Interview01.03.2019

Isabelle Cornaro

Interview by Nicolas Trembley and Thibaut Wychowanok, Numéro n°201

Review17.10.2018

Blue Spill – Isabelle Cornaro

Paul Ardenne, Artpress

Review24.10.2018

Isabelle Cornaro at Balice Hertling

Mara Hoberman, Artforum International

Essay11.01.2014

In Captions, As Annotations

by Lauren Mackler, LAXART

Interview11.01.2014

Isabelle Cornaro Interview

with Matthew Schum, LAXART

Essay20.01.2012

Repointing: Isabelle Cornaro and the Index

Glenn Adamson, JRP|Ringier

Interview20.01.2012

From the Cinematic to Display

Interview with Alice Motard, JRP|Ringier

Essay20.01.2012

Artist in the Act

Clément Dirié, JRP|Ringier

Essay20.01.2012

Vanishing Points and Emerging Forms

Vivian Sky Rehberg, JRP|Ringier

Interview01.07.2012

Isabelle Cornaro in conversation with Fabrice Stroun

Paris, July 2012, Inside the White Cube

Essay01.01.2016

Isabelle Cornaro

Benjamin Thorel, in Le Journal de la Verrière n°10

Interview08.02.2016

Deconstructing Classicism

Interview with Emily McDermott, in Interview

Essay01.02.2015

Suspended Animation

Paul Galvez, in Artforum, February 2015

Review01.03.2015

Isabelle Cornaro at Galerie Francesca Pia

Aoife Rosenmeyer, in Frieze, Issue 169

Review24.05.2015

Isabelle Cornaro at South London Gallery

Andrew Witt, on Artforum.com, Springtime 2015

Review05.05.2015

Le impressioni chromatiche di Isabelle Cornaro

Elena Bordignon, in ATP Diary

Review01.05.2014

Isabelle Cornaro at LAXART

Eli Diner, in Artforum, May 2014

Review01.02.2016

Isabelle Cornaro at Balice Hertling

Riccardo Venturi, in Artforum Vol. 54, NO. 6

Review27.01.2016

Des Gestes de la pensée

Alain Berland, on Mouvement.net

Categories

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  • Interview
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Essay / 20.01.2012

Artist in the Act Clément Dirié, JRP|Ringier

Essay / 20.01.2012

Artist in the Act

Clément Dirié, JRP|Ringier

In 2001, Isabelle Cornaro recorded her laughter and displayed her arms in a video piece titled Vanité à vif (Quick Vanitas). It was a rare instance of the artist’s own body being present in her work. We see her handle the symbolic, codified objects that make up a still life. In a paradoxical gesture, she brings life to an inanimate genre of painting, cutting it to the quick by decomposing and analyzing its construction. Meanwhile, in her spray paintings called Impressions (2010), Cornaro traveled in the opposition direction, deconstructing a video work to produce a series of still images; for Cinésculptures (2008), she studied the effect of folding and shadows on black and white paper; and for Moulage sur le vif (Videpoches) (Life Casts [Catch All], 2009–2011), she dissected an overall image into as many details as were required to “empty” it. In Vanité à vif, it was the artist who herself “emptied” the depiction—as her arm composed it, her laughter superimposed a critique of the moral philosophy that stems from the canonical vanitas genre of still-life painting.

Although the “act” is as primordial for Cornaro as the “making,” it is rarely underscored—as it is here—through the presence of her body. Only the Songs of Opposite (2008) also feature the artist’s body, although in these video pieces she becomes just a figure, a line in space, a tool for measuring a typically French landscape.1 In Vanité à vif and Songs of Opposite, the artist gets into the act. In her other works, all that remains is the trace of her intervention: just an indication of her action, a mere incarnation of the artist. Her works stem from acts of installing, collecting, casting, photographing, scanning, filming, framing, decomposing, tracing, and so on. These acts decompose depiction, revealing the ways in which the human organization—indeed, domination—of reality (through classical pastoral landscape, formal gardens, figures on coinage, etc.) is manufactured. Such acts efface the human figure—in particular that of the artist—to the benefit of human beholders and various other kingdoms (vegetable, mineral, minimal, inert) that function as “eyewitnesses.”

The series titled Bons à tirer (Blueprints, 2008) is characteristic of Cornaro’s approach, underscoring the creative process. Cross-sections and a color chart stress the process of manufacture, while lines and annotations reflect the artist’s thought processes in selecting, framing, and calculating the arrangement of objects, landscapes, and artworks. Bons à tirer, which is both a study for Le Parc de Sans-Souci (The Grounds of Sans-Souci, 2005) and a sketch that has acquired the status of an autonomous artwork, demonstrates that what interests Cornaro is not so much representation as the process of representation, not making so much as mechanisms for making, not the value of things so much as the value adopted by the things to be represented. In this respect, landscapes, jewels, decorative objects, and the vocabulary of Minimal art—indeed, Cornaro’s sources draw on idioms from wide-ranging historical periods—are tools designed to produce shifts from one regime to another, to explore processes of equivalence and translation, and to quicken—through her very acts—the modalities of artistic representation and reproduction.