Marie de Brugerolle – Living Archive and Curatorial Research

Department of Theory and History of Art within the subject Curatorial Studies I. and Interpretive Frameworks of Contemporary Art II. cordially invites you to a lecture

Hviezdoslavovo námestie 18., room no. 220

An introduction to  Guy de Cointet (1934 – 1983) through the point of view of curatorial research. At the cross road of surrealism, structuralism and  camp», the complex work of the French artist offers a wide range of practices. From typography to fashion design, films, sculptures, theater plays…the rich corpus of works has played a key role in the development of Californian art of the 80’s and 2000’s. Theater without theater, extending the definition of performance towards post-performance, Cointet has been a key figure of the underground scene and making bridges with different scenes. Rediscovering his work has been a long process, which drove the curator to reinvent her methods and herself extend the field of curating. Inquiry, interview, from notebooks to oral archives, from anecdotes fact checking, and questioning the subject of living archives, the research itself became the base of a new way of thinking art history in a living manner.

Marie de Brugerolle is a curator, professor and author. She has worked in major institutions at Mnam-Pompidou center, the MoMA in New York, the CNAC-Magasin in Grenoble, France, Carré d’art Nîmes. She is the leading authority on the French-born Californian artist Guy de Cointet and has been instrumental in introducing Californian art to Europe (first retrospectives of Allen Ruppersberg (1996), Guy de Cointet (2004) John Baldessari (2005), and Larry Bell (2010). Crossing borders between countries, practices and age groups, her spectrum includes all aspects of creation from painting, film, photography, objects.

Brugerolle has worked extensively on the question of the history of performance art, from the 1960s to its current state of dematerialization and absorption by the society of spectacle. This complements her theoretical project, Post Performance Future (2012-ongoing), questioning the impact of performance upon visual arts, in a post medium context. This has been important for a new generation of artists (Cally Spooner, Agnieszka Kurant, Jimmy Robert, Emily Mast, Nathaniel Mel- lors, Coleman Collins, Anna Wittenberg...).

Collaborations include Not to Play With Dead Things, (2008) with Eric Mangion, Villa Arson, Nice, France, I was a Male Yvonne de Carlo (2011) at MUSAC, Léon, Spain, an exhibition on political satire she organized with the artist Dora Garcia, as well as the exhibition ALL THAT FALLS (2014); Palais de Tokyo, Paris, with the psychoanalyst Gerard Wajcman.

Other recent curatorial projects including post performance programs:  LA EXISTANCIAL at LACE, Los Angeles (2013), RIDEAUX/blinds at IAC Villeurbanne, Lyon (2015), and Salon Discret, an evening of performances at Centre Pompidou, Paris (2017), C’BARET: What Not /Speak Easy, 2019, LAXART, Los Angeles.

Recently REVERSE UNIVERSE at CRAC (Sète, France): Than Hussein Clark (A Little Night Music (and Reversals) and Luigi Serafini’s Sur Terre et Sur Mer avec le Codex Seraphinianus (October-May 2021); Post Performance Video, Prospective 1: Los Angeles; Carré d’Art Musée, Nîmes (January 2021-May 2022), Julie Béna, Villa Arson, Nice (March-June 2021), Cassoni. Peintures/Boîtes at Anne Barrault Gallery, Paris. Among recent publications, Premières Critiques (2010) Presses du Réel, Guy de Cointet, The Artist as Cryptographer (2010, reed. 2016, JRP Ringier-Presses du Réel). Films: Who’s That Guy? Telle Me More about Guy de Cointet (2011). Spacey For Ever, 2018.