05 April - 03 May 2012
Carte blanche à Eva Nielsen
Andreas Feininger “who goes to work to make his own landscape”*. I return often to this text, and more specifically to this sentence that sums up my opinion about the work of the maker. What interests me is the fact of creating an image of the bedside, a manipulation that is given, perhaps to reassure themselves (I think for example to the canvas by Jean-Michel Basquiat called Gri-Gri) . The image created, the form into the world becomes a talisman, with a protective and (in)faillible aura.
MAN-MADE is therefore based on the intervention, regardless of the form used. Or, more precisely, on the decisive passage from observation to intervention. Measurement of MAN-MADE is this passage. This acting out is taking shape with the masses but still fragmented patchwork of Marion Verboom, who lookouts organic positioning themselves in the horizon and create a dialogue with the painting of lines, E.I which parasitize the vanishing points. Raphael Barontini occurs in this space via solid mirages, hallucinated views, half-dreams. Paintings by Mireille Blanc, trivial constellation, are placed in the path as a reminiscence of daily life, objects that surround us. In this perspective, Constance Nouvel takes possession of the lures of everyday life and bends its support. Not far, Chloé Dugit-Gros model literally the landscape, brings us back to earth, but on a friable pedestal. Catalina Niculescu concludes this wandering and offers to the travelers a guide : the Modulor.
All these artists literaly put their hand on their medium to overflow and create their own landscape, like a grip on reality. They take the findings and twist them to make their scheme. MAN-MADE is a double horizon, born of the strength of the object or of the steam dreams. Or vice versa.
* « Man-Made Landscapes », Life, 5 July 1948