Voyez comme une source est utile. Pour l'histoire de la musique, c'est un peu pareil. Cela te convient il? Avoue que cela ne manquerait pas de sel. Oublions l'amusant TI de Langavant. Je vous propose de lever d'abord celle qui me semble la plus simple. Ce point me semble pourtant essentiel car c'est celui qui permet de comprendre de la position des musicologues. Je ne m'opposerais pas, car la phrase me semble techniquement exacte. Comme le fait remarquer Gem, les musicologues se foutent totalement de l'aspect juridique de la question.
Au sens du nationalisme, Chopin est un polonais qui vit la France comme une terre d'exile. Avait-il besoin d'un tel visa sur son passeport pour passer par Paris? Commentaire de Amazon. A ma connaissance, ce sont les seuls compromis dont il est question. Bonjour Mandarine et merci pour ta bonne humeur. Les faits marquant sur le sujet? Le tout est de choisir. Pourquoi la voix de notre race jaillit-elle de son coeur, comme des profondeurs inconnues de la terre jaillit la source vivifiante? Heureusement, il n'en est rien. Les enfants spirituels du si beau si malheureux et si romantique Chopin vous semble bien peu polonais.
Vous trouvez qu'il y a du Chopin dans les arabesques de Debussy. Vous n'avez rien compris! Encore sceptique? Alors, lisez l'article de WP. Sur la Britanica , il est franco-polonais. Sur musiced. Liszt, dans son Chopin de parle de l' artiste polonais p , du barde polonais p Enfin, le langage musical de Chopin n'est en rien polonais. Elle est avant tout aristocratique est fort loin d'une forme populaire ou folklorique. Eigeldinger cite des dizaines de noms de compositeurs dont se nourrit Chopin, mais le silence sur la musique polonaise est totale.
Chopin est au coeur de la vie parisienne, il est un incontournable dans des salons comme celui du baron James de Rothschild ou de madame d'Agoult.
Il ne donne pratiquement plus de concert et Berlioz se plaint que si l'on est pas ministre ou Duc, il est presque impossible d'entendre le compositeur. Et blablabla et blablabla! De l'avis majoritaire, l'article est trop long. On est dans le style Sacha Guitry. Ce que je propose, c'est de la mandarinade kirtapesque consensuelle. Le nationalisme, c'est plus tard.
Chopin quitte Vienne le 20 juillet pour Paris. Cette situation n'est pas rare. Cet argument n'est pas l'unique raison de qualifier Chopin de polonais. Le sien est aristocratique et provient de la grande musique pour reprendre une expression de Delacroix ou encore de la musique savante. La langue du musicien est celle de la science de l' harmonie et du contrepoint. En ce sens, Chopin est un artiste universel. Chopin est, pour le pianiste Ignace Paderewski premier ministre de la Pologne en , le chantre officiel de la Pologne.
A la maison des Chopin, on parle polonais . Chopin manie le polonais comme un magicien! Ainsi donc. Je donne le lien. Ja wcale nie. Wszystkiego ciekawym jak Baba. Siostrylle buzi, buzi, buzi. Alberola has always plunged into the mystery of what connects, of what puts each of us in the middle of connections, contradictions, between the agitation of the past, the moment and the space, of what keeps us in a state of permanent displacement.
Would the work be suggesting that the response is elsewhere than in vision? That there would be other ways for the senses to understand the world, beyond the modern reign of the optical? In a kind of homage to interiors possessing enough empty space air space to make their being the site of the trembling of history, the painting Fred Astaire creates a portrait of a dancing being.
The legendary Fred Astaire is a thinking body whose movements are beyond laws, who manipulates tapdancing, ballroom dancing, popular dance, like swing or jazz; who obstinately refuses to be bound in by rules. Astaire dances while getting dressed, lighting firecrackers, playing the drums, with a coat hanger, climbing walls and ceilings, jumps on a bar, breaks glasses with his feet; each motif of his dance is an exploratory step.
Fred Astaire also dances time; slightly outstepping the rhythm before letting it slide and catch up with him in a fraction of seconds. Roi de rien, , technique mixte sur papier, x cm. Roi de rien, , mixed media on paper, Fred Astaire, , technique mixte sur papier, x cm. Fred Astaire, , mixed media on paper, Born in in Sarcelles, lives and works in Paris.
Dove Allouche. By Drew Sawyer While looking through the archives of the French National Museum of Natural History, Dove Allouche French, born found mould growing on photographs, which was attacking the silver gelatin emulsion coating. As the organism spread across the surface of the print, its image gradually flaked and faded. Undetectable to the naked eye, Allouche photographed the microscopic spores and enlarged the pictures.
He eventually transcribed the images with graphite and ink pigment along with materials used in the early days of photography, such as silver oxide and ethanol. The dark and elusive surfaces of the Spore drawings not only represent the gelatin-devouring fungus but also mimic the fragile surfaces of the damaged archival photographs. Spores are just one example of the hidden and often primordial subjects that Allouche has brought to light over the years — other topics include underground sewers, caves and stalagmites, and the surface of the sun, to name but a few.
Yet in his quest to visualise the unseen, Allouche rarely allows his subjects to fully emerge on the surfaces of his finely-crafted works. Unlike scientists who use photo-imaging techniques, such as infrared, ultraviolet or thermal imaging to take pictures that illustrate or record information, Allouche employs photographic processes to complicate the promise of legibility that photography so often offers. Primarily as a draftsman, the artist combines drawing and forgotten or abandoned photographic experiments — such as the ambrotype, stereoscopic plate, physautotype and heliogravure — that blur the distinction between mediums and allow him to pursue new ways of representing unfamiliar subjects.
Taken with long exposures in complete darkness, the pictures manage to capture and re-enact the slow process of prettification of his subject. The ambrotype, or collodion positive process, was invented in the mid-nineteenth century, replacing the daguerreotype in popularity during the s.
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One side of a glass plate is covered with a thin layer of collodion, and dipped in a silver nitrate solution. After exposure the plate is then developed and fixed, and one side of the glass negative is coated with black varnish. Here, the black background, necessary to make the image visible, returns the limestone concretions to the darkness of the cave.
With the series Funghi, , Allouche returned to the subject of spores. Collecting samples of fungus from museum storage facilities, he cultivated each one and went on to photograph and print the images as lithographs. Each print is framed by a single sheet of coloured glass. The procedure of blowing the spores into the Petri dish with a glass pipette is finally echoed in the process of blowing the circular crown glass made by the artist.
Each sheet varies in colour, pattern and opacity. The swirling colours produced by the addition of various minerals mimic the morphologies of the spores and simultaneously obscure and highlight the image below it. In his earlier work, Allouche frequently used images or materials that were originally created for scientific or documentary purposes. In , he transposed nine stereoscopic plates that recorded battlefields from World War I.
Applying layers of ink, graphite and chemicals to prints of the images, the resulting drawings are studies in light and shadow. The final work from the series Man, Child and Two Women. De fait, le titre est inscrit sur la plaque de verre. The matterof-fact title repeats the inscription in English on the glass plate — the others are in French. Questions of death, time and loss inherent to the subject and medium of photography are echoed by the specific chemical processes themselves.
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Using zinc, the properties of which lead to the eventual bleaching and fading of the work, Allouche meditates on the obsolescence of both the image and the human condition. In his reworking of found images and his pushing of photography to the limits of representation, Allouche continues and expands upon the practices of the surrealists, for whom photography played a central role in the late s and s. In the works of Man Ray and Maurice Tabard, the use of procedures such as double exposure, combination printing, montage and solarisation dramatically evoke the union of reality and fiction.
Other photographers used techniques such as rotation or distortion to render their images uncanny. Just as important was another discovery: even the most prosaic photograph, filtered through the prism of surrealist sensibility, might easily be dislodged from its usual context and irreverently assigned a new role. Allouche once again revived a now forgotten photographic process, the physautotype, to realise these abstract images of what appears to be a field of specks on metal plates. After it is exposed and developed, a white resin appears where the light struck, creating a photographic image.
His images of the surface of the sun, playing on the selfreferential nature of the physautotype and early photography heliography , appear as both positives and negatives, depending on the viewing angle. Borrowing the technique of mirror-making, Allouche coated Cibachrome paper with layers of tin and silver. Drew Sawyer est conservateur au Brooklyn Museum. Thus are two ideas as opposite as can be imagined reconciled in the extremes of both; and both, in spite of their opposite nature, brought to concur in producing the sublime.
Drew Sawyer is curator at the Brooklyn Museum. He was previously head of exhibitions at the Columbus Museum of Art in Ohio and has held curatorial positions at the Guggenheim. Penicillium citreonigrum CNC20 MA 25, , photolithograph and hand-blown crown glass, framed, 19 x 19 in. Penicillium funiculosum 56 MA 3, , photolithograph and hand-blown crown glass, framed, 19 x 19 in.
Aspergillus flavipes MA 49, , photolithograph and hand-blown crown glass, framed, 19 x 19 in. Man, child and two women, , zinc powder, zinc oxide, lamp black, ethanol and pigment ink on Arches Velin BFK Rives paper, Born in in Port Vila Vanuatu , lives and works in Marseille. Gilles Barbier ne se. Gilles Barbier. By Mouna Mekouar Unexpected, subversive, provocative, Gilles Barbier perceives the world from upside down, from these islands of Melanesia where he grew up.
This biographical element, which is neither asserted nor determining in his aesthetic, nevertheless remains partly responsible for his relationship to the world. It is with this feeling of living inverted, upside down, counting backwards in time, that he shapes worlds which collude with ours: possible and impossible spaces, dreamlike and unimaginable.
They are worlds that are themselves inhabited by other territories, forming a map which is both coherent and chaotic. In his work he does not draw a linear trajectory: he functions according to a principle of networks, branching, foliation and profusion. Right from the beginning of his career, in the s, he proceeded — like the mechanisms of the brain — by association, sliding and concertinaing to implement a work methodology. It could sometimes generate several interpretations.
Curious and eager for knowledge, Barbier integrated chance, games and probabilities as well as concepts borrowed from quantum physics or from other fields such as comic strips, science fiction, literature, humanities and artificial intelligence. Dick, William Gibson and J. A marathon artwork, it has punctuated his work — his life — for thirty-five years. By placing his creative work in this vast mesh, the artist weaves dreams of another world. This web — constantly being worked on — is the image of the artwork in the process of becoming where what is already created incites the forming of something new.
Barbier is not content to expand this image by the American writer; he masterfully exploits all its metaphorical potentialities. He transfers the arachnidian metaphor from the field of thought to that of creation. The web becomes the seed of a world. It is a space operator. Explosive and generous, Gilles Barbier has continued to develop an oeuvre of incredible formal energy, colourful and polysemous. Moreover, he does not limit himself to any specific medium, gladly passing from sculpture to drawing, to painting and photography, casts and installations.
Barbier envisages each of his productions as a simple version of itself, leaving the field of possibilities open. With its simple graphic design, its curves and bright colours, the work evokes the formal codes of comic strips. It recalls the city signs in Lucky Luke comics, riddled with bullet holes topped by the names of the dead. Holes for better or for worse: to make holes in the too-.
Like the diptych Sans titre les images bulles , , Barbier uses the constituent codes of comic strips to generate a double language: one is seen, the other is expressed and read. Barbier has the ability to create and invent images, not only to copy reality, but also to extract from it or to make multiple worlds exist. He connects all these worlds unironically, playing with signs and a multiplicity of meanings.
In , he began casting clones in his own image, such as Papou Huli Wigman Pawn , , inviting us, in a tragic or comical way, to think about time, memory and identity. We see the Incredible Hulk sitting in a wheelchair, Catwoman is slouched in front of the television, Superman walks with a Zimmer frame. A grotesque way of approaching the question of the passage of time and fear of death. Je tente de produire des images simples auxquelles tout le monde peut se raccrocher4.
Habiter le monde, les paysages et les. I attempt to produce simple images that everyone can grab a hold of. Deprived of his powers, he is now in a state of stasis. Completely immobile, his mineral organism blocked, he is in the process of metamorphosing. A superhero, he transforms into terrestrial substrata suggesting the power of the phenomena of morphogenesis and ontogenesis, processes which fascinate the artist. They are all interconnected, one series often giving birth to another. Inhabiting all sorts of things, beginning with his body. Inhabiting the world, landscapes and still lifes, like this Grande Fontaine de chocolat on which small white houses are dotted about.
Heda, there again opening up to other spatio-temporal worlds. Every five years, painting is declared dead, but painting never stops dying. These spectres draped with floral patterned robes evoke Polynesian fabrics and surf fashions as much as the traditional motifs of Western painting. Hawaiian Ghost 3, , gouache sur papier, x cm.
Hawaiian Ghost 3, , gouache on paper, Pornocity, , technique mixte, x x cm. Pornocity, , mixed media, A Very Old Thing version 1 , , technique mixte, x x cm. A Very Old Thing version 1 , , mixed media, Papou Huli Wigman Pawn , , resin, oil paint, costume and props, Sans titre Les images bulles , , gouache on paper, diptych , each Comme la plupart des peintres abstraits.
In both canvases, there is a demonstrative attempt to create compositions in which the light background is made to stand on equal footing with a more elaborate cubist-like arrangement of colourful rectangular forms. Why this obsession with cancelling out a composition? Instead, what he tried to dramatise was not his ego nor his emotions but the painterly process by which any figure-ground relationship comes into being.
He thus exposed, rather than obscured, the origins of the abstract gesture, and he did it in a way that did not resort to existential angst but rather to the most basic, economical means possible, the line of paint applied directly out of the tube. The elegance and simplicity of these works showed that one could redefine the traditional notion of painting as a window onto a pre-given world and turn towards the idea of painting as a space of inscription and process that the artist performs in the present, in the here and now, with as little artificial melodrama as possible. The other series represented in the collection is from the magisterial grid series of the s.
Here various drawn and painted grids are laid on top of each other like so many sheets of transparent tracing paper. These paintings were produced in the heyday of a certain kind of formalist art criticism. It is not hard to see why. Overleaf, right. Born in in Amiens, lives and works in Paris.
Dilecta, Paris, , p. Their very placelessness makes them slightly foreboding, but also imbues them with an otherworldly sense of possibility. A recorded voice narrates a countdown out of order — 3, 9, 8, 0 — then whoosh, a cannon sounds in the distance, heralding the appearance of an anonymous figure who seems to materialise out of thin air. It begins to enact what appears to be a slow caricature of various catwalk moves against the soundtrack of an electronic metronome.
Just as suddenly as this masked apparition appears, it dissolves into thin air. A parade of similarly elusive figures follows. Another figure strides on stage in a long flowing coat, the intensity of its gait and the way it gesticulates with the lapels of its trench coat is enhanced by the additional layer of voice-over — what sounds like, but is not necessarily, a bookie running numbers. Even more fantastical costumes follow: a white dress that looks like it comes from an Oskar Schlemmer ballet and a black dress covered in pearls. These characters are all linked by their flamboyant dress, their androgyny — and most markedly by the masks covering their faces.
They appear at once magical and menacing. Deprived of a face and context — the parade takes place in a completely empty stage set devoid of any identifying characteristics — the. Delprat has described her artistic practice as an iceberg that contains visible and submerged elements. Prior to her retreat, painting was the visible aspect of her work. However, during the fifteen years spent working. I will never finish removing all of these faces. She bends time periods, genres and the limits of taste to craft a conceptual and pictorial universe that is as immersive as it is idiosyncratic: a world in which documentary and fiction collide.
Lest the relationships. Abstract marks give way to the hint of a face, a nose, an eye. These shadowy visages seem on the brink of emerging from — or, conversely, being swallowed up by — their backgrounds. In the painting Portrait pourri remix 5, Delprat works with a mottled ground that combines a vivid Pepto Bismol4 pink with shades of grey and white.
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A stupefied black mask floats in the middle left quadrant of the composition, untethered from a human body but bound to a spindly set of roots and an unidentifiable organic formation that recalls a patch of grass sprouting a fuzzy cactus. Above its head hovers a cloud-like formation, a perverse thought bubble containing a face roughly rendered from daubs of grey, green, black and white paint. He is encircled by a group of roughly-executed concerned faces. Freely levitating in space, they belong to nobody, and the morose quality of their expressions lends the. Pepto Bismol is the brand name of bismuth subsalicylate, a common antacid used to treat gastrointestinal distress.
Indeed, Delprat could be considered amongst a lineage of artists who engage with role playing and masquerade in their work, ranging from historical figures like Cahun and Pierre Molinier to contemporary artists like Cindy Sherman. Instead, her dalliance with masks seems to be motivated by other concerns. In her hands, the mask becomes less a gesture towards the variability of identity — a nod towards the many faces we wear and the ease with which we adopt and discard them — and more a game of concealment.
In Greek theatre the mask and the player were essentially indistinguishable, melded into one another. Wearing a mask, the player suspends her identity to become a cipher, allowing another to speak or act through her. The mask is not a simple prop, but contains its own intrinsic qualities that the player.
Jesi Khadivi is an independent curator, writer and editor based in Berlin. Portrait Pourri, , pigment and acrylic on paper mounted on canvas, Le Souvenir des batailles perdues, , pigment, liant acrylique et paillettes sur toile, x cm. Le Souvenir des batailles perdues, , pigment, acrylic binder and glitter on canvas, Damien Deroubaix peint des univers apocalyptiques. Que sommes-nous? Sa peinture fait du bruit. On the visual level, this applies in relation to the artwork, but also regarding a roughness of the hitherto never heard staccato blast beats.
Their colour themes and their fundamental tone go perfectly with the deep, guttural singing of grindcore. Damien Deroubaix paints apocalyptic worlds. The subjects of his collagelike images are nightmarish, obsessive and meaningful. Strange and gloomy prophecies appear in the image. Contemporary morality, portents and doomsday scenarios full of allusions and interspersed with quotes from the media world, everyday life and pop culture, punk and porn.
In alchemy it is a pictorial symbol of a closed process of exchange of matter for the refinement of substances. Totentanz und Terrorizer Dance of Death and Terrorizer is the title of a text by Konrad Bitterli on Damien Deroubaix 2 and thus indicates that aside from art history, grindcore and its subgenres are a central reference system for the. This is the title of a picture from Where are we from? Damien Deroubaix paints loudly. And he paints big, too — overwhelming, challenging the viewer.
They are practically drawn into his scenes. The subtle, quaint textures and surfaces create universal bridges in the visual memory of art. They relativise the horror shown in the picture and make it obvious that painting is always an action and a reactive reference to that trace there, to that colour here. This sometimes leads to finely-balanced colour tones, such as a yellow-violet playing the complementary balancing act of the picture entitled Feeble Screams From Forest Unknown Deroubaix once again provides the stage for a traditional personage.
It comes from popular culture and art history and has the appearance of a demon, guardian, raging deity, skeleton or skull. To this day, the Dance of Death, an iconographic invention of the Middle Ages, has lost none of its power. The universal rule of death is transformed into the closed form of the medieval circle dance, which is an attempt to oppose the meaninglessness and indiscriminateness of the destruction caused by the plague with some kind of structural order.
Ellen Blumenstein, in Damien Deroubaix. Galerie Sima, Nuremberg, , p. Monumental Dances of Death can be found in churches, on churchyard walls or the facades of ossuaries — designed for viewing in public spaces. On the other hand, versions for personal, private viewing handed down in books were also created, including The Dance of Death by Hans Holbein the Younger, from In this work, the German painter and printmaker does not only show how death cares for neither status nor age, but how it suddenly enters the lustful heart of earthly life.
Consequently, Holbein portrayed in detail the round dance performed in pairs and chose, for the first time, the form of a cycle of self-contained individual images. These thirty-three depictions in descending order of magnitude impressed Damien Deroubaix and motivated him to turn his attention to the theme and technique of woodcutting. The theological meaning of the Dance of Death is a premonitory threat of judgement.
With the American flag hanging, in the top right of the picture Messiah,. There she is wrapped around the waist of an avenging goddess, in whose figure the Roman goddess Fortuna and the Greek goddess of retribution, Nemesis, merge, transformed by references to other figures-the many breasts refer to the Greek goddess of fertility, Artemis Ephesia, whose horrordominated face seems to be borrowed from a horror clip. The claw-footed Fury [pushes] out of the picture with full force, against the exhibition visitors. From time to time, Damien Deroubaix extends his painted stage spaces into space-consuming installations.
But even these are always conceived through painting, timelessly making universal references to the image arsenals of this world, and reminding us of the excessiveness and the depths of human existence. He was previously the first director of the Kunsthaus Baselland in Muttenz, near Basel, which was founded in Messiah, , oil on mounted canvas, Hohle, , woodcut, ink and ram skull, T, , watercolour, acrylic, ink and collage on paper, Feeble Screams From Forest Unknown, , oil on mounted canvas, Il y a des actions et des incertitudes.
However, his scientific approach is subverted by a poetic and artistic invention and originality, and his own images and words are diverted by his wittiness, associations and metamorphoses of images, creating complicated and puzzling situations that are open and engaging. The work of Fabrice Hyber , who was known as Fabrice Hybert until , could be compared to a huge river, with its great waterfalls and networks of smaller watercourses that cross many territories.
All his works — paintings, drawings, videos, performances, installations and games — are linked together into a gigantic gesamtkunstwerk. Sometimes they are further transformed into installations, videos and public events, but whatever medium he uses, the language, the Hyber style, remains the same. His universe is a universe. In this fusion of artistic expression and scientific signs, the arrows and explanatory words are always subject to improvisation and often delirious fantasy.
Although his works always carry meaningful multi-layered messages, they can proliferate around a single and precise subject: fruit, vegetables, trees, oil, fountains, a key, a landscape, intestines, the brain, cells, viruses, bacteria, bears, drills, water or rain, just to name a few. There are certainly findings, but rarely conclusions. There are actions and there are uncertainties. The meaning is quite often suspended, but the images make the viewer think.
A work like Satellisation des spores Spore Satellisation , , presents a beautiful red mushroom, a variety of the fly agaric fungus Amanita muscaria , which is known to be hallucinogenic. Its shape reminds us of a satellite, creating a functional association between the two phenomena, assimilating spores and satellite waves. In Oil of , a seemingly contradictory, even intimidating, scene is evoked: a tree in an oil barrel.
This still. But in an environmental context, the scene is more menacing.
It is diverting but is nevertheless based on scientific data. Pomme Raison, , is an enigmatic and beautiful painting in which the artist places grapes under an apple tree. Hyber is also an entrepreneur. However, his most spectacular entrepreneurial project was the work that he presented at the French Pavilion at the Venice Biennale, which earned him a Golden Lion Award: a real TV studio with numerous collaborators but all designed and conceived by Hyber. And of course, we should not forget his numerous works featuring green figures that appear to be aliens invading the planet.
All these projects require an organisational capacity and a power to involve financial backers that lies beyond the canvas. The artist regularly creates these works as a summary of a period or of certain themes. Homoeopathic Painting no. With the methodical approach of an archivist, he presents his most important artistic projects up until Each image is like a.
Gunnar B. Energy, enthusiasm, proliferation and a willingness to advance, or progress, through the narratives of the paintings, where scientific explicatory tools are of great importance, give a special character to his work. This entrepreneurial spirit is also associated with the desire to persuade the viewer, which manifests itself at different levels in his works.
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His works always have a message, most of the time one of great urgency, admonishing us to avoid immobility, vulnerability and death. Physics, neuroscience, telecommunications, astronomy, phytotherapy, economy, ecology, biology and mathematics have infiltrated his works over the years.
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However, within his seriousness there is also a playful man who takes every opportunity to divert and disconcert the spectator. This ludic quality is connected with his creation of games within his paintings and drawings, as well as in large-scale works installed in public spaces, like his Marathons, which are games in themselves. In a way, these works can be seen as an expression of a malaise, a certain. Through all his actions of artmaking there is a desire to transform a given situation. In this sense, he is against the systems governing the notion, production, transmission, mediation and distribution of art, as well as the role of the spectator.
It is this line, which seems to be directly connected to his thoughts, that makes his works singular and outstanding, immediately recognisable. He is an artist anchored in his own time and an important actor in the development of the notion of art within the international contemporary scene, but with roots that go way back into traditional art history. He was curator of the Lyon Biennale, France, in Tornade, , oil, charcoal, collage, drawing pins and epoxy resin on canvas, Born in in Lille, lives and works in New York. Seul le corps est absent, comme.
Guillaume Leblon. By Simone Menegoi Items of clothing, as traces of human presence, appeared very early on in the work of Guillaume Leblon, at his very debut. His exhibition in at the Rijksakademie in Amsterdam, where he was studying at the time, included Trunks , a work made up of two large plaster boxes full of garments. In , the exhibition Les Nouveaux Anges Galerie Jocelyn Wolff, Paris ushered in a series of works that also featured clothes, but indirectly: only the imprint of them remained. Like all of the others, it is a plaster surface on which a life-size human figure is evoked through the impression of clothing and other objects.
In this case, as the title announces, it is a woodcutter at work. We see the imprint of his coveralls, of the cutting block, of the axe he was wielding, of the log he was splitting, each of which has left its own recognisable mark on the plaster, and even fragments of itself large splinters of wood are stuck to the right-hand panel. Only the body is missing, as if it had vanished into air, or were made of a.
Roland Barthes, La chambre claire. According to C. And yet, on the plaster field, this truth coexists with total fiction. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them.
Gallimard, coll. One is reminded of the huddled figures frozen in the ash of Pompeii, or the silhouettes of passers-by imprinted on the pavement and walls of Hiroshima by the explosion in We have no guarantee that it is, only that it was; and this alone is enough to conjure up the melancholy or anguished thought of its extinction. These are life-size depictions of a dog and a horse which Leblon has created by wrapping plaster-soaked cloth around a mannequin of each animal; they stand on bases made of sheet metal and beams that resemble railway ties.
The two bed sheets stiffened with plaster with holes for the eyes, allowing one to see that there is nothing inside perfectly mimic the stereotypical cartoon image of a ghost. And the life-size sculptural likeness of a horse also immediately summons up the tradition of equestrian statues, which remained the consummate mode of portraying power and prestige from. Roman times up to the twentieth century. We already knew that Leblon was interested in the concept of monuments, or rather, in sabotaging it. Lost Friends again evokes the notion of public commemorative sculpture in order to contradict it, in both form and content.
What is a monument? The equestrian statue of Marcus Aurelius is such a monument, set in the centre of the Campidoglio to represent by its symbolical presence the relationship between ancient, Imperial Rome and the seat of government of modern, Renaissance Rome. As for the content, in contrast to a classic equestrian sculpture, Leblon presents us with a riderless horse and accompanying dog, turning his back on a centuries-old tradition of representing power; first and foremost, human power over animals.
One obviously wonders what the connection is between the two figures. Dogs and horses are known to develop strong bonds of mutual affection and there are many touching anecdotes about their grief when they lose or are separated from their companion. While monuments portraying animals without people are rare and mostly allegorical, like the Lion of Saint Mark , those commemorating the love between human and animal are even rarer, and are all from the twentieth century.
As for monuments celebrating love between animals, no examples of this come to mind at all. And thus the concept of the monument has been completely subverted. Lost Friends celebrates feelings that are barely considered worthy to enter the realm of public sculpture or that have been excluded from it up to now ; and it does this by undermining the canonical form taken by this kind of sculpture at the base - literally so.
Simone Menegoi is an art critic and independent curator. He has been appointed director of Arte Fiera fair in Bologna. Born in in Talence, lives and works in Bordeaux. His oeuvre comprises an eclectic mix of land and sea creatures that includes prehistoric, exotic and familiar species. When working in three dimensions, Le Deunff skilfully carves or constructs sculptures from salvaged organic materials such as tree trunks, bone, nutshells and rocks.
Often, he displays small sculptures of animals or plants on clinical-style armatures so that they resemble specimens in a lab or a natural history museum. Alternately, his large-scale sculptures installed in gardens and parks appear right at home in the great outdoors. But appearances can be deceiving. Throughout the oeuvre of this French artist born in , subjects, styles and materials that initially seem straightforward turn out to be weirder and wilder than one could imagine. Take, for example, the pencil-on-paper series Empreinte, which depicts various animal tracks.
Tacitly implying the neutrality of documentary photography, each realistic black-and-white drawing details a single footprint in cracked mud or dry grass. Seen in its entirety, the series. Thus, Le Deunff makes representations of representations of nature based on sources that range from amateur photographs to Hollywood films and fairytale illustrations to plastic figurines. Like a funhouse mirror, his oeuvre reflects a disquieting alternative universe that is — literally and figuratively speaking — out of this world. Everything is familiar, but subtly or not so subtly distorted. His skilful and sensitive drawings of animals in all their diverse glory — rich furs, thick hides, shiny scales, fluffy feathers and the muscular, soft or bony bodies beneath — are hyperrealist, but maintain a childlike sensibility.
Appearing soulful and, at times, uncannily human-like in their gestures and facial expressions, his animal subjects are unnervingly empathic; at times, even totemic. The subject matter here is wild animals — flamingos, turtles, elephants, dolphins, penguins, seals, wolves, pandas and slugs — engaging in sexual intercourse. His references for these images were mostly photographs found on the Internet — the kind giddily posted by tourists who encountered the humping animals at a zoo or on a safari. Upon closer examination, however, these couples or foursomes, as is the case in Rut Elephants , begin to appear more and more human.
This disarming sense of kinship with our own species implores us to give them more serious consideration. In Rut Elephant Seals a pair of seals lovingly spoon in what seems to be a post-coital embrace. The much larger male cradles the female from behind with his flipper draped casually over her side.
Their tails are sweetly entwined. Squinty eyes make the couple appear exhausted and — because it is hard not to project — satisfied. By associating animal mating behaviour with pornography, Le Deunff comments on our own animal instincts. In all cases, Le Deunff lets the intrinsic qualities of a given material dictate his subject matter.
Take, for example, Chewing Gum,. Unlike classical sculptors who endeavoured to transcend the rigidity and solidity of marble or bronze in order to suggest supple skin and flowing fabrics, Le Deunff does not attempt to undermine the natural properties of his raw materials. Quite to the contrary, he prefers his sculptures to be appreciated as much for what they are as for what they represent. Like many artists of his generation, Le Deunff engages directly with a once taboo art-historical debate surrounding abstraction and figuration.
Clearly for him, the two genres are not mutually exclusive as he uses aspects of both in his work. Confronted from behind, however, the sculpture has few figurative details and is more likely to be understood as a purely abstract form. For smaller works he uses pedestals, tables and stands that evoke particular settings or situations. The aforementioned dinosaur series, for example, is presented on plain metal stands, which make the artworks appear more like real bones or fossils.
Here, Le Deunff presented his — Animaux sculpture series on real tree stumps. Quite literally, this presentation shows how Le Deunff firmly roots his absurd musings in the real world. Mammouth, , oak and juniper wood, Born in in Brest, lives and works in Ceton and Paris.
En combinant ses propres. The painterly oeuvre of Bruno Perramant, which spans three decades and is characterised by its intellectual versatility, forms one of the best-kept secrets of contemporary art. His multi-faceted artistic practice merges visual art, media culture, literature, cinema and the performing arts. Incorporating his own snapshots, images from cinema, motifs from art history and subtitles from television, he often employs. Being a friend and patron of the artist for more than a decade, Laurent Dumas holds by far the largest group of works by Bruno Perramant to date in any private or public collection.
It comprises more than a dozen works — often polyptychs — and could serve as a retrospective of the artist from the mids to the present day. In response to the death of his father, Perramant painted the Re. Over time, he began to construct objects for this purpose — extensions of his body which increasingly expanded in size. Perramant considers the series as a self-portrait of sorts: having grown up in Brittany and living a relatively solitary life in the country for part of the year, the artist imagines he could also do without words.
A surge of passion, a moment of harmony when the feeling of adherence to reality can take on major proportions and decide a whole life. So, you experiment alone, against the backdrop of the world carried along by the absence of words and of grammar. In the polyptych La Double Vue , Perramant integrated two depictions of his uncle. In this case, all of current painting is ghostly, so often buried, declared dead, and yet still alive. The most recent works by Bruno Perramant in the Laurent Dumas collection belong to the series Or, the Whale — , perhaps his most ambitious and complex series to date.
Perramant is an avid sailor, and the series Or, the Whale was conceived on a sailing trip from the South Pacific to the Antarctic. During this journey, in a silent world far from humanity, he encountered atmospheric colours which he could not identify — diffracted light on the snow and ice which was never the same. It reminded him of Moby Dick, which in his perception represents a similar long and impossible quest for that which cannot be depicted. In the nineteenth century, no one had. It includes some of the largest formats he has ever used, like the diptych ACHAB, the End , comprising two superimposed canvases.
Dessous dessous maintenant toujours plus, , oil on canvas, 2 pieces La Double Vue, , oil on canvas, 6 pieces, each Abraham Poincheval. By Riccardo Venturi Abraham Poincheval is an explorer of the extreme. In this approach we recognise an animal moment and a mineral moment. He decided to enclose himself inside a stuffed bear, modified for the occasion, in which he remained for thirteen days. For this work, titled Ours Bear , he took with him a dozen books and nourished himself with food similar to that eaten by bears, conceived for him by a cook.
Pierre , his last performance produced at the Palais de Tokyo in Paris, took place inside a limestone rock 2. In this tight compartment, Poincheval sat, the way he would in a car, with little space for movement given that it was filled with an aeration duct, a small inflatable mattress, water and food supplies, waste disposal bags, audio transmitters and a closedcircuit camera. The latter, also used in Ours, ensures his communication with the outside world. Once the two halves are sealed, only a very slender slit remains through which spectators perceive, with a certain apprehension, a life form in the rocky heart, or just a rustle of existence, the discrete presence of a human being who resists — albeit passively — being absorbed by the inorganic state of his stony cladding.
In front of this living sculpture — this great boulder haunted by a human being — we realise that once night falls, the museum shuts and the artist will remain there, isolated and immobile, in the incommensurable waiting for the museum to open the next day — so long as it is not a day when the building stays closed! Is this just a question of the projection of our most ancestral fears, of our latent claustrophobia, like the premature burial recounted by Edgar Allan Poe in his darkest pages? It will act on me, just as I will act on it. In the stone, the flow of time becomes a vague and slowed-down notion, far from the one which gives rhythm to our existence, difficult even to imagine: that of geology.
He goes to look for proto- or pre-human life forms, the slowest and most imperceptible temporality that exists, the total opposite of the speed of the post-Internet world. We are not far from this science fiction novel in which extra-terrestrials, who have landed on earth, move about so rapidly that they mistake human beings for plants and end up eating them. At the crossroads between anthropology and geology — between anthropos and lythos — Poincheval revives the aesthetic of the sublime of the Anthropocene period.
Physical immobility sometimes gives free reign to the imagination and to the inner journey in a rock whose bulbous morphology relates back to a brain. In this journey to the centre of the earth without moving, or this journey in a spaceship that orbits inside our head, Poincheval thus ideally connects the mystical and ascetic tradition, if we think of yogi who, to strengthen the mind and cultivate unwavering self-control, had themselves buried for several days, incarcerated in the belly of the earth, immobile in the lotus position.
We inevitably think of the hands in prayer. They require a long phase of preparation during which the artist tackles logistical as well as psychological questions. He endeavours, if not to control, at least to gauge the scope of the unpredictable. Quite obviously, this voluntary burial would be unbearable for most of us after just a few moments. Visitors could have a direct experience of this when Poincheval vacated the rock. Once out of Pierre, which had become a second skin, journalists rushed to ask the artist what it felt like living inside a rock.
After undergoing a medical examination, but not yet completely emerged from his mineral state, Poincheval wobbled. He spoke of the mineral capsule, of a geological time far from the time that regulates, accentuates and gives rhythm to our existence. He confessed that what one feels confined inside for such a long time is beyond words. I thought of the story of the Trojan Horse. I find the idea of entering while being camouflaged very beautiful.
In a similar way, Ours evokes the three days and three nights spent by Jonah in the belly of a whale before being vomited out onto the shore. In the artistic field, we are in front of a paradox stemming from the fact that camouflage is destined by its specific nature to alter and mask until the object to which it is attached disappears — an operation. Whether he finds himself inside a bear or a rock, or sitting on a platform atop a pole twenty metres above the ground in front of the Gare de Lyon Vigie urbaine, , Poincheval reworks the desert island adventure robinsonnade.
Several of the elements specific to the genre reappear in his work: the isolation from civilisation, survival in unusual, indeed unfriendly conditions. Except, to his thinking, the island off the coast of Venezuela of Daniel Defoe becomes a bear carcass, the viscera of a rock. Estetiche del camouflage, ed. Casque Horizon , , ceramic and shards, various dimensions. Born in in Marseille, lives and works in Paris. Comme toujours, son esprit bouillonne. Il aime travailler sous pression. Gravity comes up often in our conversations. It is a short clip, only eighteen seconds long, and it begins with Ader sitting on a chair on his roof.
After a few seconds, he begins to lean to his right, further and further, until he goes too far and falls off his seat, tumbling downwards and off the roof, before hitting the ground beside his house. He was in France at the time, preparing for his first solo exhibition in Paris. He was restless, slightly anxious, bursting with ideas and reflections, and impatient to discuss his thoughts — which was exactly what I expected.
As always, there was a lot on his mind. For most people, the situation would be urgent, if not dire. But Sarin was not especially distressed. He likes to work under pressure. These circumstances were just another opportunity. And I believe time to think is the only way to kill an art piece, and to kill production. His sculpture Acropole, , is delicately arranged, with a brass bowl sitting gently atop a block of wood that practically hovers above a stone, which rests on a wooden base. It is a precarious work of art; with one misstep, any person could easily topple it over, especially because there is nothing to keep it all in place.
Sarin refuses to use glue or nails in works like these, relying instead on the simple power of weight and balance. For Ader, who was raised in a Calvinist home, and whose parents hoped he would become a minister, the fall was essential. It was not only an abstract biblical idea about the nature of man, but also a demonstrable fact of nature.
He found a way to prove it easily, by climbing a building and throwing himself off. They are material embodiments of immutable laws. There are major differences between the artists. Nor does Sarin have a religious background. Yet Sarin also grew up in a home with a doctrine; in his case, the doctrine was psychoanalysis. He comes from a family of psychiatrists, where there was always faith in the idea that hidden motives drive human behaviour. We think.
Le patrimoine est une question importante pour le plasticien. Cela lui a pris des heures. Much of it, in fact, is hidden from view. When I first came across his work a few years ago in New York, there was little for me to see. At the Cutlog Art Fair in , he was showing a group of canvases wrapped in archival paper, which were not supposed to be opened until set periods of time had passed.
It struck me as a clever way of deferring his art to posterity. As an opening salvo for a very young artist, these works set a clear tone. Sarin, I understood, was more interested in potential than anything else. His work is about what might happen, given the proper conditions. Heritage is important to him.
In March , at his first solo show with the Konrad Fischer Galerie in Berlin, he showed a work titled Hierarchisch angeordnete Edelgesteine, dreizehn. It consisted of thirteen wooden crates that he had buried the previous October in a forest outside the city. It took him hours. But whatever was inside the crates was — and is — a secret.
For an interested collector, all that was available for purchase was a wooden sculpture that could be exchanged for the boxes in years. Only then could they be opened. Perhaps only the grandchildren of the original collector would get a chance to see what was inside.
And the pursuit need not be strenuous. If you ask Sarin, making art is cursory; it happens almost by itself, as if it requires no conscious effort. He reminds me sometimes of the American artist Jimmie Durham, who once said that whatever he needs to make a work of art just appears before him. I asked Sarin again about Acropole. Where did the parts of that sculpture come from? Acropole, , bois, pierre, bol en laiton, 96 x 60 x 26 cm. Acropole, , wood, stone, brass bowl, Born in in Bordeaux, lives and works in New York. Elles sont parues en septembre Alexandre Singh. Par Amira Gad Alexandre Singh is an artist, thinker and performer whose practice knows no boundaries in terms of media, aiming to be agile, flexible and mouldable.
Whether taking the form of lecture-performances, theatre productions or installations, each of his works encompasses the ways in which human knowledge can be structured, accessed and communicated. These Assembly Instructions lectures were hour-long performances in which Singh, while speaking, submerged the audience in visuals on projected transparencies of his black-and-white collages. Assembly Instruction The Pledge , , is an installation consisting of framed printed images mounted on the gallery walls and linked with traced black lines, resulting in a diagrammatic composition.
It is one of seven wall diagrams that Singh has produced, which were developed from a series of interviews he conducted with figures including Marc-Olivier Wahler then director of the Palais de Tokyo in Paris , Alfredo Arias playwright, director and actor. Assembly Instruction The Pledge is based on a conversation with the English-Japanese artist Simon Fujiwara, whose practice converges writing, performance and architecture.
The conversation is played out through forty framed images, each one touching upon ideas relating to architecture, childhood, skyscrapers, the Tower of Babel, Palaeolithic tools, storytelling, performance, creative writing, erotic fantasy, Assyrian statuary, lettuce, rabbits, clouds and the Sistine Chapel. This offers the viewer the possibility to read through a narrative during the process of its creation.
The black lines connecting the visual imagery assume a pseudo-linear storyline, luring us in with the assumption of clues that connect the dots to recreate the portrait of the interviewee. Alexandre Singh in Artforum. A common theme throughout these works is the notion of how the mind assembles a coherent view of the world from fragments of sensory perception, childhood memories, personal and historical facts. The collages used to engage with these concepts echo these fragments.
Individually, each framed work uses the simplest mechanisms of cutting and pasting, changing scale and orientation to make a coherent whole from completely different images. As a group, a coherent thread is constructed through the repetition and elaboration of multiple ideas, visual icons and motifs. At first glance, the diagrams appear to be driven by a certain logic because of their composition and structure.
To follow this logic is a red herring, however, just as it is to follow our pre-assumptions or acquired knowledge, which are driven by how we are trained to perceive. The compositional elements, in which the visual relationships between the different elements are either shown explicitly or implicitly, suggest many possible interpretations, like a multiple-choice questionnaire.
In each diagram, the individual collage acts like a knot or junction from which different thought patterns and visual pathways emanate. With this series of works, Singh disrupts the definitions of an interlocutor, the structures of discourse and the mechanisms that govern the relationship between artist, artwork and viewer. Crone forms part of a larger project that has evolved through several forms. In , he was commissioned by Witte de With Center for Contemporary Art in Rotterdam to set up shop in the gallery space.
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