Pierre et Gilles Interview: Paris Art

THIS INTERVIEW IS TAKEN FROM paris-art.com (there is one great quote which is in blue)

By Pierre-Evariste Douaire

“A Perfect World” your last exhibition at the Galerie Jérôme de Noirmont, seems to venture into politics? Gilles. It is a continuity in our work.We always took pictures so-called political as The Little Communist , at the death of Communism or the Pink Triangle. If in this exhibition there are more, it’s a chance. We are working on several series at once. Each painting is an opportunity to present an overview of our research. We like to take our time. Guide our planning meetings, arouse our curiosity and sharpen our desire to work with future models.Nothing is ever decided in advance.

Prefer the news or variety? Gilles. News and variety are not opposed to us.Reality has always been our working basis. Everything inspires us, even things that may seem superficial at first, fun and joyful. We never choose a subject at the expense of another. The variety seems nice, but it also has its dark side.Things of everyday life the most insipid can be as violent as TV images of the newspaper, and vice versa. All the same value. There is gravity everywhere. For “A Perfect World” we had fun mixing series between them. Instead of filing, we preferred to cause incongruous encounters like the one that is next to Johnny Mathis and an Iraqi soldier [ Flowers of Shanghai and Iraq War ]. These two views are complementary and that’s what makes them interesting. In any case it is this kind of confrontation that we have at heart to stage. This mixture is characteristic of life. The photos that you describe as “political” have their place in the exhibition because they are surrounded by all the others. Make only one policy would snap pictures shaving.

You are more nai; fs and political. David and Jonathan , one Arab and one Jewish embrace is an ad for Benetton? Gilles. That way we do. It is described by many as very Sulpician. Everyone can see this picture as he wants. Everyone has the right to react differently. The picture was not premeditated. The draftDavid and Jonathan was built progressively. The idea of a yarmulke and a keffiyeh has been blown by Odon Vallet, because it was not comm ent style characters at the start.Both hats were then imposed. In general the final form of the original intentions often away.

You fluoroscopy the world of variety? Gilles. The variety is present but there is not much.Peter. We work w ith actors, artists, strangers, especially strangers. For “A Perfect World”, there are only four celebrities on thirty shots: Pascale Borel Valerie Lemercier and come and go, for Mireille Mathieu and Sylvie Jolie, they appear as icons, but by them, that’s all.

You prefer multiple or single room? A record sleeve in tanks or a single draw in the gallery? Gilles. We started working in the press, to make blankets, album covers, to photograph our friends.Everything moved gradually and slowly. It took eight years for the amounts our first exhibition was in 1983. At the beginning of our meeting, in 1976, we did not expose because art was dominated by the wave concept. As for photography, it was black and white and very classic. The c olour was then very unpopular. We did not have our place in this environment. The unique piece is obvious to us as we paint out of the picture. Managers are also of importance and a role to play, so we take great care to develop them so that they are most consistent with the image. We have always loved the diffusion and large prints because we have always worked with the magazine, published postcards and books.We love the catalogs. See people come away with, to see them happy, it’s great. But the original remains unique for the simple reason that the paint on the picture will never be reproduced exactly.

Exhibiting in galleries allowed you to gain freedom? Gilles. Exhibiting in galleries allowed us to show our own work. Before disposing of this case no one had the opportunity to see because all our energy was devoted to the press. …

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