Galerie Florent Tosin

Olivier Menanteau lives and works in Paris and Vilnius. In 1999 he moved to Dusseldorf and developped his own projects in various institutions,such as the United Nations in New York (2006).
During 2002–2006, he was lecturer and part-timer at the Akademie Schloss Solitude in Stuttgart, at the Wissensschatskolleg zu Berlin and at the ISCP in New York.
He spent a year in Sao Paulo as part of a project with the Musée des Beaux Arts de Nantes in the Pinnacoteca do Estado de Sao Paulo and the MAMAM of Recife.
During 2009–2010 he was at work on a Film Project with the Contemporary Art Center of Chamarande near Paris. He is currently working on a Project in Seimas and the Presidence of the Lithuanian Republic.

Exhibitions

2010
April: Design of the (in) human, Württembergischen Kunstverein, Stuttgart. (coll.)
May: Salon de Montrouge (coll.)
June: Mémoire, film vidéo, Contemporary Art Center of Chamarande, Essonne.
July : Screaning programm: Media Alert, Design of the (in) human, Württembergischen Kunstverein, Stuttgart. (coll.)
September: Res Publica, MMOMA Moscow Museum of Modern Art, exhibition based on the collection of the National Center for Visual Arts of France (coll.)

2009
New Entries, new acquisitions, MUSEION, Museum of Modern and Contempory Art, Bolzano, Italy, (coll).
Looking at Others, curator: Radmila Iva Jankovic, Art Pavillon, Zagreb, Croatia. (coll).

2008
Agora-Arago with Goran Galic, Gian Reto Gredig, Bruno Serralongue, Centre Photographique de Genève, Heart, Ecole d’Art, Perpignan, France. (coll).
video: The Metamorphosis, cinema Rive Gauche.

2007
Media Alert & Charm-project curator: Shara Wasserman. Temple University, Rome.

2006
ISCP, International Studio & Curatorial Program, open studio, New York.

2005
Fim de Romance, with Christine Meisner, curator: Lisette Lagnado, Corinne Diserens.
Musée des Beaux Arts, Nantes, France,
Pinacoteca do Estado, Sao Paulo, Brasil.
MAMAM, Museu de Arte Moderna Aloisio Magalhaes, Recife, Brasil.
Das Feld gegenüber, Wissenschaftskolleg zu Berlin, Berlin.

2004
Thomie Ohtake Fondation, Sao Paulo, Brasil. (coll).

2003
Ateliers d’artistes Marseille, France.
Vortlaufen, Vidéo, with Tiziano Manca, Akademie Schloß Solitude, Stuttgart.
Ecole Régionale des Beaux-Art, Valence, France.

2002
Working Together, Galerie Art & Essai, Rennes, France. (coll).

2001
Ununterbrochen 2, Gastatelier der Landeshauptstadt Düsseldorf.
Gesamtschule Ratingen-West, Kunstverein, Ratingen, Germany.

2000
Arte-Marsiglia, French Culturel Center of Turin, Artissima.(coll).
Ununterbrochen, Ateliers Höherweg ev, Düsseldorf.

1999
Contextes différents, “Le Magasin hors les murs”, Le Magasin-CNAC, Grenoble, France.

1998
Aux armes... etcaetera, Künstlerwerkstatt, Lothhringer Strasse, Munich, (coll).

1997
Ilots, Musée des Beaux Arts, Cognac.

1996
Marian Breedveld/Olivier Menanteau, French Institut of Roterdam, Rotterdam.

1993
Public Private, curator Alain Reinaudo, Fotofeis Edimbourg, French Institut of Scotland (coll).

1990
La vie de SAM, Biennal of photography, Musée Grobet Labadié, Marseille.

Awards, Residences

2006
CulturesFrance, ISCP, international studio & curatorial programm, New York.

2004–2005
Fellow at the Wissenschaftskolleg zu Berlin, Berlin.

2003–2004
AFAA-Ville de Paris, Residence in Edificio Copan, Sao Paulo with EXO.org, Brasil.

2002–2003
Stipendiat Académie Schloß Solitude, Stuttgart, Gerrmany.

2001–2002
Studio program Stadt Düsseldorf., Gerrmany.

2000–2001
Résidence in the “Cité des Arts”, Paris.

1999–2000
Studio Höherweg ev, Düsseldorf, Gerrmany.

1996–1998
Collège Vercors: Le Magasin, CNAC de Grenoble, France.
Programme of the Fondation de France,

1996
Ateliers Duende, Kunststichting of Rotterdam, Holland.

Books, Publications

2009
Media Alert, in “Etudes Photographiques N° 23 ”

2008
in “L’architecture d’aujourd’hui N° 373”. Oscar Niemeyer in San Paolo

2007 in “La Photographie en France 1970-2005” Christian Gattinoni, ed CulturesFrance.

2005
Fim de Romance, Ed Actes-Sud, 158 pages, texts: Marcelo Mattos Araujo, Corinne Diserens, Moacir dos Anjos, Lisette Lagnado, Laymert Garcia Dos Anjos, Jean Baptiste Joly, Jean-Charles Massera.
Feld gegenüber, Ed Wissenschaftskolleg zu Berlin-Académie Schloß Solitude, 76 pages, texts: Sorin Antohi, Raymond Depardon, Christofer Edling, Dieter Grimm, Jean-Baptiste Joly, Jamie Monson.
in “Höherweg 271”, Atetier Höherweg und Richter Verlag, Düsseldorf, Kunststiftung NRW.

2004
Olivier Menanteau, 1998-2003, Ateliers d’artistes Ville de Marseille, 76 pages, text: Thierry Ollat.

2003
in Neue Freunde, with Nomeda und Gediminas Urbonas, Elena Kovylina, Jean Baptiste Joly, Christian Fuchs, Jean d’Yvoire, Roger Häusslin...

1998–2001
Près des acacias, Ed Actes-Sud, 184 pages, text: Philippe Forrest, programm “Nouveaux Commanditaires” Fondation de France, 3CA. Psychiatric Hospital Barthélémy-Durand, Etampes, Essonne.

1997
Ilots, Ed art museum of Cognac 64 pages, Coul.

1994
En un lieu bien ombragé, 52 pages, Ed Centre National d’Art Contemprain Grenoble, Fondation de France

Media Alert
United Nations, New York

It’s a series of seven photographs produced in May and June of 2006 at United Nations Headquarters in New York using an official pass reserved for press photogrphers. While I did make the rounds with those photographers (press room, doors of the Security Council Chamber), my methods were those that I normally reserve for quieter, less public areas not as heavily covered by the media: lengthy and obsessive periods of thoughtful observation, the mapping of places where negotiations are conducted and internecine conflicts are waged, discussions with the protagonists, and use of a large format view camera.

My aim was to consider how the United Nations produces and maintains its image. The UN has become a colossal instrument of communication and authority for all of the states on the planet, whatever the extent of their power and their size. It is a tool available to heads of state, governments, NGOs, associations, and public figures, which they use to legitimate their power or their cause. These photographs seek to analyze the fragility and the limits of a machine in which hierarchical systems are reproduced in a vast imitation of Western and colonial traditions.

Paradoxically, they also show me caught up in this total spectacle. Since United Nations TV (http://www.un.org/webcast/) incorporated me into its system, remaining off-camera is no longer an option: Media Alert.