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Richard Taittinger Gallery
Code Noir 2, 2018
Painted wooden pane
59 x 114 in.


Consigned to the gallery

Pascale Marthine Tayou has been well known to a broad and international public since the beginning of the 1990s and his reputation grew after he participated in Documenta 11 (2002), and at the Venice Biennale (2005 and 2009).

At the very outset of his career, Pascale Marthine Tayou added an “e” to his first and middle names giving them a feminine ending. He thus distanced himself ironically from the importance of authorship and male/female ascriptions. His work is characterized by its variability and its heterogeneity. He does not confine is work to a particular medium or a particular set of issues. He also avoids reduction to any specific geo-graphical or cultural origin.

His works mediate between cultures cast man and nature in ambivalent relation to each other. His art is produced in the knowledge that they are social, cultural, or political constructions. While his themes may be plentiful, they all use the artist himself. His work is rooted in his experiences of mobility, trans-nationalism, and moving between places and across borders. It is spontaneous and elusive of pre-established schema, to the extent that it almost seems casual. His works nonetheless have recurrent features. His art is always closely linked to the idea of travel and of coming into contact with what is other to the self. His works dwell upon an individual moving through the world and exploring the issue of the global village.

Tayou has contributed to a number of major international exhibitions and art events and biennales such as Documenta 11 (2002), Triennial of Turin (2008), Tate Modern (2009), Kwangju (1997 and 1999), Santa Fe (1997), La Havane (1997 and 2006), Liverpool (1999), Berlin (2001), Sao Paulo (2002), Munster (2003), Istan-bul (2003), Lyon (2000 and 2005), Venice (2005 and 2009), Dak’Art (2018), and the Kampala Art Biennale (2018). Tayou has shown his work at museums around the world.

He had solo shows at the MACRO (Rome, 2004 and 2013), S.M.A.K. (Ghent, Belgium, 2004), MARTa Herford (Herford, Germany, 2005), Milton Keynes Gallery, (Milton Keynes, UK, 2007), Malmö Konsthall (Malmö, Swe-den, 2010), Mudam (Luxembourg, 2011), La Villette (Paris, France, 2012), KUB (Bregenz, Austria, 2014), Fowler Musuem (Los Angeles, USA, 2014), the Serpentine Sackler Gallery (London, England, 2015), Bozar (Brussels, London, 2015), Musée de l’Homme (Paris, 2015), and CAC Malaga (Spain, 2016).