{"id":95644,"date":"2021-04-28T09:31:56","date_gmt":"2021-04-28T07:31:56","guid":{"rendered":"https:\/\/www.centredelagravure.be\/?post_type=extra&#038;p=95644"},"modified":"2021-04-28T09:31:56","modified_gmt":"2021-04-28T07:31:56","slug":"b14","status":"publish","type":"extra","link":"https:\/\/www.centredelagravure.be\/en\/extra\/b14\/","title":{"rendered":"Michiel Ceulers"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Michiel Ceulers a d\u00e9velopp\u00e9 sa pratique en se concentrant sur les essentiels de la peinture, pigments acryliques, huiles ou spray, sur des supports distincts (toiles, panneaux, cartons\u2026). Au d\u00e9part d\u2019abstractions gestuelles qu\u2019il titre par de longues locutions philosophiques ou inspir\u00e9es par des citations\/extraits de chansons ou de films, il s\u2019est progressivement dirig\u00e9 vers des compositions h\u00e9t\u00e9roclites, s\u2019\u00e9mancipant de la surface de la toile et qui posent la question de la documentation et de la fiction de son propre processus cr\u00e9atif, par accumulation de mat\u00e9riaux divers, souvent imprim\u00e9s d\u2019ailleurs. Marquant la peinture comme un objet tridimensionnel, ses compositions appellent souvent \u00e0 une exp\u00e9rience tactile. Elles sont de prime abord difficiles \u00e0 appr\u00e9hender, dans leur c\u00f4t\u00e9 h\u00e9t\u00e9roclite, voire sale, grossier et hybride, marqu\u00e9es d\u2019empreintes diverses, d\u00e9chir\u00e9es ou tendues de fa\u00e7on approximative, aux antipodes d\u2019une approche convenue et raffin\u00e9e de l\u2019art pictural. <span class=\"has-inline-color has-accent-color-color\">Nous pr\u00e9sentons ici <em>Denkmaal\/No Punn<\/em> intended, une sculpture faite d\u2019un assemblage de cartons d\u2019emballage, coupures de magazine, n\u00e9ons, mousses, servant d\u2019\u00e9crin promotionnel d\u00e9cal\u00e9 \u00e0 la publication <em>Social Harmony <\/em>mettant en valeur les peintures de l\u2019artiste.<\/span> Pour compulser celle\u2011ci, le spectateur doit plonger ses avant\u2011bras dans l\u2019int\u00e9rieur de la sculpture\u2011pr\u00e9sentoir&nbsp;\u00e9ph\u00e9m\u00e8re, se retrouvant dans une situation contrainte, amenuisant la possibilit\u00e9 d\u2019un geste ou regard critique plus distanci\u00e9. <span class=\"has-inline-color has-accent-color-color\">Tout autour nous avons d\u00e9cid\u00e9 de disposer une s\u00e9rie r\u00e9cente de peintures de l\u2019artiste,<\/span> d\u00e9cid\u00e9ment plus traditionnellement picturales, <span class=\"has-inline-color has-accent-color-color\">offrant autant de variations sur le th\u00e8me du canari, l\u2019oiseau jadis utilis\u00e9 dans les mines pour pr\u00e9venir le cas \u00e9ch\u00e9ant sur l\u2019imminence d\u2019une catastrophe annonc\u00e9e.&nbsp;<\/span><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">English<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Ceulers has developed his practice by focusing on the essentials of painting, acrylic pigments, oils or spray, on different supports (canvas, panels, cardboard\u2026). Starting from gestural abstractions that he titles with long philosophical phrases or inspired by quotes\/extracts from songs or films, he gradually moved towards heterogeneous compositions, emancipating himself from the surface of the canvas and raising the question of documenting and fictitious his own creative process, through the accumulation of various materials, often printed elsewhere. Emphasising painting as a three-dimensional object, his compositions often call for a tactile experience. They are at first glance difficult to apprehend, in their motley, even dirty, coarse and hybrid aspect, marked with various imprints, torn or stretched in an approximate way, the opposite of a conventional and refined approach to pictorial art.&nbsp;<span class=\"has-inline-color has-accent-color-color\">Here we present <em>Denkmal<\/em>, a sculpture made from an assembly of cardboard boxes, magazine clippings, neon lights, foam, serving as an offbeat ironic promotional showcase for the publication <em>Social Harmony<\/em>, featuring the paintings of the artist, when he had a more commercial gallery career.<\/span> To examine it, the viewer must plunge their forearms into the interior of the ephemeral display sculpture, finding themselves in a constrained situation, reducing the possibility of a more distant gesture or critical gaze. <span class=\"has-inline-color has-accent-color-color\">All around this, we decided to have a recent series of paintings by the artist, decidedly more traditionally pictorial, offering as many variations on the theme of the canary, the bird once used in mines to warn, if necessary, of the imminence of a disaster foretold.<\/span><\/p>\n","protected":false},"featured_media":0,"template":"","class_list":["post-95644","extra","type-extra","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra\/95644","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=95644"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}