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Le Plateau / FRAC Ile de France
Angle de la rue des Alouettes et de la rue Carducci
75019 Paris


Vernissage: dimanche 15 juin de 15h à 20h
18 juin au 17 août 2008, Mercredi au Dimanche de 14h à 19h
18 June to 17 August, Wednesdays to Sundays 2pm to 7pm

Artistes: Adel Abdessemed, Fikret Atay, Fabio Balducci and Sophie Calle, Iain Baxter, Philippe Cazal, Claude Closky, Moyra Davey, Wim Delvoye, Tracey Emin, Malachi Farrell, Hans-Peter Feldmann, Sylvie Fleury, Claire Fontaine, Michel François, Gloria Friedmann, General Idea, Felix Gonzalez-Torres, David Hammons, Thomas Hirschhorn, IFP, Michel Journiac, Edward Kienholz and Nancy Reddin, Ben Kinmont, Olga Kisseleva, Arnaud Labelle-Rojoux, Suzanne Lafont, Matthieu Laurette, Bertrand Lavier, Louise Lawler, Zoe Leonard, Les ready-mades appartiennent à tout le monde, Gilles Mahé, Kris Martin, Cildo Meireles, Annette Messager, Antoni Muntadas, Marylène Negro, Cady Noland, Orlan, Gabriel Orozco, Ouest-Lumière, Cesare Pietroiusti, Josephine Pryde, Seth Siegelaub, Santiago Sierra, Société Réaliste, Reena Spaulings, Ernest T, Taroop and Glabel, the Centre of Attention*, Joana Vasconcelos, Dana Wyse

Commissariat : Caroline Bourgeois, commissaire indépendante pour le Frac Ile-de-France / Le Plateau & Elisabeth Lebovici, Historienne de l'art.



*The Centre of Attention paid Le Plateau to be included in the exhibition L'Argent (Money) curated by Elisabeth Lebovici and Caroline Bourgeois. This payment constitutes the work.

*Le Centre of Attention a payé Le Plateau pour être inclus dans l'exposition L'Argent. Cette transaction constitue l'oeuvre, et la seule contribution, du Centre of Attention pour l'exposition.



L'Argent at Le Plteau FRAC Ile de France



1) We understand that many art institutions face financial pressures. Securing an ongoing budget while retaining one's independence takes more time than the making of the exhibitions. Private sponsorship, in-kind support from commercial galleries, association with brands, have been tempting options for many public art institutions. Our payment highlights the issue of the 'independence of the public sector' and the fact that the split between a public and a private art world is today a false dichotomy.

2) Making the financial transaction public will of course raise questions about the reasons for the Centre of Attention being included in L'Argent and about our 'merit' as an artist. The work also highlights the key role of money (from collectors, galleries…) in building an artist's career.

3) As there is no participation from us other than the payment, we are in effect paying for profile (the name in the artist list, exhibition literature, etc…) rather than visibility for the work: being included the right exhibitions can matter more than the public seeing the work.

4) We are clear about the economic impact of an exhibition on the artist's value and indeed 'ranking'. Therefore we see our participation in this exhibition as an investment which will bear financial return. In line with the demand-led market, we agree that the principle of an artist being paid for his/her work is out-of-date.

The Centre of Attention, June 2008