{"id":95650,"date":"2021-04-28T09:36:21","date_gmt":"2021-04-28T07:36:21","guid":{"rendered":"https:\/\/www.centredelagravure.be\/?post_type=extra&p=95650"},"modified":"2021-07-02T10:02:28","modified_gmt":"2021-07-02T08:02:28","slug":"b17","status":"publish","type":"extra","link":"https:\/\/www.centredelagravure.be\/en\/extra\/b17\/","title":{"rendered":"Michael Dans"},"content":{"rendered":"\n

La pratique de Michael Dans est r\u00e9solument polymorphe, avec un fort ancrage dans le dessin et l\u2019installation sculpturale, sans oublier la performance ou l\u2019installation. De fa\u00e7on similaire, son \u00e9clectisme disciplinaire fait \u00e9cho \u00e0 un \u00e9clectisme assum\u00e9 des sujets abord\u00e9s (mort, solitude, \u00e9rotisme, enfance\u2026) ou encore des formats utilis\u00e9s, souvent pouss\u00e9s dans leurs derniers retranchements.

Ces derni\u00e8res ann\u00e9es, Michael Dans s\u2019est attel\u00e9 \u00e0 une pratique de la photographie singuli\u00e8re, tant au niveau des sujets abord\u00e9s que de leur traitement ou du modus operandi<\/em> de leur r\u00e9alisation processuelle. \u00c0 la lettre, chacun de ses clich\u00e9s peut s\u2019appr\u00e9hender comme une installation sculpturale soigneusement organis\u00e9e et mise en sc\u00e8ne,<\/span> avec la complicit\u00e9 de ses mod\u00e8les, abordant de fa\u00e7on \u00e0 la fois directe et sublim\u00e9e, avec la juste empathie, la juste distance esth\u00e9tique, des concepts existentiels de vanit\u00e9 ainsi que l\u2019univers des fantasmes assum\u00e9s de ses sujets. Nous avons d\u00e9cid\u00e9 de confronter des exemples de trois s\u00e9ries d\u00e9velopp\u00e9es ces derni\u00e8res ann\u00e9es : des bouquets de fleurs, clairement marqu\u00e9s du sceau de la vanitas vanitatum<\/em>, des clownesses dont les expressions pensives, voire m\u00e9lancoliques, contrastent avec le chatoiement des peintures qui d\u00e9corent leurs corps d\u00e9nud\u00e9s ainsi que des corps masculins captur\u00e9s dans des moments d\u2019abandon, lors de sc\u00e8nes fantasm\u00e9es de soumission SM. En filigrane, par\u2011del\u00e0 l\u2019empathie, par\u2011del\u00e0 l\u2019esth\u00e9tisation paroxystique et r\u00e9ussie de ces mises en sc\u00e8ne, c\u2019est sans doute ce doigt m\u00e9taphorique mis sur les entraves d\u2019\u00eatres prisonniers de r\u00f4les genr\u00e9s et de valeurs normatives<\/span> qui les \u00e9touffent, qui fait mouche. En marge de deux tirages d\u00fbment encadr\u00e9s, une console permet de pr\u00e9senter le premier num\u00e9ro du fanzine Turlupin<\/em>,<\/span> consacr\u00e9 ici \u00e0 l\u2019id\u00e9e de soumission, qui reprend un \u00e9ventail repr\u00e9sentatif des trois cat\u00e9gories de clich\u00e9s que nous avons \u00e9voqu\u00e9es ci\u2011dessus.\u00a0<\/p>\n\n\n\n

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

Michael Dans’s practice is resolutely polymorphic, with a strong anchoring in drawing and sculptural installation, also extending into performance or installation. Similarly, the eclecticism of his disciplines echoes the wide-ranging subjects he tackles (death, loneliness, eroticism, childhood, etc.) and the formats used, often pushed to their limits.

In recent years, Michael Dans has been working on a singular photographic practice,<\/span> both in terms of the subjects covered, their treatment and the modus operandi<\/em> of their procedural realization. Literally, each of his shots can be understood as a carefully organized and staged sculptural installation, created with the complicity of his models, but which address,<\/span> in a way that is both direct and sublimated, with the right degree of empathy, the right aesthetic distance, existential concepts of vanity as well as the universe of the subjects’ assumed fantasies. We decided to present examples of three series of clich\u00e9s<\/span> that he has developed in recent years: bouquets of flowers, clearly bearing the standard of the vanitas vanitatum<\/em>, clowns whose pensive or even melancholy expressions contrast with the exuberance of the paintings that decorate their naked bodies, and male bodies captured in moments of abandon during fantasy scenes of SM submission.<\/span> In the background, beyond empathy, beyond the paroxysmal and successful aestheticization of these stagings, it is undoubtedly this metaphorical finger placed on the traps or the inevitable deviations of beings trapped in gender roles and normative values which suffocate them, which hits the mark.\u00a0<\/span> Alongside two duly framed prints, a console allows the presentation of the first issue of Turlupin<\/em>, devoted to the idea of submission and featuring a range of the three categories of photographs mentioned above.<\/span><\/p>\n","protected":false},"featured_media":0,"template":"","class_list":["post-95650","extra","type-extra","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra\/95650","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=95650"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}