於11月3日至6日舉行的東京藝術周將邀請世界各地的訪客體驗東京充滿活力的當代藝術景況

Payal Uttam

東京藝術周為日本文化首都掀起序幕

<a href="https://parisplus.artbasel.com/catalog/gallery/2906/Galerie-Pietro-Spart%C3%A0">Pietro Spartà藝廊</a>是一個有趣的異類。藝廊的空間位於距離巴黎2小時車程的勃艮第郊野，周圍是葡萄園，被運河一分為二。此外，藝廊空間「極具象徵性地」脫離了藝術版圖，因為他們沒有任何的線上展示形式。同名創始人Spartà並不需要任何的修飾來吸引藝術家和收藏家。 Pietro Spartà是一個任性的實驗家，他了解自己所選擇的價值觀，是基於直覺、激情和社群的。

I Live – the title of the painting – is a classic bust portrait, apart from the fact that it is of an animal. By representing the animal this way, the painting’s subject is magnified as well as transformed into an individual. Although this style of painting dates back to antiquity, it actually responds to a certain view of the world that comes from the Renaissance. The position of the painting’s protagonist echoes the era’s nascent spirit of humanism, which placed humans at the center of the world. When Sean Landers paints a hare, it’s not just a painting of a hare.
Landers created the piece specifically for his solo exhibition ‘Animal Kingdom’ at the Musée de la Chasse et de la Nature in Paris, in which around 30 of his artworks are on display. A selection from one of his most well-known series is on the museum’s first floor: Animals with their fur coats decorated with tartan patterns are depicted in countryside settings. The exhibition unfurls over two floors and its juxtaposition with the permanent collection creates a dialogue with the taxidermized animals and other hunting curios. The hare is exhibited in the ‘Tick Room’, named after one of the research subjects of the biologist and philosopher Jakob von Uexküll, a pioneer of the study of non-human perception. Through I Live, Sean Landers also becomes an ethologist.

The animal is seen from an animal’s point of view. Anthropocentrism may well have been one of the things we inherited from the modern age, but the current era is trying to break away from it. The hyperrealistic depiction of the painting’s protagonist takes place against a background of a birch forest. The tree trunks, carved with messages and other graffiti, can be read like the pages of a diary. After all, unlike humans, the forest listens without judgement.
By combining the bust portrait style and the motif of tree trunks that function like speech bubbles, Landers creates a psychological portrait of the animal. Refusing to focus solely on exterior perceptions, Landers uses the carved messages, written in the first person, to give us access to his inner world. In the specific case of I Live, the subject is not particularly verbose. The hare represents pure existence; it is total coincidence, captured in the moment. For example, one short message gets across its nervousness: ‘I only hear what I fear.’ Or, further down, ‘I only know where I go’ – short messages like mantras, taken from the intuitive wisdom of animals. The hare is not asking himself questions: He goes, he lives and never looks back. It is a philosophy for life: Our existence is too short for indecision! 
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Sean Landers is represented by <a href="https://www.artbasel.com/catalog/gallery/1248/Petzel" target="_blank">Petzel</a>&nbsp;(New York),&nbsp;<a href="https://www.artbasel.com/catalog/gallery/1164/rodolphe-janssen" target="_blank">rodolphe janssen</a> (Brussels),&nbsp;<a href="https://www.artbasel.com/catalog/gallery/1448/Taka-Ishii-Gallery" target="_blank">Taka Ishii Gallery</a> (Tokyo, Kyoto), and <a href="https://www.artbasel.com/catalog/gallery/1299/Timothy-Taylor" target="_blank">Timothy Taylor</a> (London, New York).
Sean Landers, I Live, 2023. Part of the exhibition ‘Animal Kingdom,’ until March 10, 2024 at the Musée de la Chasse et de la Nature in Paris.
Ingrid Luquet-Gad is an art critic and PhD candidate based in Paris. She teaches art philosophy at the University Paris 1 Panthéon-Sorbonne. 
Published on&nbsp;January 11,&nbsp;2024.
English translation: Catherine Bennett.&nbsp;
Caption for full-bleed image: Sean Landers, I Live, 2023 (detail). © The artist. Courtesy Petzel Gallery. Photograph by Christopher Burke Studio.

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