He is seen in the media and recognized by international critics as one of the most important and influential artists of his generation. However, since the beginning of his career, the artist has refused to allow his biography to be published. Most of the biographies available are therefore knowingly incorrect or incomplete.
His work is organized into projects rather than exhibitions.
His first, Silence goes more quickly when played backwards, took place in 2005 at the Plateau / Frac île-de-France (Paris). This was the project that rocketed him onto the international art scene.
In 2008, he became the first artist to be granted full use of the Palais de Tokyo in Paris for his project Cellar Door. He developed and continued this project at the ICA in London (UK), the Kunsthalle Sankt Gallen (Switzerland), the museum La Conservera de Murcia (Spain) and finally at the Vienna Kunsthalle (Austria), ending at Art Basel alongside the publication of a catalogue by JRP Ringier that charted the entire project.
Although international collectors and Museums have made some important acquisitions of his work, Greaud chooses to appear only occasionally in galleries and markets. He has had only one double exhibition in the galleries that represent him. The Unplayed Notes was presented at the Pace Gallery in New York (2012) and then at the Yvon Lambert Gallery in Paris (2012).
In 2013, he was the first artist to be invited to exhibit jointly by the Louvre and the Pompidou Center in Paris. The double exhibition, Loris Gréaud [I] was free to the public and took place in the museums’ courtyards, purposefully avoiding the usual exhibition spaces of the two institutions.
In 2014, he was appointed as a Knight in the Order of Arts and Letters (Chevalier des Arts et des Lettres).
In 2015, for his project The Unplayed Notes Museum, he became the first artist to take over the entire space of the Dallas Contemporary (USA).
Since 2010, the artist has rarely participated in group shows, preferring to concentrate his resources on developing personal projects. The artist sees "the trajectory of the work through time as a sculpture in its own right."
Artistic approach
His method is characterized by prioritizing the project’s idea over the exhibition. Loris Greaud believes that only the idea and the project itself should be the governing principles, defining in particular the conditions of appearance, display, distribution, and even the length of time and cost.
Productivity and efficiency based in the reality of his projects are the focal point of his practice. He also pays special attention to systematically erasing the limits between the spaces of fiction and reality.
One of the common characteristics among the various projects of Loris Greaud is their scale. By producing work of this magnitude with a global vision, he aims to overwhelm the space and time of the "exhibition".
Quotes
"Today, I see a lot of what I call Rimbaud Syndrome, "I AM another." The bloggers want to be journalists, the journalists want to be art critics, the art critics want to be curators, the curators want to be artists and tragically…the artists want to be artists…"
Monographs
(fr+en) Loris Gréaud, Jannink Editions, 2015 ISBN 978-2-37229-004-3
(es) Nerea Pérez De Las Heras, « Un bosque con árboles de pólvora Loris Gréaud trae a España su arte hecho de mórbidas obsesiones », El País, 21 mai 2009
Florence Derieux, « A French Big Bang », Mousse, 2008
Claire Moulène, « Loris Gréaud / Palais de Tokyo », Artforum, août 2008
Vivian Rehberg, « Doors of Perception », Frieze, juin 2008
(en) Sue Hubbard, « The French have a word for it… », The Independent, 15 mai 2008
Paola Noè, « L'illusione del gusto », Flash Art, avril 2008
Judicaël Lavrador, « De la cave au Far-West en passant par des mondes féeriques et une maison de fous. », Playboy, 1er avril 2008
Laurence Dreyfus, « Loris Gréaud », L'Officiel, 1er avril 2008
Philippe Chancel Olivier Reneau, « Le Phénomène Loris Gréaud », L'Optimum, 1er avril 2008
Nicolas Bourriaud, « La chasse au Gréaud », Beaux-Arts Magazine, 1er avril 2008
