That's something else, my sweet

05.06.15 – 04.07.15
Galerie Sebastien Bertrand is pleased to present the first solo exhibition held in Switzerland by artist Chloe Wise (1990, Canada – NY).
 
For this exhibition, the gallery was transformed into a studio/work residency for a few weeks, during which Chloe Wise produced new artworks in the gallery space, creating sculptures and paintings  of food (a subject she is already known for) and more precisely, producing works centered around what one might find at a picnic. 
In this case, Wise's picnic is an erotic and sumptuous one, boasting fake food, where cheese is placed alongside high-end brand logos, jam, models basking in the great outdoors, and nudes in fields, in a gratuitous combination of painting, sculpture and installation.
 
Imbued in her art practice is a distinct and delightful derision and self-deprecating parody. She celebrates yet satirizes her subjects, with a childlike yet intelligent humour. In previous series, Wise paints meta-images of self-portraits within self-portraits, makes Chanel and Louis Vuitton bags in the form of bread and toast, stars of David in fake bacon, and video parodies of the media and commercialization of youth, women, artists and overall "coolness".
Thus the tools of self-representation, publicity, fashion, religion, commercial brands, and all that combine to create ones identity, become subject to a potential teasing, underlining just how much humour and parody can generate an insightful  and sharp critique of the world, and specifically the authority of media in the digital paradigm.
What comes systematically from Chloe Wise’s work is a mischievous and playful spirit. In French, “mischievous”, often used to describe a child’s attitude, has the same etymology as the word “mutiny”, which translates as the underlying critical reach of such a position.
 
Wise invites us to experience an abundance of rich food and nude flesh, reflecting a consumerist society, in which the forbidden fruit, so to speak, like so many guilty pleasures, is fetishized yet revered, as an embodiment of temptation.
For Wise, bread is a symbol of luxury and opulence. Her Louis Vuitton baguette bags, a pun taken literally, become mutant objects, both funny and simultaneously disturbing.
Much like the imagery of a Greek symposium, Wise underlines the link between gastronomic pleasure and the frivolities of the flesh. Food is thus linked to desire, lust, and excessive sins, as well as to freedom, the exchange of ideas,  and power dynamics .
The picnic, a historical symbol of hedonism, appears in Wise’s work through archival plastic sculptures, contrary to what they represent – perishable food, destined for decomposition. These sandwiches and foods are frozen in time, immortalized despite their inviting appearance.
 
That’s something else, my sweet is taken from E.E. Cummings’ poem If I. The tone of the passage is simultaneously condescending yet affectionate, as though spoken by someone who would console you after having tricked you moments before.  The question lies, is Chloe Wise the creator of the trap we find ourselves in,  or has she just positioned herself as a wise witness to the images she presents. One thing is certain: 24-year-old Wise looks at what surrounds her with a clear-sighted and sharp eye, conveying a spontaneous and subtle critique, without losing, for a moment, the pleasures found in a simple game.
La galerie Sébastien Bertrand est ravie de présenter la première exposition solo en Suisse de l’artiste Chloe Wise (1990, Canada – NY).
 
Pour cette exposition, la galerie s’est transformée en atelier/résidence de travail pendant quelques semaines, le temps pour Chloe Wise de produire de nouvelles pièces sur place, sur le thème de la nourriture (qu’on lui connaît déjà) et plus précisément du pique-nique.
Un pique-nique érotique et fastueux, fait de fausse nourriture, où se côtoient fromage, marques de haute-couture, confiture, mannequins en goguette et nus champêtres, dans une composition généreuse de peintures, sculptures et installations.
 
Pour aborder sa pratique, nul besoin de préciser la dimension de dérision et d’auto-dérision évidente et jubilatoire qui est en jeu. Elle se moque de tout, avec un humour potache et intelligent à la fois. Dans ses précédentes séries, elle peint des mises en abîmes d’ « auto-portraits en artiste », fabrique des sacs Chanel ou Louis Vuitton en forme de pains ou de tartines, des étoiles de David en faux bacon, et parodie dans ses vidéos l’image médiatique et commerciale de la jeunesse, de la femme, de l’artiste, de la « coolitude ».
Ainsi les outils d’auto-représentation, la publicité, la mode, la religion, les marques commerciales, et finalement tout ce qui crée de l’identité devient potentiel de taquinerie, soulignant bien à quel point l’humour et la parodie peuvent générer des formes de connaissance, un regard aiguisé sur le monde et sur l’autorité médiatique.
Ce qui émane systématiquement du travail de Chloe Wise est un esprit mutin et espiègle. En français le terme « mutin », souvent utilisé pour décrire l’attitude d’un enfant, a la même étymologie que le mot « mutinerie » (émeute), ce qui inscrit bien la portée critique sous-jacente d’une telle posture.
 
Wise nous invite dans une abondance de nourriture riche et de corps nus, reflet d’une société consumériste où l’on vend des produits (fruits) défendus, comme autant de plaisirs coupables, fétichisés par la construction de leur image tentatrice.
Le pain est pour Wise le symbole du luxe et de l’opulence. Ses sacs Louis Vuitton baguette, blague littérale, deviennent des objets mutants, drôles ou déroutants.
A l’image des orgies grecques, Wise trace le lien entre plaisir gustatif et frivolité de chair. La nourriture est ici liée au désir, aux péchés de luxure et d’excès, autant qu’à la liberté, l’échange d’idées et l’affirmation des relations de pouvoir.
Le pique-nique, symbole historique d’une forme d’hédonisme, prend forme chez Wise à travers des moulages en plastique et autres produits synthétiques « durables », à l’inverse de ce qu’ils représentent – une nourriture périssable et vouée à la décomposition rapide. Ces sandwiches et autres mets sont comme figés dans le temps, immortalisés dans leur aspect le plus dégoulinant.
 
That’s something else, my sweet est une phrase extraite du poème If I d’E.E. Cummings.
Le ton de la phrase est à la fois condescendant et affectueux, comme celui de quelqu’un qui prendrait au piège et consolerait ensuite.
On ne sait pas vraiment si Chloe Wise est l’auteur du piège, ou si elle se fait seulement le témoin avisé du paradigme numérique, des miroirs de l’image et du mensonge médiatique. Ce qui est sûr, c’est que Wise, du haut de ses 24 ans, pose un regard vif et clairvoyant sur son environnement, et construit déjà les ramifications d’une critique spontanée et subtile, qui ne perd jamais l’apparence ni le plaisir d’un simple jeu.
Born in 1990, Montreal, Canada.
Lives and works in New York, USA. 
 
 
Education
 
2013    
Bachelor of Fine Arts. Concordia University, Montreal, Quebec. 
 
 
Solo Exhibitions
 
2019     
And Everything Was True, Herning Museum of Contemporary Art, Herning, Danemark
Not That We Don't, Almine Rech Gallery, London, England
Chloe Wise, HEART Herning Museum Of Contemporary Art, Herning, Denmark
Tennis Elbow, The Journal Gallery, New York, USA
 
2018    
Coast Unclear Seeks Rained Parade, Galerie Sébastien Bertrand, Geneva, Swizerland
 
2017     
Of False Beaches and Butter Money , Galerie Almine Rech, Paris
 
2016     
Bagism, K11 Art Foundation, Shanghai
Cats Not Fighting Is A Horrible Sound As Well, Galerie Division, Montreal, Canada

2015     
Full-Size Body, Erotic Literature, Retrospective Gallery, Hudson, New York 
That’s something else, my sweet, Galerie Sébastien Bertrand, Geneva, Switzerland 
pissing, shmoozing and looking away, Galerie Division, Montreal, Canada 
 
 
 
Group Exhibitions 
 
2020     
Portraits & Some Standing Figures, Galerie Sébastien Bertrand, Geneva, Switzerland
Under Glass, Half Gallery, New York, USA
I Won't Bite, Tom of Finland Foundation, Los Angeles, California           
Xenia: Crossroads in Portrait Painting, Marianne Boesky Gallery (509 W 24th Str.), Chelsea, New York, USA
American Women, The Infinite Journey, La Patinoire Royale / Galerie Valerie Bach ,Brussels, Belgium
 
2019    
Domestic Horror, Gagosian Gallery, New York, USA
They Gaze, James Fuentes, New York
Malmö Sessions, Carl Kostyál, Malmö, Sweden
World Receivers, Zabludowicz Collection, London
 
2018     
Chère, Arsenal Contemporary, New York
Expo Chicago Chicago, Galerie Division 
Cliche: Organized by Bill Powers, Almine Rech Gallery, New York
Eye to Eye, Arsenal Contemporary, New York
 
2017     
Dio Horia, Mykonos, Greece 
The Coverly Set, Sargents Daughters, New York
LIKE, Galerie Sébastien Bertrand, Geneva, Switzerland. Curated by Richard Kern
Drawing Island, The Journal Gallery, New York
 
2016     
FIAC (art fair), Almine Rech, Paris
Frieze (art fair), Almine Rech, London
Summer Show, Galerie Sébastien Bertrand, Geneva, Switzerland
Bibleot, Hydra School House Projects, Hydra, Greece
NADA (art fair), Galerie Sébastien Bertrand, New York
Artmonte-carlo (art fair), Galerie Sébastien Bertrand, Geneva, Switzerland 
Artgenève (art fair), Galerie Sébastien Bertrand, Geneva, Switzerland
 
2015     
Unrealism, curated by Jeffrey Deitch, Miami, Florida
Art Basel Miami (art fair), video sector, Miami, Florida
Spirit Your Mind, Miami, Florida
John Riepenhoff, Atlanta Contemporary, Atlanta, Georgia 
Drawings / Fridges, Greene Exhibitions, Los Angeles 
The Frivolous Now, Alon Zakaim Fine Art, London, UK 
Womanhouse, Eric Frirestone Gallery, East Hampton, New York 
NADA (art fair), Galerie Division, New York
NADA (art fair), Daata Editions, New York
HOTBED, Art Gallery of Ontario, Toronto, Canada
You Won’t Believe (...), Galerie Division, Montreal, Canada 
 
2014     
The Smiley Face Museum x Salon 94, Frieze, London
Bring Your Own University, Bruce High Quality Foundation, New York 
The Last Brucennial, New York
#KnowNewTrends, The New Museum, New York
Deinviting Don Lothario, Espace Cercle Carré, Montreal, Canada                  
Period Pieces, Urban Artroom, Gothenburg, Sweden 
 
2013     
Empathy |’empeTHē|, VAV Gallery, Concordia, Montreal, Canada 
 
 
Curation
 
2017    
Planned Parenthood Centennial Gala, New York
 
2016    
Feelings Film Festival III, Art Pop, Montreal
 
2015     
Feelings Film Festival II, Anthology Film Archives, New York 
Feelings Film Festival, Anthology Film Archives, New York 
 
 
Lectures
 
2017     
Gertrude x Ruinart Salon, New York, NY
 
2016    
Lecture, CALARTS, Los Angeles, CA
 
2016     
Lecture, Cornell University, Ithaca, New York 
 
2015     
Lecture, Ryerson University, Toronto, Canada 
 
 
 
Bibliography 
 
2016    
Charmoy, M. Bailly, C. and Vinay, M. “The Real New Yorkers : Chloe Wise“. Video for Vogue Paris, 16 december, 2016.
Peoples, Lindsay “3 Women Changing the Art Game“. The Cut, 14 december 2016.
Domescek, Matthew. “A Conversation With Chloe Wise, Montreal“. A Magazine Curated By, 12 december 2016.
Chloe Wise. Monograph published by Galerie Sébastien Bertrand and Galerie Division. 168 pp. 
Indrisek, Schott. “Chloe Wise on Fake Food, Vunerability, And The Future“. BLOUIN ARTINFO, 
23 november, 2016.
Rosenzweig, Mathias, “Artist Chloe Wise Talks Sex, Consumerism, and the Presidential Election“. Vogue, 20 november 2016.
Eckardt, Stephanie. “In Chloe Wise’s New Clubhouse, Ther Is Both Lacroix and Lasagna“. W Magazine, 19 november 2016.
Langmuir, Molly and curated by Leitzes, Cary. “15 Women Artists Who Are Changing Their World - And Ours“. ELLE, 15 november 2016.
Lee Jones, Kelsey. “Chloe Wise“. Glamcult magazine, Issue 4 / #120, 5 october 2016.
Taylor, Molly. “Chloe Wise : Haute Couture & Confusion“. Elephant, Issue #27, summer 2016. 
 Bailey, Stephanie. “Bibelot“. ARTFORUM, July 2016.
Loiseau, Benoît. “Chloe Wise on Consumerism, Narcissism and Unlearning Painting“. Amuse, 10 may 2016.
Gottschalk, Molly. “The 12 Young Painters You Need to Know at Nada New York“. Artsy, 6 may 2016.
Maertens, Marie. “Ceci n’est pas une baguette“. L’officiel Paris, issue #1004, april 2016.
Rao, Mallika. “Two sakes and a Loaf of Challah with Artist Chloe Wise“ Vice Magazine, volume 23, issue #2, april 2016. 
 
2015    
Palmer, Lauren. “20 Emerging Female Artists to Keep on Your Radar“. Artnet News, 9 december 2015.
Mallett, Whitney. “All Talked Out at Art Basel Miami Beach“. Art in America, 5 december 2015. 
Mendelsohn, Meredith. “10 Canadian Artists on the Rise at Art Toronto“. Artsy, 14 october 2015. 
Brownell Mitic, Ginanne. “Website Gives Stage to New-Media Artists“.
The New York Times, 13 october 2015.
Chua, Candice. “Bread & Butter“. Officiel Singapore, November 2015.
Zhong, Fan. “Big Daata: Collector Anita Zabludowicz and curator David Gryn launch an online gallery for digital art.” W Magazine. 20 mai 2015.
Williams, R. “AO ON-SITE: NADA NEW YORK 2015 AT BASKETBALL CITY, MAY 14th-17th, 2015”, Art Observed, 18 mai 2015. 
Gottschalk, Molly. “Emerging Artists Hang with Top Collectors at NADA’s Best Edition Yet”, Artsy, 15 mai 2015.
Indrisek, Scott. “Delusional Shopping at NADA New York”, BLOUIN ARTINFO, 14 mai 2015.
 Durón, Mazimilíano. “PREVIEW NADA NEW YORK 2015‘’, ARTnews, 13 mai 2015.
Soboleva, Elena. “8 Dealers Open Up Their Back Rooms Ahead of NADA”, Artsy, 11 mai 2015.
 Lafranchise, Catherine. “Chloe Wise : questionner l’attrait du luxe’’, Ex_situ, 5 mai 2015.
“Beautiful People 2015: Art’’, Papermag, 23 avril 2015.
Pohl, John. “Visual arts : If urethane handbags are art, why not nonfunctional ceramic vessels?’’, Montreal Gazette, 23 avril 2015. 
Clément, Éric. “Chloe Wise : le grand cirque de la séduction’’, La Presse, Montréal, 3 avril 2015.
“Chloe Wise ‘Pissing, Shmoozing, and Looking Away’ at Division Gallery, Montréal’’, Purple Diary, 2 avril 2015.
“Bagel Bag und Moschino Muffin’’, Interview Magazine Berlin, 2 avril 2015.
Phillips, Kaitlin. “Chloe Wise’’, Interview Magazine, avril 2015.
Rosenthal, Emerson. “Bagel Handbags and ‘Matzochism’ Star in Chloe Wise’s Carb-Filled New Art Show’’, The Creator’s Project, 31 mars 2015.
Munro, Cait. “Artist Chloe Wise Remakes Chanel Bags Out of Bagels and Pancakes’’, Artnet, 30 mars 2015.
Lamoureux, Catherine. “Profile of the Curator // Loreta Lamargese pt. 2’’, The Seen, 27 mars 2015.
Lamoureux, Catherine. “Profile of the Curator // Loreta Lamargese pt. 1’’, The Seen, 26 mars 2015.
Manning, Emily. “Artist Chloe Wise Combines Prada and Pastries in her First Solo Show’’, i-D, 27 mars 2015.
Twerdy, Saelan. “Aiming to Please: Division Gallery Surveys Post-Internet Entertainment’’, Momus, 17 mars 2015.
“Must-Sees This Week: February 5 to February 11, 2015’’, Canadian Art, 5 février 2015.