Oh What a Time

Trisha Donnelly, Joseph Grigely, Pati Hill, Pierre Joseph, Allen Ruppersberg, Lily van der Stokker, Mona Varichon, Amy Vogel

"Oh What A Time

Oh what a time!

This is who we are / la vie en boucle / your 90s

Joseph Grigely et Amy Vogel

Oh what a time!

Palissade pacifique / nécrologies bleutées / your pantheon

Allen Ruppersberg

Oh what a time!

Paper frames / portraits at work / ton entourage

Mona Varichon

Oh what a time!

Little democracy / jamais seul / play it again

Pierre Joseph

Oh what a time!

Armful of roses / photocopied / s'enivrer avec toi

Pati Hill

Oh what a time!

Grande vague argentique / point d'orgue / carry us away

Trisha Donnelly

Oh what a time!

Je suis là avec toi / bien, je suis bien

Lily van der Stokker

Oh what a time

Together"

Joseph Grigely (b. 1956, Longmeadow, MA, USA) lives and works in Chicago, Illinois. Grigely creates works that explore the failures, idiosyncrasies, and ruptures of language and communication. Grigely has been deaf since childhood, a factor that has not only shaped his work, but has become a central concern. He first became known in the early 1990s for a series of works called "Conversations with the Hearing." These works grow from the scraps of paper and handwritten notes produced when he communicates with the hearing world—a strategy the artist employs to converse with people when he cannot read their lips. One of the ongoing themes in Grigely's work is sound—from his own memories of sound as a child, to explorations of how sound might look.

Joseph Grigely has had solo shows at the Palais de Tokyo, Paris (2026); Mass MoCA, Massachusetts (2023); Kunstverein Hamburg (2015); Douglas Hyde Gallery, Dublin (2009); Museum of Contemporary Art, Chicago (2008); Whitney Museum of American Art, New York (2001) and Musée d'art moderne de la Ville de Paris (1996). He has taken part in numerous group shows, including Kunstmuseum Bern (2015), Centre Pompidou Metz (2011), Centre Georges Pompidou Paris (2001) and De Appel Amsterdam (1997). His work has been shown at the Whitney, Berlin, Sydney, Istanbul and Venice Biennales.

Allen Ruppersberg (b. 1944, Cleveland, OH, USA) lives and works in Santa Monica, US. Ruppersberg belongs to the first generation of North American artists that used language as a means of expression in its own right, and drew on all the different sectors of the mass media and the consumer society from a critical viewpoint. He has been contributing to the history of conceptual art since the end of the 1960s, but is nonetheless unclassifiable and "elusive both in the literal and the figurative sense." He was inspired by, among others, the Beat Generation and the different movements that sprang up at the same time in California.

Ruppersberg finds inspiration in a variety of literary sources (Oscar Wilde, Voltaire, Thoreau, Allen Ginsberg, etc.) and in American popular culture (detective novels, illustrations, comic strips). He also makes numerous autobiographical references. The places where he has lived are important to him—Los Angeles and New York, first and foremost, but also European cities such as Münster, Basel, Arnheim and Frankfurt—not forgetting the interpersonal relationships they represent. Ruppersberg simultaneously explores different operative modes which, in a real sense, embed real acts in particular temporalities (reading, writing, copying, gathering, collecting). One of the fundamentals of his work lies in the transposition and recycling of his own creations, or fragments of them. So there is nothing surprising in the fact that he uses a wide range of techniques: installations, performances, multiples, paintings, sculptures, drawings, books, photography, and video. The complexity of the resulting oeuvre encapsulates the experience of creativity and the (re)writing of an entire life.

Recent solo exhibitions include Greene Naftali, New York (2024); the Walker Art Center, Minneapolis (2018), which traveled to the Hammer Museum, Los Angeles in 2019; Plug In Institute of Contemporary Art, Winnipeg, Canada (2016); Skirball Culture Center, Los Angeles (2015); Wiels, Brussels (2014); and the Art Institute of Chicago (2012).

Mona Varichon (b. 1989, Paris, FR) lives and works in Paris, France. Varichon's work draws on advertising, social media, art history, and popular art forms both to narrate and to intervene in the present. Her photographs, videos, and performances function as archives, tributes, and recontextualizations of significant moments in current events and intimate experiences that she seeks to share collectively. Her work circulates on YouTube, in shops, mailboxes, domestic interiors, magazines, cinemas, and art spaces.

She has recently exhibited at the Air de Paris gallery in Romainville, at the Van Gogh Foundation in Arles, at the CAPC in Bordeaux, at the Villa Arson in Nice, at Bel Ami, The Vanity Gallery, and Kristina Kite in Los Angeles, at April April in New York, and at Les Chichas de la Pensée in Pantin. Her films have been screened at the Les Écrans Documentaires Festival in Vitry-sur-Seine, at the Move Festival at the Centre Pompidou, at the Etna cinema in Montreuil, at the Egyptian Theatre, and at Redcat in Los Angeles. She has translated into French the catalogue texts of Pippa Garner, Betye Saar, Christina Ramberg, and Cécile B. Evans, as well as the memoirs of American artists George and Mike Kuchar. She is the recipient of the 2024 Ricard Prize.

Pierre Joseph (b. 1965, Caen, FR) lives and works in Paris, France. From his Personnages à réactiver (Characters to reactivate) to his recent Endless Photographs, or even through his images of flowers #pierrejosephredouté, the work of Pierre Joseph demonstrates a strong interest in cycles. Whether it is the fictional characters who reappear in art spaces, the potatoes of Millet or Van Gogh revisited on the scale of digital capture, or the botanical work of its namesake Pierre-Joseph Redouté reactivated through photography, the images, like their subject, are entities that return, regenerate, or are transmitted.

This evocation of natural cycles or historical cycles and their hypothetical infinite reproduction come to take on their full meaning in a world in which we increasingly perceive the limited resources and entropic forces at work.

Joseph has exhibited in numerous institutions internationally including Centre Pompidou at West Bund Museum, Shanghai (2023); Centre Pompidou Metz (2022); Palais de Tokyo (2019); MOCO, Montpellier (2019); La Galerie – Centre d'Art Contemporain, Noisy-le-Sec (2016); MAC VAL (2015); Dallas Contemporary (2012); Musée Régional d'Art Contemporain, Sérignan (2011); Fondation d'Entreprise Ricard (2008); MOCA, Miami (2008); MNAC, Bucarest (2008); Musée d'Art Contemporain, Lyon (2005); MMK Museum für Moderne Kunst, Frankfurt (2003); SFMoMA (2002); Mamco, Genève (2002).

Pati Hill (b. 1921, Ashland, Kentucky, US) died in 2014 in Sense, France. Hill left behind an artistic output spanning roughly 60 years and encompassing various disciplines. Untrained as an artist, she began to use the photocopier as an artistic tool in the early 1970s and continued to do so until her death, leaving behind an extensive oeuvre that explores the relationship between image and text. In addition to this comprehensive body of xerographic work, she published four novels, a memoir, several short stories, artists books, and poetry. Drawing also became an essential part of her practice.

By using the copier—a machine that was stereotypically linked to secretarial work and thus to feminized labor—to trace everyday objects such as a comb, a carefully folded pair of men's trousers, or a child's toy, Hill developed an artistic practice that programmatically translated invisible domestic labor into a visual and public language. Through her use of this reproductive apparatus, she created a model of artistic production that critically opposes the convention of individual expression as well as the supposed neutrality of technologically produced images.

Pati Hill has exhibited at Printed Matter, New York City, USA (2023); Onsen Confidential, Hosted by Take Ninagawa, Japan (2022); Treize, Paris, France(2021); Pati Hill, Kunsthalle, Zurich, CH (2020); Air de Paris, Paris, France (2020); Essex Street, New York, USA (2018); Lyman Allyn Museum, New London, CT, USA (2017); Arcadia University, Glenside, PA, USA (2016); Musée de Sens, France (2012); Musée Lambinet, Versailles, France (2005); L'Orangerie des Musées de Sens, France (2003); Bayly Art Museum, University of Virginia, Charlottesville (2000); Cabinet des Estampes, Bibliothèque Nationale de France, Paris, France (1998); Première Vision, Paris, France (1993).

Trisha Donnelly (b. 1974, San Francisco, CA, USA) lives and works in New York, US. Donnelly's work encompasses sound, video, drawing, performance, photography, installation, and sculpture. She has exhibited her work and has participated in international exhibitions such as the 2011 and 2013 Venice Biennales, the 2011 Sharjah Biennial, and Documenta 13, and she has had one-person exhibitions at museums and galleries across the United States, Europe, and Japan, including MMK in Frankfurt, The Drawing Center in New York, the ICA in Philadelphia, the San Francisco Museum of Modern Art, the Serpentine Gallery in London, the Museum Ludwig in Cologne, and The Shed. In 2012 she curated the exhibition «Artist's Choice» at the Museum of Modern Art in New York.

Lily van der Stokker (b. 1954, in Hertogenbosch, Netherlands) lives and works in Amsterdam, Netherlands. At first glance, Lily Van Der Stokker's works seem to display a certain irony, but it is actually rather a case of irreverence. The kind of distance and conceptual detachment in her work allows her to embrace a tangy flower-power and a gritty optimism. Van Der Stokker plays with the hierarchies and classifications between art and decorative elements, overturning the famous doctrine of Minimalism "Less is More" with a far more appropriate proposition: «The more the better»! Her drawings and murals are all composed of a set of elements: decorative motifs, colours, and words, each playing a specific role. The motifs allow the artist to signify various registers in turn — feminine, childish, enchanted, frivolous — without having to represent them.

She has been the subject of several individual exhibitions at major international institutions such as Parker Gallery, Los Angeles (2025), FRAC Normandie (2024) Stedelijk Museum (2018); Hammer Museum (2015); New Museum (2013); Le Consortium, Dijon (2002). She has also participated in group shows at Palais de Tokyo (2023); Contemporary Arts Museum, Houston (2017); Nouveau Musée National de Monaco (2017); SFMOMA (2011); CAPC, Bordeaux (2008); Fundacion Jumex (2006); Biennale de Lyon (2003); Centre Pompidou (2000).