Julien Bismuth everything has a face and every face has its thing (2019)
Makeup, installation gesture*, inkjet print
29.7 x 27.9 cm
*Four fingers of the same hand, held to match the placement of the artist’s eyes, nose, and mouth, colored with blue makeup, and pressed against a surface in the room. The work can be installed by the artist or someone else. The fingerprints can vary, but the proportions must stay the same.
Courtesy the artist and Galerie Emanuel Layr Vienna/Rome; Photo: Maximilian Anelli-Monti
VIENNA: Martin Beck at Mumok by Maximilian Geymüller, Ben Schumacher at Croy Nielsen by Max L. Feldman, Helmut Lang at Sammlung Friedrichshof Zurndorf / Stadtraum Wien by Christian Egger; GRAZ: Stephan Dillemuth at Künstlerhaus, Halle für Kunst & Medien by Melissa Canbaz
In 1957 a group of artists, poets, and filmmakers founded the Situationist International in Paris. Michèle Bernstein was one of the few women among them. She wrote the novel All the King’s Horses in 1960 – when she was married to the group’s leading theorist Guy Debord – as a way of filling the young organisation’s coffers. This sentimental romance about the affairs of Parisian intellectuals was a pastiche of Françoise Sagan’s Bonjour Tristesse and became a bestseller. Christian Egger writes on the book, which was recently translated into German.