{"id":591,"date":"2014-10-27T09:47:14","date_gmt":"2014-10-27T09:47:14","guid":{"rendered":"http:\/\/www.laurenceaegerter.com\/newsite\/?page_id=591"},"modified":"2015-03-24T14:55:37","modified_gmt":"2015-03-24T14:55:37","slug":"appropriations-marieke-wiegel-2009","status":"publish","type":"page","link":"https:\/\/laurenceaegerter.com\/artwork\/appropriations-marieke-wiegel-2009\/","title":{"rendered":"Appropriations, Marieke Wiegel, 2009\/ Le Louvre, Het Apparaat, Catalogue des Chefs-d’Oeuvre"},"content":{"rendered":"

Appropriations<\/h4>\n

Marieke Wiegel<\/em><\/h4>\n

2009<\/p>\n<\/div><\/section>\n

Cet automne, pendant les diff\u00e9rentes manifestations, l\u2019Institut N\u00e9erlandais pr\u00e9sente l\u2019artiste contemporaine Laurence A\u00ebgerter. S\u2019inspirant du Catalogue des chefs-d\u2019oeuvre du mus\u00e9e du Louvre (1976), son travail consiste \u00e0 photographier des visiteurs devant les oeuvres cl\u00e9s du Louvre et du Rijksmuseum. Elle attribue temporairement une nouvelle identit\u00e9 \u00e0 ces tableaux des ma\u00eetres fran\u00e7ais et hollandais et jette un pont entre l\u2019image iconique et l\u2019anonymat du visiteur.<\/p>\n

A\u00ebgerter, n\u00e9e en 1972 \u00e0 Marseille, a fait ses \u00e9tudes aux Pays-Bas \u00e0 l\u2019Acad\u00e9mie Rietveld. Elle travaille avec diff\u00e9rents m\u00e9dias comme photographie, vid\u00e9o et installations. Fascin\u00e9e par des syst\u00e8mes qui semblent ordonner la r\u00e9alit\u00e9 \u00e0 la fois dans le domaine priv\u00e9 et public,Laurence A\u00ebgerter s\u2019obstine \u00e0 s\u2019approprier ces syst\u00e8mes en les soumettant \u00e0 une transformation structurelle.<\/p>\n

En parlant de \u00ab son point de d\u00e9part artistique \u00bb elle dit : \u00ab Je personnifie et m\u2019approprie des syst\u00e8mes existants. Dans mon processus de travail, j\u2019examine ces syst\u00e8mes, j\u2019interviens dans leur fonction et dans leur structure et leur fournis un nouveau contexte. Les syst\u00e8mes de domaines priv\u00e9s comme publics me servent de sources pour ce travail. [\u2026] Ma fascination pour les syst\u00e8mes tire avant tout son origine d\u2019une n\u00e9cessit\u00e9 profonde d\u2019interf\u00e9rer dans l\u2019ordre du monde qui m\u2019entoure. L\u2019une des oeuvres que j\u2019ai produites, 180 degrees encyclopaedia, est un fac-simil\u00e9 exact d\u2019une encyclop\u00e9die Larousse de 1970. Dans cette r\u00e9plique, j\u2019ai remplac\u00e9 deux cents images de paysages et de monuments par des photographies prises exactement au m\u00eame endroit, mais dans une direction oppos\u00e9e.<\/p>\n<\/div><\/section><\/div>\n

Contrairement \u00e0 l\u2019encyclop\u00e9diste qui per\u00e7oit le monde au travers d\u2019une m\u00e9thode apparemment objective, j\u2019ai visiblement utilis\u00e9 une m\u00e9thode subjective. De cette fa\u00e7on je remets en question le caract\u00e8re objectif de l\u2019encyclop\u00e9die.De par cette appropriation,une interpr\u00e9tation renouvel\u00e9e du syst\u00e8me existant fait son irruption, ce qui soul\u00e8ve des questions relatives \u00e0 la valeur normative de la structure d\u2019origine. Au cours de mon processus de travail je m’impose une s\u00e9rie de r\u00e8gles strictes. En dehors de ces limitations impos\u00e9es, je fais r\u00e9guli\u00e8rement usage des co\u00efncidences que je d\u00e9couvre au sein de syst\u00e8mes existants et utilise la chance organis\u00e9e comme un instrument. Je fais intervenir des sp\u00e9cialistes d\u2019autres disciplines pour une collaboration et invite des sous-communaut\u00e9s \u00e0 la partie ex\u00e9cutoire de mon travail. [\u2026] Ma fa\u00e7on de travailler est dialectique par nature:d\u00e9construisant et arrangeant \u00e0 la fois, transformant un domaine public en domaine priv\u00e9 et vice versa. La citation suivante de Georges Perec d\u00e9crit au mieux le motif sous-jacent de ma vocation artistique : \u00abIl m\u2019appara\u00eet clairement que la seule fa\u00e7on de revendiquer la libert\u00e9 dans un domaine circonscrit est de concevoir une construction au sein ou au-dessus de la structure existante. Cela ne la d\u00e9truit pas mais modifie son identit\u00e9. Cela offre de nouvelles possibilit\u00e9s pour interpr\u00e9ter le syst\u00e8me existant, une valeur ajout\u00e9e\u00bb.<\/p>\n

A l\u2019Institut N\u00e9erlandais Laurence A\u00ebgerter pr\u00e9sente une s\u00e9lection de la s\u00e9rie \u00abHet Apparaat \u00bb r\u00e9alis\u00e9e au Rijksmuseum et la s\u00e9rie \u00abLe Louvre\u00bb, ainsi que ces livres d\u2019artistes comme 180 degrees encyclopaedia.<\/p>\n

Avec le soutien g\u00e9n\u00e9reux de la Fondation pour les Arts plastiques, le Design et l\u2019Architecture (Fonds BKVB\/www.fondsbkvb.nl)<\/p>\n<\/div><\/section><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":24,"comment_status":"open","ping_status":"closed","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"class_list":["post-591","page","type-page","status-publish","hentry"],"yoast_head":"\nAppropriations, Marieke Wiegel, 2009\/ Le Louvre, Het Apparaat, Catalogue des Chefs-d'Oeuvre - Laurence A\u00ebgerter<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laurenceaegerter.com\/artwork\/appropriations-marieke-wiegel-2009\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Appropriations, Marieke Wiegel, 2009\/ Le Louvre, Het Apparaat, Catalogue des Chefs-d'Oeuvre - 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