Pierre Leguillon

The Barefoot Promise (Japanese Teaser)
裸足の約束 (日本版の予告編)

Name: The Barefoot Promise (Japanese Teaser) - Pierre Leguillon
Brand: Keijiban
Price: 16000.000000 JPY
Availability: InStock

2021

Poster and wrapping paper printed in offset

Poster: 118.8 x 72 cm (unfolded) / 29.7 x 24 cm (folded) / 31 x 25 cm (wrapped)

Edition of 45 copies numbered and signed by the artist on the wrapping paper, and 5 artist’s proofs

Price

€120.00

Tax included・Free shipping in Japan

The edition

The Barefoot Promise (Japanese Teaser) is the latest manifestation of Pierre Leguillon’s ongoing project La Promesse de l’écran [The Promise of the Screen]. Initiated in 2007, it consists of performative film screenings that typically include a montage of sequences about a certain topic or figure (psychoanalysis, musical film, title sequence, etc.), allowing artist and viewers to dive into the history of cinema. In the middle of the screening, the screen turns into a bar, and the artist, into a bartender. The screenings have all been adapted to various occasions and formats, and shown at numerous institutions worldwide (Harvard University, Cambridge; Accademia di Belle Arti di Roma, Rome; Centre Pompidou, Paris; Wiels, Brussels; and Kamoshika, Ōita, to name a few).

For Keijiban, Leguillon conceived a new variation of the project, in which the film sequences have been transformed into a multi-screen poster. This time, he has focused on a recurrent, yet often unnoticed, theme in both mainstream Hollywood and European auteur cinema: foot fetishism. Out of a large filmography ranging from masterpieces by Luis Buñuel or Alfred Hitchcock to lesser-known movies like Single White Female, the artist has selected twelve images that depict such a scene, mischievously showing us all kinds of framing, gender configurations, situations, and twists. These images are not directly extracted from the movies: they are film stills, i.e., photographs taken with a separate, still camera during the filming for promotional purposes. In this way, they offer a slightly different perspective on the movies they illustrate, forming a sort of peripheral imagery around them. Through both its form and content, this edition manifests Leguillon’s ambition to explore, through The Promise of the Screen, the “marginal aspects of cinema.”

The artist

Pierre Leguillon was born in 1969. He currently lives in Brussels.

Trained in Visual Arts at the University of Paris 1 Panthéon-Sorbonne, he started his career as a publisher and art critic, creating several books with artists such as Raymond Hains and Marylène Negro, or a one-page journal called Sommaire (with the participation of Annette Messager, Roman Signer, Hans-Peter Feldmann, Thomas Hirschhorn, Hans-Ulrich Obrist, and others).

Leguillon’s multifaceted practice revolves around the way images are produced and reproduced, and the way art history can be written anew. Since the beginning of the nineties, this interest has unfolded in a variety of forms, including a series of slideshows whose editing and narrative was adapted to each context (some of which are now included in the collections of Centre Pompidou); a mobile installation/screening/performance work called The Promise of the Screen; an exhibition (Printed Retrospective) of all the magazines which had hired American photographer Diane Arbus, the pages being displayed on the wall like original prints; Oracles, a book including the facsimile reproduction of 123 business cards by artists from the 18th century until today; etc.

Since 2013, the collection feeding his practice is stored in the Museum of Mistakes, which he established in Brussels, and whose best introduction so far is the book The Museum of Mistakes, published in 2020 by Edition Patrick Frey in Zurich.

His work was shown in 2019 at Shiseido Gallery (Tokyo) on the occasion of the exhibition Surface and Custom.

His recent solo shows include Arbus Bonus, Frye Museum, Seattle, USA, 2019; 見習うParler aux yeux Learning by Looking, Fondation d’entreprise Ricard, Paris, France 2019; Le Musée des erreurs: Barnum, MRAC-Occitanie, Sérignan, France, 2015; Le musée des erreurs: Art contemporain et lutte des classes, Wiels, Brussels, Belgium, 2015.