ART-PRESENTATION: Olivier Mosset-Untitled
As part of the collective BMPT*, Olivier Mosset is recognized for his series of paintings featuring a black circle in the middle of a square canvas. Leaving Paris for New York in the 1970s, Mosset turned to monochrome paintings, introducing motifs, compositions and specific formats such as shaped-canvases that came to be associated with his work of this period. Involved in a multitude of art historical movements such as Neo-Geo or appropriation, he explored new materials in the 1990s, which also led him to sculpture. In his work, Mosset called into question the gesture by dissolving authorship to reach a “zero degree” of painting.
By Dimitris Lempesis
Photo: MAMO Archive
Olivier Mosset’s is the sixth artist that invited at MAMO (Marseille Modulor) to present an exhibition. “Untitled” gathers two monumental monochrome works that embody the research in painting that Mosset has undertaken for the past forty years, as well as his Harley Davidson 74’ Panhead (1957). For 50 years, Olivier Mosset has rigorously pursued his practice of deconstructing painting, begun in the 1960s alongside Daniel Buren, Michel Parmentier, and Niele Toroni as part of BMPT collective. In 1966-67, BMPT presented five performative exhibitions, or “manifestations”, that questioned authorial prerogative and the institutionalizing role of the Paris Salons. More broadly, BMPT reflected critically on the spectacular, self-conscious nature of the new avant-garde in France. They tested established ideas of artistic authorship and originality by implying that they often made each other’s works, while emphasizing the objecthood, rather than the originality, of their paintings. Seeking to create art that was simple and self-evident, they suppressed subjectivity and expressiveness in favor of practical systems, such as the utilization of neutral, repetitive patterns and an apparent eschewal of aesthetic historical grounding. Mosset’s chosen motif was the circle, and between 1966 and 1974 he made 200 identical paintings featuring a black circle in the center of a white square canvas. Leaving Paris for New York in the 1970s, Mosset turned to monochrome paintings, introducing motifs, compositions and specific formats such as shaped-canvases that came to be associated with his work of this period. Involved in a multitude of art historical movements such as Neo-Geo or appropriation, he explored new materials in the 1990s, which also led him to sculpture. In his work, Mosset called into question the gesture by dissolving authorship to reach a “zero degree” of painting. Moreover, it was the purchase of a Harley Davidson at an American army surplus store in the 1960s that first inspired Mosset’s deep affection for the world of motorcycles, along with its codes and its way of life as he has many included painted motorcycles in his exhibitions. Mosset says “The first time I showed motorcycles and paintings they were motorcycles by Indian Larry*, the customizer. At one point he fixed an engine for me, and I said, “Do you want to show the motorcycle in some Manhattan gallery?” and he said, “Yeah, yeah”. Then he died in a motorcycle stunt, and I forgot about it, but his shop went on for a little while and I talked to the lady there, saying that we talked with Indian at one point about this—it was a casual conversation. But she said, “You know what, we still have the motorcycles, so if you still want to do it we can do it.” And that’s the first time I did”. Moving from his use of the medium of painting as an object in itself to the presentation of motorcycles as a form of ready-made, Mosset crossed a new line. The Harley Davidson 74’ Panhead (1957) presented in the MAMO exhibition could easily have been one of the many motorcycles that have accompanied Mosset on his various crossings of the United States, where he has lived and worked since 1977. Adorned with its shimmering coat of paint, the motocycle offers a perfect transition to the new, monumental works specifically produced for the rooftop terrace of the Cité Radieuse.
*Indian Larry Desmedt (1949 – 2004), whose own signature symbol was the mute, very Mosset-esque question mark, was an award-winning custom motorcycle mechanic and stunt rider who originated the ‘hard-core’ motorcycle style – a blend between classic choppers and hotrod race bikes influenced by 1950’s-60’s motorcycle clubs. He appeared frequently in movies and television shows and built up a huge cult following.
Info: MAMO, Art Center of la Cité Radieuse, 280 Boulevard Michelet, Marseille, Duration: 7/7-30/9/18, Days & Hours: Wed-Sun 11:00-18:00, https://mamo.fr
