, offering no more than mental representations.

The latter produce (after a fashion) documentary proof of their introspection.

Simultaneous 50_50 (Non Camera), 2008


A Praktica MTL 5B 35 mm camera is cut in two and the two halves pointed at each other. Experimental

prototype intended to allow the camera to photograph itself without the use of a mirror.

Quantum Camera (Non Camera), 2009


35 mm photo camera equipped with a metal tube and four mirrors to focus on the film and equipped

with a motor driving it in an infinite loop.

Zen-tax (Philosophical Machine), 2011


Hybrid 35 mm camera created from half a Russian-made Zenit reflex and half a Japanese Pentax

of the 1970s.

Cross Sectionned Lens (Philosophical Machine), 2014


Nikkor 70 mm lens cut in two and set between two mirrors to allow the camera to photograph itself

in section.

Analogue vs Digital Composite Camera (Philosophical Machine), 2015


This 35 mm reflex camera combines an analogue and a digital camera both sharing a single lens,

thus allowing them to shoot the same view. Conceived in in 2007 and perfected in 2015.

Praktica² (Philosophical Machine), 2015


Hybrid 35 mm camera made from two identical, superimposed cameras. Created in the course

of a photo workshop at the AA School of Architecture, London.

Symmetrical Superposition, 2009


A Pentax 35 mm camera is modified so that the film plane is equidistant from the two telephoto

lenses with which it is fitted. The image is created using four mirrors, producing an infinite loop.

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4. EXHIBITION CIRCUIT

INTRODUCTION

An engineer by training, Steven Pippin at first contented himself with turning everyday objects into

rudimentary cameras. Things became more complicated when – having subjected a photobooth to the

same treatment – he asked his objects to also develop the photographs he took with them. It was in public

toilets and then in a train lavatory on the journey from London to Brighton, using what was available there

and not much more, that his improvised pinhole cameras achieved the status of “bachelor machines”.

Then, having noticed the morphological and functional parallels between the washing machine on the one

hand and the camera and darkroom on the other, it was in a laundromat that Pippin went even further in a

tribute to Eadweard Muybridge’s chronophotographs of men and animals in motion. There remained to

him to explore what escapes the eye – the very, very, very fast, in a nod to Harold Edgerton – and to evoke

in the imagination, if not present to the eye, the activity of photography as it happens. The exhibition maps

this progress, which begins with the invention of the camera and ends in its destruction.

The digital revolution was already under way in the mid-eighties when British artist Steven Pippin made

a name for himself with his «proto-photographs», produced with everyday objects transformed into dark

rooms. With wardrobes, refrigerators, bath tubs and washing machines, not to mention public toilets

and exhibition rooms, everything was grist to his mill, including the automatic photo booth, which Pippin

considers the perfect model of the «bachelor machine» as an all-in-one camera, developer and printer

for ready-to-consume images.

1993 saw the appearance of the first browser capable of integrating images in web pages; that same year,

with certain degree of contortion, Pippin turned a train lavatory into an improvised studio and darkroom

for the duration of the journey from London to Brighton, for a work entitled The Continued Saga of an

Amateur Photographer. The first mass-market digital camera appeared in 1995, 25 years after the first

mass-market video cameras. In 1998, Pippin had a show at the San Francisco Museum of Art, and for this

he decided to push his experiments to a hitherto unprecedented level of elaboration, an elaboration

reflected in the negative by the archaism of the technology employed. He was in a laundromat when it

occurred to him to use the washing machines to shoot a series of images of a person walking in front

of them – just as Eadweard Muybridge, an Englishman in San Francisco, had in 1878 arranged twelve

cameras in line to analyse the movement of a galloping horse. He found the laundromat for the job not

in California but in Bayonne, New Jersey, where he recreated Muybridge’s experiments – whose fruits

were published as Animal Locomotion (1872-85), and The Human Figure in Motion (1901) – in riding

a horse past the washing machines, which also served to develop the images. Two sequences from

this Laundromat Locomotion series were recently purchased by the Centre Pompidou.

Pippin was not the only artist to have been interested in archaic techniques of photography, but he has

given his project an epic aspect as absurd as it is remarkable. For him, the result is not as important

as the process, which breaks down the boundary between artistic product and document – a boundary

that is becoming questionable in photography, where in the age of contactless technological reproduction

the distinction between copy and original is disappearing.

Pippin is not an amateur photographer, but he plays the role of slave to his passion: he is above all a performer.

The work constitutes an extraordinary narrative and presents photography itself as a spectacle.

The (mis)use of everyday objects does not distinguish Pippin from the many other artist-engineers who

have appeared since the advent of the modernist avant-gardes or even before. Its role here is to designate

11

the invention of photography as an achievement open to all-comers, in a world where it has taken over,

where everything is potentially photographic or at least photographed. Drama is avoided by making

the epic domestic.

Sometimes, however, heroes grow weary, and after his exploit with the laundromat, Pippin turned away

from photography for ten years. His saga then continued with a mad pursuit of the instantaneous image.

This was a violent return, as the series A Non Event recorded the destruction of cameras as a gun was

fired at them at point blank range, putting them beyond use. Fired on and photographed, they were doubly

shot. The first of these pictures were again produced in the United States, again with improvised set-ups,

but this time using cutting-edge technology. Incidentally, Pippin recalls how on his way to Las Vegas

he had to show his driving license to buy a beer, but once there he didn’t have to show anything to buy

the bullets he needed for the project, the friendly salesperson even trying to sell him a gun!

The exhibition is in four parts. The first brings together what the artist calls, in French, photographies

élémentaires, “rudimentary photographs” made using improvised pinhole cameras since 1982 ; the second

is devoted to the series Laundromat Locomotion, and includes some of the equipment used in making it ;

the third proceeds from one shooting to another with the Non Event and In Camera series ; while the

fourth offers displays of Non Cameras and Appareils philosophiques (philosophical cameras), that is,

cameras modified so as to capture their own imaging process to the exclusion of all else. The former are

sterile, offering no more than mental representations. The latter produce (after a fashion) documentary

proof of their introspection. In guise of an entirely optional conclusion the artist has chosen to present –

discreetly out of sight, in the narrow passage leading to the emergency exit – a programmatic work, Dead

End, depicting a last torment inflicted on the camera, burnt at the stake after being shot several times.

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SOMMAIRE :

L’insondable Activité Des Miroirs Dans L’obscurité, Frédéric Paul

The Continued Saga Of An Amateur Photographer, Steven Pippin

Laundromat Locomotion, Steven Pippin

Appareils Philosophiques, Steven Pippin

Analogital, Steven Pippin

Non Event, Steven Pippin

In Camera, Steven Pippin

Window On The World, Steven Pippin

5. PUBLICATION

Hardback, 14,5 x 21,5 cm

185 photographs Black & White and color

304 pages

€ 35

Photographies and texts : Steven Pippin

Essay : Frédéric Paul

Coedition : Éditions du Centre Pompidou /

Éditions Xavier Barral

With the support of Lafayette Anticipations - Fonds

de dotation Famille Moulin

Published with the support of

the Fondation d’Entreprise

Neuflize OBC

13

6. SOLO SHOWSSteven Pippin was born in 1960, and lives in Greenwich (UK).

SOLO EXHIBITIONS (SELECTED):

2014 : Insignificant, Gavin Brown Enterprise, New York

Omega=1, Dilston Grove, London

2013 : Non Event, Gallery side 2, Tokyo

2011 : A Non Event (Horizon), CEAAC (Centre Européen d’Actions Artistiques Contemporaines),

Strasbourg, France

2008 : Analogital, Klosterfelde, Berlin

2007 : A singularity, Domaine de Kerguehennec, France

2006 : Ω=1, Trudelwindkanal Adlershof, Berlin

Cosmological Convolutions, Arte Ricambi and San Bernardino monastery, Vérona

2005 : GeoFlatscreen Prototype, Gavin Brown’s Enterprise, New York

What Is The Point, Gallery Side2, Tokyo

UFO, Klosterfelde, Berlin

2003 : Black Hole, Gallery Side 2, Tokyo

2001 : Journey to the Centre of the Art World…and Back Again, Gavin Brown’s Enterprise, New York

1999 : New Constellation & Geocentric, Royal Observatory, Greenwich

fax 69, Gallery Side 2, Tokyo

Laundromat - Locomotion, Regen Projects, Los Angeles

Global Warming, Asprey Jacques, Londres

fax 69, Klosterfelde, Berlin

Laundromat - Locomotion, P.S. 1, New York, New York et ICA, Philadelphie & Miami

1998 : Laundromat - Locomotion, SFMoMA, San Francisco

Global Warming, DAAD Galerie, Berlin

Geocentric t.v., Carl Zeiss Planetarium, Jena

1997 : T.T.V. (Terrestrial Television), Gavin Brown Enterprise, New York

Surroundings, Museum of Tel Aviv, Israel

1995 : Time & motion, F.R.A.C. Limousin, Limoges, France

Negative Perspective, Ujazdowski Castle, Warschau

1994 : Retrospective, A/C Projectroom / enterprise, New York

Interior Regen Projects, Los Angeles

Omnigraph, Jack Hanley Gallery, San Francisco

Work from the Recession, Victoria Miro, Londres

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1993 : addendum, Portikus, Francfort

Project 44, Museum of Modern Art, New York

1991 : Laundromat Pictures, Sculpture Space, Utica, New York

PUBLIC ARTWORKS:

2005 : Discovery 1, Gosport Public Library, Hampshire

2003 : Black Hole, Installation permanente, Wissenschaftsforum, Berlin

PUBLIC COLLECTIONS:

Centre Pompidou, Paris

Collection Lafayette Anticipation - Fonds de dotation Famille Moulin, Paris

Tate Gallery, London

Manchester City Art Gallery

Swindon Art Gallery

MOMA, New York

Guggenheim Museum, New York

SF MoMA, San Francisco

Walker Art Centre, Minneapolis

FRAC Limousin

FRAC Bretagne

FNAC, Paris

Contemporary Art Society, London

Museum of Art, Tel Aviv

UCLA Hammer Museum, Los Angeles

Kenderdine Art Gallery, Université de Saskatchewan

Fotomuseum, Winterhur

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7. THE PHOTOGRAPHY GALLERY OF THE CENTRE POMPIDOU

Located in the Forum on level -1 of the building, the idea behind the new photography gallery of 200 m2,

is to make more generous use of the rich and varied photographic resources of the Musée national d’art

moderne by offering visitors fresh interpretations of a collection containing 40,000 prints and over 60,000

negatives.

With free access, this new space offers four exhibitions a year.

The annual programme of the photography gallery is structured around three subjects:

- Modern photography from the 1920s to the 1930s,

- Contemporary photographic creation from the 1980s to the present day,

- A themed and cross-cutting subject addressing some of the major issues of 20th and 21st century art.

In 2017, the photography gallery is presenting:Josef Koudelka, la fabrique d’Exils (22 February - 22 May 2017)

Steven Pippin (14 june - 11 september 2017)

Carte Blanche PMU 2017, Elina Brotherus ( 27 september - 16 october 2016)

Photo & graphisme (8 november - 29 january 2018)

The PMU has been the loyal partner of the Galerie de photographies since its opening in 2014.

Since 2010, the PMU has been committed to contemporary photographic creation and has given carte

blanche to photographers so that they can offer us their take on the world of betting, which might

normally be considered foreign to them. The selected photographer receives €20,000 in funding for the

creation of an original project, a publication for Editions Filigranes and an exhibition at the Galerie de

photographies of the Centre Pompidou.

In partnership with

16

8. PHOTOGRAPHY ACQUISITION GROUP

GAP (PHOTOGRAPHY ACQUISITION GROUP)OF THE SOCIÉTÉ DES AMIS DU MUSÉE NATIONAL D’ART MODERNE

On the occasion of the opening of the photography gallery in November 2014, the new photography

acquisition group (GAP) was created among the members of the Société des amis du Musée.

This acquisition committee aims to help enrich the collection of historical and contemporary photographs

of the Centre Pompidou. In the context of programming for the Galerie de photographies, acquisitions

made with the help of this group will be presented. Comprised of a group of enthusiasts sharing

the common aim of enriching the museum’s collections and extending their knowledge in the field

of modern and contemporary photography, the committee is led by Karolina Ziebinska-Lewandowska,

curator in the Department of Photography and Marcella Lista, curator at the division of New media, Musée

national d’art moderne.

Under the guidance of Bernard Blistène, director of the Musée national d’art moderne, the curators

submit acquisition files which members vote on by a simple majority.

Through this acquisition circle, the members of the GAP forge a link with the team of the Musée national

d’art moderne while developing their perspectives of photography on the occasion of visits to exhibitions,

artist workshops, private collections and favoured exchanges with curators and specialists.

The group brings together an international network of photography enthusiasts who feed into the Centre

Pompidou’s photography acquisition policy on the occasion of discussions and prospecting trips.

The annual financial commitment per member amounts to €5,000 which is tax deductible up to 66 % (i.e.

an actual cost of €1,700) and qualifies them for numerous benefits.

More information : Océane Arnaud, Development Officer for the Société des Amis du Musée national d’artmoderne – Centre Pompidou, [email protected] + 00 33 1 44 78 47 45amisdumusee.centrepompidou.fr

17

9. PRESS VISUALS

01. STEVEN PIPPIN

Laundromat Locomotion (Walking Backwards),

L-L n°04, 1997

12 positive contact prints from original negatives

© Steven Pippin

02. STEVEN PIPPIN

Laundromat Locomotion (Horse & Rider)

L-L n°00, 1997

Documentary photographs of the device

© Steven Pippin

03. STEVEN PIPPIN

Lavatory Locomotion,

Tel-Aviv, Israël,

1997

6 positive contact prints from original negatives

© Steven Pippin

18

04. STEVEN PIPPIN

Sinar Simultaneous 50:50,

2013

© Steven Pippin

05. STEVEN PIPPIN

Non Event series, 18th May 2010 at midday.

Color print

© Steven Pippin

06. STEVEN PIPPIN

Centon 35 mm, de la série Non Event

2011

Color print

© Steven Pippin

07. STEVEN PIPPIN

Mamiya 330, from the Non Event series, 2010

Color print

Centre Pompidou, Musée national d’art moderne - CCI

AM 2016-685

© Steven Pippin

19

08. STEVEN PIPPIN

4 x 5 inch De Vere folding camera, from the Non Event series, octobre 2010

© Steven Pippin

09. STEVEN PIPPIN

Deep Field, 2010

Color print

Lafayette Anticipations, Fonds de dotation Famille Moulin, Paris

© Steven Pippin

10. STEVEN PIPPIN

Dead End

Doha, Qatar, 2013

© Steven Pippin

20

10. PRACTICAL INFORMATIONS

PRACTICAL INFORMATIONS AT THE SAME TIME AT THE CENTRE POMPIDOU

Centre Pompidou

75191 Paris cedex 04

telephone

00 33 (0)1 44 78 12 33

subway

Hôtel de Ville, Rambuteau

Opening hours

Exposition open from 11am to 9pm

every day except tuesday

Price

free admission

ROSS LOVEGROVE12 APRIL - 3 JULY 2017press officerAnne-Marie Pereira01 44 78 40 [email protected]

WALKER EVANS

26 APRIL - 14 AUGUST 2017

press officerÉlodie Vincent01 44 78 48 [email protected]

DAVID HOCKNEY

21 JUNE - 23 OCTOBER 2017

press officer

Anne-Marie Pereira

01 44 78 40 69

[email protected]

ANARCHÉOLOGIE14 JUNE - 11 SEPTEMBER 2017

press officerDorothée Mireux01 44 78 46 [email protected]

HERVÉ FISCHER14 JUNE - 11 SEPTEMBER 2017

press officerTimothée Nicot01 44 78 45 [email protected]

AU MUSÉE :

BERNARD LASSUS 24 MAY - 28 AUGUST 2017

press officerDorothée Mireux01 44 78 46 [email protected]

COLLECTIONS MODERNES1905-1965L’ŒIL ÉCOUTENOUVEAU PARCOURS DES SALLES DOSSIERS

OPENING THE 3 MAY 2017

press officerDorothée Mireux01 44 78 46 60dorothé[email protected]

Frédéric Paul,

Curator at Musée national d’art

moderne, Paris

CURATOR

On social networks :

#ExpoStevenPippin@centrepompidou

https://www.facebook.com/centrepompidou

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