The photographic triptych "Port Grimaud I II III" consists of three frames, each measuring 70,8 x 65,2cm (the overall size of the piece is approximately 70,8 by 215 cm). The edition is 4 (plus 1 AP).
"Port Grimaud I II III" is part of the larger group of works by Rebecca Ann Tess that has been exhibited under the overall title "Template Selection". With this group, Tess conducted an artistic research of architecture as a form of representation of wealth, power, and influence.
Each frame of the triptych "Port Grimaud I II III" shows 25 views of houses in Port Grimaud (a village close to Saint Tropez at the Côte d'Azur) in a sequential order. These houses have been designed by the French architect François Spoerry (1911–1999) as a residential estate at the French Riviera. Inspired by Venice, Port Grimaud was erected in a lagoon in the bay of Saint-Tropez as a postmodern, Mediterranean planned city. To this day it is seen as a model for several comparable projects (amongst others: Palm Islands in Dubai). Each house of the estate is equipped with a private landing pier. All have been planned along the traditional Mediterranean building type following a seemingly individual ground plan, constructed in concrete. However, as the quotations and the color chart show, the individuality is in fact a planned 'individuality' that has been conceived by the architect up to the color design. It is not a real, individual, personal indivduality. And the democratic approach that first propelled the project has been negated in the course of history: what was meant as a project for everyone, now has turned into a rather exclusive neighborhood. Its exclusivity is mirrored (not only) by the size of the motor boats that have been photographed by Rebecca Ann Tess while they were parked at their landing pier in front of each house.
"Each house" reminds us of the famous artist book "Every Building On the Sunset Strip" (1966) that has been created by the American artist Ed Ruscha. While Ruscha had a rather conceptual approach with which he tackled questions like the representational function of photography, Tess' approach is – even though she is using similar esthetic tools as Ruscha – profoundly political.
Rebecca Ann Tess (* 1980 in Annweiler am Triffels, lives in Berlin) studied at the University of the Arts in Berlin and later on – under the supervision of Judith Hopf and Willem de Rooij – at the Städelschule, Frankfurt a.M.. In 2012 she has enjoyed the Artist-in-Residence-program of the city of Frankfurt in Seoul, Korea. And in 2011 she has been the recipient of the Villa Romana Residency in Florence, as well as of the Balmoral Fellowship Residency in New York. She was profiting from the Studienstiftung des Deutschen Volkes between 2006-8.
Tess has shown in the in the Berlinische Galerie (2016), the MOCA Taipei (2013), the Kunst- und Ausstellungshalle der Bundesrepublik Deutschland (2013), the Neuer Aachener Kunstverein (2012 and 2010), the National Museum of Contemporary Art, Seoul (2012), the Kunsthalle Mainz (2011), the Nassauische Kunstverein, Wiesbaden (2010), the Kunstverein in Frankfurt (2010), at the Videonale Bonn (2009), amongst many other places.
Her works have been collected amongst others by the Landesmuseum für Kunst und Kultur (Münster), Helaba (Frankfurt/Main) and Villa Romana (Florence).