Galleries in Paris

Perrotin is pleased to present How to explain the Sculptures to an Influencer?, the ninth solo exhibition by Johan Creten at the gallery – the fifth in Paris. On this occasion, the artist presents a collection of new animal bronzes, bas-reliefs, and furniture sculptures in bronze and clay.

Johan Creten explores the conditions under which a work appears in the real. The artist presents contemporary social mores in different contexts, such as public, domestic, and white cube spaces. Using a title1 that references art history (specifically Joseph Beuys’ 1965 performance at Schmela Gallery in Düsseldorf during which he explained art to a dead hare2) and the contemporary world, the exhibited pieces form a narrative, plastic, and political whole. The sculptor-ceramist studied painting at the Royal Academy of Fine Arts of Ghent and then at the Beaux-Arts in Paris, where he worked on performance art before shifting his focus to the object. Johan Creten works with clay and bronze, not only for their plastic potential but also for their intrinsic narratives. Clay represents the foundation of a society in the making, while bronze tells us about our relationship with history, mainly through monuments.

The exhibition features a collection of bas-reliefs, sculptures, and furniture sculptures. Like Beuys and Austin, Creten is concerned with language: La Langue ( The Tongue/ The Language) was the object of the artist’s first performance in 1986 while still a student at the Beaux-Arts. Exhibited during the day at Galerie Meyer, near the Beaux-Arts, the artist took the sculpture with him across the city at night. C’est dans ma nature (It’s in My Nature), from the eponymous project (2001 – 2021), and La Rencontre (The Encounter) explore the transmission of cultural heritage in a setting where the living no longer occupies center stage. Mounted on rolling panels, the pieces were used to restore damaged housing facades in Aulnay-sous-Bois and Mechelen. Can one story conceal another? In a rapidly changing world in search of ideals of stability, Creten often refers to Maurice Maeterlinck’s The Life of Bees, which presents the beehive as a model for a communal utopia where everyone works for the common good.

Small bronze figures cast in lost wax3 on a platform present a half-human, half-animal bestiary. Like characters from the Commedia dell’arte, grasshopper, wild boar, sheep, seahorse, Hypocrite, dead fly, and herring woman from a merry theatrical troupe. The scale of the figures contrasts with the grandeur and norms of traditional public monuments. (…) Agnès Violeau