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Benjamin Loyauté

From EverybodyWiki Bios & Wiki

Benjamin Loyauté (born 1979) in Normandie, is a French artist[1][non-primary source needed], sculptor, videographer and design historian[2]. Recognized for his installations and his researches on affordance[3][non-primary source needed], popular beliefs, fairytales, cultural and natural heritage, resistance movements and geopolitics of art, his work reconsiders the value of things in our contemporary societies[4][non-primary source needed]. His works reflect a great diversity of mediums (film, video, sculptures, drawings, installations, and actions). Since 2015, his work has been show in various collective and monographic museum exhibitions. Still little known as an artist in France, the exhibition L'expérience de l'ordinaire[5][non-primary source needed][6][non-primary source needed][7][8][non-primary source needed][9][non-primary source needed][10][non-primary source needed] was dedicated to his work for the first time in Paris at the Palais de la Porte Dorée and at Paris Nuit Blanche in 2018[11][non-primary source needed][non-primary source needed][8]

Early life and Influence[edit]

Loyauté grow up in Normandie with his twin sister[12] in a village near by the house of Marcel Duchamp.[not in citation given] His grandfather was taken as prisoner of war, displaced and interned in Germany at Stalag XI B[13].[not in citation given] At 19 he had to work to finance his studies of history of art and became journalist and young reporter in 2001, obtaining his press card from the french Commission de la Carte d'Identité des Journalistes Professionnels. The same year of 2001 the exhibition Moi, Zénobie reine de Palmyre was held in Paris. At this occasion, as guest journalist he was invited to visit Syria. In an interview with Florence Ostende he spoke about how he experienced the Stendhal syndrome[14][non-primary source needed] in Palmyra which he never forget. At this period, he met Claude Levi Strauss in Paris, Paul McCarthy at Villa Arson in Nice and some others who left a lasting mark on is practice[15]. In 2005 he decided to move on his own artistic and curatorial creative.

Curatorial[edit]

Rizzoli international published in 2006 his researches on Pierre Cardin 60's and 70's design including an interview of Marc Newson in Pierre Cardin Evolution[16][non-primary source needed]. In 2007, he assist the curator in chief of the exhibition Design contre Design[17][non-primary source needed][18][non-primary source needed][19][non-primary source needed] at Grand Palais Paris. In 2010 he curated the exhibition Prediction[20][non-primary source needed] - After design[21][non-primary source needed][22][non-primary source needed] with his first installation in collaboration with activist and artist Jackie Summell on the notion de “Confort” [23]including his private correspondance with the Prisonner Herman Wallace[24][not in citation given][25][not in citation given]. In 2011, he was one of the named international curators with Dunne & Rady to curate the first Beijing design triennial[26][non-primary source needed][not in citation given][27] at National Museum of China. In 2013, his exhibition Nighttime Dreamreal [28][dead link][29]have been selected to take place at Power Station of Art, Shanghai. In 2015 he have been appointed as chief curator of the Biennale internationale du design de Saint-Étienne[30][non-primary source needed] and acheived a decisive turning point with his last curated exhibtion[31] Hypervital[32][non-primary source needed][30][33][not in citation given] before to concentrate solely on his own art production. He also taught theory as guest professor at Head Geneva and Ensci. He took part of a Design Basel Miami Jury[34]

Work & Exhibitions[edit]

In 2015, the Museum of Modern and Contemporary Art of Saint Etienne exhibited his first work of art in France and the Palazzo Delle Stelline in Milan hosted his first monographic installation.[citation needed] In 2016, he invested the "Aquarium" of Casino Luxembourg - Forum for Contemporary Art. In 2016, his installation Heterotopia [35][not in citation given] and his film Le bruits des Bonbons / The Astounding Eyes of Syria[36][14][non-primary source needed] were selected and presented for the first time in London at Somerset House.[12][not in citation given]

Recognized for having produced between 2014 and 2019 a global and evolving work composed of a plot, he tells "the story of a world upside down" in ten chapters.[37][non-primary source needed] As narrator of his chapters, he suggests in the last essay on his work What have You fond Out so Far? chapter 9 that this epic work is dedicated to a woman.[38][non-primary source needed] Throughout the chapters, Loulou, a little Syrian girl, stands out as the main character of the story and becomes the symbolic heroine of this committed work.

In 2017, he made his first performance and became an itinerant seller[39] on the markets and public space of candies "consumable sculptures" bearing the image of the enigmatic from the archeological of Mesopotamia. He also performed “non-sales” acts and offered the same consumable sculptures to answers to Trump Jr tweet.[40][not in citation given] On the eve of a European summit on migration justice, his first two interventions entitled The Candy Heap Sale took place in front of Brussels stock exchange and in front of the European Parliament buildings symbol of all economic and political powers.[39][not in citation given]

The same year, he produced Hope You Can Catch this Show a series of 50 invitation cards gilded with gold leaf for the opening of the exhibition which he sent randomly to residents "Non-invited" of Brussels and without notifying the museum. It changes the course of reality by creating this parallel invitation without administrative existence, but which then becomes, as a work, admissible and regulatory. The artist thus responds to the main exhibitions intended for all - but whose openings are in reality intended for a few selected.

Throwback in 2016, the famous skittle candy made international headlines[41][not in citation given][40][not in citation given]. In a tweet, Donald Trump Junior compares the Syrians to these colorful sugared candies[41]. During that time, an article focused in the newspaper The Guardian[12] on the artist's french pavilion, on his film The Astounding eyes of Syria and on the Vending Hope, a vending machine with an armor standing as a sacred monolith of knowledge, inviting all visitors to buy a sachet of 25 grams of this first world heritage candy-sculpture, named Louloupti.[original research?]

The artist introduced into the real world a fictionnal consomable sculpture with a shape of Eye Idol, a mysterious Idol after a excavation in the ancient Syrian city of Tell Brak by Max Mallowan in 1937. To build this consumable archeology, Benjamin Loyauté draws on the contemporary and antiquity, merging their space-time into a amulet. It has the texture of qabaqib ghawar[42], a hoof-shaped street candy[43][14].[non-primary source needed]

All proceeds were going to a welfare association for children on the Syrian border with Lebanon. A year after, the film The Astounding eyes of Syria went to MoMA and Mudam.[citation needed]

After receiving numerous letters, Loyauté decided to answer, not without humour, in 2017, with the installation Sorry for You Too[37].[non-primary source needed] Untitled on Title[44] is a sculpture answering to the polticial power, composed of a neo-Louis XV desk with a candy heap displayed on it and a framed invitation to Trump jr and is Familly to visit the show. Only two uniques invitation does exist. From then, his work have been published in 2018 in reputed academic journal Future Anterior[45] published by the University of Minnesota Press[46]

"The artist place himself self on the border of what James C. Scott called infrapolitics (non violence) , as explained by Véronique Dassié[3][non-primary source needed][47][not in citation given], anthropologist and sociologist with whom he collaborated". He explained "we must repair a social amblyopia that prevents us from seeing correctly and deforms our restrictive vision of the world".[14][non-primary source needed][3][non-primary source needed]

For a 2017 show, he exhibited the penultimate chapter of his story with the monumental installation The Candygraphy - Unlimited [10]at Kanal-Pompidou in Brussels and produced in the same days the film Dreamers.

In 2018, the exhibition L'expérience de l'ordinaire was dedicated to his work for the first time in Paris held at the Palais de la Porte Dorée and during the Nuit Blanche 2018.[5][6][non-primary source needed][8][9][non-primary source needed][10][7]

In 2019, He was invited to do a artist residency by Boghossian Foundation and Polo Museum regionale Art moderna e contemporanea di Palermo in Selinunte, Sicilia and lectured on cultural heritage at King Abdulaziz Center for World Culture, Ithra, Saudi.[citation needed]

Loyauté is interested by animism .[10][not in citation given][48][non-primary source needed]You are alive is an artistic action. From 2015 to now[when?], he went to a controversial auction of Native American Hopi and Pueblo masks from a large private collection in Paris.[49][not in citation given][50][51][not in citation given] In a non-violent act, despite the security, he placed corn in front of a mask considered to be alive by Amerindian peoples. He decided to bid after that "the mask called him" as he said during the protest at the entrance the room of the sale. After having acquired the work, he decides to return it to the Hopi peoples and to contact them through a specialized lawyer. His work questions the power and possession of "living sculptures as living haritage" by encouraging collectors of contemporary art to purchase the only valid work to own, a unique and signed image taken from the mask and considered by the artist as a real transmettor.[10][not in citation given] The acquisition triggers restitution ( série Portrait d'ancêtres vivants).[48][non-primary source needed] In 2020, the mask will finally be returned to Hopi people.[citation needed]

Bibilography[edit]

  • What have you found out so far ? 96 pages - 12 x 16,5 cm Texts by Alicia Knock, Gemma Daou. Language : french/english, September 2019 (ISBN 9782373720808)
  • Heterotopia, Affordance & New Pragmatism, 112 pages - 15 × 21 cm - Livre broché. Texts by Géraldine Sfez, Véronique Dassié, Benjamin Loyauté, language : (English version), April 2017 (ISBN 978-2-37372-034-1)
  • Le bruit des bonbons - The Astounding Eyes of Syria, 400 pages - 17 x 24 cm. Texts by Barbara Casavecchia, Clarisse Gorokhoff, Véronique Grandpierre, France Desmarais, Sophie Cluzan and Florence Ostende, language : french/english/arabic, June 2016 (ISBN 978-2-37372-015-0)
  • Hypervital, Aesthetic consciousness? text by Benjamin Loyauté in Les Sens du Beau, 344 pages - Livre broché. Coll Directed by Benjamin Loyauté, language : french version & english version, March 2015 (ISBN 2912808618)

References[edit]

  1. ↑ "Benjamin Loyauté | www.cnap.fr". www.cnap.fr. Retrieved 2020-05-18.
  2. ↑ Blanc, Dominique (2014-02-10). "Benjamin Loyauté, accélérateur de la planète design". Connaissance des Arts (in français). Retrieved 2020-05-18. Unknown parameter |url-status= ignored (help)
  3. ↑ 3.0 3.1 3.2 Sfez, Géraldine; Dassié, Véronique; Loyauté, Benjamin (2017). Benjamin Loyauté, Heterotopia, affordance & new pragmatism. Paris Ixelles (Belgique): Éditions Dilecta Studio Benjamin Loyauté. ISBN 978-2-37372-032-7. Search this book on
  4. ↑ Loyauté, Benjamin; Sfez, Géraldine; Dassié, Véronique (2017). Benjamin Loyauté: heterotopia, affordance & new pragmatism (in French). ISBN 978-2-37372-034-1. OCLC 994141360.CS1 maint: Unrecognized language (link) Search this book on
  5. ↑ 5.0 5.1 "L'expérience de l'ordinaire | Musée national de l'histoire de l'immigration". www.histoire-immigration.fr. Retrieved 2020-05-18.
  6. ↑ 6.0 6.1 "EXPERIENCING THE ORDINARY Benjamin Loyauté – Rubis mécénat". Retrieved 2020-05-18.
  7. ↑ 7.0 7.1 Chapman, Lara (2018-10-19). "Candy and Magic: Experiencing the Ordinary with Benjamin Loyauté". TLmagazine. Retrieved 2020-05-18. Unknown parameter |url-status= ignored (help)
  8. ↑ 8.0 8.1 8.2 "White Night – Nuit Blanche 2018: Experiencing the ordinary at the Palais de la Porte Dorée". www.sortiraparis.com. Retrieved 2020-05-18.
  9. ↑ 9.0 9.1 "BENJAMIN LOYAUTÉEXPERIENCING THE ORDINARY2018 – Rubis mécénat". Retrieved 2020-05-18.
  10. ↑ 10.0 10.1 10.2 10.3 10.4 Benaï, Yamina (15 October 2018). "Benjamin Loyauté investit le Palais de la Porte Dorée". www.lofficiel.com (in français). Retrieved 2020-05-18. Unknown parameter |url-status= ignored (help)
  11. ↑ Dorée, Palais de la Porte (2018-11-13), L'expérience de l'ordinaire, une exposition de Benjamin Loyauté, retrieved 2020-05-18
  12. ↑ 12.0 12.1 12.2 Khaleeli, Homa (2016-09-06). "Sweet artist: the Willy Wonka of lost Syria". The Guardian. ISSN 0261-3077. Retrieved 2020-05-18.
  13. ↑ "FRAN_IR_054851 - Online catalogue". www.siv.archives-nationales.culture.gouv.fr. Retrieved 2020-05-18.
  14. ↑ 14.0 14.1 14.2 14.3 Loyauté, Benjamin (2016). Le bruit des bonbons: the astounding eyes of Syria. ISBN 978-2-37372-015-0. OCLC 959929080. Search this book on
  15. ↑ Rochebouët, Béatrice de (2015-03-12). "La fronde de Loyauté". Le Figaro.fr (in français). Retrieved 2020-05-18.
  16. ↑ Loyauté, Benjamin; Cardin, Pierre; Faggiano, Jérôme; Herrmann, Nils (2006). Pierre Cardin evolution: furniture and design. Paris; [New York: Flammarion ; Distributed in North America by Rizzoli International. ISBN 978-2-08-030527-5. OCLC 71788360. Search this book on
  17. ↑ Gaillemin, Jean-Louis; Loyauté, Benjamin; Pautot, Thierry; Galeries nationales du Grand Palais (France) (2007). Design contre design: deux siècles de créations : Galeries nationales du Grand Palais, 26 septembre 2007-7 janvier 2008 (in French). Paris: Réunion des musées nationaux. ISBN 978-2-7118-5337-3. OCLC 175651712.CS1 maint: Unrecognized language (link) Search this book on
  18. ↑ Gaillemin, Jean-Louis; Galeries nationales du Grand Palais (2007). Design contre design : deux siècles de créations album de l'exposition, Galeries nationales du Grand Palais, 26 septembre 2007-7 janvier 2008. Paris: RMN. ISBN 978-2-7118-5353-3. Search this book on
  19. ↑ Loyauté, Benjamin (2007). "Entre la mode et le design: le corps". Design Contre Design / Exposition Organisée Par la Réunion des Musées Nationaux. Commissariat: Jean-Louis Gaillemin. Auteurs: Barry Bergdoll ... (in French): 62–75. OCLC 887092925.CS1 maint: Unrecognized language (link)
  20. ↑ "Biennale 2010 / Exhibitions / Prediction". www.biennale2010.citedudesign.com. Retrieved 2020-05-18.
  21. ↑ "A F T e R D e S I G N - Emilie Dethinne * designer graphique".
  22. ↑ "Cité du design | Éditions | Biennale Internationale Design 2010, le livre". Le site de la Cité du design à Saint-Etienne (in français). Retrieved 2020-05-18.
  23. ↑ Larrochelle, Jean-Jacques (2010-11-29). "Design téléporté à Saint-Etienne". Le Monde.fr (in français). Retrieved 2020-05-18. Unknown parameter |url-status= ignored (help)
  24. ↑ Schwartz, John (2013-10-04). "Herman Wallace, Freed After 41 Years in Solitary, Dies at 71". The New York Times. ISSN 0362-4331. Retrieved 2020-05-18.
  25. ↑ "Remembering Herman Wallace (1941 - 2013)". Amnesty International USA. 2013-10-05. Retrieved 2020-05-18.
  26. ↑ "The First Beijing International Design Triennial". en.chinaculture.org. Retrieved 2020-05-18.
  27. ↑ "REASON DESIGN EMOTION (Curator Team: Benjamin Loyauté & Fang Xiaofeng)". Unknown parameter |url-status= ignored (help)
  28. ↑ "Benjamin Loyauté invited French curator of Design Shanghai 2013". Unknown parameter |url-status= ignored (help)
  29. ↑ "L'Exposition". La France en Chine (in français). Retrieved 2020-05-18.
  30. ↑ 30.0 30.1 "Biennale de Saint-Etienne: "Design can make our societies smile again" exhibition "Hypervital", Benjamin Loyauté advocates for a "renewed approach to design"". Unknown parameter |url-status= ignored (help)
  31. ↑ "Biennale Design. " Hypervital " : une exposition qui donne tout son sens au design". www.leprogres.fr (in français). Retrieved 2020-05-18.
  32. ↑ "Hypervital". Biennale Internationale Design Saint-Étienne 2015. Retrieved 2020-05-18.
  33. ↑ "Lunar building block at Hypervital". www.esa.int. Retrieved 2020-05-18.
  34. ↑ "Designers of the Future". www.domusweb.it. Retrieved 2020-05-18.
  35. ↑ "The Astounding Eyes of Syria Film - Benjamin Loyauté". Google Arts & Culture. Retrieved 2020-05-18.
  36. ↑ "The Astounding Eyes of Syria Film - Benjamin Loyauté". Google Arts & Culture. Retrieved 2020-05-18.
  37. ↑ 37.0 37.1 Loyauté, Benjamin (2019). What have you found out so far ?. Paris: Éditions Dilecta. ISBN 978-2-37372-080-8. OCLC 1135235590. Search this book on
  38. ↑ Loyauté, Benjamin (2019). What have you found out so far ?. Paris: Éditions Dilecta. ISBN 978-2-37372-080-8. Search this book on
  39. ↑ 39.0 39.1 "On a aimé : Benjamin Loyauté au Palais de la Porte Dorée". THE STEIÐZ (in français). 2018-10-23. Retrieved 2020-05-18.
  40. ↑ 40.0 40.1 "Why Trump Jr Skittles tweet sparked storm". BBC News. 2016-09-20. Retrieved 2020-05-18.
  41. ↑ 41.0 41.1 Hauser, Christine (2016-09-20). "Donald Trump Jr. Compares Syrian Refugees to Skittles That 'Would Kill You'". The New York Times. ISSN 0362-4331. Retrieved 2020-05-18.
  42. ↑ Qabaqib Ghawar. Qabaqib Ghawar is a hard candy, each color has its own flavor. There is a story behind the name “Qabaqib Ghawar”: The first part of the name “Qabaqib”: You can see in the picture a slipper, this slipper is a traditional Syrian slipper and called in Arabic Qebqab (the plural is Qabaqib), the shape of the candy is similar to the slipper that’s why the name is started with Qababqib. The second part of the name “Ghawar”: Ghawar is a famous character in Syrian cinema and television series, Ghawar was known for wearing the Qebqab (the slipper) in all movies and series, that’s why the candy is called “Qabaqib Ghawar”. So the shape of the candy is similar to the slipper, a famous character his name is Ghawar used to wear the slipper, they combined these two reasons and gave the candy the name “Qabaqib Ghawar”.
  43. ↑ "غوار فطوم فطوم". Unknown parameter |url-status= ignored (help)
  44. ↑ "What Have You Found Out So Far?". Éditions Dilecta. Retrieved 2020-05-18.
  45. ↑ "Vol. 15, No. 1, Summer 2018 of Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism on JSTOR". doi:10.5749/futuante.15.issue-1 (inactive 2020-05-19).
  46. ↑ Thompson, Erin L. (2018). "Recreating the Past in Our Own Image: Contemporary Artists' Reactions to the Digitization of Threatened Cultural Heritage Sites in the Middle East". Future Anterior. 15 (1): 44–56. doi:10.5749/futuante.15.1.0045. ISSN 1934-6026.
  47. ↑ Garnier, Julie (2015-01-07). "Véronique Dassié, Objets d'affection. Une ethnologie de l'intime. Éditions du CTHS, 2010, 367 p." Terrains/Théories (in français) (2). ISSN 2427-9188.
  48. ↑ 48.0 48.1 Editions Dilecta - Prayers « The weight of things » , Benjamin Loyauté, Septembre 2019.
  49. ↑ "Des tribus amérindiennes se battent contre la mise aux enchères d'objets sacrés à Paris". France 24 (in français). 2016-05-30. Retrieved 2020-05-18.
  50. ↑ "AFP :Controversial sale of US tribal masks held in Paris". Unknown parameter |url-status= ignored (help)
  51. ↑ "Controversy over auction of Native American masks in France". RFI. 2013-11-30. Retrieved 2020-05-18.


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