PARIS.- Lafayette Anticipations presents Mark Leckey’s first institutional solo exhibition in Paris. Bringing together around twenty existing and new works, the exhibition unfolds around the idea of ecstasy, understood as a state of extreme emotion, a spiritual or physical experience of being taken outside of oneself.
Explore the Influential Art of Mark Leckey: Delve into the themes of technology and popular culture in this illustrated book.
“The meaning of ecstasy is to be displaced, literally to be removed from out of the place where you stand”, says Leckey, particularly affected by the intensity of such emotions “that make you unstable, untethered, that remove you from your normal place of function and towards something groundless, without horizon or a z-axis.”
One of the most important British artists of his generation, since the late 1990s, Leckey has explored the relationship between popular culture and technology, as well as ideas around youth, class, memory, and nostalgia through raves, amusement parks, and forms found in popular culture.
His works demonstrate his fascination for the ways in which technological developments influence our experience of reality and shape our desires and memories. Technology also enables Leckey to explore the emotional, sometimes even supernatural, qualities of an object or image, thus inviting us to sense their almost magical power.
Through video, music, sculpture, installation, and performance, Leckey creates collages and edits of audiovisual elements found online, sourced in television, film, and personal archives, or self- produced.
His work draws from personal and collective memory, subcultures and British history, as well as pop and alternative music.
Curator: Elsa Coustou
Mark Leckey (1964, Birkenhead, UK) lives and works in London. He is the winner of the 2008 Turner Prize.
Currently on show at Gladstone Gallery in New York until February 2025 in the exhibition 3 Songs from the Liver, the artist's work has been presented in solo exhibitions in international institutions such as Espace Louis Vuitton, Tokyo (2024); Sant’Andrea de Scaphis, Rome (2022); Tate Britain, London (2019– 20); Glasgow International, Glasgow (2018); Cubitt, London (2017); SMK, Copenhagen (2017); MoMA PS1, New York (2016–17); Galerie Buchholz, Berlin (2016); Cabinet, London (2015); Haus der Kunst, Munich (2015); Kunsthalle Basel, Basel (2015); WIELS, Brussels (2014); Hayward Gallery Touring (The Bluecoat, Liverpool; Nottingham Contemporary, Nottingham; De La Warr Pavilion, Bexhill-on-Sea) (2013); The Hammer Museum, Los Angeles (2013); The Banff Center, Banff (2012); Serpentine Gallery, London (2011); Institute of Contemporary Arts, London (2009); Le Consortium, Dijon (2007-08); Migros Museum für Gegenwartskunst, Zürich (2003); Gavin Brown’s enterprise, New York (2000).
His works are held in numerous public collections including the Centre Pompidou, Paris; the Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, New York; Tate, London; the Walker Art Center, Minneapolis.
Artdaily participates in the Amazon Associates Program, an affiliate advertising program designed to provide a means for us to earn commissions by linking to Amazon.com and affiliated sites. When you purchase through our links, we may earn a small commission at no additional cost to you. These commissions help us continue curating and sharing the art world’s latest news, stories, and resources with our readers.
