Johan Creten is considered a precursor of the ceramics revival
in contemporary art, alongside Thomas Schütte and in the wake
of Lucio Fontana. Through his use of clay, his proven knowledge
of the materials, his careful attention to glazing, and his thoroughly
physical grasp of the medium, he restored ceramics to majestic grace
and paved the way for many young contemporary artists. The work of
Johan Creten raises ceramics from a poor relation to a noble art.
Johan Creten’s œuvre is not governed by Venusian beauty alone.
As a result, some of his major pieces, in darker, murkier tones,
like the enchanting Odore di Femmina, betray the political bent
of his work, filled with a desire to probe the ambivalences and tragedies
of History, the hours of darkness and days of gloom. As such, two recent
and ambitious exhibitions—”CERAMIX” at La Maison Rouge in Paris,
and “La Traversée/The Crossing” at the CRAC (Regional Center
for Contemporary Art) in Sète—focused on these more politicallymotivated
pieces produced from the late eighties up to the present,
tackling the social sphere and confronting the viewer with the immensity
of our shared sorrows.
For his exhibition at Perrotin, new monumental bronzes will dialogue with
some of his early pieces like The Gate (2001) or C’est dans ma Nature
(2001). Alongside Madame Butterfly (1991), an especially political
piece produced in the United States, several eloquent photographs will
be presented of these projects conceived to bandage the wounds and
explore the cité, in the ancient and modern sense of the word.
Presented for the first time in New York in 2015, The Price of Freedom
will be a centerpiece of the Parisian exhibition. The monumental bronze
takes on full meaning, or at least a different meaning, when placed
alongside the recent series of portraits Creten created as a set with
incredible intensity and coherence. Filled with mysterious ambiguity
and “disturbing strangeness” (Sigmund Freud), the veiled women
(Vierge d’Aleppo, 2014–2015) evoke confinement and the permanency
of age-old preoccupations. In taking up Mozart’s theme of Aus dem
Serail (2016–2017), does Creten not mean to show the extent to which
the polysemy of the East has always been a motive of dreams, a machine
churning out projections and fascinations?
As an admirer of Antiquity, the silence of marble and the mystery of
bronze, Johan Creten is a champion of “Slow Art”; his works reveal
themselves slowly, they require time. They must be visited thoroughly,
supremely, using both the eyes and the feet. Contemplation and
convolution are crucial, as we are reminded by his Points d’observation/
Viewpoints, which, much like bollards or mooring posts, anchor the
viewers and demand time, hindsight and distance—both visual and
The exhibition will present spectacular pieces such as the monumental
bronze De Gier (2015–2017), alongside more intimate, confidential
works like Vulvas or the series of photographs C’est dans ma nature.
From Wargames to The Strip, each artwork is an exploration of our
relationships with the world—physical and mental, real and imaginary—
filled with fantasies, obsessions and flashes of brilliance.
“Sunrise / Sunset” will move us by its solar beauty. This new presentation
of Johan Creten’s œuvre will show us a committed and lucid artist—lucid
because he is committed—whose works are epiphanies of deep-seated
beauty. For that is the risk of any aesthetic and political project: staring
straight into the sun often burns the eyes and skin.