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Back in the 1990s, Michael Jackson phoned French columnist Pierre Commoy and painter Gilles Blanchard — bigger accepted as Pierre et Gilles — to abode an adjustment for 70 portraits.
The King of Pop was acquisitive for his own abundant icon, conceivably accepting apparent the duo’s fairytale depictions of Madonna as a flute-toting Japanese divinity or Boy George as the god Krishna.
But Jackson had bootless to accept the activity of adulation that went into anniversary image, acute the architecture of a three-dimensional theatre set, congenital from scratch, with capacity anxiously hand-painted on anniversary photograph afterwards it is printed.
“Like abounding others, I anticipate he affected we did aggregate in Photoshop,” said Blanchard, one bisected of the partners-in-life-and-art, whose assembly has never exceeded 20 portraits a year. “So we acutely had to refuse.”
“Legend” (Madonna), 1995 by Pierre et Gilles Credit: Pierre et Gilles
For Pierre et Gilles, black the world’s best acclaimed accompanist was aloof one amazing accident during a 40-year career spent photographing music and blur royalty. Two new exhibitions in Paris and Cannes are currently delving into the DIY illusionists’ craft, which has antipodal their capacity into fabulous tales and adapted them into admirable saints and martyrs.
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The exhibition in Cannes, home to the acclaimed blur anniversary on the French Riviera, gives visitors a attenuate glimpse of the behind-the-scenes magic. Its subtitle, “Le Goût du Cinéma” (A Aftertaste for Cinema), is a nod to the makeshift assuming of aboriginal filmmaking and their allure with George Méliès, the Parisian blur administrator who pioneered handmade appropriate furnishings techniques at the about-face of the 20th century.
Since affair in 1976 at a affair hosted by Japanese appearance artisan Kenzo Takada, Frenchmen Commoy and Blanchard accept conjured up hundreds of candied portraits of acclaimed faces and lesser-known friends. There’s German jailbait rocker Nina Hagen as a rubber-clad, rope-bound housewife; accompanist Serge Gainsbourg as a shabby, carnal Santa abaft bars; and Belgian artisan Stromae as a pious attendance affected by a blatant annual bouquet.
“Nina Hagen” by Pierre et Gilles Credit: Pierre et Gilles
Reimagining pop stars as altar of adoration came artlessly to the artists. Both grew up in baby towns area they able a allure for biblical figures, classical painting and cultural idols as all-embracing as Brigitte Bardot and The Little Mermaid. “After all, they’re ambrosial abundant the agnostic deities of our time,” Blanchard appropriate over the buzz during their appointment to Cannes.
Having aboriginal cut their teeth demography photographs of Salvador Dali and Iggy Pop for Façade annual (the French analogue to Andy Warhol’s Interview), they begin a agreeing artistic association at Palace, Paris’ acknowledgment to belled bistro Studio 54. “It was one behemothic party, with no barriers amid ethnicities, ualities, genders or religions,” said Commoy. “That bulletin of accepting and broad-mindedness is at the affection of our work.”
Indeed, the duo has consistently eschewed hierarchies of taste, all-embracing a technicolor mix of aesthetic traditions, from Greco-Roman gladiators to tear-shedding Soviet soldiers, Renaissance paintings to softcore gay porn, Alice in Wonderland to Adam and Eve.
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“Le Grand Amour,” (Marilyn Manson and Dita von Teese), from the Pinault Collection. Credit: Pierre et Gilles
Indeed, their awful august tableaux vivants, or active pictures, were initially outliers in France’s backward 1970s art scene. “As against to, say, the US or Germany, French abreast art charcoal actual afflicted by the conceptualism of Marcel Duchamp, area bulletin takes antecedence over form,” said babysitter Hambursin. “With Pierre et Gilles, the anatomy ambrosial abundant creates the message.”
Their acquaintance Farida Khelfa, a aloft archetypal and brood to clothier Azzedine Alaïa, aboriginal met them as Gilles and Pierre during Palace days. “They’re atypical artists who’ve consistently aboveboard flouted trends and what’s in vogue,” she said.
Pierre et Gilles accept never approved the validation of cultural gatekeepers, nor captivated aback from provocation. Their assignment has proudly acclaimed the macho nude and evoked sociopolitical issues, including the AIDS epidemic, the war in Iraq and same- marriage. Alongside image-makers such as columnist Robert Mapplethorpe and artisan James Bidgood, they’ve additionally prided themselves on assuming that “homouality isn’t dirty.”
“Since the 80s, we’ve accustomed abounding belletrist from gay youths in China, Russia and aloft cogent us that we gave them aplomb by depicting their desires in a absolute light,” said Commoy. “That’s so adored to us.”
Major museums eventually took an absorption in their baroque fantasy worlds, which now adore the attenuate acumen of ambrosial to art insiders, outsiders and the accepted accessible alike, said babysitter Hambursin
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“Le Chevalier du Crépuscule” (2013) Credit: Pierre et Gilles
“The actual accountable — this acclaimed actor, that admired accompanist — gives (art) newbies an actual access point. Then, there are abounding subtexts for anyone able to aces up on references to art history, literature, belief and so on.”
Now both in their backward 60s, there is one celebrity the duo still achievement to assignment with, admitting their accepted abhorrence to force collaborations into being.
“Lana Del Rey would be an ideal archetypal for us,” appear Blanchard.
“Her music soundtracks abounding of our shoots,” added Commoy. “Her articulation is so abstracted and poignant, and her adorableness uncanny.”
It is conceivably a applicable choice: the artistic universes absurd by Del Rey and Pierre et Gilles allotment an overarching faculty of blue and nostalgia.
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Perhaps aloft all, it appears that acclamation has not abject the alien address of the singer. Nor — added than four decades afterwards their aboriginal portraits — has it beneath the draw of Pierre et Gilles.
“Maybe it’s because it took time for the art apple to embrace us, but we still feel hardly marginal,” said Commoy. “But we do what makes us happy, after compromise. That’s what matters.”
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