Pierre Bal-Blanc is an independent curator and essayist based in Athens and Paris. His last projects are “I GOT UP” at gb agency Paris and at Hotwheels Athens, 2021 with among others On Kawara, Georgia Sagri, Delia Gonzalez, Serapis Maritime and Sophie Calle. "The Non-Canonical Gospel According to Tomislav Gotovac* "; *Also Known as Antonio G. Lauer National Gallery Tirana Albania.“Le salon Turc” with Nilbar Güreş, for de Appel at Stedelijk Museum Amsterdam, 2021 “All Criteria This Position Any Moment” 2020 with Cally Spooner in Haus N Athens and «Das Ökonomieballet» with Franz Erhard Walther, Peter Kogler and Matthieu Saladin, 2020 in Vienna. "Collective Exhibition for a Single Body-The documenta 14 Score" a touring project of which he presented a new version "The Private Score" in Vienna at Haus Wittgenstein and Lidl supermarket in a co-production by Kontakt Collection and Tanzquartier. A new activation of "The Private Score" took place in November 2019 during the Playground Festival organized in Leuven, Belgium with the M Museum preceded by the exhibition "Collective Exhibition for a Single Body, The Private Score" at gb agency in Paris in October 2019. The last iteration was at Galerias Municipais in Lisbon in September 2021.
He is part of the Advisory Board of Flash Art Magazine where he has published the column “The Curatorial Gaze” in 2020-21. He was curator under the artistic directorship of Adam Szymczyk for the Documenta14 (2015-17) in Athens and Kassel. He has realized together with Kathrin Rhomberg “Der Canaletto Blick- The Canaletto View” in 2017 a commission program around the topic of art and capital for the Erste Group Bank AG at Erste Campus in Vienna Austria. “Soleil politique”, an exhibition at Museion in Bolzano, Italy that has continued his exploration of the forms and responsibilities of museums, their daily activities, and their relationship with the city. He was director of CAC Brétigny (Contemporary Art Centre of Brétigny, greater Paris in France). There from 2003 to 2014, echoing the societal thought of Charles Fourier, he has run the “Project Phalanstère” a series of site-specific proposals aiming at critical rethinking of the logic behind accumulation of art works. His exhibition sequences “La Monnaie vivante/Living Currency” adapted from Pierre Klossowski essay (CAC Brétigny/Micadanses, 2005–06; Stuk Leuven, 2007; Tate Modern London, 2008; MoMA Warsaw and Berlin Biennale, 2010) and “Draft Score for an Exhibition” (Le Plateau Paris, Artissima Torino, Secession Vienna, 2011; Index Stockholm, 2012;) negotiate the current and historical analysis of the body and the strategies related to performance in visual arts. The three chapters of “Reversibility- a theater of de-creation” (Frieze Art Fair, 2008; CAC Brétigny, 2010; Peep Hole Milan, 2012;) reflect on the consequences of the art object’s materiality upon the configuration of the cultural domain’s protagonists, as well as on the role and shape of the cultural institution today. “The Death of the Audience” (Secession, Vienna, 2010) reveals the processes of emancipation and alienation taking place in the interstice between the figures of the artist and the spectator.
His last publications are “Der Canaletto Blick-The Canaletto View” (Kontakt/Walther König 2020), "Collective Exhibition for a Single Body-The documenta 14" (catalogue Museumcultuur Strombeek Gent, 2019), "The Private Score” (catalogue M Leuven/gb agency/Paraguay 2019). "Project Phalanstère" (catalog Sternberg Press, 2017), "Soleil Politique” (catalogue Museion/Paraguay 2015), “Draft Score for an Exhibition, (catalogue NERO Publisher Rome, 2014) “Reversibility- a theater of de-creation” (catalog Mousse Publishing, 2012) ; “The Death of the Audience” (Secession/Ver Sacrum,Verlag Niggli AG Sulgen/Zurich, 2011).