Pierre Bismuth
Collage with Marcel
2004
collage on black and white offset print
50 x 70 centimeters
Unique
The Collage with Marcel uses the delicate technique of paper cutting to cover, with white paper, the naked body of Eve BABITZ, the young woman playing chess with Marcel DUCHAMP in the famous photograph taken in Pasadena in 1963. Intervening on an iconic work, symbol of a certain artistic and erotic freedom, like a censor trying to "dress up" the artist's nude model, Pierre BISMUTH introduces a reversal of roles and directs the attention to less known aspects of this photograph.
Pierre Bismuth
Confusion (The Guardian - mercredi 31 octobre 2001)
2001
collage on newspaper
68 x 46 centimeters
Unique
The 'Newspaper' series uses the act of duplicating an image : by using collage, Pierre BISMUTH adds a double to the image on the cover of major newspapers. Showing its status of replicated image, the image in the press loses some of its power of persuasion.
Pierre Bismuth
Double Duty (International Herald Tribune – mercredi 26 mars 2003)
2003
66 x 44 centimeters
Unique
The 'Newspaper' series uses the act of duplicating an image : by using collage, Pierre BISMUTH adds a double to the image on the cover of major newspapers. Showing its status of replicated image, the image in the press loses some of its power of persuasion.
Pierre Bismuth
DUM
2006
spray painting on paper
172.5 x 126 centimeters
Unique
This serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. Of this ephemeral painting, remain the collection of labelled spray cans each with an artist's name and six large preparatory drawings.
Pierre Bismuth
I agree - the idea of cloning humans is disgusting
2004
drawing on paper
75 x 106 centimeters
Unique
The drawing 'I Agree - The Idea of Cloning Humans is Disgusting' evokes a news event showing the application of reproducibility to living organisms : when Dolly was born, the world's first cloned sheep from the cells of another living sheep, the New Yorker published this little cartoon reversing the roles between men and animals. Pierre BISMUTH uses this image as a repetitive pattern for wallpaper, reproduced by hand, but potentially to infinity.
Pierre Bismuth
Left Over
2004
diptych. Cut out paper
54 x 75 centimeters
Unique
The two words ("left over") are cut from patterned paper and placed on a white background, in relation to the remaining hollow patterned paper. Tautological at first glance, this combination introduces doubt about what is referred to as the leftovers and therefore, what constitutes the work. Pierre BISMUTH plays on words by using a conventional technique, paper-cutting, wherein the void is used as a material.
Pierre Bismuth
Left Over
2004
diptych. Cut out paper
54 x 75 centimeters
Unique
The two words ("left over") are cut from patterned paper and placed on a white background, in relation to the remaining hollow patterned paper. Tautological at first glance, this combination introduces doubt about what is referred to as the leftovers and therefore, what constitutes the work. Pierre BISMUTH plays on words by using a conventional technique, paper-cutting, wherein the void is used as a material.
Pierre Bismuth
Mike Kelley
2006
color photograph, digital print
41 x 51 centimeters
This serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. At the same time, Pierre BISMUTH spray paints the names of famous artists (Paul MCCARTHY, Santiago SIERRA, Mike KELLEY etc.) in the streets of Brussels and, in the way of street artists, he immortalizes it through photography.
Pierre Bismuth
Names and colours
2006
installation with 36 spray cans
Unique
'Most Wanted Men' is a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. Of this ephemeral painting, remain the collection of labelled spray cans each with an artist's name and six large preparatory drawings.
Pierre Bismuth
Paris for two (The Independent – lundi 22 janvier 2001)
2001
collage on newspaper
66 x 46 centimeters
Unique
The 'Newspaper' series uses the act of duplicating an image : by using collage, Pierre BISMUTH adds a double to the image on the cover of major newspapers. Showing its status of replicated image, the image in the press loses some of its power of persuasion.
Pierre Bismuth
Paul McCarthy
2006
color photograph, digital print
41 x 51 centimeters
This serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. At the same time, Pierre BISMUTH spray paints the names of famous artists (Paul MCCARTHY, Santiago SIERRA, Mike KELLEY etc.) in the streets of Brussels and, in the way of street artists, he immortalizes it through photography.
Pierre Bismuth
Pop Culture
2006
two musical scores on paper
80 x 100 centimeters
Unique
For 'Pop Culture' the artist crosses out the lyrics of a globally renowned pop song from its partition. Coded for any non-musician, stripped of its popularity and thereby of its power, this icon of pop culture stands in front of the viewer in a form of silence.
Pierre Bismuth
Repetition (Tel-Aviv- 10 janvier 2001)
2001
64 x 48 centimeters
Unique
The 'Newspaper' series uses the act of duplicating an image : by using collage, Pierre BISMUTH adds a double to the image on the cover of major newspapers. Showing its status of replicated image, the image in the press loses some of its power of persuasion.
Pierre Bismuth
Santiago Sierra
2006
color photograph, digital print
41 x 51 centimeters
This serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. At the same time, Pierre BISMUTH spray paints the names of famous artists (Paul MCCARTHY, Santiago SIERRA, Mike KELLEY etc.) in the streets of Brussels and, in the way of street artists, he immortalizes it through photography.
Pierre Bismuth
Signed anonymous letter to be sent to someone I don't know (A. & C. Scherer)
2002
60.7 x 45 centimeters
Unique
In the series Signed anonymous letters to be sent to someone I don't know, the artist addresses the recipient in inverted manner. This piece consists of a fake anonymous letter (it's signed with the name of the artist) written using letters cut out of newspapers, sent to an unknown recipient randomly selected in the phone book. By declaring "I don't know you", Pierre BISMUTH reverses the relationship usually established by an anonymous letter, in which the sender knows more than the recipient.
Pierre Bismuth
Signed anonymous letter to be sent to someone I don't know (E. Murer)
2002
60.5 x 45 centimeters
Unique
In the series Signed anonymous letters to be sent to someone I don't know, the artist addresses the recipient in inverted manner. This piece consists of a fake anonymous letter (it's signed with the name of the artist) written using letters cut out of newspapers, sent to an unknown recipient randomly selected in the phone book. By declaring "I don't know you", Pierre BISMUTH reverses the relationship usually established by an anonymous letter, in which the sender knows more than the recipient.
Pierre Bismuth
Signed anonymous letter to be sent to someone I don't know (M.-L. Drame)
2002
59.5 x 45 centimeters
Unique
In the series Signed anonymous letters to be sent to someone I don't know, the artist addresses the recipient in inverted manner. This piece consists of a fake anonymous letter (it's signed with the name of the artist) written using letters cut out of newspapers, sent to an unknown recipient randomly selected in the phone book. By declaring "I don't know you," Pierre BISMUTH reverses the relationship usually established by an anonymous letter, in which the sender knows more than the recipient.
Pierre Bismuth
Symétrie symétrique (The National Palace of Culture, Sofia)
2002
73 x 57 centimeters
Unique
Duplication and replication are at the origin of the Symétries symétriques (symmetrical symmetries) series, which takes as its starting point several monuments of Sofia dating back to the first half of the twentieth century, which architecture observes an almost perfect symmetry. The artist creates, from a photograph taken frontally, two images with each half exactly symmetrical to the other. Pushing the neoclassical obsession for symmetry to its most extreme point, this gesture makes visible all that refuses to comply with the requirement of architects : vegetation, fountains, bystanders that reveal the artificiality of the created image.
Pierre Bismuth
Symétrie symétrique (The National Theatre Ivan Vazov, Sofia)
2002
73 x 57 centimeters
Unique
Duplication and replication are at the origin of the Symétries symétriques (symmetrical symmetries) series, which takes as its starting point several monuments of Sofia dating back to the first half of the twentieth century, which architecture observes an almost perfect symmetry. The artist creates, from a photograph taken frontally, two images with each half exactly symmetrical to the other. Pushing the neoclassical obsession for symmetry to its most extreme point, this gesture makes visible all that refuses to comply with the requirement of architects : vegetation, fountains, bystanders that reveal the artificiality of the created image.
Pierre Bismuth
Symétries symétriques (The Monument of the Soviet Army, Sofia)
2002
collage on black and white photography
73 x 57 centimeters
Duplication and replication are at the origin of the Symétries symétriques (symmetrical symmetries) series, which takes as its starting point several monuments of Sofia dating back to the first half of the twentieth century, which architecture observes an almost perfect symmetry. The artist creates, from a photograph taken frontally, two images with each half exactly symmetrical to the other. Pushing the neoclassical obsession for symmetry to its most extreme point, this gesture makes visible all that refuses to comply with the requirement of architects : vegetation, fountains, bystanders that reveal the artificiality of the created image.
Pierre Bismuth
The Toppling of Saddam (The Guardian – jeudi 10 avril 2003)
2003
64 x 46 centimeters
Unique
The 'Newspaper' series uses the act of duplicating an image : by using collage, Pierre BISMUTH adds a double to the image on the cover of major newspapers. Showing its status of replicated image, the image in the press loses some of its power of persuasion.
Pierre Bismuth
Two Tent (The Independent - mercredi 9 février 2000)
2000
66 x 45 centimeters
Unique
The 'Newspaper' series uses the act of duplicating an image : by using collage, Pierre BISMUTH adds a double to the image on the cover of major newspapers. Showing its status of replicated image, the image in the press loses some of its power of persuasion.
Pierre Bismuth
Unfolded Origami (moto papillon)
2004
unfolded origami on poster
72 x 104 centimeters
Unique
The Unfolded Origami series is based on an absence. Folds are made from posters and presented unfolded. Only the title refers to the original form (butterfly, pigeon), which traces remain on the creased paper.
Pierre Bismuth
Untitled
2006
spray painting on paper
181 x 125.7 centimeters
Unique
This serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. Of this ephemeral painting, remain the collection of labelled spray cans each with an artist's name and six large preparatory drawings.
Pierre Bismuth
Untitled
2006
spray painting on paper
180.7 x 126.3 centimeters
Unique
This serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. Of this ephemeral painting, remain the collection of labelled spray cans each with an artist's name and six large preparatory drawings.
Pierre Bismuth
Untitled
2006
spray painting on paper
203 x 125 centimeters
Unique
This serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. Of this ephemeral painting, remain the collection of labelled spray cans each with an artist's name and six large preparatory drawings.
Pierre Bismuth
Untitled
2006
spray painting on paper
180.5 x 125.5 centimeters
Unique
The serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. Of this ephemeral painting, remain the collection of labelled spray cans each with an artist's name and six large preparatory drawings.
Pierre Bismuth
Untitled
2006
spray painting on paper
174.5 x 125.5 centimeters
Unique
This serie is related to Most Wanted Men, a mural painted by Pierre BISMUTH in 2006. If Andy WARHOL's "most wanted men" were the most wanted criminals in the United States, they become with Pierre BISMUTH the most valued artists of the contemporary art market, whose names he sprayed on the wall, each in a different colour. By combining the public's fascination with celebrities and the shape of graffiti, this work updates the importance of the artist's signature in the construction of the artistic value. Of this ephemeral painting, remain the collection of labelled spray cans each with an artist's name and six large preparatory drawings.
