{"id":536,"date":"2014-10-25T20:31:38","date_gmt":"2014-10-25T20:31:38","guid":{"rendered":"http:\/\/www.laurenceaegerter.com\/newsite\/?page_id=536"},"modified":"2015-03-09T21:45:48","modified_gmt":"2015-03-09T21:45:48","slug":"mamac-nice","status":"publish","type":"page","link":"https:\/\/laurenceaegerter.com\/artwork\/mamac-nice\/","title":{"rendered":"MAMAC Nice"},"content":{"rendered":"<div  class='flex_column av-av_one_half-2a9015ff38129c418a3f2eafba3e9512 av_one_half  avia-builder-el-0  el_before_av_one_half  avia-builder-el-first  first flex_column_div  '     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><address>\n<address>(English)<\/address>\n<\/address>\n<address>\u00a0<\/address>\n<h4>MAMAC Nice &#8211; Hermitage, the modernists<\/h4>\n<p><em>Rebecca Fran\u00e7ois &#8211;<br \/>\nhistorian of Contemporary Art Heritage Conservation Officer at the Museum of Modern and Contemporary Art of Nice<\/em><\/p>\n<p>(2011)<\/p>\n<p>Characters planted before a work of art. We are in a museum. A visitor obstructs our view of a painting. He bothers us, prevents us from seeing, parasitises the observed object, obliterates it with his silhouette. There is no annoyance here. His presence is agreeable to us. Seen from behind, the intruder melts into the painting through formal and coloured complicity. His dress plays with the broad touches of dappled colours of the landscapes and Fauve or Expressionist still lifes. There, the resumption of geometrical or ornamental motifs include him in the flatness of the painting. Going further, these are glances, attitudes, material effects or careful hairstyles which reply to each other. At times, the painting enters into interaction with the observer as in this case, where the ruffle of Derain\u2019s character strangely suits the contemporary observer. If certain troublemakers merely form a unity with the campus, others genuinely appear to converse with the painted work, like this young woman with a pleated skirt before Picasso\u2019s\u00a0<em>Woman with a fan<\/em>. Imitated parallels, reconstructions of an ambiance, a tonality, artistic references, formal and structural games, the panoply of similarities is endless. The work represents a new one. The engulfment is complete; the voyeur is himself observed, photographed. At times, the painting is obstructed not by a visitor but by an object: two stepladders reinforce the construction and musicality of Kandinsky&#8217;s\u00a0<em>Composition VI<\/em>; a door curtain in flowing and coloured plastic straps resumes the tonalities of a Matisse and a Picasso; another translucent one creates an optical game in Malevich and Gu\u00e9rin; another, this time in chenille, replays the femininity of Van Dongen\u2019s<em>\u00a0Woman in a black hat<\/em>, when this is not a well-trussed ham.<\/p>\n<p>After the historical masterpieces of the Rijksmuseum and the Louvre (Johannes Vermeer\u2019s<em>Milkmaid<\/em>, Jean Sim\u00e9on Chardin\u2019s\u00a0<em>Ray<\/em>, Dominique Ingres\u2019\u00a0<em>Turkish bath<\/em>, etc.), Laurence A\u00ebgerter attacks the advocates of modernity here, present in the collections of the Hermitage Museum of St Petersburg, currently on display in Amsterdam[1]: Henri Matisse, Vassily Kandinsky, Andr\u00e9 Derain, Maurice De Vlaminck, Kees van Dongen, Pablo Picasso, Kasimir Malevich, etc. This series replays the plastic solutions adopted by the precursors of abstract art: flat areas of pure colour, modulation of surfaces, suppression of perspective, geometrisation of forms, etc. In\u00a0<em>TheRed Room<\/em>, the observer literally melts into the d\u00e9cor in the manner of a chameleon. Her glance crosses that of Matisse\u2019s character. With the same blond bun, the two women take their places on both sides of a table tightly fitted into a red and luxuriant environment.<\/p>\n<p style=\"color: #666666;\">The arabesques of the coat of the observer are lost in the decorative motives of the wallpaper and of the tablecloth, which cover the whole of the canvas, with the exception of the window located on the right of the composition, the dominant green of which constitutes a counterpoint to the young woman\u2019s coat. The set design proposed by Laurence A\u00ebgerter marvellously replays the suppression of any depth effect desired by the painter; everything is brought on to the same plane. If there is spontaneity, it must be stated that these associations are adroitly constructed, not to say theatricalised. With a direct evocation of Leon Battista Alberti, the curtains deployed by Laurence A\u00ebgerter parody the conception of the painting as a window opened onto the world, through the same device, undermining the autonomy of the work of art advocated by modern painters.<\/p>\n<p style=\"color: #666666;\">Concealing part of the painting, through his or her simple presence, the anonymous visitor re-interrogates the effigies of the largest temples of Western art. In this confrontation, two space-times overlap: the one which witnessed the birth of the painting and that of its reception, within the enclosure of the museum. How are the works submitted to the contemporary public? What has changed in our modes of reading and apprehending images? What supplement or deviation of direction is produced? The fundamentally ambiguous message of works of art, which are permeable to the plurality of directions, is staged through the active participation of the observer. By parasitising objects or spectators, Laurence A\u00ebgerter recontextualises the works within the museum space and reinjects life into them.<\/p>\n<p style=\"color: #666666;\">Approaching video, performance, publishing and photography, the artist appropriates the systems which classify and govern our society: encyclopaedias, directories, newspapers and even our museums.\u00a0<em>180 degrees encyclopaedia<\/em>\u00a0(2007) is a facsimile which reproduces a Larousse encyclopaedia from 1970, in which more than 200 images of landscapes or monuments have been replaced by photographs taken at exactly the same place but in an opposite direction. With<em>Opening Soon \/ Opening Now<\/em>\u00a0(2009), the studio assigned to her becomes by turns a library, a golf club, a Turkish snack bar and a museum dedicated to Anne Frank\u2026 Parasitising the functioning or structure of our ways of apprehending the world, the artist overturns our categories of thought, proposing a new vision of what surrounds us and what we believed to be fixed.<\/p>\n<hr \/>\n<p style=\"color: #666666;\">[1] &#8220;From Matisse to Malevich: Pioneers of modern art from the Hermitage Museum&#8221;, the\u00a0Hermitage Museum, Amsterdam, 6 March &#8211; 17 September 2010<\/p>\n<\/div><\/section><\/div><div  class='flex_column av-av_one_half-b51168870d26eac9084c0e2dc495efe0 av_one_half  avia-builder-el-2  el_after_av_one_half  avia-builder-el-last  flex_column_div  '     ><section  class='av_textblock_section av-av_textblock-0366cc7376be6c9e82a3e9cc8987b64f '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><address><em>(Francais)<\/em><\/address>\n<address>\u00a0<\/address>\n<h4>MAMAC Nice &#8211; Hermitage, the modernists<\/h4>\n<p><em>Rebecca Fran\u00e7ois &#8211;\u00a0<em><span lang=\"FR\">historienne de l\u2019Art contemporain\u00a0<\/span><span lang=\"FR\">Attach\u00e9e de conservation du patrimoine\u00a0<\/span>au mus\u00e9e d\u2019Art moderne et d\u2019Art contemporain de Nice<\/em><\/em><\/p>\n<p>(2011)<\/p>\n<p>Des personnages plant\u00e9s devant une \u0153uvre d\u2019art. Nous sommes dans un mus\u00e9e. Un visiteur nous obstrue la vue d\u2019un tableau. Il nous g\u00eane, nous emp\u00eache de voir, parasite l\u2019objet observ\u00e9, l\u2019oblit\u00e8re de sa silhouette. Ici, point d\u2019agacement. Sa pr\u00e9sence nous est agr\u00e9able. Vu de dos, l\u2019intrus se fond dans le tableau par des connivences formelles et color\u00e9es. Sa\u00a0tenue vestimentaire joue avec les larges touches de couleurs diapr\u00e9es des paysages et natures mortes fauves ou expressionnistes. L\u00e0, la reprise de motifs g\u00e9om\u00e9triques ou ornementaux l\u2019englobe dans la plan\u00e9it\u00e9 de la peinture. Plus loin, ce sont des regards, des attitudes, des effets de mati\u00e8re ou des coiffures soign\u00e9es qui se r\u00e9pondent. Le tableau entre parfois en interaction avec le spectateur, comme ici o\u00f9 la collerette du personnage de Derain sied \u00e9trangement bien \u00e0 la spectatrice contemporaine. Si certains perturbateurs ne font plus qu\u2019un avec la toile, d\u2019autres semblent r\u00e9ellement converser avec l\u2019\u0153uvre peinte, comme cette jeune femme \u00e0 la robe pliss\u00e9e devant\u00a0<em>La femme \u00e0 l\u2019\u00e9ventail<\/em>\u00a0de Picasso. Parall\u00e8les mim\u00e9tiques, restitutions d\u2019une ambiance, d\u2019une tonalit\u00e9, r\u00e9f\u00e9rences artistiques, jeux formels et structurels, la panoplie des similitudes est sans fin. L\u2019\u0153uvre en figure une nouvelle.\u00a0La mise en ab\u00eeme est compl\u00e8te\u00a0; le voyeur est lui-m\u00eame observ\u00e9, photographi\u00e9. Parfois, le tableau est obstru\u00e9 non pas par un visiteur mais par un objet\u00a0: deux escabeaux renforcent la construction et la musicalit\u00e9 de\u00a0<em>Composition VI<\/em>\u00a0de Kandinsky\u00a0; un rideau de porte en lani\u00e8res plastique souples et color\u00e9es reprend les tonalit\u00e9s d\u2019un Matisse et d\u2019un Picasso\u00a0; un autre translucide cr\u00e9e un jeu optique chez Mal\u00e9vitch et Gu\u00e9rin\u00a0; un autre, en chenille cette fois, rejoue la f\u00e9minit\u00e9 de\u00a0<em>La femme au chapeau noir<\/em>\u00a0de Van Dongen, quand ce n\u2019est pas un jambon bien ficel\u00e9.<\/p>\n<p>Apr\u00e8s les chefs d\u2019oeuvres historiques du Rijksmuseum et du Louvre (<em>La Laiti\u00e8re<\/em>\u00a0de Johannes Vermeer,\u00a0<em>La raie<\/em>\u00a0de Jean Sim\u00e9on Chardin,\u00a0<em>le Bain Turc<\/em>\u00a0de Dominique Ingres\u2026), Laurence A\u00ebgerter s\u2019attaque ici aux tenants de la modernit\u00e9 pr\u00e9sents dans les collections du mus\u00e9e de l\u2019Hermitage de Saint-P\u00e9tersbourg actuellement expos\u00e9s \u00e0 Amsterdam[1]\u00a0: Henri Matisse, Vassily Kandinsky, Andr\u00e9 Derain, Maurice De Vlaminck, Kees van Dongen, Pablo Picasso, Kasimir Mal\u00e9vitch&#8230; Cette s\u00e9rie rejoue les solutions plastiques adopt\u00e9es par les pr\u00e9curseurs de l\u2019art abstrait\u00a0: aplats de couleurs pures, modulation des surfaces, suppression de la perspective, g\u00e9om\u00e9trisation des formes&#8230; Dans la\u00a0<em>Chambre rouge<\/em>, la spectatrice \u00e0 la mani\u00e8re d\u2019un cam\u00e9l\u00e9on se fond litt\u00e9ralement dans le d\u00e9cor. Son regard croise celui du personnage matissien. Portant le m\u00eame chignon blond, les deux femmes prennent place de part et d\u2019autre d\u2019une table enserr\u00e9 dans un environnement rouge et luxuriant.<\/p>\n<p>Les arabesques du manteau de la spectatrice se perdent dans les motifs d\u00e9coratifs du papier peint et de la nappe qui tapissent l\u2019ensemble de la toile, \u00e0 l\u2019exception de la fen\u00eatre situ\u00e9e \u00e0 droite de la composition et dont la dominante verte constitue un contrepoint au manteau de la jeune fille. La sc\u00e9nographie propos\u00e9e par Laurence A\u00ebgerter rejoue \u00e0 merveilles la suppression de tout effet de profondeur voulue par le peintre\u00a0; tout est ramen\u00e9 au m\u00eame plan. Si spontan\u00e9it\u00e9 il y a, force est de constater que ces associations sont savamment construites, pour ne pas dire th\u00e9\u00e2tralis\u00e9s. Evocation directe \u00e0 L\u00e9on Battista Alberti, les rideaux d\u00e9ploy\u00e9s par Laurence A\u00ebgerter parodient la conception du tableau comme fen\u00eatre ouverte sur le monde sapant par la m\u00eame l\u2019autonomie de l\u2019\u0153uvre d\u2019art pr\u00f4n\u00e9e par les peintres modernes.<\/p>\n<p>Cachant une partie du tableau, l\u2019anonyme visiteur r\u00e9interroge par sa simple pr\u00e9sence les effigies des plus grands temples de l\u2019art occidental. Dans cette confrontation, deux espaces-temps se t\u00e9lescopent\u00a0: celui qui a vu na\u00eetre le tableau et celui de sa r\u00e9ception, dans l\u2019enceinte mus\u00e9ale. Comment les \u0153uvres sont-elles soumises au public contemporain\u00a0? Qu\u2019est-ce qui a chang\u00e9\u00a0dans nos modes de lecture et d\u2019appr\u00e9hension des images ? Quel suppl\u00e9ment ou d\u00e9viation de sens se produit-il\u00a0?\u00a0Le message fondamentalement ambigu des \u0153uvres d\u2019art, perm\u00e9able \u00e0 la pluralit\u00e9 de sens, est mis en sc\u00e8ne par la participation active du regardeur. Par le parasitage d\u2019objets ou de spectateurs, Laurence A\u00ebgerter recontextualise les \u0153uvres au sein de l\u2019espace mus\u00e9al, y r\u00e9injecte de la vie.<\/p>\n<p>Abordant aussi bien la vid\u00e9o, la performance, l\u2019\u00e9dition que la photographie, l\u2019artiste\u00a0\u00a0s\u2019approprie des syst\u00e8mes qui classifient et r\u00e9gissent notre soci\u00e9t\u00e9 : des encyclop\u00e9dies, des annuaires, des journaux, et m\u00eame nos mus\u00e9es.\u00a0<em>180 degrees encyclopaedia<\/em>\u00a0(2007) est un fac-simil\u00e9 reproduisant une encyclop\u00e9die Larousse de 1970 o\u00f9 plus de deux cents visuels de paysage ou de monument ont \u00e9t\u00e9 remplac\u00e9s par des photographies prises exactement au m\u00eame endroit mais dans une direction oppos\u00e9e. Avec\u00a0<em>Opening Soon \/ Opening Now<\/em>\u00a0(2009), l\u2019atelier qui lui \u00e9tait assign\u00e9 devient tour \u00e0 tour une biblioth\u00e8que, un club de golf, un snack-bar turc et un mus\u00e9e d\u00e9di\u00e9 \u00e0 Anne Frank&#8230; Parasitant le fonctionnement ou la structure de nos modes d\u2019appr\u00e9hension du monde, l\u2019artiste bouleverse nos cat\u00e9gories de pens\u00e9e, propose une nouvelle vision de ce qui nous entoure, et que l\u2019on croyait fig\u00e9.<\/p>\n<hr \/>\n<p>[1] &#8220;De Matisse \u00e0 Malevitch &#8211; Les pionniers de l\u2019art moderne du mus\u00e9e de l\u2019Hermitage&#8221;, Mus\u00e9e de l\u2019Hermitage, Amsterdam, 6 mars &#8211; 17 septembre 2010<\/p>\n<\/div><\/section><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":28,"comment_status":"open","ping_status":"closed","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-536","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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