Lors Gréaud is a French conceptual artist, architect and filmmaker. He was born on February 7, 1979e. He was a rather mysterious artist; he declined to have a full biography published about him. But his shape-shifting work put him in the spotlight for a while.
Loris Gréaud is undoubtedly one of the most influential artists. His work can be difficult to circumscribe; it aims to erase the boundaries between reality and fiction. Gréaud once said he was an adventurer in aesthetics. His works have been part of important collections and presented in different galleries and museums.
Although her works are exhibited in some of the most prestigious museums, Loris only chooses to appear in a few selected markets and galleries. The mystery behind his personal and professional life is what intrigues most fans.
Most of the works are organized into projects rather than exhibitions. You’ll notice that Loris has taken out some large-scale artwork looking at her projects. He has collaborated on different occasions with professionals from different fields. They helped him answer his intriguing aesthetic questions.
Loris Gréaud gained international recognition in the mid-2000s. Some of the projects that earned him international status include “Silence Goes More Quickly When Played Backwards”, which performed in 2005. Loris became the first artist to occupy the Palais de Tokyo with the Cellar Door Project.
He has been seen several times in the media and international critics have spoken a lot about his art. Whether you are an art lover or not, there is something intellectually stimulating about his work. Loris also expresses herself through video, painting, performance and installation. However, if you don’t know Loris Gréaud, this will be a quick introduction to some of her incredible works.
Projects by Loris Gréaud
Loris has had several exhibitions or projects, as he likes to call them, over the years. He rarely engages in group projects. He prefers to focus on personal projects. Some of them have received more international recognition than others.
The first took place at Le Plateau in Paris. Although it was his first major project, there was nothing amateurish about it. It was the project that launched his international stardom.
Cellar Door was the next big project in 2008, when the artist became the first to fully occupy the Palais de Tokyo in Paris. He pursued this project in several museums and galleries, including Switzerland, London, Australia and Spain. It took a few years before another Loris project became available.
In 2012, his project, The Unplayed Notes, was presented at the Yvon Lambert Gallery and the Pace Gallery in Paris and New York. It was the first time he had a double exhibition in galleries that featured his work.
He was invited for a joint exhibition by two organizations, the Center Pompidou and the Louvre in Paris. This collective exhibition was opened to the public. The exhibition was held in a courtyard, avoiding the two spaces of the museum.
Loris’ first solo exhibition in the United States was at Dallas Contemporary. This is where his project, The Unplayed Notes Museum, was presented. The entire gallery has been set up to mimic the natural history museum of a fictional civilization. It was an intriguing exposition that educated cast members later destroyed on opening night.
With this act, Gréaud succeeded in creating a landscape where spectators could walk through the ruins. However, he filled five gallery spaces at Dallas Contemporary with various works he had done during the year. He said he wanted to create a museum within a museum. This fascinating display happened in 2015.
It was not the first and the last project in the United States. In 2016 Loris produced the film Sculpt specifically for the Los Angeles County Museum of Arts (LCMA), which is one of the largest museums in the west.
Few people will have the chance to see the film Sculpt. LACMA will show the two-hour film in the auditorium for one person at a time. The space is large enough to accommodate six hundred people. But Loris requested that all but one of the seats be removed for this feature.
The film is screened up to six times a day. The unique concept behind Sculpt is part of the vision of Loris Gréaud and Willem Dafoe. You’re invited to see the film alone at LACMA if you want a taste of what it’s all about.
There was a continuation of the Sculpt exhibition at LACMA and other projects in 2019. After several years of production, he unveiled The Underground Sculpture Park project in 2020. The scale of these projects is impressive. They give you a little insight into Gréaud’s vision and the way he designs his works.
Boredom of the Atom in 2022 is to be one of his last projects from the ever-fascinating artist. It’s planned for the BASE in Florence and the NO Gallery in New York. It is a sculptural project in three stages. The work will be made up of 2,000 sheets of copper. It’s all about still life and vanity.
He redefined the way of materializing the arts by favoring projects rather than exhibitions. The best way to understand his works is to take a closer look. But even then, the pieces will leave you with something to ponder. They are as interesting as they are intriguing.
Collaborations with Loris Gréaud
Loris Gréaud likes to embark on most of his projects alone. But that doesn’t mean there haven’t been some collaborations here and there. The perfect example is the movie Sculpt he released with Willem Dafoe. He had discussions with different professionals while working on projects.
He has produced crowd-pleasing art forms working with architects to create invisible walls or scientists to create perfume that mimics the smell of Mars. Since most of his projects are produced on a large scale, he has to work with different collaborators to bring his ideas to life.
Although most of the works that have stood out from GreaudStudio have been solo projects. Some projects he has hosted discussions and collaborations with include The Snorks: A Concert for Creatures and Eye of the Duck.
It’s fair to say that even Loris’ future projects will be based on his ideas. He hasn’t done anything yet to make people believe that he will collaborate more often in the future.
In a word
Loris Gréaud’s exhibitions are audacious; they have something for all your senses. The projects are sculptural, architectural or abstract, including light, sound and olfactory installations. You are transported to a different place when you stand in front of his artwork.
Most galleries and museums are happy to present his projects. He has become an international sensation and most people pay attention to his work. However, one should not expect to encounter him in these galleries or museums as he rarely makes such appearances.
Refusing to have his biography published since the beginning of his career, it is difficult to glimpse his personal life. Most of the available information is unproven. But his work is out there, and he speaks for himself. He is an undisputed conceptual artist who redefines many artistic spaces.