The True Artist


	The True Artist Triangle France, Marseille, from the 26th of september to the 25th of october 2008 with Véronique Dutilly, Heather et Ivan Morison, Giorgio Sadotti, Paul Tarragò and Emily Wardill This exhibition could be summed up in a single work: Giorgio Sadotti's list, which draws – as caricature (or self-portrait) – the portrait of the 'true' artist. Sadotti's 'true' artist is detached from their surroundings, has an opinion about anything and everything. Quick-tempered, a poseur, always sincere, they are indisputably original though in many ways extremely normal. Contradiction personified, they continuously oscillate between going off on tangents ('True artists look at the floor often') and asserting definitive positions ('The true artist says no'). Beginning with this fantasy, the exhibition questions the place that the artist takes in our society and that which our society gives them in return, in interaction with elements that they rub up against every day: their colleagues, their sources of inspiration, their Masters, their whims… Precise succession of altruist and radical gestures, imbroglio of well-known references, pop or mystical, formal delectation… search for the pure gesture, the brilliant idea (sometimes unachieved), the exhibition shows 'the true artist' as cunning but oblivious or playing on it, as if to escape a role or tag that the entire world gives them. Taken as second degree, Sadotti speaks of attitudes that are no longer personal, they are works of art in themselves: processes of attitudes that respond to habits and customs dictated by, let's say, fashion ('A true artist wears denim'), morality ('The true artist does not suffer'), sexual codes ('True artists have wild but protected sex'), social dictums ('The true artist is pregnant')… Accordingly, the other works presented in the exhibition act as reminders, and more importantly as symptoms of an allergy to these ready-made postures. Consequently, this ensemble isn't built around personalities, but works, which each propose ways to take responsibility, without exaggeration, to position oneself in History with a capital H, and to put oneself in front of or behind it. Ultimately, these works ask if somewhere, some kind of truth exists, and if so does anyone have the right to speak it? Accordingly, this exhibition doesn't address world misery; it doesn't express an opinion about the economy, identities, politics, aliens, etc. It prefers to use subtle humour with a breathtaking mise-en-abime of pre-judgements. In sum, it tries, with a limited number of pieces, to speak about art, its place, and a few strangers who make it. written with Dorothée Dupuis©2008 (See the pictures)

Triangle France, Marseille, from the 26th of september to the 25th of october 2008

with Véronique Dutilly, Heather et Ivan Morison, Giorgio Sadotti, Paul Tarragò and Emily Wardill

This exhibition could be summed up in a single work: Giorgio Sadotti's list, which draws – as caricature (or self-portrait) – the portrait of the 'true' artist.
Sadotti's 'true' artist is detached from their surroundings, has an opinion about anything and everything. Quick-tempered, a poseur, always sincere, they are indisputably original though in many ways extremely normal. Contradiction personified, they continuously oscillate between going off on tangents ('True artists look at the floor often') and asserting definitive positions ('The true artist says no').
Beginning with this fantasy, the exhibition questions the place that the artist takes in our society and that which our society gives them in return, in interaction with elements that they rub up against every day: their colleagues, their sources of inspiration, their Masters, their whims…

Precise succession of altruist and radical gestures, imbroglio of well-known references, pop or mystical, formal delectation… search for the pure gesture, the brilliant idea (sometimes unachieved), the exhibition shows 'the true artist' as cunning but oblivious or playing on it, as if to escape a role or tag that the entire world gives them. Taken as second degree, Sadotti speaks of attitudes that are no longer personal, they are works of art in themselves: processes of attitudes that respond to habits and customs dictated by, let's say, fashion ('A true artist wears denim'), morality ('The true artist does not suffer'), sexual codes ('True artists have wild but protected sex'), social dictums ('The true artist is pregnant')… Accordingly, the other works presented in the exhibition act as reminders, and more importantly as symptoms of an allergy to these ready-made postures.
Consequently, this ensemble isn't built around personalities, but works, which each propose ways to take responsibility, without exaggeration, to position oneself in History with a capital H, and to put oneself in front of or behind it. Ultimately, these works ask if somewhere, some kind of truth exists, and if so does anyone have the right to speak it?

Accordingly, this exhibition doesn't address world misery; it doesn't express an opinion about the economy, identities, politics, aliens, etc. It prefers to use subtle humour with a breathtaking mise-en-abime of pre-judgements. In sum, it tries, with a limited number of pieces, to speak about art, its place, and a few strangers who make it.

(See the pictures)