London exhibitions. For Frieze Masters 2015, Luxembourg & Dayan follow in the footsteps of Iris Clert (1917-1986), presenting a Microsalon exhibition in homage to the intrepid and eccentric gallerist celebrated for cutting-edge exhibitions at both her eponymous Paris gallery and other galleries abroad. The presentation will offer a focused survey of the revolutionary program that Clert created from the late 1950s through the 1960s. Following numerous gallery exhibitions mounted by Luxembourg & Dayan to illuminate overlooked practices and under-appreciated aspects of European art of the Sixties, Microsalon: An Homage to Iris Clert will focus on a compelling page of art history that was written by a visionary dealer.
Inaugured sixty years ago, in 1955, the Galerie Iris Clert was known for supporting some of the most influential postwar artists in the early stages of their careers. Long before the institutionalization of performance art and installation art, Clert’s small one-room gallery was a hub for avant-garde activity, showcasing such seminal actions and environments as Yves Klein’s Le Vide (featuring an empty room), and Arman’s Le Plein (which inversely filled the entirety of the gallery with found objects).
Microsalon: An Homage to Iris Clert brings together examples of bodies of work featured in Clert’s innovative program. Among these are an early blue monochrome by Yves Klein; examples of Arman’s Poubelles – discarded objects encased in glass boxes – and Accumulations; Lucio Fontana’s Concetti Spaziali; Raymond Hains’s Seita sculptures that mimicked enlarged matchbooks; a grouping of works by pioneers of kinetic art, including sculptures by Jean Tinguely, Takis, Jesús Rafael Soto and Pol Bury; a risqué painting by American artist William Copley that was exhibited in the artist’s first solo exhibition at Galerie Iris Clert; and early works by Enrico Baj, César, and Martial Raysse.
A display of archival material and ephemera relating to Galerie Iris Clert’s far-reaching activities will be included in the presentation. A publication inspired by iris.time, the satirical newspaper that Clert published and distributed at her openings, will accompany the Luxembourg & Dayan exhibition. This publication features a new essay by critic Robert Pincus-Witten that recalls his experiences of working in Galerie Iris Clert. Grafting the Galerie Iris Clert into Regent’s Park this Autumn, Luxembourg & Dayan’s presentation will offer visitors a glimpse into Clert’s prescient eye and audacious spirit.