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If we could find him a fatherhood, Franck Scurti would claim to follow conceptual art as well as Fluxus's poetry, which taught him « to watch objects, to analyse them, to lose them in themselves, and then to reappraise them ». His work, inspired by everyday reality and international news, makes good use of the shapes produced by the consumption and urban civilization world.
Disconcerting by its diversity as well as by a seemingly lack of stylistic unity (from scribbles to customized vehicle via knocked-up objects and video, Scurti explores almost all of art media), his work is a self-placing* into situation between reality and its representations, relating to aesthetical, historical or economical stakes, but also to things and events. So many world elements that determine individuals daily life, at the same time as they offer the possibility to imagine one?s life as an artwork (if only, by example, by crossing the unpredictable inherited from Dada or Fluxus with productivity rules or the modernist grid) : a liberating perspective of improvisation that does not ignore the various models that reference it and give it a cultural basis.
Patrick Javault, Home-Street-Museum, Les Presses du réel, 2010
Selected exhibitions include Franck Scurti: The Brown Concept & Nouvelles lumières de nulle part, Musée d'Art Moderne et Contemporain (MAMCO, Geneva) in 2014, Extra Large, Collection of The National Museum of Modern Art Centre Pompidou, at Grimaldi Forum (Monaco), Trace du sacré at Centre Georges Pompidou (Paris) in 2012, Works of Chance, at Musée d'Art Contemporain de (Strasbourg, France) in 2011, Liverpool jackpot, during Liverpool Biennial, What is public sculpture?, at Magasin CNAC (Grenoble, France) in 2007, Before and After, at Kunsthaus Baselland (Muttenz/ Basel, Switzerland) in 2003, Before and After, and, at Palais de Tokyo (Paris) in 2002. His work La Quatrième Pomme is exhibited at Place de Clichy (Paris public commission) since 2007.