Tursic & Mille

La Rencontre / The Encounter


Shanghai

Inquire about the exhibition:
inquiries@alminerech.com

To organize an appointment to visit the show, please write to: contact.shanghai@alminerech.com

  • , Pink Landscape with sun and a little fire, 2020
    Oil on wood
    122.5 x 155.5 x 5 cm
    48 1/4 x 61 1/4 x 2 in
  • , La jeune fille aux petits chiens (d'après Fragonard- vers 1770), 2020
    Oil and gold leaf on wood
    35 x 27 x 6 cm
    13 3/4 x 10 5/8 x 2 3/8 in
  • , Jeune fille pensant (d'après Jean Honoré Fragonard, 1770), 2020
    Oil on wood
    40.2 x 33.2 x 5.6 cm
    15 7/8 x 13 1/8 x 2 1/4 in
  • , Jeune Orpheline au T-Rex (d'après Eugêne Delacroix, vers 1824), 2020
    Oil on wood
    35 x 27 x 6 cm
    13 3/4 x 10 5/8 x 2 3/8 in
  • , Jeune fille délivrant un oiseau de sa cage (After Fragonard), 2020
    Oil and gold leaf on wood
    88 x 70 x 5 cm
    34 5/8 x 27 1/2 x 2 in
  • The happy painting, 2020
    Oil on wood
    52 x 67.5 x 5 cm
    20 1/2 x 26 5/8 x 2 in
  • , the encounter (after Asger Jorn 1959), 2020
    Oil on wood
    65 x 53.5 x 5 cm
    25 5/8 x 21 1/8 x 2
  • , Bichon minimal et joyeux, 2020
    Oil on wood, plinth in cedar
    129 x 65 x 39.5 cm
    50 3/4 x 25 5/8 x 15 1/2 in
  • , Bichon pensif, 2020
    Oil on wood, plinth in Douglas
    181 x 122 x 58.5 cm
    71 1/4 x 48 1/8 x 23 1/8 in
  • , Bichon au socle bleu, 2020
    Oil on wood, plinth in oak
    70 x 39 x 22 cm
    27 1/2 x 15 3/8 x 8 5/8 in
  • , Still Life / Portrait (The Face), 2020
    Oil on canvas
    200 x 150 x 5 cm
    78 3/4 x 59 1/8 x 2 in
  • , Still - Life (sunset), 2020
    Oil on wood panels, oak frame
    256.7 x 496 x 5 cm
    101 1/8 x 195 1/4 x 2 in
  • , When you're Strange 2, 2020
    Oil on wood
    59 x 75 x 6 cm
    23 1/4 x 29 1/2 x 2 3/8 in
  • , Landscape with pink and dinosaurs, 2020
    Oil on wood
    50 x 60.5 x 6 cm
    19 3/4 x 23 7/8 x 2 3/8 in
  • , L'enfant aux dinosaures (d'après Jean Siméon Chardin, 1738), 2020
    Oil on wood
    70.5 x 80.5 x 6 cm
    27 3/4 x 31 3/4 x 2 3/8 in
  • , La simplicité (d'après Jean-Baptiste Greuze, 1759), 2020
    Oil on wood
    69 x 57 x 5 cm
    27 1/8 x 22 1/2 x 2 in
  • , La rencontre, 2020
    Oil on canvas
    200 x 250 x 5 cm
    78 3/4 x 98 3/8 x 2 in
  • , Painting with a smile, 2020
    Oil on wood panels, oak frame
    182 x 196 x 5 cm
    71 5/8 x 77 1/8 x 2 in
  • , Le souvenir (d'après Jean-Baptiste Greuze, 1787-1789), 2020
    Oil on wood
    60 x 50 x 5.2 cm
    23 5/8 x 19 3/4 x 2 1/8 in
  • , When you're Strange, 2020
    Oil on wood
    59 x 75 x 6 cm
    23 1/4 x 29 1/2 x 2 3/8 in
  • , Bichon au socle jaune, 2020
    Oil on wood, basement in Cedar
    83 x 52 x 40 cm
    32 5/8 x 20 1/2 x 15 3/4 in
  • , L'oiseau mort (d'après Jean-Baptiste Greuze, vers 1800), 2020
    Oil on wood
    60.1 x 50.2 x 5.5 cm
    23 5/8 x 19 3/4 x 2 1/8 in
  • , Landscape and green and chickens, 2020
    Oil on wood
    122.5 x 155.5 x 5 cm
    48 1/4 x 61 1/4 x 2 in

Press release

Almine Rech Shanghai is pleased to present the fifth solo exhibition of Tursic & Mille with the gallery. The exhibition will be on view from January 15 to March 06, 2021. 

Experiencing Tursic & Mille’s art is like swimming in a swamp of images. There is no hierarchy between the two; both of them call the shots, and the various elements in the pictures are results of conversations and mutual resistance. But there are more voices and exchanges than just their own. They also incorporate others’ visual languages: many of the paintings and sculptural works appropriate existing images (it was reported in Artforum that the duo has a collection of more than 140,000 images); besides using images found online, they also cut out pages from magazines, and allow these to collect paint and dust in the studio, effectively producing new traces and destroying the images. In turn and before long, the images cease to exist as fast moving consumer goods, and just as quickly become objects as such, living an afterlife, going in parallel with Tursic & Mille’s artistic practice that, based upon existing images, marks, unmarks and remarks traces in a language that is similar to Polke’s, Richter’s and Ruscha’s. As images come and go, consumed by viewers’ attention, capital and (religious, art history, scientific and cinematic) sign systems, whether the indigestible, the non consumable remains? Bruno Latour talks about the act of and motivation for Iconoclasm as destruction itself, but it is not as certain whether, on the other hand, Iconoclash is constructive or destructive. Just as uncertain and suspended is the creation of image. Defilement of sacred icons is a human act that sabotages the sacredness of icons, but in Iconoclash, defacing a face entails the birth of a new one.