Claude Kunetz has been a film producer for some twenty years. He created the production company Wallworks to develop a policy of producing feature-length films for the cinéma d'auteur. He has produced, among others, the first films: Mima (1990) by Philomène Esposito with Virginie Ledoyen, Grande Petite (1993) by Sophie Fillières with Judith Godrèche, Encore (1996) by Pascal Bonitzer with Valeria Bruni-Tedeschi, Rien voilà l'ordre (2001) by Jacques Baratier with Laurent Terzieff, or Lost in Love (2007) by Rachmania Arunita with Richard Kevin... His films have been presented in the festivals of Berlin, Cannes, Turin, Brussels, Montreal, New York, Tokyo, Algiers, Cairo... Encore was nominated for a César award in 1996, in the category of best first film. He is currently preparing the production of Abdellah Taïa's first feature film, an adaptation of his novel L'armée du salut.
After shooting Rien voilà l'ordre at the Prémontré hospital in the Aisne region, Claude Kunetz created a cultural space within the hospital in 2003. The aim was to develop a program of free artistic and cultural activities for patients. He involved, among others, students from the Beaux-Arts and graffiti artists - Kongo, Lazoo and Colorz - who came to create with the patients. The adventure proved to be fascinating and ended with an exhibition in the hall of honor of the Ensba in Paris. Following this craze, Claude Kunetz launches a new experience in 2010 with elderly people suffering from Alzheimer's disease at the gerontological hospital of La Fère, "La Lucciola".
Claude Kunetz discovered Indonesia in 2002, when he was invited by the French Embassy to teach at the Jakarta Film University. There he met his future wife, Dewi Astuti, who now runs the gallery with him. He also met the curator Alia Swastika, with whom he mounted the exhibition Wall Street Arts in Jakarta in 2010. The exhibition confronts two generations of graffiti artists, about fifteen artists from the French and Indonesian graffiti scene, the latter not older than ten years.
True to his spirit of discovering young talent, Claude Kunetz decided to open an exhibition space, adapting to the gallery what he knows how to do with the cinema, from financing to distribution and from manufacturing to promotion. In order to give priority to in-depth work, the Wallworks gallery proposes a program of four to five major exhibitions per year: French graffiti artists, Indonesian visual artists and, in the near future, works resulting from work in hospitals. The 140m2 space inaugurated by Kongo's solo exhibition continues to house his activities as a producer of auteur cinema and allows him, in short, to produce and show the works that are important to him.
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La boîte à lettres 1970, 2012, aerosol, felt pen and stencil on post box, 59 x 45 x 24 cm
Customized street furniture and graffitied, reinterpreted public transport objects invaded the basement space of the Wallworks gallery for the unusual exhibition "ESPACE PUBLIC EN SOUS-SOL". Access is via a staircase lined with tags and graffiti. Whether they've been hunted down or recently acquired at the RATP sale, the artists have taken hold of all kinds of urban and public transport elements: telephone booths, traffic lights, street lamps, enamelled street signs, iron curtains, letterboxes, Paris, Moscow and New York subway signs, bus stop cow heads, road and rail signposts, SNCF washbasins, RATP seats and other car parts... Seven blank pieces presented at the opening - including the emblematic yellow plastic M, enamelled plates and a metro door - are destined to be customized by new artists and finalized in future artistic performances.36 American, European, South Asian and Russian artists from the graffiti and urban art movements give new life to all these everyday objects in a large, colorful graffiti bazaar.
This new group show follows in the footsteps of Claude Kunetz's previous group shows featuring some fifty street artists - "Ne Pas Effacer" (2012), "Intérieur Rue" (2013), "Pièces détachées" (2014), "Morceaux de rue" (2015) and "Dehors Dedans" (2016). Adapting the know-how of his original profession as a film producer to exhibition mounting, he hunts down vintage street furniture and entrusts it to artists for customization.
Recently acquired at the RATP auction in aid of Recueil Social, the emblematic yellow plastic M - backlit by neon lights - and enamelled iron metro nameplates, as well as the circular "A Kiko" seats - initially conceived, according to their designers and creators, as "resistant to burns, scratches, graffiti (sic) and mechanical stress" - are presented as they are at the opening. They will then be entrusted to new artists who will customize them, giving them the finishing touches in artistic performances held throughout the exhibition.
Alongside some older pieces from previous exhibitions, two large enamelled plaques bearing the names of the Trocadéro and Strasbourg Saint-Denis stations, by COLORZ and PSYCKOZE respectively, complete this collection of public transport and street furniture elements, all freely and artistically reinterpreted.
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