Katya García-Antón, Beatrice Ruf
JRP/Ringier, 2006 - Architecture - 63 pages
This first monograph for a promising Swiss artist arrives during the year of his first New York and London solo shows. Carron's sculptures have been said to mark a renewal of appropriationist discourse. Neither authentic nor kitsch, readymade nor craft, these objects enjoy ambiguity (fake wood, bronze and concrete) and an iconography of power and authority (in traditional forms like public sculptures and commemorative monuments). Along with a group of new Swiss artists speeding through the early stages of critical recognition, including Andro Wekua, Vidya Gastaldon and Mai-Thu Perret, Carron's rise marks the emergence of a new Swiss scene.
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2003 polystyrene 2004 tire cover acrylic paint acrylic resin aesthetic Alimentation Generale Alpine artist authentic Bern Bolero Carron seems Centre d'art contemporain chalets Chateau Synthese collection Fonds courtesy Galerie Eva courtesy Galerie Praz-Delavallade cultural diam dry stone wall exhibition Explosions of paint fabrice stroun ln fake fiberglass French hip-hop Fribourg Galerie Eva Presenhuber Galerie Francesco Pia Geneva HATE ETERNAL historical iconography jacket Jeff Koons kind KlSS Kunsthalle Zurich L'HOSTlLE Lausanne lnstallation view lnvalides Logo lt's Luxembourg Mai-Thu Perret versus Martigny metalic structure MlA VlTA museum Objects Centre d'art Oriflammes original paint on leather PERGOLA Perret versus Valentin piece for Paris played Pop art private collection produces RANCE CLUB re-enactment readymade recuperation Rellik replicas resin and paint Sierre signs ski resort Ski-bobs Solid Objects Centre STlLL LlFE WlTH stroun l'd Sturtevant swastika Switzerland Toroni tourists tradition Valais valentin carron ln versus Mai-Thu Perret versus Valentin Carron wall painting wood