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Installation view. Richard Hawkins « Glimmer » from Oct 12, 2013 to Jan 26, 2014 at Le Consortium, Dijon

Photographies : André Morin © Le Consortium

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Installation view. Richard Hawkins « Glimmer » from Oct 12, 2013 to Jan 26, 2014 at Le Consortium, Dijon

Photographies : André Morin © Le Consortium

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Installation view. Richard Hawkins « Glimmer » from Oct 12, 2013 to Jan 26, 2014 at Le Consortium, Dijon

Photographies : André Morin © Le Consortium

[glimmershow]

Installation view. Richard Hawkins « Glimmer » from Oct 12, 2013 to Jan 26, 2014 at Le Consortium, Dijon

Photographies : André Morin © Le Consortium

[glimmershow]

Installation view. Richard Hawkins « Glimmer » from Oct 12, 2013 to Jan 26, 2014 at Le Consortium, Dijon

Photographies : André Morin © Le Consortium

[glimmershow]

Installation view. Richard Hawkins « Glimmer » from Oct 12, 2013 to Jan 26, 2014 at Le Consortium, Dijon

Photographies : André Morin © Le Consortium

[glimmershow]

Installation view. Richard Hawkins « Glimmer » from Oct 12, 2013 to Jan 26, 2014 at Le Consortium, Dijon

Photographies : André Morin © Le Consortium

[glimmershow]

Installation view. Richard Hawkins « Glimmer » from Oct 12, 2013 to Jan 26, 2014 at Le Consortium, Dijon

Photographies : André Morin © Le Consortium

[glimmershow]

Installation view. Richard Hawkins « Glimmer » from Oct 12, 2013 to Jan 26, 2014 at Le Consortium, Dijon

Photographies : André Morin © Le Consortium

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Richard Hawkins « Glimmer » exposition du 12 octobre 2013 au 26 janvier 2014./ Le Consortium - Dijon

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Le Consortium, vernissage des expositions, 11 octobre 2013

Vernissage des expositions de Matias Faldbakken et Richard Hawkins, au centre d'art Le Consortium de Dijon le 11 octobre 2013. Expositions à découvrir jusqu'au 26 janvier 2014. Plus d'infos: leconsortium.fr/ Vidéo: Claire Willemann

© 2013. Claire Willemann.

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Richard Hawkins: “glimmer” - Press release Consortium de Dijon (English)

This first survey of the American artist Richard Hawkins in France is a unique occasion to discover a corpus of artworks both complex and sophisticated, a strange homosexual universe made of distortions, cuttings, dissections, decapitations … and painterly epiphanies.

Since the beginning of the 90’s, Hawkins has developed a collage practice inherited from the cut-up legacy of Brion Gysin which aggressively mined the collapsed myths of American counter-culture. For Hawkins, collage is a space for doublings and expansions, for the unrealizable, the transient, the ephemeral and the unstable.  Collage, in fact, could be seen as the basis for the artist’s entire ouevre whether they be paintings, sculptures, assemblages, books of fiction, poems, tumblr accounts saturated with vintage porn or curated shows of other artists’ works. All of Hawkins’s works are haunted by a horny voyeur, a hungry cruiser, a desiring hunter whose point of view focuses on the fantastical space of classic and contemporary mythologies, perusing fleshy magazines and galleries of old paintings as lustily as he stalks real boys on streetcorners.

Rather than direct links between the different narratives, practices and media in Hawkins’s work, there are only the melding continuities of similar levels of indulgence, the little joys of being fascinated and getting carried away. So the beauty of teenbeat star Matt Dillon, the shadow of Lautréamont and the dislocated gesture of Butoh founder, Tatsumi Hijikata, are all approached with the same delight, grace and vulgar pleasure as are any of Hawkins’ other obsessions: Greek and Roman statuary, 19 C. French Decadent literature, Gustave Moreau’s paintings, American Indian cultural narratives, zombies, haunted houses, poststructuralist theory or the sextrade in Thailand.

The exhibition of the Consortium focuses on a corpus of artworks realized over the past three years, the most recent one being « Smut Palace », a sculpture Hawkins considers to be the «ideal residence for a really really dirty old man». « Smut Palace » is a 5-floor Chinese-style pagoda composed of gaily painted wood and cardboard. Though seemingly abandoned, its base bares the commercial signage of a rather ribald and bawdy past: « Massage », « Head Shop » and « Adult Arcade ». Fully a sculpture in 3 dimensions, the viewer is drawn in to see the intricate details of its interior: rambling staircases, an after-hours cocktail bar, dirty laundry hanging on the line. But beyond the vicarious pleasures of voyeurism and a dystopic fiction of desire, this small empty theatre triggers a more formalist question on the interiority of sculpture.

The exhibition also includes one of the biggest selections ever assembled of Hawkins’s « Salome paintings », confined and corrupt interiors which may represent the daily activities of the << Smut Palace >> sculpture. The vivid colors applied in stripes on the walls are sticky with the sweaty discharge of sexual arousal. A shirtless hustler smokes lasciviously next to a glory hole. Zombie-heads, the betrayed customers of the cruel prostitutes, float through the air – dead but still greedy and yearning, still horny. The reference to Gustave Moreau’s Salomé is obvious here but the swollen bodies strip the gothic from all its marvel and become saturated with the heady atmosphere of seedy bordellos, nocturnal cruising and all its pleasures – like Genet or Rechy or Fassbinder’s << Querelle >>. These moist interiors are explored in the « Night Gallery » series of paintings as well. This time, the walls are adorned with portrait galleries of nude hunks, the wrinkled deformed faces of forefathers and mummies or recumbent odalisques of hot pink ladyboys.  A tricolor trashbarrel chokes out plumes of acrid smoke in the corner of the room.

The « Brig »and the « Vault » painting series reproduce steel doors wherein riveted sutures - like in a steampunk contraption or a Georges Melies spaceship - geometrically divide the wood-panel supports and small full-color paintings are inserted – or collaged - into the composition. While the « Vault » paintings portray interiors monopolized by forms and colors, the « Brig » series returns to narrative again with lecherous scenes similar to the « Night Gallery » paintings. Titles vary between the simple observation (Smoke), a harsh prohibiting injunction (Not under my roof, you’re not) and the unseemly and salacious neologism (Cumpire).

The second sculpture exhibited is a haunted house belonging to the « Haunted Dollhouses » series initiated in 2007. Constructed over the course of several months in an additive assemblage fashion of successive details, it is an aggregation of meticulously balanced gestures verging on the obsessiveness of a bricoleur. Whereas Hawkins’s inspirations are generally affiliated to a kind of preciosity (in the multiple references to decadent literature, to Huysmans’s symbolism or XIX century occultism), « House Capriccio » is more of a churning, blossoming and celebratory evocation of gothic trappings, a capriccio in every Guardi and Canaletto-inspired sense of the term.

Presented for the first time at the Whitney Biennale in 2012, the collage series  « Ankoku » takes its inspiration from the writings and scrapbooks of Tatsumi Hijikata housed in the KUAC Archives in Tokyo. Though the « Ankoku » project begins as a relatively faithful transcription and translation of the Japanese choreographer and innovator’s original collages of Dubuffet, Francis Bacon and Picasso’s Guernica cut from art magazines, the process quickly turns from research to inspiration, elaboration, expansion and the paralogical. These collages might indeed serve as a metaphor for Hawkins’s practice as a whole: what begins as a fascination (for other art, for role models, for the gotho-erotic, for unprocessed cultural detritus, for handsome youths) soon descends into the bathos of a culture’s dark sensuous underbelly where little flickers of celebratory light – glimmers of it – glisten and pulse and are mined and brought forth like so many jewels, both esoteric and brilliant.

Richard Hawkins (b. 1961, Mexia Texas) is an artist and writer living in Los Angeles. He is represented by Corvi-Mora, London; Galerie Daniel Buchholz, Berlin and Koln; Greene-Naftali, New York and Richard Telles Fine Art, Los Angeles.

His first book of fiction, “Fragile Flowers”, was released by Les Presses du Reel in Fall 2013. In November 2013, he will premiere the exhibition “Bob Mizer & Tom of Finland” (co-curated with Bennett Simpson) at the Museum of Contemporary Art, Los Angeles and in Spring 2014 his Hijikata-inspired Ankoku collages will be presented in a solo exhibition at Tate Liverpool.

His research on the Los Angeles painter Tony Greene is ongoing and can be found at: http://grainofhisskin.tumblr.com/. In 2012 he was a Berlin Prize Fellow at the American Academy, Berlin.

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Richard Hawkins « Glimmer » 12 octobre 2013 – 26 janvier 2014.

Commissariat : Stéphanie Moisdon & Le Consortium.

Cette première monographie de l’artiste américain Richard Hawkins en France est l’occasion unique de découvrir une œuvre aussi complexe que sophistiquée, l’étrangeté de cet univers fait de distorsions, de découpes et autres décapitations.

Auteur de fictions romanesques, Hawkins développe dès le début des années 90 une pratique du collage, héritée de la tradition du cut-up et de Brion Gysin, des mythes échoués de la culture alternative américaine. Le collage est pour lui un espace du double, de l’indécidable, de l’instable, et continue aujourd’hui de définir l’ensemble de son travail : peintures, sculptures, assemblages, livres et textes. Toute l’œuvre de Hawkins est traversée par le point de vue d’un voyeur, cruiser, chasseur désirant, s’arrêtant sans distinction sur l’espace fantasmatique des mythologies anciennes et contemporaines, sans jamais chercher à créer de liens ni de cohérence entre ces différents récits. Fasciné par la beauté de Tom Cruise, l’ombre de Lautréamont et la gestuelle disloquée de l’inventeur du Butoh Tatsumi Hijikata, Hawkins se saisit avec autant d’ironie, de grâce et de dégoût des représentations de la Grèce antique, de la sculpture romaine, de la littérature Décadente française du XIXe siècle, du symbolisme de Gustave Moreau, de l’histoire des indiens d’Amérique, des zombies et maisons hantées, des théories poststructuralistes, de la culture teenage des années 1980, ou encore du tourisme sexuel en Thaïlande.

Il y a quelque chose du récit épique dans la démarche de Richard Hawkins, une volonté de renvoyer la platitude des conventions du pop-art américain à des dimensions héroïques, merveilleuses, morbides et exotiques. Une esthétique de l’horreur, de l’outrance, qui lui vient peut être de cette enfance dans le Texas ou Frankenstein, Dracula et les membres de la famille Adams étaient le seul moyen d’échapper à la banalité d’une vie qui ne reconnaissait pas la différence.

Récemment célébré par la critique internationale à la dernière Biennale du Whitney, son œuvre a fait l’objet de monographies importantes au Hammer Museum (Los Angeles, 2011), Art Institute of Chicago (2010) ou à DeAppel (Amsterdam, 2004).

Il est représenté par les galeries Greene Naftali à New York, Daniel Buchholz à Cologne et Corvi Mora à Londres.

(S.M.)

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Richard Hawkins. arrangement, 2010. Collage, 11 3/4 x 8 3/4 inches. Courtesy: Greene-Naftali, New York.

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Richard Hawkins. blue pink phoenix, 2010. Collage, 11 5/8 x 7 7/8 inches. Courtesy: Greene-Naftali, New York.

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Richard Hawkins. berlinerplan, 2010. Collage, 11 3/4 x 8 3/4 inches. Courtesy: Greene-Naftali, New York.

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Richard Hawkins. blue-grey, 2010. Collage, 11 3/8 x 8 3/4 inches. Courtesy: Greene-Naftali, New York.