This Art Fair
Amsterdam, NL
Arthur Cordier and Vincent Knopper first met in 2019 and have been exchanging thoughts and insights on their shared interests in the socio-economic construction of urban spaces since then. This is their first presentation together. They are particularly interested in the relations between labour and standardisation, the aesthetics of administration, visual communication and, ultimately, obsolescence. How is the singularity of one’s labour contained in seemingly standardised items?
AC.2024-A19. Untitled, 2024
Heavy duty PVC and vinyl.
Framed, 70% UV Glass, 74,5 x 89 cm
AC.2024-A2. Untitled, 2024
Heavy duty PVC and vinyl.
Framed, 70% UV Glass, 74,5 x 89 cm
Heavy duty PVC and vinyl.
Framed, 70% UV Glass, 74,5 x 89 cm
︎ Full list of works and documentation is available on request only
Arthur presents a selection of works on heavy-duty tarpaulin, paintings, using adhesive vinyl, tape, printer ink and shoe shine. Spread across the exhibition's floor It’s a rat rat’s world displays a selection of small bronze sculptures, evocative of the parasites, pests and pets we allow or avoid in houses and museums.
Vincent presents a new series of high gloss lacquered panels, which are slightly brushed with an orbital sander. The works explore and play with the functional technique of sanding as a form of drawing. Along these works, he shows the series Groote System, a group of tubular handrail-like sculptures that in their materiality refer to efficiency and standardisation. The works borrow their shapes from stenography: a symbolic writing method developed to increase the speed and brevity of handwriting.
Graphic design, courtesy Pia Jacques
Documentation, courtesy LNDW Studio
05.—08.06.25
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
The Car, The Garden, and The Rat
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
The Car, The Garden, and The Rat
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