This autumn, The Mike Kelley Foundation for the Arts announced the opening of the “MIKE KELLEY: Ghost and Spirit” exhibition in Paris. The exhibition at Bourse de Commerce- Pinault Collections presents the first major retrospective devoted to Mike Kelley since his death in 2012. Occupying the Salon, the Rotunda, and all the second-floor galleries, the exhibition “Ghost and Spirit” follows the chronological development of Mike Kelley’s work according to its major themes. The exhibition will be on view until February 19, 2024, before traveling to other venues.

 

 

Mike Kelley’s work is widely recognized as one of the most influential contributions to the art world since the late 1970s. Originally from Detroit, Michigan, Kelley was particularly intrigued by how individual subjectivity is shaped by familial and institutional power structures within postmodern, capitalist American society. The themes within the artist’s work span a broad spectrum, touching on the influence of politics and education, as well as considerations of class and gender affiliation. Across various mediums—drawing, video, sculpture, photography, painting, and writing—Kelley delved into both social and individual topics, addressing subjects such as childhood, education, sexuality, and memory.

 

Drawing inspiration from spiritualist notions, heavy metal, and Superman comics, Kelley skillfully taps into the images and myths of pop and subculture to pose an eternal question about humanity’s place in the world and society.

From his student years onward, inspired by militant feminist practices, Mike Kelley engaged in the performance genre to present an innovative approach to art-making that challenged traditional norms. Beginning in 1974 with the proto-punk band Destroy All Monsters, Kelley was a member of various music bands throughout his life and consistently collaborated with other artists. 

Mike Kelley’s work consistently drew on subculture references and explored the tension between the depth of critical thinking he fostered and the apparent superficiality of a pop aesthetic. He played with notions ranging from seduction to trash. Additionally, he continuously addressed the role of the artist and how this figure emerges or fades away in the context of his work.

 

 

“Ghost and Spirit” at the Bourse de Commerce presents a sequence of different bodies of work and immersive environments created by the artist. It includes the spectacular “Kandors Full Set,” a collection of sculptures focusing on the fictional city of Kandor from the Superman comics series. The exhibition also features the “Minor Histories” of Kelley’s practice, encompassing drawings, photographs, and preparatory writings that shed light on his thought process. The showcase spans Kelley’s entire career, from his breakthrough “handicraft” sculptures made from textiles and stuffed plush toys to his multi-media installations, including one of his last major bodies of work, “Day Is Done” (2004-2005), which references images of high-school performances as sites of ritualized deviations from social conventions.

 

 

MIKE KELLEY: Ghost and SpiritThe first room, Monkey Island, showcases Mike Kelley’s early performance-based works. Here, he takes the concept of underground geometry to the point of absurdity. In another room, “The Poltergeist,” the  American artist explores the occult and the formless. We see him in a video from 1983, dressed as the “Banana Man.” Sculptures, various works, and archives linked to his early performances are also on display in this room.

 

 

Moving on to the ‘Half a Man’ room, a collection of works by Mike Kelley produced in the late ’80s and mid-’90s explores questions of gender within the family context. The artist utilizes second-hand stuffed animals, sometimes staged with sound recordings. Despite their seemingly harmless appearance, many of these cuddly toys reveal something sinister and threatening.

 

 

In “Memory Ware,” Mike Kelley attempts to recall all the places where he received his education. At the center of the room is the large-scale installation “Double Contour with Side Bars” (2000), created from studio scraps.

 

 

The last room of this retrospective, “Day is Done,” showcases the sound and visual installations created by the artist, situated halfway between a musical comedy and a total work of art. The film “Day Is Done” (2006) is continuously projected in the Auditorium.

 

 

“Ghost and Spirit” is on display at the Bourse de Commerce until February 19, 2024.