{"id":95604,"date":"2021-04-27T14:25:30","date_gmt":"2021-04-27T12:25:30","guid":{"rendered":"https:\/\/www.centredelagravure.be\/?post_type=extra&p=95604"},"modified":"2021-04-27T14:25:31","modified_gmt":"2021-04-27T12:25:31","slug":"b1","status":"publish","type":"extra","link":"https:\/\/www.centredelagravure.be\/en\/extra\/b1\/","title":{"rendered":"Jacques Andr\u00e9"},"content":{"rendered":"\n

La pratique de Jacques Andr\u00e9, qui s\u2019attaque souvent \u00e0 la pr\u00e9carit\u00e9 du statut de l\u2019artiste, aborde de fa\u00e7on subtile, et quelque peu ludique et ironique, l\u2019\u00e9chec et le d\u00e9rapage du consum\u00e9risme.<\/span> Au sein des m\u00e9diums qu\u2019il utilise, le recours aux techniques de l\u2019image imprim\u00e9e et reproductible, d\u00e9jouant ou soulignant les contradictions de la sp\u00e9culation capitaliste en art, est r\u00e9currente et assum\u00e9e comme un \u00e9l\u00e9ment signifiant structurel de son langage.

Andr\u00e9 a longtemps assum\u00e9 de fa\u00e7on esth\u00e9tique et politique le statut d\u2019artiste-ch\u00f4meur dans une soci\u00e9t\u00e9 post-moderne vou\u00e9e \u00e0 la sur-consommation, \u00e0 une sur-consommation qu\u2019il endosse et questionne simultan\u00e9ment. V\u00e9cue en l\u2019occurrence – et dans une acception \u00e0 la fois \u00e9tymologique et m\u00e9taphorique du terme \u2013 comme une v\u00e9ritable \u201cabstraction sociale\u201d, sa condition d\u2019allocataire social a \u00e9t\u00e9 s\u00e9minale pour le d\u00e9veloppement de plusieurs de ses projets et protocoles de cr\u00e9ation. Quand il ne propose pas \u00e0 la vente des toiles s\u00e9rigraphi\u00e9es figurant de fa\u00e7on magnifi\u00e9e des \u201ctravaux abstraits\u201d  correspondant \u00e0 feu les cachets de pointages des diff\u00e9rentes communes de l\u2019agglom\u00e9ration bruxelloise, il a souvent pratiqu\u00e9 des achats \u00e0 r\u00e9p\u00e9titions d\u2019objets identiques (livres, disques et autres produits culturels). Pour reprendre sa terminologie, ces ARTERS* <\/em>(*achats \u00e0 r\u00e9p\u00e9titions, tentatives d\u2019\u00e9puisement, reconstitutions de stocks) qu\u2019il d\u00e9crit comme les fruits d\u2019un processus \u00e0 chaque fois circonstanci\u00e9 \u201cextr\u00eamement lent et complexe, m\u00ealant des consid\u00e9rations esth\u00e9tiques, psychologiques, anecdotiques et financi\u00e8res\u201d, participent d\u2019une critique \u00e9vidente de la compulsion consum\u00e9riste dans laquelle est confin\u00e9 le citoyen et, encore davantage, le ch\u00f4meur.

Les affiches que nous proposons ici ont \u00e9t\u00e9 r\u00e9alis\u00e9es en pleine p\u00e9riode de confinement, sous diff\u00e9rents formats et backgrounds color\u00e9s mais en exemplaires uniques. Leurs modalit\u00e9s et circuit de distribution venaient en renforcer le contenu. Elles \u00e9taient non seulement limit\u00e9es dans le temps de leur mise en circulation (5 semaines) dans le circuit commercial de l\u2019art mais aussi distribu\u00e9es par une galerie (Trampoline Gallery) qui d\u00e9joue les strat\u00e9gies de branding<\/em>. Trampoline, qui n’a plus d’existence officielle, avait accept\u00e9 d\u2019endosser pour l\u2019occasion et non sans humour l\u2019identit\u00e9 sp\u00e9cifique de Personne n\u2019en veut j\u2019ach\u00e8te<\/em>, propos\u00e9e par Jacques Andr\u00e9 en r\u00e9ponse au choix tout \u00e0 fait pertinent et provocateur fait par la galerie ces derni\u00e8res ann\u00e9es de changer d\u2019identit\u00e9 au fil des projets sp\u00e9cifiques qu\u2019elle d\u00e9fend avec ses artistes.<\/span><\/p>\n\n\n\n

English<\/h2>\n\n\n\n

The practice of Jacques Andr\u00e9, which often tackles the precariousness of the artist\u2019s status, subtly addresses, with a certain mischief and irony, the failure and the excesses of consumerism.<\/span> Among his favoured mediums, he frequently uses the printed and replicable image in such a way as to counteract or highlight the contradictions of capitalist speculation in art, a recurrent element that has become a significant structural component of his idiom. Both aesthetically and politically, Andr\u00e9 has long assumed the role of unemployed artist in a post-modern society trapped in a dance of over-consumption, an over-consumption that he simultaneously endorses and questions. Experienced in this case – and in both an etymological and metaphorical sense of the term – as a true \u201csocial abstraction\u201d, his condition as a recipient of public assistance has been a key factor in the development of a number of his projects and creative methodologies.

When not offering silkscreened canvases for sale depicting magnifications of \u201cabstract works\u201d based on the former dole-card stamps of the different municipalities of the Brussels agglomeration, he has often made repeated purchases of identical objects (books, records and other cultural products). To use his terminology, these ARTERS<\/em>* (*repeated purchases, attempts to exhaust a supply, reconstitution of stocks) that he describes as the fruits of a process that is each time \u201cextremely slow and complex, mixing aesthetic and psychological, anecdotal and financial considerations,\u201d become a manifest critique of the compulsive consumerism in which all citizens and especially the unemployed, find themselves trapped.

The posters exhibited here were produced during the lockdown period, in different formats and background colours but in unique copies, released for a limited time of circulation in the commercial art circuit. They directly tackle the significant impact that the current pandemic crisis might have on the art system. Their very distribution both echoes and strengthens the critical message which they convey.\u00a0<\/span>

For, besides their limited lifespan in the commercial circuit (5 weeks), they were distributed<\/span> by Trampoline Gallery (which as such is no more extant) under the specific temporary identity Personne n’en veut j’ach\u00e8te<\/em><\/span> (Nobody wants it, I’m buying it). This name was\u00a0proposed by Jacques Andr\u00e9 in response to the very apt and provocative choice made by the gallery over the last few years to change each time its identity in line with the specific projects it supports with its artists, thereby challenging the very idea of branding, also very strong in the art market.<\/p>\n","protected":false},"featured_media":0,"template":"","class_list":["post-95604","extra","type-extra","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra\/95604","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra"}],"about":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/types\/extra"}],"wp:attachment":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/media?parent=95604"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}