Archive for the ‘Present Exhibition’ Category

De l’usage de l’écrit at the Yoko Uhoda Gallery

October 30, 2014

Christophe Daviet-Thery would be delighted to welcome you to the next exhibition

De l’usage de l’écrit
at the Yoko Uhoda gallery on 7th November – 7th December, 2014.


Opening show 6th November at 6pm-9pm with Luc Vaiser at the gallery


Please contact us fore more information

Christophe Daviet-Thery Livres et Éditions d’artistes – Only with appointment

Yoko Uhoda Gallery

Rue Forgeur 25 – B 4000 Liège/Belgique

Yoko Uhoda Gallery

September 30, 2014

Christophe Daviet-Thery would be delighted to welcome you to the next exhibition

Bibliothèque d’un amateur. Richard Prince’s Publication 1981-2012

at the Yoko Uhoda gallery on 19th September – 31th October, 2014.

Opening show 18th September at 6pm-9pm



Please contact us for more information

Christophe Daviet-Thery Livres et Éditions d’artistes

Yoko Uhoda Gallery

Rue Forgeur 25 – B 4000 Liège/Belgique

Bye Bye Ducks and Drakes ! (Ricochets) at Villa du Parc Annemasse

July 6, 2013

Bye Bye Ducks and Drakes ! (Ricochets)- Curator Garance Chabert

A proposed publication by Christophe Daviet-Thery focus on Bruno Munari with Leonor Antunes, Koenraad Dedobbeleer, Yann Sérandour, Johannes Wohnseifer, Erwin Wurm  ( co-edition with the Cneai)et Matteo Terzaghi and Marco Zürcher.(co-edition with La Villa du Parc)

The “Two for Tea” season devoted to various forms of artistic collaboration will close with a summer show that extends and enrichies the experiments that were at work in the earlier shows of the series.

Indeed, a good many ricochets are to be expected. Echoes between works, references harking back to subjectively chosen historical sources, reminiscences of past displays – such elements form independent presentations at the Villa.

And since the run of the earlier show wasn’t enough to transform them, the spring landscape of Thu Van Tran will continue to fade away on the veranda throughout the summer. Their alomost imperceptible diminshing is microred by a video piece by Estefania Penafiel Loaiza in which a mysterious gesture of erasure brings with it a new apparition.

Because certain friendships and complicities sometimes spark that desire to do art together, a work from the collection of MAMCO jointly created by Philippe Decrauzat and Stéphane Dafflon will also be on display, continuing the dialog between two artists that was first undertaken last winter by Aurélien Mole and Julien Tiberi. Moreover, to reshuffle the cards in terms of how the art is displayed, and following on the heels of the many joint works inspired by the “Sir Thomas Trope” show, the Villa is pleased to present a project that Christophe Daviet-Thery has developped around the publication in poster form of an article by Bruno Munari “Seeking Comfort in an Uncomfortable Chair” which was first published in Domus in 1944. Pther artists have leapt to the occasion with their reactions and original pieces. The latest effort to date is three silkscreens by a pair of Swiss artists, the duo Matteo Terzaghi and Marco Zürcher, in a joint production with the Villa done especially for this show.

Opening show  20th July at 5pm to 28th September 2013.

Special thanks to Laetitia Chauvin 


Please contact us for more information.


April 12, 2013

Christophe Daviet-Thery would be delighted to welcome you to the upcoming exhibition at the gallery on 12th April -22th  May, 2013.

Opening show 12th April at 6pm-9pm


Ulises Carrion SONNET (S) 1972

Michalis Pichler OTHER SONNET (S) 2009-(ongoing)

This vis-à-vis would be the occasion to bring face the artist’s publication “SONNET(S)” by Ulises Carrion, 1072 and “OTHER SONNET” by Michalis Pichler, here in particular “THIRTYSIX LITHOGRAPHED SONNETS”,2009.

In 1972, Ulises Carrion produced his first artist’s book “SONNET (S)” which consists of a 44 variations of a sonnet by Dante Gabriel Rosetti titled ” Hearts Compass”. Using the langage like a material, Carrion writes Rossetti’s poem over and over again on a typewritter, in slighthly different versions.

Michalis Pichler, a Berlin-based experimental writter, artist and publisher, in a similar approach, created 44 new variations produced and published a book titled “SOME MORE SONNET(S)” – and on the last page of this book announced a multitude of OTHER SONNET’S), mostly imaginary. In an ongoing process, Pichler produced some of them, like “THIRTYSIX LITHOGRAPHED SONNET(S)” which the title give the form in an interaction between what we are reading and what we are seeing, changing words in a visual way, even “sculptural” like a materialization of the language”.

Vis-à Vis-2

February 22, 2013

Christophe Daviet-Thery would be delighted to welcome you to the following exhibition 


Walking Beside the River

 Hamish Fulton Walking Beside the River Vechte, 1998 / Annaea Lockwood A sound Map of the Hudson River, 1982

 at the gallery on 22th February – 22th March, 2013

Thanks to Anne-Laure Chamboisier

Bibliothèque d’un amateur: books by Richard Prince 1981-2012 curated by Christohe Daviet-Thery

October 26, 2012

Christophe Daviet-Thery would be delighted to welcome you to the following exhibition 

Bibliothèque d’un amateur: books by Richard Prince 1981-2012

curated by Christophe Daviet-Thery

at the gallery on 26th October – 20th December, 2012.

“Né à Panama City en 1949, Richard Prince est l’un des précurseurs de l’art de l’appropriation. En re-photographiant des images publicitaires ou en recyclant des éléments de la culture populaire qu’il recadre ou reproduit, il pose la question des fondements de la mythologie américaine, mais aussi de la paternité de l’oeuvre, du plagiat, de la propriété intellectuelle et de la diffusion de l’image.
Parmi les éléments de culture populaire, se trouvent bien entendu les magazines et  livres dont il est un collectionneur compulsif, notamment ceux de la contre-culture américaine qui vont nourrir son oeuvre picturale, photographique mais aussi ses propres livres qui occupent une place centrale dans le corpus de son oeuvre.
C’est ainsi qu’il a utilise/recycle les couvertures de romans de gare pour ses “Nurses paintings” ou ré-organise, juxtapose diverses images issues de cette culture populaire afin de réaliser ses propres livres.
À cette iconographie populaire, celle des bikers, des magazines pornographiques, s’ajoute celle du livre lui-même, ceux de sa collection.
En effet, et de façon récurrente, ils sont constamment re-présentés. Ainsi, dans 4 x 4 publié en 1997 présente-t-il une partie de sa collection de livres de Nabokov
Dans American/English publié en 2003, il juxtapose/compare une suite de livres dans leurs éditions anglaises et américaines.
Le livre devient comme une sorte d’inventaire, de bibliothèque avec une constante, celle de sa représentation presque toujours frontale, comme si le livre n’était qu’une couverture, voire le trophée d’un collectionneur
Et si de par nature, le livre qui doit être manipulé, feuilleté, s’expose difficilement, tel n’est pas le cas en l’occurrence, puisque qu’à leur tour,  les livres de Richard Prince qui constituent cette bibliothèque d’un amateur deviennent, en s’exposant, une suite de couvertures, d’images.”
Remerciements à Francine Delaigle,Vincent Pécoil et Bob Rubin.
Please contact us for more information.
© rebecca fanuele

Allan Kaprow

May 30, 2012

Christophe Daviet-Thery would be delighted to welcome you to the next exhibition by

Allan Kaprow  books and posters

at the gallery on 1th June – 21th July, 2012.

Allan Kaprow (1927-2006) is essentially known for his Happenings, the first of which, “Eighteen Happenings in Six Parts”, took place in October 1959 at the Reuben Gallery in New York, but we should also mention the less well-known aspect of his work represented by the production of books, booklets and pamphlets, produced over a period of nearly thirty years between 1962 and 1992 , to which Giorgio Maffei devoted the book titled Allan Kaprow: A Bibliography, which provides the thread of this show.

Many publications which appeared in the 1970s, when artistic praxis changed, in particular by getting away from the gallery and institution setting, can be regarded as a way of recording, documenting and describing a performative gesture, an experience really viewable by and accessible to few people. One thinks especially of some of Richard Long’s publications in their relationship to displacement.

With Allan Kaprow, the publication was akin to a notice of “re-activation” for a happening, like a user’s manual. In this respect, Allan Kaprow explains this “possibility” of re-activation in Air Condition published in 1975:

« […] The photos reproduced here are not documents.They are illustrations accompanying the verbal program and are intentionally neutral in order not to confuse «program» with subjective experience. Together such text-picture linkages can be read and enacted as the equivalent of a film scenario or football game plan […]» 

As a complement to this set of publications, a set of posters will also be shown, which Allan Kaprow used to announce some of his happenings.

Special thanks to Christoph Schifferli, Giorgio Maffei, Sylvia Bandi at Hauser & Wirth Gallery, and Tamara Bloomberg, Allan Kaprow Estate.
Please contact us for more information.
© rebecca fanuele

Espèces d’espaces

March 6, 2012

Christophe Daviet-Thery would be delighted to welcome you to the next exhibition at the gallery on March 9th – April 14th, 2012.

Espèces d’espaces – Stanley Brouwn, Claire Morel, Yann Sérandour, Peter Downsbrough……

Yann Sérandour, l'espace lui même,2007
mardi/samedi 11h-19H . tuesday/saturday 11 am to 7:pm
Please contact us fore more information.


© rebecca fanuele 

Art & Project Bulletin

September 29, 2011



The exhibition will be at the Gallery  October 27th 2011

January 21th 2012.

At this occasion, we will publish a catalogue in collaboration with Louisa Riley-Smith and Cabinet gallery, London.

Intervention by Michael Riedel,Jerôme Saint-Loubert Bié,Yann Sérandour,Eric Watier et Johannes Wohnseifer, Koenraad Dedobbeleer.

Press Release

« Art is to change what you expect from it «  Seth Siegelaub

A unique opportunity to purchase a complete set of this important archival document direct from the original source : 156 issues in 50 complete sets, boxed in a specially constructed acid-free box (320 x 460 x 60 mm) and released by Adriann van Ravesteijn and Geert van Beijeren, the founders of Art & Project in Holland who issued the bulletin over a period of 21 years.

From the earliest days in 1968 when the bulletin appeared Under the title of « Architectural Research » the Small statement printed on the bottom of the front page rings out with the spirit of its time : « Art & Project plans to bring you together with the ideas of artists, architects and technicians to discover an intelligent form for your living and working space. Art & Project invites you to participate in its exhibitions which will explore ways in which art,architecture and technology can combine with you own ideas »

This statement was to prove prophetic. The bulletin became well-known and as the gallery in Amsterdam grew,it  attracted artists all over the world who wanted to contribute to or use the bulletin to explore their own work. It appealed to artists in the Conceptual Art movement to whom the bulletin was a way of conveying art ideas from the artists to the viewer/reader at a low cost : it did not have a value except for the ideas it contained ; bulletins were mailed free to an international mailing list or distributed from the gallery to visitors. The bulletins contained original material in a sequence which is determined by the arttist, but the viewer/reader can read the material in any order but the artist présents it as s/he thinks it should be.  As Lawrence Weiner,who made five bulletins states « THEY (BOOKS)ARE PERHAPS THE LAST IMPOSITIONAL MEANS OF TRANSFERRING INFORMATION FROM ONE TO ANOTHER (SOURCE).

The imprtance of the bulletins as an archival source on the period is unrivaled, both through the quality of the original pageworks and the calibre of the artists involved all the key artists from this period contributed one and often more bulletins : Robert Barry made four, Stanley Brown made seven, Jan Dibbets six, Hamish Fulton three, Gilbert & George four, Douglas Huebler four, Sol Lewitt five, Richard Long seven, and Allen Ruppersberg two.

From Daniel Buren’s transparent bulletin to Sol Lewitt’s beautiful bulletin folded into 48 small squares, from Bas Jan Ader’s final bulletin mailed during his last work in which he died to Gilbert & George’s fragile double portrait,thèse issues are a unique moving international artwork that stands apart from anything else in this period in its breath of artists included and quality of original work involved. It is increasingly included in exhibitions concerned with Conceptual Art and its influences.The complete set is of prime interest to major private collectors and muséums and libraries concerned with the artists involved with the bulletins. These 156 issues encapsulate an era.

In response to increasing interest, Art & Project have decided to release from their own stock of original bulletins 50 strictely limited sets – no further sets will be issued. To achieve this aim and to complete thèse 50 sets only,each set will contain 7 reprints (clearly marked) and 149 original bulletins. The production of the reprints has been overseen by Adriaan van Ravesteijn (who produced the original bulletins)working with the original printer, thus the reprints are of identical quality to the originals. Each set will also include a new complete full inventory of all the bulletins prepared by Art & Project.

Please contact us for more information.

© rebecca fanuele