duo
Galerie Maurits van de Laar The Hague, NL
right, Kantoor Blauw, bis. AC.2023.05
heavy duty PVC, shoe shine, 150 cm L x 180 cm H
heavy duty PVC, shoe shine, 150 cm L x 180 cm H
AC.2023.08. Swirl
heavy duty PVC and vinyl on aluminum stretchers
80 cm L x 100 cm H
heavy duty PVC and vinyl on aluminum stretchers
80 cm L x 100 cm H
AC.2023.02
heavy duty PVC, vinyl and printer ink on aluminum stretchers
100 cm L x 160 cm H
heavy duty PVC, vinyl and printer ink on aluminum stretchers
100 cm L x 160 cm H
“Arthur Cordier (1993) uses discarded truck tarpaulin as a basis for his paintings. He applies a composition of organic and abstract shapes to the weathered and discolored surface of the sail with tape and sticker sheet. The organic shapes are based on photos of plant leaves that he cuts from vinyl and pastes on the painting. The vinyl is partly removed, leaving the shapes half-revealed and half-hidden.In other works, the vinyl is used as a temporary template to bleach out the contours of the plants on the PVC and make them visible. In addition to this formal research, Arthur Cordier also makes a social statement by using material that no longer has any economic value in the artistic process.”
With works by Janice McNab.
︎ link
SUMMER
JUL.15—AUG.20.2023
I worked in an advertising agency.
I hate advertising.
My experience led to a constant interest in the study of urban and commercial trickery – also known in French as roublardise. To reveal the economical construct of urban contexts, I use the effectiveness of commercial strategies against itself in a tautological and often parasitic manner. To a further extent, my practice tackles the aesthetics of bureaucracy, entrepreneurship, and efficiency through relational, situational, and contextually specific works, self-reflecting upon the economy of artistic practice in a production-driven society.
works
Long Days (Short Days)
It’s a rat rat’s world
Autoroutes Sauvages
Laatste Ronde
FREE COFFEE** NO SMARTPHONE FOR ETERNITY
Kunst_planten
Towards a new domesticity
SUMMER
Le temps ne brûle pas
Billboard advertising falls on top of two cars during strong wind weather
TikTok vs Abramovic
archive
Days of our Lives
La Tonnelle Universelle
The Opening Super
D.D.-DOMESTICA DOVE
FREE COFFEE*
Enseigne liquide, Goudron lumineux
Groter, Nieuwe, Prix réduit, Toute nouvelle
Markten
The cow, the riot and the kid
Auvent, évente
I hate advertising.
My experience led to a constant interest in the study of urban and commercial trickery – also known in French as roublardise. To reveal the economical construct of urban contexts, I use the effectiveness of commercial strategies against itself in a tautological and often parasitic manner. To a further extent, my practice tackles the aesthetics of bureaucracy, entrepreneurship, and efficiency through relational, situational, and contextually specific works, self-reflecting upon the economy of artistic practice in a production-driven society.
works
Long Days (Short Days)
It’s a rat rat’s world
Autoroutes Sauvages
Laatste Ronde
FREE COFFEE** NO SMARTPHONE FOR ETERNITY
Kunst_planten
Towards a new domesticity
SUMMER
Le temps ne brûle pas
Billboard advertising falls on top of two cars during strong wind weather
TikTok vs Abramovic
archive
Days of our Lives
La Tonnelle Universelle
The Opening Super
D.D.-DOMESTICA DOVE
FREE COFFEE*
Enseigne liquide, Goudron lumineux
Groter, Nieuwe, Prix réduit, Toute nouvelle
Markten
The cow, the riot and the kid
Auvent, évente